HANDBOUND
AT THE
UNIVERSITY OF
TORONTO PRESS
9 3 / 1
2
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 CO.
AND NEW YORK: 15 EAST i6th STREET
1891
{All rights reseri'ed. \
PR
<l*~
\
PREFACE
AMPLE as are the remains of Greek poetic literature that
have been preserved, there is 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. It is true that the more fortunate,
though I fear their number is small, read Pindar, the
greatest perhaps of the Greek Lyric poets ; and, further-
more, all of us become acquainted with choral lyric
poetry in the Drama. Pindar, however, in his only sur-
viving complete poems, the Epinician odes, represents one
branch alone of the subject ; and similarly in the Plays
we have practically choral Lyric only, and that, too, under
such conditions as are best adapted to the preponderating
^ interest of the Drama. Of Greek Lyric Poetry then, with
these important exceptions, we are profoundly ignorant ;
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 con-
temporary with them, or of the lyrics of Shelley, Keats,
and Tennyson in our own century.
, The loss of these Greek song-writers is irreparable ; but
if 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 by a patient search
for quotations from them in surviving literature. This is
I
viii PREFACE
precisely the task so successfully accomplished in connec-
tion with the lost Greek lyrics by scholars during the last
three centuries, who, by a laborious and discerning investi-
gation of all ancient writers or 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 are interested alike in
Greek literature and in Greek life.
My object in this volume has been to present to readers
of Greek a collection in an accessible form of all 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
the collection complete for purposes of reference, etc., I
have added 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 com-
mentary or alteration of the text.
I deal only with ' Melic ' poetry, or the poetry adapt\\
for music, to the exclusion of Elegiac poems, which, though
in early 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 in the perfect adaptation, in poetry as in alP
else, of form to matter, it follows that poetry which was
distinct in metre, mode of delivery, and also in traditional
dialect (see page 75 seg.), was widely distinct also in sub-
ject, in treatment of subject, and in its whole spirit.
PREFACE ix
I must add that the Epinician odes of Pindar, though
essentially ' Melic ' poetry, or Song-poetry proper, are not
included in this edition, because so much has by great
good fortune survived as to necessitate entirely separate
treatment. I have however inserted some of the chief
fragments from Pindar, for reasons explained elsewhere
(p. 281).
I have to thank several of my friends for their assistance
in different portions of my work ; and I am particularly
indebted to Dr. Abbott, my former Headmaster, for his
kindness in revising a considerable part of my commen-
tary, to which he has added some valuable suggestions.
Mr. MURRAY, Keeper of the Classical Antiquities at the
British Museum, and other gentlemen connected with
that Department, have also given me much useful infor-
mation.
G. S. F.
St. Paul's School,
February 1891.
I
CONTENTS
Prefatory Articles —
I. Revival of Melic or Song-poetry, .
II. Some Distinctive Features of Greek Lyric Poetry
III. Choral and Single or Personal Melic Poetry —
Dorian and Lesbian Schools, .
IV. Dance as an accompaniment of Greek Song,
V. Musical accompaniment of Greek Song, .
VI. Metre in Lyric Poetry,
VII. Dialect in the Lyric Poets —
Sec. I. General Characteristics, .
Sec. 2. Lesbian Dialect, .
Sec. 3. Dorian Dialect, .
Addendum,
VIII. General view of the history of Greek Melic Poetry
PAGE
I-I4
I5-20
20-24
25-33
34-44
45-74
75-80
80-91
91-96
97
98-108
Text, with Biographical and Introductory Matter —
Archilochus, . . . . . . m-121
Melic Poetry at Sparta —
1 22
Tyrtaeus,
123
Spartan Dance-Songs,
123
Alcman, .
124-134
Alcaeus, .
135-147
Sappho, .
148-167
Stesichorus,
168-175
Ibycus,
176-181
Anacreon,
182-196
Simonides,
197-218
Timocreon,
219-221
Bacchylides,
222-231
Xll
CONTENTS
Banquet Songs — The Scolia,
Popular Songs, .
Miscellaneous and Anonymous,
Dithyrambic Poets,
Some Fragments from Pindar,
Commentary,
Additional Notes —
A. Sappho and Alcaeus,
B. Eros in the Lyric poets,
Appendix — Fragments not included in the Text,
I. Subject Index, ....
II. Greek Index, ....
PACE
232 t 246
247-250
251-262
263-280
281-295
299-424
424
426
429-469
471-481
482-490
LIST OF ILLUSTRATIONS
Plate I. Alcaeus and Sappho, .... F7-ontispiece
,, II. Sappho and her Pupils, .... xiii
„ III. Eros as described in the Lyric Poets, . . xiv
„ IV. Blind Man's Buff, ..... xv
„ V. Boeotian Cup, . . . . . xv
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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
127, Ale. i. 10, for oatvrjv and E^atvr^v read y<xb»zv and iraxivev
128, „ 1 3, for ais read aL
„ ,, 31, for apj'vou read a.[L\lva.i
131, ,, xii. 3,y2?r aaaa'p.w r^a^Z aaaa[a.w te
142, Alcaeus v. 2,y#r xao' read *oZ
158, Sap. iii. 3, for 0-r.a.Tot. read omzoxa
x 59> )i vii. 2,_/2?r 'vrjxoio ;v«fl? av^Toio
163, ,, xxi. j , for Ku&ipri read Kud-ipri'
225, Bacchyl. ii. 2, delete comma after -9-ujj.ov
„ „ 1. 3, for Ku^ptoo? read Kuxpiooc,
230, „ xvi. (Metrical scheme, line 1) in 5th Cretic
for — ^ ^ read — u ^
262, Miscel. xxx. I, for xoipav7J'ov read xoipavf[ov
., „ 10, for xokiixe, read r.oliSz
274, line 2,ybr excpo9-rj<j£iaav rm^f Ex^oprj-S-staav
279, Dith. Poet. xiv. 2, for Nixa read Nv/.a
286, Pind. i. 4, for izoXkoic, read ^oXXoi;
327, Note on Sappho I., par. 2, line i,for -zr^kvi read mrjXuc
333, Note on Sappho X. 1. 3, rtfe/^te For o[j.fj.axa
ARTICLE I
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
compositions : Orpheus, according to the myth, preceded ^^fbut over-
Homer. Epic, however, owing to certain obvious causes shadowed by it
r ' ' ° . during the
to be looked for in the social conditions of the day, 'Feudal'
attained a popularity among the influential classes which peno "
attracted 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
frequent reference thereto in Homer, but evidently no
special cultivation was given to poems which did not
celebrate '/Xiy. avSptov or similar subjects, and the songs
remained in the position of Volkslieder, or else of
monotonous and stereotyped religious chants. When,
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 1
decay, and with it its favourite and appropriate form of supplanted by
poetry, the Epic, poetical genius was forced to adapt itself
to its surroundings. The glories of the past had now, in
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
feelings and heightened the interest of its actions. It
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.
A
GREEK LYRIC POETS
First came
Elegiac and
Iambic verse,
then Lyric
poetry proper,
or Melic.
Rapid develop-
ment of Melic.
Causes.
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
point out, is merely a varied form of the hexameter. In
subject, on the other hand, Elegiac poetry broke boldly
away from the traditions of Epic, and we find it employed
by a Tyrtaeus, a Callinus, or a Solon as a powerful factor
in the warfare or the politics of the day.
The Iambic trimeter, again, the invention of which is
ascribed to Archilochus, introduced still greater innova-
tions both in form and in subject. The whole nature of
the metre is 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,
they are as I to 2, or 2 to 1 ; while the subject we find to
be personal in the most pronounced degree, being chiefly
invective or satire of the bitterest kind, not against prin-
ciples or public enemies, but against private foes.
But neither Elegy nor Iambic verse w r 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
truest source of fresh poetic inspiration — to the songs which,
hitherto uncultivated and little heeded, yet touched the
deepest sympathies of the people in. their religious or
secular life. We 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
attained to its maturity. 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 and literary
revolution, the powerful poetical genius of the Greeks was
concentrated almost entirely upon such occasions ; nor
must we forget that it was not one country alone that was
REVIVAL OF MELIC POETRY 3
developing its poetical powers, but a number of States,
more or less parallel and independent, each of which,
owing to easy and constant communication, readily in-
fluenced all the rest.
What then were the most important and inspiring occa- Early forms oi
sions for song in early Greek life, and what was the nature n^" c a g^ lch
of the early song-poetry so long overshadowed by its attracted
. t% • i-t • • 1 • 1 a. poetical genius.
younger sister Epic ? tor it is to this source that we must
trace the characteristics of later and cultivated Melic. On Distinct
this subject one cannot do better than quote a well-known classlf allon -
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
their erotica and symposiaca ; the mourner his threnodia
and elegies ; the vine-dresser his epilenici ; the herdsmen
their bucolica ; even the beggar his eiresione and cheli-
donisma.' The number of titles amounts to upwards of
fifty ; 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
nation '.* It is to be noticed that these distinct classes of
song were not the creation of cultivated lyric, but were
handed down from primitive times. We may follow
Proclus in grouping them in two main divisions — the
Religious and the Secular.
Of religions or sacred lyric the chief forms are the Hymn, ^ 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 (up.vo?) dates far back into remote ante- Hymn.
Hellenic ages, and may be regarded as the original stock
1 Hist, of Language and Liter, of Anc. Greece, Bk. III. c. ii.
Mure's remarks are based upon a long passage from Proclus' Xprj-
aronadta, quoted in Photius' Biblioth. pp. 521 seq.
4 GREEK LYRIC POETS
of all the religious songs, the others being specialised and
in many cases later forms of the Hymn (w? e'wfoj wpo?
ysvo?, Proclus). But the Hymn also constitutes a special
type of religious poetry, though its only peculiar features
mentioned by our chief authority, Proclus, are that it was
suing standing, and accompanied by the cithara — 6 Si jtupio?
u[j.vo? Trpo? juO-aoav vj'Ssto ectwtwv.
Burnouf l suggests that the word ujj.vo? is identical with
the Sanscrit ' 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 u[/.vo? in its more general sense
that we may, perhaps, with Hartung, look for the earliest
Close connec- development of poetry and song among the Greeks ; since
tion of poetry , ,. 1,1,.,
and religion in solemn prayer naturally tends to become rhythmical, and
ancient times, harmonious musical sounds have a special value on such
occasions, both in elevating the mind of the worshipper
and in drowning all discordant and inauspicious noises.
Tha.t the earliest mythical poets, at any rate, were con-
nected with religion is illustrated by the examples of
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 the same person.
Tfjie majority of the hymns, until the re-awakening of
lyric 1 inspiration, were probably traditional and mono-
tonous 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
.3
year
Among the early poets of the Lyric age we find Alcman
and Stesichorus cultivating this branch of Melic.
Passing on to more special forms of the up.vo?, we find
1 Hist, de la Litt. G?'ecque, p. 40.
2 See Burnouf, p. 51.
3 See Burnouf's remarks on the Vedic Hymns, pp. 48, 56.
REVIVAL OF MELIC POETRY 5
that the Paean, the Hyporchem, and the Nomos were all
consecrated, in early times at least, to the worship of
Apollo (v. Proclus, loc. at.).
The Paean is twice mentioned in Homer. In //. i. 473 Paean.
it is sung by the Greeks to Apollo, in order that he may
take away from them the plague that he has sent —
KaXov a£iSovT£; xaivjova, /.oupoi 'A^atcov,
M sXtcovts; ' Exaspyov, 6 Ss <ppsva fsp-ST obcoucov.
Similarly we are told that it was sung at an expiatory
festival in the first month of spring, called Bucio;, at Delphi. 1
The second occasion in the Iliad is xxii. 391, where
Achilles calls upon his comrades to sing the Paean as they
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 will be made to the Paean in connec-
tion with the Dance (pp. 27 and 29) ; and we shall there
find that one of the early masters in lyric poetry, Thaletas,
devoted his efforts to the improvement of this species of ,
religious song.
In the Hyporchem the leading feature was that the song Hyporchem.
to Apollo was accompanied by a dance of a distinctly
imitative character. It is said by Muller 2 to have been
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
find in Horn. Hymn to Apollo, 162. There is a passage in
//. xviii. 590 which is said to refer to the Hyporchem. A
bard is playing on the harp (cpopi/i^wv), and a band of
youths and maidens .-dancing, 'sometimes in rows, some-
times in quick circles, easily as a potter might turn his
wheel, trying how readily it will run ' ; the maidens carry
garlands, the youths golden swords (sE apyup£<ov TsXa^ovtov) ;
1 Miiller's Dorians, vol. i. c. viii. 2 Ibid. vol. i. p. 371.
GREEK LYRIC POETS
Thaletas.
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? . . . s&vsuov
/.ara [/.scrcrou?.
If this be an account of a Hyporchem, it would appear
that the chorus intended their dance to represent some
action in a general way, while the tumblers exhibited more
definite and vehement pantomimic gestures. Such at any
rate was the nature of the Hyporchem in later times, as we
see from Lucian's account of one at Delos — ol j/iv s^opsuov,
utcwp^ouvto Ss ol aptcToi, 7rpox.pi&svTe; s£ auTtov. 1 That the
performance of oi apwrot was expressly mimetic we learn
from A then. xiv. 628 — s^pcovTO to% ayr^ai (the figures of
the dance) an^Lzioiq (v.dvov rtov aSoyiviov — oQsv y.y.i u7ropy/j|./.aTa
TOiauTa ■qydpsuov.
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
(see p. 28, seq.). I must add that often no very close
distinction appears to have been drawn between the
Hyporchem and the Paean. See Boeckh, De Metris
Pindariy p. 201.
Nome.
Terpander.
The Nome. — The term vd[/.o? is applied in early religious
Melic chiefly to chants or tunes of a fixed type, sung (Tsray-
(xevto; >tal [/.syaXo7rps7K3s, Proclus), not by a chorus, but by the
priest, to the accompaniment of the lyre, at the altar of
Apollo. In its earnest supplicatory tone it is regarded by
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
very ancient poetical contests at Delphi, 2 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 neces-
sary elsewhere (see p. 36) ; it is sufficient for the present
to say that the use of the term was considerably extended
1 De Salt at. c. 16.
2 Paus. x. 7. 2.
REVIVAL OF MELIC POETRY 7
subsequently, and that though usually connected with the
worship of Apollo, accompanied by the lyre, in hexametric
metre and monodic, yet it occasionally, especially in later
times, dispensed with any one or all of these characteristics.
The Dithyramb. — We come now to a species of hymn The Dithyramb.
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 Arion not the
reality was but the first to cultivate and elaborate an
ancient style of composition or the like. That we find no
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 rites were introduced to the
Greeks comparatively late, and amid much opposition
(cf. especially Eurip. Bacchae). The hymn, however, to
the god of wine probably dates back to the earliest Aryan
times, and traces of it are to be found in the Veda. 1 A
very ancient invocation to Bacchus, of an unpolished
character, is preserved in Plutarch, Quaest. Graec. 36 (see
Popular Songs, XII.) ; but the first mention of the Dithy-
ramb in Greek literature proper meets us in Archilochus,
a generation or two before the time of Arion :
1 £lc, Aigwjgoi avay.To; xa^ov e^ap^at \xzkoc,
oiSa Sixhj pap.fi ov, oivw cuyxepauvwO^eii; <ppsva.
The word s£ap?;o« is said by Miiller {Greek Lit. c. xiv.)
to indicate that 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 per-
ence from the words of Archilochus, but it is likely chorals 'j n wa),s
enough that in the time of that poet the Dithyramb still later times -
retained what was perhaps the primitive form of all early
hymns, that of being sung by one man only, originally
the priest at the altar. The improvements made by
Arion will be touched upon subsequently (see p. 102), and
1 Burnouf, p. 227.
8
GREEK LYRIC POETS
Some charac-
teristics.
for its subsequent history see Introduction to the last
Lyric period, page 263. I will now 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
pukrior— and to attract to its services some of the finest
literary, and especially musical, talent. Being connected
with the worship of Bacchus, it assumed an enthusiastic
character, 1 with rich and often inflated language, and a
musical accompaniment, the elaborations of which called
forth bitter remonstrances from the admirers of the simpler
style of the antique. One of the most magnificent frag-
ments from Pindar (Pind. Frag. No. vi.) affords the best
example of the rich and glowing character of Dithyrambic
poetry at its prime.
Counts.
Akin to the Dithyramb is the Cowus-song, also con-
nected originally with the worship of Bacchus, and partak-
ing in its general character. The* Comus is associated
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 lady with
music, dance, and song. 2 We hear of the practice in Hesiod,
Scut. 281 : >cw|7.aCov u7r' auXw . . . hiz opp^to xai aotSyj , and
later in Alcaeus : &s£ai jjls y.wfj.o^ovxa, etc. (Text No. 12),
where the Comus takes the form of the serenade. Cf.
Aristoph. Platus 1039 seq. The term became extended
to any songs for festal occasions, and hence it is to this
branch of lyric that many of Pindar's Odes belong ('Eyxtopa).
Lastly, I will mention Prosodia, or Processional hymns,
Processional sun g to the flute by the band of worshippers when
Sgfeature'in" a PP roachi ng the altar or temple of a deity. 3 Many of the
Greek religion. *"
1 xexiv»][i.e'vos xoti tcoXO to EvSouauoos? [jletcc x°P Et ' a ? £|J-9aivwv, Proclus.
2 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 9
other classes of song might come under the heading of the
Prosodion in a more general sense ; for the Paean, the
Comus, the Wedding-song, etc., are all more or less con-
nected with processional singing. Indeed it is worth while
dwelling upon the popularity of the custom in Greek reli-
gious 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 Par- Partheiia.
thenia or processional choruses of maidens in honour of
some deity. We hear of this custom, apparently, in II. xvi.
180, ev j£opu 'ApTE^tSo?, etc., and at the beautiful festival of
the Daphnephoria at Thebes, 1 the scene at which has been
made familiar to us in Sir F. Leighton's well-known picture.
But it 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 kind of composition has been recently recovered
(Alcman No. I.). In later times the best of the lyric poets,
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 follow-
ing — the Dirge (ftp'/jvex;) or funeral song, the Wedding-song
(upivato;, or sTaO-a^apov), 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 secular- Dirge and wed-
ised forms of a lyric once sacred. It is true that such as ding-song pro-
J bably once of a
sacred nature.
1 Paus. ix. 10. 4.
io
GREEK LYRIC POETS
Dirge —
Threnos.
Professional
mourners.
survive are entirely secular, but Burnouf reasonably main-
tains 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 t 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,
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.
The Dirge. — The example of a &p-?jvo? in Homer occurs
at the burial of Hector, //. xxiv. 720 seq., and deserves
special attention. The bearers bring the hero's body to
the palace and place it on a couch :
TOxpa o° sierav aoiSou?
©pTjvcov e^apyou;, 01 ts CTOvoeccav aoiSyjv
Oi [/iv ap' eQ-p^veov, em Ss crrevayovTO yuvaTx.s;.
From this we learn that at this period there existed a
class of professional dirge-singers, 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 spon-
taneous and exquisitely touching lamentations of Andro-
mache the wife, Hecuba the mother, and Helen the grateful
kinswoman of the chivalrous warrior. At the commence-
ment 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.
ad fin., and ch. ii.
REVIVAL OF MELIC POETRY u
these three the poet employs similar expressions — ttjgiv
S' 'AvSpof/.a/vj XeuxwXsvo? vjp^s ydoto (cf. 747, and 761) — and
at the conclusion :
(Cf. 1. 760 and 1. 775.)
In addition then to the female relatives, it would appear
that not only the aoioVt. #-pvjvo)v s£apjroi but also these
yuvofas; played a definite part in the formal ceremony.
They were, so to speak, the chorus whose lamentations
were led first by the professional dirge-singers, and more
especially by the female members of the afflicted family. 1
Notice finally that, with the exception of the aoioVi, none
but 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 rela-
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^M^iF
distinctive features of the funeral dirge in the time of lo g ues ' of
...«,-.., modern Greece.
Homer are preserved to the present day in the Mynologues
or funeral-songs of Modern Greece. Shortly before the
body 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
renewed when the burial is effected. Just as in Homer,
the men take no active part in these laments ; they are
present, but express their adieux in brief words. The pro-
fessional aotSoi have disappeared, but their place is occa-
sionally taken by professional female myriologue-singers.
Among the great lyric poets Simonides was the most
famous for his Dirges, a touching example of which remains
for us in the famous Danae poem (Simonides, No. II.).
But we must remember that such compositions, being
1 This may perhaps partly account for the choral form subse-
quently taken by some 0-prJvoi : see note, Simonides, No. II., and cf.
Art. ill. p. 24.
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 reference to the Wedding-song in Homer is briefer.
It occurs in the description of the Shield {II. xviii. 490 seq.),
and tells us how the bride is led through the streets to the
bridegroom's house amid loud hymenaeal strains — -xokuc,
S' uf/ivato? opcopsi ; while young men dance to the music of
flutes and harps, and the women stand at their doors admir-
ing the scene. Here we see that the Hymenaeus was
sung during the procession, and thus before the completion
of all the religious ceremonies. It appears, however, to
have been of a more or less secular character ; and still
more was this the case with the Epithalamion, the song
sung before the door or window of the bride-chamber. To
this latter class are usually referred the wedding-songs of
Sappho, who devoted much of her talent to this form of
lyric.
Comparison I must again make reference to Fauriel's interesting
with modern preface, where we read that the ceremony of marriage in
ureek wedding- tr > jo
songs. 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 con-
ducts the bride from her house to the church.
•Convivial' I come now to the ' Convivial ' songs, au^ocuc/toc, among
songs. which the Scolia are the most prominent. Whether or not
these Scolia existed before the Melic period, it is certain
that the custom of singing at banquets, constantly referred
Also perhaps of to in Homer, was of great antiquity. This species of lyric
sacred origin. a j so a pp ears to have been once of a religious nature.
Compare //. i. 472 :
N(j)(/.7](7av V apa xaaiv (brap?;a|/.svoi SeTraeaaiv,
Oi Hk TOXV7)[/.spioi [/.o7w7"?j iSiov IXaffjiovTO.
De Coulanges, La Citi Ant. Bk. III. c. vii., forcibly points
1 Spfjvas ou 7tEpiyp«cpsTai ypovw. Proclus.
REVIVAL OF MELIC POETRY 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 ( = gugg mtov in Sparta) Trapi oxituu.ovzggl
TzozTzzi 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 non-
choral melic may be classed under the heading of ' con-
vivial ' poetry. Further remarks on the Scolia in the
Melic period will be found in the Introduction to the sur-
viving Scolia.
It remains for me to notice certain songs, fragments of
which still remain, of the nature of Volkslieder, but refer- Voiksiieder.
able to no distinct class of lyric.
The Linos-song is said to be of Phoenician origin, and Linos-sono.
to have derived its name from the words at le nn, ' woe is
us,' which probably formed part of the refrain of the song.
The 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 Linus-
song was evidently of a plaintive and mournful character,
and it appears to have been popular with agricultural
people, especially at vintage -time, being, as some say,
employed as a lament for the decay of summer. It is
referred to in the Shield passage (//. xviii. 570 seq.). Men,
youths, and maidens are gathering in the harvest :
Toitiv 0° 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. 2 Plut. de Musica, c. iii.
14 GREEK LYRIC POETS
at feasts 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
is perhaps pertinent, that the people are always fond of
sweet, plaintive airs. A fragment from a Linus-song will
be found in the text, Popular Songs, I.
Similar 'nature Just as the Linos was applied, or is supposed to be
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 beg-
ging 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
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.
Modem Greek At any rate, whether or not there be a gap in the descent,
'Swallow-song . fa e f ac t remains that children still go round singing a
modern Greek Swallow-song, which, with its accompanying
circumstances, closely resembles the ancient Chelidonisma. 2
Flower-song. I will conclude this article by calling attention to the
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
of Adonis-worship, and Midler's Dorians, vol. i. c. ix.
2 V. Fauriel's Preface ; and see Pop. Songs, 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.
We have seen that the service of the gods had given rise
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
cheerful religion ; and that the more important events of
human life, such as the funeral and the wedding, with their
imposing ceremonial, afforded powerful inspiration to the
singer. 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
influences shortly to be mentioned, we have now to con- -n
sider what are likely to be some of the main features
assumed by Greek lyric poetry.
The most prominent external characteristic is its classifi- ( a ) Distinct I
cation into clearly marked species. As Mr. Jevons says, in Q ass f L U r °" in
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
and in each case he knew that a certain conformity to
customary treatment was expected of him. It is plain
that under such circumstances there might therein have
been a danger of lyric poetry losing its freedom by becom-
ing tied down to certain stereotyped forms, had not the
Greek genius at this period been far too vigorous and
Results. creative to admit of any such calamity. On the contrary,
these forms served, like the reins in the hands of a skilful
horseman, to exercise a salutary guidance and control
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
the whole composition. In a later period, however, when
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 Again, if we consider the distinctive element in the
' occasional '• various types of lyric poetry, we find it to consist in the
special nature of the occasion for which the poem was
designed. Hence Greek lyric is rightly called 'occa-
sional '. It is true that one class of these ' occasions ', con-
vivial meetings, to which were appropriated the species of
lyric called Paroenia or Scolia (see p. 12), admitted of
a very wide range in the choice of subject, and the songs
of this description are those that most resemble the lyric
poetry of modern times. 2 But from causes shortly to be
examined, this branch of lyric, with some very brilliant
exceptions, did not assume nearly so important a place in
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, xlix. 349.
2 See Introduction to Scolia, page 232.
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. We Variety of sub-
must here remember that a polytheistic religion, rich in so^^fo^reii-
mythology, afforded to the poetry devoted to its service s ious or similar
r - . occasions by
opportunity lor very great variety of treatment in recount- mythology.
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 hold-
ing 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 Division of
poets. It is true that we find no example of a lyric poet L yr °ic poets." S
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
particular genius impelled them. Thus Alcaeus, though
a writer also of hymns, excelled in Scolia and similar
compositions ; Simonides was unsurpassed alike in epi-
grammatic poems and in the beauty of his Threnoi ; while
Pindar brought the art of the Epinician ode to the summit
of its perfection.
On the other hand, the dangers that beset ' occasional ' Natural tend-
poetry are obvious, and the avoidance of them is merely SrpSy.
a matter of time. Poetry, written not at the 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
may not be the case, while the poet is still writing only
on subjects closely connected with his own life, and
capable of inspiring him with enthusiasm ; and in Greece
B
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,
and it was aided, as Bergk points out, by the multiplica-
tion of prize-contests for lyrical compositions, until in the
end the poet was sapped of all his freshness and vitality,
and became a mere tool in the hands of the musician
(see p. 40 seg.).
(c) Didactic tone A further characteristic alike of Greek Lyric, and its
in Greek Lync. ff S p r i n g the Drama, is the religious, or moralising, or
didactic tone which widely prevails. This again is mainly
due to the elements from which lyric in great part arose ;
for the poet, once perhaps identical with the priest, re-
tained his function as the teacher of his hearers. This
tendency shows itself chiefly in the Gnomic poetry, which
is directly didactic in character ; but we find it pre-
dominating also in such subjects as the Epinician Odes of
Simonides and Pindar, both of whom gave poetical utter-
ance to precepts in a manner which at times was hardly
gratifying to their employer. Doubtless these writers
were influenced by the importance now attaching to ethical
discussion ; but their ready adoption of such subjects
shows that they felt that the poet and philosopher were
here at least on common ground.
Even more marked is the strongly didactic or moralising
tone throughout the Scolia (see p. 232), showing that even
here, where lighter themes might have been looked for,
the singer was expected to remember that he was also a
teacher.
(</) Greek Lyric As being ' occasional ', and connected mainly with pub-
objective". jj c festivals, religious or semi-religious, we naturally find
Greek lyric to be of a more objective character than is
usually to be expected in this branch of poetry. Poets, like
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
so often portrayed to us in modern lyric poetry. Another
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
expression, but also to the treatment of subject. It is to P a I tlv t0 e p ic
r J influence.
this influence of Epic that we must in great part attribute
the remarkable prevalence of objective narrative in Greek
lyric. In religious lyric singing the praises of a god or
demigod readily enough took the form of a narrative of
their adventures or achievements, and we find Stesichorus,
to take a striking instance, whose poems were perhaps in
the form of hymns (see p. 169), devoting himself almost
entirely to 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 aid are probably
introduced for consolation to those for whom he wrote.
Epic, indeed, with its stores of mythology, afforded to the
Greeks of later times a boundless supply of ideal incidents
whereby to illustrate and adorn the present ; and this
applies not to poetry alone but to works of art ; for the
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 bar-
barians.
Even in the less prominent branch of Lyric, that of
'1
20 GREEK LYRIC POETS
Litiie scif-reflec- monodic and personal song, we find, with a few brilliant
■monodta" exceptions, 1 far less reflection of the poet's own life and
songs. emotions than might be expected. Such poems of which
Scolia form the chief part were usually composed for the
benefit of the author's own circle of acquaintances and
partisans, and his object would naturally be to give utter-
ance to sentiments, personal indeed, but appealing hardly
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 indeed, when we consider the great pre-
dominance of social or club 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 own friends or boon-com-
panions.
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 in-
fluence 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 Sappho's immortal description of her
passion, in Od. ii.
ARTICLE III
CHORAL, AND SINGLE OR PERSONAL MELIC POETRY —
DORIAN AND LESBIAN SCHOOLS
I HAVE had occasion, mainly in the preceding article, to
refer several 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 leading
sions which called for the exercise of lyric poetry were n an ^ SSSJi
connected with religion, and that religion tends to foster over monodic
choral rather than solo singing, this being certainly the case
in Greece, where, in the absence of a distinct sacerdotal
class, the worshippers would naturally take each an active
part in the ceremony. Again, we must remember the all-
important 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
for public delivery, than upon monodic song, which was
composed rather for the poet's own circle.
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 these with the Greeks were occasions for choral
song.
Finally, recollecting that the term ' choral ' as applied to
Greek song, denotes not merely, or primarily, song de-
livered by a choir or body of singers, but song accompanied
by dance, we naturally expect to find this agreeable
21
22 GREEK LYRIC POETS
custom attain to the greatest popularity among a people
so devoted to graceful movements and gymnastic training
as were the Greeks.
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 among the Dorians, and especially under Spartan
patronage, that lyric developed in its early bloom, we are
not surprised that the reign, brilliant as it was, of personal
or single Melic was, comparatively speaking, of brief
duration, and that before long nearly all great lyric poems
influence of the were composed for choral delivery. For all the features
andpartkuiariy m Greek life that I have been mentioning were emphasised
of the Spartans, £<-, a marked degree among the Dorians. Religion, I have
in encouraging ° ° .
choral poetry, said, naturally encouraged choral poetry. Especially was
this the case with the Dorians, the main supporters, as
they are said to have been, 1 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
gymnastics among the Greeks. Now with the Spartans, of
all the Greeks, gymnastics, including rhythmical military
evolutions, were nothing less than a solemn if also agree-
able duty, the omission of which would have endangered
her commanding position in Greece. Hence it is naturally
under Spartan auspices that we find developed that perfect,
and to us hardly realisable union of music, dance, and song,
which was soon adopted by the entire Hellenic world. 3
1 See Muller's Dorians, Bk. II. cc. i. ii. iii. 2 See p. 5.
3 Socrates, ap. Athen. 628, referring to the Spartans, declares that
the 'bravest of the Greeks make the finest chorus'; and Pratinas
I.e. 633, speaks of the 'Spartan Cicada ready for the chorus'. See
also the account of the numerous Spartan dances in Muller's Dorians,
vol. ii. p. 351 seq.
DORIAN AND LESBIAN SCHOOLS 23
On the other hand, the comparatively insignificant his-
torical importance 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, Terp-
ander and Arion, who were the first to teach their art to A sc h 00 i of
Greece proper, belonged to a school of lyric poetry, if we 1 >' ri , c P° et '7 ,
r r *> . , ,. 1 early established
may use such an expression, early established at Lesbos, at Lesbos.
which reached its perfection in the time of Alcaeus and
Sappho ; and from the proud words of Sappho herself —
Ilsppoyo; to? 6Y aoiSo? 6 Ascjito; aXXooV.Trowi
— we gather that the ascendency of the school was un-
challenged. Soon after this period, however, as the States i m p 0rtance f
of Greece proper came more and more to the front, while 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 ..
° > ° Nevertheless
exist, it is hard to over-estimate the influence which it an enduring
, • , , • 11 i_ , r* 1 1 influence was
continued to exercise on all subsequent Greek lyric poetry, exercised upon
Naturally, this influence most directly affected the Greeks f- 11 Sllbse q ue " t
J ' J lyric poetry by
of Asia Minor or of the adjacent islands ; and it is a Asiatic Greece.
noticeable fact that besides the Lesbians, Terpander and
Arion, no less than six of the nine chief lyric poets —
Alcman, Alcaeus, Sappho, Anacreon, Stesichorus, Ibycus,
Simonides, Bacchylides, and Pindar — are of Asiatic-Greek
descent. Of the rest, Ibycus, a Dorian who attached him-
self to the court of Polycrates at Samos, identifies himself
with the Lesbian poets in the passionate glow of his
language and thought ; Pindar, who alone belongs to
Greece proper, is of Aeolic race ; while StesicJioms of
Himera, a colony half Ionic, half Dorian, is supposed to be
connected in origin with a line of Locrian Epic poets who
followed in the footsteps of the Boeotian Hesiod. 1 Finally,
1 See Mailer's Hist, of Gr. Lit. p. 198. We must nevertheless
remember that however freely we may admit the existence of innate
24 GREEK LYRIC POETS
it is to be noticed that nearly all the lyric poets from
Alcman to Pindar acknowledged their debt of gratitude to
Lesbos by the partial employment of its dialect 1
Dorian stamp Nevertheless, although its inspiration was mainly drawn
cho P raTsong POn from the Lesbians or Asiatic Greeks, lyric poetry accom-
modated itself in form, under which I include subject,
metre, dialect to 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
Extension of the Attic drama. So powerful, indeed, did the attraction
the choral form. r , i -n t 1 • . , ,-
of choral Mehc poetry become, that we find eventually
classes of song that were properly only monodic adapted
to choral delivery. 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
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, ' The Boeotian pig ',
quoted by Pindar himself.
1 See, however, p. 97. 2 s ee on Pind. Frag. IX.
3 See Bergk's Gr. Lit. vol. ii. p. 530.
4 See Introd. to Scolia, p. 232.
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 accom-
paniments. I now wish to dwell more in detail 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. Early union of
We are, however, supplied by Epic with passages pointing fhou^f 1 S °i ng '
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
to quote, we shall see that whereas in classical Lyric the
singers were identical with the dancers, their steps follow-
ing with precision the rhythm alike of the poetry and of
the melody, on the other hand in these early times the
connection was of a far less intimate character. We have
indeed few, if any, cases in Homer of dance unaccom-
panied by song, 1 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
(on the lute) and sings ; or again, if the chorus is 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
appear in some cases that they join not so much in the
actual song as in the refrain.
Passages in In //. xviii. 590 seq., a passage already referred to in
(a) where the connection with the Hyporchem, p. 5, we have a detailed
but ule nopai t anc * beautiful description of youths and maidens dancing
in the song. while a minstrel sings to them and plays his lute :
Ms-ra <)£ cr^iv i^£kiz&vo &slo<; aotSo? <S>op|/.i£a>v,
and this passage is all the more suited to our present
purpose if it is rightly regarded as a description of a
Hyporchem, since in this branch of lyric poetry at a later
period 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
story of Ares and Aphrodite, while he is surrounded by a
band of young men in the flower of their youth, 'well skilled
in their art, who strike with their feet the dance divine '
(7r£77>7]yov Ss x°P° v && ov ^oofo), while Odysseus gazes in
wonderment on the flashing movements of their feet —
[/.ap^apuya; <9i}Sito uoStov, -O-aup.a'Cs o*s S-UfAto. 1
Lastly, in Od. xxiii. 143 the following expressions
occur :
'O o" siXsto Q-zXoc, aoiSo;
clPoptv.iyya ylacpupvjv, sv Se ccptcriv ij/.spov topcrev
Mok^? ts y>.i>/tep7js jcoi a[/.u(JM>vo? dp/yj^oio.
Toiaiv o*s p.sya Scotxa xsptcrrsva^STO Tiorjcriv
'AvSpwv xai^ovTtov jto&X&ovwv ts yuvaix.cov.
In this passage we find men and women dancing, while
the bard plays the lute ; but we may also reasonably con-
clude from the very fact that he was an aoiSo? that he also
sang. Moreover, although the word p>.7r/j<; may indeed refer
only to the dance, and not necessarily imply singing, 2 the
1 In this passage Hartung regards the dance as a prelude to the
lay of Ares and Aphrodite. Even if this be the case, we may still
conclude that the dance was an accompaniment to song, namely, to
the song which served as a prelude to an Epic recital. See Midler's
Hist. ofGr. Lit. p. 72. 2 M tiller, loc. cit. p. 20.
DANCE ACCOMPANIMENT 27
epithet yXuxspTJs, and the immediate mention of opy;/]9|>.d ? ,
almost compel us to regard the word in this passage as
signifying 'song'. We must not, however, conclude that the
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
- , . , . 1 ,1 , 1 chorus while
distinction from those just quoted, in that the chorus do dancing takes a
take some part, though a small one, in the singing. JFJjJgJ 1 * in the
According to a description in //. xviii. 569, a boy, standing
in the middle of the band, plays a sweet melody on the
lute, and sings the lovely song of Linus with sweet voice :
Aivov S' utto x.aXov asiSev
AsTCTa^ST] CptOVT) TO! &£ p7]CC0VT£? a[7,apT7}
MoXtt/J t 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 pass-
age 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
singers, sang the chant, the whole revelling band joined in
the refrain of ' 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 JheenUre^ong,
sea., where Achilles calls upon his men to carry off to his but is less
1 ' x 1 1 • 1 r occupied with
ships the slain Hector, and to sing with him the song of the dance,
victory as they go — Nov ft' ay' astSovTS? xaivjova, k.t.1 That
their song was not unaccompanied by rhythmic move-
ments, if not by actual dance, we may infer from the
analogy of a passage in the Homeric hymn to Apollo,
1. 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
move along in procession, a passage closely imitated in
28
GREEK LYRIC POETS
the well-known song of Callicles in M. Arnold's Empedocles
on Aetna, ad fin.
(d) Where the Lastly, I will notice a case of choral singing without
chorus sings but r t 11 ; j j 1
does not dance an y reference at all to dancing or movement, and where
at a11 - it seems implied that the banqueters join in the Paean as
they 'lie beside their nectar '. This occurs //. i. 471 :
Ntofr/jTav <T cL^y. 7c£aiv s~apEa|j.svot oS7ras<j<Jtv,
Oi Ss TCavy^/ipioi [jsj)\77r t -9-eov i^ocgjcovto,
KaXov asi&ovrs; 7ra«nova, xoOpoi 'Ayatojv
Ms>;7rovT£? ' Exaspvov.
Identity of
singers and
dancers not
found in early
period —
First noticeable
in the time of
Thaletas.
Development of
' orchestic '
singing by
Thaletas,
in connection
with the Paean,
The conclusion, then, that we may draw from these
passages is that in these early times there was but little
' orchestic singing ', implying by that term song delivered
by a band of singers, who at the same time dance to their
own melody. We either find that the dancers are prac-
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 proces-
sional movement. Of the stages by which pure ' orchestic '
singing, such as we find in classical Lyric, or in the
choruses of the Drama, was brought to perfection, we have
but little knowledge. The chief development is ascribed
to Thaletas, under 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 second-
epoch (SsuTspa xaTaaraaic) in the progress of lyrical poetry
at Sparta. The first epoch takes its character from the
innovations of Terpander, which were mainly in connection
with monodic song unaccompanied by the dance (see p.
36) ; and as it had been Terpander's task to enrich poetry
by musical accompaniment, so it was left for Thaletas to
bring into intimate connection with choral lyric the further
accompaniment of elaborate dance movements. We have
seen that in Homer mention of choral
singing occurs
DANCE ACCOMPANIMENT 29
mainly in connection with the Paean. Consistently with
this we find Thaletas directing his attention chiefly to the
cultivation of this form of religious song. Again, in
Homer we find that the Cretans enjoyed a great reputa-
tion in the art of dancing, and it was from Crete that
Thaletas came to Sparta.
Lastly, we notice that one of the occasions for choral and the Gymno-
song, to which he particularly devoted himself, was that G f paedia-
the Gymnopaedia, at which he glorified mere gymnastic
evolutions 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 Gymno-
paedia sang and danced simultaneously, the song being one
cither of Alcman or of Thaletas : dp/ouf/ivcav seal aSo'vTwv
OaXvjTOu seal 'AV/.^avo? XGU.axx.
In this passage we have first direct testimony to the
union of song and dance in the time of Thaletas, and
secondly indirect ; for from existing fragments we know
Alcman to have written in the antistrophic style, which
from its nature implies ' orchestic ' singing proper ; and
from the close connection in this passage of his name with
that of Thaletas, we may conclude that the latter also
employed a similar form of composition.
Orchestic lyric, however, in the time of Alcman, taking Further de-
him as the first poet, after the innovations"^ THafetas, of oSeSing-
whom we can form any judgment from surviving; frag- j ng— Stesi-
c r 1 • . , . . „ .. chorus and the
ments, was tar from having attained its full completion. Epode.
In the first place, it yet remained for Stesichorus, accord- Its object "
ing to the common account, 1 to relieve the continuous
strain which must have taxed alike the endurance of the
performers and the attention of the spectators, by intro-
ducing after each antistrophe the Epode during which
the song continued, though with change of metre, and
necessarily of melody, while the dance was temporarily
stopped. We must bear in mind that the Epode intro-
duced a greater innovation into choral lyric at this period
than it would have done into choral delivery as found in
1 See, however, p. 170.
30 GREEK LYRIC POETS
Greater variety the Drama. For in the latter, as I have mentioned in
StiSDramafas Article v., each strophe and its antistrophe usually differs
compared with from the preceding pair in metre, and therefore in melody
those of Lyric. , , r ,.,.-,. , . ,
and dance measure, while in lyric proper, not only in the
early time of Alcman, but of its latest great representative,
Pindar, we find the same succession of strophe and anti-
strophe continued throughout the poem. It was the desire
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
Simonides or a Pindar. In the latter we find that the
chorus serves merely as the mouthpiece of the poet, who
as it were lends his own personality entirely to this col-
lective body, the constituent members of which are in
Early choral complete unison in voice and in movements. I n Alcma n,
singing exhibits on the other hand, this is far from being the case. The
less united or .... . , , , .
collective action poet, himself taking part in the chorus, 1 retains his own
thVcomponent personality and allows the chorus to retain theirs also,
members. Often the poet addresses the chorus collectively or indi-
vidually, 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.
(No. II.) or in the newly discovered Parthenion. Often
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 sub-
ject — 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 mind in
1 See Alcm. i. ii. iv. v.
DANCE ACCOMPANIMENT 31
endeavouring to realise the full nature of a Greek Lyrical
performance.
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
of that branch at any rate which was so closely connected fromthe b char-
with 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 posi-
tion 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
portions of the Greek Lyric poetry as still survives. For
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
exactly corresponding phases in the dance. If then we
wish to consider what was the predominating style of
Lyric dance, we must consider what was the predominat-
ing metrical style of Lyric poetry. Let it not be thought
that by predominating style I mean some set form of an d although
dance which was most in fashion ; for the Greek public e ^; n T s °"?
■*■ I GQUirCQ 3. new
demanded in every choral poem originality as much in the metrical system
, . . r , 1 1 and dance-
metre 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
occasion. In spite, however, of the constant variety, there
are naturally found classes of metrical systems which
display a certain unity in general character. We have
already noticed the great influence of the Dorian race yet we find pre-
on the development of Greek choral Lyric ; and it was e°™and°teteiy
therefore natural that the Dorian metrical system should movementofthe
rr^i -1 • r r -i Dorian style.
predominate. 1 The most striking feature of this, a bril-
liant example of which may be seen in the famous Ode of
1 Plato, Laches 188 D, speaks of the Dorian musical style (apuWa)
as the only genuine Hellenic one. Considering the essential con-
nection between the metre and the music, he would doubtless have
extended the remark to Dorian metre also.
32 GREEK LYRIC POETS
Pindar, PytJi. IV., is majestic, and regular movement
effected by an even flow of trochees and dactyls, with but
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 even of keen emotion was chastened and
subdued.
Secondly, in 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
for the Greek poetry was a display of graceful action not for its own
dance was x ■* • i -T
mimetic. sake alone, but aided 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
oratory. That man therefore would be best qualified to
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
Dance an im- cause us surprise at the fact that dancing was with the
portan't factor in Q ree k s an important and constant form of religious ritual.
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 by no means essential char-
acteristics of the orchestic art, and that in a period of
highly advanced civilisation it has shown itself capable of
fulfilling a lofty function in connection alike with religion
and even in that and with elevated poetry. Many illustrations, indeed, of the
Christian 13 ' religious dance may be gathered from the Old Testament
church. 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 con-
siderable a part dancing once played, and in a few places
even at this day still plays in the ritual of the Christian
religion. 1 It is not unnatural to conjecture that in this as
in many other matters the early Christians impressed
ancient pagan customs with the service of the new Faith.
I must touch upon one more subject before concluding influence of the
this Article, and point out the influence which the dance meJrfcaUtruc- 6
must have exercised not only upon Lyrical melodies, but, ture of Greek
. _ . , . . poems.
as we can better appreciate, upon Lyrical metrical struc-
ture.
The music which accompanied Lyric and which was
also the predominating form of music among the Greeks
(cf. Plato, Laws, 669 e) must have belonged to the class of
dance-music ; 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
1 Thus Scaliger says that many early churches were constructed
suitably for dances ; and that bishops were called Praesules, because
they led the dance ! — as if the word were to be derived from salio.
A religious dance is still said to be performed by the choristers
before the high altar in the cathedral of Seville. Lastly the jumping-
saints {Springende Heiligen) at Luxemburg deserve notice.
1 I have been unable to hear of any representations on vases of the
Greek choral dance in connection with any of the branches of lyric
poetry. Of dancing itself, however, there are many. See, for
example, in the British Museum, Vase E. 783, where girls are appa-
rently imitating the flight of birds, and E. 200. There is also a fine
illustration of the op[xog, or circular dance of men and women, in
Panofka's Manners and Customs of the Ancient Greeks, Plate ix. 5.
ARTICLE V
MUSICAL ACCOMPANIMENT OF GREEK SONG
It is far 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
should consult e.g. Chappell's History of Music, vol. i., or
Boeckh De Metris Pindari.
It is 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 charac-
teristics of its structure.
Advance in Since music and lyric poetry, so long as the latter
Greek music retained its vigour, proceeded hand in hand, the develop-
closely con- & » r - ' r
nected with ment of the one follows closely upon that of the other.
poefry, SS and yl ' C But be it remembered that the two arts were not of
m die rrTtre of 6 P ara -U e l importance, poetry from primitive times till the
surviving pas- end of the classical period employing music as an accom-
paniment, subordinate, though essential. 1
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 accom-
paniment, 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 xw Xdyw. — Plut. Symp. vii. 8.
4 ; cf. Plat. Rep. 398 B.
34
MUSICAL ACCOMPANIMENT 35
In the early times, into which Homer gives us some Primitive nature
the music in
omeric times,
insight, the melodies must have been of a simplicity which £[ ll
for us it is difficult to realise. An instrument of four
strings, each capable of producing one note only, appears
to have sufficed ; and though the wind-instrument was
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 men-
tioned in Homer as employed by Greeks, but only by
Trojans. The simplicity of the music was a natural result in agreement
c ]. .',... . ., i-i with the simple
of a corresponding simplicity in the songs which were metrical stmc-
accompanied, and which were as yet wholly neglected as a ture of the early
r ' ' J o songs.
cultivated branch of poetry. So far as we can surmise,
these songs often consisted of a monotonous repetition of
metrically similar lines, which seem to be taken together
in pairs. 1 Or again, the four-line stanza must have existed
long before it became, in the hands of the Lesbian poets,
so perfect a vehicle for the expression of passionate feel-
ings ; and it would appear that in olden times the four
lines of the stanza differed scarcely if at all from each
other in their metre. 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
time the only cultivated branch of poetry, was unsuited m ade in music
' ~ . J ' until Epic
for melody. Evidence, indeed, shows that it was chanted poetry was
or intoned ; but for this purpose a lyre of four strings Lyric,
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 is connected with the name of Terp- Terpander and
ander, and it is sometimes described as consisting in the chord. ep ' a
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
GREEK LYRIC POETS
Musical import-
ance of the
Nome.
Clonas and
Olympus— Im-
provements in
Flute-music.
in 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.
Chappell, 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 tes-
timony of the ancients as to the entirely new character
assumed by musical accompaniment in the time of Terp-
ander. The expression, for instance, in Plutarch, de Musica,
c. iii. \j£kt\ ztzzgi xepiSTi&STO, could hardly be applied merely
to a more elaborate style of rhapsodising.
This improved musical system, whatever its exact
nature may have been, was applied by Terpander mainly
to that branch of religious lyric called the Nome. 1 The
Nome previously consisted of four parts, ap/vj, 3caTaTpo7r/j,
o^cpaXo?, (T<ppayi;. These were extended by Terpander to
seven — apjpj, [/.sxappj, scaxaxpo— tj, fv.sxax.axaxpo7r*j, 6|x<pal6?,
<7<ppayi<;, £7uXoyo?. 2 So that Miiller {Hist. Greek Lit. p. 155)
is justified in remarking that ' The nomes of Terpander
were finished compositions, in which a certain musical idea
was systematically worked out.'
Terpander confined his improvements to the lyre, asso-
ciated 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
of the flute. 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.
2 Pollux, iv. 9, 66.
MUSICAL ACCOMPANIMENT 37
similar in kind to those confined by Terpander to the lyre.
It 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,
c. 7). So great was the importance attached to his work
that Plutarch calls him rather than Terpander ap^yjyo? r/j;
' EXTajvuc/js xai xaTaj; |/.ou<jwmjs ; and even in Plutarch's own
day ((sti xal vuv)) some of his Nomes were employed at
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
great influence on Greek poetry. This was the -r^iokiov to
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-
, . signed for the
iormer deity that his patronage was extended to wind worship of that
instruments. It was fortunate for the progress of choral go '
lyric that Apollo, for whose service so much of Greek
poetry was destined, at length appears to have been par-
tially reconciled to the flute ; since it is hard to conceive
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
find him playing a dirge over the slaughtered Python,
probably at the Pythian games at Delphi. 1 We find
also that a flute contest was established early in the 6th
century B.C., under the direct patronage of Apollo at
Delphi. 2
Furthermore, we have poets, e.g. Alcaeus, attributing the
very invention of the flute to Apollo. Herein, however,
1 Plut. de Mus. c 15. 2 Paus. vi. 14. 10 ; x. 7. 4.
38
GREEK LYRIC POETS
Thaletas and
flute-music.
Improvements
in music indi-
cated by the
poetry of this
age.
Sappho as a
musician.
the bard's desire to praise a favourite instrument probably
led him to transgress orthodox tradition. For the recog-
nition 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
the Cithara, retained its position as the genuine Hellenic
instrument. Thus the abuse heaped upon the 'spittle-
wasting ' flute by Pratinas l in the fifth century, is but a
revival of the sentiment which many centuries before gave
rise to the stories of the fate of Marsyas and other atovjTHcoi
at the hands of Apollo.
Returning to the age of Olympus and Clonas, we come
next to Thaletas, the most prominent figure in the second
literary epoch at Sparta. 2 This epoch was marked by the
rapid advance of choral lyric ; and Thaletas, whose special
work has been noticed in the Article on the Dance, p. 28,
availed himself of the musical improvements, not of Terp-
ander, but of Olympus and Clonas. It is the flute that
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 ' orchestic ' military evolutions, and advanced
to the charge — not, as one account would have it, that
their too impetuous courage might be duly restrained, but
simply because the piercing notes of the flute made them-
selves heard above the trampling of the warriors' feet and
the clashing of their weapons.
Profiting by this steady advance of the musical art, the
movements of lyric 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
connected with the progress of music ; for not only is the
invention of the Mixo-Lydian style ascribed to her, but
1 See the passage from Pratinas, p.' 272, and compare the rather
severe epigram : 'Av3p v i (j.ev au^rjxfjpt Q-sol vdov oux evs'ouaav, 'AkX a.[>.ct t(o
epucrijv yu> voo; Ez-i'taxat, Athen. viii. 337 E.
See Art. iv. p. 28.
MUSICAL ACCOMPANIMENT 39
she is also said to have attracted round herself a number
of disciples of her own sex. Now, to teach the art of
poetry itself, would baffle the skill of the most cunning
pedagogue, so that we may fairly assume with Bergk that
the instruction given by Sappho was in the arts of music
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
succeeding period are far from exhibiting the elaborate =°™p^ Jjj*
construction found in the Pindaric ode or in the Lyrical and the Dra-
. „ . / A j a . • matists, which
passages of Tragedy (compare Art. iv. p. 30, and Art. vi. were subsequent
p. 56). For before this later period comes another epoch ^"^Kf
in the history of Greek music, associated with the najhc practice and
_ n , theory of music
Of Pythagoras. about the time
According to Chappell indeed, who, as I have stated, of Pythagoras.
considers that Terpander's heptachord was not on the
octave-system, the octave was introduced 'to the Greeks
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 him-
self (p. 37) describes as hardly worthy of the name. Such
a reductio ad absurdum militates, I think, overpoweringly
against his assumption that Pythagoras introduced the
octave. Nevertheless it is certain that much was done by
Pythagoras for the development of music ; he first appears
to have studied it as a theoretical science, urging that to
discern the real nature of music we must employ the
intellect rather than the ear. 1
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
GREEK LYRIC POETS
Repetition of
the same
strophical
system as found
in the lyric poets
avoided by the
Dramatists.
Nature of the
change.
Growing im-
portance of
music at the
expense of
poetry.
poet. Thus Pindar, before he embarked on his poetical
career, 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-
portant respect is indicated in the lyrical passages of the
Dramatists. No longer is each group of Strophe, Anti-
strophe, and Epode succeeded by another of a precisely
similar metrical arrangement — thus A A B, A A B, A A B,
etc., to the end of the song ; on the contrary, with each
new strophe a new metrical 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 re-
currence of the melody to match the recurring strophes of
the poetry was not always desirable — that a change in the
spirit of the poetry, although its metrical form remained
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
and less dependent on poetry, until with the decay of lyric
inspiration, poetry, much to the disgust of the admirers of
the old school, became as entirely subordinate as it is in
the Italian opera. Thus we find Plato condemning the
predominance of mere ^tXyj xifrapiGi? or instrumental music,
and at an earlier period Pratinas, Miscell. and Anon. Frag, i.,
bitterly complains of the inverted relation of music and
poetry. Similarly whereas formerly the poet composed
his own melody, was entire master of his chorus, and was
the recipient of all the glory won by the performance, it is
1 A good instance is ' Der Leiermann '.
MUSICAL ACCOMPANIMENT 41
now the AuXtjttJ;, the bandmaster who is all-important, 1
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
ourselves on very hazardous ground. I will content ' my-
self 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
practically unknown. 2 The musical accompaniment how- does not a PP J y
... ., • 1 1 • t0 tne accom-
ever did not necessarily go with the voice note by note, paniment in ail
Thus Archilochus is said to have invented the jcpoOdi; utto cases '
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 was a common practice — t^v eT£po<pcoviav
xocl TTOixiXCav T/js ^.upa?, aXkcc piv [7,sX>j tcSv ^opotov isurcSv, aXXa
&£ TOO TVjV [/.sXtoOtOCV QjVtr£VT05 7TOWJT0U, JC.T.X.
Secondly, as already mentioned, the rule was — one
syllable one note. Words were to be treated not as the One syllable
servants but as the masters of the melody, and therefore one note "
trills and runs on one syllable were out of the question, at
any rate so long as poetry maintained its dignified position.
To have extended the first syllable of the word Alleluia
over some six or seven 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
with the ridicule which the practice from the Greek stand-
point 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 in the hands of the musical com-
1 See Bergk, Griech. Lit. ii. p. 504, note 20.
2 It is perhaps worth observing that at the present day hymns in
the Greek churches are, I believe, sung in unison only.
42
GREEK LYRIC POETS
poser. With the Greeks the words were written expressly
for song, 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
acteTofthe^" metre is simple or involved, regular and stately or abrupt
music. and impetuous, such must have been the character of the
Advantage of melody. In an instructive article on Song in Grove's
hiTovm^usTc! 8 Dictionary, it is pointed out that the power of such com-
and training his posers of song-music as Schubert and Schumann is shown
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 advan-
tage yet greater than that of finding an exact musical
exponent of their words, for they united in their own per-
sons the functions of poet and composer. Nay more, in
most cases they themselves trained the chorus that was to
deliver their composition, and thus was assured a perfect
sympathy between the poetry, the music, and the delivery
hardly to be paralleled in modern times. The important
reactionary influence exercised on the metre 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 connec-
tion with Greek music which must not be passed over here
without allusion. Granting, as we seem forced to do, the
music, in spite . . ° . 1/-1
of its elementary great inferiority of the musical art among the Greeks
c aracter, ^. Q ^ at Q f moc [ erri times — how are we to account for the
vast importance attached to its influence by the ancients,
an importance greater and more widely extended than in
these days would be claimed for music even by its most
ardent admirers ? Professor Mahaffy furnishes us per-
haps with a partial clue to the difficulty by arguing that
in an elementary stage, before melody becomes, to un-
trained 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
Importance at-
tached by
Greeks to the
influence of
MUSICAL ACCOMPANIMENT 43
than this, 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.
We must look for it rather in the very close connection due mainly to
which at any rate down to Plato's time music bore to poetry association with
and to thought ; for Plato and others like him were not P° etr y-
thinking of ^tXvj xi&apicri? or auXijcn;, mere instrumental
effects, which he almost declines to recognise as a legiti-
mate 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
thought expressed in language, belongs directly to the
world of ethical ideas. Thus Plato's words are as intelli-
gible as if one should say that the character of a nation
may be clearly read in the monuments of its literature or
of 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 Modes-
character of the different Modes of Greek music, the JJjJjfa JJM
Dorian, Lydian, and Phrygian, etc., appears to be dealing musical char-
with music proper entirely apart from that which it accom- style of the com-
panies. A consideration, however, of the real nature of ^yappropri^"
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
their several characters from differences in the arrange-
ment of their intervals, Chappell maintains that the only
essential musical difference in the modes, was that of
pitch, all their further distinctive traits being due to asso-
ciations more or less accidental — hence the frequently con-
flicting views taken of the character of any particular mode
44 GREEK LYRIC POETS
(see Chappell, I.e. p. 99). In the main however, although
of course there is 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 modes compositions which in music, metre, sub-
ject, and 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
uniformity of character ; for example the Dorian mode,
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 char-
acter of the various musical styles, Plato has before his
mind, not the mere music, standing abstracted from all
else, but rather the tout ensemble of a lyrical performance
with one harmonious character overspreading thought,
language, music, and dance. Neither need our deprecia-
tion of the musical art of the Greeks cause us any longer
to wonder at the importance attached 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
Subordinate more, than in music proper. Indeed, the subordinate
signed^music character of the latter is clearly expressed in the words of
proper. Plutarch, to the effect that of music the poet is the proper
judge, and of poetry the philosopher — words which, apart
from all else that we may know of Greek music, indicate
sufficiently its incomplete character.
ARTICLE VI
METRE IN LYRIC POETRY
In this Article I propose to give a short sketch of the
development of the lyrical metres, and to add some
remarks on the general principles on which they are regu-
lated in accordance with the views of certain metricians
whom I have followed. I shall then conclude with a
description of the chief types of metrical style with which
we are concerned.
In the rapid transition from Epic to Lyric poetry, Revival of
we notice a revolution effected in metre as in all other J^" 1 metrical
respects. The stately flow of the dactylic hexameter
rolling on without break or pause for some 500 lines,
was admirably suited for recitative, but very poorly for
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
among the uncultivated. Unfortunately, the traces that
are left of these old metrical forms, which must have
existed before the hexameter, are very scanty, and we
must rely rather upon conjecture than upon fact.
It is commonly believed that in the Linus song {Pop.
Songs, I.), we have a specimen of the old ballad or song-
metre, which was afterwards developed into that of Epic ; Traces of
and Usener 1 ingeniously conjectures that distinct traces c f anc ' ei " ballad
& J J metre to be seen
it are still to be seen in the hexameter itself. Thus a large in Epic.
1 See Classical Rev., vol. i. p. 162.
46 GREEK LYRIC POETS
number of the stock phrases, the naive repetition of which
is so marked a feature in Homer, exhibit the metrical form
of the verses in the Linus song : — •
-, or — : — ^ w
for example :
avac; avSpiov ' Ayaj/i'-ivtov,
ps/ftiv S£ jts v/}— to? syvio,
and it seems reasonable to conclude that they had already-
acquired 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 We may also assume that the four-line stanza was a
probably of favourite vehicle of expression in Greek prehistoric lyric
great antiquity. . - 1 '
poetry. This is the form taken subsequently by most of
the Lesbian poetry, and indeed it is exceptionally suitable
for monodic song. 2 Finding it also, as we do, almost univer-
sally employed in the ballad poetry of medieval times,
we may not unreasonably surmise that it was equally
popular in the Greek Volkslieder before it was brought
to perfection by the skilled hands of an Alcaeus or a
Sappho.
Short lo^aoedic Be this as it may, the primitive metre of the Greeks
or trochaic lines appears to have consisted mainly of short logacedic or
earliest form of trochaic lines, such as are employed also in the primitive
poetry of many other Aryan races. 3 This simple metre,
1 See notes on Pop. Songs, I. n.
2 ' By such grouping, symmetry could be attained along with
variety ; and thus the whole made a satisfactory impression, while
the melody still possessed in itself enough variety not to be tire-
some by continued repetition.' — Schmidt, Rhythmic and Metric of
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 through-
out 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 ^ s d l ^f^ 6
poetry, near the commencement of its revival, by Archi- trochaic and
lochus. Among these services, Plutarch, de Mus. c/'xxviii. rhythm!
reckons the ' invention ' of a new metrical type, the ysvo;
avwov, or ysvo; St.— Xaoriov. In this the relation of arsis to y=' v0; avtaov.
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-
iochus. Archiiochus is also described by Plutarch as the
inventor of ' Logacedic ' verse. That the term ' inventor '
is in neither case 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- Logacedic
tion, since it forms the most characteristic and beautiful in ^ tre ? on "
' sidered.
feature in the construction of the Melic poems. Logacedic
lines are those in which trochees and dactyls stand side by
side in close connection. The name is usually described
as arising from a feeling of inequality in the measure which Origin of name,
caused it to resemble prose (Xoyo?). W. Christ, however
(Metrik, p. 221), offers an opposite and perhaps more
reasonable explanation, to the effect that the term im-
plies ' singing language,' the arrangement of the syllables
1 I 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
being suggestive of song rather than of mere speech or
recitative.
Essential nature The essential nature of logacedics consists not in the
is me re. inequality of their movement — for the dactyl being ' cyclic ' l
-v^ison musical 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,
but also a power of expressing the ebb and flow of pas-
sionate 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
a vehicle. Perhaps nowhere can be found more forcible
examples of the inimitable power of logacedics than in the
poems of Shelley, himself almost as mighty an innovator
in English rhythm as Archilochus of old in the Greek.
One of the finest instances that occurs to me is the poem
to Night, which begins as follows : —
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 o'er city, and sea, and land,
Touching all with thine opiate wand —
Come, long-sought.
Returning to our subject, we find, in addition to the ysvo;
1 See below, p. 53.
METRE IN LYRIC POETRY 49
&Kt>4<Tiov, or aviffov, to which both the trochaic and the
logacedic metre belong, a third class, called the ysvoc Third type
•yiv-ioliov, or quinquepartite measure, in which the relation of of , met V e— „
arsis to thesis is as 2 : 3. To this belongs the cretic foot developed by
-^-, and the various Paeons --^^^, etc. The introduction Thaletas -
of this rhythm is attributed to Thaletas, 1 who, as we know,
is connected not with the music of the lyre or monodic
song, but with the flute and choral poetry. We now find
ourselves in a metrical region which is foreign to us ;
but I will reserve further comment on this subject until
we have glanced at the remaining changes or improve-
ments effected in the metrical system of Greek lyric
poetry.
After Thaletas the next name to be mentioned is that choral strophe
of Alcman with whom is associated the development of the ^ema^ by
the choral strophe. Until recently his reputation in this
respect was hardly supported by any extant passages from
his poems ; but in the fragment discovered in 1870, part
of which is inserted in the text, No. I., we find well-
organised 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
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 ela-
boration, the antistrophical system with which finished
melody and artistic dance were inseparably connected.
One more step only in the development of Lyrical The Epode
metrical style remains to be here noticed — namely, the chorals" stem
introduction of the Epode, commonly attributed to Stesi-
chorus, for which see p. 170. Lyric poetry had now laid
in the entire stock of her metrical materials, and progress
henceforth took the direction no longer of innovation, but
of a more skilful manipulation of existing resources.
1 See p. 38.
D
50 GREEK LYRIC POETS
Some types of I have mentioned that with the introduction of the
Greek metre ; y-.j, t o>_tov ysvo;, to which Cretics and Paeons belong, we find
e.g. the yevo? »~ . • . ' . °'
rj[jitoXtov are ourselves introduced to a rhythm which is strange to us.
lwdiy inteiii- Trochaic metre is thoroughly familiar to modern ears;
gible to modern ° J '
ears, Logacedics, though not so common, are readily appreci-
ated ; 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
dactyl with anacrusis. But Cretics, the simplest example
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 Cre-
tics 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 is a line of poetry, but if
we had come across it printed as a prose sentence we
should hardly have detected the error.
and are to be F° r the explanation of this kind of rhythm we must
th^facTthat' constantly bear in mind that while monodic poems, such
they were in- as those of the Lesbian school, however suitable for recita-
oniy— not for tion or reading, were adapted and intended for melody,
choral compositions in connection with which the ysvo;
TjfxioTaov, or Quinquepartite measure was developed, were
adapted for nothing else. In early times when song was
delivered to a simple lyre-accompaniment which subordin-
ated itself to the rhythm of the words, the obvious nature
of the metre rendered it perfectly suitable even for mere
recitation. But when poetry was written to match, not
recitation.
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" 11
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.
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
affected by its close connection with poetry. We have
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 Since each
, .... , , -ii -I s ) "able repre-
to each note, it is obvious that to keep pace with the rapid sents a note of
advance of melody, and also of the movements of the choral p^stoie'to' 1 ' S
dance, the metre was forced to become increasingly compli- recognise cer-
, . . i-i • r -i 1 1 • 1 • 1 ta ' n details of
cated ; and that thus in the specimens ol choral lyric which the melody, and
are left to us, the metrical arrangement of the syllables jJ£Sj£^ the
represents up to a certain point exactly the rhythm and lhe notes,
phrasing of an elaborate melody. Now if we take the cannot be done
notes of any modern song where, as is usually the case, the cupiefof'scan-' 1 "
air does not closely follow the rhythm of the words, and sion -
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
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
melody ; and as we are usually brought up to believe that
every syllable in Greek had one or other of only two pos-
sible values, namely - or ^, the natural inference would
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 : —
I M 1 n I I M J is
► •
52 GREEK LYRIC POETS
and to represent a pentameter, if ever it was sung, we should
have —
i n I i n i j I i n I i n i i
0001000101000 \000\0
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,
W. Christ, and others, following in the wake of Apel and
Boeckh in his De Metris Pindari, endeavour to base the
rhythm of lyric poetry on sounder principles, and oppose
the old doctrine that all long syllables and all short sylla-
bles have an invariable value, represented respectively by
the sign - and the sign ^. Indeed, the practice of ordin-
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 dactylic
or iambic metre and come to lyric poetry.
Equality of So, then, the new metricians, intent on exhibiting in the
essential in- metrical systems that equality of times which is essential
cipieofmetreas in music, maintain that a long syllable, usually equal in
of music. , , , ill*
time-value to a crotchet, and represented by the sign -,
may often be equivalent to a dotted crotchet or § note,
Varieties of in which case it is represented by-( = -^ ), or even to a
long andshSrt minim, when its metrical sign is L-J (=-o^, or — ) ; lastly,
syllables respec- its value 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
dipodies, the ong syllable answers to the quaver only. 1
Similarly, a short syllable, usually equivalent to a quaver
lively.
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 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 ' dac-
tyls, which are equivalent in time- value to trochees. I Examples:
will illustrate by a few examples. The long syllable is Ordinary time-
increased to twice its usual value, and corresponds to a synabie f '° ng
minim in the pentameter, which may be represented thus doubled, sign .-
in musical notes :
1 n I 1 n I j I 1 n i inu
99o\amm\ a \0am\m**\ c '
and metrically
The long syllable is increased by one half, and is equi- incr eased by
, ... one-half, sign
valent to a dotted crotchet in e.g. the Epitrit, which is
described below (p. 64). Thus the metrical scheme of the
line in Pind. 01. iii. 5 :
Atopiio cpiovav svap[/.6^ai tcsSiXco
which occurs in a dactylic Ode, is as follows :
i.e.
«• 9
>\ III I M M I ! IN
For an example of the diminished value of the long diminished in
syllable, we may take the Sapphic line : T'!? dactyls '
Iloi/a'Xo'&pov' a&avaT 'A<pp6fWa.
This is an instance of f-time, and the line with its dactyl,
in this case termed 'cyclic,' 1 must be represented musically
thus :
• • N ! J.N J^JN J.N J# N
the metrical equivalent being
• W — 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
1 See below, pp. 63, 64.
54 GREEK LYRIC POETS
value. A better example is afforded by 'choreic n dactyls,
such as occur in the line of Praxilla ;
the metrical scheme being :
*«JJ3I J/31 J J=3 1 J.N J/
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.
The • rest 'in Again, why may a short vowel stand at the end of a verse
masic (yp^vo, wnere ^ fo e m strict accordance with the metrical scheme,
?.3VQO explains '
the possibility of a long vowel would be required? Simply because the
a short syllable , , . , . , , . . , , . , , . . /
at the end of a additional time is made up by the rest in music, XP 0V0 ?
line m place of xsvc $ ? being the corresponding metrical expression. Hence
the fact that a also the hexameter cannot close with a dactyl, because
ripxi meter
1 annot conclude the time occupied by the last syllable, corresponding to
with a dactyl, ^ e final quaver, is already supplied by the unavoidable
rest at the end of the long rhythmic sentence ; and the
last foot of a pentameter is equivalent to a bar of music
in f-time, even though there be but one short syllable in
itself = I, because the deficiency is made up by a corre-
spondingly long rest of the value of |. 2
The free treat- Musical considerations then explain away the apparent
LTg reek metre'^" inequalities in many specimens of Greek metre, and aid us
due to its inti- in discerning harmony in some cases where, at first sight,
mate connection , ... _ ,. , . , „
with music, is the impression is rather one 01 discordant variety. Bear-
-ti-al'ned within * n § m m ind tnen tne influence of the musical accompani-
comparativeiy 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
narrow limits.
1 Below, loc. cit.
2 It may be noticed that in Latin hexameters and pentameters
(which were in most cases aided by no sort of musical accompani-
ment) the trochaic ending in the hexameter, and the final short vowel
in the pentameter, are much rarer than is the case with Homer and
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
unintelligible than we actually find it to be. That it is not
so is due to the proper appreciation among the Greeks of
the relative importance in song of the language to the
music. For all the licences described were exercised,
during the period at least of Classical lyric poetry, with a
laudable moderation. A long syllable was given more circumstances
than its usual value, 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
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 vowel-
sound, or other causes, were exceptionally long in quantity. 1
Similarly, short syllables were given less than their usual
value very sparingly — usually in fixed places, and with
set purpose. 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-
where also.
Lastly, the power of resolving a long into a correspond- Resolution of
1 r t a 1 r . 1 > 1 long syllables
ing number of short notes, is, in the first place, consider- sparingly em-
ably restricted when applied to song by the very nature of fates^meHc the
language, since it is impossible to pronounce a succession period.
of syllables, each having the time-value of T Vth, with any
pretence to intelligibility ; and in Greek vocal music still
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 ivapp-dijai tseoiXw, where
the scansion is
there is good reason for dwelling on each of the three underlined
syllables : the word Awptw is emphatic, and the stress is naturally
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? £t { j.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.
There is one other respect to which I must allude,
Great inequal- r '
ities in length of wherein Greek choral poetry does not fall in with our own
strophe, signify- rhythmical notions. Hitherto I have been dealing with
chanjresTn the ^ ie r hy tnm °f lines taken singly ; I now refer to the in-
dance and the equalities often found between lines in the same strophe.
music
This inequality is confined within very reasonable limits in
most of the passages in the text, and in the i Dorian ' odes
of Pindar, while, however, it is a marked feature in the
' Aeolic,' and in the specimens of later lyric which we
possess. It testifies to 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 know-
ledge 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
periods within each strophe ; and on this subject, which
exceeds the limits of this article, I cannot do better than
to refer the reader to Dr. Schmidt's Rhythmic and Metric
etc., Bk. V. ' Eurhythmy.'
1 It is indeed common enough in the 'Aeolic' odes, but exceedingly
rare in the ' Doric'
2 We may compare Aeschylus' parody of Euripides' lyrics in
Ar. Frogs, 1353, etc.
METRE IN LYRIC POETRY 57
When Greek lyrical metres were imitated by Roman Latin imitations
poets they naturally chose for their models the metres of meSto'be^ 1
monodic song, as being not unadapted for mere recitation ; elsewhere ex-
but even here, now that metre was divorced from music,
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 original. This will be done
in the introductions to 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?) denotes the syllable or syllables Anacrusis.
which in many lines precede the ictus or commencement
of the first full rhythmical foot, and which may be com-
pared with the latter portion of a bar that frequently
precedes the first complete bar in a melody. The rule is Rule,
that this Anacrusis should not exceed in length the ' thesis '
of the regular feet ; thus a dactyl may be preceded by an
anacrusis not exceeding ^ ^ or — , and a trochee, strictly
speaking, only by one short syllable. The Anacrusis, how-
ever, may consist of an ' irrational ' syllable, viz., a long
syllable, with the apparent time-value of a short. Hence the
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
1 See on Alcaeus, p. 139.
58 GREEK LYRIC POETS
General effect, greater impetus. Anacrusis is accordingly regarded as
giving a character of energy to, for instance, Alcaics, which
is less suited to the lines of the poetess Sappho, whose pre-
vailing metre commences with the full measure. Compare
on Alcaeus, xi., where it is to be remarked that Alcaeus, in
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
it requires, in his masculine hands, the slight addition of
Anacrusis.
Basis
Basis. Basis refers to a portion of the line which, like Anacrusis,
is 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 first remarked
upon its metrical nature, defining it as ' praeludium quod-
dam, et tentamentum numeri deinceps secuturi \ Dr.
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 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
more the case in certain choriambic lines, where the
choriambics do not begin until the second foot. Hence
Forms of the the Basis may assume any one of at least four distinct
forms, viz., - ^, — , ^ - or even ^ ^, in which latter case it
is not always distinguishable from Anacrusis. It occurs
most frequently, and is most unmistakable in choriambic
metre, as in the passage from Sappho (No. VI.) beginning
Kaxxravofaa Ss y.sicsai ouS' sti Tt? [/.vau-ocuva a£9-sv,
or in Alcaeus, No. xxiv., beginning
HX9-SS ex. TCsparcov ya£ eXe<pavTivav,
in which poem each of the four varieties may be seen.
Similarly in other metres the presence of the basis may be
METRE IN LYRIC POETRY 59
detected by the variable nature of the first foot. Thus in
Ale., No. x., taking the first line alone,
Ke^oj7.ai Tiva tov ^apievToc Msvtova xaXecrooa,
it would be quite possible to regard the two first syllables
as anacrusis ; but when we go on to read
it is obvious that in both lines we have an example of
basis. 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 The basis was
written for song, the basis was not employed, since it is due to * e c ' ose
o' r j * connection be-
obvious that metre without the aid of melody must display tween poetry
... . , . ,., - .. 11 1 1 , • and music, and
greater strictness in the quantity of its syllables to main- was abandoned
tain the requisite equality of movements in the same line. w ^ e e t " ly ^ s
The basis, therefore, in Greek poetry must be regarded as written for
... , . , ... recitation onlv.
one of those features due to the close union ol the metre
and the melody. It is a doubtful point how far it formed connection of
part of the rhythmic construction of the line. If it invari- b j} s j s w . ith rest
r j _ of the line
ably did so, then to such a form as the Pyrrhic ^^ the music doubtful,
must have given a fictitious value, if I may use the expres-
sion, to equalise it with the ensuing trochee or cyclic
dactyl, thus : —
• w or
• a-
W. Christ, however, is of opinion that in Aeolic lyrics,
which alone admitted of such 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 invari-
ably represented by a spondee.
60 GREEK LYRIC POETS
In the metrical schemes, the basis is denoted by the
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 These terms apply to the conclusion of a line. A line
Acataiexis. 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? f/xv av toi tov yoikwbv £{/.{3aXoi[/.i,
vp/iy.c, 5' sytov <TTps<poi[7.i a' ap.©l Tep[/.aTa Spoixou,
the first line 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
syllable ; and it is especially common in all languages, as
in the above illustration from Anacreon, to mark the close
of a couplet or stanza. Thus in English :
Pale and breathless came the hunters,
On the turf lies dead the boar.
God ! the Duke lies stretched before him
Senseless, weltering in his gore. 1
Succession of A succession of acatalectic lines is rare in lyric poetry,
acatalectic lines j-, u t often very effective, expressing a fervour of sentiment
rare but effec- ..... ...... , ,.
tive. which instinctively avoids the incisive character of catalec-
tic lines. The Sapphic stanza, in 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 lines of the stanza is far more appropriate to the
general tone of the poem. Similarly in the lines of Burns :
Had we never loved sae kindly,
Had we never loved sae blindly,
Never met or never parted,
We had ne'er been broken-hearted,
1 M. Arnold, 'The Church of Brou.'
METRE IN LYRIC POETRY 61
the absence of catalexis in the second and fourth lines as
well as in the first and third greatly enhances the intense
pathos of the words.
Two other terms are employed by the old metricians —
Brachycatalectic and Hypercatalectic. Both expressions
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 cataiecU^imes
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 com-
plete 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 [/.oi y.'xkcf. izoCic, j^pudCotatv av9i;v.ou7tv,
should be scanned
— v^» — ^ — \J — — — W — W ' ' x
Such a type of rhythm has its origin in the connection Brachycataiexis
of Greek lyric poetry with music, and can hardly be fluenceofmusic
paralleled in modern lyrics. A fine example of this is
quoted by Dr. Schmidt in his Rhythmic and Metric, p. 37,
from the Agamemnon, 192-197, and illustrates, as he
says, the melancholy character imparted by a succession
of verses in the ' falling ' rhythm, as he calls it.
It is obvious that the pause implied by catalexis, in- The different
eluding its varieties of hypercatalexis and brachycataiexis, cauicTtlc 6 ° f
must vary in time- value, according to the circumstances of pauses, with
their si°Tis.
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 repre-
sented thus A ; while in a dactylic or epitritic line the
pause is of the value of a fourth note, and is represented
by the sign a- Instances of longer pauses than these
hardly occur in the text. In a hypercatalectic line, the
1 Sappho vi. may be taken as an instance, if at least such lines are
to be scanned in dipodies.
62
GREEK LYRIC POETS
pause would be one of four eighths or a half, and the
sign ^».
Such being the chief features of the beginning and of
the end of the line, we may now briefly consider the most
important metrical feet as employed in lyric poetry.
The Dactyl in T IIE DACTYL
lyric poetry.
The hexameter. The most celebrated dactylic metre, the hexameter, is
from its regular and stately nature scarcely suited for
song. It is not, however, entirely excluded from lyric
poetry, at least in early times. Witness the beautiful lines
in Alcman, (No. II.) :
ou [/.' £ti 7ra.p9evix.al jxeXtya'pus? iixepocpwvoi, x.t.1
and in Sappho, (No. xxxiii.) :
Olov to Y'Xux.'Jij.a'Xov epsufreTat, obepw eV uaow, x-.t.'X.
It should be noticed, however, that in the first example
the spondee is not used at all, and in the verses of
Sappho very sparingly. 1
Shorter dactylic lines are very common, a familiar
species being the Prosodiac, 2 so called from its being
employed specially in Prosodia or processional hymns, for
which it was indeed eminently suited. Its form is gener-
ally either :
Rarity of
soondees.
The Prosodiac.
\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?, K.r.~k.
as an instance of the former. Usually two prosodiac Cola
are combined into one complete line, eg. Ibycus No. vin. :
Oux. semv axocpihiASvoK; Co>aJ; eti <pap[/.ax,ov sup$tv.
It is also common in proverbial sayings :
"Ecpuyov x.ax.ov, eupov aj/.eivov.
1 Compare also Sap. xxxiv, and Alcman, xxvi.
2 See W. Christ, pp. 214-216.
METRE IN LYRIC POETRY 63
A third form is seen in the Swallow-song, p. 247:
— , — ks kj — — , (_)I w ^. — y\; — —
'HX8', -qh&z yzkiSoiv
'Acckoi^ topa<; ayouaa,
~/.<xko\)Q £vtauTOu<;, •/..x.'k.
The shortest dactylic sentence is the Adonius, - ^ w - — , The Adonius.
commonly employed as a clausula to a stanza, the most
familiar example being in the case of Sapphics. It is
also, like the Prosodiac, common in proverbs or yvcup.oa, e.g.
Bod? i~\ cpaTVT], Fvto-Jh csauTOv.
I need not say more on other combinations of dactyls, Dactyls not em-
except to call attention to the rule that an independent verse, S^SSkS
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 applies equally to all
other dactylic verses.
Thus the three lines of Alcman, No. VIII.
Mc3g' ays KaTAidxa, •O-uyaxsp Awe, x.t,1
must probably be scanned not as a dactylic tetrapody
-w^-^w-^^/-^^, but as a catalectic pentapody in which
dactyls are ' choreic ', thus :
on the model of Soph. Phil. 827 :
"Txv' oSova? aoV^?, uttve S' aXyscov.
If, however, in the complete poem of Alcman the three except when the
verses were finished off by a line with some change of a" e s s y s t r e e m p . art of
metre at its conclusion, the final dactyls might stand, the
verses then being members of a ' system ', l and incomplete
in themselves.
It is in union with feet of another class that dactyls most Dactyls in union
frequently occur in lyric poetry. This we already noticed ^jf^Jf 6 ^-
in 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 of the Cyclic Dactyl. The ' Choreic • Dactyl kinds -
has a similar time -value, f, and is not always easily
1 See below, p. 73.
64 GREEK LYRIC POETS
distinguished from the cyclic or logaoedic dactyl. The
real difference is one of ictus, there being in the case of the
latter a secondary ictus on the third syllable, at the expense
of the first, which is to be hastily pronounced. 1 Dactyls
in a passage of |- time are to be treated as choreic rather
than cylic when they are not in close juxtaposition with
trochees. Thus any succession of f dactyls implies that
they are choreic, and the nature of the ictus as distinct
from that of the logaoedic dactyls in e.g. Sapphics or Alcaics
will be at once felt on reading such a line as Praxilla's
'II Sta tc3v -9-upiStov xa^ov e[/.f&S7i;oiaa.
The dactyl in There is, however, another kind of union of dactyls and
Epitrmc lines. troc h eeS) in which the dactyl retains its full value of a
| measure, and does not become cyclic or choreic. I
refer to cases where it comes side by side with the
Epitrit, or slow -moving trochaic dipody ("-^ — ), which
will be referred to below. In this case the time- value of
the trochee is 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
following lines from Pindar, 01. xi. I will serve as an
example :
"Egtiv av9-pw— ot; avstAtov ots ttXsicttoc
ypvjcri;, EGTtv S' oupavitov uSoctwv.
^j \j \y \J s~*
The Anapaest. Akin to the dactylic rhythm is the anapaestic, which
originally 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 ;
and similarly it was employed for the entrance song of the
dramatic chorus as they marched on to the stage. In later
times the anapaest often assumed a new character by the
resolution of the long syllable, resulting in the what is
1 See Dr. Schmidt, Rhyth. and Metr. pp. 49-50.
METRE IN LYRIC POETRY 65
called the Proceleusmatic foot w^^^, of which we have an
example in the passage from Pratinas already alluded to :
Ti? 6 -Oopupo? ooSj y-.T.X
We 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.
The Trochee
Trochaic may be regarded as the predominating metre importance of
throughout Greek lyric poetry, and indeed Greek poetry ^^[^efres"
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,
owing to the rapid recurrence of the arsis, imparting to a
succession of trochees a stirring and emotional character.
In trochaics proper, the metre is usually reckoned by Dipodies.
dipodies. Thus the tetrameter so common in Archilochus
and in spirited passages in the chorus of the Drama, con-
sists 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 that in this species of the ysvo; aWov, the return
of the arsis is too rapid to readily allow each foot a distinct
or equal beat or ictus. The stress then is laid on the arsis
of the first foot, and recurs on that of the third, fifth,
seventh, etc. Thus the rhythm of the line
®uf/i, -frup..' ay//] /avoid /ojoeaiv y.u/.to|/.svs
should be represented
It / I n r \ ft / 1 n O /\
— \j — ^/\ — \j — v/ — w — wi — \*/ — ' x
the sign ' denoting the ictus of arsis as compared with
thesis, and " the main ictus of the dipody.
This arrangement has important results on the further irrational
metrical structure ; for in the second or unemphatic foot of ^ lab J £S in
' r Dipodies.
each dipody, a long syllable is admissible which is described
E
66
GREEK LYRIC POETS
Their expiana- as ' irrational ' because it apparently has the value only of
llon - a short. The reason for this slight change in the rhythm,
which however at once commends itself to the ear as
perfectly harmonious, is not far to seek ; for, since the
main stress of the 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
the second foot musically by the dotted quavers * £ , which
have the total value of J J^, the notes appropriate to the
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 line,
That like a wounded snake drags its slow length along,
Often explicable they are often also to be explained as above by compensa-
po^ry by h com- ilon - This may be distinctly seen in the following
pensation. examples from Shelley's Adonais: —
And the wild winds flew round, sobbing in their dismay.
It flashed through his pale limbs, and past to its eclipse.
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 purple even,
the compensation is found in the actual foot, which
approximates to an iamb. 1 The effect is proportionally
bold, and could be produced without discord only by a
master-hand.
There is another class of trochaic dipody in which the
thesis of the second foot not only may be, but regularly is
long. The syllable in this case is not irrational, but has
its full value, = the crotchet I < This kind of dipody is
Nature of the
' Epitrit '.
1 In reality the first syllable is almost ignored, and the second pro-
longed almost to the value of a trochee, thus i— .
METRE IN LYRIC POETRY 67
called the Epitrit, 1 and I have already made some reference
to it. It is its constant 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
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 have then three main classes of trochaic rhythm, Three classes
which I mention in order of the rapidity of their move- ^podies?'
ment.
I. — A succession of pure trochees, or as they are often
called chorees, taken in dipodies. This is obviously
adapted admirably for easy lively movement in songs not
expressing any great depth of feeling. The most brilliant
example is the delightful song of Anacreon, No. v., begin-
ning
IltoXs ©pvj/uvj, t( Svj [J.t Xo£ov 6[j.[j.y.fj\.v [&S7COU<7a,
which exhibits only two irrational syllables throughout
the poem.
II. — Trochaic dipodies with frequent irrational syllables,
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 classes of
dipodies, the Choriambic -w-, and the Ionic — w^. The
Choriambic, so called because ancient metricians imagined choriambic
it to consist of two such impossible yoke-fellows as a choree ipo K
-w and an iamb ^-, is much employed in Greek songs, but
appears very unsuited for modern poetry. 2 The immediate unsuited for any
but song-poetry.
1 For the mistaken principles which have given rise to the mis-
nomer, see W. Christ, pp. 67, 577, or Schmidt, p. 41.
2 Comic operas have almost a monopoly of this metre. One
instance only occurs to me in ordinary English poetry —
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 succes-
sion 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 chori-
ambic 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 <puT£u|<r/); upoTSpov [ SsvSpeov xpisekv).
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
Considerable song. But even in true melic poetry its peculiar character.
limitations upon w hich expresses an unrestful and excited feeling too
the employment r °
of choriambs intense to be long sustained, 1 is such that we find it only
poetry. used with a considerable limitation ; for there are few if
any cases of a line consisting from start to finish of
Usually intro- nothing but choriambs. In the first place the choriambic
duced by basis
or anacrusis. movement is very commonly introduced by the ' basis ', as
in the examples just quoted from Horace and Alcaeus.
With Horace, indeed, his odes being for recitation only,
the basis is the invariable rule. In Lesbian poetry, on the
other hand, we have not a few examples of an initial
choriamb, e.g. —
Ae'jte vuv afipou Xaptrs?, Y..T.7..
or with anacrusis —
6 ttXouto? avEu (toc?) apsTa;, x..tX, Sap. No. XXVII. (3.
Kpyjccat vu 7tot' toS' £[/.[/sXeb>; 7c6fW<7tv, Sap. No. XIX.
1 W. Christ points out that it is specially appropriate for songs of
a Bacchic nature, e.g. Alcaeus, II, V.
METRE IN LYRIC POETRY 69
Secondly, the conclusion of a choriambic line is always, No final chori
at least in the melic fragments, 1 in a different rhythm — ^j £ a g he
the vehemence of the choriamb subsiding into the quieter ments.
movement of trochaic or logaoedic measures. A favourite
conclusion is -w^-*>- as in the lines from Horace and
Alcaeus, and in Horace's Asclepiads, e.g. —
Maecenas atavis edite regibus
Another is -^w-«^-- as in more than one of the examples
above from Sappho.
The time-value of the choriamb, which is thus matched Time-value.
by trochaic or logaoedic dipodies, is f, and it should be
regarded as composed of a cyclic dactyl and a syncopated
long syllable thus -^^<—.
Ionics are supposed to be so called from the metre being Ionic Dipodies.
regarded as owning an effeminate and voluptuous character
such as was attributed to the Ionian race. There are two
kinds :
Ionics a major e (arco [/.si^ovos) — ^^
Ionics a minore (dtaro dXaacovo?) ^^ —
A 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 ionics a majore
choriambics with one long (irrational) syllable as anacrusis, distinguish from
Thus we should not be certain that the Ionic lines : choriambic
metre.
Kpyjcrcat vu tcot' coS' ep.jviXeio; xo'cWcjiv
top^suvr' aTO&oi? a[x<p' epoevxa pto;/.ov,
were not choriambic, were they not succeeded by a line
with a short syllable for anacrusis :
770 a? Tspev avOo; p.aXaxov [xaTSiffat.
1 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 time-
value as the trochaic, which often answers to it, e.g.
rEX^flV)? [>.kv iyy.ivs.T a ssXavva,
at o" to; Tcepi pw;xov IffTa^cav. 1
Similarly in Anacreon No. XVI. after a series of brachy-
catalectic trochaic dimeters with anacrusis :
"Ays Seure [j.r^z^ outco, /..t.'X.
we find a dimeter composed of two Ionics a minors :
Ionics a majors are unadapted for recited poetry, probably
because after two consecutive long syllables a rest is re-
ionics a minore. quired which is only afforded by Ionics a minore. The
latter metre is effectively employed by Horace, Od. iii. 12 :
Miserarum est neque amori, etc.
in imitation perhaps of Alcaeus, No. xiv.
"Eas SsiXav, £«/.£ xaaav y.ax.OTaTav 77£o£/owav.
Horace, however, appears to have found it somewhat too
remarkable in its effect for anything more than an experi-
ment in metre, since this is the only instance of it in his
Odes.
Paeons and Cretics
Tevo? ^toXiov. On the third y£vo; — the ylvo; ^aio>.iov or Quinquepar-
tite measure, I will dwell as briefly as possible since it
occurs but rarely in the text. In the rhythm to which
I have already referred we have a f time, which is very
rare in 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
famous as we have seen for its dancing from the most
ancient times. From Crete too comes the name of the
best known form of the Paeon, namely the Cretic -^-, of
which we have a good example in Alcman, No. XVII.
1 Sap. xx. See however note ad loc. pointing out that perhaps the
metre is of a different kind.
METRE 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. '
it is 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 :
— w s >»/
First Paeon.
w-^v^ Second Paeon.
uw-u Third Paeon.
w^- Fourth Paeon.
Lastly in the same class we have the Bacchius — ^, e.g.
in Aesch. Prom. 115, with anacrusis :
Tt? a^ca ti; 6&[/.<x xpocsTUTa [/.' a<psyy>]<; ;
v^; \j\ — — • ^/ — — ^ yy.
All these rhythms, and especially the Bacchius, are said to
denote excited feelings, or extreme uncertainty or surprise. 1
Finally comes the difficult measure of the Dochmius The Dock
(£o/jv.io?, the oblique rhythm) which is said to take no less
than thirty-two forms, the most common being -. — w-, or
-ww-w-. The real nature of this rhythm is difficult to
comprehend and variously explained, but I need not
touch upon the subject since the Dochmius, so common
in the lyric poetry of the Drama, is not found among the
lyric poets with whom we are concerned, probably because
its complicated and apparently irregular nature belongs to
a later period when the early simplicity of movement was
becoming corrupted. 2
Colon, Verse, System
I will conclude by explaining a few terms, which will be
employed in the notes, concerning the rhythmical divisions
of a poem and the grouping of the lines.
The smallest of these divisions is the Colon, or short The Colon.
rhythmical sentence, which may by itself form an entire
mi us
1 Schmidt, Rhyth. and Metr. pp. 33-4. 2 See lb. p. II.
GREEK LYRIC POETS
Separate cola
in the same line
marked by
caesura and
diaeresis.
Distinguishing
marks of the
complete verse.
line, or, 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
only ; whereas in the hexameter the line is composed of
two of these cola, dove-tailed together by means of the
caesura. Similarly in English Alexandrines, such as those
which conclude each stanza of Shelley's Skylark, e.g.,
Our sweetest songs are those which tell of saddest thought.
the line is composed of two short iambic cola, three feet in
length, which stand as entire lines in the previous part of
the stanza, e.g.,
We pine for what is not.
Cola then may be compared to short grammatical sentences
or clauses, which may stand alone or may be compounded
together to form one long sentence ; and just as in the
latter case a pause or stop of some kind must come between
the separate clauses, so in a compound verse a pause in
the shape of the caesura or diaeresis must separate the cola
and allow each to exhibit its main ictus or accent.
It is by mistaking the Sapphic pentapody, which is a
single rhythmic sentence or colon, for a compound verse,
that Horace is led, in his earlier Sapphics at least, to intro-
duce an invariable caesura. On the other hand, in the
line,
In profuse strains of unpremeditated art.
it is the absence of the diaeresis which produces some
sense of strangeness in the rhythm.
Next comes the Complete Line or Verse (cti^o?), which as
as we have just seen may be composed of a single colon or
of more than one. It is important to bear in mind the
distinguishing marks of the complete verse as compared
with a mere colon, since upon this depends the arrange-
ment of the lines, which in some cases admits of doubt.
The following then are the chief signs which indicate the
end of a verse ; — the syllaba anceps, or syllable of neutral
quantity, admission of hiatus before the next word,
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 practi-
cally without any exception, and Bockh uses it as a sure
guide so far as it goes in the separation of the verses of
Pindar. We see then that the 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 find one word common to
both portions, e.g. Sappho II.
aSu cp(.ov£i|croc<; 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
as is done by Bergk.
The other requirements at the end of a line are
observed with little less regularity when each line is
entirely independent metrically of the others, as is the
case with hexameters or with the trimeters of the Drama,
etc. ; but in lyric poetry the verses are sometimes related
in such a manner that, though they cannot be regarded as
mere Cola, they are yet not complete when taken sepa-
rately but form parts of one harmonious rhythmical group,
described as a ' System'.
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, e.g. Soph. El. 148 :
a "Ituv aiiv "Ituv 6Xo<p'JpsTat
opvi? aTu£o;/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 re-
taining the ' Wortschluss.' Among melic fragments the
best illustrations of the 'system' may be seen in the
poems of Anacreon, e.g. No. III.
I can now bring this article to a close, and I am aware
that it occupies an almost undue space in the Intro-
duction ; but the subject of metre is so important for
Greek lyric poetry, and yet so commonly neglected, that
I have thought it worth while to dwell upon it at some
length.
I 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
crotchet I. See p. 52-3.
>— j where one syllable is equivalent to -^ or J Ibid.
-w the Cyclic Dactyl, equal to the trochee, thus j v . J^J^
-^ the Choreic Dactyl, J ^- See p. 53 and pp. 63-4.
x placed over a foot in the metrical scheme denotes the
Basis, pp. 58-9.
' denotes the occurrence of the ictus, e.g. on the first foot
of each trochaic dipody.
The following mark the time-value of the verse-pause
(p. 61.) :-
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 VII
DIALECT IN THE LYRIC POETS 1
SECTION I
GENERAL CHARACTERISTICS
In the transition from Epic to Lyric poetry we naturally Native dialect
find great changes in dialect as in metre. When poetry manyofthe 7
became personal and subjective, it tended to assume a early lyric poets
style of diction familiar to the singer and his hearers.
Hence a characteristic feature of the poetry of several of
the earlier Melic writers is the abandonment of the time-
honoured epic forms, and the employment of the peculi-
arities of their own dialect. Sappho and Alcaeus wrote in
their native Lesbian, Archilochus and Anacreon in Ionic,
and Corinna in Boeotian. We may compare the instance
of Burns, who in the revival of British lyric poetry plays a
part somewhat parallel to that 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
native dialect ; and when he abandons it for the con-
ventional English diction the result is anything but
satisfactory.
But the employment of the local dialect was far from but not by the
being so universal as might be expected from the nature of p e ts c
the case ; for, with the single exception of Corinna, it is found
in monodic poetry only. In choral poetry, which, as we
have seen, came to predominate greatly over monodic, an
admixture of dialectic forms was adopted, presenting to us
an artificial dialect which can only be called lyric, since it
certainly cannot be attached to any particular locality or
any branch of the Greek race. Nor is this unnatural. An Reasons for
this :
1 See Addendum at the conclusion of this article, p. 97.
;6 GREEK LYRIC POETS
Alcaeus or a Sappho, in the words of Pindar, 1 ' lightly shot
i. choral poetry forth their honey-voiced songs of love.' Though fragments
not persona. ^ t j ie j r son g S have won an immortality, they wrote for
their own circle or boon companions, and the subjects
of their poems were drawn from the deeds or the
pleasures or the passions of their own life. In such
poetry no language could win favour so readily as one
which, though indeed exalted above the region of common-
place by the genius of the poets, was yet familiar to the
hearers and free from poetic conventionalities. But in
choral poetry the circumstances were far different. The
personal element, always incomparably less than in monodic
song, tended to disappear entirely in later choral poems,
consequently the subject did not call for the language of
2. Choral poetry ordinary life. Again choral poetry at first was mainly
nected with religious, and religious diction is notoriously conservative
religi S n L -.. , of ancient style. Furthermore the mythical or narrative
3. and admitted J J
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.
4 . Hellenic After Alcman none of the great choral poets worked for
rather than , . , , .
local character their native city alone ; on the contrary they exercised tneir
of choral poetry. ta j ents f or the most part j n ot i ier 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
confining itself to no dialect in the proper sense, would be
Artificial 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 gene-
ration to generation of choral poets,
composed Naturally the Epic dialect was taken as the foundation
mainly of Epic Qr ma j n e i ement f the whole ; and therefore, just as in the
most important choral metres, such as those of Stesichorus
and of the ' Dorian ' odes of Pindar, the old dactylic
rhythm of Epic poetry still made manifest its influence,
1 Isth. ii. -\.
DIALECT 77
so also in the language the forms of Epic were widely-
retained. But besides this a considerable admixture of with a consider
., . . . . , T-1 able admixture
(a) Lesbian and (o) Doric forms was introduced. Little as of Lesbian and
the Lesbian poets were directly connected with the develop- Don; -
ment of choral song, I have already commented on the wide-
spread influence they exercised on all subsequent Greek
lyric poetry, and not a few of the most striking Lesbian
forms found their way into the choral ' dialect.' Again it
was amid the Dorian race, however unproductive of original
talent, that choral poetry was fostered and developed, and
hence it exhibits conspicuously many of the Doric dialectic
peculiarities. 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
('severior'), and probably was intelligible in all Hellenic states.
The proportion in which Lesbian or Doric enters into
the language naturally varies with the different poets, or
(as in Pindar's odes) with the different portions of the
same poet's writings. But speaking summarily, Hermann's
remark upon the language of Pindar applies equally to
that of the choral poets in general : ' Est enim Pindari Hermann on
dialectus epica, sed colorem habens Doricae, interdum Pindar -
etiam Aeolicae {i.e., Lesbiae) linguae. Aliis verbis funda-
mentum hujus dialecti est lingua epica, sed e Dorica
dialecto tantum adscivit Pindarus, quantum et ad dictionis
splendorem et ad universorum commoditatem idoneum
videretur, repudians ilia quae aut interioris essent, aut
vulgaris aut certis in locis usitati Dorismi. Nee primus
hoc fuit Pindarus, sed secutus alios,' etc.
As I 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
enter into the surviving fragments. I would also refer
them to E. Mucke's Dissertation on the dialects of the
chief choral poets compared with Pindar, 1 where a careful
De Dialectis Stesichori, Ibyci, Simonidis, Bacchylidis.
yS) GREEK LYRIC POETS
analysis is given of the Doric, Lesbian, and Epic forms
which are to be found in Pindar and the other choral
poets.
Dialectic forms Most of the melic fragments being quoted in Greek authors
Meik fragments who employ a very different dialect, it is obvious that the
uncertain. forms used by the poet must in many instances have
become corrupted. Once lost their restoration is 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
can proceed is that of analogy. Accordingly, the enumera-
tion that I am about 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 by editors.
Chief Dorian I. — Firstly, the choral parts seem nearly always to have
forms in Melic followed the Doric and Lesbian dialects in employing a in
poetry : place of ri, when the latter has originated from an a-sound.
I. a retained r '' °
where weakened Consequently editors are in most cases justified in restor-
in Ionic to r). ing 9 j n p]ace of an Ionk Qr Att . c ^
Exceptions. Mucke, however, maintains that there is not sufficient
reason for altering 75 in certain cases, for instance in certain
poetical forms or words borrowed apparently from Homer,
vyj££, vvjugiv, Ztjvi, ©p7)i.'iuo$, etc. Again in certain passages
of Bacchylides, viz. XIII. and XXI., we find an Ionic or
Attic 7] freely used, and Neue and Bergk regard it as
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. II., which appears to be a
scolion, it seems best not to follow Bergk, in altering
aiyTivjevTa and v?je£ ; these are in harmony with the Attic
forms ayou<jt, p.ap[/.aipou(7i, the first of which is left unchanged
by Bergk.
11. -avfor-wv II. — Secondly, the Doric and Lesbian contraction in
piurirstdcdcn- lne genitive plural of a-wv into av is constantly adhered to
sion.
DIALECT 79
in 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 Doric contracts as into tj, the choral poets
employ a, e.g. Gujarat, vcop.arat.
III. — The Epic and Attic terminations -ouera, and -ouert(v), m. Lesb.
in the feminine participle, and the 3d plural present indica- " 0llja or Don
1 -ii-titi- x- 1 -waa in parti-
tive respectively, are avoided in Melic poetry, tor the cipie for ion.
first we usually have the Lesbian -owa ; and in the case _0UCTa -
of the word Mouca (Attic), in reality a participle (*Movua),
the Doric form Mtoca is often employed, though the Les- Exceptions.
bian Mdfcra is common enough. MoOcra occurs in the
trochaics of Bacchylides, No. XIII. ; and jtXeiouua and
Exouca in Stesichorus, who employs no Lesbian forms
in his poetry. In the weak aorist participle active the
Lesbian form -at? is common in Pindar, but is not found
in the other choral poets, except, perhaps, in Simonides,
No. IX. I. 12, Tupa^ai; (see Note ad loc).
In the 3d plural in -oust (Epic and Attic) it is again the Lesb. third piur.
Lesbian form in -own which is preferred ; but the Dorian in -otat > or Dor
termination in -vn, whether in thematic or non-thematic _ ou ^
verbs, is not uncommon, e.g. •9-pooiovTt, Simonides, No. XX.,
cpcovsov-u Hybrias, svxt Timocreon, and many instances in
Pindar's odes. The termination -ouct occurs twice, as I Exceptions.
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
cases the commentators reasonably emend to -owit.
It is to be noticed that the Lesbian accusative plural in
-ot? -at; (Att. -o'j; -a?) is never employed, except, perhaps,
in one doubtful instance j 1 and the same is true of the
Lesbian dative plural of the 3d declension in -otct.
1 Ibycus, vi. /. 1, see Note.
80 GREEK LYRIC POETS
iv. Contraction IV. — Melic poetry follows Doric or Epic (the latter in
often avoided. M uc k e » s opinion) in very frequently avoiding contraction,
especially where the first vowel is s — e.g. oceo, <popsovTa
(Stesich.), cpi^eco, |aij/.eo (Simonid.) ; also SivaevToc (Simonid.).
<ptovasvTa, sy^ea, £i<psa (Bacchyl.), etc.
Synizesis ^ n these non-contracted forms synizesis for metri-
common. ca ] purposes is very common, e.g. Stvocevra, Tt[/mpTovTa,
cptXeto, etc.
v. Lesb. forms V. — In the pronouns r^.zXq, up.stc, etc. (Attic), the choral
pTrs^pron. 2d po ets appear to have always employed the Lesbian forms
P lur - a[/.|/.ss, cr.{j.[j.w, \j[j.[j.iv, etc. In Simonides IX., 1. 18, the MSS. give
fy.iv, which is unmetrical, and emended to u(A[/.tv.
The above are all the Lesbian and Dorian forms which
are regularly or commonly employed by the choral poets.
They appear scanty enough in a bare enumeration, but
nevertheless owing to the frequency with which they occur
they are amply sufficient to establish a very distinct poetic
diction, 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
in the course of the notes. I will now proceed to give a
more detailed account of the Lesbian and Doric Dialects,
so far as is sufficient to illustrate the forms occurring in
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;. Two of the most prominent characteristics of the dialect
that first deserve notice are the^iXtoct; and the BapuTOvyjct?.
WiXoiciq, the avoidance of the Spiritus Asper, appears,
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
original s or j. Thus he retains the aspirate in the
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
forms, and admits of no exception to ^iXoxri?. He adds
that Ahrens himself was inclined subsequently to give up
his view. I have therefore throughout the text adopted
universal ipCXoaffi?, reading 6, a, avva, etc.
By ' Barytonesis ' is meant the practice of casting back 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
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 at one with Latin ; cf. Athenaeus, x. 425. Ol
'PtOLtatoii TOXvra to'j? Ai.oTvS?? Lup.ou[/.evot Jtai xaia tguc tovouc
T/j; <pcovv]c. (Quoted by Ahrens.) Illustrations of this
Barytonesis are aoyoc, Suvoctoc, y.aloc, auTOc, etc. Exceptions
are dissyllabic prepositions and conjunctions, e.g. ava, &a,
auTap, aXXa, etc. (see 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 ;
and, since the circumflex consists of an acute + a grave
accent, the word is thus rendered barytone. A gram-
marian, Choeroboscus, however, quoted by Professor
Chandler {Greek Accentuation, p. 570), declares that mono-
syllables keep the acute accent — ;/.ei; being apparently a
bond fide example.
The Digamma, as the metre often clearly shows, was Digamma.
frequently employed in Lesbian, it being, of course, retained
from ancient usage, and not, as some grammarians state,
F
82 GREEK LYRIC POETS
added in certain cases. We find it in the pronoun fs&ev
Foi, Fi, etc., in Fsfanjv (DiXto rt /-efonjv, Alcaeus), in fspyov
(u-6 f spyov), and in the reduplication FzFy.yz (yX<3<j<ia FzFy.yz,
Sappho) etc.
Before p, A" becomes (3, ^. ppaStvo?, (SpdSov (Sappho),
though not in Fpr t hc, as Alcaeus is said to have written.
Between two vowels F appears as u, e.g. autoc = •qtoc, Att.
ktoc, Doric a~to?.
Double liquids Another distinctive feature of Lesbian is the employ-
ment 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-
bian ' every spirant is assimilated to a contiguous X, p, ;x, v '
(Curtius, Greek Et. 665), whereas in most dialects the
spirant is rejected and the preceding vowel lengthened by
' compensation.' Thus — Lesb. 1\k\h. (for ec-jxi), Att. z\\)X ;
Lesb. y.u.u.zz, Dor. aij.sc, Att. r^-sic ; Lesb. \j[j.u.zc, Att. ''J'J.zl;,
Sanskrit showing in all three cases that assimilation has
taken place between a and ;x ; Lesb. <p8ippto, jctsvvio from
*cp9-sp!,w, *3tTSvto) (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 in other dialects, e.g. yviooi (yapito) jjiXaiva
(*{/.s'Xavta), jj.ax.aipa (*|xax.apta), etc.
It should also be noticed that in not a few cases the
single liquid or nasal only is employed, without compen-
satory 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
on ' Pronouns.'
a<7< Again, we find an retained where in other dialects it is
usually weakened to a, e.g. y.d'kzaay.i, TsXsatyai, where the
stem is xaXsff-, tsXsg-, Ic-gstou for Ion. s<7£Tat, Att. scxai.
Here again, as with the Digamma and the double liquids
DIALECT 83
and nasals, Lesbian poets, in man)- cases, reserved for them-
selves freedom of choice between gt and rr. We have
a[/.77£Ta<jOv, vsXaffsia?, etc., TzkzG<iy.i and tsXscttj, y.tcaoz and
u.s<jo?, crT'^&icrrrt and G-nj-9-sfft.
In no case was gt employed 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
Ta, 't/7<7o; (teo?) from *'iijFoz.
One of the most noticeable peculiarities of Lesbian is its _ otSi -ais=
treatment of an original vr> after a short vowel. Whereas Attic -ous, :;.
other Greek dialects (except Cretan and Argive, which diphthongises
retain vs) reject v, and give compensatory lengthening to lem^enfne 1 ^ y
the vowel, Lesbian by substituting t, for v produces an
t-diphthong ; e.g. Cretic tovc, Att. xo'j;, Doric tojc, Lesb.
toic ; similarly, Lesb. -uy.i;, Attic and Doric tv.c. 1 The fol-
lowing are the chief cases to which the rule applies : —
(a.) The ace. plur. of the 1st decl. ends in tx.it; for y.c, of
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
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. Thus, /tp'j-TO-vri, preserved in Doric,
becomes in Lesbian /.puTCTOKTi, in Att. x.p'j— tgugi ;
St(|;a-vTt, s7appd|/.|3e-VTi (see below, on ' Contracted '
Verbs), become Si<J/awii, S7iripp6f/.(3eK»i.
I will refer to a few other consonantal peculiarities, and
then pass on to the vowels.
We find - in certain cases where most dialects use t — _ foi . _
e.g. 7ce{jwrs, TOcroups? for — £vts, xiaaocoe^ ~fi.m for tvjX'j'.
( = t-zjXots) — the fact being that the 'Velar' k (Lat. qu) be-
fore s or v) becomes r, where in other dialects it becomes -
We also find 9 for #• in cpvjp ( = -8-qp), <poivat£ ( = 9oumc), ._ to
1 The fact that xov? became either tou; or roi? certainly supports
the view that the Greek v was often sounded like the French n after
vowels, e.g. on. For the /-sound, which in Lesbian crept in before
the v, and finally ousted it, we may compare the vulgar British pro-
nunciation of Boulogne.
84 GREEK LYRIC POETS
but this change is sporadic, and not parallel to that in
t.vj.-z, etc.
co for r. In Lesbian gS is not uncommonly found for the 'C 1 of
other dialects, e.g. ©povTiattajv ( = <ppovu£siv, from ©povriS-),
Tpa-scSa ( = Tponce£a from Tpa7reS-ia) ; on the other hand, we
have [/.et^wv ((/.eyiov), :rXa(to (TrXayito) as usual. In short Si,
when medial, becomes in Lesbian gS, while yt becomes '£
When initial, Si in some instances became Z, where Si
is found in other dialects, e.g. ^afJocTOV, (aSTjAov = SiafiaTov,
oiy.oihkov.
We come now to the vowels.
a for r t . Of the long vowels, a is retained, for the Ionic 73, in all
cases where the a-sound is original ; 73 however is, of
course, used in Lesbian, as in Ionic, whenever derived from
an s-sound.
We have then a kept throughout the ist Declension, e.g.
-y.c, £[/.a$, ptiXaCvag, etc. ; in the Imperfect ayov ; in verbs
from a-stems, gtxiH, uTToSsSpoixaxsv ; in. the termination
-a.av, £.£-. ^pap,av. But 73 remains in yjpeo, ^pajAav, and in the
forms -/.aAr.y.i, ©Ooniu, etc., because in all these cases it is
lengthened from e. We even find 73 in opvjai, and xpjp.a,
where we. might have expected a ; instances of this kind,
however, will be commented on as they occur in the text.
afroma-o.a-co. The strength of the a-sound in Lesbian, as also in Doric,
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 geni-
tive plural.
7). w for a. ou. I n certain cases of contraction we find 73 and to, where
we are accustomed to the diphthongs si and ou respec-
tively. Thus ££ contracts into 73 in 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 85
01 from original av, ov followed by r> has been dealt with
above. Eu occasionally stands for the contracted forms of eu from E - .
£-0, e.g. ^zksoq (for [iilzoc) and the participles oivoyosGffa,
(;.o/i>s'jvts;, etc.
The use of si, ou in Lesbian, when these are not genuine
or original diphthongs, is considerably restricted, owing
(among other reasons) to the preference for r t> w in cases
of contraction, and to the doubling of liquids. In many short syllables
other instances also Lesbian either does not employ a f01 ' dl P hthon g^
diphthong, or does not give an apparent diphthong its
usual value. This is due to the fact that the semi-vowel 1
frequently failed to coalesce with a preceding short vowel,
and was treated rather as a consonant ; its consonantal
value, however, was so slight that the letter often disap-
peared altogether, at any rate in writing, for in speech the
sound was probably retained involuntarily to avoid hiatus.
We have izoxq (Doric 7701a = grass), layovjv, STravjGav,
toocutoc, etc., as Ahrens and in some instances Bergk read
for XayotTjv, e—ov/jTav, etc. ; s for zi in ala-9-ea = ri&TJ&eta, a
for at in 'TfV/jvaov.
Among short vowels, we have a for z, in temporal and short vowels.
local adverbs especially, such as aXXora, svspfta, ~6~y., etc. ; a fo1 " h
a for in u'-a (wro) the explanation in these instances
being that they 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
(= yoXfoci), ovioaci (= y.viy.iai), ov = av for ava, 1 or where
po = a ' sonant' r, e.g. ppoyito; ( = ppa/stoc).
I (i) is employed by Lesbian instead of s in the termina- X for 3.
tion (originally -sio?) of adjectives expressive of material ;
£.£■. TTopcpuptav, /a'Xx.'-at, j^puciov, for Attic 7rop<pupsav, etc.
Meister, however, is 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).
Examples of u for 0, and t for >j will be remarked upon
' Cf. our pronunciation of a in all, altar, warp, etc., and the French
a in an, etc.
I., IT.
86 GREEK LYRIC POETS
as they occur in the text. I pass on now to further
dialectic peculiarities in the Declensions and in the Pro-
nouns, Adverbs, Prepositions, and the Verbs.
Declensions Declensions I. and II
First be it noticed that throughout the declensions no
dual is found in Lesbian, which herein does not exhibit
its usually somewhat conservative character.
I have already referred to the predominance of a through-
out Declension I., and to the accusative plural in -cat, and
-ot£ in Declensions I. and II. respectively. The two
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—
(a) Before a vowel, e.g. Jtopucpai£ sv airraid
(b) At the end of a verse, e.g. tocSs vuv STaipaic | raic
z'j.xiai, etc.
(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 is said by the
grammarians to be short (cf. the Homeric vuf/.qpa.) We
find this in £1 Sbta, a dactyl, in to | 'pavva /sTaSov ( = spavva) ;
and Ahrens corrects 'AcppoSira, 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.
Masculine.
Feminine.
Neuter.
Singular-
-N. yykz~oc
yyjz~y.
y&k&Kw
A. yoXs~ov
yyXi~y.v
/y.XsTrov
G. ya/i—to
yy'Az—y.q
yyXz~ to
D. yy'Az-oi
yy'ki~y.
/aXsTTtO
V. yy'kz~z
yaike.'Ka.
yv'kZTJjv
1 E. Mucke, p. 54, points out that the choral poets also, except in a
few instances (e.g. Simon. I. 1. i, Ibyc. VIII. 1. i) observe the same
practice as the Lesbians.
DIALECT 87
No Dual.
Masculine. Feminine. Neuter.
Plural — N. and V. yyXzr.oi yalz-y.i yyXzr.y.
G. ya"X£~tov yykz~ av 1 y<xXs7FG>v
D. yxk£'KOini(y) yaXs7raw7i(v) yykz7:oiai(y)
A. yyXi~0'4 yyXzT.yx^ yyXz-y.
Declension III. Declension III.
In this declension ancient forms are, in many cases
more faithfully preserved by Lesbian than, for example,
by Attic. Thus vowel stems and others seldom contract,
e.g. c&cess, ot^-8-s-o? (from *<mj-9-sff-os), suav&sa, etc., an excep-
tion being (SsXsu? for fizkzoq in Alcaeus ; the vocative usually
retains the short vowel of the stem, e.g. yzkitiov ; and nouns
in -t; (Attic gen. -zo^) retain 1, e.g. tzoIioq. But in the
frequent employment of v in the accusative sing. Lesbian
is less careful of the ancient form, and is probably in-
fluenced by the analogy of the second declension ; thus
we find ajISajajv, s^spvjv (cf. in Attic Stoxpar/jv as an alter-
native form of Sto/.py.TTj), and in &- stems, j^ocj/.uv, atppayiv,
— a'iv ( = -aiSa), though we also have, e.g. jcaxoTrocTpitJa.
Words in -su? form their genitive in -730?, which is of
course more ancient than the Attic -zuq, where a transposi-
tion of the respective quantities of the vowels has taken
place.
Words in -lc, -i&o; (Attic) have I, e.g. JtvapSe?.
Feminine nouns in -to; or -to have their genitive in -to?,
Topyto?, 2a-cpto$, and their accus. sing, in -tov, e.g. "Hotov,
Avjrtov {cf. iy.ozpr^, etc., above).
Pronouns. — The following appears to be the declension Pronouns,
of the Personal Pronouns :—
1st Person.
2d Person.
3d Person.
Singular-
-N.
sytov, syto
CU, TU
G.
S'JLSirSV
<7£>>£V
(F )e&sv
D.
lltOl, U.01
GOl, TO I
(Oot
A.
&»/£, [J.Z
<7£, T£ ?
(/>
1 Bergk prefers yaXs'-av. Note ad Sap. 1. 1. 25.
No Dual.
ist Person.
2d Person.
Plural— R.
<%{/.£;
u(xusc
G.
dcimstov 1
uttLtscav 1
D.
ocfApu, aay.iv
<J{/.[/.l, UfAfJUV
A.
aims
UI/.|/.S
88 GREEK LYRIC POETS
3d Person.
accpt
accps
For the Relative, besides the proper form 6c, etc., we
more usually find the form with initial t, strictly speak-
ing- demonstrative; e.g. Jtaorav (Alcaeus) = x.a-i)'' tov. From
Saris, or rather ogtic, we have (besides oitivs;) otti, dVuvac,
etc. The neuter otti originally is due to assimilation from
oS-ti ; and in OTTiva?, etc., Lesbian was probably misled by
the analogy of otti, and of 6-ttots (Lesb. 0— — OTa), o-wo)^, ottou,
where 6 (or 65) is employed merely as an adverbial prefix,
to forget that in o:-ti; the first syllable should be declined
throughout.
Tic has unusual forms in the datives only— tim, rfoun, as
if the word belonged to the second declension. Correspond-
ing to these we have in Homer tIw, tsoigi, e being Ionic, as
in As'Jvugo; (Anacreon) for Aiovucroc, and in -d^scoc, ypucsoc,
etc., as compared with Lesbian 770X10:, ypjaioc.
Adverbs. Adverbs. — The forms otoc, a/\/\0Ta, svsp&a, etc., have
already been mentioned.
Local adverbs in -01 are not uncommon, expressing place
where in [/.scot, cf. o'ijcoi, or place whither, as in u'^01 (or l^ioi),
Sap. XXVIII., cf. 7701.
There are other local adverbs in -ui, e.g. -utSs = hither ;.
~r^ji (ttj/Xogs) = afar.
For av Lesbian appear always to have used 3cs(v) ; Ahrens
therefore corrects o'-rroTav -/V/jDoiaa, in Sappho III., to o-ttotoc
Prepositions. Prepositions. — Syncope of prepositions was very freely
used, and seems to have been the invariable rule with ava,
Trapa, y.y.Ta ; e.g. */A[j. ;viv yXtSffcra says — xaS Si ysooTco — x'aTrav
( = x.a9' tov) — rrap 5' i'ewji toc Tcrlpa — aa~£Ta<70v.
We find, however, jcaTa<7TSi(3oMTi (Sap. No. XXXII.) where
1 Bergk, a(i.[Aswv ufifAEwv. J-7V& Bergk ad Sap. 1. 1. 25.
DIALECT 89
the authenticity of the lines is not quite certain ; and jcaxappsi,
which Ahrens corrects to stappssi (cf. Note on Sappho IV.).
Syncope also occurs frequently with Trspt, as in xsp&sa&s
( = 77£pi{>scr.}s), — 7:sp [j.iv yap avrXo: l<7toto&xv z/zi (Alcaeus,
No. XVII.). In the last instance, as also in -sppo/o? (Sap.
No. xxvill. note), and in —pi ya; (/.sXaiva? (Sap. No. I.), rcspl
is said to be used in the sense of u-ip. 1 For [j.zto. Lesbian
used TTsSa, which, as Ahrens points out, is not a dialec-
tical variety for (/.era, but connected with -06c, in the
sense of ' following after,' hence ' accompanying.'
Verbs. — The following peculiarities are common to all Verbs.
verbs in Lesbian : —
The augment, as in Homer, is generally omitted.
The termination -tOx, which is really a double inflexion,
is in several instances employed in the second person
singular, cf. 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 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
must probably with Curtius attribute this latter form to the
influence of the present tense, cf. ysyajcsiv in Pindar O. vi.
83, for ysyaxsvai. Similarly even in the aorist passive we
find [j.SikiGibjV for [/.s&uG-iHjvai.
The third person plural in -oigi, and -aieri (Si^awi), the s d piur. -oi«,
feminine participle in -oiacc, the use of a in the termination " a '' CIt "
-{/.av, have already been referred to.
In 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, vjpso, <paiv2o, puoxo. 2 Bergk is of opinion that for ?-tj S) -^ for eis,
-si?, -si in the indicative active 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.)
1 Vide note ad Alcaeus, loc. (it. - (?) jSuwxo.
go GREEK LYRIC POETS
'Contracted' It is in the 'contracted ' verbs, usually in sto, ato, oto, that
Lesbian stands furthest apart from other dialects. In
most cases, these verbs employ not the conjugation in -co,
but forms resembling those of the verbs in -u.i ; thus we
have cptA7)u,i, jcaXmt, fW.iu.tou.i, ys"Aau.i (or vsAaiu,i), the parti-
ciples <p£Xsi?, o'ktsic, 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, e.g. the first plural <p£Xiju,sv, <pop-qu,s9-a, etc.,
and in the participle affiu.evoi;, etc., a long vowel is em-
ployed where a short vowel is found in the -u.i conjugation.
The following is a (probable) scheme of the chief
Lesbian forms in the three classes of verbs : —
Attic <I>U£-(v>.
Pres. Indie. Active — <pi>.7]u.i, (pD.sic (or q>iXsMj&oc), cpDvEi.
No dual.
Plural. <pDoij[/.sv, cpiAvjrs, ©iasici(v).
In the Pres. Indie. Passive, in this as in the a- and o-
verbs, the long vowel is employed throughout, e.g.
^opvju.s&a, sparai.
Imperative Active, cpCXvj. Infin. cptXvjv. Partic. Act. (piXst;,
-smtoc, -sv. Partic. Pass. ^piXmevo;.
Attic §7]Ao-co.
Present Indie. Act. &fjXti>u,t, &7jXot£, SrAoi,.
Plural (^vJAwtxEv, S-nXtOTS, SvjXot<7i(v).
Imperat. SyjXto. Infinit. Stjacov.
Partic. OTjXot? -otca, -ov. Part. Pass. &vjAtou.svo£.
Attic. Ttaa-o>.
Pres. Indie. Tiu.au.t (? Tiu.aiu.0, Ttu.aic, tvj.xi.
Plur. TlU.aU.SV, TIU.OTS, TlU,ai(Jl(v).
Imperat. Tijxa. Infin. rty.av. Partic. Tiu,aL£, Tiu,aiGa,
Ti[/.av. Part. Pass. Ttu.au.svo;.
For the form in -<i>u,i we have an instance in Sappho
of -oi[/.i, oo3ciu,otu,i ; moreover a scholiast gives SirJotut, as an
Aeolic (Lesbian) form. Ahrcns regards this as an error,
DIALECT 91
arising from a false analogy with the second and third
persons in -ot?, -ot. He accordingly corrects to &oz.iau;/.i,
though Bergk defends $oxiu.oum.
Again grammarians give -aiat, not -y.[u-, as the present
of verbs with a-stem, following the terminations of the
-[u conjugation. The only instance, however, that occurs
in the poets is ©ocjai (not cpafjju), and Ahrens, while admitting
the possibility of -aw.t, or even of -oip, due to the influence
of the ancient j or y (Sanskrit aydmi), is yet disposed to
reject -v.vja from the analogy of both -vj[/.t and -cojju in the
ordinary -p conjugation.
Besides these forms in the ' contracted ' verbs, borrowed
from the -y.i conjugation, we find others belonging to verbs
in -co. Thus we have the Imperfect cop^euvTO, and several
participles such as &tvsuvTe;, ;/.o/j) o'jvts?, [/.apTupsuvTS^, etc.,
contracted from so (cf. (3£Xsu£ from (iSsXsoc). All of these
Ahrens discredits, and wishes to correct to Sivsvts?, top/vjvTO,
etc. They are however retained by Bergk and by Meister.
More noticeable are the forms in -vjto, e.g. 770-9^0, a&r/.vjco,
the correctness of which cannot be impugned. The origin
of the yj Meister looks for in the desire to obtain unifor-
mity in this respect between the present tense and the
others, fut. acW/;<7io, perf. 7^fot7jxa, etc., or it may be due to
the analogy of the alternative form -vjjai.
SECTION III
DORIAN DIALECT
A glance at passages from any of the Melic poets will paucity of Done
° . . forms in lyric
show that far fewer peculiarities will require dealing with poetry.
in the Doric than in the Lesbian dialect. This is not
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
and Sappho.
The dialect of the Dorian race is usually divided into Do !' ic '- ) .^ t ' /v l '"'
' and ' mi tier.
two main branches, called by Ahrens ' severicr ' and
92
GREEK LYRIC POETS
Predominance
of the latter.
Vowels.
' 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
to have been 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
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 it be), and as its divergencies from the
latter are mainly in the direction of Attic *)r Ionic, we meet
with comparatively few forms with which we are not well
acquainted. It is this species of Doric which is mainly
employed in the choral poets, with the exception of
Alcman, many of whose Dorisms belong to the Laconian
branch of*' severior ' Doric.
It will then be sufficient if I 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 the choruses of the drama.
In its general features Doric of all kinds seems to adhere
in several respects closer to antiquity than Ionic or Attic —
e.g. in retaining F in many cases, and a (so often weakened
to 7] by Ionic), and in the preservation of the old termination
-vti in the third person plural. Ahrens, however, warns
us that forms preserved in a majority of the branches of
Doric would naturally be those which are most ancient.
He cautions us further against connecting any such ten-
dency with the conservative character often attributed to
the Dorian race ; for at Sparta, usually considered the most
conservative of all Hellenic States, the dialect became quite
as far removed from its ancient character as was Attic.
The most conspicuous characteristics that
are in connection with the vowels.
concern us
1 Ahrens, however (p. 427), suspects a non-Dorian origin for the
distinctive features of '■severior'' Doric, rather than for those of
'■mitior 1 Doric. - See Miiller's Dorians, vol. i. p. 84.
DIALECT 93
In the employment of a Doric (' initio)',' as well as Original a never
' severior ') agrees closely with Lesbian ; for it not only chan § ed
retains a, where modified by Ionic to 73, but also employs a + o, a + w = a
it in cases of contraction from ao, aw, e.g. in the genitive g S e SesinV h °
plural feminine -xv for -tov, and the genitive singular x ™d plural.
(Att. ou), such as xo;j.av, ' Arpsi^a ; similarly 'AXxy.Sv from
' Xkvjj.y.ww, 'Al/jjJ.on, x; (Pindar, etc., for stoc) from * xoc.
We find, however, no examples in the Melic fragments of
such forms as 6-txvts; (Epichar. 82), cW.7vstva17.se (Arist.
AcJiar. 751), ttsivxvti (Theocr. xv. 148).
On the other hand, x. + s becomes in Dorian not a but vj 1 a + s=rj.
and although, as I have mentioned above, the choral poets
in general employ a in such cases, vj is found in Alcman,
eg. uoTTjTat, and also xrv = >ta(l) sv.
Doric {'severior,' not 'mitior') resembles Lesbian further £ + a = r,.
in contracting s + £ into yj (Ion. si), + and -j- s into to° + °j =w-
(Ion. ou). Thus we have the Laconian infinitive jaS-apw&rjv
(from xi&apfoS-e-sv), -/j/ov for d%ov, and the gen. sing. 2d decl.
in co, e.g. vjxi'ootopto.
Still more commonly the Doric 73 and to, where Ionic ^ and to for
has si and ou, are due to compensatory lengthening (Les- ^™f h e " n s j„°| T
bian si and 01, if v has been lost, double liquids in other
cases). Examples of vj are X a pfy? from * /apisvT-; (Ion. and
Att. /aptsi:), r t [ji, vjui? from * sg-{/.i, * sV;7.sc (Att. si[/i, sw.sv,
Lesb. sjj.iu, su.jj.sv). Examples of to are the accus. plur. 2d
decl. in -toe, e.g. tco; (Att. touc, Lesb. toic), and the femin.
participle in -to<ra, e.g. aytoca, cf. Mcorra, (Att. Moucra, Lesb.
Moftra) from * Mo'vaa. Just as Dorian does not suffer a to instance of
become vj, so among the short vowels there are certain a for £ -
instances of a where Attic, etc., have s — e.g. "xrspos, Ta;/.vio,
TpaTcco, cppxci. In most of these and similar cases Doric
appears to be employing a collateral stem in a, seen
also in the Attic "xrspo; {in crasi from 6 xrspo?), s-rajx-ov,
s-ToaTT-ov, eucppatvto. We also find a final (Att. -s) in sytovyx,
oxa (Att. ots), etc., as in Lesbian. 2
1 Though not in aXio; from aeXios.
2 See above, p. 85 ; and see G. Meyer Gr. Gram. 20 on cppaai, 22
on xa[j.vw, 24 on -ya -/.a, 32 and 397 on axspo;.
94
GREEK LYRIC POETS
Shortening of
final syllables.
t for ex.
i for Q- in
Laconian.
Declensions
I. and II.
In many final syllables ending in v or c, preceded by a
long vowel or diphthong in other dialects, Doric employs
a short vowel, thus —
-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 all cases where the usual compensation for the
loss of a consonant is not given, as in topa? from * 10'pav;
zakoc, from * sc9>.ov?. The same fondness for a short final
syllable is shown in the Dorian Infinitive in -sv (Att. -siv,
Lesb. and Lacon. -vjv), e.g. 9<xivsv, stojcivsv (Alcman).
Among the consonants I need only refer to a few dia-
lectic usages. Doric preserves t in many cases where it is
weakened in other dialects to a. This peculiarity is com-
mon to all kinds of Doric, and is said to be one of the dis-
tinguishing features of that dialect. It occurs especially
before the semivowel 1 in the 3d pers. sing, of verbs in -[u
— <P<xti, SiSctm, etc., in the 3d plural active -ovu (Att. -o\>ai,
Lesb. -oici), e.g. ti-9svti, svtl (Att. sici) in Alcman ; also in
IIoTiSav (otherwise TloTZ'J)y.v) and before the semivowel u in
to (hence in ts, tso, toQ.
The substitution of a for i) 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). 1
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
the Declensions and in the different parts of speech.
In Declensions I. and II. I have already had occasion to
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
1 See G. Meyer 211, who is of opinion that the usage is of much
later date than Ahrens supposes, and that it has been wrongly intro-
duced into the fragments of Alcman.
DIALECT 95
of the accusative plural in both to a; and o; respectively.
In the last instance the accent does not appear to have
been affected — -y.^xc, copy.: rather than -y.aac, copy.; (see
Ahrens, sect. 3 (5)).
Dec/ensiou III. — The nomin. sing, sometimes retains Declension in,
; where lost in other dialects, e.g. y.x/.ap-;, [j.zic, or pj; (Att.
piv) ; the final syllable is sometimes short where usually
long, e.g. •KpoLCJxc, ; the dat. plur. has -znai or -ai ; the accus.
plur. is never long as in Att. (SacTiXsa; (see Ahrens, sect.
30.) As in Lesbian, stems in t, retain the vowel unchanged,
-okic, nokioq, etc., ij.zyyXo-o'kizc, Pind. P. vii. I, and nouns
in -0;, -v]c, --j; (genit. -so;) do not contract in the nomin.
and accus. plural.
Feminine nouns in -co; and -co form their genitive in -co;
(Att. -oO;), e.g. 'AyrJko;, Alcman.
Pronouns.— In the 1st Personal Pronoun, the old form Pronouns,
sycov is very common ; the nomin. plur. is ' a;xs;, where the
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
found in Alcman).
In the 2d personal pronoun Dorian preserves t in tu, xi
gen. sing, tso, dat. sing, rot and tiv (t£v 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. — Dorian again resembles Lesbian in reject- Prepositions,
ing, though by no means invariably, the final syllable of
deva, >caTa, TOxpa, and also of ttoti (Att. 7rpd$), e.g. jtafrav,
TroT-av (in inscriptions) ; and a still further ' apocope ' takes
place in /.afiaivcov (Alcman), and kootstov (Pindar), which
may indicate that yjx.-id. is a compound.
Verbs. — In the 1st pers. plur. active Dorian ('initior' as chief dialectic
well as ' severior') employs the form -;xe; (Att. -(/.sv) through-
out, e.g., ms?, y~ioi>j.z<i (cf. Lat. -mus, Sanskrit -masi or -mas).
In the 3d plural of the primary tenses Dorian again em-
ploys the ancient form in -vti (Latin -nf), e.g., 8-pocuovTi
96 GREEK LYRIC POETS
(Simonides), svti (Alcman). This termination never ad-
mits of v £a>eXxu<mxdv.
The 3d 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 infinitives in -sv and in -vjv, and the feminine par-
ticiple in -torra, have 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-to-
[/.aEorre. It is likely that this is due to the analogy of
verbs in -*(« whose stem is guttural (see G. Meyer 531.)
Contracted Verbs. — I. In a-w. I have mentioned above
that a + o non-final, or x + co usually contract into a. This
is, however, by no means always the case in the verbs, and
indeed scarcely any example of it occurs in lyric poetry. 2
A + s, and a + yj contract into 75.
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).
II. In t-oi. E-fs, and z + r l , = r l . E + o, s-f to are often
uncontracted ; but lyric poetry not unfrequently follows
' mitior' Doric in contracting s + o into ou or eu. Doric
sometimes changes so into to (cf. gi6c = 8zoc), but no examples
of this in the verbs are found in poetry. Thus we have
for the present tense : —
<piX£-<o, or cptXco
(pikzi:
cpiXsT
otAsoy.sc, -o'j^.s^, or -zuyzc
<plA'/JT£
ot7iovTt, -oO'vTt, or suvti.
(pLA^TOV
•plAYjTOV
III. In the verbs in o-co, all that need be noticed is that
o + £, and + contract into to, as mentioned above.
Ety.t, to be.
Present tense — Sing. vjf/.i, sect, in-z'i (svti in the Chelido-
nisma is doubtful, v. ad foe.)
Plur. r^j.zc or zvj.zc (mitior), scts, svti.
1 See on Ibycus v.
- An instance occurs in Alcman, XIX. A. yjyXwasajjivov.
DIALECT 97
Imperfect — Sing. t;v, vjaS-a (r t q in Alcman), etc.
Plur. vjixs;, etc.
Subjunctive — 3d plur. bgjvti.
Infinitive — vjy.sv (severior), si;7,sv {initior) ; participle, sa>v.
Addendum
Since my work has been in the press I have had an
opportunity of reading an article by Dr. A. Fiihrer
{JahresbericJit iiber das 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
followed, of the composite nature of the dialect. It is too
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
this exception their own local dialect. I do not regard as
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
Cyrene, Syracuse, and Athens, and it is hard to imagine
this to have been the case had he employed such forms as
we find in the Theban poetess Corinna. On the other
hand, Dr. Fiihrer's remarks on the insufficiency of the
evidence on which the ordinary theory is based deserve
considerable attention ; and he certainly makes it appear
probable that such forms as -ou<n, -ou^a, which are Epic
as well as Attic, are too freely rejected in favour of Lesbian
or Doric forms by Schneidewin, Bergk, etc., whose example,
however, I have for the most part already followed.
ARTICLE VIII
GENERAL VIEW OF THE HISTORY OF GREEK MELIC
POETRY
In the previous articles I have had occasion to mention
nearly all the names of those who were most active in
furthering the early development of Melic poetry and its ac-
companiments, while of the chief poets, any part of whose
works have survived, an account will be found in connec-
Object. tion with the text. I purpose in this article to 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.
Four periods of Melic poetry at its different stages flourished under the
be^onsldered 10 Peonage, first, of Lesbos, Sparta, and Sicily ; secondly,
of the Tyrants in various Hellenic states ; thirdly, as a
costly commodity demanded by rich men, Tyrants or other-
wise, or by entire states ; and lastly, under the unhealthy
stimulus of prize competition. I will therefore deal with
our subject in the order of these several stages.
I begin with Lesbos, because, although it is at Sparta
that we first hear distinctly of rapid progress in this branch
of poetry, the original inspiration appears, as I have said
in Article III., to have come from Lesbos. It is not easy
to give reasons why any particular nation or age happens
to be gifted with poetical genius ; but certainly among the
Circumstances Lesbians in the 7th century many circumstances tended to
favourable to quicken the love of song. The Aeolic race are generally
Melic poetry at - 1 ° a
Lesbos. described as especially devoted to poetry, and they are by
GENERAL VIEW OF MELIC POETRY
99
many regarded as having played a very important part in Race-character-
Greek Epic poetry. 1 Now Lesbos was the centre of the istics>
Aeolic race in or adjacent to Asia Minor, and thus na-
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
and scenery of the island 2 tended to inspire the inhabitants feat .f es and
. ' r position.
with a sense of beauty and a sympathy with nature
strongly reflected in the poems of Sappho and Alcaeus ;
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
required for the creations of new forms of poetry. Com- Active maritime
merce, with its accompaniments of maritime adventure, lifc -
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
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 refine- influence of old
ment was imparted by the influence still exercised upon no:>1 lty '
society by the aristocratic families, among whom some-
thing of the old feudal hospitality and love of song still
survived. 3 In a word, although such comparisons arc
often misleading, we cannot help being reminded of our
own Elizabethan age, when on the one hand the influence comparison
of the middle classes was becoming more and more marked, J"* the Ehza "
& 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.
2 Cf. Tacit. An. vi. 3. Insula nobilis et amcena.
3 Ath. xiv. 624.
IOO
GREEK LYRIC POETS
Interesting part
played by-
Sparta in the
history of Melic
poetry.
Her liberal
patronage of
men of genius
from other
Greek states.
Position of
Sparta at this
time.
on the other hand the still active influence of the age of
chivalry cast a poetic glamour over the whole scene.
Finally, in Lesbian poetry as in the Elizabethan drama, it
was from the life of the times that poetry now sought its
inspiration.
It was among such circumstances then, and such sur-
roundings 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 Sappho and Alcaeus,
Lesbian monodic song not only by the energy and
intensity of its thought, but also by the perfect finish of its
style in all respects, had attained to an excellence hardly
to be surpassed. Of the influence of Lesbian poetry upon
all 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 poetry-
is 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,
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
in most cases invited to Sparta and treated with conspicu-
ous honour. Sparta, then, instead of being the stranger-
banishing, culture-despising state of later times, appears
at this early period to be a centre to which was attracted
much of the best poetical talent of the day. Sparta in
fact at the 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 repre-
sentative state of the Greek world. The effects of the
1 See pp. 22, 29, 38, etc.
GENERAL VIEW OF MELIC POETRY 101
Lycurgean system had now had time to make themselves
fully felt. Internal order was secured, and her rivals in the
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 individuality-
was constantly suppressed, conspicuous talent could hardly
be looked for ; and moreover, as inhabitants of an inland
state 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 1
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 favour- active. °
able to a liberal culture, for the strictly conservative
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&' cdyjj.y. ts vscov fiyXkzi x.al Mwcx Xiyeia
x.al Afota sijpuayuta, /..t.'X. — Terp. Frag. I.
or Alcman's
spreei yap avra -rto cioapw to xacXcog Ki&aptcoev.
Nor was her reputation for song and dance short-lived, Sparta's reputa-
for Pindar sings how at Sparta the counsels of the old and poetry and'its
the spears of the youn^ excel — >tai yopoi xal Mofcra xai accessories sur-
, . , t '- i vived until late
AyXafoc {Frag. XV.) ; Socrates speaks of the Spartans as times.
102 GREEK LYRIC POETS
forming the finest chorus, 1 and Aristotle attributes to them
a true appreciation of music, in spite of their deficiency in
creative power.
With this development of Melic poetry at Sparta are
connected the names of Tyrtaeus, who was not solely an
</ Elegiac poet, Terpander, Thaletas, and Alcman. As I
have spoken of these elsewhere at some length, I need not
Arion and the dwell further on this part of my subject. Before leaving
Dithyramb. l 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
Greek 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
wine-flushed revellers, the Dithyramb, with its cyclic
choruses (yjr/Skioi >'opot), so called because a chorus of
worshippers danced in a circle round the sacrificial altar,
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
Lyric poetry in Almost contemporaneously with the development of
Sicily and Italy. Ty[ e ij c 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
rapid and conspicuous success. The progress of the arts
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 archi-
tecture, that of Lyric poetry is associated chiefly with the
1 Athen. xiv. 628 ; cf. p. 22, n. 3.
2 See Introduction to ' Dithyrambic Poets.
GENERAL VIEW OF MELIC POETRY 103
name of Stesichorus, whose lifetime falls approximately stesichorus.
between 632 and 556 B.C. The fable of Arion returning
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 of the Epode to the choral system, usually
attributed to him, 1 is spoken of elsewhere. A further
account of him will be found on p. 168 seq. ; at present I
will only add that while he chiefly devoted himself to sub-
jects of an Epical character, the influence of Sicilian life
and legends 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
to have followed closely in the footsteps of Stesichorus, 2
so closely, indeed, that we are told that authorities were
often in doubt whether to refer certain poems to one or to
the other. He belongs, however, more properly to the
next period of Lyric poetry, when it was under the patron-
age of the Tyrants.
The encouragement given to poetry and the other arts Lyric poetry
by the much-abused Tyrants is too well known to require peonage of
further comment. From the time of Ibycus onward, every the Tyrants.
one of the great lyric poets came into connection more or
less close with one or other of the despots.
Ibycus and Anacreon can perhaps alone be called court- ibycus and
A mrrpon
poets by profession, for from the time of Simonides begins
the period when Lyric poetry became a marketable com-
modity at the command not only of Tyrants but of all who
had the means to pay for it. But Simonides and Bacchy-
lides 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
1 See p. 170.
2 See, however, Welcker Kl. Schrift, vol. i. on Ibycus.
104
GREEK LYRIC POETS
No distinct
characteristics
traceable.
The adulatory
tone not yet
exhibited.
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.
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 Poly-
crates 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-
factory support in the actual poems that survive. It is all
very well to say that the absence of any depth of feeling
in Anacreon or of the glowing imagery so conspicuous in
the Lesbian poets 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
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. What I think we may notice more con-
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
taste of the Greeks would not admit of. Thus Simonides.
in singing the praises of a Scopad of infamous character
did it in so half-hearted a manner that he is said to have
received but half his stipulated payment ; x and Pindar's
admonitions to Hiero and Arcesilaus were, no doubt,
more deserved than agreeable. Nothing like the nauseous
flattery in the ode to Demetrius (Miscell. No. XX.) is to be
found till long after the Lyric age proper.
1 See post, Biographical Notice of Simonides.
GENERAL VIEW OF MELIC POETRY 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
the influence exercised on the character of the songs by i0 order for a
• nxed price.
the circumstances under which they were composed is
more distinctly marked. Lyric poetry now approached g^ s °™* e s s so ^ d
nearer to the position of a mere trade ; nor did the poet,
as in modern times, first compose his volume of poems on
whatever subjects his genius suggested, and then endea-
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-
ides and his successors.
That the men of genius felt the restraint of their posi-
tion very grievously is made clear in many ways, but no-
where so plainly as in the well-known words of Pindar,
Isthm. ii.,- — ' The men of old who entered the chariot of
the golden- filleted muses — lightly shot forth their honey-
voiced hymns of love. For the muse was then not
yet greedy of gain nor an hireling ; nor were sweet
soft- voiced songs, with silvered faces, sold from Terpsi- Restraint felt by
chore of honeyed utterance.' We see too how the poets avoidedby 5 "
endeavoured to cast off the bonds imposed upon them by digressions from
r . . . proper subiect.
systematic digressions from the proper subject, in which they
often felt little or no personal interest. Thus Simonides
skilfully avoids bestowing an ill - deserved eulogy on
his patron by giving vent to philosophical reflections on
' ApstTj, 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
subjects which possessed special attraction for his genius.
Under such artificial circumstances it is remarkable that Unfavourable
01 1*011 in st*-! ncps
Lyric poetry should have displayed such high merit as we un der which the
discern in the remaining poems of Simonides, Bacchylides, p ^ t n h °^ wrote
and above all of Pindar. That it did so is in great part counterbalanced
1 1 r 1-11 by the stirring
due to the fact we are now concerned with the most stir- history of the
ring and inspiring period of all Greek history, the first half penod *
of the fifth century. But when the mighty impetus given
to Greek thought and Greek art by the removal of the
4 Tantalus-stone ' of barbarian invasion was checked by
io6
GREEK LYRIC POETS
Rapid decay of
lyric poetry.
Final period —
Poems written
for public com-
petition.
Early origin of
the custom.
All classes of
Lyric poetry
tended now to
fall into disuse,
with the excep-
tion of the
Dithyramb and
the Nome.
the narrow and internecine warfare, and when too the
chief patrons and employers of lyric poets, wealthy aristo-
crats and tyrants, gave place before the advance of demo-
cracy, 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 pre-
stige, and with the mention of these we come to what I
noticed as the final period of Lyric poetry, when composi-
tions were not written spontaneously or for any definite
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,
e.g. Terpander and Clonas, are mentioned as prize-winners ;
and the legends about Apollo and Marsyas and others
point to the same custom. In Athens, by the time when
that city had become the centre of Hellenic culture, nearly
all great literary or musical productions, of which the
Drama 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
Dionysia, the Thargelia and the like ; and thus the poet
found his patronage no longer in wealthy and powerful
individuals but in a democratic public.
Epinicia, Encomia, and even Threnoi were no longer in
demand ; Parthenia were inconsistent with the oriental
seclusion of the Athenian women ; Prosodia or proces-
sional songs were unsuited for prize-competition ; while
Hymns and Paeans to the gods could hardly evoke a
high poetic strain at an age when the popular religion
had completely lost its hold upon all but the ignorant or
the superstitious. So one by one the time-honoured
classes of Lyric poetry fell into disuse x until only the
Dithyramb and the Nome, from their connection with
the great public festivals, retained a position of any im-
portance. Hence Aristotle, Poet, i., uses the expression
yj ts T(3v otS-upa{/,[3oiv 7roi7)ffi£ )tal yj tcov vo'^cov, or even v\
1 Cf. Plat. Laws, 700-701, where it is complained that all the old
distinctions are now ignored. The whole passage should certainly
be consulted as a striking criticism on this period of Melic poetry.
GENERAL VIEW OF MELIC POETRY 107
&&upaf/,(3o7ronjTu«r as an equivalent of Lyric poetry in general.
The natural results of this system of public competition are Results of the
obvious enough. The composer was forced to consult the petition,
predominant taste of the period, and to aim rather at
producing striking effects than at genuine merit ; thus
we find in Plut. de Mus. c. 12, the complaint made that
writers seek tov <pi^av8-pco-ov Tpo7rov alone, i.e. the manner
pleasing to the multitude. Poetry becomes more and
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 into Lyric poetry practices really
foreign to it. 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
the poem ; 2 lastly the Myth, instead of forming an orna-
ment artistically subordinated to the main subjective
interest of the lyric poem, now became again, as it had
been apparently in the hands of Stesichorus, the main
topic, as is shown by the titles of poems of Melanippides or
Philoxenus — the Danaids, Marsyas, PersepJione, Artemis,
etc.
As I am speaking elsewhere of this final period of Lyric poetry
Melic poetry, 3 I need not now dwell further on the sub- Toth^olS^ 1
ject. From this time forward, in spite of isolated Paeans j* ^ ad occupied
,,,,.. . .,,. before the eighth
and other Melic passages that survive, we may with safety century b.c.
say that Lyric poetry was no longer cultivated by the
literary. To affirm that songs were no longer written
and sung would be absurd, especially in connection with
1 Cf. p. 40.
- Arist. Prob. xix. 15. speaks of Dithyrambic performers as [-upj-
-v/.'A. See 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?
of Anon.
See Introduction to ' Dithyrambic Poets.'
3
108 GREEK LYRIC POETS
such a race as the Greeks. But song-poetry tended more
and more to return to the 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. Never-
theless it is likely enough that among the uncultivated
song-poetry played as intimate and important a part as
ever in their lives. In spite of the fact that literary artists,
according to Plato's testimony above mentioned, no longer
maintained the proper distinctions between the various
types of Melic poetry, we can hardly doubt that the
Greek race 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 n and 12, it is not improbable that
at least two of these types, the Wedding-Song and the
Dirge, have survived to the present day.
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 ^upixo? 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
' Melic ' at any rate to his Tetrameters and his Epodes.
These poems alike in form and in spirit stand as it were
midway between poetry suited for recitation on the one
hand, such as Archilochus' Iambics, and poetry accom-
panied 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 un-
impassioned 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 See Niccphor. in Schol. ad Sy?ies. de hisom. p. 427, and an Epi-
gram of Theocritus on Archilochus.
ii2 GREEK LYRIC POETS
which is essentially characteristic of Melic poetry. For
these reasons I have had little hesitation in including the
fragments of the Tetrameters and Epodes in this collection.
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
687 B.C., and was contemporary with the reign of Gyges 3
(716-679 B.C.), whom he mentions in an Iambic line. He
was thus contemporary also with Terpander and ranks
among the earliest lyric poets. Dissatisfied with his
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
attracted him. He obtained little beyond hard fighting,
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 p.sv Sal'cov ti; ayaX'XeToa, vjv TOxpa Sa^vcp
svto? a|/.(0{/.vjTOv kocXXwtov 00/. eSiXwv
aura; S' s£s<puyov Savarou xzknc; acrcls sx.e£vyj
SppSTW S^aUTl? 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
1 Bergk, on the strength of Pausanias x. 28. 3, thinks that Telesicles
belonged to one of the priestly families of Paros. Archilochus indi-
cates that he was of wealthy parentage in the line — Ou yap jjloi tovwj
zaTGioVo? x.x.X.
2 See Bergk 149 and Aelian V. H. x. 13.
3 Hdt. i. 12.
ARCHILOCHUS 115
which place, be it remembered, was at this period not alone
a centre of literary influence, but a strong fortress of
Hellenic morality. We can trace his nobler nature in not
a few of the surviving fragments. The passage beginning
©up.!, &u[/ ayz/jyavowTi x^ocatv x.ux.ci){/.ev£
(No. IX.) is admirable in its firm and dignified resolution ;
in Frag. XVI. the words are those of a warrior who is calm
and unflinching, though keenly alive to the danger of the
coming struggle ; and in the line
ou yap iaifXof. JtaT&avoQffi jcspTOf/ietv £77' av&paaiv,
he shows that for all his bitter animosity he is too
chivalrous to continue it after the death of his adversary.
But, whatever may be the nature of his sentiments, what
calls most for our admiration is their entire sincerity and
the earnestness with which they are enforced. In every
clear incisive word he lays bare the eager thoughts in his
heart, 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
quality of great and original poetic power l ; and as Homer
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 for his great
genius. Dio Chrysostom, 35. 11, says: o\»o yap ttoitjtcov
ysyovortov s£ a~avTo; too aitovoc;, ot£ ouftsva tcov aXT^cov cuu.(3a^.s'tv
oc£iov, ' Opjpou ts y.al ' Apyiko/ou ; and Velleius, I. 5 : ' Neque
quemquam alium, cujus operis primus fuerit auctor in eo
perfectissimum praeter Homerum et Archilochum reperie-
mus.' Cicero, Orat. i., ranks Archilochus with Homer,
1 Archilochus, however, imitated Homer in dialect, and more
directly in not a few passages ; and indeed it 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 out-
weigh any similarities in detail.
n6 GREEK LYRIC POETS
Pindar, 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 need not dwell upon these now, as I have mentioned
them elsewhere 2 in connection with Greek music and
Greek metre. I will only point out that the fact of the
' invention,' not only of 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 exer-
cised on the development of Greek Melic poetry proper.
1 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' av xis [Jisv xr^v ' ApyiXoyou U7Co9effiv.
2 See pp. 41, 47.
ARCHILOCHUS
EPODES
I
IBergk, S 4 i]
X^/ \ v> ^y v^
s^W — \*»w — ^ w — v->v^ — —
\J '. ^ W N-*
7TCTCap[/ivo£ Si' OGTStoV.
II
[103]
^ V^J WS^ «^w» ^ W t "~~
^ ; — w — v^ — ^ — v> ' ' *
- 3 — O ""■ V-A^ — ^\-* . .
Toioc yap cptXoTVjTO? £pto? utt6 jcapSivjv eTvucO-si?
noKkrv 'acct ayluv o;x[j.aTtov s^eusv,
x^e^a? ex. cr/jDiiov obtocAag cppsva?.
Ill
[85]
V^/V^ t^A-* — ^ — W >^ "~ W — ' ^
'AT^aoc p.' 6 XufftfAeXi]? to 'xaips, SafAvarai tto&oc
IV
TO LYCAMBES
[94)
(a) ITaTsp Au'/caiy.pa, ttoiov dcppacto too^s ;
tC? ca? 7tapr ( £ip£ cppsva? ;
•/]<; to Trpiv yjp^pSMJ&a ; vuv Ss ft-/] ttoatj;
acTOiii oatvsat vlXw§.
1 The references throughout the text are to Bergk's Poet. Lyr.
Graea, Ed. iv. 1882.
n8 GREEK LYRIC POETS
[Bergk, 96]
aAa; ts xal Tpa7cs^av.
(to neobule)
.A
^_y — \^/ \^^t — ^v_/ v^ ^*
-. — ^ — ^ — ^ — \j i ' ^
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? ap' aXwxif]^ jmustoc £uvg>vwjv
£[7.t£av.
[87, no]
([i) Op^s iv IW sksTvos u^tjao? rcayo;
Tpvj/u; ts >cal TraXiyxoTo;"
SV TW KOC'&TJp.ai STjV £Xa<ppi'CtOV [7.0C/7JV.
* * * *
Mr t£'j [/.SAajjwniiyou t'J/oi;.
[38]
(y) 'fi ZsO, TfotTep ZsGj crov [j.ev oupavou jcpa-ro;,
cru f>' spy dV av8-poi7T<j)v opa?
AEWpya Jta&SfMGTa, go! Se {Vyjpiwv
u(3pi; T£ seal Siy.yj [/iXsi.
VII
[89]
— J. —J- — ' A
\j, — v ~ w ~- w — \j — \j — ' x
— s-/ s-^ — ^/ W — /\
' \io£(u rtv' U[vlv aivov co KvjpU/tiSvj
ayvuj/ivY] cratuTOAT}'
IlUhj/CO; Y)£c Dvjpicov aroJcpi-S-ei;
[7.0'JVO? av' £<7yXTl*/jV
ARCHILOCHUS 119
Tto S' ap' aiktamrfe x.£pSa7iv] guvtjvxsxo
TCUJCVOV Z/OUGV. VOOV.
VIII
[Bergk, 119]
HYMN TO HERCULES
TvjvsXXa x.aXXivix.s"
(oi) X.0OOJ.VIKS /atp' ava£ f Hpax.Xssc'
x^vsXla 3caXX(vuts'
auxo; xs x.' 'IoXtjo?, ai/y//jTai ouo*
xrvsXXa x.allivix.s. 5
(to) koXTuvixs /atp' kv«q 'HpajtXss?.
TETRAMETERS
IX
[66]
®u[/,s, $-u|/.' aivz/jyavowt. jcroecriv xjjx.oj|/.oV£,
avsys, ou<jp.svt3v S' o&i^su 7cpoG(3aXo)v svavxiov
trrepvov, £v oo/totatv s/Dptov tcXyjciov JtaxaGxa-S-si?
ac<palsto;* x.al |/.7vxs vtxwv a|/,q>ao7]V avaXXso,
jjwqxs vdmq&si; sv ol'/Cto )taT«7TSfftov oqupso" 5
alii yaproictv xs ppctps, x.al x.ax.olmv aayala
[/.-/) X171V yiYvtdocs &' oio? puc;xo? a.v&pto— ou? s/2',.
X
[56]
Tot? -8-eot? Tifrei (xa) 7ravxa" xoXXaxa? ;xsv sx. x.ax.tov
avSpa? Gp#-o>j<7iv {/.sXaivr jceiuivou; exl y9ovi
7;o'XXax.i; 5' avaxps7T0Uffi x.al {/.aV su [jsfiTjx.oxa;
u7rxiou? x-Iivout'" 67rstxa TroXXa vtyvsxai x.ax.a',
x.al pioo ypW-'ft 7rXavaxat xal voou Trapv-opo;. 5
XI
[74]
Xpvjfzaxtov asXrcxov ouosv £<ttiv ouS' a— touoxov,
ouSs &at>[/.a<7iov, sttsi^v] Zsu; — axr ( p 'OX'j[v.~itov
£X. [JE.S(77]p.(3pi7]£ sO'/JX.S VUX.t' OOTOJCpU^a? (pao?
'/jltou la[7.7:ovTo;' uypov rV 7^8' £~' av8pto7iO<j; oso;.
ex. Se to'j x.al wtffxa wavxa x-a—isl—Ta vivveTai 5
120 GREEK LYRIC POETS
avSpasiv' jxvjfJslc £&' Uf/.c3v £U7op<3v &au|/.a'(£T<o,
;xtjS' oxav Ss^cpTut &7]p£? avTa|7.si^covTai vo;xov
svaXtov /.at cpiv fl-aXaffCTi? ^/sevxa jcufwtTa
<pD/r£p' vpsipou yivvjTat, toigi S' f^ou r,v opo;.
XII
[Bergk, 70]
Toto; avO-pioTrourt frujAOC, T^auxs, As7ruvso) 7:a'i,
yiyvfirai -O-v/jtoi? oxoitjv Zeus sV vj^ipyjv ayfii,
>cai cppovsuci toi' 0/.0101C EyxupsciXJiv Epyfxacriv.
XIII
[58]
Ou ©iXso) Ltsyav GTpaT"/}ydv ouos oia7tE7cXiy[j.Evov,
0'J($£ jSciGTpu^OKjt yaOpoV OuS' U7i£^'jp7]|X£V0V,
vXkv. [j.oi <j[xix.po? ti§ s'itj Jtal 7rspi jtv^^a? iosiv
oo'./dc, a<7<paX£co; (3Ef3vpcco<; ttoggi, x,apStv); ifkioc.
XIV
[54: 55]
rXauy', opa, pct&ix; yap Vj'S7j 3c,uf/.aatv TapacaETa:
ttovto?, aj/.<pl S' axpa Tuplcov opfrov IVraTat, vscpoc,
C7j[/.a /£ia(ovo;" jayavEt S' £C keX7FT17js <pd(3o?.
*****
scat vsouc S-apcuvs" vijoj? S' ev ftsoYTt 7i£ipa.Ta.
XV
[63]
Ou Tt? aiSoioc [XEt' acrxtov x.at~£p 'i<p{)mo; -9-avwv
yiyvsTaf j(apiv ^ £ 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 121
XVIII
[Bergk, 75]
KX0&' avxc; 'Hcpatars /.at f/.ot G'Jaixa^o? youvouuivco
t'Xsto? ysvsu, /api'Ceu &' oia-ep yapt^eai.
XIX
[69]
NGv Ss Astocpdo? jviv ap^si, Asio<piAoc &' imxpaTSi,
AecocpDxo &£ reavTa Jtsvrai, Aew«pt>.oi» S' ax.ou£TX'..
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 <po£vac
[76]
(ft) Auto? eEapy<ov 7rp6c aulov Asapiov 7ratr<ova.
XXII
[59]
'Ettto: yap vsxptov 7t£covTtov, ouc Ip^ap^Lattsv ~o<7iv,
5£tXlOl <pOV7j£C EG[A£V.
122 GREEK LYRIC POETS
MELIC POETRY AT SPARTA
TERPANDER
I
ON LACEDAEMON
[Bergk, 6]
"Ev8-' amta t£ vstov S-ocaasi jcai lmSgcx. Aiysi*
x.al m/.a stjpuayma, JcaAtov STCirappoft-o? spyiov.
II
[51
2ol S' vjfy.et; TSTpayyjpuv a7uo<7TSp^avTSi; aoi&r'v
ETTTaTovw qpdpfjuyyt veou? jtsXaor.ao^sv u'[j.vo'j;
III
LIBATION HYMNS
[1]
(a) Zsu 7vavrtov apya,
~avT<ov ayr'jTcop,
ZSU, (701 7t£fX7TW
TaoTav uiAVcov apyav.
[3]
(fJ) Sxsv&to^ev toi? Mva^a;
wawlv Mc-jiai?
xai tw Mtofiap/w
AaroCic uiei.
IV
PROCEMION TO APOLLO
'Aacpi [j.ot aGri; avals' exarafioAov
asto^Ttd cpprv.
SPARTAN SONGS 123
TYRTAEUS
'Ef/.paTvjpta ij.il'q
I
[15]
V-"^ • _-. W^ ™ '^'Vw' .
"Aysr' to S^apTa? suavSptd
y.topot. 7:aT£pcov TroTaafav,
Xau*! jviv I'tuv 7rpof3aXs<jfrs,
(7//j <pstoo{/.evoi xa; Cwa;*
ou yap roxrpiov Tac 2~ apra?.
II
[16]
\^/ v^ — \^ ^1 — —
"Aysr' to S—apra; svott^oi x.copoi ttotI rav "Apsoc vlvrpiv.
SPARTAN DANCE SONGS
I
Lp. 1303]
TEPONTE2. ' A[j1c, -ox.' r^j.zc, aXxi^ot vsavtai.
ANAPES. ' Api; Se y' r^xs; - ai Ss X-^, auyaaSso.
ITAIAES. r A[/i; cte y' e<7<7o';y.e<7«)a r.oXkCi >caooovsc.
II
[/to/.]
IToppto yap, to 7ratds?, xd^a
[ASTajiaTS y.al xtoy.a^aTS
(3sXtiov.
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
that the celebrated poet was not of genuine Hellenic
origin. Suidas describes him, according to one authority,
as AuSo$ kx. SapSscov, according to others as Aa*(ov arco
MeGffda? ; but the statements are reconcileable by suppos-
ing that when he became an adopted Lacedaemonian,
Messoa was the district with which he was connected.
He had attained 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,
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,
during the reign of Ardys, king of Lydia (652-615 B.C.)
1 'AX/.[j.av or 'A)./.;jia<ov, the former being a Doric contraction of the
latter. 2 Suidas.
ALCMAN 125
and Eusebius assigns the 42c! Olympiad, or 612 B.C., as one-
period in his long poetical career. He somehow became a
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
to Plutarch, 2 from the same offensive disease as Sulla, and
he was buried at Sparta. 3
I have already dwelt upon Alcman's relation to the
&suTSpa xaaracTarri? at Sparta, and on the part he played in
the development of Choral Melic. and of the dance that
accompanied it. 4 It has also been remarked that life at
Sparta as reflected in his scanty fragments by no means
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
their leader the poet ; instead of the traditional black broth
the tables are heavy with ' cakes and ale ' in abundance and
variety ; while around the town and its pleasant life there
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
the dialect, of his new city. This statement requires limi-
tation. He employs Doric forms freely, 7 and not a few
Laconisms (£.£•. cruov = &eiov, -apcrsvoic, caXXst), 8 but his dialect
can in no way be called a popular or local one in the
1 Hercul. Pont. Polit. ii., and see p. 100. 2 Sulla, c. 36.
3 Pausan. iii. 15. 4 See pp. 29, 38. 5 Pp. 100, 101.
Frag. III. euoouatv 8' ops'wv xopuooa xs xai cpapayyeg x.t.X.
T xs'/p/jxat Atopioi oiaXc'/.-o>, y.aOx-sp Aay.soai|J.ovio;.
R 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 funda-
mental part of Alcman's dialect was Epic ; and, besides
the Dorisms, he introduces several Lesbian forms, e.g.
stXsvva, and the diphthong oi for the Ionic 60. Pausanias, III.
xv. 2, is nearer the mark than Suidas : ( Alyjj.y.vi) izovrpc/.vxi
y.G[J.XTX ou&sv sc vjSovvjv auTtov sX'jp.yjva.TO xtov Aa/xovcov ^ yXtoccx
jnuara xape^opivvj to eu<po>vov. That is to say, Alcman,
while appealing to his auditors by a flavour of Laconisms,
avoided all the harsher forms of that dialect.
Suidas tells us that Alcman was the ' inventor' of love
songs, as if people had not fallen in love and committed
their sentiments to poetry before the 7th century B.C. He
may, however, have been among the earliest Melic poets
proper who cultivated this time-honoured branch of the
art. 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
extent significant. We have a fine erotic couplet in Frag.
XVI. "Epo; [j.z ()' ocuts y..tX, 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
' the praiser of women \ l
The extant fragments are scanty enough, and many of
them 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
xopu<pai ts xal 97.py.yys; x.tX, 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
11. 1-4.
[Bergk, 23]
parthenion (discovered in Egypt 1855)
\^ \^J \^/ — ' ^
oi-ww-w^-A
— ^ — \*> — ^ —
\5'. — ^ >^ — v^» ' ' ^
11. 5-8, repeat the metrical system of 11. 1-4.
11. 0,-14. — w — ^ — ^ — ^ — w — ^
— ww — ww — ww — WW
(also
ww — ww — WW — J.
WW — WW '
-w yJkv.fJTV. ()Z
spya 7:<x.gov /.x/A [/.7]<>a{/.evoi.
("E)<JTl TIC GllOV TLGi;"
6 &' (6'^)jS(t)oc, o<>Tt? su<ppo)v
(a)f/ipav (oi)a7cXe)tet,
(a)*eXy.u)<7To; syuv o' xeioco
'Avio<3? to cpco;* 6pc5-
-p' cot' aXto;, ovTOp ay.tv
'Ayiow [^apTupsTat
(paivvjv. Jlij/.e o out stocivyv
outs u.tot/.wi&ai viv a xiXsvva yopa(y)o;
ouos Awt st, do/cset vy.o hulsv aura
<7T0. y
TTp. O
5
10
128 GREEK LYRIC POETS
ix.-ps-Tj? Tok, (o7rsp a! ti;
(s)v BOTOIC oraffeisv (i)7C7TOv
Trayov (a)&&-'Xoq>opov jtavajjaxooa, 1 5
(t(3v) u(—)07T£TpiSlt0V QVSiptOV.
' H oux opvj; ; 6 f/iv jcsXij? <7Tp.
'EvsTtx.6?, a Ss /atTa
rote, l(/.a? ave^ta?
'Ay/jTi/opa; £— av&si 20
(y)puco; (to)? ax^pxTO?,
to t' apyupiov Trpocrtoxov
St,a<paSav — ti TOt Txyto ; —
'Ayyjci/opa, f/iv' auTa. —
a Si §£'jT£pa x£^' 'AyiStov to £u)o; 25
17C7TO? si^vw JcdXal; ale? opa[/.svraf
Tal 7irsXetaoss yap ajuv
'OpQix <papo; (pspoujat?
vuxTa St' ajzppocriav octs (j(si)ptov
acTpov austpofAsvai \)Ayovzv.i. 30
0'j't£ yap ti 770p<pupa;
toct(7o; xopoc, worr' ay.uvai,
out£ 7cotxiXo? SpaV.tov
Tayyp'jato?, ou^£ [j.iTpx
AuSia veaviocw ... 35
. . . wv ayaXjv.a
O'l/Si Tal Navvto; y.6[J.y.i
aXV O'jS' '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 <p£p£tv ouvaTaf fiaXs Syj (3oXe y.yjpuXo; slijv,
0? t' £—1 /.u^.aTO? avik>; <*[/.' aXx.uo'v£crGi 7TOT7JTai
v^eys? r^Top iytov, a.Xt-o'pcpupoi; siapoc opvt?.
TTO-
)
ALCMAN
in
[Bergk, 60]
129
V-/ — \^/ — \S
\-/l ^/ '— v^ ^/ \^/ <y >^/ ' *
— ^7 V-/ V_/ — \5
Euoo'jgiv <r opsov /.opucpai re xal <papayye;
xpcoovs; ts jtai yapar^oai,
cpuXa ts FipKsfr' oca Tps<psi pi^aiva 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_/
— v^ w ^ — / \
<»_/ * \-* w ^> — v_/ — w — w
— \^ — \«/ — w — ^
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 7ratos? txuitov
evti, 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^ /\
^. — w — w — ^ — O ' —
MiZa' aye, M(3ca Tayeia woXuji.fx.eXe?
ai.evy.oiSs [J.eXo?
veoyu.ov apye irapcsvoi? aeioev.
VIII
[45]
Muc' aye, KaXXiorca 8-uyaxep A16?,
ap^' £paxtov STrewv, eVi S' i'[xepov
u|j.vto 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 SONGS.
XI
[22]
— . — \^ "^ —• \J <J
— — — i^> ^ — ^ \^ — —
W .
avSpeicov 7rapa oatTD[/.ovs<y<nv
rasTCt 7ratava xaTapjjetv.
ALCMAN
XII
[Bergk, 74 B]
\s . — «^» — ^ — ^ — ^,1 /\
KXivai j/iv sVra >cai togou TpaTCcSai
[/.axcovukov aprtov s7:i<rrs<poi<7<xi,
Aivo) re cracra[/.to >t^v izzkiyvv.ic,
TZZOZGGl Xpi>GOX.67Jkx..
[75]
"Hotj 7rapsc;st, Truavto'v ts tto'Xtov
yjopov ts ^su/cov jcqpivav t' OTtto'pav.
XIII
[33]
131
" WW — WW ~~ WW ~~ WW
Kai 7T03ca rot. &tocrto rpi— o^o; xoto;,
to x. svi — w ^ — ^ aystpvK'
aXV £Tt vuv y' a7rupo?, Taya M 7rXso?
etvso?, otov 6 :raf/.cpa'yo; 'AlxuAv
r^pacB-Tj x^ispov Trs&a t<x; tootcoV
outi yap iqu T£Tuyuivov saO-si,
G&Xa xa xcHva yap, tocTvsp 6 Sap.o?,
CaTsuet.
XIV
[76]
w ^""W^W" - w — ' ^
"Upas fV sotjjcs Tpsi?, -9ioo?
x.v.1 yjX[J-<y. xtoTrtopav Tpirav,
x.al TSTpa-rov to Fr t p, o/.a
sxXXst |7.ev scrOtsv S' arVv
OU5C SGTtV.
XV
[34]
noXXaxi ft' ev >topu<paT? opscov, oxa
Oeoictiv aSvj 7i:o^i;<pav.o? eopra.
132 GREEK LYRIC POETS
^pucriov ayyo; lyoiay. f/iyav C/Ojcpov,
oia' ts Troii/ivs; avSps? syousiv,
J^spffi Xsovtsiov yaXa Svjcao, 5
Tupov STupvjcra? [j.syav arpijcpov apyu<psov ts.
C. MISCELLANEOUS
XVI
[Bergk, 36]
\j '. — ^ — C7 — ^ — w — w
v Epo? |7.s S' aurs Ku7rpiSo? F£y.tx.n
ykuwjq x.aTsi(3cov xapSiav laivst.
XVII
[38]
'AcppoSiTa jasv oux scTt, p.apyo; S' "Epto; oia rcai? xaicSsi
axp' sV av9-7] xapaivtov, a {/.yj [/.ot $tyvjs, tco >ci>7Wcip(<JXC0,
XVIII
[21]
Kuxpov i^eprav "kiTzoXatx. xal IIa<pov TtspippuTav.
XIX
[37)
"~V-/ V^ ~~ v.' — \-/ — ^/
A
• ^/ — v^/ — ^>
ToGa)-' aSsav Mtocrav soei^ev
Scopov {/.ajtatpa 7rap9ivcov
a. £av-8a MevaXooTpaTa.
XX
GNOMIC PASSAGES
[62]
FORTUNE
(a') Euvo(/ia; (ts) x.ai IIs^ou? aSsXcpa
x.al IIpo[j.a&sia<; -9-uyaTTjp.
A L C M A N
133
[Bergk, 42
(^') Tic, (S') av, ti? uoxa pa aAAto vo'ov avSpo? £vigtok;
[63
(y') IleTpa toi [/.a&^crio; ap^a.
[50]
(§') Msya ystTOvi ysirtov.
(a)
XXI
[25]
^ ^ v^ — '^
V^W WW \^»W ' '
"Eur] §s ts y.al [/.sao? 'AX/^aav
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 £V <pu>C£<j(7l 7TITVEI.
XXIV
[35]
SPARTA
— • ' ' ' lL A.
'EpTCi yap avra too criSapto to xaAai; ju&apicSev.
i 3 4 GREEK LYRIC POETS
XXV
[Bergk, 28]
— \ — w w — w w — ww — /\
Aucrav 5' a7rpa/.T<x vsavwfe; (Zgt
opvet? ispaxo? U7csp7cra[/iv<i>.
XXVI
[40]
Auorcapi?, aivowapis, kooiov 'EXXaSt, pomavsipa.
XXVII
[87]
w . — w — *-• — ^
w ; — w — w w ^ w — w
w . — w ' ^-> ^-> — w
'Av/]p S' sv ap[/ivo«yiv
oDuTpo? tjgt' sm ftaxto xara rarpa?
opewv [jiv ouSev So/icov o£.
XXVIII
[58]
'Pircav opo? av&sov uXa
Nu/tTo; [/.sXalva? crepvov.
ALCAE US.
Fl. 600 B.C.
Our scanty knowledge of the life of Alcaeus is connected
almost entirely with the restless political history of Lesbos
at the time, which enters so largely into his poems. Of
his birth we know nothing, except that he belonged to
some branch of the old Lesbian nobility, whose decadence
was now in rapid process. The earliest contemporary
reference in his poems is to the tyranny of Melanchrus,
who was overthrown in 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
regard to the possession of Sigeum in the Troad. 1 It was
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
frankly alludes in Append. No. XIV. Some critics regard
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
not attach too much importance to the incident ; for the
obligation on a brave man not to take part in a general
rout is by no means universally recognised. However
1 Sec Grote, vol. iii. p. 155, and 199 seq., and Hdt. v. 95.
136 GREEK LYRIC POETS
this may be, the Athenians regarded the captured shield
as a worthy offering to Athene in her temple at Sigeum 1 ;
and this fact indicates that the poet had by this time
acquired notoriety. Shortly after this Alcaeus appears
among the champions of the Mitylenean constitution
against the encroachments of Myrsilus and other short-
lived demagogues and tyrants ; and in Frag. XIX. he cele-
brates the death of Myrsilus with heartfelt joy. With this
period the credit of his political career ceases, and the
patriotic defender of the republic in his turn is engaged in
intrigues for winning tyrannical power — in the words of
Strabo xiii. 617, ouo" auTO? xaB-apsuiiiv tcov toioutojv veots-
piG(Ao>v. The upshot of the struggle was that the poet and
his brother Antimenidas were driven into exile, Alcaeus
himself, according to his own testimony, 2 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.
Compare Horace Od. ii. 13, speaking of the subjects of
Alcaeus' odes : ' Dura navis | dura fugae mala, dura belli'.
Eventually Alcaeus and his brother, with other exiled
nobles, endeavoured to re-establish their position by force
of arms. 4 The people of Mitylene elected Pittacus as
Aicru^vTJTyj; or Dictator ; the nobles were defeated and
Alcaeus taken prisoner. His generous opponent, in spite
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. 5 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.).
1 Hdt. loc. at., and see Grote iii. p. 155 for the probable mistake
in the Greek historian's chronology.
2 Strabo i. 37. 3 See on Frag. xxv.
4 Arist. Pol. iii. 14 ; Dion. Hal. Ant. Rom. v. 73 ; 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 consi-
dered in the additional note on Frag. XL Of his inward
life and character we have a clear enough picture in the
fragments. Whether the subject be love, wine, politics, or
warfare, in every word there breathes a fiery and restless
energy, which is in keeping with what is known of his
history. His emotions were always strong and genuine,
and therefore always possess poetical interest. He was
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
sottishness or sensuality. In spite of his factious intrigues,
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
in his excesses of love, or wine, or party-feeling, there is a
freshness and impetuosity as of the early Homeric Greek,
or of Voltaire's Ulngenu.
As a poet he enjoyed the highest reputation among
ancient critics. He was placed among the nine great
lyric poets, and his works were deemed worthy of elabo-
rate commentary by the Alexandrines Aristophanes and
Aristarchus. He was notoriously a favourite model of
Horace, who testifies to his renown in Od. ii. 13, where he
remarks that Alcaeus, partly owing to the nature of his
subjects, enjoyed even greater popularity than Sappho.
138 GREEK LYRIC POETS
Quintilian, Bk. x., has the following criticism on him :
' In parte operis aureo plectro merito donatur (alluding to
Horace I.e.), qua tyrannos insectatur multum etiam moribus
confert ; in eloquendo quoque brevis et magnificus et
diligens et plerumque oratori (v. 1. Homero) similis : sed
in lusus et amores descendit, majoribus tamen aptior.
Dionys. Hal. 1 bestows still greater eulogy upon him :
'AXx.aiou Se ay.OTzzt. to (j.sya'Xocpus? Jtal fipy-jy xal vjSu [/.stoc
oVvottqto;, srt, os ical Too? c^'/]|i.aTicr[xoug |j.£ia cracp7]vsia;, 6'cov
auTJj? y.'q T"/j SiaAsx.Tto xi x.£y»ax.tOToa, Jtai too a-jravTiov to tc3v
7ro7itTtxo5v xpay^aTcov tj&o£. He adds that in many passages
the style, but for the metre, is that of a rhetorician.
Modern readers, will, I think, fail to find in his fragments
poetry of the highest order. His faultless style and the
unflagging energy of his sentiments are worthy of the
greatest admiration ; but there is something we look for
in great 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
region. His descriptive passages, for all their vivid realism,
are not lit up by any radiance of the imagination ; they
have none of the glamour of Alcman's famous EuSouaiv
<)' dpstov xopucpat ts xal <pacpayys; jc.tX or the rapture of the
dithyramb in which Pindar celebrates the approach of
spring. Even the line which has in it the truest ring of high
poetry — Hpo; av&Sf/.osvros £~ aiov spyoyivoto — is but the pre-
lude to an invitation to the wine-cup. In fact, Alcaeus
makes manifest to us that poetry was the ornament or
plaything of his existence rather than its vital essence.
Most of his poems may be ascribed to the class of Par-
oenia or Scolia, 2 and this alone would lead 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
1 De Vet. Scr. cens. ii. 8. 2 See i ntro d. to Scolia.
ALCAEUS 139
when we look to find in Alcaeus a master-spirit among
poets that we need be disappointed.
The Alcaic stanza in Alcaeus and Horace.
As most classical readers owe their acquaintance with
the Alcaic stanza to the 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
follows :
v-» — \J — ^J \J — v-> — ' ^
\^f — \^ — v <^/ — ^ — ' ^
' v-* — ^ — v^
This is varied by admitting an ( irrational ' long syllabic
in certain 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
quantity, viz. Od. iii. 5. 17 :
' Si non perirct immiserabilis.'
It is not likely that these changes in the Alcaic stanza
were made by Horace unconsciously. His Odes were
140 GREEK LYRIC POETS
written not for melody, as those of Alcaeus, but for recita-
tion ; and the slower movement effected by the extensive
use of the ' irrational ' long syllables imparted a gravity
and dignity to the rhythm admirably adapted in most
cases to the nature of the subject.
There is another novel and important feature in Horace's
Alcaics,' namely the employment in 11. 1-2 of diaeresis
after the fifth syllable or the second trochee, thus :
Caelo tonantem || credidimus Jovem.
In Alcaeus cases of such diaeresis are entirely accidental,
but Horace admits of only four exceptions to the practice:
(1) Od. i. 16. 21. Hostile aratrum exercitus insolens.
(2) Od. i. 3J. 5. Antehac nefas depromere Caecubum.
(3) Od. i. 27- J 4- Mentemque lymphatam Mareotico.
(4) Od. iv. 14. 17. Spectandus in 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,
where there is no diaeresis, we feel that, in declamation, if
not in melody, the pause after the second trochee falls
best on a final syllable.
ALCAEUS
A. Si>[/.7TOTDca and 'Epomxa.
DRINKING AND LOVE-SONGS
I
[Bergk, 45]
SPRING
'Hpo? av9'Sty.o'svTo; iizyliov sp^of/ivoto'
* * # *
sv os /cipvaxe toj fjte^ia&eo? otti TayicTa
xpaTTjpa.
II
[39]
SUMMER
X
v>»J I 1 w /\
Tsyys 7rv£uf/.ova Foivto" to yap airrpov TCspiTsXXeTaf
a o o"pa yaCkitzy., tojcvtoc Ss St^aiff' u— o xaupiaTO?,
a^£^ S' £* TT£TaXd)V farW. T£TTc£, 7TT£puyO)V S' U7TO
jcazyjeei Tayupav (tcujcvov) aouW,*uw oTnuora.
cp^oytov jta&erav -v/w ' ^ ^ — ^ ^ *
avfrei xal cxo'Tai^oi; - vuv ^£ yuvatjcs? (JLiaptoraTai,
>.£7TT0t o avop£?, srcel jtal xsipaXav x.at yovu 5)eipios
aC,ei.
Ill
[34]
WINTER
_— ^ A
— ^ A
1 et [-/xv Zeus, ex. o opavto [/.eya;
yeiy.tov, TweTOzyamv S' 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, •9-u[/.ov eTTiTpETrvjv
Trpo/.d^ofj-sv yap ouSsv aaaj/xvot,
co Buxyt, cpapfy.ax.ov S' aptaxov
oivov svewcaj/ivoi? f/.s&0'(Tib]v.
V
nCvtottsv* ti Ta "hvyy' 6[/.[aevo(J!.sv ; Sax/TuXo; a.t/ipa.
x.aS' S' aeppe xuXiyvai; [/.syaXai;,* aiTa, TCOixiXai? - *
oivov yap SsjAsXa? xal Aio? uio; Xa&ocaosa
avS-ptoTTOicriv eScox.'" syyse xipvai? sva x.ai Suo
7rXsai? xax, xscpaAac, a S' STSpa -rav STSpav jcuXi?;
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 07]7T0t' 'AptCToSajxdv cpaic' oux a.xa'Xay.vov
ev S7rapTa Xoyov
eur/jv ygr^cci-' avyjp, Ttsviypo; 5' ouoei? tcsXst'
ALCAEUS i 43
VIII
[Bergk, 92]
'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? e—ovacriv £|xot ysysvvjafrat.
XI
[55]
v-/. — «»-/ — w — <-/ ^ — w — ^/
'IoxXox' ayva [/.sXXe^cp.sida SaTrcpot,
-9iXtO Tl FtVK'tp, OtXkdi [/.£ >CCt)Xu£t al'&tO?.
XII
[56]
— . ' — / / / A
v^ . - ~ w — v_y — *«^ ^ w — ^ ^ v.; — W ^ ' x
Ascat, [as xtoaaCovra, $s£ou, Xi<J<70[/.a£ ce, Xiccof/.ai.
XIII
[62]
KcXxto c' eos^avr' ayvat XapiTS?, Kpivoi.
[44 GREEK LYRIC POETS
XIV
[Bergk, 59]
w ^ ^>v^ ^/ ^/ w ^y /\
"E;x£ SsiXav £;x£ Tuataav jca3C0TaT<«)v TrsSs/otcrav.
XV
[63]
. /
'w'. — <^> ~ V-/ —S-/ W ~~ \^
"Aeicjov a[*|/.t Tav iov,ok~ ov.
B. STASIOTICA.
XVI
[15]
ALCAEUS' ARMOURY
X x
— !_ ! ^— — /\
— v_/ — ^ ^» — \j — — \_/ — <y \y — v^» — \s — v^» — ' N
Map|/.aipsi &£ yiya? §of/.Q£ yak/.oy ■Kctiaa. ft "Ap7] )tsxa<7|/.>]Tat
TTsya
Xau.7rpawitv xuvCaun, jcocttocv Xeuxoi jcaTU7rep9-£v ?7C7ukh Ao'cpoi
vsuotatv, jtsflpocAaifftv avoptov ayaXfxaTa" ytzkx.iy.i §£ xaccaAot?
/.puTTTOKTiv 7r£pr/.£i[7.£vat A<xf/.7rpai xva|ups;, ap/.o? tc^upto
PSASU?,
■fra'paxi? t£ v£oi aivco >tdiA<xi Se x.a.T affTTt^s? P^SATjvivai" 5
Trap Se XaA/Uoixou (jxa&at, Trap Se £to[7,aTa ttoaaoc x,al
x,u~accio£?.
TtOV O'JX. SGTl Aa&-£C9-' £77 SU)7] TCptOTlffT' U7TO /"SOyOV SffTattSV
T0&E.
XVII
[18]
'Aguv£tv]|xi Ttov av£jxcov 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*
~sp f/iv yap avrAo; icto— s^av syet 3
Aa?<po; os xav £a^7]Aov vj^vj
?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
ocvtXtjv, exei *s vao; sy.pa
145
XIX
[20]
MYRSILUS
Nuv ypv] [X£9-uc9'7jv >cai nva Trpo; fiiav
7TOiV7]V, £7TSIC^ JC<XT&(XVS MupCTtAO;.
XX
[25]
_ A
' WW — WW — WW
' flv/jp outo; 6 {/.aidfASvo; to f/iya jcosto?
6vxp£']/£i Ta^a T<xv TToliv* a ^' iyzTy.i 66-xv.q.
XXI
[37 A]
PITTACUS
x
w w w ^ — w w ' w w — w — /\
Tov jcaxoTwcTptSa
IIiTTa*ov 7roXio? ra? v//o~kix> xca papucViy.ovo?
EGTaaavro Tupavvov [j.sy' Stoxivsovts? v.oXkzzc.
XXII
[21]
MsAay/po? al'Sco; a£to; si? ~oaiv.
K
146 GREEK LYRIC POETS
C. HYMNS AND MISCELLANEOUS
XXIII
[Bergk, 5]
TO HERMES
XaTps KuAAava? [as^si;' cs yap u.01
-9-ufj.o? u[7-v/jv, tov xopucpat? sv aitpat?
Mata ysvvaTO KpovtSoc [/iysica.
XXIV
[13 B]
TO EROS
w-^ — a Asivorarov -frsoSv
eye wax' sutc&aao; 'Ipi?
ypu<7o>co[/.« Zs^upw (i-tystca.
XXV
[33]
TO HIS BROTHER ANTIMENIDAS
X
— C/ — ^ ^ ' ^-» ^ — v-» — /\
'Ha$£; ix 7i£paTO)v ya?, £X£<pav-rivav
>.a(3av Tto £i<p£o? ypuco^£Tav £X tov >
— ^ — f/iyav a$Aov BapuAcovioi;
*cu[j.;j.ay£i? TEAsaa?, pucrao t' sx. ttoviov,*
jctevvoci? avSpa [/.ayatrav, pacn.'Xyjuov
TcaXaicrrav a7roAsi7rovTa |j.ovov [j.iav
7ta/£C0V (XXU 7tE[7.7TCOV.
XXVI
[27]
"ExTaCov wst' opvifts? (03OJV
atSTOv SQa7c(va? <pav£vra.
ALCAEUS 147
XXVII
[Bergk, 16]
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 reputation attaching to the poetry of Sappho
both in ancient and modern times has caused whole volumes
to be written in the endeavour to arrive at a more intimate-
knowledge of her life and character. The results are not
very satisfactory ; for while we can glean only the scantiest
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 testify, decidedly dis-
agreeable. Nevertheless, although we are likely to re-
main for ever ignorant as to whether the poetess leapt
off the 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
nearly all, that it is important for us to know in connection
with any great writer of antiquity. For we know closely
enough the period at which she lived, the nature of her
surroundings and position at Lesbos, and the general
tenour of her 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.
Sappho was born either at Eresos or Mytilene towards
the end of the seventh century B.C., and was thus contem-
porary with Alcaeus and Pittacus. Her father's name,
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 were eligible to this office. 1 Not later than 592 B.C.
1 Athen. x. 424.
SAPPHO 149
according to the Parian marble, where the exact date is
lost, 1 Sappho was forced by political troubles to retire in
exile to Sicily. We need not think this improbable ; for
though it is in the highest 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.
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 other-
wise 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-
tion 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
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
• ] See Clinton's Fast. Hell. an. 559. 2 See p. 136.
3 See Hdt. ii. 135 ; Athen. xiii. 596.
4 Hdt. ii. 134, 178 ; see Grote iii. pp. 327-8 for a contrary view.
150 GREEK LYRIC POETS
current in the time of Menander, and recurs in many
ancient authorities. Readers will find the question
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
historical evidence in support of a story so romantic, so
likely to attach itself to an amatory poetess, and yet prima
facie so highly improbable in the case of a lady of her age,
and no novice in the tender passion. It will I think be
safer to accept the testimony of the epigram in Anthol. I.e.
to the effect that Sappho died in her native land, and
Frag. XVII.. if it be genuine, points irresistibly to the same
conclusion.
I must recur to other more important and less dubious
facts connected with Sappho's life at Mytilene. She
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
pupils ([/.aibJTpiai) who came from distant cities, Angora
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, band-
ing 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 re-
moved both from the degradation of Ionic seclusion, and
from the rigour of Spartan discipline. In fact the inde-
1 Consistently with her character as a teacher in such subjects, we
find ascribed to 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 any similar society of women in modern
times. The cultivation of music and- lyric poetry was, it
would seem, the essential object of their union, 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 expres-
sions which flash upon her imagination from this source
own a grace which is exquisitely feminine. The promi-
nence of the women at 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
in social domestic life, but in public amusements ' ; and he
compares the association at Lesbos, over which Sappho
presided, to a somewhat similar system among the Dorians.' 2
Col. Mure, on the other hand, regards this trait in Lesbian
customs, not as a survival but as a piece of notorious
depravity ; and, without indorsing his extreme views on
this subject, we may reasonably assume that the freedom of
an earlier age had, with the increase of luxury and refine-
ment, lost 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
coterie, which cannot be passed over without remark. I
refer to the fact that in her most ardent love-poetry her
passion is aroused by one of her own sex. Maxim.
Tyrannus, xxiv. 9, compares her relation towards Atthis
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 Hist. Lit. of Anc. Greece, p. 173.
2 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. We need not prose-
cute the subject further. Biographies, even of a contem-
porary, are notoriously inaccurate ; in the case of a poetess
in the seventh or sixth century B.C., concerning whom our
direct information is almost nil, inquiries of this kind
become little short of absurd. What rather concerns us in
this and similar instances is 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
merits ; for when we read her portrayal of the passion of
love, we feel that we can look for nothing nearer to per-
fection, 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
was engaged in painful hostilities with certain other Les-
bian ladies, some of them being her own pupils. 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 contem-
porary Alcaeus. It should be noticed that in none of these
1 See xv. and notes.
SAPPHO 153
passages have we any evidence of charges being brought
against Sappho in her lifetime similar to those made at a
later date.
In person we are told by Max. Tyr. xxiv. 7 that Sappho
was ' small and dark.' Alcaeus pays her what is, perhaps,
one of the highest of compliments, in addressing her as
[j.zXkiy6[j.zi^y n 'sweetly-smiling.' Sappho herself indicates
that she 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
the testimony of many passages in ancient literature.
First 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
a7ro9avto (Aelian, 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 ■frau^acrTo'v ti x?^l J - v 'i anc ^
adds ou yap ?<j(/.sv sv r<Z tocoutco ypovto tco [Av7jrj.ovsuof7.ivto
(pavstcrav two yuvaTx.0 £vx;j.t.XXov, ou^s jcoto [/.txpov, eVwEiv/j
■JTOiTjcrsto!; yapiv.
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, Jtal ma twv [asXiov ava<pspei tt^v otto T7j? 3capSta?
-9-£p[/.oT7]To. 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 I have quoted in the notes on Frag. II.,
that being the poem which he uses in illustration of Sap-
pho's sublimity. Dionysius of Halicarnassus (De Coiup.
Verb., c. 23) takes Sappho as the most conspicuous example
154 GREEK LYRIC POETS
among Melic poets of what he designates the ykcupupoq
y.ad avibjpos /apoorr/jp. He quotes the famous Ode to
Aphrodite (No. I.) as an instance of her power, and remarks
— Tcorrnc, ttj? 7ics<o; r t susxeta x.al -/j /apt; sv v?j Guvs7rewf x.al
XstOTTjTt ysyovs Ttov apixovitov, x.tX
Demetrius (De Eloc. 166) says — y\ Soc-ropco xspl f/iv jto&Xou;
xSouda jcaXXierofe stti jtai ^osta . . . jcai axav JtaXov ovop.a
svucpavrat ocut/jc t - ^ 7roi7]ffSi.
Little as it is, enough of Sappho's poetry still remains to
enable us to feel that the ancients were amply justified in
their enthusiastic 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
peculiarly typical of the Greek genius at its best. Intense
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 presump-
tuous to say that the clever Roman poet blundered, and
seems in his latter days to have become conscious of his
blunder. I refer especially to his rule of introducing a
needless and objectionable caesura after the fifth syllable.
A glance at the metrical scheme of a Sapphic line
(-w-w^w-w-o) shows that the voice should not dwell
upon this syllable, as being the first of the cyclic dactyl,
SAPPHO 155
but should pass on rapidly to the sixth syllable. It is
therefore desirable for ease in recitation that the fifth
should not be a final syllable. Again the effect is still
more awkward if the fifth be not only final, but preceded
by a long vowel ; for then, being forced to pause against
our will, it is also difficult to give the fifth syllable the
emphasis due to it from its position ' in arsi.' Consequently
such lines as ta; w.a; au&to? at'otcra ronXui (--> | ^ v^ — ^ - ^)
are rare in Sappho, there being about twelve genuine
instances out of some sixty possible cases in the fragments.
Now in all these lines I think 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
lines were written not for recitation but for song, which
is 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 rea-
son he conforms nearly all his ' Sapphic ' lines in the first
three books of the Odes to the type which is exceptional
in Sappho (- ^ | ^ ^ - ^ - d). There are but four
instances in Books I.-III. (Bk. I. x. 1, xii. 1, xxv. 11;
Bk. II. v. 11), out of some 450 possible cases where the
fifth syllable is not final ; and the second foot is invariably
in the form of a spondee. As in the case of the Alcaic
hendecasyllabic line (which is indeed only the Sapphic line
with anacrusis and a catalectic instead of a full conclusion),
Horace lost sight of the fact that the verse consisted
naturally of a single colon only, and he chose the most
unsuitable place for his artificial division to occur, thereby
losing all the effect of passionate speed which is so con-
spicuous in the lines of Sappho.
In the Fourth Book of the Odes, and in the Carmen
Saeculare, written in Horace's later years, we find a con-
siderable 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
genius of the Greek model. He makes no rule about the
caesura at the fifth syllable ; he admits a pure trochee
freely in the second foot, and has no objection to the fourth
syllable being final, or to the last word of the line being a
monosyllable- — in all of which characteristics he is at
variance with Horace.
SAPPHO
i
[Bergk, i]
IIot/aAoSpov' aSavar' 'AfpoooYra
toxI Ato;, ooAox'Aox.s, XfaaouLat crs,
[XT] [7-' v.gv.igi {/.tJo' dviaifft oV-piva,
'AAAdc Ti»to' sT.0-', afooTa JcareptiiTa 5
tk? Sp.a? auoo)? otfoura tt>]>.ui
SxiXueg, TCarpo? Ss Sofj.ov At77ot<ja
ypuctov ^X9-sg,
apj/. uTCO(,su<;aKya jcaAot os er ayov
coxes? CTpoO&oi wspl yac (./.eAatva? 10
770>cva oivsuvts? Trxsp' v.x topavw a't'&s-
-po? ota tukaata'
ai^a S' sEixovto* tu §' to ptaxatpa
[xetotacratcr' a&ava'rtp xpoawxto,
vjps', OTTt O^VJUTS TCSXOV^-a, JCtOTTt 1 5
oTjuTS JcaAvjitt,
jttoTT 1 siy.to i^aXicTa ■9-lXd) ysvsa&at
p.atvoAa 8-ujjtcy rtva o*>]uts Ilei&to
(/.at? ayvjv e? cav cptAoTara, ti? cr' to
^Pa7t<p' aouojst; 20
xai yap at <peuyet ry.yioic, Stto^et,
at o*s o\opa p.r Ss/.et' aA}.a Lest,
at oe p.7] <ptA£t, Tays<oc <ptA^<7st
jctoux eO-sAotca.
158 GREEK LYRIC POETS
"EX9e [J.oi xal vuv, ycCkZTzy.v oi XCcov 25
£/. U.£piU.VaV, OCTffa OS [AOt TsX.S<7<7ai
•9-up-o? i|/ippst, t£Xs<70V cu §' aura
II
[Bergk, 2]
<S>aiv£Tai |xoi jajvo? igo; -Sioicriv
sul[/.sv wvvjp, ogti; svavxio? TOl
i^avsi, x,ai xXaaiov ao\> cptovsu-
-Ga? UTOCJCOUSl,
seal ysXaurai; t^sposv, to p.oi [7.av 5
-/.apSiav sv GrrftzGiv £7rroa<TSV'
co? yap *<>' tSto* ppo'/£tog [j.s cpoova?
0UO£V £T sixsi.
aXXa xa[/. piv yXcocraa fsFays, Xcttov S'
oamxa ^pto Trup u7taosopd[/.axev, 10
07r7iaT£Gci S' oo&£v opm', £~ tppdf/.—
-Petct o axouai.
'A §£ [/.' 'iSpco? xax^ssrai, Tpd^.o; §£
xaicrav aypsi, $.a>porspa o*s 7701a?
£[/.{ju, TE-9-vaxvjv S' oTayco ^raoeuvjv* 1 5
<paivo|j.ai — ^
a'X'Xa 7uav ToXjxaTOv
III
[3]
"A<TTSp£? (aev aiy.cpl xaXav asXavvav
ai*J/ aTTOJcpuTTTOiGt cpasvvov eiooc,
07T7raTa TrXirjSot.ca (/.aXtcTa Xa|j.7r/]
(apyupia) yav.
IV
[4]
'A[/.<pl 5s ^O/pov xeXaSsi St' uco\ov
p.aXivtov, ai&ucaofJt.svtov as qauXXcov
xo3i/.a xairappst.
SAPPHO 159
v
[Bergk, 5]
— <j - ^ — w ^ "EXSs KuT^pt
^pucioacrw ev x.ultx.s<j<jiv apptoc
<7u;./.[/.£y.iy[X£vov <9-aXiai<7i v£/.Tap
otvoyosuca.
VI
[68]
x
_ / / / 1 — 1
— \^f — ^ \j ' ^ <*> ' \^ \j — v> — /\
KaTfravot/ry. Si xsicrsat, ouS' (sti) tic p.va»jLOcruva geOsv
zggzx' ouSettot' (sic) ucTepov ou yap ttsSs^slc (ipdStov
tcov ejt Ilispiac, a^V a<pav7]c >d)v 'A't'Sa Sdp-Otc
CpOlT(Z(j£tC 77SO aiy.a.'jpfOV VSX.UCOV S/»7TS~OTa'X£Va.
VII
[78]
— . / r . 1 r
w . — v_/ w ' \s kj ' v> w — •w' — >-< /\
Su 5s GT£<pavoic, (6 Afoca, ^spSsc-fr' epaTaic <pd|3aictv,
opTiaxac Wtoio cruvsppaicr' <x7zaky.tai yspcriv.
suav&satv ex. yap 7rs^£Tat, Jtal yaptroc f/.ax.aipav
(y.aTCXov TvpoTspyjv acxs^avtOTOiGL S' a— uaTpscpovrai.
VIII
(«)
[40]
x
v^ — _ _ A
"Epoc SaoT£ [/,' 6 XufftfjtiXvjs Sdvsi,
y'Xux.'j— ixpov ap.ayavov oWstov.
[42]
"Epoc (p-01) <ppsva; (aor') srivaEsv to;
aV£|7.0C X-a.T OpOC OOUdlV SJXTTSTMV.
160 GREEK LYRIC POETS
IX
[Bergk, 52]
Cy I — <J w — \y — O
Asou/cs u.ev a <7£Aavva
seal n^TjtaSsc, [/icai Se
vux.tsc, Trapa S' £p/£T 'copa
£yco ok [j.ova jcocteuog).
X
( alcaics).
[28]
Ai S' ^/£; sgawv 't|/.spov v] xaAtov,
xal [/.vj ti Fz'nz'qv yXcocrc' £xux.a x.ax.ov,
al'Sto? xs cr' ou jcoctsi^sv ou.u.aT > ,
oXa' EAeys? Ttspi Tto ttacaiwc.
XI
[75]
x
'AaV £(0v cpiAo? a[7.;xtv Xsyoi; apvixro vswTSpov,
ou yap TAaffoj/.' syco cuv(/ r )oi,V»^v staffa yspairspa.
XII
[29]
2toc&l x,avxa cpiAo? . . .
jcal xav sV octroi; 6f/.-£Tacrov /aptv.
XIII
[90]
• ' lL A
^_A^
' Li A
— ^ — ^ <— — ' x
rAux.eta p-aT£p outoi
&uvaj/.at xpsxinv t6v I'ctov
xoSo) Sa[j-£iaa ttoiSo;
ppaSivav St' AcppoSirav.
SAPPHO 161
XIV
[Bergk, 85]
"E<m [/.ot. y.OLka. toxi?, yjpuGioiaw av8-£p,oi<7iv
S(/.<psp7]V ZyoiGX. (Aop<pav KXvj'i? aya-aTa"
avrl tx? Eyio oiioe Au^iav — aiaav ou$' Epavvav . .
XV
SAPPHO AND HER ENEMIES
[12]
(rt) — ^/ — w — <-» >.. OTTiva? yap
eu i>soi, xyjvoi ;7.2 (/.aXwrra divvov-
-rai ^ w — w.
[14]
Tat? xaXai; u(/.[/.tv (to) vo7][/.a TWfxov
OU Oiai/.S17TTOV.
//'), (<r), and (d) sappho, atthis, and andromeda
T33]
'Hpa[/.av [7.£v syco c£i>£v, "At&i, tojcaoci xo'tx.
(c? ) vy ^ .-> — ^ w — <*j
[34]
Spi/cpa [/.oi ~ai; £f/.p,£v sqpaivso >ca/api;.
— A
[41]
y
(?)
"At9i, col a £|/.e<9-£v yiv aTcvj/^ETO
cppovTiij^vjv, iii\ <V 'Avopo|/,soav ttott].
[70]
X
( r}\ \J— f , , lI. A
I CI J — v^ —yy v^ ' v^ v^ ' — —\j ^> — \y —
*Tt? S' aypouoTi? xot -OiAyEi vdov,*
oux £7:icrTa[j-£va toc ppaxs' eXjojv £?:l tcov <7<puptov ;
"E/£i jx£v 'AvopojJtioa /taXav ap.oi(3xv.
L
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]
x
^ — A
■(a) ^PauTjv ()' ou Sox.ip.wf/.' opavto Suet izoiyzGiv.
*****
Mvacscftai Tiva ^ajJLi seal ugtsoov apu/itov.
[10]
THE MUSES
<((}') Ai (/.e Ttp.tav eTcoTjaav spya
Ta <7<pa Soicat.
XVII
[136]
SAPPHO ON HER DEATH-BED TO HER DAUGHTER
x
^— i_ _ _ A
ou yap -9if/.i? £v p.oiGOXOAto obda
-8-prvov s[/.[/.evai' oux. a[/.[/.t Tcpexsi tocos.
XVIII
Metre, cf. No. VI.
[69]
ouS' tav Soxipno[7.i rpociSotGav <pao? aAito
scrcecrS-oa cocptav xap&Evov sic ouSeva xco ^povov
TOiauTav . . .
SAPPHO 163
XIX
[Bergk, 54]
ks . — 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 £<paiv£T' a <7£Xavva
ai 8' co? 7rspl f3to[/.ov £ , <jT<xih]<7av.
XXI
[62]
1 «_i >— — (^i (^i •
Kar&vaaKEt, KuSipyj, a(3po? "A&tovt;, ti xe <9-£t|/,ev ;
x,octtu7ttsc7$-e >c6pai jcal x,aT£psfoc£<jfrs j(yrciva<;.
XXII
TO HER LYRE
[45]
"Ays Syj /eXo §ia p.oi
cptovascreja y£voto.
XXIII
[60]
Aeote vuv a{3pai XapiTE;, x.aTJXfotou.oi ts Motaai
[65]
(b) x
V / v-» — ' I / 1 / L'^V
— w — w vy L — — vy w *— • — vy vy — v> L — /\
Bpo^07ra^££; ayvai XapiTE;, $s<jts Afo? xopat.
1 64 GREEK LYRIC POETS
XXIV
[Bergk, 16]
DOVES
Tofoi (<)z) tf/u^poc y.ev sysvTO #woc,
xap S' I'ewit xa 7rrspa - ^ - ^.
XXV
[79]
, >_, _ ^, I / \
"Eyto Ss <p£X7jf/. J afipocruvav, ;cal [7.ot ^- to Xoc|/.toov
£po; asXwo -^ ^ ■— y.al to y.aXov ~kzkoyyzv.
XXVI
[39]
Hpo; ayysXo? lj/.£pd<pwvo; avjScov.
XXVII
GNOMAE
[101]
x
'O [7xv yap -/.xkoc, ockiov I'ovjv raXfiTai (jcaXo;)
6 Se y.ayafto? auxwca x.al xtzkoq zgg&txi.
[So]
'O ttXouto; avsu (txc) apera? oux, adtvvj? Trapoi^o?.
XXVIII
[9]
Al'$-' syto, /^puGOCTECpav' 'A<ppdrWa,
tov^£ Tov xaXov ~ky.yorp.
SAPPHO 165
XXIX
[Bergk, 19]
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?
t«ic saziTi xsp7cva y.aAto; asico).
BRIDAL SONGS
XXXIII
[91]
(«) Metre, see Pop. Songs, I., note.
"IJ/ot S?j to f/iXa&pov
1 jj//jvaov
KSppSTS TS/.TOVS? (xv^pe? 1
I [/.'/jvaov
ya^po? ecrspysTai ujo? "Apsut
('TiMwaov)
y.vbzoc [/.eyaXw — oXu iv.si^tov.
('T[7//)vaov).
[92]
(£) ITsppoyo:, wc 6V aoi^o? 6 AsViio? aAAoSaxoiciv.
1 66
GREEK LYRIC POETS
XXXIV
[Bergk, 104]
\^ ^S*^/ — w\_/ — ^-A_^ ^
Tito 5', to (pile yaf/.|3ps, xoCkCic, eixacoco ;
6'p7rax,i 4 Bpao"ivto ce /.aTacr' sijea^Sw.
XXXV
[105]
yaips, vufxcpa,
XXXVI
[99
-^ ^ — ^ — \_/
"OA[it,s ya^ps (70i [jiv
$7) yajxo?, w; apao,
£5£T£T£X£(7t', £/;/]; OS
TCaoO-svov av apao.
XXXVII
[93-4]
Maidens. Oiov to y'Xu3C'j|v,x'Xov spsu&STat ax,pto B7r' ucSg)
ascpov stc' ax.poTaTW" 'Xs'XaO-ovTO o*£ [j.a'Xoo*po~Yj£c,
ou y.av s>&sXa9-ovT', 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 ' i» A
Bride. IlapS-svia, 7iap-9-svia, %oX ^£ XCtcoot' (a7c)oi/y) ;
PartJienia. OuxsV r^co TrpoTi a' oujcsV tj£<o.
SAPPHO 167
XXXIX
[Bergk, 95]
Fiaizzpz toxvtoc <ps'ptov 6W cpaivoXi? ecxioac' Aug)?,
<ps'pst? o'iv, ©s'psi? aiya, <ps'psi? [/.arspi 7roct&a.
XL
[98]
x
\~* ^/ — «w/^-/ — ^j \j
©UpCiipCO 1Z0()ZQ £-T0p6yUL0t,
ra 5s era^pala Trsy.TtS^oyja,
TCicuyyot o£ osjc sc,S7rova(yav.
XLI
[51]
— — ^ ^j 1 —' — ^w /\
1 1
^ w ' — i — \j <s — — /\
/ / til
WV_/' — 1 — — — w s^ — — /\
/ / / / / /
S^^ W^> W «w*
Kyj <)' ajxppocria; piv jtpairyjp sV.sV.paTO,
'Ep[/.a? S' sXsv oXxtv frsot? oivo/d-^aaf
xyjvoi o apa 7ravxs; jcapyv^ia (t) t^/ov,
>caXsi(3ov apacavTO Ss Tia^Trav saXa
t£ 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
Mataurus. 2 He was 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
warning given to his fellow-citizens against the tyrant
Phalaris. 4 Suidas tells 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 direction. His own taste seems to have
inclined him 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. 2 Suidas.
3 Comparing Lucian de Macrob. c. 26. with the testimony of Suidas
and Eusebius to the time of his death.
4 Arist. Rhet. ii. 20.
6 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 sub-
jects were those of Epical mythology. In the well-known
words of Ouintilian, he sustained the weight of Epic poetry
on the lyre — ' epici carminis onera lyra sustinens '". Nor
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
Helena', etc. I have mentioned that the objective element
enters largely into Greek Lyric ; in Stesichorus' poems the
subjective, so far as we can judge, was excluded altogether.
They may perhaps, in their union of the lyric and narra-
tive style, be compared with our longer ballads, which
were also in early times accompanied by the dance. Some
critics, taking a different 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
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 at a loss to comprehend
how any strictly lyrical composition could reach such pro-
portions 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 subjec-
tive kind, but narrative, anticipating in poetry the novelette
of later times. To this class belonged the poems ' Calyce '
and ' Rhadina ' (see Frag. VI. note). 2 Athen. vi. 250 B. also
1 Bekk. A need. Gr. p. 783.
2 For the prevalence among the early Greeks of romantic and
sorrowful love-stories, see Welcker, on Stesichorus, in his Klcinr
Schriften.
170 GREEK LYRIC POETS
mentions a Paean by Stesichorus, popular as an after-
dinner 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
man singing a poem by Stesichorus, and begged to be
taught it before he died. 1
The important addition of the Epode to the choral
system is usually ascribed to Stesichorus, mainly on the
strength of the proverbial expression ou&s to. Tpia Siryjst^opou
ytvtootst?, employed against any person at a wine -party
who could not take his part in the singing. 2 Hartung, how-
ever, points out that the song required on such an occasion
would not be choral but a scolion or a paean ; and O.
Crusius, 3 who refers the Epode to Alcman, explains the
proverb as 'you don't even know three verses of Stesi-
chorus.' If this be correct, I suppose that the force of the
article before Tpia is to be explained thus : ' You don't even
know the proverbial three verses,' etc.
The extant pieces from Stesichorus are so scanty that
•we must take it on trust 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 debi-
tam dignitatem: ac si tenuisset modum videtur aemulari
proximus Homerum potuisse ; sed redundat atque effun-
ditur, 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, ^apax.T-/jp), which
stands between the austere (audTKjpa apixovia) and the
ornate (y>.a©upoc x.ocl avDvjpa guv&sgi$). In Longinus, ITspi
1 See Marcell. xxxviii. 4. 2 See Hesych. and Suidas.
3 Co7nmentationes Ribbeddanae. 4 De Comp. Verb. § 24.
STESICHORUS 171
"T<|>o'jc, we read: ou yap (/.ovo; 'HpoSoxo; '0(v,7)p&/.coTaTo;
sys'vsTO, 2/nj<7iyopo; srt, rcpoTspov, ts ' Ap^&oyo?' ttocvtcov os
to'jtcov [/.altera 6 TIXaTcov z..tX Similarly, Dio Chrysostom 1
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
again in Stesichorus — f A 7uplv 'Op.rpou | ^u/a svl <7Ts'pvoi;
SsuTepov co/iaa.TO. Finally, the fable of a nightingale sitting
upon the lips of the infant Stesichorus singing is a beautiful
tribute to his poetical reputation.
I can hardly agree with Colonel Mure that ' the com-
ments are all more or less borne out by the remains of the
Himeraean poet '. Some of the lines are, it is true, stately
and sonorous, and we have one or two poetical expressions,
e.g. the graceful reference in Frag. I. ft. to the silver mines
at the source of the river Tartessus — (Traya; aTreipovac
apyupopi^ou;), and to the approach of spring {Frag. VII.) appcoc
vjpo; l7csp^o(As'vou. There is no small beauty in Frag. IX. p.,
fravovTo; av&po; x.t1, and the beginning of the Rhadina
(Frag. VI.) is promising in its delicacy of touch and attrac-
tive metre. But most of the lines remaining are so exceed-
ingly plain, not to say dull, that their preservation is not
a very great boon. We must remember that Stesichorus
was hardly a lyric poet in the ordinary sense ; and that
therefore his business was not so much to 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 de-
scribed by one MS. as STVjciyopsia.
1 Vol. ii. p. 284 (Reiske).
' l Anth. Pal. vii. 75.
3 Cf. Dion. Hal. de Vett. Scrip, who calls attention in the case of
Stesichorus to r\ [leyaXoTtpe'raia -nov /.axa xa? u-oih'asi; -pay[j.ax(ov, ev
<A; xa TjOtj xa\ xa a£io.>;j.axa X('">v jcpoa<07Cb>V TET7]p7]xev.
STESICHORUS
i
From the rvjpuovyjfc.
(«)
[Bergk, 8]
— *^ ^ — ^ W — s*/ W — «w» ^ — ^-* ^
— \^> \_/ — \*/ \^ — - <S <S — KJ \J
^ v^ ; — 'w/w — ^ ^ — v-^v^ — y\
— ; — w w — ^ ^ — ^ **-> ww 1 — v^ — /\
'AlXtog o c T7:sp&ovu)a; Ss^a? £C/taTs(3atvsv
ypucrsov, ocppa ot' 'I2/C£avoTo Tuspaca;
acpUoiS-' Ispa? xotI psvO-sa vu/.to; eps^va?
ttotI [xa^rspa x.ouptSiav t ctkoyov
geryon's herdsman.
ts]
(y£W7]9-£i;) 'AvTi7T£pav fcXswa? 'Epu9-£ia?
TapTVjaorou ~OTa[j.oO roxpa Traya? a7T£ipovac apyupopi£ouc,
SV /C£U$|/,(OVl 77£Tpa?.
(Y)
HERCULES.
[7]
Sx.'J7Tcp£tov Ss Xaptov $£7ra<; £|xy.£Tpov w; TpiXayuvov
~i'v£v £7Tt<7/ov.£vOi;, to ov. ol xapiibjy.E <1>oao; -/.Epacrac.
STESICHORUS 173
11
(«)
ODE AND PALINODE.
[Bergk, 26]
I W
— w w — w w — w — /y
— WW WW — w w
I— \^ t — w — " w W — — — w W ~ W W ~y\"
v_, w ; 1 — \^ — w w ' — w w w ' — w — /\
— c «_ t — u . n-
. . . Ouv£x.a Tiv&xpeo; psCwv ttots
7ra<rt &eb% txouva? Xa&ST VjTOOooJpo)
Ku.7rptSo5* x-stva Ss TuvSapsou xoupaict yoXcoaqcaGva
^tyafZou; ts xai Tptya^ou? rUfajaiv jcat Xncsaavopag.
(P)
[32]
. w
— . —UU-uyj
— * — WW — WW
Oux. sgt' STop.o? Xdyo; goto:"
QUO* Spa? SV VYJUGIV SUffSAULOlC,
O'jS' utso Tus'pyay.a Tpoiac.
Ill
BRIDAL OF HELEN AND MENELAUS (?)
[29]
*~— w ■— w ~" w W ~ WW™ — — WW—- WW — —
w
— w w — w w — —
— ww — w w ^— w — ww — ww
IIoAAa piv KuSoivta [xaXa 7F0Tspp«CT0v tcotI <$typov ava>CTt
tzoXXx tii jAiipptva q>uXXa
jcal pooivou; aref avoug tcov re KOpov&a£ ooXa?.
174 GREEK LYRIC POETS
IV
DREAM OF CLYTEMNESTRA.
[Bergk, 42]
1 w
— WW — w w — w w ' — w — WW — WW
— w w — W W 1— ' — WW — w w — /\
Tk Ss Spaxxov eSoxvjcre jj.oasiv xapa psppoTcoj/ivo? axpov
sx. &' apa tou fitxaikzix; IlASUT&svi&as eqjavyj.
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' ap^ov 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
ujavsTv <!>puytov [/.s'ao? e^eupcvra? a^pco? 7}po<; STCpyof/ivou.
[36]
.... OTav ^po? wpa '/.saocSt] ysXi&tov.
STESICHORUS 175
VIII
[Bergk, 50]
serosa Ss arovayac t' 'Ai'Sa? slaysv.
IX
(*)
[51]
'ArsXe'cTaTa yap xai ap^ava tou? ftavovrac;
xXaCsiv.
Havovroc avSpo; 7ra<7' y.r:6Xk\>X7.i tcot' av9-po)77(ov X^-P'-?-
I BYCUS
Fl. c. 530 B.C.
IBYCUS was an inhabitant of Rhegium, a city whose popu-
lation consisted of Ionians from Chalcis and Dorians
from Messene. The latter for a long time retained the
supreme power in the state ; 1 and Ibycus apparently
belonged to one of the chief Dorian families, if we can
trust the statement that he had the chance of becoming
Tyrant of the city. 2 Instead of doing so, he betook him-
self to the court of Polycrates, who was a distinguished
patron of literature ; and this to a certain extent deter-
mines 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 story of Ibycus and the cranes who
revealed his murderers is unfortunately consigned by
modern scepticism to the list of those romantic folk-lore
legends, where a blank, as it were, is left for the insertion
of the name of the hero, as from time to time found suitable.
It is supposed to have attached itself to Ibycus perhaps
because of the resemblance of his name to the word 'i(3u£,
or tpuc, defined by Hesychius as opvs'ou siSoc.
In one branch of his poetry Ibycus followed closely in
the footsteps of Stesichorus. This we assume partly from
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 Diogen. ii. 71, in explanation of the proverb ap/atoxepoi; 'ipuxou.
3 See Clinton's Fast. Hell. vol. ii. note B.
IBYCUS 177
mythology, and more directly because in many cases the
ancients themselves were in doubt whether to assign a
poem or passage to Stesichorus or to Ibycus. 1 So far as
chronology goes it is not impossible that, as a young man,
he was a pupil of Stesichorus. It is not, however, as a
composer of Epico-Lyric, if indeed he was such, 2 but as an
erotic poet that Stesichorus is known to us from his frag-
ments. Suidas speaks of him as spcoTO|xavs<jTaTo;, and the
epithet is well borne out in his poems. 3 Herein he departs
entirely from the traditions of the Himeraean poet,
whose love-poems were merely narrative and in no way
connected with his own sober feelings. It is with the
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 ex-
pressions vividly recall the spirit of Sappho's poems. He
resembles her too in his keen appreciation of the beauties
of nature ; see Frag. I.; vii. a', ft. y'. On the other hand
he is 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-
fest from the nature of the metre ; and it is not easily
intelligible how such purely personal feelings as his poems
appear to express could be the subject of an ordinary
choral representation. Welcker has an ingenious conjec-
ture — it is little else — that the odes were sung at beauty-
contests 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
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. A far closer com-
1 See Bergk 16, 52, 53, 55, 62.
2 See Welcker, Kleine Schriften, p. 241.
3 Cf. Cic. Titsc. iv. 33, 71 : Maxime vero omnium flagrasse amore
Rheginum Ibycum apparet ex scriptis.
M
178 GREEK LYRIC POETS
parison is afforded by Pindar's choral scolion to Theoxenus
(Pind. Frog. IX.).
Unsuited as choral poetry may be for love-songs, the
irregular movements of its rhythm are most skilfully
employed by Ibycus to give expression to the tremor and
frenzy of his restless passion. Aristoph. Thesmopk. 162
speaks of Ibycus as ' softening melody' (yu\).(C,zw <xp(/.ov£av),
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
to regret that no more has been preserved. It is strange
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 out-
stripped 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 Poly-
crates 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 K
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A
— ww — ww — w ^ ww — ww — w —
' A
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'Hpt, [J.SV ai T£ KuStovty.!.
[/.a'XWe? apSo|7.£va-. poav
ex. TTOTa^cov, I'va xapDivcov
xtjtto-; ay.7jp-y.Toc, ai t' oivav9u^£:
au^o'ixEvy.t. gy-izzoXciv u<p' £pVE*7t.V 5
oivapsotc Ba^E^oiciv ejxoI S' Epoc
o'jOEyiav x.aTa/Cor.TO? topav, a-8-' 0770 «7T£po— a? <p>iy<ov
©pyjlliuoc Bopsac, alWov rcapa K'jTrpiftoc a'CaTiar,;
(/.aviawjiv Ipeavot; aftaiy^Tj';
£yX.py.T£CO; 7TatOO'8'SV Cp'Aa*7-7£!. IO
ay.£T£pa? op£vac.
180 GREEK LYRIC POETS
ii
[Bergk, 2]
w w* -uu-u^ — w w — w w — w w — w w — w w "— "7\
— '. — w w —- w w — uu ' — w — w w '— w — w
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T t p.av TQOfJticD VIV eTC£p^O(^£VOV,
cogts cp£ps'£uyo; i7T7ro? asO-Xocpopo? tcoti y^poc
asjccov guv o^£G<pi -9-ooT; £? apXXav sfia. 5
III
[5]
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— WW - WW*~WW"~WW
— WW — WW WW — WW — WW
EupuaXs •fkv/.zly.v XapiTcov -B-aXo?,
#
x.a>JXix.O[/.G>v ^£^£'Sv](7.a, ge jj.£v Kuxpt;
a t' ayavo(3XE(papo; IIeiSg) po§EoiGtv £v ocvSegi ftps'i^av.
IV
HERCULES
[16]
\^/ \5 \^> —
A
W v-> \-> w — S-/
_A
^-A-/ V^^* —
WW -
VJV — *^>^> — 1^^ — \^J \^/ — ' ^
Tou? t£ 'XEu/.unroug x.opou?
T£x.va Mo'Xiova? -/.ravov,
aXix.a? iGO>££<paXoo<;, sviyuiou?,
ap/^OT£poui; yfiyaolTa? ev toso) apyupsw.
IBYCUS 181
v
[Bergk, 9]
— . — uu — — — w w — w w -— — — w w
WW WW 7\
D.au>c.o}7uSa KacraavSpav dpaaw&OKauov x.oupav IIpia[x.oio
VI
[24]
w ; — w — w w w w — w — w — ' *
w C — w — w — w — w
Tif/.av 7rpo; av^ptoTccov ajj.si^oi.
VII
[6]
— ^\j — ^^^ — 1^ — i^f — ^
Mupra ts jtal I'a seal zkiyguaoc,
p.o£kd. ts >cai po&x x.al Tepsiva Sacpva.
<P')
[7]
— s^y \y I— — ^ V-» — ky ^* ' v^ ^ — s-» — ' ^
Ta[/.o; au*rcvo? jcXuto; op9-po? eyeipTjatv avjSova? . . .
(Y)
[3]
• w
w w . — WW — w w ' ' — w w — WW
^XsyeOxov, axep <W. vux.xa [/.ascpav crsipta — afACpavotovra.
VIII
[27]
Oux. £<mv a-o'pihjj.svot:; £coa? Sfi (pap^a^ov supsfv.
ANACREON
Fl. c. 530.
In the fragments from Anacreon we have poetry very
distinct in character from that of any of his predecessors.
As a monodic poet, who writes chiefly of love and wine, he
is the successor of Alcaeus and Sappho, and the three
together are almost the only Greek representatives of
Lyric poetry, as we understand it, namely of the subjective
and personal order. But beyond this Anacreon has little
in common with the Lesbians. He alone of all 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 it is not in these external characteristics alone that
he differs from the other Melic writers. 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 same extent as is done by Anacreon.
His poems transport us far from the life of a Hellenic
citizen, with its eager activity in peace and in war. The
favourite of a Tyrant has no burdensome rights or duties ;
he has simply to drink, love, be merry, and to write grace-
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,
in struggling for political mastery ; still less would he have
dreamt of abandoning daily comfort and life itself at the
call of duty, like the typical Spartan. His was just the
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 inhabitant of Teos, we hear of Anacreon as among
those who, when the reduction of their city by Harpagus
was imminent, escaped slavery by fleeing to a new home
at 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
credit, if 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 l until the murder of
the latter in 522 B.C. Anacreon had long since estab-
lished a Hellenic reputation; and Hipparchus 2 invited
him to add lustre to his princely household, sending a
fifty-oared vessel to escort him to Athens. Here he
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
likely that he remained in or revisited Athens, like Simon-
ides, for his poetical style and general temperament were
little suited to the taste of a democracy. 5 An epigram
1 Hdt. iii. [21, and Strabo, xiv. 63S. 2 Plat. Hipp. 228 C.
3 Plat. Charmid. 157 e. 4 Pausan. i. 25. 1.
6 Compare Append. Anac. 8, where he speaks of himself as ou8'
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,
enjoyed the hospitality of the Aleuadae. 1
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.
The character of Anacreon is readily discernible in his
extant verses. He presents us with an excellent and
agreeable type of the refined man of pleasure. He ,
studiously avoids all things earnest or serious, and all
things painful even in word (v. El. 94, Bergk). He is
not a hedonistic philosopher, who, dissatisfied with the
brevity and the trouble of existence, betakes himself on
principle to the studied pursuit of enjoyment ; rather it
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 in his favourite pursuits of
wine and love there is no trace, I will not say of the ter-
rible earnestness of Sappho, but even of strong emotion.
'Ep(3 T£ Svj'JTS /CO'JX £0(5
Kal f/.aLVO(/.ou x.o'j [v.aivoaat,
is the key-note to his happy temperament. Eros to him is
not the dreaded deity portrayed by Ibycus, but a sportive
god who playfully vexes the poet with his golden ball
(No. VI.) ; and when his attacks become too annoying,
Anacreon proposes, with wine and merriment as his seconds,
to box with the god whom Sophocles calls ' unconquered in
1 Cf. infra, Biog. of Simonides, p. 199.
ANACREON 185
battle ' (No. XIV.). Similarly his Bacchic songs are written,
we are told, in sobriety, 1 and Aelian deprecates the notion of
his being a debauchee, Myj yap ti; . . . 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
his marvellous ease and grace. 2 It is not so much that
he falls behind other Melic poets ; he stands apart from
them in 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 bar-
baric, and looks for wine to 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
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
employing laborious care and workmanship 3 to produce his
effects ; whatever Anacreon wrote was sure to be pleasing
and faultless of its kind. Plato speaks of Anacreon as the
Wise. 4 He can hardly have applied the epithet to him in
the same sense as he does to Simonides (v. p. 202) or
as it is applicable to any of the poets who dealt with the
1 Athen. x. 429 B, and cf. note on XVI.
2 ' Sa grace infinie et sa legerete charmante.' — Burnouf.
3 'Non elaboratum ad pedem,' Hor. Epod. xiv. 12, of Anacreon.
4 'Avoc/tpEovTo; tou cto'^ou, Phaed. 235 C.
1 86 GREEK LYRIC POETS
great subjects of 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 pleasure-
loving poet could prove himself on occasion no mean
antagonist. His skill is nowhere more apparent than in
his command of metre. His favourite Glyconics and
Fherecrateans might easily tend to monotony, were it not
for the slight but effective varieties which he introduces.
In the lines 'Ava-sTo^ai Svj Trpo; "O'kotj.r: ov TTTspuyecyGt
y.ou<pat;, /..T.A., the impression of an angry flutter of dis-
appointment is admirably conveyed by the metre ; while
in Frag. XIX. syio Ss peso), x..t.'X., where the poet is in a
comparatively reflective mood, the metrical effect is cor-
respondingly calm, the dactyls being followed by the
slower trochees. But it is in the song beginning ITiS^s
©pvjfciyj ti Sr (/.£, x.t.'X. (No. V.) that the poet surpasses him-
self. Here the rhythmical movement, simple and easy as
it appears, is a brilliant work of art in itself ; and we are
readily 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/.ov£a<;.'
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.^ — ) as a clausula, the latter recurring, not at
regular intervals, but as best adapted to the nature of the
ANACREON 187
subject or the demand for rhythmical variety. Each of
the lines before the clausula is so far independent, in that
the ' wortschluss ' is in all cases observed, 1 and all but very
slight elisions 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.,
Frag. II. 1. 1 sXa^7j(3oXe, Append. 1 jcsx.op7](xev6, Append. 3
jcotXarepa), it is really prolonged by being succeeded in
the next line by the double consonants '£, g[j., gt respec-
tively. In the Glyconics the first foot was probably
originally treated as the ' basis ; ' 2 and hence assumes no
less than three forms, -^, — , and <*—. Of these the Iamb
occurs very rarely, 3 the trochee is equally uncommon, 4
wherein we may contrast the Glyconics in Catullus LXI.
in 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 Phere-
cratean in Anacreon ends in a long vowel without excep-
tion, and there is little doubt that it is not an acata-
lectic tripody, -c;-^^-w, but a brachycatalectic tetrapody,
-^-^^| — a I n Catullus I.e., on the other hand, the final
syllable is frequently short, e.g. ' 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
line are avoided, consists in a series of what are called
' broken dimeters ' (&[/.SToa avax>.G){/.sva) thus : w—v—^ — A ^
each line being a ' broken ' or resolved form of an Ionic
dimeter, ««--«« — 7s;. (See Frag. XIV, XV, XVI., etc.)
The Ionic dimeter itself frequently occurs either as a
clausula {e.g. Frag. XVI. I. II, o-q-ivovts; sv ujxvois), or as a
mere variety (e.g. Id. 1. 5). The 'broken dimeters' should
probably be regarded as brachycatalectic, while in the Ionic
there is a pause after the last syllable equivalent to two
short syllables, as indicated in the scheme.
1 Contrast Catull. lxi. 86. 2 See W. Christ's Metrik. p. 517.
3 Frag. XII. 1. 1 ; Append. Anac. 4 and 8. 4 Append. 1, 6.
AN ACREON
i
[Bergk, 89 1
,-A
w — w
'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' "ApT£[Al ihjpOiV
7] >cou vuv S7fi AvjS-aiou
^ivqai S-pacujcapSitov
avSpcuv dc/Caxopa? xoXiv
^aipoucr'" ou yap avvjf/ipous
7TOt[AaiV£li; TZOklYfUXQ.
Ill
TO BACCHUS
[2]
'OvaQ, to Sa|7,aA7]? "Epco;
x.al Nuiiffiat jcuavtoiuoss
TTOp^UpST] t' 'AcppoStTVj
<ju(X7rai^oi)<jw IxtcTpsmsat S'
uvf/Tjlcov jtopixpa? 6p£(-)V,
ANACREON 189
youvouj-tai crs" «ru S' su[asvy<;
s);fr' ^[/.Tv, /.syapiap-ivv]? S'
BUYtd^r? S77a3CO'JSlV.
KXeopou^co S' ay a fro; ysvsu
GUf/.(3ou7.0?" TOV £[7.0 V S' £pCOT*, IO
tO AsOV'JCS MyZG&Cf.l.
IV
[Bergk, 65]
(Tov) "EptoTa yap tov dcj3pdv
[/.&o|/.ai Ppuovxa [/.iTpai?
7ro7vi)av^£i7.ot; aswsiv"
60s yap $£tov duva<JT7^?
6' os xal j3poTOo? o*af/.a£et. 5
[75]
— ' — ' — ' A
vy — ^ — v-/ — ^ — w — *-* — ' x
IIw/vS ®p7]X.t7], Tl 0*7] [J.£ Xo^OV 6'[/.[/.aCtV fikilZOUGCL
vvjlsw; qjsuyst?, Sozist? o*s {/.' ouSsv eio'svai cocpov ;
v I(rih to 1 JcaXoS? [jIv av toi tov yoCkaov i^akoi^i,
■yjvta? S' sytov <7Tps(poi(/.i (<>') ajxcpl Tspp*.aTa Spo^ou.
Nov o*s Xei(Jt.<3vas te ^Offjcsat scoO^a te <73«pT<3<ja rocket;*
o*s£iov yap wnc ocsipvjv oux. s/stg S7irsf/. l SaT7]v.
[76]
IQO-iK [7-su yspovTo; susSsipa /jjugo'tcsttAs xoupa.
VI
[Ml
2<paip7] 0*V)'JTS [/.£ TiOpCpupSV]
(ia'X'Xtov ^puaox.O[7.7j? "Epw?
vr ( vi 7row.iAo<7au,|3a7.<p
cup.7ra(^siv rcpo>ta^£?Tai'
V
190 GREEK LYRIC POETS
r t §', sgtiv yap ax' boxtitou
Ascj3ou, T/jv [xev ep.rv j&ou.inv,
^.sujcy] yap, JtaTauiu.<psTaL,
xpd? o aXXvjv -nva y6.av,z\.
VII
[Bergk, 47]
/ / / /
w v*/ *— — \J \j — **j — \J — \J — \j
*
MEyo&to otjOts [/.' "Epw; sjco^sv were yaXy.suc,
xsXsjcei, ^£i[j.spi'/] S' eXougsv sv ^apa^p7j.
VIII
[46]
'AcTpaya^ai ft' "Eptoro? siciv [/.avtai ts jcal xuftoi^oi,
IX
[24-5]
'-*-* 1 ' 1 i_L A
^ v^ ^j w '— — \J ^ ' ^y \y — ^s '— — ' x
(<?) 'Ava7i£To;xat ^vj xpo; "OXu[/.7tov izxepuy&GGi xoucpai?
Sia tov "Eptor'' ou yap i[j.o\ xaTc eOeXsi cuvTjpav.
($) ("Epw;) p.' scuta) v ysveiov
uxoxoTaov ypuaocpasvvtov TTTEpuyoiv aerate
7rapa7T£T£Tai.
X
[4]
'fl xai xapftsviov (&sx(t)v
oi/o^.ai a cru o ou/. aisi?*
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,
KXsdfJouXov &£ S1OCX.SO).
ANACREON 191
XII
[Bergk, Sj
'Eyoo S' out' av 'A[/.aXfri>j5
PoiAotj/.7]v xspac, out' Irea
7T£VT7]JtOVTa T£ /.at £/Ca.TOV
TapTvjffaou PactXsGffat.
XIII
[191
'Ap9-sl? otjOt goto AeuxaSo;
7rsTp7]s 65 roXtov y»uj/.a xoXu;x(jto {/.sftutov spom.
XIV
[62]
<I>£p' uoop, <psp' oivov, to 7rat,
<psps S' av9s»7-ouvTa5 7)j/.tv
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 *-^ vj w J\
Ay£ o7j <p£p vj|7.iv, to ~at,
jc£Xs(3tjv, oxci>5 ap.uffTiv
7rpo7uio, Ta [jiv osV iy/iy.z
rr<S \ <S, ,1
uoaTo;, Ta tovts o owou
192 GREEK LYRIC POETS
■/cua^-ou;, to? avuppicras 5
ava Stjute paccrapr^co.
"Ays StjOte [/■■qxifr' ouTto
TiaTayo) te xoXoXtjtw
Sxu-8ix,7jv TCOCiv Trap' ol'vtp
u.e>.STt3{ji.sv, aA^a /.ixXoi; IO
U7tOTCtVOVT£; £V U'J.VOl?.
XVII
[Bergk, 90]
,-A
Mr&' wars x.u(xa xovtiov
T^aXa^E, TV] 7ro^ux.poT7]
guv racTpoficop - /) x.aTa^uoy]v
luvouca ttjv S7u<raov.
XVIII
[17]
, W _ W _A
A
(«) 'HpiCT'/jTa piv ITpiOU
'Xetctou jv-tapov a7to/.Aa?,
ol'vou S' s^emov jtaSov,
vuv S' appto? sposacrav
i^aXXto 7njx.TtSa ttj <pt>.7j
x.to[j.a*Ctov Tra'iS(t) appvj.
[18]
(£) ^atoto S' ebon (AuSov)
^oprV/jciv [j.ayaXvjv £^<dv
to Asu/tacTft, cu 5' r$5L<;.
ANACREON 193
XIX
[Bergk, 74]
_ w Li_A
raxvTa;, 6'crot. yO-oviou? lyouai pu-9-j/.oui;
jcal ya/\£— o'j?* [X£[xa&7]x.a cr', to Meyt(7T7],
tcTv apax.^oixovtov.
XX
[4Sl
— ^> \_/ ^ !„/ — /"y
' Epi yap ^ - 'Xoytov eivsjca 7catS£? av <pt,/\ot£v
yv.pizvTX [7iv yap aSw yapiEvxa S' oiSa 7\££at.
XXI
[44]
"Epa|/.ai (o£) rot ouvvj^av,
yaprroCv £/£t? yap yj$o;.
XXII
[43]
IToltol [7.EV 7]f/.lv 7]Syj
xpoTacpcn, xapyj t£ /\£uxdv,
yapiEcraa S' ouxi$-' r^yj
xapa, y/]pa/v£oi (V cx^ovtec.
ri'JX£pO'J S' 0'JX.ETt, 7i;o7\/\0<;
^ioto'j ypovo? 7\s^E&~Tat'
Sia Taur' avaGTa/^u'Co)
9-a(/.a Taprapov (Ss^otxoi?.
'A$£<o yap sgtl Seivo?
{vr/6c„ apya"X£V] 8' e; auTOv
;ta&o$o?" scat yap etoi^ov
xaTafiJavTi fit.7] avapvjvai.
N
194 GREEK LYRIC POETS
XXIII
[Bergk, 21]
' A /->i- ' 1 ' — ' — ' A
**/ — \y — w — ' % ur — <s *-• — ""v-* w — \^/ — w — \s — w —
^_^_1^_A or .l v _, w i_-L^ w _--L w _ — _^_A
A
-ovj 1 ^/w- HaVtHj (&£) Y* EupU77'JA7] [/.sXsi
6 7i£ptCpOp7]TO? 'ApT£[J.COV,
™lv (y.sv sycov psppspiov JtaXu[/.f/.a t' £<r<p , y]/.o)fA£vov,
>cal £uXivou; acrTpaY^ou; ev toai, jcal <Ll7i0v xepi
xXeupvjci — c; - [3od;, 5
vtJxXutov s'iXu(/.a xaxTjj; c/.gtzv)oc„ apT07rtoXi<jtv
y.aB-S^OTTOpVOKTlV 6[/.lXsb)V 6 7TOV7]pOg 'ApTSJAtOV,
xipSyj^ov 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 IO
TttOYWVOC t' £/CT£Tt7;|X£VO;.
vuv S' £7u(3aiv£i GaTtv£cov, ypucsa <pop£tov xaflipp.aTa
rat; (6) Kujcvj?, x.al crx.ta^ia/.7]v £X£<paviriv7]v <pop£t
Yuvoci^lv auTco; — «-»—.
XXIV
[5'3
— ^ V** ^ /\
\w^> — s^ — \j 7\
'AYavto; oia t£ v£ppov veoO-vj'Xsa,
YaXaS-yjvov, oW £v CXyj x.£po£<7<r/];
aTTO^StCpS-sl? U7TO p.7]TpO? STTTOyStJ.
XXV
[6]
Mel; piv Syj IIoGi&fjitov
IVnjJtsv, v£<p£Xa; S' uScop
(3apuv£i, Aia t' aYpwt
^£t;7.a»v£!; x.<XTV.yo\)Gw.
A N A C R E O N 195
XXVI
[Bergk, 41]
W W . — WW — ~ W W — — WW™ — A.
('O) MsyicrTV]? (To cpt'Xdcppcov §£*a Syj (/.rvs? eirsi ts
<7f£<pavouTai ts Xuyco xal rpuya xivsi [/.sXivj^sa.
XXVII
[20]
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196
GREEK LYRIC POETS
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S I M O N I D E S
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 man-
hood 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.
We are approaching the period when really authentic
Greek history begins ; for the first Greek historian, Hero-
dotus, was born in 484 B.C., seventeen years before the
death of Simonides. The poet's career was intimately
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 we have ample testimony from various sources
with regard to facts bearing upon his life.
It is fortunate that we are able to form this compara-
tively close acquaintance with the poet's career ; for his
name marks an epoch in the history of Greek Lyric poetry.
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
who could afford to pay for it. For the time he raised the
art of choral poetry to the highest pedestal ; but he had
fatally sapped its foundations, and although it was upheld
in all its splendour by the magnificent genius of Pindar,
it 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
branches of the Hellenic race, may trace in Simonides
much of the readiness and shrewdness, and not a little of
the want of depth and lofty principle often ascribed to the
Ionic temperament. His vocation as a choral poet found
an opportunity of developing itself in his own island in con-
nection with religion, for he appears 3 to have taken some
official 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
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 litera-
ture 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 un-
friendly rivalry, 5 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
1 Schol. Ar. Wasps, 1402. 2 Epigram 147, Bergk.
3 Athen. x. 456.
4 otei nsp\ auxov ec/s, [xEyaXot? [jitaO-ot? xa\ Swpoi? rcetO-wv, Plat. Hipparch.
228 C 5 Schol. Wasps, I.e.
SIMON IDES 199
to educate their subjects as much as possible (Plat. Lc.)
it is likely that Simonides, who subsequently attained
great distinction in Dithyrambic poetry, first gave his
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.,
or perhaps on the assassination of Hipparchus in 514. He
celebrates a 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
by Cicero l 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
sitting at the banquet in honour of the occasion for which
the song was composed, a message came in that two
strangers wished to speak with the poet outside. No
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 suc-
cessful 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 much-
abused Pisistratids in no way impaired his popularity with
1 Oral. ii. 86. J See on Frag. III. and Athen. x. 438.
200 GREEK LYRIC POETS
the new democracy ; and with a truly laudable impartiality
he sang the praises of the assassins of his former patrons.
{Epig. 156, Bergk.)
H ;viy' 'A&7]vaiowi cpoto; ysvsfl', vjvi/.' 'Ap'.CTO-
-yetToJv "iTnrap^ov jctsivs seal ' Apy.oSio;.
He threw himself, whether or not with a genuine
enthusiasm, into the patriotic spirit of the anti-Medising
Greeks, and it is in connection with the victories over the
Persians that the poet won his greatest renown. The
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.,
all earned their meed of praise from the skilful poet ; but
it is when he speaks of those who fell in the conflicts at
Thermopylae that he reaches his highest strain. On this
subject, besides a Melic passage of great power {Frag. I.),
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 young (jcsi[/.£&' ayqpavTio ^po^evoi euTir^ia).'
As the poet-laureate of the Persian wars, Simonides was
intimate with the great generals who led the Greeks to
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 201
whom he gave the pithy and appropriate advice [/ip.v/jco
av9pw7ro? wv, Aelian 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 him-
self 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 con-
siderable innovation in this class of poetry by extending
it to subjects other than those connected with Dionysus,
as is shown by one of his titles, ' Memnon '. 1
Very shortly after the above date he retired to the court
of Hiero at Syracuse, for we hear of him in 475 B.C. success-
fully intervening between Hiero and Theron of Agrigentum,
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 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. 2 Schol. Pind. 01. ii. 29.
202 GREEK LYRIC POETS
to the last, and several of his epigrams belong to the latest
period of his life. At the age of eighty-nine (467 B.C.) he
died at Syracuse, as we gather from Callimachus 7 1, where the
ghost of Simonides inveighs against the Agrigentine general
who during 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 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« cpi^ofxco^ot; {Frog. IX.,
1. 5 note) ; and that ctocppocuvT], 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,
to which there 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
the poet made a clever apology to his detractors {v. p. 204).
The reputation of Simonides did not rest entirely upon
his poetry, he was also regarded by the ancients as a sage.
For this statement we have ample authority inter alia in
the works of Plato. Thus in Rep. i. 335 E, he speaks of
Simonides, or Bias, or Pittacus ' r t tiv' al^ov twv cro<p<3v te
xal [/.a/capiwv avSpiov,' and a little before (331 E) on Simon-
ides' 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 I M O N I D E S 203
frsto; avvjp.' In Plat. Ep. ii. 311, the intimacy of Simonides
with Hiero and Pausanias is given as one of several
illustrations of the natural tendency of great wisdom and
great power to come together (TCscpuxs £uvtsvat ei; tkoto
<ppovvj<7i; re seal Suvap; f/.sya>.Y]). Again in Protag. 316 D,
Homer, Hesiod and Simonides are spoken of as ancient
professors of tj cotpwrrutY] Tsppm, who imposed their art upon
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,
is described as trying to prove himself a better man than
Pittacus by attacking a dictum of that sage (see Notes on
Frag. IX.). Indeed by the time of his birth Simonides
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 utter-
ances characteristic of those early Sophists, if we may
call them such.
The actual principles of his philosophy were not of a
very elaborate nature. 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 e<m flecov fpco), XX., 1. 5) ;
mankind alike in virtue and in happiness is frail and
entirely dependent on the will of the gods (x.(k-'nz\ziaTov
KpioTOt tou? (V.s) &soi cpiXecotftv, Frag. IX. 1. 14). Yet in a fine
passage elsewhere (No. X.), in writing which presumably
the poet had not to consider the dubious character of his
patron to the same extent, he tells us that aps*nq is to be
attained only by the most strenuous efforts of mortals —
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 lot on earth, such as are not uncommon in
Ionic writers ; nor does he, like Pindar in similar composi-
tions, hold out hopes of a brilliant after-life.
The wisdom and shrewdness of Simonides were not
entirely the gift of nature. He gained much from his
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.
He was famous too for his ready wit, of which several
examples are handed down to us. For example he
declared that he sold Hiero's allowances in order to exhibit
his patron's generosity ([/.syaXoTrpsTCia) and his own modera-
tion (x.GGf/.ioTT};). He assured Hiero's wife that it was better
to be rich than wise, for you see the wise at the rich men's
doors ; l he remarked to a stranger who sat silent at a
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 all in that
part which does not here concern us — his Elegiac and
Epigrammatic poems. For this difficult work his admirable
tact, 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 one word of super-
fluous vain-glory. The most salient characteristics com-
mented on in his Melic and other poetry are its exactitude
and delicacy of expression, its sweetness, and its pathos.
Thus in Dion. Hal. Vett. Scrip. Jud. we read 2i;/.wvi§y)c
7capaT7]psTT7)v sxXoy/jv TtSv dvo[/.aTo>v,Tr? cuv&icrsto^Tirjv ax,pi(3stav.
Similarly Quintil. x. 64, says, ' Simonides sermo?ie propria
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;).' As an illustration of these criticisms we may
take the Ode in honour of the heroes of Thermopylae
(No. I.), which is a masterpiece of appropriate expression.
Simonides himself speaks of his songs as TspTrvdraTa,
1 Ar. Rhet. ii. 16.
2 '£2 avOpcoTO, e? [xev irjXithos Et aocpov npay[j.a tmv.c; ei ok aocpo; ijXt'xhov.
S I M O N I D E S 205
and the critics are in agreement with him. He is said to
have been called Mzkv/.iprr^ Sta to r^u, 1 and in Anth. Pal.
ix. 571, he is thus contrasted with Pindar :
"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', 2 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,
/..t1) ; and a mere casual comparison of his hyporchem to
the movement of a hunted stag is full of life in the picture
he summons up of the averted neck of the prey in his last
struggle for escape. Similarly Longinus de Sub/, c. 15. 7,
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. A grammarian in a life of
Aeschylus says that Simonides surpassed the tragedian
TYJ — so! to gu|/.toX'9-ss ~kz~ totvjti. Dion. Hal. Vett. Scrip. Jud.
II. vi. 420, places him above Pindar in the the same respect
— jca-9-' 6 (isT/ricov E'jpiGy.STat, x.a! Iltvoapo'j to oixri^STfrai \j:i\
[./.syaXoTrps— co; co? sV.elvo; aTJXa 7raflinTBtc3?. And Quintilian,
x. 64, says that he excelled all others ' in commovenda
miseratione.' Fortunately we have one immortal specimen
of his pathetic style remaining. I refer to the Datiae
passage, No. II., which is always regarded as a fragment
from a Threnos. When we read this exquisitely touching
poem we do not wonder that mourners sought the con-
solation 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.
2 Tr,v [i.£v ^(oyoacptav Tzotrjatv ai(jj7rujaav . . . ttjv ok rrotrjatv JJcoypaspiav
XaXouaav. Plut. de G/or. At/ien., c. 3 ; c'f. Lessing's Laocoon, passim.
206 GREEK LYRIC POETS
to 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, 2
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 occa-
sion by introducing digressions, mainly into the region of
mythology, a practice which he himself justifies in the
words a Moicra yap ou/. aTvopco; yeusi to 7rapov [v.ovov, x-.tX
(No. xxiv. b), and which is referred to by Schol. Pind.
New. iv. 60, 2ip.tov$-/]? TrapsscpacSGL yprp&ai sicofrsv. In illus-
tration there is the story already mentioned of the Epinician
Ode on one of the Scopadae, in which he devoted so large
a portion to the praise of the Dioscuri ; and the long
ethical discussion still extant (No. IX.), is generally, if in-
correctly, supposed to be from an Epinicion (see note ad
loc). In this species of composition he appears to have
been far from always maintaining the dignified tone which
characterises Pindar's Odes. Thus we have in No. XVIII.
a rather ungenerous punning allusion to a defeated
antagonist, and Suidas remarks, outo? 7vpcoTo; cW.si
|Atjtpo7.oytav siceveyxsiv si? to acrjxa.
It is difficult to estimate the loss that we have suffered
in Simonides' poems. His genius was lacking perhaps in
grandeur and in depth, but its perfection at all other
points, and its universality, mark him as foremost among
the Greek Lyric poets. Contemporary as he was with the
period of the Drama, a further knowledge of his writings
would have been of the highest value and interest in the
study of the literature and the thought of his age.
1 Plut. Qu'iest. Symp. IX. xv. 2.
3 See Ar. Clouds, 1356 ; Knig/its, 407.
SIMON I DES
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7T£ptovTo; x,'j[xaTO? oust aXsysi;, 10
ou S' av£[j.ou (pfloyyov 7rop<pupsa
x£tp.£vo? sv yXavt^t 7rpocto7rov x.ocaov (y - — )
El OS TOl SsiVOV TO y£ SsiVGV VjV
S I M O N I D E S 209
x.ai jcev i[j.<Zv p>j[/.aTtov 'Xstctov \j~zTyzq oua?"
xiAO[/.at* S'jSs (3ps<po$, £<jSetg> &£ ttovto;, 15
suostw o a^erpov ;cax.ov
p.£Ta ( 8o'A(a Se tl; <pavsh], ZsO — axsp ex, ge&ev
otti 8s ^apcra'Xsov etco; euyoy.au.
T£xv6<pw o(%av cJyyvcoO-i u.01.
Ill
ON THE SCOPADAE
[Bergk, 32]
^ ^ — /\
"Av0-pto7ro; ecov [7//J7TOTS 9'/a7]; oti yivsrai auptov,
f/.7)S' avSpa iScov oa,Siov ocaov ypovov scrcrsTai'
(dxeia yap ouSs TavuxTSpuyoio [7.uia?
IV
[62]
A
\^ ^y ^/ — W — vy — \«/ V..
,-A
Ouz. sgtlv jca/.ov
avsm&djaiTOV dcvO-pooTroic, oAiyio &£ /j^ovco
TravTa ;x£Tappi~T£i -9-eo'<;.
[39]
^/ O* ~~ ~~ ^ ^ ^ v^ /\
— ', — ^ V-/ I— 1 \^/ \^/ — \^ \_J — ^\^
i^_A^ * "^ W ^— W v_/*^ ^/ >^ /\"
* <^/ V^ ' — V./ — ^_/ W — ^ \J — /\
— * — «*-> <J — k
'Av9pco~ cov oAiyov y.zv xapTo;, aTrpvj/.TOi 8e fASATjoovs?,
akovt, ^£ Traupto — ovo; a^<pl xovco*
6 8' a<pu)cros 6[xw; £— tjtpsj/.aTai ^avaro?'
x.£ivo'j yap igov \y.yov f/ipo? 01 t' aya&oi
octi; T£ x.ax.G<;. 5
O
2io GREEK LYRIC POETS
VI
[Bergk, 36]
\^> ^— ^/ \J ^ — s^/
^ \J *— \J — V^l y^l — '\
_^_A
v./ v^* W ^— W ^ >^ — v^ — w
' \-» — \S •— ^ \j v^ — \J
Ouos yap 01 TrpoTSpov xot' £7T£l0VT0,
#-s<3v S' s£ avaxTcov sysvovB-' uts? Yjjvi&eoi,
a— ovov ouS' acpS-iTOv ouS' ax.ivSuvov (3tov
£? yrpa? &£ijcovto TsXeaavTS?.
VII
[38]
' \J — \*/ <J ^/ \J —
' ^ \^ — u^ — ^ ^
Ilavra yap [/.(av ijcvevrat Sacr— Xttoc Xapu^Stv,
al jy.eyaXac t' apexal xai 6 xXouto?.
VIII
[577]
— ; — \s — c* — s-^ — ^f — o- — ^ — w — o
IIo>.Xo? yap aplv dq (to) ts&vkvoci ^po'vo?, £<T[./.ev S' apt&u.o~
xaupa xa>co)<; srsa.
ETHICAL SUBJECTS
IX
' — — *-» A
— ^ ^ ^> ^ \y \_/ — v^ ' x
1 t '-'A.
»3 *. — w ' w — ^ v^ — ' ^ C
w . ' ^ — w
— 1^/ — \^/ W *""* ^ ~ V-> — W — v^«
"AvSp' ocyaS-ov (/.sv dcXaS-ewi; yevsa&at, cnrp. a'
yoCkZKOv ^spciv te x.al 7TO<j! >cal vow TSrpy-
-ycovov, av£u ^oyou TSfuyj/ivov
SIMONIDES 211
o? av y x.ax.6? (/.vjS' ayav a7ra/\a{7.vo?, siSco<; y' ova.ai'Kokiv
Si>tav
uyfoj? avv*p" ou&s [/.yj [7.cv syto
f/.G)|7.a<70p.ar/ tcov yap aXi&Uov 5
a7T£ipwv ysvs&'Xa.
xaVra toc jca'Xa, toicti t' airr^pa |7.y] pxf7.tx.Tai.
OuSs p.ot dau.sXsto? to IltTTaxeiov <TTp. (3'
vsp.ETat, xaiTOt cocpou xapa cpcoTO? sipyjf/ivov
joCkzizov <paV ecr&'Xov £[7.[7.svat.
-frso? av [J.OVO? tout' lyoi yspa?* avopa o' oux. tan (xr ou IO
X.aX.OV £[7.[7.£Vai,
ov a[7.ay^avo; aup.cpopa x.a#i/\7)*
xpa^at? yap si' 7ra? avy^p ayaO-o?,
x.ax.o<; §' si x.a/.(5; (ti)"
*xaTCi7r7v£tCTOv apt(TT0t tou? >cs fteol cpiXscoctv.*
Touvexsv ouxot' eyw to [7//j ysvscrfrai <JTp. y' 1 5
SuvaTOv Si^r;7.£voi;, xsvsav e? axpaxTOv eXTCioa
(v.otpav aitovo? (3a/\sw,
7rava[7.oi[7.ov av{)-pto7rov, supusSou<; 6'<70t xapTCOv
ai,vu|7.£#-a y&ovoV
£tz\ §' ujm&v e'jpcov axayys'Xsw.
7ravTa? S' £7raiv7](7.!, x,al cpt/\eco,
ex.cov offTi? sp^vj 20
fj/flSsv awypo'v, avayxa 8' ouSs &so! [jAypvxax.
X
[Bergk, 58]
_^_ W _A
vl/ — ^ — *~*
A
"Ecm ti? 'Xo'yo;
Tav 'ApeTav vaistv ou<ra[/.(3aT<HS £7rl xsrpaic,
vuv &s [7.iv -9sc3v yolpov ayvov ap.cpsTCiV
212 GREEK LYRIC POETS
ouSs xavTtov ^£<papot; Qva-rcov egottto?,
to [XT] ^a/ifrufAO? iSpio? svSo9-ev [aoatj,
ix7] t' £? axpov avopsia;.
XI
[Bergk, 61]
•s^^/ I V^ W ^ s_^ ^ ' ^
^_/ S^ W *— ^/ V^ W ^-/
' ^ — ^ — V-*
OuTl? O.VEU &ECOV
apETav "Xapsv, ou ttoTvl?, ou BpoToV
-9-eo; 6 7WC[Jt.|/.7]Tis" a7t7][/.avTOv os
XII
[71]
^ — ^ — (^ — ' \
^/ — w — \y — ^ — v^» — w
• S-* V-/ V^ V»/
Ti? yap aSova? aT£p
-ftvaTiov Sio; ttoO-sivo? "^ 7:01a Tupavvt; ;
to; S' axsp ouSs $sojv (^a^coTO? aitov.
XIII
[70]
— ^j ^/ — ^J \J ' — v_/ — /\
^/ ^
OuSs /.aXa? cro<pia? egtIv X^p l ?>
si p.7] ft? Sjjei GEjAvav uyisiav.
XIV
GNOMAE
[65]
(a) .
' O S' au SavaTO? xiyz xal tov <puyo[/a)(ov
' U>J ~ " V-A^ W^/\^^ ' *■
SIMONIDES 213
[Bergk, 69]
To yap yeyewjf/ivov oujcst apejcrov 2<rrai.
[66]
(^J ' — v-/ ' — W I — w— /\
E<7Tt xal Giya; ax.ivSuvov ysoa?.
[42]
^W ^ — w ^ I — ^ I — w — /V
Peia -9-sol /c'Xstttouciv av^ocoxtov voov.
[76]
T6 Soksiv jtai Tav ala&siav jStarat.
[67]
(/) IloXt? avSpa oioaax&i.
EPINICIAN SUBJECTS
XV
TO GLAUCUS THE BOXER
[8]
— w 1— v- a
'WW — WW ' W —
A
Ouf)£ rioX'j&suxeoG (3ia
svavTia; Ta? yeipa; <xvt
ouSi GiSapeov AX>c(/.avo? ts/.o?
fevavTia? ra? yeipa? avTSivanr' av ocut(3
214 GREEK LYRIC POETS
XVI
TO ASTYLUS
[Bergk, 10]
\^f \^ — ^ v^ — ^ w — WW"
V *~> . — KJ ^ W ^
Ti? S^ Tt3v vuv TOtfaaSs
TCTaXoiai [/.upTcov yj <>T£<pavoi<7i p'oStov aveSvjcaTO vtx,a;
Iv ayoSvi 7rspix.Ti6vcov ;
XVII
MELEAGER
[53]
- J >-w
\^f \j WW /\
■ww — ww — ww — w
w w ^~ w ~~ — ^— w fc^ **■
"O? Sou pi xavra?
vfocacs veou; SivasvTa paXcov
"AvaupOV U7T£p 7T0AUp0Tpu0? c£ 'ItOAXOU"
outo) yap "Ofx^po? ^Ss 5/ra<7fyopo<; aWe Aaoic.
XVIII
fi3l
w . — \j \j — >-> — w — <-> — ' x
v_/ \ — \j ' ^j \j <*_/ ' *
'Fj-iii^y.^-' 6 Kpto? oux. aeixiw?
saOxov s? (eu)S£vSpov ayAaov Ato;
T£p.£VOC.
XIX
A MULE-VICTORY
[7]
"" <•/ W ^ V^ — W — <w»— C/
Xaiper' asAAOTtOocov -8-uyaTps? l'x7Uov.
SIMONIDES 2is
MISCELLANEOUS
XX
CLEOBULUS CRITICISED
[Bergk 57]
- ^ — — — \u *s — ^ ^ v-> v^ — «w»W — -~
• t^» V^/ — V^f ^ ' -w< W W ^ ^ — /\
t ^ U— ^ I ^ ^, ^ y^
»^ ; — \j ^1 — ^ ^ ' — ^ ' — v^
— v^ ^ — w ^ • — «w» ' — ^' — W~"~*
5
Ti; xev^atv^crsiE vow 7u<7uvo<; AivSou vasxav KXeo^ouXov,
aevaoi;|xoTa{y.oi(jtv av&sai t' eiapivoii;,
asTaou re <p^oyl ^pucsa? ts csXava;,
xal S-a^atfcraiaicti Sivai? avriSivTa [xivot; GToXa; ;
"Axavxa yap ecu -frstov yjaGco - 'Xi-9-ov Ss 5
xal^poTSot Tztxky.[j.v.i ftpauovu" p.wpou cpcoTo; aSs (3ouXa.
XXI
ORPHEUS
[40, 41, 12]
^ Vw> ^ ^ /\
(^ w — *»■» ^ — ^ w — ^ ^
v> v^» I I — ^ t^/ I I — ^y \y — ^ w ~~ """
■^ w — 7\
5
^ >^ * — \^> ^/ — ^ \_/ — y\"
— <^> v-/ I ' - • w <^ — \~/ \*s — <j ^ — —
— ^ w — v^< ^ — ^ ^ ' ' — ^ ^ — -^ ^ — <J <J — /\
1 — w^— /\
' "^ ^ «s^ <^ ^ W '
■W^"" _ \-'^ — -^W^-WW ^/ s^/ •
• «^l -^/ — ^< ^
Tou xa\ aTCtpectoi
7Ki>t<3vt' opvi&es 07T£p KS^paXas, ava &' i^9u£; opO-oi
216 GREEK LYRIC POETS
ouSs yap evvocricpuXXoi; avjTa tot' wpT avs|Acov
a Tt? /caT£/-to^'j£ /.tSvaiyivav {/.sXiaSsa yapuv
apapeiv dbcoaftri (SpoTiov,
to? oxoTav yeiu.epiov xaw. [rrva 7Civu<7X,7]
Zeu? rp.aTa T£ci7apax.aiSex,a, Xa-9-avsj/.ov 5s [xiv wpav
ipav xa^OTpo<pov 7roucft.a? a'Xx.uovo?.
XXII
[Bergk, 25]
TO THE BREEZE
(a)
A
— s <-> A
iu — v^ — ^ — ^> — ' x
'AtcoXo? §' C'xep /.uv.y.Tcov ^sd(xevo?
Tuopcpupa <r/i£s xspl xpcopav Ta jcu|/.aT<x.
[51]
"layzi <)£ [J.z xop<pup£a<; aXo?
ap-^iTapaccoyivy.; 6p<j|y.aySo'c.
XXIII
[74]
( (Zj — ^> — w v-'v^v^^' — v-> — w
— ^y <^ — ^ — ^
"AyyeXe /.Xutoc sapo$ aSuoSjj.ou,
jtuavsa yzkiboT.
[73]
w — k»> — V-l v-> — v-* —
,^^,^-A
Asut' avj^ove; TroXuxoiTi'XcH
^topa'j/evsi; slapivai.
SIMONIDES 217
XXIV
ON HIS OWN POETRY
A. SONG AND DANCE
[Bergk, 31]
^ - A
W ^ ^ — \~/ — ' v
— <J ' w u 1 — — ^ — ^ — ' >
* 'Ora Si yapOffai
gov t eXacppov opjpjf/,a ttoScSv otoa [Atyvuu.sv*
KpvJTa pv xaTiouct tgo-tuov, to 5' opyavov Mo^ogtov.
[29, 30]
ww» ; — ^ — ^ — ^ — /\
y_/ I — • W — 1^ — ^ — / \
v-*-> • "" " ^- A -' — u»J "■ (^a./ — w — v^ — >^/ — w
' W ~" <J ~~ «^> u ~ _ «^/ >^/ <^ — s^/ "■
A
'AneXaciTOv wnrov yj *ova
'A[/.u;tAaiav aycovtw
dXsAtCo|/.svoi; ~oSi p.ijjxo jcapruAov [/iXo? <Wy.cov,
oio; ava Aomov avi>£[7.o£v toSiov xsraTai ftavarov
SUpep.SV [XOCTEUtOV £Aa<pto*
*t<xv 0' sa' cvjyivi ffTp^oieyav srsptoffs xaoa
tcocvt' (ZTOAJAOV*. . . .
B. VARIETY OF SUBJECT
[46, 47]
— '. — w w — w w w w — w w l — w ^ w — "TT
w w — v_<w w w — ww 1 — w 1 — w — ~7\
~~ w w — ww 1 — w — WW — ww 1 — w — —
JC£pOS<J<70C
w
' w w — W W '
'A Mowa yap oox. auopo); ysusi to rcapov [v,ovov, aXV
STrspysTm
2 i8 GREEK LYRIC POETS
■rcavTa •ftspi^oj/iva" [/."q [xoi JcaTaTOXoW sWusp ap^aro
TSpirvoTocTtov (j,s7io)v 6 jcaXXt^oa? nokuyofioq auXo?.
******
£av#ov ^ili pjSojjiva.
XXV
[Bergk, 52]
v^i ; — ^1 ^ — ^ — ^ v^ — o — ' x
^ ; — v^» — «w* — <s -^ \j *5 — ^
(EupuStaoci;)
io<7T£<pavou y7i.ux.etav eSax-pucrav
d/uyav aTTOTrvsovTa ya'Xaibjvov tsx.o;.
XXVI
EROS
[43]
— ^ W — ^ \J — \*> — \*> — v^
v^w< ; — -~> ^y — >~> — w — /x
^yirkiz 7wci So^o^Se; 'AcppooiTa;,
tov "Apst. So7.o;x7jyj3cvto tskbv.
XXVII
[60]
— ;' — ^ — — — ^ ^ — ^> | >-' L— w — —
"flvS-pwTcs, xsfoai £tov STi [.taXAov twv uxo ya; eV.etvtov.
TIMOCREON
Fl. 471.
TlMOCREON was a lyric poet of Rhodes, of whom we know
little more than is 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
in fact he confesses his guilt in Frag. n. [i. He had formed
a friendship with Themistocles, whom he attacks so fiercely,
probably in Athens ; and it was presumably in Athens
that he came across Simonides. From whatever cause,
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 IV.) ; and
Simonides wrote a bitter epitaph for him, probably during
his lifetime, in which he satirised his huge appetite and
his slanderous tongue :
TIoKkv. cpc.ywv jtai izoXkx. 7ugW xal TzoKkx x,ax,' s'otiov
We learn from Athen. x. 415 that he was distinguished as
an athlete in the Pentathlon, and he imparts much of his
physical vigour to his verses. It will be noticed that his
poetry is distinct from that of his 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]
— ^i^i — ^y<^ ' — ^ w
— \y \y — y^l ^ ' — \J ' — ^ ^
— ^ \J — Ov^
— . — ^s \*> — \~l ^f
ILpode
— ^l^l — v^w L— U — v^ 1 — W '
^ij ^ *^ /\
'AXV si Tuys Ilauaaviav 7] y.ocl iuy£ 5av&t7:7i;ov aivst?
•^ tuvs AsuTu^iSav, syw &' 'ApiGTEi&xv £-aiveto
avSp' ispav <xtc' 'A&avav
eX-8-Eiv sva "Xcogtov, srat, ©s^t.aTOX.1^' rj^aps Aaro),
avu<rrp.
^£u<rrav, aSucov, TrpoSorav, 6? Ti[J.oxp£OVTa ^£tvov dovra 5
apyupioiTi -/.opxXix.ol'crt, raisO-d? ou y.aTay£v
6? TCaTpuV 'IxXucrov
la(3cov &s Tpi' apyupiou toIxvt £,8a tc^ewv si? o^Eftpov,
£700(5.
tou? u.£v -/.araytov aShco)?, tou; &' sx.Sitoz.tov, too? o£ /.aivtov,
apyupitov u7r6xl£cog* Iatty.oi S' £7ravSox.£u£ yXoit3; IO
^uj(pa x.p£a TC7.p£^0)V
oi 5' y-cihov /.tju^ovto (atj topav ©£;j.l<jTOx.'X£o; y£V£crfrat.
TIMOCREON 221
ii
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
— v^» ^ — v^» w ' — s,/ — /\
Oux, apa Tip.ox,p£o)v y.ouvo; M^ooictv cop/aaTO[AEt,
aAA' svt& sca^Aoi &y) 7rov7]poi'
oux. £yo) [/.ova /.oAoupt? -
svtI x,al aAAoa aAco7vex.se.
Ill
SCOLION
[3]
1^ — -^/ — V^/ •
— <*_/ — «^ — ^ — v-/* - ^—^ '»-/ — ^ — W — s«/ — V^» — /\
"fi(p£>,£v c' CO TIKpAS II^OUTS, [JL^TS yTJ [J/^T ev ftaJAaccry)
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 p.£ 7rpo<J7jX8'S (p'Xuapia oux. sD-sXovra.
ooy. eSiAovra p.s Trpocv^&s Kvji'a cpAuapia.
BACCH YLIDES
C. 50O-43O B.C.
We have but few details of the life and career of Bacchy-
iides, nor does it appear to have possessed much indepen-
dent interest for us. He was born at Iulis in Ceos, 1 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 men-
tioned by Eusebius under the date 431 B.C., I have
adopted as the approximate period of his lifetime 500-430
B.C. This agrees with the fact that he was younger than
Pindar, who was born in 518 B.C., and with the statement
of Eusebius that Bacchylides flourished in 450 B.C. His
patron Hiero is said to have preferred the poems of
Bacchylides to those of Pindar, 2 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
to have gone to live in the Peloponnesus, and we know
nothing further of his life.
He was no doubt greatly influenced by the example
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 him \vXoq Sstpvjv,
1 Strabo x. 486, Suidas. 2 Schol. Pyth ii. 167.
3 De Exilio c. 14, p. 605.
BACCHYLIDES 223
and similar praise is bestowed upon him in Jacobs' delect.
Epig. iv. 19.
Aapa S' arco CToy.aTcov cp9iy£aT0 BoocjpAioT]?.
Longinus (p. 101) has an interesting criticism upon him,
in which, while 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 y>.a<pupto TravTT] x£>caX'Xr i 'pa(p7][7ivot, whereas Pindar and
Sophocles, in their mighty efforts, do not always keep up
the high standard they set before themselves, y.od ttcttougiv
ixTuyiaxxTy.. The surviving fragments exhibit considerable
merit, and are perhaps, many of them, specimens of his
best style, a large proportion being obtained from Stobaeus'
Florilegium. Those that deal directly with the ' criticism
of life ' do not betray any distinct originality of thought, but
repeat the sentiments found in Simonides and in Ionic
elegy generally. Yet, though the matter may be slight,
the manner is excellent, the expression and the rhythm
being usually full of charm ; while in the lines cdaX tsjco?
y[X£Tspov, x.t.1, Frag. XVIIL, there is a pathos worthy of
Simonides himself. But it is in passages where the note
is one of pleasure that he is at his best. His Paean on the
delights of Peace, when ' the din of the brazen trumpet
resounds no more and 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 flight. 1
1 See note ad loc.
BACCHYLIDES
i
[Bergk, 13]
X
I yj I yj I yj ^
— ^ ^ — ^y ^1 — ^ — v_y — /\
— ^ ^ — ^ v^/ l — «^* '— - ^/
^/ ^ — ^*> <s •
yy — ^ ^
A 5
w ^ , '
-■-^- A
A
>*-> — 7\ 10
• v^ ^>
' W ^-/ — UV
Tixtsi &s ts -8-vaTOidiv eipava p.syaAa
tcXoutov jcai [/.sXivXojffcrwv aot&xv av&sa,
SsaSaXscov t' sm pwtj.iov &so?(7tv atSsc^ai (3oc3v
Eavfra <pXoyi |^pa Tavurpi/cov ts [/.t^Xiov,
vut/.vacitov ts vsoi? auXtov ts x.al x.co[/.c>v [j.sXsiv. 5
'Ev Ss Gioapo&STOi? 7rdp7wc£iv aifrav
apa/vav IctoI 7isXovTar
sy^ea ts 7^oy/o)Ta ^iipsa t' a[/.<pobts' supw? Sau.vaTO«,
jjaXxeav &' oux, sgtl craX— iyytov /.tutto;'
ouSs cruXaTai |xsX(^ppwv U7cvo? axo f&S'paptov, 10
ap-dv o? -ftaXTiSi jceap'
cj|X7:o<7toiv S' spy.TcSv ppiftovT ayuiai, TvauW.ot -8-' uuvot
©XsvovTat.
BACCHYLIDES 225
11
PAROENION
[Bergk, 27]
*-/ . — ^ \*> — w w
' w — v_/ — ^ — w
w — \-/ — w — w
— y*i — KJ — ^/ — ' ^
rXuxsi' avayx,7i
GSU0[/.SV7] Xull/UOV fta^TTTjCL &UfAOV,
Ku77piooi;' *' sAtcic fWtxki<7crsi <posvac
a^aiyvuyivy] AiovuGioiGt, ckocotc,
avopast S' u^otoctw 77S[-/.7rs!, y.soiavac - 5
xuti/^' 6 piv TroXstov xpr&ejj.va >.ust,
Tract, o av&pw— otc (/.ovapyr^stv &oxst.
Xpucto &' elscpavTt ts ;j.ap|j.aipouGtv 01x01
Trupocpopot ok 'kq/.t aiyV/svTa (ttovtov)
vyjss ayouatv obr' AtyuTjTou tjiytGTOv 10
->,outov* to; ttivovto? opy.atvst xiap.
ETHICAL SUBJECTS
Til
[36]
ks — \D •
— w —
.A
\s — v^ -
~^ s-/
_ A
w —
— s«/ —
.A
w O
©vaTotct S' oux. auOatpsTot
out oApoi; out a/.ay-TjTo; Apvjc,
outs 7:af/.cpt) spate CTaat?,
y.^V STCi^pip.-TSi vs<po; oXKot' £x' aft>.a\
yatav a TOzvSwpo? aicra.
P
226 GREEK LYRIC POETS
IV
EPINICIAN ODE
[Bergk, 1-2]
— WW — WW WW — WW — /\
— w ' — w WW — WW — /\
— w w — ^ ^ I— I ' — ^> ^ W — /\
* * *
I ^ 1 ^
', WW WW ~/\
I ^ — I ^ ' ^ /\
"O\8ioc co-uvt, #so; (xotpocv te z.a)>wv srcopsv
cuv t' STC^alw Tu/a a<pvsiov (IkoTav SiayetV
o'j yap ti; S7uyj>ovio)v Travra y' £>j6ai;v.wv s<pu.
* * *
©vaTOW!. u.y cpuvat (pspisrov
ir/]§' asTiou TrpoTiSsiv cpeyyo;
olfko? ft' ouSsl; fipoTtov toxvtoc ypovov.
V
[3]
w w — w w
w w w — WW — /\
w I — ^1 ' — \^ — /\
Haopowt, Ss ^varwv rov arcavTa ypovov Saip.wv socoxsv
7rpacr<70VTa? sv jcaipco 7Toliox.poTa<pov
y/jpa? Lx,v£u7&ai, rcplv eyx,up<7oa &ua.
VI
PROSODION
[21]
\^/ 1 1 — ^ \^ — WW ^" W "
IlavTSTfft D-vaTolat Safyuov £TOTaqs tcovou? aXXowtv aXXou?.
BACCHYLIDES 227
VII
PROSODION
[Bergk, 19, 20]
t \^ — \^ ' ^ — ^ ^ — ^ — ' ^
» *w< W KS **J ^J •**/ ^» \^/ \J
- 1 J l J v 1 — ' x
\^t v_/ \j ' ^
\J \^/ \*J — \J \J
: _ w w _ ^ _ A
W ^J *w* ~^/ v-^ — ^ — ^ — \J <j — \y —
EL? 6'po?, fua (Ss) ppoTOi? scrriv suTu^ia; oSd?,
&u[7.dv si' Tt? sycov aTtev&yj (W.tsX£iv Suvaroa piov
*o ( Ss uipi[/.v* a|/.<pwwoXsi cppsvt,
to §s Trap' a[/.ap ts (xal) vuxtoc [/.sTCXovtov J^apiv
sdv id.— tetou jcsap,
aX,ap7TOV £^£t TiOVOV.
■^ ■Jp' "He yfc ^(S"
Ti yap dXa<pp6v st' sW a7rpvj>cT' oSopdy.svov oovsiv
y.ap&iav ;
VIII
[29]
^ V^ S-/^ T~ W W «^» W ' <w< L
-w- A
^/ — \^ \^/ «w»V^ '~~ <J
^-A
S^ ^ ^/ — WW — /\
^/ ^_, — w W WW — W W
-A
.j L— \j ^— wj — —
'H Tpcoe; apvj'ftpiXot, Zso? u^ipis^uv, 6? aTravTa rJspxsxai,
oujc aiTio? frva-roi? {/.svaXcav v.yiow yXk' ev f/iffcp jceirat xt^siv
7ra<7iv av&pio-owt, Autav oaiav,
ayvav Euvojjia? axoXooftov xal tcivutk; ©s[/.t$o?'
6\6itov TOctfts? vw supovrs? auvotxov. 5
228
GREEK LYRIC POETS
IX
HYPORCHEM
[Bergk, 22]
W W W
,i_ 1 A
W . — WW — WW — W — w — w — ww — w
^ A
AuSia [J.h yap "ki&o<; p.avusi ^pu^ov,
avSpwv S' apsrav GO<piav ts iza.yx.pa.Trfi zkiy/ti akabzla.
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— w ww~- ww — ~/\
'Opyal j^sv av-S-ptoTTtov cWxExpipivat
BACCHYLIDES 229
MISCELLANEOUS PASSAGES
XIII
TO THE DIOSCURI
[Bergk, 28]
— ^ — W — W — W — W — ' W — W — W — W — W ~ W — W W —
/ / / / /
— v^ — w — w — w — w — w — w — w — w — ' W
Ou [3otov 7wcps<ra Gcoixar', outs ^puco?, outs rcopcpupsoi Tax/jTS?,
aAAa d-u^.oc, su^svt]?
Moucra ts vXujesTa jcal BottOTioiciv sv Gxucpotaiv oivo; vjouc.
XIV
[9]
W
. . . WW • • .
!— W '-">-> WW — WW u -w — '7\
— w w — ww ww — /\
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 —
' |_ ' — ' A
— ^f 1 v^ — v>< — WW — w —
"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]
A
^ ^A^ ^ '
Ouy s&pa? £pyov ouS' a|/.|3oAa<;, dcAAa ^puaouyiSo? 'I-riovia<;
^pv] Trap' EurWSaAov vaov eaO-ovtoc? a(3pov ti &£i£ai.
XVII
HERCULES AT THE HOUSE OF CEUX
[33]
— . — ^w — wv_/ *— ^/ ^ w — \u ^ — /\
— \J \J — KJ w t 1 ' — \J ' — ^ ' — v_/
— ^ . .
v Ec»Ta 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; ap-iirspov,
y-ei^ov >] Trev-S-eiv £<pav7] y.axov, acpOiyx.TOi<jiv I'cov.
XIX
CORINTH
[7]
— w w — ww — — *— w -— — ^~w — ~7\
BACCHYLIDES 231
xx
[Bergk, 40]
w \*> '. — 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 SCOLIA.
Among the remains of Greek Melic poetry not the least
interesting are these Banquet-songs. They reveal to us
how 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 life.
I 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 early-
connection 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
ap. Suidas, convivial songs were of three kinds. First came
the Paean, sung in unison by the whole company — xpwTOv
itsv tqoov ci'^Tjv too -&S0O x.oivio; aTOXVTSi; [ua cpwv/j ranavi^ovTEg.
It was sung after the 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 distin-
guished, Athenaeus says, by the refrain 'Lq Iloaav. We
may assume that the Paean usually took the character of
thanksgiving to the god ; and for this and other reasons
that he mentions, Athenaeus is right in protesting against
the application of the term Paean to such a poem as
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 233
Secondly come the Paroenia, or ' 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
poet. Thus we read in Ar. Clouds 1355 seq. of quotations
from Simonides, Aeschylus or Euripides as suitable for
such occasions, and Alcaeus and Stesichorus were popular
for the same purpose. Ilgen 1 decides that most of the
songs of Alcaeus and Anacreon belonged to this class of
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 ; the myrtle-bough for others, or for any who were
reciting 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
a passage from Aeschylus (rtov AicryuXou Xs^at ti [xot x..t.1).
The cup was passed round the company like our loving-
cup, 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, 3 and
indeed no small strain was imposed on the poetical inven-
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 GREEK LYRIC POETS
tion or memory and the ready wit of the performers. The
leader started by singing a short verse on a subject and in
a metre of his own choice. He then passed on the lyre or
myrtle-branch, not necessarily to his neighbour, but to any
person who was ready to accept it, or, if Plutarch's 1 account
be right, the first man of one couch was succeeded by the
first of the next, and so on until the game began afresh
with the second of each. The main feature and difficulty
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, and quotations from famous poets or
slight variations upon well-known passages were often
substituted ; but while in the Paroenion the nature of the
quotation was left to the choice of each member of the
company, who might thus come ready primed with his
recitation or song, in the Scolion presumably it had to
continue or cap the verses of the preceding singer. We
have an illustration of the Scolion-singing, as thus described,
in the song on Harmodius and Aristogeiton, if at least we
follow Ilgen and others in regarding each verse as a
separate Scolion in itself. The simple yet effective repeti-
tions, relieved by a sudden change of expression, are
supposed to reveal to us the manner in which the game
was carried on. The same is said to be true of No. XVI. a'
as compared with No. XVI. (3', and of No. XVII. a.' as com-
pared with No. XVII. [i\ also 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
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.
BANQUET-SONGS— THE SCO LI A 235
Scolia, in accordance with Ilgen's interpretation of the
ancient authorities. On the other hand, in certain impor-
tant respects Engclbrecht x forcibly urges that Ilgen's views
are misleading. Engelbrecht's main contention is, that
whatever may have been the case in the time of Dicaearchus
who wrote towards the end of the fourth century B.C., the
distinction between Paroenia and Scolia, the second class
and the third, did not exist in the Melic period proper
(c. 700-450 B.C.), and that the term Scolion had a much
wider application than is given to it in the above account.
In Hesychius and Suidas ay.okiov 2 is explained simply as
Twcpoivio? cu&j, while in Schol. Wasps 1231, what Ilgen would
entitle Paroenia are spoken of as ' Scolia ', so that the two
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 con-
junction 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 ; and Engelbrecht very reasonably maintains that
to attribute the repetitions in ' Harmodius and Aristogeiton'
or in the song of Hybrias to the ' capping ' 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 of the surviving
Scolia exhibit no trace of the game ; and in Pindar's
choral Scolia such a notion is absolutely out of the
question.
What 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 we attempt to define the less likely we are to
fall into error. Greek. lyric poetry, as 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 GREEK LYRIC POETS
tioned, was classified according to the occasion for which
it 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
at convivial meetings. 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, classi-
fied by the grammarians as GTOMJMOTOta, spamx-a, cujJwroTuca,
etc., were probably all written as Scolia, or Trapoivtot cooV.t, and
the same is true of the odes of Anacreon. Even Sappho
appears to have written Scolia, judging from the fact that
No. XI. was ascribed to her by some authorities. Her odes
in general, though intended no doubt rather for meetings
of friends of her own sex, were also made use of as Scolia
at the wine-feasts of men. 1
With regard to the second question — as to the char-
acteristics of the Scolion — we can again give no very
definite answer. In form the Scolia were, with rare ex-
ceptions, monodic, and written frequently in four-line
stanzas. Eleven of the surviving Scolia are uniform in
their metre, but they are quoted as the ' Attic Scolia ', and
we cannot infer that the type was anything like general.
The rest of them exhibit considerable metrical variety,
many of them being in couplets, and one even in Elegiac
metre. In subject, such topics as love or wine were likely
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
part, 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.
Scol. XIX. ; and Athenaeus I.e. calls special attention to the
good moral influence supposed to be exercised by the
Scolia. It is a note-worthy fact that wine-songs should
1 Cf. Aelian ap. Stob. Flor. xxix. 58, speaking of Solon — roxpa ttotov too
aocXcpioou . . . [j.iko$ xt 2a-cpou? aaavxoc, and Plut. Ouaest. Symp. vii. 8. 2.
BANQUET-SONGS— THE S C O L I A 237
bear this character, and we are supplied with one more
proof of the sobriety of Greek gentlemen. 1 Eustathius,
Od. p. 1574, speaking of the different kinds of Scolion,
says — ra ;viv axaom/.a, ra ()i 7:06; spcivra, —oXXi Ss jcal
CTCOuSaia. To the last class, which Eustathius indicates to
be the largest, would belong these political and moral
Scolia. The expression ratiMmxa signifies, I think,
'jeering' or 'scoffing,' and not simply 'jesting' or 'comic,'
for it seems to recal the phrase TOxpocipoT.oc jcspTOf/iouai in the
Homeric hymn to Mercury, 2 and to imply good-humoured
personalities on the part of the boon-companions. The
singers often 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
supplies — ouy outg) ys xavoupyo? ou&s 3tXs7CT>]<; — doubtless
pointing significantly at his butt. We have but little illus-
tration of this in the surviving Scolia, for I think that
Colonel Mure exercises some over-ingenuity in detecting
personal hits and inferior puns in passages which rather
belong to the class of cTrou&xia. 3
Briefly, then, we can with safety say little more of the
Scolia than that, so far as we can judge, the term was
applied primarily to all poetry designed for no more
special occasion than 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, pre-
dominated. 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
1 See Anacr. xvi. note.
2 'Eij auToa/soiTj; 7:sip<o'[jiEvov, tjuts Koupot
rj^rjiat #-aXir,ai rapaipoXa XEOTOuiouai.
3 Cf. note on Scol. II.
2 3 8
GREEK LYRIC POETS
convivial songs retained their generic title 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.
About the origin of the expression %y.oki6v, ' crooked ', as
applied to a certain class of songs, there is.no little dispute.
The commonest explanation is, that it arose from the
irregular order in which one singer followed another. 1
Others ascribe the term to the irregularities in metre per-
mitted in the case of improvisations ; or again the songs
may have been ' crooked ' or ' oblique ' from the donble-
entendres not uncommonly made 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
period. His own conjecture is ingenious, that axokiv. y£k-q
were originally opposed to op&ia yiXvj, that the latter term
was applied to hexametric composition, and that thus
cr^oTua [ji^yj at first included all Melic poetry. 2 It became,
however, limited to convivial songs, because these were
probably the first to adopt the Melic style and metre —
religious lyric retaining the hexametric form to a later
period.
1 xaxa totov Ttva el tu/oiev ovts?, Athen. xv. 694.
2 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.
SCOLIA, etc.
I.-V. ATHENIAN SCOLIA
I
[Bergk, 9]
X
^-/ — —
— \u — s^ v^ — vy — ^/ — W
X
KS —
— \J — W \J — ^ — w — w
v^w * — y ^ w — ' *
— ^ v^ — \j ' w v»> — w — ' ^
(a') 'Ev [y.upTOu >cXaSl to £190; ^op^Tto,
CuGTOp 'Ap[/.doio£ /.' 'ApicrroysiToiv,
OTS TOV TUpaVVOV XTaVSTTjV
ICTOVO^OUC t' 'AJ>7Jva? £770l7)<7aTV]V.
[10]
((3') ^i/VTaS-' 'Apjv.drV ou t£ ttou TS&VTjJta?,
VT^ffOi? o sv fy.ax.apwv crs ^actv eivat,
iva xsp xoStojo]? 'Ayt.'Xsu;,
ToSe^yjv ts cpamv AiO[/.vj$sa.
En]
(y') 'Ev [xupTOu /."XaSl to £190; 90p'/]CW
corrxsp ' App.d^io? X.' 'ApiCTOySlTCOV,
6't' 'A-Jbjvaivjs sv -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
iGovdp.o'j? t' 'Aft^va? ETtoi^craTOv.
> 4 o GREEK LYRIC POETS
11
[Bergk, 14]
Ala? Asupu^piov 7cpoStocȣTat,pov,
ol'ou? avSpa? aTrcoXeca?, [/.ajf£<78at,
aya&ou? ts Jtai £'j7raTpiSa?
0? tot' £$£i£av oitov 7raT£po)v icav.
Ill
[6]
' Evi/tYGaji.SV tO? £pOU^6[7.£Cx)'a,
jtai vbtvjv iSoaav &£ol <p£povT£?
-apa IlavSpoGOu to? cpiV/jv 'Acbjvav.
IV
[2]
TLaXkikc, TptToysvei' avaca' 'Atb]va,
op-D-ou tt'vSe 7ro^iv t£ jtai xoTara?'
arep aXyltov Jtai GTacretov,
jtai fravartov ato'ptov cu t£ jtai TvaT'/jp.
V
[3]
JTAoutou p.7jT£p', 'O'Xu^.TCiav aaSto
Avjfr/jTpa <7T£<pav7j<popoi? sv topai?,
<7£ T£ 7Tai AtO? <E>£pCT£CpOV7J -
^aipETOV, £U &£ TavS' a[7.<p£7T£TOV 7To7.IV.
VI
[5]
'Ito Ilav, 'ApxaSia? [/.sSetov JtXssvva?,
opvj/jGTa, Bpopioa? 07raS£ Nuj/.<pai?,
ysXacsia?, to Ilav, £tt' lf/.ai?
£ucppo(7Uvai?, aoi^ai? y.£^apvjix£vo?.
BANQUET-SONGS— THE SCO LI A 241
VII
[Bergk, 4 1
'Ev At^aco — ot' etixts TsV.va Aaxo',
4>ot(3ov /puaoxo'p.av avaxr' 'AxoAAco,
eAacpvjpoAov t' aypoTepav
"Aprst/iv, a yuvatxcov f/iy' syst xparo;.
VIII
[7]
i& siV/jv 0x010? tic T ( v sxacTo;,
TO <7T7j-9-0£ OlEAo'vT*, EXEtTa TOV VO'JV
sct^ovTa, /.XetTavTa xaAtv,
avopa ©iXov vot/,t£etv aftoAto cposvt.
IX
[8]
'Tytaivstv [/iv aptrrrov avSpt #vaT<3,
ftsuTspov Ss cpuav xaAov ysvs<j$at,
to TpiTOv Se xaoutsiv aSoAtoc,
jcai to TSTapTOv rfiv.v ;/.STa tojv cptAtov.
X
SONG OF HYBRIAS THE CRETAN
[28]
— "^ —
v-* — v_y —
\~/ ^ -
- w —
_ A
— »*-» w
— c? — ^
— w -
~ w -
- W
V-* *
— \J v^ •
— \^ !^< -
— \!^
v> "
-W^-
— ^ — ^, -
-v^ V^/
— w
_ A
\-/
— w — \3
— ^/ —
a or -
"s-/ - >».
/ w ~
^ — V.
' E<m [/.ot xaoCto; [/iya; Sopu /.at £190$,
/.at to KaAov Aatcvjtov xpo(3A7)[/.a ^ptoToV
tout(i) yap a.pco toutw #sot£co,
tootw xaTSto t6v a&jv oivov a.x' aax eXto,
TOUTW OEOTTOTa? [/.votag x&cXmat.
242 GREEK LYRIC POETS
Tol Se [j:)\ toIixcovt' iyzw f^o'pu v.vX Eicpoc
xal to *xXdv 'Xat<r/]'£ov 7^po'fiV/]|a.y. ypwTOC,
TTavTEi; yovu 7TS7rnj<i3T£? a|/,dv
c: : - v^ ^ — ^ - X.'JVS'JVTl (</.e) 5£<77TOTav
/cat j/ivav fSafftXvja (ptovsovu.
w i A
«w/ ^/ W ' \J \J ' ^ W O
XI
PRAXILLA
[Bergk, 21]
■AfyoJTOu Xdyov, to' Taips, j/.a9cov tou? ayaO-oui; cpilsi,
tcov SsiXtov S' aTis^ou, yvou? oti Ssi^oT? oliya yapi?.
XII
[23]
'Trcd Trav-rl XO-o) axop—icx;, w' roup', u7roSuSTai -
'ppa'Ceu [/.T] cs paly]* toj 5' a<pav£i 7ra? B7tSTai $6\o<;.
XIII
[26]
"Octl; avSpoc <p&ov jxtj TTpoSi^toatv, [v.£yo&7jv sya
Tljr^V £V T£ ppOTOt? £V T£ #£01<TIV X,aT £</.dv VOOV.
XIV
[22]
Suv jxot tuve, cuv/^a, suvspa, cruGT£<pav/](p6p£i,
cuv [/.ot [/.aivoj/ivw [xaivso, cruv coocppovi Giocppdvs',.
XV
[24]
' A u? Tav (iio&avov Tav [Asv sysi, xav o £parat XajSsTv"
*ay<o xatfta xaV/jv ttjv yiv s/o, t^v §' spau.ai, AafisI'v.
BANQUET-SONGS— THE SCOLIA 243
_ A
' W KJ \J ' «w» \~t
_ A
-v_, v^ — ^ w
XVI
[Bergk, 19]
(a') Ei&e Xopoc /.aAv; ysvoifxvjv sXs^avTtvTj,
xai p.e xocaoI Trails? (pspoisv Atovuciov £c yopo'v.
1 20]
($') 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 TrpcoTOv Ai'avTa Ss SsuTepov
I? Tpoiiav >iyouciv saO-siv Aava<3v [/.st' AyiAAea.
XVIII
[15]
ALCAICS
w : -o sx y/j? /pyj xaTtSeiv ttaoov,
s'i ti? 6uvaiTo x.al —aAap//jv syor
£77£L r>£ X.' SV 770VTCO ySVTjTOCl,
to" TCapsovn cpsyeiv avayiCTj.
XIX
[16]
w ; — w w — w —
w ; — v> w — ^ — ' ^
— ^ — \^z \j — ^ — 3
/caoxivo? <6fV ecpa
yaAy. tov 6'cptv >.a[itov
£u&uv ypv; tov sraipov E(/.|/.ev
seal [/.•/) cxoXia eppovetv.
244 GREEK LYRIC POETS
xx
[Bergk, 30]
X
— 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 — ^ ^» —
- A
— v^ — V->
'Agtoigiv apsT/.s 7raciv ev tzoXzi awes f-svyj;
rcXsiGTav yap sysi /apiv aufraSv]; Ss Tpoxoi
TroXXaua fSXa^spav £^£Xa^4 £v af av.
XXIII
PITTACUS
[p. 968]
v^ , — \_/ — »^ — ^ — W ^ — W —
O * <^/ \^ — W ^/ — w — *w* — W
— ^ y-/ — ^ ^ — W —
V^A^ I \J V_^ W W W *— '
"E/ovTa &si to^ov /.a! toSoxov (papsxpav
cttsi/siv ram cpwra jtaJtov 7WOt6v yap ouSsv
Siydu.uB-ov syo'JTa Jtapoia vovj^.a.
BANQUET-SONGS— THE SCOLIA 245
XXIV
SOLON
— \s \y — \J ^/ — v^ ^> —
^ — «*_/ v-/ — \y <*> —
\_/ — w • — -^
1^/ '— — \J — \^/ — \^/
Hs<^\JkxY[tdvOQ avSpa £X7.<7tov opa
[/.•/) xpuxrov £yx?? &X WV ttpa&ivj
(paiSpco TCpO? <j' £VV£7T/] —pOGCOTTtO
sx, f/.£Aaiva; <ppsvo? yeytovij.
XXV
CHILO
[Bergk, 969I
P'VJ — w — w — w — w — ' ^
A
»U ^ \J \J *N-*
'Ev Ai&ivai; dtacovat? 6 ^p'jco; e^STa^STat
^iSou? pacavov cpavspaV
ev Si ypu«3 vou? aya&wv t£ xa^(3v t' av^piov Sowx 1 sXey/ov,
XXVI
THALES
tp. 97°]
WW WW WW W W WW
WW — WW /\
"u — w •
-w ' — w — WW — w w — /\
Ou ti ra 7C0AAa eV/] cppovij/.7jv axeipi^vaTO So|av"
ev Tt aa.T£U£ acpov"
EV Tl *S&VOV OC'ipOU.
Aui£t; yap dcvopwv xamAcov yAtoffaa? a?:£pavTGAoyou?.
246 GREEK LYRIC POETS
XXVII
CLEOBULUS
\J " — \J — ^ w — <J ^f — v^ — ^
v^ * — w — \J — *-/ — s-' — ^ —
'A|j.o<j<7ix to 7r>.£ov [/ipo; £V (3pOTOl<5tV
Xoytov ts xXf&o?' aXV 6 scaipo? apxscst.
(rpoovst ti xsSvov* [7-7) [xaTato; a^apt? ytvsc&to.)
XXVIII
[Bergk, 27]
"Eyyst Jtal Kr,$covt, fWx.ovs, jj-vjS' STrtXyj&ou,
st ^pv) Tot? aya&ot; av&paatv otvo/ostv.
POPULAR SONGS
247
POPULAR SONGS
LINUS SONG
[Cergk, 2I
ww - — , or — ; — w w — ww — w, or ( — ■) — w w L_ w —
'H Aivs Tract. ■9-eotffw
T£Tl[7.£V£, C701 yap gOtt&XV
TTptOTtO [ASXO£ avOptOTTOlTl
<pd)vaf? Tayupai? asicai"
<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 TTupva ysXiotov
x.al Xe/Ci&iTav
oux aTcioO'STrai. IIoT£p' owriwfjie?, vj Aa[ico[/.£&a ;
si uiv ti $g>g£i;' si ^s [7//^, oux, £asop,sv.
*H tocv ftupav <pspto[/.e; 7] tou— sp&upov ;
•^ arav yuvai>ca Tav Iffo) xai)'/j|Z£vav ;
[xotpa [X£v dcTi, paXico; |«v oftropesv
av &£ cpspvj? Tl
[/.sya &yj ti cp£poio.
"Avoty' avoiys Tav 9-upav jjsXtoovf
ou yap yepovrs; £T(^£v, aXXa 7caioioc.
10
15
20
2 4 S GREEK LYRIC POETS
ill
IBergk, 42]
Ae£oa Tav dcyaO-av TU^av, Ss^at Tav uyieiav,
av cps'poy.sv — apa t5? 8-sou, av sxaXscffaTO T^va.
CHILDREN'S GAMES
IV
TORTOISE SONG
[21]
XopO?. XsXl /SA<0V7] Tl Ttofel? SV TCO [J.Sffto ;
Xs^wvvj. Mapuo;j-' spia y.vX xpoxav MiAvjaiav.
Xop. 'O &' sjtyovo? sou ti Ttoi'tov a/TrooXsTO ;
Xe>,. Aswcav acp' fouwcov sic fraXaacav a^a.TO.
V
FLOWER SONG
[19]
A. ITou f/.oi xa porV, -00 p.01 xa I'a, tjou p.ot Ta x.aXa csXiva ;
B. Ta&t, xa poSa, TaSl Ta I'a, TaSl Ta xaXa czkivy..
VI
BLIND MAN'S BUFF
[wo]
1 I I -A
'' O nepi<JTSflp6{/.svo?. XaXxvjv jy.uiav ab]pac>to.
Xopoe. (Hbjpacei?, a>JX' ou "kr^zi.
VII
I22 a]
IIAIAE2. "Elzy] Co ? £X' "ffiii:
POPULAR SONGS 249
VIII
MILL-SONG AT MYTILENE
[Bergk, 43J
"Aaei [/.'jaoc, aAsi
x,ai 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]
— : — w a
— ; — wv/ ^v^ — /\
— v^ ^
"Ap/£t (asv dcyiov TOOV X,aAAl<7TtOV
a'frAwv Tay.ta?, x.aipo; Ss xaASt
p.7]/.£Tt (ASAASIV.
(/3') THE START
[IS]
BaA^i 7rd^a<; 9-s'ts Trap rcd&a Tcdoa.
250 GREEK LYRIC POETS
(/) THE FINISH
[Bergk, 16]
ArpfSi [j.iv ayiov t<5v jcaAXiGTiov
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, e? vaov
TCO (3o£G) TToSl ftuWV.
Ac,is raupe, ac,is Taupe.
XIII
PHALLOPHORI TO BACCHUS
[8]
Sol, Bax.^e, TavSe [/.oucrav ayXai£o[/.ev.
a7tXouv pufrp-ov ^eovTe? aloAco [/.IXsi,
jcaivav, axapS-eveuTOv, outi Tai? 7rapo?
xe^pvj^evav ooSaiciv, aXX' axvjpaTOv
x.aTapj(Of/.£v tov u[/.vov.
XIV
[5]
Aa&ouyoi; KaAs?T£ -Oedv
Xopd? SsjJLeAvji' "Iax,ye TrXouTO^OTa,
POPULAR SONGS 251
xv
AT THE LIBATION
[Bergk, ill
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 l a7rstv
vi»CTt.(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 1
«w» *U
W W V
> — w
_ w i__
- »^W ~
.A
— s-A*/ '
— ^ -
_ A
— ^AJ ■*•
^A-» !
i A
— vjw —
^A-/ —
V_A-/ \-^
_ ^
-A
\^ \^ \J \J
VA^ 1__ — "J>J — *— ^ — W "™
V»A_> . ^-A-^ WU K-A-' \~*~> '
. \J t — \»A^ **>
^/ ^» ^ — V^W» — W —
^ O — v-/ — W — w — ^- A -' —
A
\*\J — V>
. — VA^ — v»y
15
uovTie ^puioTpiaiva Ilocetoov,
yaivjoy', Iy^ujaov' av' aX|/.aV
fjpay^ioi rapl Se cs 7vXcj>toi
&-/jps? ^opeuouct x.ux.'Xw, 5
x,ou<poict — ootov pip.[7.acriv
£Xa<pp' ava7raXXo{Jt.svoi, ffifJioi,
(ppiEau/svs;, to/cOopojAOi ocuXaxs?, cpiXojxo'jcroi
Se'Xcpivsc, svaT^a •9-ps[/.f/.aTa
scoupav NTjpsiStov &sav, IO
a? syeivaT' 'A|/.<piTpiTa'
01 [/.' si; II£Xo7:os yav S7ci Taivapiav ajcrav
licopsuaaTS 7rXa^d[/£vov Si/.s^(3 evl ttovto),
XUpTOtCt VC0T01C 6y£0VT£C,
MISCELLANEOUS AND ANONYMOUS 253
aAoxa Nvjps'i'a? 7fka.-A.6c 1 5
TS(/.VOVTS?, a<JTlp7] TTOpOV, CpfOTS? O0A10!.
to? (/■' acp' ocaittaoou yAacpupa? veto?
si? oi&f/ aAmrdpcpupov Ai[/.va? epi^av.
II
CORINNA
[Bergk, Corinna, 21]
(a)
/ / /
W V^ ^ W <•* *w< W
A
• \s \^ \*S •
MsiA<po[Aat, Ss xai Aiyoupav MoupriS' Uovya,
art (3ava (pouc' e(3a ILv&apoto tttot' spiv.
Nbcaa' 6 [xsyaAocr&svvj;
'Hapiiov, yiopxv T ' ^ TC ' 2°'-' 1 ?
tzoLgxv tovou[/.oavsv.
[9]
' H §iavsx.w? suSetc ; ou j/.av TCxpo? ^crO-a Kdpivva ;
III
PRAX1LLA
ADONIS
[2]
Kxaakjtov [7xv syto asitco) cpao; TjsXtoto,
ftsuxspov aerrpa ipaeiva csATjvy.i - /]; ts 7rpd<7to7rov
rfiz y,xl o>paiou<; <7ixuo<j? xal fxyjAa y.al oy/va;,
254 GREEK LYRIC POETS
IV
PR AXILLA
r:aoOiv£ Tav >cs<pa7.av, ra &' £v£p&s vu[/.<pa.
V
ARIPHRON (?)
PAEAN TO HYGIEIA
w \y ! ' — ^ ^ ^ — w>j ^w — \^» **> — /\
^^ ; — ^ ^ ' — ^ ' — ^
— 1 ' — w ^ ^ — **-» w — /\
— '. — *«* w — \y \~/ v^ v>» — ^r \J ' — ^ — /\
— ^ w — v> v^ ' — ^ ' — w — /\
v^v^ . — \y W — V> W
— ; I v^ 1 ^i V^W 1 \J ~/\
\5 l< \y ' w 1 s~/ ' ^ — /\
'Tyiaa 77p£G^iCTa ixaxaptov, [xetoc cr£o vaioi|/.i to >.£t7i6[/.£vov
(iiOTac, <ju Ss |/.0i :rp6<ppcov cuvoixoc eitjc'
£i yap tic -^ ttXoutou /ap tc ^ tsx£<j>v,
vj tocc. i<7orW;v..ovoc avO-ptoTroi? (3afftA7]toos apyjzc, vj xorkov
OUC, X.pO(pl<HC 'AcppoSlTa? £'px.£<7tv iS'7]p£UO[7.£V, 5
f, £1 TIC a'X'Xa &EOa)£V aVi>p(0770t(7t TSpJ/lC 7) — ovtov a|J.7TVOa
7T£<pavTai,
ijxtoc csio, (/.axaip' ' TyiEta,
T£'9aA£ mxvra /.al Xoc^ttei XapiToiv sap,
T£f)£V Ss /topic O'JTtC £'J^ai[7.tOV (£«pu).
MISCELLANEOUS AND ANONYMOUS 255
VI
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 , 1 — w
— ww — ww ^■"w
— ^ \^/ — ww — ww w
-ww 1 — w IO
I — w ww — /\
— ww — ww ww — ww — ~/\
— ww — WW /\
WW I — ww — ww — ww ' — w
\J \j — ww— — — ww — ww - — — w — — I C
— w w — w w w — ww — ww ww — ww — w
'Apera TroAu^.o^&e, yevei ppoTSiio
ib^pap.a xocaawtov (3(co,
aa; — spt, Tvapflive, f/.op<pa?
xal frav£tv ^vjawto? sv 'Eaaocoi tcotjao?
x.al ttovou? TA'/jvai [/.aAspou? ajtajxavTa?' 5
toiov £7Ti (ppsva paAAet.;
xapxov r' aO-avaTOv jfpuTou t£ xpsiaato
/.al yovetov [/.aXoacauy^TOtd fr' utti/ou*
rreu S' £v£y' ou 'x Aio? ' HpaxAsyj? Ar^a? ts jcoGooi
— oaa' avsTAaaav spyoi? 10
aav aypsuoVTS? ouvafuv'
5015 &£ ttoS-oi? 'AjjtAsu? Al'a? t' 'Ai'ftao od[/.ou? ^X&ov
era? S' £vex.£v cpiAio'j (7.opcpai;
/.al 'Axapv£o; svTpo^o; a.£Atou jpnpcaasv auya?.
TOiyap aoioi(/.ov spyoi? aSavairov t£ |uv a'jcr,c>0'jGi MoGffat 1 5
Mvattoauvas fruyarps?, Aw? Eeviqu c£ ( 6a;* au^oucat* cpiAiz:: ts
yspa? (3s(3aioo.
256 GREEK LYRIC POETS
VII
[Bergk, Frag. Odes, p. 139]
TTXH
*-» N-> V-/
* L— s^» 1 1 — <^ u — ^w /\
<w* w — \j ^ ' — v^
^W \_y>s> W »*> — \J \J ^J \~/ J\
'. — »^ W — n^^ — W \~> — /V C
— «w» ^ — — — ^> \_^ — -^ v.; — ^ ^ — WW — /\
w w ! — w w — w w — w w k — w — ~sT
^ w w — \_/ w ' — \j — W \*s '— \J <— x^i — /v
Tuya, (J.£p07TO>V
apya (te) xal Tspf/.a, to xal (7091a? <9-axsl> E&pa?
xal Tip.av (3poT£oi? eTOxbjxa; Epyot? -
xal to xaAov xaeov ^ xaxdv ex crsftev, a ts yapt?
Aa|//7rei rap! oav XTspuya ^puasav 5
xal to te« TtAacTiyyi So8iv [xaxapiGTOTaTOv t£A£&£»/
tu o' a[/.a^avia? Tropov £i§£? sv aAysaiv,
xal AajATrpov cpaoc ayay£; sv cxotco, 7rpo<pspe<JTaTa fteov.
VIII
PRAYER TO THE FATES
lib. i 4 o.]
— : — ww — ' — w — 7\
1 w
w — w w — WW — w — w w — w w
-ww /\
W I 1 «JU
— w w — w w *~— w l —~ w ' — w l -- w — /T' C
— WW — ^/ W — — — A
W . 1 .
— . I "~ W — VJU b ~ — W — A
' W — WW"
A
KAtofrw AdyzGit; t' suo)A£voi
xoCipat Nuxto?, suyoj/ivcov srraxo'jeraT', oupaviat yfrovtai t£
oai^ov£? to 7ravSei[jLavT0t*
7CSM.7CST' aittuv GO^OXOATTOV
MISCELLANEOUS AND ANONYMOUS 257
Euvoiuav liTcapoQpovou; t' aosA<psa?, AUav 5
/iod CT£(pav7]Oopov Eipavav
Tiroltv ts tocv&s (3apu<ppovtov
ASAa'&OtTS CUVTU/17.V.
IX
t
FRIENDSHIP
[Bergk, Frag. Adcsp. 138]
— ; 1 — s^ 1 — \y — \*> ^f — w <j ' — V-*- v^v^» — wv-/ — /\
— ;l — ^ *— w \^f ^ — W w ' — ^
!— ^ s^v^ — v-/ v^ ' — >^ ' — w — /\
Ou ^puGO? ayXaoc, G7ravit0TaT0c ev -9vartov Sucrs^— ictw
(3ig), ouS' aoatta?,
oijS' apyupou jcXTvai, 7rpoc dcv-8-pwxov So)«[/.a£d[/.ev'
aCTTpaTiTEt too? o^st;,
outis yaia? eupuxs^ou ydvi[/.oi fiptSovTSc auTapxsi? yuat,
to; ayaOtov avSpcov 6[/.o<ppaS(/.o)v vdvjcri?.
X
EURIPIDES. EPINICION TO ALCIBIADES
[Bergk, vol. ii. Enrip. 3]
•^j w ' — ^_/ ^ ' — > — w
^/ \y ; — — >^ ^ ' — ^ ' — w — /\
— wv-^ — ^y w v_/ v^< ' — w —
— ^ — ^ ^ — ^ w w
<s ^1 — ^j ^
Si S' asiaou-at to IQ.smou ~at'
y.aAov a vix.a, koXXkjtov, o [atjosI? aX'Aos ' EAAavtov (Aaysv),
aptiom TrptoTz. op<xf/,efv x.7.1 osuTspa x.al Tpixa,
pvjvai t axov>]Ti, Sic GTe^&sVra t' sAaia
jcapuja poav xapaooCvat. 5
XI
[Frag. Adcsp. 96]
' v„/ — w — w • — w — v^
V-/W . W '
"E— eitoc JteicsTai Pa&udsvSpw
SV /J)0VI G'JfX770<7ltOV T£ Y,v\ XupaV aLtOlOO^,
iayac t£ Tiavrep-so: auAtov.
R
258 GREEK LYRIC POETS
XII
[Bergk, Frag. Adesp. 97]
— w i — — W v./ — W w — ' ^
— \j w w w — w — w
w . w w w
"fig ap' ewrovTa [/.iv a^pomov
T'/jlauys? e'XaaiTtTTOu TCpocrcoTrov
v.Tzzknzzv a|7.s'pa?.
XIII
[/£. 8 7 l
— ; *— v^ i—i — \jkj — v^w l — \j
1 — v> w w — v^w /\
Nod Tav "OXu|j-7rov x.aTa.Ssp/,o[xsvav ocaTCTOu^ov "Hpav,
SGTt, [/.Ol 7TLGT0V Tai7^SlOV £7U ykttiGGy.q.
XIV
[/£. 86]
•W — W — W — w — W — w — w — w
\_A^ WW •
Ou yap ev [j.zgoigi x.£?tou Scopa Sucjv.a^Ta Motcav
Tfe! '71Tt,TUJ(_0VTl <p£p£lV.
XV
[/£. 89]
'fl yXuJtsi' stpava
Tcl0UT0f)QT£tpa ppOTOt?'
XVI
NIOBE
[lb. 98]
Oux. aisl S-aAiQovTt, (3£w
(W-gtou? ts tsxvwv (SptO-of/iva yTuxspr'v
<pao; opcococ.
MISCELLANEOUS AND ANONYMOUS 259
XVII
DEATH OF ADONIS
Ub. 79 a]
x
^w_^_ w _A
Ka-rrpo; r^iy' 6 (xaivoAvj?
OOOVTt CrXJJAa/iOX.TOVW
KuupL^o? &aAo; coascev.
XVIII
[//'. 101]
HECUBA
w w — w w ^- w ' — W — /\
— w w I I — w w — w w — WW— —
WW . — w w ^— w — /\
— w w — w (w L — ) u — w ' — w
^aporcav xuva' yoCky.zov Ss oi
yvafrjAiov £*. xoAiav 98£yyo;jivai; u7raV.ous piv "I&a,
TeveSoi; ts TCpippuTa
©pvji'jttoi ts (7tayoi) <piAavsf/.oi ts 7tSTpac.
XIX
[90]
w
w w *— w — — — w w —
— WW ww — —
^— w — ww' — w — " — — WW 1 — W — /\
ww 1 — w 1 — w ' — w — ~/\
— — — WW — WW 1 1 — ww — — C
ITpo^artov yap sV. toxvtcov jtSAapu^sv,
co? X7i6 /.pavav (peprarov u&top,
•9aAsov yaAa - toi S' STuprAcov IffffULtevoi 7rt9-ou?'
acx.o? S' oufts' ti? a;j.cpopsos saivu' sv Sojy.ot?,
xsAAat, yap Aitkvoi ts xi-froi xAacr&sv axavTS?. 5
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 Aay£iv.
XXII
[99]
"Aaaov Tpd-ov aAAov sysipst
>P
ffioovTi; avO-ptoTtcov.
XXIII
[104 A]
IToix-i^STai [J.iv facial TCOAUGTE<pavo:.
XXIV
[104 B]
— ; — **; w — w w — v^w — w w — — — /\
Ou [ayv 7T0TS tixv apSTcicv aAAa^op.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; aya^ea?
GTpXTayov a?:' supuyopou
S^apTa; u[/.vr<JO[/.sv, co
'Iyj Tlatav.
MISCELLANEOUS AND ANONYMOUS 261
XXVIII
ITHYPHALLIC HYMN TO DEMETRIUS POLIORCETES
[Tb. 46]
f O; oi. [jiyiGTOi Ttov <&£oov y,y\ ^iXtktoi
tt5 — oX£i 7uapsi(7tv"
evTaufra (yap Ar^TjTpa x.al) Av]{/.7]Tpiov
a ( aa Trapry' 6 JtaipoY
/7] f/iv ra ce^Ava tyj? Kopvj; [/.ucmjpia 5
spj£S&' iv a 7roir]cr7j,
6 S' iXapoc, to<77T£p tov -8-sov &si, xal >caXo<;
xal yeXtov rcapsoTtv,
<iS(/.v6? 6-8-t <paiv£9-', oi cpiAoi 7ravT£; jcujcXw
£v [/.saoict 5' auxo?, 10
6{/.oiov, to'crap oi 91X01 [J.£v aors'ps?,
TJXlO; 5' SX.SIVO?.
'fl tou x.paTiTTOu xat IIoaELotovo; -9-soO
yaips xacppoSiTV^'
aXXoi [xiv V] [Aa/.pav yap a.TOyouGtv &£oi, I 5
•q oujc iyouGiv coTa,
7} ou/C sitxiv, -q ou 7upooB3(ou(Wv y}(/.iv oubs sv,
ge Si TrapovO-' 6pc3[/,sv,
ou £uXivov, ouSs Xt-9-ivov, aXX' aXvjxkvoV
£ijyo[j.£a{>a St] cot' 20
TTptOTOV f/iv slprVTJV 7tt)fo](J0V, (piXTa.T£,
x.'jpio; yap si gu'
f"/)v fV o'jya ©vjptov aXX' 6'Xtj: tyj? 'EXXaSo?
Soiyya 7cspu,paToG<iav —
AitcoXov, ocTt? £7:1 TOTpa? jca&7](A£vos, 25
co57rep v] xaXata,
Ta cro)[/.a-9-' r,(/.<av reavr' a.vapxaVa; ipspst,
JtOUJC SYtO U.<XYS<7-9 , ai,
(AitgjXwcov yap aprcaffat Ta Ttov 7T£Xa;,
vuv Ss jtal Ta 7Toppo)') — 30
p.aXwTa |/iv &q jcdXaaov a'jTo;* si &s (/.ij,
OtSlTCOUV Tiv' SUO£,
T7jv 2/piyya Toumjv ooti? 73 )caTaicp7](/.visi
7j G771VOV 7?0tfn(?Sl.
262 GREEK LYRIC POETS
XXIX
PAEAN OF THE CHALCIDIANS TO T. FLAMININUS
— ;^— ^ \^/ w — /\
— w w — ^> w ' — v^
— \J V
— i_< \_; — --UU — v^w
— \J \J — w *-> — —
— v^ v^
5
IltCTIV Se ' PtOU.0atOV GEpOJJ.EV
Tav [xeya'XsiOTaTav 6'pxou? cpuAacaEiv.
Meattsts x.oupai
Zvjva fv.iyav 'Po>C-av ts TiTov -9-' ap.a 'Pw^aicov ts
x£ctiV toj'is Ilatav 5
o' TlTS CWTSO.
XXX
SAPPHIC ODE TO ROME BY MELINNO OF LOCRI (?)
Xaips \jsa 'Pcojjmx -9-tjyaTVjp "Ap7]0?,
^puTEO|/iTpa, oaiftppoav avaaera,
crsp.vov a vaisig £7:1 yag "Oauj^ttov
aisv a9-pau(7TOV
Sol [/.ova xpscpEipa Ss§io*£ Moipa 5
•/.uoo; appTjKTG) paaiAfiov ocpypt^,
o<ppa xoipavrjov zyoiay. xapro;
ay£|AOV£uy]? -
era S' utto crSsuyAa JtpaTSptSv ASTtaSvwv
crrspva yaia; y»al xoAia; &aAa<7<j7); 10
ccpiyyeTocf cru S' ac<paAsco? jtu(3spvqc?
aGT£a Aatov.
IlavTa 8e ccpaAAcov 6 [/.symtto? al'cov
x.al |X£Ta7i:Aa(7crtov (3iov aAAOT' yXktag
col [/.ova TiATjtfiGTiov oupov apyxc; 1 5
o'j (/.eraPaAAei.
'H yap ex. toxvtcjv cu [/.ova JtoaTiTTOo?
avopa? vJiynj.r^y.q (/.eyaXou? ao/£uei;,
sucnra^uv AajAaxpo? o'-co? avsiaa
x.ap— ov arc' avftptov. 20
DITHYRAMBIC POETS
I HAVE already described on p. 106 seq. the general
characteristics of the last or 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
poetry. It remains for me to sketch briefly the develop-
ment of Dithyrambic poetry, and to give some account of
the poets from whom passages appear in this collection.
From the latter part of the seventh century B.C., when it
was first raised to the position of a branch of cultivated
Melic poetry by Arion (see p. 102), to the end of the sixth
century, when it took a new departure in the hands of
Lasus of Hermione, the Dithyramb proper appears to have
received but little attention. It was not, so far as we can
judge from the silence of authorities, patronised during
this period by the great Lyric poets, and we have more
positive evidence in the words of Pindar {Frag. 47, Bockh)
IIplv f/iv sip— £ c/owoTSvsia t' aoioV. o\tk)pa;j.(3cov
xai to cav ya 4 8SaXov av8-pw7roiTiv £776 <jTO t aaTO)v.
So great were the alterations effected by Lasus that he is
described as the ' inventor ' 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
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 commence-
1 Clem. Strom, i. 365 : oiOupap.^ov ok ir.viur^i Aaao; 'Epfuoveu?. Cf.
a Scholiast on Pindar, e<TO]cje 02 aoxov (SiSu'pa^pov) rcptlruos 'Aptav . . .
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 illus-
tration in Frag. I. It must not, however, be thought that
the new or more typical dithyrambic style, as ridiculed by
the comedians, belonged to this date. Lasus falls rather
within the last period of the great Lyric poets, and
Simonides probably and Pindar almost certainly adopted
his 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 rhyth-
mical 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
constructed whole '. 1 However great may have been the
improvements introduced in the music, they certainly
had not yet detracted from the excellence of the poetry.
Nevertheless the corrupting influence was already begin-
ning 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 tcov xoucoav Ms^.aviz7rtS7js
£V T0l<7t 7Vp0)T0l?, 0? ^a t 6tOV OCVTJJCS [J.Z
yaXaptofspav t' sttoitjgs yoposac owosjca.
'A~Kk' ouv 6'p.to; outo? |/iv ^v a-o/ptov avvjp
£f/.0lYS TCpO? Ta VUV vCaZ.SC*
Kivyjaia? &£, 6 jtarapaTO? 'Attix.6?,
e^apjxoviou? y.v.ij.tzxc, ttouov iv toi? CTpocpaT?
cr.7;oki}ikZY.i i/.' outco; x.tX
*****
<I>puvi$S' '^-.ov CTpo^iXov £{jLJ3a^.oiv Tiva
xa[7.7iTtov [j.z x.al (7Tps<po>v, oXtjv Sli<pi>0p£V
ev tovte yoprW? oojosjc' apy.ovia? Ijftov
1 Miiller, Hist, of Greek Lit. a xxx. ad fin.
DITHYRAMBIC POETS 265
y.Xk' oOv E(/,oiys goto? tjv a~oypcov avTip.
O oe Tt^o'Oso; [7-', o3 <pt^TaT'/], x.ocToptopuys
;cai otaxsjcvat^' y.layiarv. . . .
, . . a~ avTa? ou; Xsyto
r:y.pzkr{ku&' aywv (6'S') sx.Tpa77sXou? f/.upf/.7]>ct<x<;.
We thus see that the first step in the direction of the new
style is attributed to Melanippides, and Suidas is in agree-
ment, who says of him — sv tyj &9-upa[/.j3G>v ^eXoTzotof. exaivo-
z6[j:rfz 7rXsiOTa. One of the chief innovations assigned to
him is the substitution of the ava|3o>.7j for the antistrophical
system. 1 The avafioV/j originally signified a mere prelude
before the full commencement 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
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 in condemnation of Melanippides :
Oi t' ocutco YJXY.cn. TSuysL avr.p aXXco x.axa tso/cov
•/j <)z [/.axpa avapoToq tw 7TO17j<t<xvti Y.y.Y.iazr r
Melanippides flourished in the latter part of the fifth
century,' 2 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
generation. 3 There is a long passage surviving from his
Asi-vov, but the nature of the composition, whatever may
1 Arist. Rhet. iii. 9.
2 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
have been the class of Lyric poetry to which it was
assigned, is so essentially un-melic, that I have not in-
cluded it in this collection.
Little is known of Cinesias ' the accursed Attic ' and of
Phrynis, who appear next on the charge sheet of Phere-
crates. Aristophanes ridicules the empty, unsubstantial
style of the former, in the Birds 1352 ; and Phrynis is still
more strongly condemned by Pherecrates. The latter is
said by Plutarch {de Mus. c. VI.), to have altered the an-
cient form of Terpander's nomes. Next to these comes
Timotheus, who attained to very great renown as a
Dithyrambic poet. Plutarch calls him cpiXoxaivoc, and
accuses him of being addicted to tov cpiXavfrpi0770v TpoTrov,
and Suidas speaks of his enervating the ancient musical
style — v/jv apyaiav (/.oucr/.^v iiz\ to [/.aXaxioTspov [/.ST^yaysv.
He made 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. He speaks
with pride of his own innovations in Frag. I. e', Oux. a'Sco
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
Dithyrambic poets we may conclude that the flourishing
period of this last product of the lyric muse came to a
close about the middle of the fourth century.
Of the real character of the later Dithyramb we have
but little means of judging except from the criticisms
of the comedians and others, since the surviving frag-
ments are insignificant. After making due allowance
for exaggeration there can be no doubt that the poetry
at any rate was of an inferior order. , All those who won
distinction were renowned not for their poetic genius
but for their musical skill ; 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
literary merit. Nor indeed was the Dithyramb intended
for a literary composition ; it was a lively mimetic repre-
sentation of more or less dramatic scenes, in which imita-
tive 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.
They probably consisted, according to a good description in
Miiller's Hist, 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
in sensual charms.'
I append in their chronological order a short account of
the poets from whom 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
period it is by no means easy to separate dramatic from
dithyrambic poetry, and the satiric drama itself, the ' in-
vention ' of which is ascribed to Pratinas, was probably in
particularly close connection with the Dithyramb. More-
over the fragment in the text, quoted by Athcnaeus as a
1 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
case, the connection of the subject of the fragment with
the history of the later period of Greek Melic poetry com-
pletely justifies its insertion in this place.
Suidas, from whom our scanty information about
Pratinas is obtained, tells us that he came forward with
Aeschylus and Chaerilus about the year 500 B.C., and that
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 pupils.
Thus Lamprocles belongs to an early period of dithy-
rambic poetry, and was not open to the charges brought
against its later cultivators.
MELANIPPIDES
Fl. c. 440 B.C.
I have spoken above of Melanippides and his innovations,
and, 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
Diatribe in Dithyrambum not only accepts his testimony
but attributes Frag. 1. £' in the text to the elder. If, on
the contrary, we are to regard the later Melanippides
DITHYRAMBIC POETS 269
as the author of the attack on the flute, it 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
said to have spent a great part of his life. Melanippides is
given the 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.
fc>*
DIAGORAS
Diagoras of Melos is described by Sextus Empiricus
(ix. 204) as Si9upa;j.[3o-oioc, 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
right in saying that he flourished in 468 B.C., if at least it
is true that he was taken prisoner at the fall of Melos in
411, and ransomed by the philosopher Democritus. He is
said by Sextus Empiricus to have been originally a man
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 gods in not punishing a fellow-poet, who
fraudulently published as his own a Paean written by
Diagoras. His atheism took the aggressive form of
attacking the popular religion in its most hallowed quarter,
the Mysteries ; and he is said to have diverted from their
purpose many who were about to be initiated. The
Athenians retaliated by outlawing the poet, and put a
price upon his head. 1 He escaped to Corinth, where he
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.
Timotheus of Miletus was born in 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.
46,) but, as Clinton points out, 1 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
reputation surviving long after his death. Thus Athenaeus
(xiv. 626 C) speaks of the Nomes of Timotheus and
Philoxenus being studied as the last stage in the education
of the Arcadian youth ; and a Cnossian decree in the
second century B.C. speaks of him in terms of the highest
praise. On the other hand, the most wholesale condem-
nation of his style is to be found in the pseudo-Lacedae-
monian 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 little is known of this poet. He came from Selinus
in Sicily, and flourished, according to Diodorus I.e., in 398
B.C., 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
Aristratus, Tyrant of Sicyon, raised a monument in his
honour. 2 The fragments that remain are insignificant
enough, and are excellent illustrations of the vapidity of
dithyrambic poetry.
1 Fast. Hell. an. 357.
2 Plut. Alex. c. 6. Plut. H. N. xxxv. 36. 22.
DITHYRAMBIC POETS 271
LICYMNIUS
Licymnius was a dithyrambic poet of Chios whose date
is uncertain. He is spoken of by Arist. {Rliet. iii. 2.) as
avayvoxTTix.os, ' fit for reading,' and the few surviving lines
attributed to him are not without literary merit. A
rhetorician of the same name is mentioned by Aristotle
{Rhet. iii. 2), and is identified by some critics with the poet.
Of Lycophronides, from whom two passages are quoted
by Athenaeus, we have no information.
DITHYRAMBIC POETS
Passages referring to Flute-playing and the New
Musical Style.
(«)
PRATINAS. HYPORCHEM
[Bergk, 457]
w ^ ^> \*/ \y ^ — /\
_A
KJ \-/ ^/ v-' V_/ W
• '"^ ''~ N ^ A.
W . w< W "0 ^ ^ "O — /\
• ' ' A I-
X -'
• '^ A
V-A_> \-A> — \_/ W V^ — v^— /\
1 1 I A
W — W W W ~~ W — W ~~
W I W W W W WW WW W W *""— ' ^ IO
' A
— w — s _ / — ^, — / \
* * *
WWWWWWWv^WWWW
ww . w w ww ^_, v„/ va;
WW — W A
r / / ^r - H
— w — w — w — w — /\ K
A
7 ' lL ^ A
' lA A
— w — w ~ W ~ w — w L — — W — W 1 — — ' x
Ttva Ta^s ia ^opsuLtaTa ;
Ti? u(3pi? sp.o'Xsv E7U Aiovu<7ia6y. Tzokv-xTxyz O-uf/iXav ;
sy.oc sao? 6 Bpoj.no;'
£[7.£ Ssi jcsXaSsiv ef/i Set TOXTavetv 5
DITHYRAMBIC POETS 273
av' oosa -Swivov u.zra. Na'ia^tov
ota ts jcujcvov ayovra TTOty.iXoTrrspov ;./.sAb;.
Tav ioiXav xaTSTTacrs Tltsplc pacriXsiav 6 <)' auXoc
udrspov yopsusTto, Jtai yap sg&' u7r/]psTa; -
/.o)LWO [xovov JH>pa[/.ayoi; ts miypoLylxiGi vs<ov 9-lXst — apotvwv 10
su.[/.svai CTpocT'/jlarac.
*riai£ t6v <J>puvaiou ttooc&ou ~ poavsyovTa*
•oXsys tov 6lecL(7iaXox.aXa| J ;.ov,
XaXofJaouoTOX 7rapa;./.sXopux)|/.ofiaTav &' u~ ai
Tp'j~avco 6s[/.a? tte— "Xactxevov. 1 5-
y.v ioo'j 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 W W '
\^J — ^ w '
'A [/iv 'AD-ava
opyav' &ppu{/sv 9' Ispa? a— ystpo:,
3i— s t' - "EppsV al'cysa, <TG)f/.aTi XiItAa"
o'j y.£ toco sr<o jcajtora-n oiowai.
(Y)
TELESTES. DEFENCE OF THE FLUTE
[p. 627]
' ' ' 'A
X
^ (^ W — W ' '
' ' A
/ / A
— v^ ^ — \j — w *— — w — W — v./ —
^ i / / /
^/ . — w L — — w — w — ww "■" ww — <*_/ — *_/
/ / r __
v,/ I — ww — ww — ww ~ ww — w — \^f
> lL a
— ww — WW ' x
5
— ww —
w . — w ~~ w — ww — ww
A 10
ov <70<pov erocpav XafioCcav oux, s— sX— oaou vow
s
274 GREEK LYRIC POETS
&oui/.oT? dpeioic opyavov r>iav 'A&avav,
<$uc6cp8a'Xaov y.iayoc, &«pO'8:>)ffsT<yav,
auS-i? s/. yepiov (3aXeiv,
vut/.©avsvsi yopotT'j-c.) cpyjpl Mapcja /Skioc. 5
Ti yap viv suTjpaTOto jtaXXso? o&j; spto? BTStpsv,
7 -aoDeviav ayau.ov *al a-rcata a— sveiy.s ICXwOxo ;
dftXa y.axav ayopsuroc
aos [7.aT7.toAoywv
ijaaa 7700<iS7rra-9-' 'EXXa<$a v.o'jco7ro'Xtov lO
vpac sttioBovou fipoTO'ic TSjrya? ovsioo? . . .
(8')
TELESTES, FROM THE ' ASCLEPIUS '
I p. 628]
\J \^/ <^/ W ~~" *"~ 'w' ^/ ~~ ' 'w ' 'J ~"
— V^ \^< — ^ W ~"~ — *
— \^> <^/ —- VJ "^ ~ ' — S-/**'"— *s-> ^ ~
W \^ ^ V-^ — V^ V^ — W W T\
„ . . ri 4>puva >ca7JXt7irvocov aoltov ispcov |3a<jtX7Ja,
AuSov 6? apao<js 7i:p(0T0?
Ao>Gi$oc wTiizoCkov [xouaa; vo[/.ov aioXov 6[/.cpa
(O
IIMOTHEUS.
PRAISE or
THE NEW
STYLE
[p. 624]
v~> '.
WW /\
WW WW
t
A
WW
/ /
^ V^r
-A
■WW
/ /
v^/ w —
~A
ww
/ /
WW —
"A
Oux, f^ci) T7. TfaXaia,
x.aiva yap aaixaxa jcpsiffffW
vso? 6 Ze'jc (3a<JiXeusi
to TiaXai ')' TjV Kpovo? apywv
K7ctaro) Mouaa mxXata.
DITHYRAMBIC POETS 275
11
MELANIPPIDES
00
iP- 591 I
w — w 1 — ^ — *7\
V-'v-' — *-* -^/ ~ >^ ^ —
* — \*J \^t — \^ v^ —
Havre; fS' dtTrecTuyeov oSwp
to Trpiv sovtsc awpts? ol'voo,
Tajflx oy) raya toi j/iv vouv a~6).ovTO,
toi oe — y.py~ V/jxtov ysov 6it©av.
xac ocst(,coou (Luyac us&scav.
Ill
DIAGORUS
GO
[p. 562]
! — «*./ ^ ' — w — /^
*-^v»/ — ^/>^ — ^ v ^— \»/
060?, ttso; Ttpo ttocvto; spyou (ipoTSiou
vw[j.k cppsV u77SpTarav,
auTOOa^? ft' apsTa fipa/'jv oi{/.ov spxst.
w w I — ^v [ — ^ — /\
. V> ^ L ~ - W — \^/ — —
Kara oaif/.ova )cal Tuyav
xa 7ravTa (SpoToTstv dxTsXeiTai.
2/6 GREEK LYRIC POETS
IV
(«')
LAMPROCLES
(P- 5541
IlaXXaSa TrepaexoXiv etelvav 8-sov sype/.-^oty.ov
7i;otw!Xtj£o) TroXsuacW.ov, ayvav
7caiSa A16; [ASvaXou Sa{/.a<yi7T7cov.
<P')
THE PLEIADS
[p- 556)
. . . aire Tcoravai;
LICYMNIUS
TO HYGIEIA
[Bergk, p. 599]
^ ^ — ^ ^ ' — ^ ' — ^ 7^\
— • I — ^ — ^ v./ — ^y ^ —
— w ^ — • **s *~>
* * *
— ;— — — w^ — \->v^ — /\
— ^ — ^/ ^ ^ w *«* — — ~ s** <«* "~ v./ w
* * * *
— ; L — <_> • — ^ — ^ ^> — /\
AiTcapo;7.|AaT£ [xaTSp, u^i^Ttov ftpovwv
cst/.vcov 'AtcoXXcovoc (IJaffiXeia -oflsiva,
Troa.'JysXtoc ' Tyisia*
* * *
Ti; yap xXoutou y&^Q r t tekswv,
y xa; iaoSai;j.ovoc avfrpuixoi; pxaO^'tfto: apya; ;
* * *
gsDsv Si ytopl; outl; z'Av.vjmv s<pv.
DITHYRAMBIC POETS 277
VI
SLEEP AND ENDYMION
T598]
— J ' \J ' W ^W W V^ 1 — ~/\
"Tttvoc Ss, yaipttv oy.f/.artov auyoi'c, ava7C67tTa{/ivoi?
foffOKJlV S/&01U.MTS /.OUpOV.
VII
00
I ^ I w _^ y^
V> W 1 — ^ ^ — ^»/ W — ~/\
Mupiat? Trayaiffti oeotpuov
'Ayfotov a/swv te j3pusi.
<P') ;
'A/spcov aysx
[ipOTOlGt TTOpD-fASUSt.
VIII
PHILOXENUS
[p. 611]
O ! — ^ s-> — w
— w — w v^ ^ ^ — W
^/ -^/ v_/ — v^ — ^ w — W
'H x.aA>,i~pocto— e
ypiKio^ocTpuyE raXotTSta
yaot-rdcpcovs x.aHoc ipcoTcov.
IX
TIMOTHEUS
[p. 624]
— . — ^ ^ — w ^ — ^» »^/ — /\
* I ^ »^ ^
— ,_/^ — ^ <-* ' — <~> — /\
^ w w ^
Su t' <o tov ael — o^ov oupaviov
obcrfci Xa[/.7Ppat^ "Alis paXXtov,
-£y.'i/ov E)tapd>,ov eyiVpofoiv (isXo;
ca; a— vsupae, to is Ilaiav.
278 GREEK LYRIC POETS
x
FROM THE ' CYCLOPS '
[p. 621 ]
• ' ^_ ' L_ ' L_ A
w . — w ^— — w ' w — w ' ' x
"^ L_. A
www — W — w — V ^~ "" '
-1 _ ' __. _i! A
' ' _ ' Li. A
— w — w — w — w — v^ w — w ^~ — N
"Eyeus <)' ev |7.£v ostcocs >acrcrivov jxsXaiva;
(jrayovo; ap.ppoTa? a<ppto Ppuat,ov"
sfotoaiv &e ji.eTp' avsysusv Sfnavs S'
ai[/.a Bax.yiou vsoppuroic oaxpuoicri Nup.cpav
XI
FROM THE PERSAE
[p. 6">2]
X
w I — w — w — w w w ' — www —
5s[i£<7$' airko cuvspyov aps-ra<; oop«/.ayou.
XII
W . *>J ~~ \-S N^ * — W ^^ <w<
"Apr ( ; Tupavvoc' ypucov 'EXXa: ou Ssooocsv-
XIII
[p. 621]
Outoi tov y' u7t£pa[7.:r£/ovTa
oupavov eiaavaJ3r<rst.
DITH YRAMBIC POETS 279
XIV
Tp. 623]
*-/ '. ^y ^/ w — ^s — «^* w \s \y — ^ — w
X
— ' _— ' A
— \^/ — \j \^/ — \^ — \j —
' _ ' lL A
Maxapio^ vjffO-a, Tiji.d&ee, )tapu£ or' ewrev'
Nix.a T^adflco; McV/jcio?
tov Kay-wvoc tov Itovoxai/wuTav.
XV
TELESTES
[p. 630]
.A
- : ; a
v^ w ^ '■ — •*_/ \s '— ' ' — \J </ y~/ '
— : — ^^ t\
— ^/ — ^/ \j — yy ' — v_/ — /\
"AXXo; <y aXXav y.~ky.yyy.v izic
x.spaTOCptovov eps-Ot'Cs [/.ayaSiv,
sv rsvTapapco ^opSav puityxo
ysfpy. Kapj/ioCauXov avacTpcocpcov xa/o:.
XVI
[630]
*^ ^y S-> ^ '
A
w ■— ^
- A
^ — w - /\
IIpfOTOi xapa xporr/jpac ' EXlavtov £v aulol;
<j\>vo7wc&ol IIsXoTiro? [/,aTp6? opsia;
4>puytov asiaav vd[/.ov
toI 8' 6^'jotovoi? 7T7jx.ti^(-)v ij;aX{/.ot<; JCpexov
A'joiov uu.vov
28o GREEK LYRIC POETS
XVII
LVCOPHRONIDES
[P- 633]
W . <S "^ \J
-i^-A
' ' A
~~ <S \^ — <^J V^ft^/ — ' N
*-■* . W W W '
X
— / i ' 1 / , / A
— \^/ — v_/ V^ ^- \^ t^/ l — ^/ v_* l — y u — ' \
•w"^ , ™~ \> W 1^ V^ ■"" s^ v_/ \J
^„-A
T08' avaTUhjpi aoi poSov
*a>.ov avai)7]|j!.a xal TrsSiAa x.al jcuvsav
xal Tav Jhjpo<povov \oyyi<)\ iizzi rxot, vo'o? ocXak Jts^wrai
S7a xav Xapwi ©D*av TOx'iSa xal jtaXav.
XVIII
— ^» — \^ — ^ \_/ \y \J ' x
/ , / /
— ^ w w ^J L — — \_> ^/ — vy
/ / /
w *w* ~ w — \s — \^ — <J — s_/
' — ' ^> ' A
vJ — . . . J . . — _ / \
Outs toxioos appsvo; outs xapftsvciov
Ttov y_pu<jo<popG)v outs vuvawcwv ( 8ark»c.oA7rtov
/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 Introduc-
tion, to be a collection of the readable fragments of the
Greek Melic poets other than Pindar. I have nevertheless
admitted by way of supplement the more important of the
fragments of that poet also, and the addition hardly
requires justification. No collection of 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-
ledge of their several characters. On the other hand, I
have not thought it necessary to include all the readable
passages from Pindar's fragments, but have selected only
the most important. Of the works of the other Melic
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 life and works, contenting myself with a brief
biographical sketch and a few general remarks chiefly in
connection with the fragments. Beyond this I would refer
all readers to excellent articles on Pindar in the Hellenic
Journal, vol. iii., by Professor Jebb, and in the Quarterly
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. 20 1 seq. y should especially be read, containing as it does
good criticisms on the fragments of Threnes, which are
included in this text.
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 may also have profited by the
advice or example of the Theban poetesses Corinna and
Myrtis. He belonged to the great family of the Aegidae,
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
Lasus, Apollodorus, and Agathocles. His first great
Epinician Ode, the tenth Pythian, was 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 Agrigen-
tum, 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
judge from his later utterances, his own sympathies were
entirely Hellenic ; while, on the other hand, as a member
of the Theban aristocracy he was expected to adhere to
the Persian cause. The course he adopted in his poetry
was to abstain 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
Syracuse. He was apparently held in great esteem in all
PINDAR 283
the Sicilian cities, 1 and his 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
year 463 B.C., but of the later period of his life scarcely
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
of the Persians. He composed an Epinician Ode, 01. iv.,
as late as 452 B.C., when he was seventy years of age, and
died, it is said, at the age of eighty, his death being sent
to him by the gods in response to his prayer for their
greatest boon. He received after his death almost divine
honours at Delphi, and when the Lacedaemonians, and
subsequently Alexander, sacked Thebes, Pindar's house
was regarded by them as sacred.
Pindar could hardly have lived through a period more
favourable to the production of great poetry. Melic poety
as an art had been brought to its full development by Simon-
ides 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
in greater demand 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
new and perhaps greatest offspring of Greek poetic genius
the 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
to various contemporary circumstances ; but we must also
remember that it was no sudden revival of poetic inspira-
tion that took place at this period, such as was to a certain
extent the case in our own Elizabethan age ; rather the
twisting poetical talent, owing to certain causes, was
directed to a new channel, and thus lyric poetry at the
period which practically marks its close, so far from
J See 01 2, 3, 4, 5, 12, etc. 2 See Pyth. 4.
284 GREEK LYRIC POETS
being in a state of decay, was in full vigour. It is to
this final period that Pindar belongs, and his writings
exhibit all its characteristic features. Stamped as his
poems are with his own individuality, the directly personal
or subjective element has all but disappeared. His com-
positions were intended for public representation, and
his existing poems without exception are in the choral
form which he extended even to his Scolia. 1 He writes
throughout as the professional poet, whose duty it is to
devote his talents to the occasion for which his services are
required ; but his estimate of his profession is a high one,
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
before us. His sentiments on religious matters are
particularly elevated. Attached as he was to mythology,
he exercises a purifying eclecticism in his acceptance of
its legends ; and his test of truth in such matters is the
consistency of the story with godlike character. Instances
of this might be multiplied from the Epinician Odes ; in
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 pro-
fession to speak words not unpleasing to his patrons, there
is yet no trace in the Odes of the sophistical compromising
found in Simonides ; his tone is throughout earnest and
lofty and almost austere. The moral atmosphere is that
of the tragedies of Aeschylus and Sophocles, 2 and in
1 See on Frag. ix.
2 See M. Jules Girard {Le Sentiment Rcligieux en Grece, p. 348) on
the epoch of Pindar and Aeschylus, which he regards as the highest
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
tragedians is but an inheritance from their predecessors
the lyric poets. It is only in the Fragments that Pindar
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
THRENOI
I
I Hiickh, 97 1
— w — w '— w — w w — ( w w -~ — — ) W I
— '. ' — w WW — WW 1 — W ' — w — /\
'. W VJ W W ' I t ~- W — W W WW /\
— w — L-_ ^ _ _ WW WW ' W ™~ '— W ~ "
'. *~" W ' ' l ~~ W WW W W /\ S
OX ( 6iy. S' a~y.vT£; aica ^o<7i7uovov (ij-STavtadOvrai) teXsutocv"
>cal <jto[7,a [j.sv Travxtov S7USTat 8-avy.TW 77£piG#£V£i,
Uoov S' Its >v£tx£Tai aitovoi; si&g>Xgv to yap egti [7.ovov
sV. flecov c'josi Se TrpaTTOVxtov ;j.£>i(ov, a-rap £uSovT£<7<7t,v
sv — oTCkoic dvsipoic
^eix.vjGi T£p:rv(-liv e^spTroiTav yaA£-<3v ts x.piatv. 5
II
I95J
— v-/ <w* «w» — - \-< ^ <^» \_^ — -^ v^ y\
1 V»/ \_/ ^ <J V-* W V->\-»
«w-\^ — VV — ~~ ' — \J '— W
^ L — *_/ — — — \^/ \^l ' W *— VJ —
l 1 w r
— ; — w *-/ — w^ — — ^— \^ — ~tc
— * — W \_/ — <w» W "" V^ \^* "~~ W W "~ K*> \*J —
Stroph. y. .
Toici la[j.7i£t [X£v j/ivo; keXighj -rav £v$a<$s vu/Cto. x.aTto,
'X>OtVt.XOpO^OlC t' SVl l£l|X(OV£GGl TTpOOCCTlOV aUTOJV
Jtai Xi(3av<o cxtapcxi jtat y_pu<7£0ic x.ap— oi; (3sj3pi-9-ev'
PINDAR 287
x.al toI [xsv i7i7roic YU{/.vacioi? (ts), toI os —sgcoi;,
TOl 0*£ <pop[/.iyy£<7<Tl TEOTTOVTat, TOXpa OS GCplGlV EUaV&VJ?
aTra? ts&oXsv oX|3o(;' 5
oo^a 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
fiXvj^pol oVypspac vojcto? Tcorai/.oi. . . .
Ill
[97]
WW — w — ww — '/\
— * ww 1 — w — w w — /\
w I ' — w i ' L ~~ -w — /\
~~ww L " — w — ww —
ww ., w w , . 1 r
^uyjxi o aaspstov u~ oOpavioi
yaia — omovTat, sv a^ysffiv cpovtoic
U7T0 LsuyXai; acpuxxoi? /.a/xov*
E'jcsfiEtov o" ETro'jpaviot vaiourai
ao^Trai? jxaxapa u.syav ocsioovt' ev up.vo'.c. c;
IV
I98I
— ww — ww ' — w ^*w — /\
W .
— w w — w w u — w — w — — — ww — "ww — y\
— i — \«/ v*» — ^ ^y ^— w — w w — w^ — —
^ ^ — w \^/ I
Oir>i 6e ^spffe^pova — oivav jraXaioG 7rivO-Eoc
SlqSTat, ZC, TOV UTTEp&SV aXlOV /CSlVtOV EVaTW STSt
avo*io*oi v|/u/ac 7?aXiV
ex. Tav [iaTi'XTJE? ayauoi *at cftsvsi scpawuvol co<pi(Z ts
uiviffTOi
avops? ku^ovt'" e? oe tov \ovx ov ypo'vov yjptos; ayvol
Trpoc avf>p<o7r<ov KaXsOvrat.
288
GREEK LYRIC POETS
v
THE ELEUSINIAN MYSTERIES
[98]
"OX^io; octtl; i^tov £x,£iva %oiXav
tia ut:o ^-9'ov' oihz k u,£v piou tsXsutocv
oiosv r)s otOGciOTOv dcpyav.
VI
DITHYRAMB
U5]
^2: a
• A
" W b "~ — <w* \^/ \J ^ w •
vJV>J'
■>-' \J l
A
,-.,- A
,_A
.A
v_ «^< ^-* "~ N-** v^> -~ \J '
~%^ v-/ — y^ \j \j \j^
A
' w *— W w v«/
,-A
_ A
_-_^_A
, w i ^1 w — A
_A
^-A^ . — s^ '
^/ ^y ~ v^ — vl/ ^ W W ~~
~A
A
IO
15
A
"lS£T' £V J(OpOV, 'OXu|7.7ttOl,
£7W T£ JCXUTOIV TCSJJOTSTS /apiV, #£01,
-oXupaxov oiV affrso? 6[/.<paX6v {)uo£vxa
£v Tat? i£pai? 'Afravai;
oi./v£iT£ TiavSaiSaXov t' sujcXs' avopav
PINDAR
289
ioSeTtov \a.yzxz ffxeipavcov, t<xv t' dapi&pdxtov
7\oi(3av, Atd&£v T£ |7.£ eruv ayXafiy
lotre xopEuOivT' eg aoi&av &£ut£oov
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 -8-a/va^ou
euoo[/.ov Ixafotxyiv sap <puxa vexrapea. I c
Tots paXXerat, tot' eV a[/.(3poTav ^e'pcov eoaTai
icov <pdpou, p'doa t£ KOfAaim piyvuTai,
a^etrai t' 0{/.<pal {/.sXlwv <ruv auloT?
a^eirai Ssy.e/vav eXHcaf//7ri»ca £opo£.
VII
HYPORCHEM
[84]
X
— w -V <S ~\J W —W W~~»«/~C' — ^-"W™- ' ^
— w ^ l — ^ ^ ^ — ^ ' — — v^ w — ' ^
>w*
; — \^ ^ — -v./ ^ — ^; — ^ — ^, — /\
— W W '— ^ w W ~~W *-* — ^ ^ *-\^ ^ — /\
^
I ' S-* W — W ^ — w — ^ ^
— \^ v.; — y^ v^ I— — \j ^ — ^/ w — ~
s-/
* ™"W \*> ^— — \-/ — W — W ~~ ^
w
'. — W W — O — v^< — ' ^
o\^ !
; — O — v^v^ — ON^ — *~^ — *«<W — ' ^
— C? ~~W ^ ~"\-/ W W V^ W — <^/ — ' ^
— C/ — Vy W W V-* V> *w» *~ *
— v^fl^f — "^^^ — s^A^* <^A^
V-A,^ !
! — K*M — «*a-> — ' ^
— ^ — O— x^/ — ^ — ^ ^— -%,; ^ — ^ — ^ — /\
v->w I — W *w" ' — ^^ w 1 — - w ^y — s*s — ' ^
10
15
'A/rig 'AeXiou, ti, t^ug/COtc' ep.ag &Eag to p.aTep dimccTtov,
aGTpov uxepTorrov ev af/.e'pa x.XexTOp.£vov,
eOrjxa? ap,a^avov icyuv tctocvov avSpaciv
xal aocpia? 6&ov, e7riix.oTov aTpa^ov eTcupiva
T
290 GREEK LYRIC POETS
eXauveiv ti veoorepov 7] Trapo? ; 5
'AXka. ce Trpo? Aio? i7nrowrt froou? I^etsuw
a7r/]p-ov' s? oi[7.6v Ttva Tpoaroio ©vjpatc,
to 7roTvia, roxyjcoivov xspa?.
naXsp.ou S' el (?a[/.a <pepet? tlvo?, 73 gtocciv ouXoyivav,
73 xapTtoO cpQtctv, 7} vicpSTou <j#ivo? u7rep<paT0v, 10
vj 7:6vtou xeveoociv ava ttsSov,
r y 77ay£TOv ^frovd?, 7] votiov &s'poc
u^aTt ^ajcoTco &epdv,
v^ yatav xaTax.'Xuaaicoc -9-vjcret? avSptov veov e£ apyjx<; Y^ v0 ?»
oXo<p(opop(.ai ou)ftev o -a 7ravT0iv pixa TCi<70;/.ai. 1 5
VIII
PROSODION
(a) DELOS
[58]
' W W — W W — /\
1 W W WW*
«^ W WW — — ^— v-^— — — w*^"— W^ — /\
WW WW W \^ /\
'WW — WW WW — WW
- w WW— /\
- ^ ' ^/ WW"~WW— —
■WW — WW """WW - 'WW
Stroph.
Xalp' u> fteofy/.aTa, ^iTwapo-^oy.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— w T7JXe<paT0v
x'javea; j(frov6; aVrpov ... 5
Antistroph.
* # * *
YjV yap TOTrapoiO-e cpopvjTa >tuj/.aTe<7<Jiv TravTO&XTiiov t'
avsuiov
PINDAR 291
iiKcaaw oCkV a Kotoyevr? gt^ot' coStvecci -8-oat?
tt.yyiT6x.ou; eTrs^a viv, S^ tots Teacaps; opfrai 5
77p£ t avwv axtopoucrav y&ovioav,
av S' e^ix-pavoi; cry£$ov Trsrpav aoa[/.avT07i£SiXoi
*iove<; - sv#a tsxoTc' EuftaifAOv' e— o^a.TO ysvvav.
(/?) AT DELPHI
[60]
' *w* ~\^ V-* O" W — W — W — V*/
'W vj "™ t j ~- r^ — \^j v^y — v j — * ^
ITpo? 'OXu|/.7:to'j Ato? ce,
'Xitjco^.ai XaptT£<j<7t ts ;cal cruv 'A<ppoSiT<x
sv ^a&Eto [7.£ Si^ai ytopw aoiStfzov
IltepuWv ^pocparav. 5
XI
SCOLION
TO THEOXENUS OF TENEDOS
— '. — w w — w w ' — ' ' — w w w — w w — /\
— ww — ww ' — w ; — w ' — w — ~7\
. I w
— , •— w — ~— — ww — WW
L — w ■— ' l— w ' — w ' — w — ~/\
Epod.
— ! ^ w — — — ww — ww w w — ww
— ww — ww ' — w
"" w w — w w L— w — . . .
Stroph.
Xpv;v piv tta-ra y.aipov gpeortov §p&?s<T$ai, -8-upi,
cuv ttXv/lv:
xa; rte ©eo^evou axiTva? (ti;) offffcav u.a()|/.api£o£<ja$ Spooled;
292 GREEK LYRIC POETS
6? p) 7708-0) Jtu(Jt.aCvSTai, d£ aSap.avTo;
Antistroph.
ipuypa <pAoyi, 7rpo<; S' 'A<ppoSiTa; aTi|/.a<j&sl? sDa/.of&scpapou 5
r rcspi xpr^act [/.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 £<; vjfiav.
sv &' aoa nai TevsSto Hsifto) te vatet, IO
y,vX Xapi?* uiov 'Ay/jG&a* . . .
x
SC0L10N (?)
[239]
1 — ^ — — "~s^W — W <J ^ ~
1 — ^ — — — o ^ 1— ' L— w ~- — U " V
L— W"~ — — ^ W ~~ O*^"™ — — ^ ""
* * *
'Avfa' av&pioTCtov yca^aTcoSes; ofyovTat, pipiixvoa
CTV)8itov s£w, xe^ayet. 8' ev TroTa^puaoio tcaoutou
TcavTS? fcix veojy.ev ^suStj ~pG? axTav
6? i/iv aypr,[/,o)v a<pvso? tots, toi S' aC 7cXoutsovts?
* * * *
ae^ovTai. eppeva? a[/.7reAivoi? to'^oi? SajiivTec.
XI
SOCIAL PRECEPTS
(a) AMPHIARAUS TO HIS SON AMPHILOCHUS
[173]
1_ w _ 1— w — UU-^U _ /\
I— ^ ^ v^ — w ^ ^ w — v-> W ' — W — 7\
^Q TS*VOV,
7covTiou frvjpo; 7i£Tpaiou /pom ^aXwTa voov
PINDAR 293
7rpo<5<psptov Trasoa; ~oAi£crcrt.v 6[/,iasi' tcIj xapeovn.
aXkoT aAAoia cppovst.
GO
[172]
— v^v^^^w"" — L ~ ^ — — *— ^ — /\
— yy — v^v^ ' — V^ — — — 1-/W— /\
\J w ' ~ — ' — s^ w
My) xpo? axavra? avapprj^at. tov a^pstov Aoyov
safr' ots 7u<7TOTaTa (nya<; 6S0;' xevrpov Si [-'•ax, a ?
6 xpaTWTSucov Aoyo;.
(T)
— >_/ w •— w ' — 1^ — — — v^ w — 7\
'— (^1 — — — v^^ — 1»>^ — ~/\
yj 'I y_, I yj I yj I ^/
— yy \y — O''-' — — — ^l\J ~- \J <J — — — ^J ^ — /\
'A'X'XoTpiotct p.V) 7rpo<paiveiv tic ©spETai
[/.o^8-05 ap.^iv' to'jto ye toi dpsco*
xaAtov j/iv wv p.oipav te Tspxvcov £? piaov ^py) Travrl Aa<£
$sucvuvai* ei M ti? avfrpwrcotci fteoaSofos arXara y-ascOTa?
TTpOdT'J^, TaUTaV GrtOTEl X,pU7TT£tV E01X.EV. 5
XII
THE GODS
(a) PAEAN
1 33]
yy \y — yj 1^/ •
yy . —r-
— . — ^J w "~ ^ "~ — "■ /\
I — v^ ' — w — ^ w v^v^ W >-» l— <-( — /\
Ti 5' £A7reat, aocptav sp.fj.svai, a oAiyov toi
a.vrp U7csp avSpo? iayjjsi ;
294 GREEK LYRIC POETS
ou yap Za&' oizon; toc &eo3v (3ouXsu[/.aT* epeuvacsi J3poT£«
^■vaxai; §' axo [/.aTpo? s<pu.
(y6') HYPORCHEM
[7Sl
\j , — w *— — w — v^
. l* A
0eo~ §s Sei^avTO? apj^av
sxauTov ev Trpayo; su^-eTa Sy] jcsXsuS-o? apsxav sXsiv,
TsXeurai ts jcaXTiove?.
(T)
[106]
.,_A
\-/ . \~/ <J ^ ~~ "O
w . ' — w*- , w — w~~w ^ ^ —
_ W _ W _A
■8-eto Ss Suvoctov ex. [/.eXaiva?
vujcto? ap-iavTOV op<rat cpao?,
jceXaive<psi Se mcoTei xaXu^ai xafrapov
aj/ipa? aeXa?.
(8')
[105]
.v-'WW — W ta ~'~V-' — W •w' ^ W b
©so; 6 Ta 7tavxa tsu^cov ppoTOt? xal /aptv aoi$£ <puTSuei.
CO
[107]
X
— C^ — \^ !„) -v u — w
_A
• ' — ^^ A
^/ * — w — WWS_/k^— "^
Kefvoi yap t' avocoi x.al ayyjpaoi
u6vci)v t' araipoi papu^oav
TCOpity.OV 7T£<p£UyOT£? 'AyepovTo;.
PINDAR 295
XIII
THEBES
[206]
— s^ — — — u~~-i;u-uu--
1 — ^ u 1 — ^ _ -^
— w — — — w w — /\
— ; 1— ^ w w — w w — — — w w — w w — — ' — w— /^
— w — — ' — w — —
KeJcpov/jTai /puaea xpTjm; lepalcriv aot&ai?*
Eia T£l}(l£c!>[/.£V Y]5"/] TTOlXlAOV
xo<7|/.ov au^aevTa Aoytov
0; xal zoAuxAErrav rap eoToav 6'{/.co; ©r^av £Tt |j.aAAOv
6Xa<7X7]<7£l &Sc3v
xal xax' avfrptoTrcov ayiua?. 5
XIV
ATHENS. DITHYRAMB
[46, 196]
— ;— WW— WW — WW — WW^W —
— ; |W w i — w — w w — _ _ wv-/ _ ww~* —
ww — ww — — — ww — ww — —
— i 1 — w — ww —
'X2 tocI Awwcpal xal locTEcpavot. xal aot&[/.oi,
'EaaocSo? £pet<j(/.a, xAEival 'A&avai, Saip.oviov TCTOAfeQ-pov.
■^v "^r *^r ip* "^
o&i uaifk? 'Aftavaiwv £ ( 6ocaovto <pa£vvov
xpvpiS' dA£u9-£pia?.
XV
SPARTA
[213]
I— ,j — — L— w — — *— w— — L— w — •■ ^" W — —
l — w ww— ww — /\
"Evfra (xal) pouAal yEpovxwv xal v£wv avSpoTv apwjTSuowjiv
ai/jy.ai,
xal '/ppol **■ Moiaa xal 'AyAal'a.
NOTES
ARCHILOCHUS
EPODES
FOR Epodic metre, see Schmidt, Rhythmic and Metric, p. 93 seq. It
is peculiar in frequently changing the nature of the rhythm in the
second line of the couplet as compared with the first. Thus in
Frag. 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.
I. Stob. Flor. lxiv. 12. 'Woe-begone I 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. For the use of extjti cf.
KuTrptoo? Fsxaxt, Alcman XV I.
II. Tolo; yap x.T.X..
Stob. Flor. lxiv. 11. The metre of this Epode is imitated by
Horace, 1 Od. iv., Solvitur acris hiemps, etc. For the 3 -time
dactyls - <s~>, see Metre, p. 63, and for an entirely different metrical
arrangement of the Epode, see Schmidt, p. 96.
Notice the languishing effect, appropriate to the words, produced
by the ' falling ' or brachycatalectic close.
Compare closely with the passage Sap. II. : 'O—a'xsaai 8' ouokv op7)[j.'
£7cippo[jL I (Jewi 5' otzouat, and Apoll. Rhod. iii. 962, of Medea in the
presence of Jason :
'Ex o' apa 01 /.paSirj axrj^i'wv nsaev, op.ij.ata o' auxoj;
"H/Xuaav.
III. 'AXXa [j.' 6 Xus. Hephaest. 90.
AuctpsXr;? is applied to Eros, Sap. VIII., and Hesiod, Theog. 911.
Aapvatai, cf. Sap. xill., -oOto oapstsa, and Anacr. iv. of Eros, o$e
xoA (jporoui; oaij.a^ct.
IV. (a) naxEp Auxa{jipa /..x.X. Schol. Hermog. in Walz. Rhett. vii.
820, and Hephaest. 129 (11. 1-2).
1. 1. We should probably restore the Ionic xdtov.
1. 2. 7tapr'eipE cf. X. 5, vo'ou 7:aprjopo;.
1. 3. f,; Schneidew., for MSS. r ( ;, Bergk a; (Walz).
300 GREEK LYRIC POETS
(6) Orig. adi>. Cels. ii. 74 : O nctpto? ?ajj.[3oj;oios tov Auxapi[37)v (ovetot-
?wv), cf. 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 Tpa7re£av matching ^uvwvirjv £|j.t?av
(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.
VI. The Fox and the Eagle. Huschke (Miscell. Philol. ed.
Matthiae t. I. p. i.) 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 over-
took 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.
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 across any more eagles. The last passage (y') is either the
fox's prayer to Zeus to punish the offender whom she cannot reach,
or her song of grateful triumph after the punishment has been in-
flicted.
(a') 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, i. 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.
1. 3. iXaeppi£iov. Hesych. -apaaxEua£o|jiEvos paoiwe, 'preparing for', or
' awaiting untroubled ', since the eagle has taken up an unassailable
position. Schneidewin conjectures [j.avr;v = ;j.aviav (cf. Aristoph. Frag.
647)-
1. 4. Schol. //. xxiv. 315, euoO-e xat 6 'Apyp.oyot; [j-EXaptuyov touttov (the
eagle) xaXelv. Hesychius also gives the line, with xuyot? for tu'/t)?)
and he explains [j.sXa[a.7i. without reference to the eagle. Schneidewin
conjectured that the line belongs to the fable, and I have accordingly
placed it in the taunting speech of the eagle.
(y') Stobaeus, Eel. Phys. i. 122, attributes this passage to Aeschy-
lus ; but Clem. Alex., Strom, v. 725, and Eusebius to Archilochus.
ARCH I LOCH US 301
1. 2. etc' av9pw-tov Schneidewin. Stobaeus has etc' oupaviwv y.a\
av9pwTCtov, Clem. Alex, etc' oupavouc, Euseb. etc' av9pwTC0u;.
1. 3. -/.a{k'[ju<rra has better authority than Liebel's reading /.at &z[jx<tvx
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. Amnion. 6, and elsewhere.
In this fable Archilochus is supposed by Huschke 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-
trapped by a fox.
1. 1.2. 'I, an angry messenger, will tell a tale to you, O Cerycides.'
If Huschke be right, Ktjouz. must be applied to Lycambes, and as
it was a gentile name in the Ionic cities Athens (Photius) and
Miletus (Hesych. s.v. x^pou/toai), it may perhaps also have been that
of the Parian family to which Lycambes belonged ; in this case,
Archil, is jeering at his boasted descent, and is therefore probably
employing the former of the two fables mentioned.
The metaphor in ax-uxaXr] is of course suggested by Krjpuxior],
' Herald's son '. Somewhat similarly Pindar, 01. vi. 91, speaks of the
man to whom he has consigned (probably verbally only) his choral
song and its musical and dance-accompaniment as ayycXo; 6p9-d?,
7}uxofj.wv a/.uxaXa Motaav. See especially Fennell's remarks, Introd. to
Pindar, p. xxviii.
It is hard to see how ayv. azux. can mean ' a messenger of evil
tidings ', as Liebel takes it.
1. 3. aTCozpiD-E'!?, i.e. he was too proud to associate with his
fellows.
1. 4. apa, cf. on No. VI. a'.
xEpBaXcV] (trisyll.) cf. Plat. Rep. 365, referring to this passage.
VIII. TrjvsXXa xaXXtvixs x.T.X.
Schol. Ar. Birds 1764, and Schol. Acharn. 1230. Cf. Schol. Pind.
Nem. iii. 1 ; 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
effect, but brings the song into accordance with the description in the
Scholia — to uiXog r,v tptaxpo^ov . . . xp\? etcex.eXocoouv to KaXXtvr/.s. The
song was a hymn to 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 em-
ployed 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;
ap/.sas x.t.X. Cf. also Aristoph. Knights, 1254.
Archilochus himself, we are told, was the first to use it for purposes
of this kind— w/.v. ok TCpwxo; 'ApyfXo/o; vixr]ia? ev Ila'po) xov Arj;j.r)Tpo;
302 GREEK LYRIC POETS
u[j.vov {i.e. 'having been victorious with his hymn lo Demeter', v.
Bergk 120), iau-(o xouxov ijti7;s©a)V7]XE'vai.
TjivsXXa was a cry employed when there was no music at hand, in
imitation of the notes of the lyre (cf. SpsxxavEXo, Ar. Plutus, 290). It
was uttered by the leader, 6 scjapyo;, while the band of revellers, 6 xuv
xwp.a(jTcov XPP°?> followed it up with the words xaXXfvixs x.x.X. (Schol.
CV. ix. etc.). '{2 has little authority, but is supplied by Dindorf in the
Schol. Arisf., and seems desirable for the completion of the metre,
though not essential.
1. 4. Bergk leaves afypjxa ; but Fick points out that if the dual
were employed at all it would assuredly be afyp]T>]>
TETRAMETERS
IX. 0u[jl£, -9-ijfJi' d[ju]-/avotat x.x.X. Stob. Flor. xx. 28.
1. 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 ov^evmv.
1. 3. sv ooxotaiv x.x.X. If the word means 'spears ', we must translate :
' Firmly taking thy stand close up amidst the spears of the enemy.'
In that case, however, the words -X^aiov and b> are hardly reconcile-
able. It has been suggested to me that odxoi is possibly used for
' expectation ' {i.e. of the enemy). In the singular, at any rate, the
word has a meaning similar to this ; see Liddell and Scott. The
interpretation 'ambush' for ooxolaiv is not so well suited to the context.
1. 7. pua;j.6; or puQ-jxo? in this passage is regarded by all the com-
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 I fail to see the force
of the words in a passage relating to the alternations of human
fortune, and I would suggest that the meaning is rather : ' Consider
what an even ebb and flow of destiny governs the affairs of men,
tempering good with evil fortune and evil with good.' Cf. No. x.
X. Tot? 0-£oi; xtO'Si (xa) Travxa x.x.X. Stob. Flor. cv. 24.
These lines express the same sentiment as No. ix. : ' Remember
that our fate is in the hands of the gods, who can reverse it at any
moment.'
1. 1. Grotius supplies xa. For x;9ct, Bergk compares Aesch. Pers.
424, xauxa . . . -avxa \rrpo\j.zv 9-cdtai. For the sentiment cf. Hor. 3 Od.
vi. 5 : ' Dis te minorem quod geris imperas | Hinc omne principium
hue refer exitum.'
1. 3. [j.aX' su psjjrjxdxas : ' those who have taken a firm stand.' Cf.
Hdt. vii. 164, x^v xupavviSa eu pEpVjxutav, and for the phrase in its literal
sense No. xm. 1. 4.
A R C H I L O C H U S 303
1. 5. -/piiAr,, ' want ', ' poverty ' (/paa — a^avt;, Suidas), not as in Lid.
and Scott's earlier edition, 'request', 'prayer'.
vo'ou Jtaprjopos, ' 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,
Hes. Wks. ioo : aXXa oe p.ucia Xuypa xax' av9p<o-ou; aXaXjjxai.
XI. XprjijiaTiov oceX-tov ouoe'v x.t.X. Stob. Flor. ex. 10, 1. I being
also quoted by Ar. Rhet. iii. 17 : ('Ap//Xo-/og) rotel tov naxepa Xs'yovTa
7csp\ TTjs ■9-uyaxpo; x.t.X., from which Schneidewin conjectures that
Lycambes is commenting on the change in Archilochus from ardent
love for Neobule to violent hatred.
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 aorist.
1. I. a~to[j.oTov : explained by Etym. Mag. av xi? cwtofiooeis ysyovc'vai
r t [>.ri YEVEcrS-ai" evtoi dl (xveXtcicttov. It 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
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.
1. 4. uypov, Valckenaer for MSS. Xuypov, which is unmetrical. Bentley
«r/pov. 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.
As applied to the eyes the word signifies usually the ' languishing
look of love '.
I.5. £x xou, 'ex hoc tempore', 'after this', that is to say, unless
we refer the 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
ix tou to mean simply 'therefore', just as ex tivo?; = ' wherefore?'
Kai 7uara -avTa Liebel, for oux a-iaxa ^avxa. Ilgen reads ex 8e toOS'
a7:iaTa rcavxa x.t.X., referring touSe to Se'os, so that the passage would
mean 'Fear will make a man believe the most incredible things'.
But surely this is out of harmony with the context.
1. 7. lav, Valckenaer for Tva, Bergk oxav.
1. 9. For the corrupt xtftai 8' tjou 7]v Gaisford reads xoisiv rjotov 3'
cipo;. 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 i. 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.
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 voo<; eaxtv sraySovuov avfrptoTuov,
otov £-' rjijiap ayr ( ai r.airft avoptov xs 0cwv xe.
1. i. Glaucus appears again in No. xiv. as Archilochus' companion in
arms. He is also spoken of slightingly in Bergk 57 asxov x£po7tXaax7jv,
explained by Plut. as ipiXoxoa^ov wep\ /.o[j.r]v.
1. 2. oxofyv : z.£. men's feelings vary with the fortune (^[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 rj[jipr ( v, 'men's feelings are such as Zeus brings them
daily '. For aysi Stob., who quotes the passage, Eel. Phys. i. 38. has
ayr], which might perhaps be expected in imitation of the Homeric
construction above.
1. 3. Supplied from the Platonic Eryxias 397 E.
hi ^[i.Ep>]v : we should perhaps read hi rjfjiprjv, as an example of Ionic
Psilosis '. Cf. Anacr. ii. 6, saxaxopa; note, and see Fick in Bezzen-
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 in Hippocr. de Artie. III. T. xviii. 1. 537.
1. I. SiararcXiyp-ivov Hemsterhuys, for Sta7:s7Ujy|jivov or ota-s-Xr^yfi-e'vov.
1. 2. Porrpuy. yaupov, cf. Eur. Or. 1532, [joaxpuyoi; yaupou[j.svos,
sarcastically of Menelaus.
1. 4. potx.6? has somewhat more authority than paipo;. Both have
the same signification, ' 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 oaau'?, and interprets ' eon-
silio abwidantem, oppositum u-E?uprj;j.evw ', ' bristling with plans '.
Emperius reads xoltzi xv7]'[j.at<nv Saau? (mss. Dio xa\ h& xv7j[/.aiai), hair
about the limbs and body being often, if erroneously, regarded as a
sign of strength.
XIV. rXaux' opa x.x.X. Heracl. Pont. Allegor. Horn. c. 5, 'ApyiXoyoc
ev xot; Gpaxixol; aj:EtXr](j.;j.s'vo; Seivoi; xov t:oXs[j.ov Eixa£si ■O'aXaxxt'to xXuSwvi.
Cf. Alcaeus passim for the frequent application of the same metaphor.
1. 1. rXaux' opa, perhaps opa ; cf. on No. XII. 1. 3.
1. 2. TupEwv. Rocks of this name are mentioned in the Odyssey iv.
500, but as they were near Naxos (Scholl. ad loc.) they can hardly be
those referred to by Archilochus. Schneidewin conjectures that the
latter were ' raxpa? quasdam axpoyyuXa; non procul Thaso '. Liebel,
yupEov (with vs'cpo;) i.q. yupov or xupxov, ' nubes convexa ', a cloud
ARCHILOCHUS 305
pregnant with rain. But he has possibly overlooked the fact that
TupEcov is the Ionic form of the gen. plur. fern, from yupo?, not y u peos.
Compare Anacr. xxm. 1. 12, aaxive'wv, etc.
1. 3. i% <xzk~v.r]<; = acXnxw; (Hesych.).
1. 4. Clem. Alex. S/rom. vi. 739. I have conjecturally placed this
line with 11. 1-3. Archilochus is apparently imitating Homer //. vii.
102.
Ntxrj; 7i£tpax' ryovxai Iv aO-avaxoiai -O-eofaiv.
XV. Ou xi? atSofo? x.x.X. Stob. Flor. cxxvi. 4.
xai-ep 'icpfrtpLo? Porson, for xa\ xrspicpr^j.o?. Salmasius xaforep sucprjjxo;.
Bergk xavapi9|uo?.
1. 2. £ooo Porson, for £uou. Compare with this line Stesich. IX. (3 —
■9-avovxo; avopo? raV a~oXXuxai rcox' dv9pu>7:wv yapi?.
I have omitted a third line, bracketed by Bergk, and quoted in a
corrupt state by Stob. : £tooi" xdxiaxa 3e xu> #avovxi yiyvsxai.
XVI. Ou yap hd-Xx x.x.X. Stob. Flor. cxxv. 5, and Schol. Od. xxii.
412 (ouy oairj xxa[j.c'voicjtv £-' dvopaaiv suyexaaafrai).
XVII. "Ev 8' ETCtuxajxat [jiya x.x.X. Theoph. ad Autolyc. ii. 37, p.
377. Cf. Frag. 143 (Bergk), xs'xxtya 0' e'tX^cpa; 7xxspou, Archilochus
speaking of himself.
1. 2. [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. Cf. Aesch. Choeph. 2, awxr ( p yevou [xoi s'u'jj.jj.ayoc; x' aixoupivw.
ysvcu : 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 8e AewcpiXo; x.x.X. Herodian, jrepl <r/7]j/.. 57. 2.
1. 1. dpysi. Liebel, supposing that the speaker is enamoured of
Leophilus, has a note : ' apyeiv et xpaxetv de formosis, ut Anacreon de
Bathyllo, xov apxi xtov ardvxwv | xpaxouvxa xai xu'pavvov.'
1. 2. Ksixai : ' all things lie at the disposal of L.', ' all power'js' in his
hands ', like 3-scov Iv you'vaat xeixai.
AetoipiXou 8' axou'sxai Porson, for Aew'oiXo? 31 axous.
XX. Ei yap w; i\j.o\ x.x.X. Plut. de EI ap. Delph. c. 5.
Ei yap w; is pleonastic, and Liebel supports the reading tS§ ' vel sic ',
i.e. perhaps ' in spite of my anger at my rejection '.
XXI. (a) 'Q? Aiwvu'301' avaxxo?. Quoted by Athen. xiv. 628A, to
show that the proper accompaniment of the Dithyramb was oivo? xai
U
306 GREEK LYRIC POETS
[Li&i]. We see from this and the following passage that Archil, was
a composer of Melic poetry proper (cf. Biog. Archil, p. 1 1 1).
£?ap?at, see p. 7, and cf. Ar. Poet, i. 30, where it is stated that
Tragedy arose from tuv E^apydvTwv tov oi!)"jpa|jipov.
(P) auTo? i?ap/wv, Athen. v. 180 E.
Ac'a|3iov. The epithet points to the early existence of a Lesbian
school of Lyric poetry, see p. 100.
XXII. "E7;Ta yap vE/.pwv x.t.X. Plut. Galba, c. 27. "ftarap hi cprjaiv
' ApyiXo'/ot;' E^xa yap jc.T.X., gutw tote t:oXXo\ tgu ^dvou [jl^ auvEcpa^a-
[xevot, X £ "'p a ? ^ £ xai ^"jp 7 ! xa9'at[j.aaaovTEs etzeoeixvuvto.
MELIC AT SPARTA
TERPANDER
I. v Ev9-' ai/[i.a x.t.X. Plut. Lye. c. 21. (Tsp-avopo;) outws ::sjtcH7)XE
7cepi Ttov Aaz£oai^.ovt(ov. See Art. vin. p. 101, and compare the passage
from Pindar there quoted (No. xv. in this text), also Alcman xxiv.
<Ay\xk ve'mv, cf. Pind. Nem. x. 23 : 9-pE'J/E o' afypuxv 'Aix^tTpuwvo?, where,
as in this passage, Dissen explains ai/fj.a as 'warlike spirit'. Mtoaa,
Dor. Dial. p. 79.
Aiysia. If Chappell {Hist, of Music, p. 107) is right in saying that
Greek music was pitched extremely high, we can more readily under-
stand why Xtyu;, properly ' shrill ', is so often used for ' sweet-toned ',
' musical'. Cf. Alcman VII. and IX. etc.
Eupuayula, Schneidew. conjectures eu apapota, Bergk thinks that
Eupuay. may be explained by Aratus 105 : Aix.rj . . . ay£tpo[XEV7] Se
yEpovTa? I 'He' 7:ou eiv ayopr| t\ Eupoyopto ev ayuiyf. I should take it to
signify, like EupudoEta, ' easily accessible ', ' open to all '.
II. 2di o f^uEi? 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
-apiaXatov. Some (e.g. Bergk, Hist. Gk. Lit. p. 211) understand by
TETpay7]puv aoiS. the old Nome, of 4-parts (see p. 36).
axoaTEp^avTE?, so Eucl. Introd. Harm. 19; Strabo, aTtoarTpE'iavTE?.
The dialect is given as it appears in these authors.
III. (a) Zeu -avTwv ap/a x.t.X. Clem. Alex., Strom, vi. 784, quotes
this for the solemnity of the rhythm.
1. 3. ra'pzw perhaps implies that the passage is from a processional
hymn. Bergk alters to ara'vSw.
(P') Keil, Anal. Gramm. 6. 6. Conjecturally attributed to Terp-
ander by Bergk, who has restored the Doric forms Mtdaai?, Mwadpyw.
SPARTAN SONGS 307
It is, however, hardly safe to tamper with a word so familiar in Epic
poetry as Mouaa.
IV. 'A[i.tp{ [j.oi x.x.X. Schol. 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.
I. "Aysx' w 2racpxa; suavopw x.x.X. Quoted by Dio Chrys. i. 34
(Emp.) as an instance of an spL(Bax7Jptov or march-song, and by Tzetz.
Chil. i. 692.
1. 1. £uav5pto. I have restored the Doric genit. in w, v. Dor. Dial.
P- 94-
I. 4. odpu o\ i.e. Ss^ta Se odpu, x.x.X., Se?. being implied in Sdpu. ;:aX-
Xgvxe*;, so Thiersch for (jocXXexs, paXXovxs;.
II. "Aysx' oj Srcapxa; evo7xXoi x.x.X. Quoted by Hephaest. 46, without
the name of the author, and conjecturally assigned to Tyrtaeus. It
is a brilliant example of spirited metre, xivtjcnv : Hephaest. has
xtvasiv, 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 incon-
sistent with the dignity of old age.
I. 1. ifjiss, Bergk {Dor. Dial. p. 95). Plut. gives the Lesbian ap.[j.£?
(api£? in one passage), but the pure Doric is more probable in a song
of this character.
^jjL£; = ^[i.£v, but 7]{ji.es in 1. 2 = Eafiiv, Dor. Dial. p. 96. r^dc, is restored
by Ahrens for the 'milder' Doric Eipi?. Xff? from Xa-ei?, pp. 92, 93.
auyaaSso = auya^Eo, 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.
at is an old form of el, found in early Doric and Lesbian inscrip-
tion, and in Homer when accompanied by x£ or yap; v. G. Meyer,
Gr. Gram. 1 13.
xappov£? ( = xpeixrovE?) from *xdpTitov, *xapaawv. For the assimilation
of p? cf. 0-appstv as compared with Oapastv, etc. {v. Meyer, 271).
II. -dppco yap x.x.X. Quoted by Luc. de Saltat. 10, who explains
xtofxai-axE (3eXx. as ajj.£tvov dp/^aaafh. Bergk compares Hesych. x(j[j.a8o£iv
dpystaflai. For x(op.a?ax£ v. Dor. Dial. pp. 95, 96.
3o8 GREEK LYRIC POETS
ALCM AN
A. PARTHENION
THE discovery of this fragment, from which I have taken nearly all
that is 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
literature. 1
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 ; Paris, 1863. Since then it has been edited by Ten
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.
To Ahrens belongs the credit of detecting the strophical arrangement
of the poem, this being the earliest known example of the kind in
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. Particularly striking also is the rapid trans-
ition from a religious subject (for the poem is a hymn) to matters
exceedingly secular (v. text ad inif.), clearly illustrating for us how
far were the Greeks from isolating religious ceremonies and senti-
ments from the everyday life and thoughts of the worshippers.
It is usually considered that the poem is a hymn to tbe Dioscuri ;
for the fragment in the original begins with the word ilwAuScuxr^, and
1 Compare the recent discovery of a fragment, probably from a Greek Corned}', in a tomb
in Egypt, announced by Professor Sayce in the Academy, October nth, 1S90.
ALCMAN 309
seems at the commencement to be celebrating the slaughter by these
deities of Hippocoon and his sons : 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
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. The text closely follows the MS. as given
by Bergk, the letters in brackets being conjecturally inserted by the
commentators.
I. 1. 1 etc. A recountal has preceded of the well-earned punishment
of the family of Hippocoon at the hands of the Dioscuri. The connec-
tion with what follows seems to be : The gods ' hold vengeance in
their hands'. Happy is he who escapes it and leads a peaceful life,
as I do who sing, etc. Ilasov = [IJ-aOov, Dor. Dial. p. 94.
I. 3. For atcov = 0-swv see Doric Dialect, p. 94.
II. 6-30. General Sense. — Alcman begins by complimenting Agido,
when suddenly Agesichora (a xXsvva yopayo?) engages his attention
(11. 10-24). In 11. 25-30 he makes amends to Agido, and declares that
the two maidens run level in the race for beauty.
1. 7. 'Ayiow; (genitive for ou;). See Dor. Dial., p. 95.
1. 8. oXioc, Bergk for aXiov. The ceremony is taking place in the
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 Juliet is the sun.'
1. 10. cpaivsv, £7;ouvev (Ahrens, ir.on^). See Doric Dialect, p. 93.
1. 11. x.Xsvva Canini on the authority of Hesychius takes in the
sense of ' beautiful '. For the form see Lesb. Dial. p. 82. Perhaps
we ought to adopt the Lesbian accentuation xXsvva. See Athen. xiv.
633 A, for yopayo; in the sense of 'leader of the band'.
Seq. : ouok Xwa' Iff is Bergk's ingenious conjecture. He declares
that the original has OYAEAiiC, and the change from A to A is very
slight. Blass thinks he can trace OYAAMS2C , which would avoid the
harshness of ouoe.
Awaa is given by Hesych. = iHXouaa (cf. Spartan Dance Song No. 1.
si oe Ife). For Iff from ea-si see Dor. Dial. p. 92-3.
The meaning of the passage, whether we follow Bergk or Blass,
appears to be : ' The beauty of our leader (Agesichora, 1. 20) withholds
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. 7)[j.£v = Eivai. See Dor. Dial. p. 96.
1. 14. 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?.
1. 15. The word jzayov ( = r.r^6\>) in the comparison seems to imply
that 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
way : — 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.
I suggest olov u7T07ux£pi8i<ov, if at least it is permissible to combine the
last two syllables for metrical purposes.
1. 17. opffc. See Dor. Dial. p. 92-3.
1. 18. 'Evsxtxos, i.e. 'the horse of my comparison is of the highest
breed'. 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. 23. Siaoaoav, etc. The adverb accompanies some verb never
uttered by the poet. If Bergk's somewhat fanciful reading |j.e'v(e) for
[jlev be right, the poet is saying 'to what shall I liken her countenance ?'
(xi xot Xsyto ;) when Agesichora, who is becoming embarrassed, begins
to retire. Alcman reassures her (jaeV auxa, ' remain '), and though
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. 25. 7iEoa for [i.Exa. See Lesbian Dial. p. 88.
I. 26. The reading in the text is that of Blass (excepting oYe;,.
Blass as;, although 1 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
outstripped. KoXai; is explained by Ahrens and Blass as 9-spa7iwv.
Eip/jvo) 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 xoXafctos, ' a horse belonging to Kolaxis ', king of
Scythia (Hdt. iv. 5 and 7), as if his horses had become proverbial for
swiftness.
II. 27-30. ' For these doves (Agesichora and Agido), rising before us
like Sirius as we bear the garment to Artemis through the ambrosial
night, contend (in beauty).' This has occurred to me as the least im-
probable 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
ALCMAN 311
opQ-ptai which the original gives. (Compare above, p. 309.) See
Pausan. iii. 16. 6.
IlsXsiaSs; is taken as ' Pleiads ' by some (see Canini), as if the chorus
of girls were compared to that constellation.
ipapo? or oapo; is explained by the Schol. ad loc. as apotpov, ' a
plough ', and this meaning is mentioned by Herodian as occurring in
Alcman. Nothing, however, is known of any such offering in connec-
tion with Artemis, whereas oapo?, ' a robe ', was a common offering to
goddesses. Cf. //. vi. 90, where Hecuba presents her best garment
to Athene.
Seiptov aaxpov is constantly used for ' the sun ', compare passages
quoted in Liddell and Scott. But no more than Sirius, the Dog-star,
the brightest of all the stars, need be meant here, a rendering which
avoids the repetition of the simile in 11. 7-8.
Austpojjivai from 'Afapo^Evai ('Asfpw = a^Eptto, see King and Cook-
son's Sounds and Inflexions, p. 408). The change from F to u is
probably Lesbian ; see Lesb. Dial. p. 82. Possibly we should read
afsipopivai, retaining the digamma ; otherwise we must treat the
diphthong au as short.
1. 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 '.
'A[j.uvau Schol. to //. v. 206 quotes this passage (with a[j.uva?9-ai) to
show that apjvsaEhu = a^EiiaaSai, and Bergk compares yXaiva a^ot^a;,
Od. xiv. 521, 'a cloak for a change'. The difficulty lies in the
necessity of reading the active ap.0vai here on account of the metre.
There is, however, a somewhat similar usage in Oed. Col. 11 28,
djxuvw xotaoE Tots Xoyot; TaoE.
The meaning apparently is, either, ' We have not sufficient purple
garments for a change ' (cf. Bergk ' non tanta est copia purpurearum
vestium ut mutare liceat '), or, ' There is never such satiety of purple
garments that we wish to change them.'
1. 33. Spdxcov, of a serpent-shaped bracelet or armlet ; see Lexicon.
'Oei; is said by Hesychius to be similarly used.
1. 34. AuSia [xiTpa, the Lydian snood, evidently famous. Cf. Pind.
Netn. viii. 15, where Pindar, epe'pwv | Auoiav puxpav xava/r,oa rarcoi-
xiXfAEvav, metaphorically applies the expression to his own Ode in
Lydian measure. Lydia was famous in all matters relating to cos-
tume. Cf. Sappho xxix. note, of Lydian dyes.
I. 38. ctieiotJ; = ■9-eoeiotJ;, v. on 1. 13. Similarly in 1. 39 ¥Xvt\wi$v. is
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 (j.' e-i rocpttevocoft x.x.X. Antig. Caryst. Nisi. Mir. 27, who ex-
plains that Alcman, now too old to join in the maidens' choruses, wishes
312 GREEK LYRIC POETS
that he were a xrjpuXo?, or male halcyon, which when enfeebled by
old age 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
fj-eXipSslv, here retains the hexametric style. Notice, however, the
lyrical movement imparted to the lines by the employment of dactyls
exclusively. (Cf. p. 62). The whole rhythmic effect of this beautiful
passage is singularly melodious.
1. 1. ip.spdcpwvoi, accepted by most commentators for MSS. tEpocpwvoi.
1. 2. The word (BocXe = utinam, is of uncertain origin, for it is hard
to see how it can be the imperative of fiaXXw as Liddell and Scott
say. It is 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 ^oxaxat, Dor. Dial. p. 92.
1. 4. vTjXsyEs Bergk, for vrjXels. Boissonade vtjSse?.
III. EuSouatv x.t.X. Apollon. Lex. Horn. 101. 18.
I have placed this well-known passage conjecturally among the
fragments of Parthenia. It is evidently choral, and its solemnity is
well suited to religious lyric. It is not unpleasing to think that it
was sung in 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.
1. i.^u'5ouc7tv. Bergk suggests that Alcman employed the Lesbian
form eu'Schslv. See, however, p. 97, ad Jin.
1. 3. I have adopted Schneidewin's reading for MSS. 90X0" te ipjcerd
■9-' oaa x.t.X. Bergk reads ou'XXa & epjrcra %■' oaaa 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.
1. 6. o't'wviov Bergk, for otwvwv.
IV. Oux sT; av^o 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 ^apaao^o;,
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 313
line has been suggested to me : ' You are no fool, no, not even in the
eyes of clever critics.'
2090?, aooia, constantly relate to poetic skill. Cf. Pind. 01. i. 9 ;
hi. 44 ; Pyth. i. 42, etc.
1. 4. 'Epucriyalo;. 'Epuai/jj 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 ipuai^aioe, ' trailing a shepherd's crook '.
1. 5. SapStwv, v. Biog. Alcman, p. 124.
V. "Ocrai 81 raitSe? jct.X. Apoll. de Pronom. 381 B. Cf. No. I v. ad init.
oaoa 8s . . . sW, 'all maidens who belong to our band',
xi&apicruav, in early times more or less synonymous with xt&apwSo's
(Aristox. ap. Ammon. p. 81).
txpicav, Dor. Dial. p. 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, Muaa Xfysia. Maxim. Plan. Rhett. v. p. 510. v. 3,
Priscian rtfe ;«<?/r. Terent. ii. 425 (Keil), with the name of Alcman.
1. 1. Xtyeia, cf. on Terpander I.
I. 2. a'svaoios, Bergk's conjecture for del 8s, or atsv, astos, etc., Hartung
aioXaotos.
jtapo-e'vots, Z><9r. Z>m/. p. 94 ; asiSsv, p. 93.
VIII. Mtoa' ays K«XXio7:a. An instance of Alcman's strophical
system (cf. p. 49) ; for Hephaest. 40, where the passage is quoted,
tells us that he composed whole strophes in this metre.
II. 2-3. ir\ . . . 70'pov, a good instance of zeugma, being equivalent,
as Welcker points out, to smTtO-st Tjj.spov ufxvw -/.at xithi yopov yapisvia.
IX. 'A Mwaa vAvXrtf. Aristid. ii. 508 : tou Aa/.wvo? Xs'yovTO? si? auTov
T£ xai tov yopov. He 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
muse.
For y.i/ly]Y Bergk reads xs'xXay', but xs'xXTjy' may be retained, as due
to Epic influence ; v. p. 78.
X. Kot t\v su-/o;j.ai x.t.X. Athen. xv. 681 A.
Tiv=aoi, Dor. Dial. p. 95, genitives in -to, p. 92, cps'poica, Lesb. Dial.
p. 83. We may conclude from the fem. partic. that this is from a
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 ... orre'«pavo$ civ -zf t 'Hpa jtspixi'&e'acriv 61 Aaxwvs;.
1. 2. reuXeaJva, trisyll.
3 i 4 GREEK LYRIC POETS
1. 3. xurcatpto Welcker, on the strength of Eustath. Od. 1648. 7, xal
xurcsipov xuractpov reap' 'AXxpavi. MSS. xura'pw.
x^paxto = xat spaxou, v. p. 9 2 ~3-
B. BANQUET SONGS
XI. *o{vat$ x.x.X. Strabo x. 482.
1. 1. $o(vai« = eotvaic, Lesb. Dial. p. 83. This is the only certain
instance in Alcman's fragments of the shorter form of the dative ;
see Lesb. Dial. p. 86.
1. 2. avopsuov, Cretan and anc. Laconian term = aucj3(xia (Strabo I.e.).
Cf. Muller's Dor. ii. p. 294.
I. 3. jzcaava. 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
yet fully established (7'. p. 100). See Lesb. Dial, for imiziooivai, p. 83,
xparcaSai, pp. 83-84, xfjv = xat sv, p. 92.
II. 3-4. 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
Scott. Welcker prefers Schweighauser's muoEcrcri, suggesting that the
word applies, as in No. v., to the maidens of the chorus. The form
txeXi/vt] (i.e. TzekU-q) occurs in Athen. 495 b, where the cup is described.
ypuaoxoXXa is explained by Athen. as a mixture of honey and linseed.
11. 5-6. Athen. xiv. 648 B. I have taken them with 11. 1-4, on account
of similarity in subject and metre. Some subject must be supplied
for mxps'ijsi.
x?]p. oraop. i.e. xo [xe'Xi, Athen. I.e. v. Liddell and Scott, orcwpa.
XIII. Kat r.oy.oL xot owaco x.x.X. Athen. x. 416 C. 'AXxjjiav . . . eocuxov
aorj^ayov Eivat napaoloioaiv.
1. I. xpirc. xux., cf. Eur. Supp. 1202, xpu:ooos ev xo(Xw xu'xsi. Welcker
explains the phrase not as 'a three-footed caldron ', but as 'a cal-
dron on a tripod ', the two being separable, and compares yaaxprjv
. . . xptaooos, //. xviii. 348.
1. 2. It is hardly possible to supply the gap. Welcker reads to x' eV
Xsla xpirjprj? aXX' eV'Evxi yz vuv x.x.X. He thinks that xptripr];, a kind
of cup (see Athen. xi. 500), was used as a ladle for the caldron.
1. 4. 7ia[j.cpayos. Welcker objects to the interpretation of this
word given by Athen. aorjepayov, and by Aelian ^oXu[jopwxaxov, urging
that it means rather 'an eater of all kinds of diet' (warap 6 8a^.o?),
no doubt a praiseworthy quality at Sparta. Welcker compares
ALCMAN 315
Ar. Pol. I. iii. 3, xa \xkv (£u>a) i^wo^aya, xa ok xaprcoipaya, xa ok 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 is loosely equivalent to ' greedy '.
1. 5. yXiepov 7:e8a, Casaubon's conj. for yalepov ractSa. Ilsoa = [xexa
Lesb. Dial. p. 88. For the shortened ace. plur. xpor:a; see Dor. Dial.
P- 93-
iipaaih} ' has ever loved,' Gnomic Aorist. ' After the (winter) sol-
stice,' i.e. when winter has fairly set in ; unless we can read mp\ xa;
xpo^a?, ' about the time of the (winter) solstice ', i.e. in the depth of
winter.
1. 6. tju, a correction by an unnamed commentator for MSS. ou.
1. 7. xoiva Casaub., for x.atva. aXXa . . . yap ' meets what has pre-
ceded not by a simple opposition, but by going back to a reason
for the opposite' (Monro's Horn. Cram. p. 254. q.v.).
XIV. "flpa; o' ear;y.3 xpst; x.x.X. Athen. I.e., as a further example of
Alcman's gluttony.
eot]xe sc. Zzuc,. See Dor. Dial, for /%>, p. 92, aaXXst = 3-aXXst, p. 94,
EJ&IEV, p. 93.
SaXXst must be used impersonally like uei, etc.
XV. IloXXaxi o' ev -/copucpai; x.x.X.
Bergk and other commentators explain this passage by referring it
to a Maenad or Bacchante ; and the words iv xopuepai; ope'eov, and still
more those in line 5, if the reading be correct (see below), point
forcibly to the same conclusion. Welcker, however, finds a difficulty
in ypuatov ayyo; as the natural utensil of a Maenad ; and, altering line 5
as below, he applies the passage to some Spartan woman who is carry-
ing a cheese-offering to the gods in a golden vase. Compare for the
golden vase on such an occasion Scol. xvi. (3', and for a cheese-offer-
ing Athen. xiv. 658. His objections, however, to the first explanation
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 dis-
sociate the words of Aristides, given below, from this passage.
1. 2. O-Eotcjiv ao"7] Hermann, for {\zoic, aorj. rcoXu'cpap.o; Fiorillo, for
-oXuoavo;, which according to Welcker is a Dorian form of rcoXuoiovo;
— a view discountenanced by Ahrens. It has been suggested to me
that -oXu©avo; 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. eyouai. Possibly r/oiat or the Doric eyovxt should be restored ;
but there can be no certainty about such cases (see p. 97), and per-
haps r/ousi is more in keeping with the Epic tone of tco^evs; avops;.
1. 5. In this line the MSS. read yep<A Xeovxe'ov in<xkot.iht?tx. The re-
storation is due to Fiorillo, who most aptly compares Aristides i. 49 :
316 GREEK LYRIC POETS
Kai Suvar^ av x.a v i ovoug jrrepouv (o Atdvuao;) ou-/_"-x:ous p.dvov' w<J7C£p x.a\
Xeovxwv yaXa aptiXyEiv avc'9-r;x.s' ti$ auxw Aax.wvix.6s 7:ot7]xirjs. There is no
difficulty in 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. Fiorillo cuts out <9s!<ja and axpucpov as
glosses.
1. 6. axpuoos. Hesych. has v 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 apyi-
cpdvxav, thinking that Alcman humorously applied the epithet to xupdv
— an explanation which, I think, will hardly commend itself to readers.
C. MISCELLANEOUS
XVI. "Epos [jie oauxs x..x.X. Athen. xiii. 6oo F, where Alcman is
spoken of as ^ysp-dva 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 t 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.ap^ov &hv ouSe
x.axEx.Xa, and Aen. vii. 808. See Lesb. Dial, for raicrSst, p. 83, Ka|Batvwv,
P- 95-
XVIII. Ku-pov x..x.X. Strab. viii. 340, and Menander (Walz, Rhett.
ix. 135), with reference to the custom of invoking deities from their
favourite haunts. Compare Anacr. II. 1. 4, note.
XIX. TouO-' aoEav Mwaav x.x.X. Athen. xiii. 600 F, where it is
mentioned that Megalostrate was a poetess of whom Alcman was
enamoured.
11 1-2. aoEav Bergk (earlier ed.) for aosiav. Touxo . . . Swpov, appa-
rently a song or hymn by Megal. poetically described as a gift of the
Muses, being composed under their inspiration.
[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.
Max.at'pa rcapQ-evw has also good authority : ' to the blessed virgin-
goddess', i.e. Diana or Athena.
ALCMAN 317
XX. I have placed these four passages together on account of their
sententious character, which may possibly indicate that they are
fragments from Scolia (cf. p. 236).
(a') A clever poetical genealogy of Tu'yj] (Plut. de fort. Rom. 4),
without, of course, any foundation in mythology. Cf. No. XXII. and
on Alcaeus xxm.
ne-.ftoij;, probably as the spirit opposed to blind obstinacy, which
prevents men from listening to the dictates of reason. Perhaps we
should correct to the Doric nsifho?.
(£') Apollon. de Adv. in Bergk An. II. 566. 11. IIsp\ xou 'PA.
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.
(7*) Schol. Pind. Isth. i. 35 : 6 r.ovrpv.^ ok vow xa\ ::pofj.a9-£iav cpe'pei.
(o) Schol. II. xxii. 305, to illustrate the use of fxrfa = \xijot. ct7a9-o'v.
XXI. The next four passages are illustrative of Alcman's familiarity
with nature. 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.
(a') Athen. ix. 390 A etctj Se xs Hartung for £~f)7£ Se ; Bergk hctj xa'Ss
particularises too closely. For 8s is cf. on Sappho xxxvu. 1. 4.
1. 2-3 restored by Meineke from sups' xs ylwai. . . . ovofxa auv9-.
Tulwars., which is nowhere else found, is apparently a participle
from a verb yktaaaia, whence -('kw<:vr i ij.a.
(P') Ath. ix. 374 D, as an example of the Dorian opvti; for opvts
(v. King and Cookson's Sounds and Inflexions in Greek and Latin,
p. 143). vo[j.w? = vo[jtoug, v. Dor. Dial. p. 94.
XXII. Ota Ato? 9-u7a'x7)p x.x.X. Quoted by Plut. Symp. III. x. 3, to
illustrate the remark that dew is most abundant at the full moon.
Ato? he explains as ae'po;.
XXIII. /spsovos x-.x.X. Quoted for the long quantity of the seventh
syll. 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.'
XXIV. "Eprsi 7<ip avxa x.x.X. Quoted by Plut. Lye. 21, as the
words of 6 Aaxwv.x.o? -otrjxr,?, possibly Alcman. Cf. Terpander I.
(note).
Tw aioapw and /.iQ-aotsocv (Bergk -tjv) Welcker for -co and siv.
XXV. Auaav o' a-pa/.xa /..x.X. Athen. ix. y]^ E.
Au^av Bergk (in earlier ed.) for Ausav, which Welcker retains, sc.
/opei'av, as if the lines referred to a panic amidst maidens performing
a choral dance. Bergk supposes that the reference is to the alarm
318 GREEK LYRIC POETS
caused by Ulysses among the maidens of Nausicaa ; he reads Auaav
in ed. 4, which, as Welcker says, would be a very inappropriate
expression of frightened maidens. Compare Alcaeus xxvi.
XXVI. Aua^api? x.x.X. Schol. on 6ua7:apt in //. iii. 39, presumably
imitated by Alcman in these appellatives.
XXVII. : Avrjp S'iv apjAsvoiaiv x.x.X. Schol. Pind. (9/. i. 60, in illustra-
tion of the story of a stone hanging above the head of Tantalus.
11. 1-2. appiEvotaiv, Bergk and others for dapivotaiv (see below) ; the
words may be either neuter, ' in bonds ', or masculine, ' among those
bound'; S-dxw (Dor. genit.) Hermann and Bergk, for 9-dxas.
1. 3. Welcker explains this line as signifying that it was no real
stone that hung above his head, but a mere phantom of his dis-
ordered mind, comparing Eur. Bacchae 918, Verg. Aeti. iv. 468 seg.,
etc. With our text, however, the meaning is rather that Tantalus
is 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 : "Otmc, (from Schol. Pind.) dv^p 8' sv
aapivot; dXixpo; r^ax' lizi 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
stone, but deeming that he saw it.' This is certainly strained, and
we should expect rather a word for reclining.
XXVIII. 'Pt7:av opo? x.x.X. Schol. Soph. Oed. Col. 1248. Nu/idv
O.HQ Purav . . . Xc'ya 81 auxa svvu'^ta Sid to r:po? Tr\ Susst xstafrai.
The lines are conjecturally emended by Lobeck from ' Ptrcd? opo;
s'v9-eov uXai v. p.. aic'pvwv.
ALCAEUS
I. 'Hpo; dv^£|j.o£VTo? x.x.X. This and several of the succeeding pas-
sages are quoted by Athenaeus x. 430, to illustrate the remark : v.a.~k
raaav wpav xai 7t£piaxaatv mvtov 6 7roi7]X^<; (Alcaeus) EuptaxExat.
The dactyls in these lines, following upon an initial trochee, should
be regarded as ' choreic ' (see p. 63) ; and thus, though only one
short syllable is wanting to give us the form of a complete hexameter,
an entirely different movement is effected, admirably adapted to the
spirit of the passage.
Tw, Lesb. Dial. p. 84, oxxi, p. 88.
Ep-/opivoio, for Lesbian genitive in -w, is probably due to the influence
of Epic tradition.
ALCAEUS 319
For ijraiov, the beauty of which 'nonnemo' (see Gaisford's note)
endeavours to spoil by correction, compare Pind. Frag. xi/v. 14
(No. VI. in this edition) : —
gi/9e'vxos 'flpav 9-aXap.ou,
euoo[jlov E^aiwaiv sap cpuxa vs/.xapsa.
II. Ts'yy £ nvEu'fiova x.x.A. Lines 1-3 (part) in Proclus on Hesiod,
Works 584, and Athen. x. 430 B, and i. 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 :
'Hjj.o? os a/.oXu;j.o; x' avOa v.ca 7jyExa TeVaij
AsvSpEM Icps^duEvo? Xtyuprjv xaxa/susx' doior]v
IIuxvov utco ^XEpuywv, O-s'pso; xa[j.axwoEo; toprj.
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. 1. xe'yye 7cvEU[xova Fot'vto is the simple correction of the com-
mentators 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 well have crept in through inattention to the Z 7 , by which
hiatus is avoided.
aoxpov, i.e. Sstpio? (1. 7). cf. also Theognis 1040 : —
'AtepovE? av9'poJ7:oi xai v<r]juoi oTxivs; otvov
Mrj 7uvoua', aaxpou xai xuvo; apyopiEvou.
Cf. Hor. 3 (9^. xxix. 18.
1. 2. Si'iatai, Alcaeus follows the example of Homer in employing
the plural verb with rcavxa, there being clearly in this passage a
'notion of distinct units'. See Monro's Horn. Gram. 172.
I. 3, etc. For the appreciation of the grasshopper by the Greeks,
see Liddell and Scott under xe'xxi?. Plat. Phaedr. 262 D calls it
'O Mouuwv Tzpo<f>r\ir]<;.
II. 4 and 5. xax/s£i if correct does not follow the usual Lesbian con-
jugation 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
we have after xafoxav— EIHIITAMENONKATAYAEIH. The words,
whatever they once were, appear to have been an amplification of
Hesiod's O-eoeo.; xcq-iaxiooEOi; topTj.
1. 7. y^ vu j so Seidler for Yovaxa, Bergk yova, but Schneidcwin quotes
Steph. Byz. : yowix 01 Alokiit; xa yovaxa.
III. "Yei [jlev Zeu; x.x.X. Athen I.e. This ode is imitated by
Horace, chiefly in 1 Od. i. 9.
320 GREEK LYRIC POETS
For xa|jJ3aXXe, xipvai;, see Lesbian Dialect, pp. 88, 83 ; for opavo?
where we should expect oppavo; (Doric wpavd?), cf. Lesb. jj-ovo?, xdXo?,
p. 82, and see on Sappho I. 1. 1 1.
1. 5. xdp(3aXXe : 'Dissolve frigus', Hor. I.e.
1. 8. d|j.cpt : commentators suggest -tiO-t] (-xl9'ei) -jiaXwv, etc.
yvocpaXXov, for yvacpaXXov, or xvdoaXXov (cf. xva7txw), see Lesbian
Dialect on o for a, p. 85.
IV. Ou ypri xdxoiai x.x.X. Athen. I.e. For l-ixps'-r^v and [i-sQ-uaO-riv,
see Z^. Dialect, p. 89 ; dadpievoi, p. 90.
1. 1. S-ujjlov, an emendation by Stephanus for p.uO-ov.
1. 3. Buxyi?, Lesbian form of Baxyo?. A grammarian compares
"i^rt? and Olxt; (the capitals are Bergk's) for "r.noq and oTxo; ; and for
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 Athe-
naeus 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.).
See Lesb. Dial, for xd8, xdx, p. 88 ; accusatives in -xi?, partic.
xipvai;, to9rjTci) (= tofraxw), p. 90.
1. 1. Athen. x. 481 A gives x( xov Xuyvov <£[±[jievgjj.£v. Porson emends
to xd Xuyv(a), Ahrens 6[j.;j.£vo[j.£v (see Lesb. Dial. p. 85), Welcker,
whom Bergk follows — x( xo Xuyvov |j.e'vo[j.sv ; but the neuter form of
Xuyvos, if authentic, is at any rate far less common in the singular than
in the plural. AdxxuXo; djxs'pa : these words in connection with the
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
revelry) ? Let us enjoy the little left of the day '. The words may,
however, I think, be regarded in the light of an apology for an early
commencement of the drinking-bout. ' The day has only a finger's
breadth to run. We shall not be much too soon.' Or we may accept
Schweighauser's rendering, ' punctum est quod vivimus ', i.e. ' let us
eat, drink, and be merry, for to-morrow we die '.
1. 2. dspps : so Ahrens for dape; cf. Sappho xxxiii. 1. 2. Possibly,
however, daps should be retained as another instance of Epic influ-
ence 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.
1. 4. i'va (sc. xua9-ov), xdt ouo, i.e. one of water to two of wine ; for
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 321
uoaxo;, la. tze'vts o' o"vou | x.ua-9-ou? w? avuppiTTt | ava 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.
1. 5. z». x&pdXa?, adopting Porson's punctuation {v. Bergk, note
ad loc), implies that the cups were to be brimming over ; for -/.scpaXirj
in this sense cf. Theocr. viii. 87, urap xecpaXag, of a milk-pail. It is
hardly so likely that -/.aTa xs<paXas can be used in the sense of Irl
jcecpaXrJv, ' headlong,' praecipita7tter (Bergk). For /.ax Bergk suggests
ic, (= ?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 by Bergk into a single
stanza. For metrical scheme see Sappho I.
See Lesbian Dialect for genitives avrj-cw, to, p. 84 ; accus. jcXe'srrats,
p. 83 ; resp^ETco (= jTepiS-ETio), p. 88 ; the dat. a;j.[j.t, p. 87 ; and the form
ysud-rw, 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
Alcaeus — xeXeuwv x.axa.yia.1 to [j.upov /.axa xx; -oXXa xaQ-oiia? /.scpaXas /.at
tw j^oXiw arr)'9-£o; (Append. Alcaeus, No. 12), cf. Anacr. xxxvill. [s'.
'Avrjxw : Galen says that this was employed at banquets, as it was
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 attri-
buted to a ' man of Argos ', without any name being given. A
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 ^ — \*/ w ' — w —
but very likely it is a fragment of a hexameter, the last syllable of
aosXcpi'a being shortened before a succeeding vowel. For hexameters
in 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.
X
322 GREEK LYRIC POETS
'AoeXcpaa (cf. Epic) should perhaps be written aosXcpta, since it is an
adjective (aosXtts-ioc) of the same kind as ypuaso;, Lesbian ypuaio?.
See Lesb. Dial., p. 85.
IX. otvo; yap /..x.X. Tzetz Lycophr. v. 212; Schol. Plat. p. 377.
(Bek.).
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 AtoXr/.ov, and is
attributed by Bergk to Alcaeus.
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
retort in Alcaics see Sappho Frag, x., and refer especially to
Additional Note A. In the second line xwXuet aiSio? is usually treated
as a case of 'synizesis', and scanned xwXuet a"ou; — ^ . Bergk,
however, reasonably urges that -/.wXust should be treated as a dactyl,
ei being shortened before the succeeding diphthong. The same
applies to Sappho i. 11, wpavw ai9-e | po; Sia jjieWo. We have no other
cases in Greek Sapphics of a dactyl in this position, but as similar
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, and p. 89.
I have adopted Blomfield's reading [ieXXt)(0[i.siSa for [j.eXXi-/o[j.£to£, for
Hesychius gives the nominative in -rjs, and not in -og, and we have
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. 30.
The tetrameter with Anacrusis is well suited to a tone of earnest
entreaty. The line is evidently from a serenade, see Art. I. p. 8,
on Kw[jlo?. Compare Hermesianax :
As's^to; 'AXxato; ol ?:oaou; av£0£i?axo xw[jlou;
2a::oou; oop[j.(£wv J[A£po£vxa yaji.ov.
XIII. KoXtoo 8' Eos'^avx' z.x.X. Quoted by Hephaes. 59, where there
is some doubt whether this beautiful line is ascribed to Alcaeus or to
Alcman.
Kpivoi (voc. of the fern, name Kpivio) is Bergk's excellent emenda-
dation for Kp&vw. He aptly compares Theocr. xvii. 36.
<,
ALCAEUS 323
XIV. "E[j.e SsiXav x.x.X. A solitary instance of the striking metre
Ionicus a minore, in which 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 ( = |ji£xa) in raSsyoiaav, and for
-atsav ( = -aswv), p. 83, and p. 84.
XV. "Asiaov a;j.[j.t x.x.X. Apollon. de Pron. 384 B.
Liddell and Scott give JoxoXtov = ?o£wvov, ' purple-girdled ' ; why not
' dark-bosomed ', of some Southern beauty ?
XVI. Map;j.a(psi 8e [jiya? oop.o? x.x.X
Metre. 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).
This passage is quoted by Athen. xiv. 627 A, to show that Alcaeus
was [xSXkov tou os'ovto? -oXejj.ixoc, and esteemed his military higher
than his poetic career. Mr. Jevons, in his History of Greek Litera-
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
however, I believe, remarked that the greatest dandies were often his
finest officers.
That the description is intended not for itself alone but mainly as
an incentive to war is shown by the last line.
See Lesb. Dial, for xuvCatai, yaXxiai (p. 85), xaxxav ( = xa{F wv), p. 84,
p. 88, vsuoio-iv, -aaaaXot; (ace. plur.), xpu-xoiaiv, p. 83, the genitives
h/upw, Xtvw (p. 84), (3cXsus = |3eXeo; (p. 84), 7:ap=7:apa, etc.
1. I. "Aprj (for"Apsi) 'in Martis honorem ' (Jahn).
1. 3. yaXxiai, etc., 'brazen greaves bright-gleaming hide the pegs
on which they hang.'
xvafilSes. Lesbian for xv^-uos?.
1. 5. xo'iXou, I have adopted Seidler's emendation for xolXat (from
xfj(f)-iXai), the two short syllables being permissible in the ' Basis '
(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-
sorum ', as if these were trophies from slain adversaries.
XaXxioixat. According to Stephanus the name XaXxiSfi? was given
to the people ota xo /aXxoupysia zptoxov ^ap' auxcit; ocpOTjvai.
XVII. 'Aauv;'xTi[.u xtov avEp.uv x.x.X. That the apparent description
of a storm is rightly placed among the Stasiotica, is shown by the
fact that it is quoted as an allegory by Heracleides, Alleg. Homer.
c. 5, who explains thus : MupaiXo? S7]Xou'{jievos etui xod xupavvtx^ xaxa
MuTtX}]va((ov iyeipofiivT] auaxacrt?.
6
324 GREEK LYRIC POETS
Cf. Hor. I Od. xiv. Soph. Oed. Tyr. 23. Antig. 163, etc.
See Lesb. Dial, for a^ies (r,[J.eii), p. 87 ; ov ( = ava), p. 85 ; 'izlp (jtepi),
p. 88 ; [J.:'orcrov, p. 82 ; dauvETtjfu, ooprjiJ-sO-a, [j.o/9'€i>vte;, yoXaiii (yaXtoai),
pp. 89-90.
1. 1. aauvc'xrjjjLi is Ahrens' conjecture for aauvETTjv xai. The lengthen-
ing of the v in arsi is for metrical purposes and not dialectical.
Cf. on Sap. XI.
With avs'p-tov axaatv comp. Aesch. Prom. 1087. ataaiv avxi^vouv,
' strife of opposing winds.' Alcaeus plays upon the word araaic.
1. 6. Tcep is said by Ahrens to have the force in this passage as in
others (see Lesb. Dial. p. 88) of ura'p ; but surely the usual meaning
gives excellent sense here : ' the water encompasses the mast-box '.
1. 7. ^aSyjXov ( = 3iao7)Xov, Lesb. Dial. p. 84) is usually interpreted
' 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 a confusion, however, is excusable enough in
allegorical or figurative language.
XVIII. To or]uxs xupioc sc.t.X.
A 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. 85 ; and the infin. avtXrjv p. 89.
The text is very corrupt in Heracl. and has been emended mainly
by Bergk and Seidler.
1. 3. vao; £(J.pa, MSS. vao? I[i.[3aivsi. Nao; is probably dependent on
some noun coming after £(J.(3a. 'Ep.patvw however takes the genitive
in Oed. Col. 400, yf[s ok [j.^ 'rj.paivr,? opwv.
XIX. Nuv ypyj |j.e»K!>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
(Ahrens for t^oveIv) as being mere tautology after [j.sO-uaO-r.v. He
therefore 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. ' We must drink whether we wish
it or not.'
ALCAEUS 325
XX. "Qvrjp ouxo? x.x.X. This passage is applied by Aristoph.
IVasfis, 1234 (v. Schol. ad loc.) against Cleon.
KpEto?, Lesb. for xpaxog. 'Ovrpe'^et, Lesb. Dial. p. 85.
pdrca; (pdras?) is of course Lesb. for the gen. poiz^, for the accusative
would be porcac;. "Eysxai 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:aiv£ovTc;, which is here quadrisyllable, we should expect
l^atvsuvxss, Ahrens £7ra£vEvxs;. Lesb. Dial. p. 91.
XXII. MeXayypo; /..x.X. Hephaest. 79. It is generally supposed
that Alcaeus is ironically praising his old enemy Melanchrus in
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 a£ios, though hard to parallel, is
intelligible enough in this instance. ' M. showed himself towards the
city as worthy of respect,' i.e. he acted towards the city in a manner
worthy of respect.
XXIII. Xatps KuXXava? /..x.X. Hephaest. 79. Lesb. Dial, for upiv7)v,
p. 89 ; yc'vvaxo, p. 82.
1. 1. Bergk is in favour of retaining the accent on 3 (= 0;) and
treating ptiosu; as second pers. sing. (v. Bergk on Alcaeus, 5). Others
read o picst? (partic.) = 6 (jis'owv, as if from [ji37][j.t, Lesb. for p-soa'-w
(a form implied by the participle [xeSs'wv) ; see Lesb. Dial. p. 90.
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.
I. 2. Meineke's correction for xopuoaaiv auycu?.
1. 3. Bergk's correction from yfwa xw xpovtor] p.ai'sia.
XXIV. Asivdxaxov ftsiov x.x.X. See Lesb. Dial, for eu^e'oiXXo;,
EyEvvaxo, p. 82.
The well-known line ' In the spring (which should be the season of
the west wind and the rainbow) a young man's fancy lightly turns to
thoughts of love ', gives us the explanation of the graceful allegory of
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
XXV. 'HXfte? ex rcpaxwv x.x.X. Lines 1-2 are given by Hephaestion.
The rest has been reconstructed from a paraphrase in Strabo xiii.
617 ; 11. 3, 4 by Bergk, 11. 5-7 by O. Miiller.
The passage is usually placed among the Stasiotica, since it was
civil strife at 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, for tw, p. 84, xxe'vvais ( = x-reivas) pp. 82-3, the partic.
au[A[J.a/ct?, p. 90.
ami = ooto, as osupu for Ssupo {v. on Sap. VII. 4) : 7C£[incov = to'vxs, for
in Lesbian the declension of the numerals is extended beyond the
first three ; cf. oooxatos'xtov, Append. Alcaeus No. 35.
1. 1. IXscpavxivav Xa[3av . . . ypuaoos'xav : Mr. Murray has pointed out to
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.
1. 4. xsXssa;, aor. indie, (the participle would be in -at?). We should
rather expect xcXssaa?, but we find e.g. xaXsaai, as well as xaXssaai.
See Lesb. Dial. p. 82.
1. 5. The form [Jiayaixav for [j.a/rjxrjv, is curious. We find, however,
a Dorian form [xayaxas, pointing to a stem [J-a/a-, side by side with
[j.ays-. From [J.a/a- Lesbian, retaining the Spirant 1 of the termina-
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.
j3aaiXir]!wv, etc., ' But one span short of 5 royal cubits ', i.e. the man's
height was about eight feet four inches. Miiller reads pai'.X7JVov with
[jtayatTav ; Bergk paatXrjiwv with ::ays'«v, quoting Herod, i. 178 to the
effect that the royal cubit 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
the diphthong PaaiXsco?.
XXVI. v E;:xa£ov wax' x.x.X. Herod. xsp\ [j.ov. Xs£. xxiii. 9.
Lesb. Dial. J7ca£w = jET7J<jaw. One or two other instances are given
in Liddell and Scott of the accusative following this verb in the sense
of ' cower for fear of.'
Assigned by Bergk to the Stasiotica as if describing a sudden panic
among the enemy.
XXVII. BX7]'yptov ava'[j.wv x.x.X. Schol. //. viii. 178.
This also is placed by Bergk among the Stasiotica, as if it were an
allegorical picture of peace. Cf. Nos. xvil. and XVIII.
ALCAEUS 327
XXVIII. "Opwd-es tivss oTS 5 -/..x.X. Schol. An Birds 1410. For metre,
cf. No. 11.
noixtXdosppot, Schneidewin for -sipot, Lesb. Dial. p. 82.
XXIX. "Avops; TrdXrjo; x.x.X. Schol. Aesch. Pers. 347. 7/. 1. avops?
yap r.olzMi (restore Lesbian 7:0X10;) ru'pyo; ap.
XXX. riivw[j.£v x.x.X. Ath. i. 22 F. It is not unlikely that Athenaeus
may have manufactured this line by confusing together 1. 1 in No. II.
and No. v. respectively. For aixpov see on No. 11. 1. 1.
SAPPHO
I. noi/.iXoO-pov' /..t.X. Quoted by Dionys. de Comp. Verb. c. 23, as
an example of the ' finished style ' (yXacpupd; yapa/xrjp), in which, he
says, Sappho excels all other Melic composers. He adds — xauxrjc
zffi X:£cio; 7] Euiizeiot. xotl 7] '/??<■$ ^ ttj auvsTX^a xai Xstdx7jxt y^yovs xtov
ap;j.ovttov.
See Lesb. Dial, for oVaist ( = aviaurt), p. 85 ; the adverbs xulos, xrjXui
(= xrjXoac), p. 88 ; a't-oxa, (= ei 7:0x2, note on Spartan Dance-song I. and
p. 85) ; /puatov (= /pucjcov), p. 85 ; -oiaa, -aiaa in the participles, p. 83 ;
w in the genitives wpavto, [jiaaw, aoo<o;, p. 84 ; the forms of the 'con-
tracted' verbs oivsuvxs;, /.aXr][j.t, aSt/oja, pp. go, 91 ; the forms xsXs<ro-a'.,
Irj-sppst, pp. 82, 83, etc.
I. 1. riotxiXoGpov', 7'. 1. -or/.'.Xd<j>pov' : this, however has less authority,
and is tautological as compared with ooXg^Xo/.s in the next line, unless
we follow Ahrens in regarding roi/.-.Xoopov' as Lesbian for 7:01x1X0 $-pov ;
(cf. 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
context. Welcker conjectures that it refers to some contemporary
work of art at Lesbos (cf. Jebb, Hell. Journ, ill. i. 117, on sui>povot
c i2pai in 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
conjecture of some commentators (e.g. Wustmann Rhein. A fits. No.
23, p. 238) is 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.
s.v. avQ-eia). The epithet in this sense would be particularly appro-
priate from the lips of Sappho, whose love of flowers is conspicuous.
Cf. Frag. vi. VII. xxxn., etc.
II. 3-4. [j.£ . . . •Oujj.ov, Schema xaO-' 6'Xov seal [lepog.
1. 5. Ixe'pioxa = i-ip«)d-i. See p. 85.
1. 6. auSw? (Lesbian for auSou?), apparently from a form (auoo> =
328 GREEK LYRIC POETS
auo7]). 'Aioiaa— exXue? ; the former, as usual, applies to physical hearing,
while xXu'w, especially in the imperative xXuO-t, xe'xXuts, etc., constantly
signifies ' attend to ', ' give heed to '.
1. 9-10. xaXot . . . oJxss; : the two adjectives, unconnected by a
conjunction, must not both be taken as mere epithets. Transl. :
' With speed did thy beauteous sparrows, etc'
dipouO'ot, sacred to Aphrodite, v. Athen. ix. 391 E ; Aristoph. Lysistr.
724. The Latin poets have familiarised us rather with swans as the
charioteers of Venus {v. Hor. 3 Odes xxviii. 14; 4. i. 10, etc.). The
Romans seem not to have been satisfied with the simplicity of the
Lesbian picture.
Kepi = 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- 1 -psu? 81a jjiaato, from an MS. reading d-wpavw9-epoc 3ta pieato ;
he compares Vergil's 'nare per aestatem liquidam '. With $c'pcu?( =
ih'oou;) cf. (SsXeus, Lesb. Dial. p. 87.
wpavto = oupav&u. We should expect in Lesbian oppavo? from
"^FopFavo?, and G. Meyer is inclined to discredit upavo;, which is
rather Dorian. Cf. on No. xvi.
1. 14. [Jisioiaaata' /..r.X. recalls Homer's <ptXo[j.[j.sto/ 1 ? 'Aopoot'xa.
1. 15. xioTTi = /at &Tci ( = xat oti), v. Lesb. Dial. p. 88. Meister
suggests x' oxTt, since we should expect a and not to in such a con-
traction. Compare, however, •9-uptopw in Sap. XL.
I. 17. xwxx' e;j.w, Bergk substitutes xcotti jjloi, without, however, any
MSS. authority.
II. 18-19. Ttva x.x.X. Notice the effective transition to the goddess'
own words.
The reading here is very doubtful, for the MSS. have something like
ttva 3sut£ TOtS-iopiaisaYrjvsaaav. The text is Bergk's, being a slight varia-
tion 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
worthy of attention. — stO w-|-;j.at o-' ayrjv x.x.X., i.e. aot ayr ( v ; but we
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 poets. From the
seventh centuiy onwards she is usually the familiar of Aphrodite, and
SAPPHO 329
sometimes a mere attribute, as it were, of her ; although at Sicyon
and at Athens Peitho appears to have had a separate worship.
1. 20. tara'. Hermann regards this as an endearing diminutive for
the vocat. ^a-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 is found in Et. Mag. 243. 51.
1. 25. 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.
I. 28. ziio—'h 9i, Ahrens conj. safrt.
II. <£aivcTat, etc. Quoted by Longinus de Sublim. c. 10, and his
criticisms deserve notice. After commenting on the realistic char-
acter 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
uxspxsxajAs'va oeivtj xai ixXejfat xai si? aXXrjXa auvofjaai). He continues —
a[i.a 'iu/cxat, xaterai, aXoyicrret, cppovsi . . . 'iva [J.7J £v xt -;p\ aux/jv 7:a0-o;
cpaiv^xai, iraGwv 8e irvvoSos.
Plutarch refers to the poem, Morall. ii. 762 F., etc., remarking that
Sappho aXr ( 9-to; [i.£ji.iypiva Jtupl cp&s'yyexai.
Catullus' rendering of this Ode is well known, ' Ille mi par esse deo
videtur.' Cat. LI.
See Lesb. Dial, for the double liquid in s;j.[j.ev ( = civou), k\j.\u ( = si[j.(),
p. 82; xoi ( = aoi), p. 87; (pwvsusa;, ycXabac, erappojj-jBciai, pp. 90, 91 ;
xd for the relat., p. 87 ; Ppo/aog, u7:aoEopd[j.a/.sv, p. 85 ; xa[A, xax- for
/.axa, p. 88 ; xsO-va/.^v, p. 89 ; dXtyw for the genit. p. 84 ; etc.
1. 1. Mot, Apoll. de Pron. 336 A quotes from Sappho the words
tpatvsxai Foi /.^vo;, a version which is adopted by some commentators ;
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 ex-
planation that in 356 A the grammarian was referring to some other
poem.
That the reference in ktjvos is quite general is shown by ooxt; in
1. 2 ( = si quis).
1. 1. xrjvo;, Lesbian and Dorian for (£)x.£tvo?. Cf. -/.?] = (s)xe?, Sap. XLI.
1. 2. 'Qvrjp = 6 i'v/jp.
1. 4. v7:a/.ouci, ' Attente et cum silentio audit,' Weiske.
1. 5. ysXaiaac, so Buttmann and Neue (MSS. ysXai; or ys)>a; or,), and
the reading is supported by Catullus, ' dulce ridentem,' and by
Horace's apparent imitation in 1 Od. xxii. 23, ' Dulce ridentem La-
lagen amabo | Dulce loquentem.' The reading in the text supplies
us with a good example of zeugma, aiiOavsxai being implied in
JjraxouEi, as Schneidewin points out. For [iav (= pjv) Hartung reads
'|j.av (= e[J-Y«).
330 GREEK LYRIC POETS
1. 6. IjrcoaffEv, gnomic aorist.
From tctoud we should of course expect i7rro7]<jev in Lesbian as in other
dialects ; ijrro'aaev is from the collateral form ;rcoato ; cf. on oprjp 1. II.
1. 7. I have given in the text the MSS. reading. (One MS. PpoyEws,
the rest (3poysto;.) Endless conjectures have been made to restore
the line, the nearest to the original being Neue's mote yap a 5 iow x.t.X.
Ahrens suggests a>? as 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
psilosis = T/csi, ' no utterance comes to me.' Toup reads cxei.
1. 9. FiFajz (p. 82), similarly we speak of 'broken accents,' etc.
Compare Lucretius' imitation of this passage, iii. 155 :
Sudores itaque et pallorem existere toto
Corpore, et infringi lingiiam vocemque aboriri,
Caligare oculos, sonere aures, succidere artus.
1. 10. ypw, ace. for ypo'a. Bergk ypw dative.
1. 11. oiriraTEcycTi is the reading given almost unanimously for
0[j.;.iaTsa3i, and, if it be correct, the change of r.[j. to rat, and not to \i\i is
probably without parallel, "o^axa, on the contrary, is given by the
MSS. in Sap. x.
For opr\[xi we should expect opap {Lesb. Dial. p. 84), but the form
is due to the collateral opsw, frequent in Herodotus.
1. 3. Bergk a o\ (juopto;, quoting juaXsupov in Alcaeus as another
instance of [-». from F, Schneidewin I/, oi Ft'opio;, with some authority
for ex, but scarcely any for the omission of p'. If a os jj.' 'iopw? be
right, [J.' must stand for [j.01. Cf. //. vi. 165, xiii. 481, etc. 'iopw? is
given as feminine in 'Aeolic' Cram. An. Ox. i. 208.
1. 14. aypsi = aipsl, cf. Hesch. xataypEt, xaQ-aips'i, xaxaXajj-pavst, and the
Homeric ^aXtvaypExo?, auTaypExo?, v. Buttmann Lex. i. 130.
I. 15. 'mosuy]v (Lesb. Infin. = etjioeu'eiv) so Ahrens from kioe6<ti]v,
utosuEtv, etc. ' I seem to lack but little of dying,' cf. the paraphrase in
Longinus I.e. -ap' oXtyov te'O-vtjxev. It is true that this use of the active
instead of the middle i^ioEuofAat is without any certain parallel, but
Hermann's reading 'raoEurjs (the adjective) is against the MSS., all of
which have the letter v.
II. 16-17. To fill up the gap Bergk conjectures aXXa = r^srj, demens ;
Hermann 'AxO-t, etc.
1. 17. The unmetrical words £net xa\ TOvrj-ca follow in 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.
III. "AoTEps; x.tX Eust. II. 729. 20.
See Lesb. Dial, for asXavvav. p. 82 ; CMroxpujcxoKn, ^XrjO-oiaa, p. 83 :
oTzrcoxa ( = 6toxe), p. 85 and p. 88 ; a'pyupta, p. 85.
SAPPHO 331
1. 4. dpyupia is mentioned as occurring somewhere in this or a very
similar passage by Julian Efip. xix. ; and is conjecturally placed as
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.
Possibly Xajji^T] 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.
With the whole passage cf. Hor. 1 Od. xii. 46 : ' Micat inter
omnes | Julium sidus velut inter ignes | Luna minores ; and Pindar
Isth. iii. 42, 'Awacpo'po? ■fraTjxos to? aurpots iv aXXoig.
IV. 'A[j.o\ oe x.x.X. Quoted by Hermog. Walz. Rhet. iii. 315 as an
example of a beautiful description of nature. Bergk suggests that
the passage refers to the gardens of the Nymphs (cf. Ibycus I.), which,
as we learn from Demetrius Eloc. cxxxn., were often introduced
into Sappho's poems, cf. Od. xvii. 209, Theocr. vii. 135, and Hor.
Efiod. ii. 27: ' Frondesque (Markland for 'fontesque') lymphis
obstrepunt manantibus | Somnos quod invitet leves '.
1. 1. uowp is interpolated, according to Neue, for the sake of ex-
planation. He adds that ^u/pov xsXdoci = W/po? sari xsXaod;.
ucjStov Lesbian for o^uv, 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,
(2) of the full form xaxa- (see Lesb. Dial. pp. 88, 90) ; consequently
Ahrens reads xappe'ei, treating this line as the third and not the fourth
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 mis-
lead ; 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 ', Neue.
VI. KaxO-avcuaa x.x.X. An attack upon a rich but uncultivated
woman who had probably provoked Sappho (v. Introd. p. 152).
Stob. Flor. iv. 12, Sa^cpou? r.rjic, a^atosuxov yuvaix.a ; Plut. Pracc.
Conjug. c. 48, Ttpoq xtva rcXouTiav ; and Plut. Syinp. ill. i. 2, to show
that rose-garlands were sacred (i«i7te<p7j|i.i<Ttai) to the Muses.
See Lesb. Dial, for xaxO-avoisa, p. 83 ; 7:oxa, p. 85 ; reoa for |j.Exa,
p. 88 ; ppo'owv for po'owv, p. 82.
1. 1-2. uutepov. The reading here is very doubtful. Stob. I.e. has
/.ax. 5k xefaeat ouos^:ox.a [j.v. oi&ev ea. ouof-o/.' uorepov. Plut, however,
332 GREEK LYRIC POETS
gives xeictsok ouSs xi? ;j.v. se'D-cv Easrai' ou yap x.x.X. In 1. I I have given
Spengel's simple but ingenious addition to Plutarch's text, eti imply-
ing ' you will no longer enjoy the reputation your wealth now gives
you'. In 1. 2 Grotius conjecturally adds a? ; ouSs'^ox' has been
replaced by the commentators for ouos'-ox', which is not Lesbian.
1. 3. For y.f t v (= /.a\ iv), which is a Dorian contraction (v. 93), we
should certainly have expected xdv. Meister suggests that xtjv was
employed to avoid confusion with xav = xa\ av (ava). I believe that
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
suitably be borrowed in this Epic expression, and we find xa{ elided
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),
p. 88 ; auvs-'ppatsa (= auvsipasa), pp. 82, 83 ; the infin. ^poTEprjv, p. 89.
1. I. w Aixa, Welcker's conjecture for tootxa. (For a in the voc.
sing. v. Lesb. Dial. p. 86.)
rapak'a^ (Seidler for ^ap{h'cj9-') after <ju must stand for zsptSHcO-at, the
infinitive for imperative, such an elision being not unfrequent in Epic.
1. 2. avj]-uoio : so Ahrens and Bergk (inetri causa) for the usual
Lesbian gen. avr|xw. Cf. Alcaeus 1. note.
a7:aXaiat, Casaubon for a-aXXayciar,.
1. 3. Athen. has suavika yap 7ceX. v.. /aptx£? [Jiaxatpa. Bergk's text,
which I have followed, is sufficiently far from the original, but does
not perhaps present more difficulties than the various conjectures of
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. Cf. on No. I. 1.
1. 4. aTUjarpapovxai = a^oaxp. Cf. Appendix, Sap. No. 18, arcu.
osupu is also said to occur in Lesbian, though Sappho has osupo
(Appendix, No. 84). In the cases found the syllable is usually a
very unemphatic one, except in the instance of liaoo; = ciaoo; (o£o?) in
Sap. IV. 1. See G. Meyer's Gr. Gram. 62.
The dative after aruaxpap. in the sense of 'are averse to\ is
intelligible enough, but not easy to parallel. In both the Greek and
the English phrase the verb seems to have lost the thought of motion
and acquired that of hostility.
VIII. (a) Hephaest. 42, where XV. (c) is also quoted, Schneidewin
and others joining that passage with this.
The epithet Xuatjjielri; seems to be borrowed from Epic. It is
applied to Sleep in Homer, e.g. Od. xx. 57, and to Love in Hesiod,
Theog. 911. Cf. Xuai[j.sX7)s . . . roOo; in Archil. III. rXuxuraxpov, cf.
Catull. lxviii. 18, 'dulce amarus'.
SAPPHO S33
(b) I have adopted Hartung's conjecture in I. i. The passage is
quoted or paraphrased in Maxim. Tyr. xxiv. 9 thus, if t 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 /..-.l. Hephaest. 65. The lines are attributed to Sappho
by Stephanus. Schneidewin remarks 'aura cantilenae popularis
afflat'. Lcsb. Dial. p. 82, for asXavva. Bergk restores Psilosis in
xaxsuow for /.aO-suoto.
Me'aai vuxte? for ' midnight,' v. Blomfield Gloss. Aescli. Choeph. 282.
He quotes Hdt. viii. 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 at which all nights, whether long or short, are half gone.' We
are hardly justified in saying that vuV.te; = 'the watches of the night'
(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 is rdfa, ' the parts of a bow,' i.e. a bow, though
xd?ov never = a single part of it. Whatever be the explanation, it
would seem that the plural came to be used exactly in the same sense
as the singular in such phrases as ix vux.tiov, xoppio tuv vu/.twv, etc.
X. Et 8' r\yzc, v..i.X Quoted by Aristot. Rhct. i. 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.
1. 1. at ( = si),'see note on Spartan Dance-song, I.
1. 2. [j.t] tt FeiTC7]v, Blomfield from [j.7)TtTst^v ; the words of course
scornfully repeat Alcaeus' xi Fdr.r^.
1. 3. I have adopted Mehlhorn's conjecture for piv az oux stysv, or
xsv (^ ou xav /sv. We should expect xocttj/sv in Lesbian. Bergk pro-
poses /.i a' ou xfyavsv. For d(j.;.iaTa Blomfield reads or.r.ot.xoL for MSS.
o;j.ij.a-a {v. on II. 1. 11). Notice Schema -/.a9'' oXov xai [jipo?.
1. 4. Tw oixaiw?, ' thou wouldst speak of it straightforwardly '. So
Bergk and Ahrens for tw Sixai'w, which would be ridiculously tame.
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.
1. 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 ^uvot/Ojv veto y' hvx from two MSS. vs' ousa.
XII. 2xa0t x.t.X. Athen. xiii. 564 D.
The metre is uncertain. According to Bergk's arrangement, as in
the text, the second line is an ordinary Alcaic hendecasyllable.
334 GREEK LYRIC POETS
Tav eV oaaoi? x.t.X, ' unveil, or reveal, the beauty in thine eyes.'
Liddell and Scott, in spite of the article, give a strange rendering,
' shed grace over the eyes '.
XIII. rXuxsia {licTEp x.t.X. Hephaest. 60. The lines are probably
to be regarded as ' brachycatalectic ' dimeters (with anacrusis) rather
than as tripodies, as is indicated partly by the fact that the final
syllable is long in each case and not neutral. See W. Christ, Me/rik,
p. 284.
See Lesb. Dial, for -/.pv/.r^ (= xps'xstv), p. 89; and ppaSivav, p. 82.
1. 2. ot' 'A^poStx. cf. Hes. Theog. 962, uizooy.rfisiax Sta ypuac'rjv
'A<ppooixav.
Horace's 'tibi qualum Cythereae puer ales tibi telas', etc. (3 Od.
xii. 4) is probably in imitation of these lines. Compare too the
English song,
' O mother, put the wheel away,
I cannot spin to-night,' etc.
XIV. "Ecm [j.01 7..X.X These lines, quoted by Hephaest. 95, are
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. — Brachycatalectic trochaic tetrameters (v. Metre, p. 61 ;)
ypuatotaiv being trisyllabic, and AuSiav disyllabic by synizesis. Others
arrange the lines on a simpler metrical system,
by reading Kkir t i$ (W. Christ) and aTrataav (Ahrens) for rcaaav or roxiaav.
See Lesb. Dial, for ypuatoiaiv, p. 85; E/oiaa, p. 83; i'p^Eprjv, p. 87.
aya-axa, as the length of the first syllable shows, is for d aya^axa.
XV. These passages, or most of them, refer to certain quarrels that
Sappho was engaged in (v. p. 152), excited perhaps by jealousy on
the part of her Lesbian rivals. In XV. (a) she complains of the in-
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 ;
in (b), (c), and (d) she speaks of the estrangement even of her favourite
Atthis ; in (e) she implies that some punishment has befallen her
rival Andromeda ; but in (/) she disclaims resentment on her part,
and I have conjecturally regarded the gnomic sentence in (g) as
suggested by the circumstances to which the other passages seem
to refer.
Neither would it, I 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. 449. 34. su Qita is explained as TOtstv eu e/elv. cf. Xen.
Ages. xi. 12. ti9e\s xa xwv oiXtov aaoaXwc, v. Elsmley Eur. Med. 896.
SAPPHO 335
/.Tjvoi (= xslvoi), cf. on No. II. 1. i ; aiwovxai Ahrens for aivovxai from
Choerob. 259.
•cats xaXai? x.x.X. Quoted by Apollon. de Pron. 34S c. to illustrate
u'fAfxiv {Lesb. Dial. p. 87). It is, I think, extremely probable that
this fragment belongs to the same Ode as the lines oxxiva; x.x.X.
{b) 1. I. Hephaest. 42. Mr. Swinburne makes much of this line in
his Anastasia, and certainly its rhythmical flow is singularly attrac-
tive, cf. No. XVI. (a').
rcoxa Blomfield for 7ioxa, v. Lesb. Dial. p. 85.
1. 2. Plut. Erot. c. 5, in illustration of a usage of yapu, the meaning
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.
2154: 'Cordi quando fuisse sibl canit Atthida parvam | Florea
virginitas sua cum foret.'
e'[x[j.£v IcpaivEo, Bergk from Max. Tyr. xxiv. 9, exi aaivco. Plutarch has
£[j.[j.£vai tpaivsat.
(c) Hephaest 42.
1. 2. (ppovxiaorjv (= cppovxi^iv), Bentley for cppovclg o Vjv, v. Lesb. Dial.
pp. 84 and 89. Andromeda is mentioned by Maxim. Tyr. xxiv. 8, as
one of Sappho's rivals (avxfxsyvo?). She is attacked by Sappho in
the next passage, and in Bergk 58.
(d) Athen. i. 21 c. Saucpw r.spi 'Avopopioa? axwrnrsi, Various
attempts are made to restore 1. I, and many commentators make use
of what seems to be a paraphrase of this passage in Maxim. Tyr.
xxiv. 9 : t(? 3' ocypoiwxiv £jxe[j.[JL£va axoXrjv.
See Lesb. Dial, for (Jpaxsa, p. 82 ; sXxrjv (= IXxstv), p. 89.
Ppaxea may very well bear its common meaning of 'rags', or
' shabby clothes ', here ; but Liddell and Scott on the authority of
Hesychius (ppaxo; - t[j.axtov noXuxeXe's) translate the words as ' a rich
woman's garment '. If so, the force of the satire is that the fine
clothes cannot conceal the innate clumsiness of the wearer. Similarly
the Scotch girl in Burns, commenting on a rival, points out
' How her new shoon fit her auld shachl't feet.'
(e) Hephaest. 82.
(/) Et. M. 2. 43. See Lesb. Dial. Z[i.\u, p. 82 ; «(3dx7]v, p. Sy.
e[i.[u and opyav, Ursinus for £[j.[j.£v and opyavwv.
' I am not one of the resentful in temper, but have a gentle
spirit.' 'Apaxrj? is explained Et. M. as avxi xou rjauyiov xat -paov. Cf.
Anacreon XIX, apa-/.t^o[j.Evwv in contrast to yaXs-ou;. Liddell and
Scott's translation of ajBax.r^ in this passage, ' childlike,' ' innocent,' is
surely incorrect. Its literal meaning seems to be 'not answering
again,' rather than 'without the power of speech,' like an infant.
(g) Plut. de Coh. Ira c. 7, i\ 2a::cpio 7rapaiv£t ax. ev ax. opyrj? 7:£<puXay0ai
yXtoaaav [j.a'luXaxxav. The text has been restored by Hermann and
Seidler. I have adopted Ahrens' ^souXa^o, since -j-iuXayOai is
336 GREEK LYRIC POETS
evidently dependent in Plutarch on Jtapaivst. Ma^uXaxa? occurs Pind.
Nem. vii. 105.
XVI. (a) ¥aur,v x.x.X. Herod, r.soi (j.ov. Xs'£. vii. 28. Mva<TE<r9-at x.x.X.,
Dio Chrysos. Or. xxxvii. T. II. 535. The two passages not improbably
belong to the same song. (See also on xv. ad init.) They are
recalled respectively by Horace's ' Sublimi feriam sidera vertice ', and
' Usque ego postera | Crescam laude recens'.
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,
Su'ot rca/saiv being Bergk's conjecture. ' I deem that I touch not the
heavens by two cubits,' i.e. ' Two cubits more and I touch the heavens.'
opavw = oupavou. For the single liquid, where we should have
expected oppavw (from *FopFavd;) v. p. 82, and cf. on No. I. 1. 11.
In the second line uoxspov is given by Volger for sxspov. Casaubon
pivaaEafrat for p.vaaaa9-at.
(b) At p-s xtpiav x.t X. Apoll. de Prott. 404 A. Sappho is evidently
speaking of the Muses, and Bergk reasonably connects with this
passage Aristid. ii. 508, Sarctpou; Xsyoua7]; to; aux7jv at Mouaat xto dvxt
dXptav xs xa\ £7jXtoxr,v snotrjaav, xa\ toe ou<5' d-oO-avouarj; earai XrjO-7]. The
fragment would thus appear to be connected either with the pre-
ceding one or with No. VI.
At p.s Seidler for ep.s.
XVII. Ou yap -9-s'p.i? x.x.X. Restored by Neue from Maxim. Tyr.
xxiv. 9, who compares with Socrates' exhortation to Xanthippe the
dying words of Sappho to her daughter, ou yap Q-. £v (Aouao^dXwv
o'/tta I •SpfjjVov.
sTvat x.x.X. I have adopted Schneidewin's reading, p.oi(707:dXw gen.,
' in domo vatis,' referring to 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. OuS' tav x.t.X. Chrysipp., izspi a-ooaxtxtov, 13. See Lesb.
Dial, for oox.ip.wp.1, p. 89 ; aXtto = tjXiou.
' I 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 x.x.X. Lines 1-2 are quoted by Hephaest. 63 as
Ionics a majore ( u J) ; but if, as seems probable, 1. 3 quoted ibid.
65, is rightly attached by Santen to 11. 1-2, the metre must be choriambic
with anacrusis, v. Metre, p. 69.
SAPPHO 337
See Lesb. Dial, for wpysuviro, |j.axaaat, p. go; [j.<m'w (= toxte'w),
z/. Hesych.
ra>a; t. a. seems copied from Odyss. ix. 449, «'pev' avfoa jtowjs. For
Cretan dancers v. p. 29.
XX. nX7]pr]s x.t.X. Hephaest. 63 as an example of Ionics a majore,
as indicated above in the text. For a trochaic dipody answering to
an Ionic, v. Metre, p. 70. It is, however, possible to scan the lines
as logaoedic with anacrusis :
/ _ _
v> . — ^y v^ — w — v-» — w
Schneidewin remarks, ' videtur de artibus magicis sermo esse.'
ecpaiveTo, ' de ortu,' Neue. Cf. //. viii. 5 56, etc.
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 H Ktvopsw ve'ov epvo; oSupojiivrj, 'AcppoSttr] | Suvfrprjvo;, in reference to
Sappho. *
In this, as in many other cases, e.g. the Bridal Songs, the poetess is
drawing upon the Volkslieder for her material. See pp. 12, 14.
XXII. "Ays or] x.t.X. Reconstructed by Bergk from Hermog. iii.
317 (Walz), and Eust. 77. ix. 41, the latter of whom says that Sappho
speaks '0[j.rjptxw;. Pindar, like Sappho, addresses his lyre in a
famous passage, Pyth. i. 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.
(b) Argument Theocr. xxviii. Philostr. Epist. 71, commenting on
Sappho's love of the rose, seems to refer to the beautiful epithet in
this passage {v. Bergk, ad loc).
Bpoooxaysss, restored by Schneidewin for 00S. v. Lesb. Dial. p. 82.
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 (toxstav ^xspuy' aj-icpo-cepwO-ev
/aXa?ai; 1. 6) : H oe 2a7rcpw hit too evavxiou (iii 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
reverse feeling of pain or fear. Thus Neue, ^uypoc,, ' ob timorem,'
cf. Protn. Vine. 693. If we could accept Volger's '^u/po;, languidus
prae somno ', the meaning of the Scholiast would be that, while Pindar
Y
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. — Choriambic with anacrusis, and a brachycatalectic con-
clusion. See Lesb. Dial. oiXrj[j.t, p. 90.
The words xai [xoi x.t.X. are paraphrased by Athenaeus thus : r xou
£tjv i7ci'9'u[i.(a to Xajajcpov /.ai to xaXov stysv auTr; ; so that asXtto seems to be
used for ' life,' like the Homeric cpao; i^eXioio. If so, the meaning of
the passage as it stands is as follows : ' My desire for the light of life,
the joy I take in life, includes all that is splendid and all that is fair.'
The context in Athenaeus clearly shows that xaXov has here an
ethical and not merely an aesthetic signification.
XXVI. 'Hpo? ayyeXo? x.t.X. Schol. Soph. El. 149.
The dactyls are probably choreic, as is shown by the initial trochee ;
cf. on Alcaeus Frag. I. Comp. Odyss. xix. 5 1 8.
XXVII. (a) 'O [jl£v yap x.t.X. Galen Protr. c. 8. See Lesb. Dial.
or oo-orov, p. 82 : 'iBrjv = lostv), p. 89.
Bergk and Schneidewin place this among the Epithalamia as if
it were an apology for the ill looks of the bridegroom.
xaXog is plausibly added by Hermann. Notice the redundant xai
in K&yaO-o? . . . Kal xaXoc, arising out of a natural confusion, as if the
sentence ran ' he is both good and fair.' Cf. Plat. Phaedo 64 C.
2xE<Lat lav apa Kal aoi auvooxfj a^so Kap.01, and //. vi. 476, Sots or\ koI
tovSe ysvEafrai | IlalS' e[j.ov to? Kal Eyw'rcEp.
(b) 6 tcXouto? x.t.X. Schol. Pind. 01. ii. 53 and Pyth. v. 1. Tac
supplied by Neue.
XXVIII. AW i'yw x.t.X. Apoll. de Synt. 247. Conjecturally
assigned to Sappho on account of metre and dialect.
XXIX. ndSa? Se x.t.X. Quoted by Schol. Ar. Peace 1 174, in illus-
tration of the excellence of Lydian dyes, to which therefore the words
Auo. x. I', refer. Compare Horn. //. iv. 142, where Myiovi; stands for
Lydian. MaaXyj? for [jLaaS-Xr]?. Cf. eoXo?, and v. on Sap. x. 1.
XXX. Oux otS' x.t.X. Chrysipp. iz, arcocpaT, 1. 23.
XXXI. '12? oe Teat's x.t.X. Et. M. 662, 32. Ot yap 'AioXst? E?wS-aat
7ipoaTtO-£vai au[i.cowvov, tocrap to lzT£puyw[j.at TTETiTEpuytojjLat, also Schol.
Theocr. i. 55.
7ce6a so Schol. Theocr. but Et. M. x:ai3a. The alliteration both of
SAPPHO 339
the labials and dentals in the line is particularly noticeable. Cf. for
the dentals, Dith. Poets I. «', 11. 1-2.
XXXII. TaSs vuv Ixaipat? x.x.X. Athen. xiii. 751 D. xaXouai youv
xa"t at eXsuS-spai yuvatxe; eti xai vuv xa\ at 7cap9-Evoi xa; <juvr)'0-st5 xai cpfXa;
Ixatpa?.
BRIDAL SONGS
For the early Greek Bridal Song, see p. 12.
These short fragments bring before us very dramatically the nature
of the occasion for which they were intended. It is plain that
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 is quoted by Hephaest. 129, to
illustrate the use of the ptEaopiviov, or refrain after each line ; 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
in 1. 4 (eaxt 8s' xt; totw? yotpt? Sawpixrj ex [xexaPoXrJ?, oxav xt zlrzouacc (Jtsxa-
paXXrjxat xa"t loairep [ierav07]O7)).
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
metre of great antiquity and common in Volkslieder. Cf. infra on
Linus song, Popular Songs 1. For 1. 3 v. below. The refrain was pro-
bably 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, for aeppexe (aefpexe), p. 82; u^vaov, p. 85; p.syaXio
(genit), p. 84.
1. 1-2. *l#oi x.x.?,. At first sight these words look as if they refer to
the erection of a triumphal arch ; but doubtless they are a mere com-
plimentary 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
u'lot. Meister (p. 46), however, discredits their testimony.
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. p. 228. Cf. Pind.
01. vii. 4.
(b) Those who arrange the previous lines as hexameters, add to
340 GREEK LYRIC POETS
them this verse, which is quoted by Demetr. de Eloc. cxlvi. from
Sappho in reference to a man of great stature. The proverbial
' Lesbian singer' is usually taken to be Terpander (cf. Eust. //. 741,
16), but refers rather to the Lesbian poets in general.
For the hexametric metre, cf. No. xxxvn. and see Metre, p. 62.
XXXIV. Tlw x.t.X. Quoted by Hephaest. 41 as Aeolic Pentameters
though without the name of Sappho.
See Lesb. Dial, for t£w (=t£vi), p. 88; itxaaBco, p. 84. The diaeresis
of an original diphthong in eVxaaow is remarkable, and is perhaps em-
ployed for metrical reasons on the analogy of the diaeresis common
in Lesbian where the diphthong is not original. See pp. 84-5.
xotXtdr' answering to xaXto;, so Bergk for [AaXiar'. Similarly a
grammarian tells us that Alcaeus employed xaXtov for xaXXiov.
XXXV. Xalpe x.t.X. Serv. Verg. Georg. i. 31. See Lesb. Dial. p.
86, for vuij^a.
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.
apao, unaugmented Imperf. in the -\u conjugation = rjpaao. See
Lesb. Dial. p. 90.
XXXVII. OCov x.t.X. 11. 1-3 Schol. Hermog. (Walz) vii. 983. 11.
4-5, Demetr. de Eloc. cvi. That the first of these passages refers to
the bride is obvious from Himerius i. 4 and 16, where a sort of para-
phrase is given of Sappho's Bridal Song {v. quotation in Bergk).
The second passage is quoted without Sappho's name, but is very
reasonably assigned to her by Bergk. A comparison with the
Wedding-song, Catullus (No. 62), renders this practically certain.
In the Latin poem a band of youths sings in answer to a band of
girls, and in 1. 39 the latter compare the maiden who has been care-
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,
Nunquam se extollit, nunquam mitem evocat uvam,
Sed tenerum /?wz0 deflectens pendere corpus,
Jam jam contingit summum radice flagellum,—
Hanc nulli agricolae, nulli accoluere juvenci, etc.
It is only natural to conclude that herein Catullus was imitating the
Greek passages before 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.), simi-
larly the passage otav xocv uaxivSov x.x.X. describes the obscure and
neglected lot of the unmarried girl, iv oupeut being paralleled by ' in
nudo . . . arvo,' xajJ-ai by ' prono deflectens, etc.,' and the neglect of
the shepherds by the line ' hanc nulli agricolae, etc' A further
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, for uaoio (=o£w), p. 84, and note on vii. 4 ; >j.aXo-
op6-i]Eq, p. 87 ; xaxaax£t[3oiaL, p. 83, and p. 88.
I. 3. ' Forgot it not, nay ! but got it not, for they could not get it
till now.' Rossetti.
II. 4-5. Demetrius I.e. remarks, xfjs Xe'Sjswi; ^ [j.kv uTnjpsxsl 7j ok iTz<.y.oa[x£i
. . . UTtrjpsxsl [J.EV 1^ xoiaos - oTav . . . xaxaaxEt'Pouai. E-ix.oa[j.£t §k x6
EJUtpEpo'piEvov yap-ai Se xe x.x.X.
With the Epic 7:oi;j.svei; avSps? cf. No. XXXIII. 2, xexxovs; v.vbpzi;.
8« re. ' Te in the combinations [oiv xe, 8s xe, xai xe, yap xe, aXXa xe,
and the like, is 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.
XXXVIII. Ilapihvia x.x.X. Demetr. de Eloc. cxl. as an example
of the beauty of dvaoi'^Xwat; : — vu;j.cp7] ;ip6<; x^v 7^ap8sviav yr^i ... ^ ok
arcoxptvExcu x.x.X.
1. 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.
XXXIX. fEarapE x.x.X. El. M. 384, 4. Demetr. de Eloc. cxli., etc.
These lines perhaps belong to the same song as No. xxxvn, and
probably suggested the address to Hesperus in Catullus 62. Com-
pare Byron's
' O Hesperus, thou bringest all good things,' etc.
1. 2. 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 :
Bergk reads <p. djiu [j.ax£pt n. from a^oiov in one of the authorities.
If we accept the introduction of the preposition, I would suggest a
further alteration to d~u |j.dx£poi; rcai'v, thus bringing the passage into
agreement with Catullus' ' Hespere . . . qui natam possis complexu
342 GREEK LYRIC POETS
avellere matris.' Bergk's reading, however, may possibly bear the
same meaning, since it is conceivable that araxpe'petv, like a<paipeiv,
should take a dative in the sense of ' from the mother'.
XL. Gupw'pw -/..tX Hephaest. 41, and described by Demetr. de Eloc.
clxvii. as a satirical passage where Sappho intentionally adopted
prosaic language.
Schneidewin quotes Pollux iii. 42, xaXftxai -a; xwv tou vupupiou tptXwv
xai Qupwpo?, 6 -rais 9-upai? i<pe(m]J«i>s xat apywv fa? yuvaixag (3o7]d-£iv ttj
vu V?n Powctt). 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.
XLI. Krj 3' «|j.(3poatas x.t.X. 11. 1-2 are cited by Athen. x. 425 C. to
exhibit Hermes as wine-bearer to the gods ; 11. 3-5 Athen. xi. 475 A.
Bergk and Ahrens reasonably join the two passages together.
SeeLeso, Dial, vjyov, p. 84. For xfjvoi=xEivot, see on No. II. 1. Ktj,
Lesb. for iy.et.
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. a[j.|3poa(as Neue compares Odyss. iii. 390, 393.
I- 3- xa PX?3 ota j an illustration of these may be seen in Panofka's
Manners and Customs of the Ancients, PL viii. 9.
1. 4 is in 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 :
— . — v-/ <J ' v./ KJ — w — \J
Hermes assumes the office of cup-bearer to the gods as being the
*»ipu§, whose duty it appears to have been to pour out the wine at
sacrifices or great banquets, cf. II. iii. 245 seq., and elsewhere, and
see Roscher's Lexicon, ' Hermes.'
STESICHORUS
These three passages are all from the rr]puovrj(?, or the story of the
exploits of Hercules against 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 343
been the attribute 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 vu/toc, as in xouptSiav aXoyov, etc. (1. 4).
II. 5-6. For the trochees in f-time, v. Metre, p. 67.
I. 6. juoaafl, explained by some as ' with firm tread,' Buchholz com-
paring 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 apyupopi^ou; 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
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. apyupopt£ou;, the meaning then being that
he was born hard by (the mouth of) the Baetis, opposite Gades and
near the silver mines, ^aya; referring not to the river, but to the mines
(cf. Aesch. Pers. 234, apyupou xrjyr] xi? x.x.X.). Even then the poet
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 '. As the words stand in the text they
become quite intelligible if we regard raya? not as ' fountains ' or
' source ', but as ' streams ', ' waters '.
For the short final syllable in the accus. plur. raya; (Schneidewin
-aya;) v. Dor. Dial. p. 93.
(y) Ath. xi. 499 a. These lines relate to the occasion when the
other Centaurs were attracted by the smell of Pholus' wine, and were
disastrously defeated by Hercules. This took place on the hero's
return from Spain.
crzu^cpsiov Casaubon, for -rxixyiov.
xfivsv Bergk, for rftsv.
II. (a) Ouvsxa TuvSapso? x.t.X. Schol. Eur. Or. 249.
With II. (5' and probably with II. a' is connected the well-known
story of Stesichorus's blindness and subsequent recovery, thus
344 GREEK LYRIC POETS
briefly related by Suidas — <J>aoi ok autov ypot'}avTa i]/dyov 'EXe'v?)? xutpXw-
xHJvoa, T:aXiv ok ypociavxa EXev7j? Iyy.wp.10v s? dvsipou, xf,v 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
it. It is impossible to say how the story arose, but not improbably
it was devised 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).
1. 1. Cf. Eurip. I.e. rcoxe is supplied by Bergk, three MSS. giving
ouvsxa jiots. Schneidewin thinks that ouvsxa does not belong to the
words of Stesichorus.
1. 2. [j-oilvas Bk. for |J.ovac, or |j.ia;. 'H^toowpw (v. Dor. Dial. p. 93,
for the genii.), cf. the expression Stop' 'Aa>po3ix7]s, and see note on
Bacchyl. II. 1. 4.
■/oXwaa|jivT]. Kleine /oXioaapiEva, but the change is unsafe in the
case of a word so frequent in Epic ; cf. p. 78.
1. 3. Schneidewin prefers xou'pa;, since the goddess was not angry
with the daughters of Tyndareus. But we may perhaps take /oXw-
aocpiv7) to mean ' venting her wrath upon '.
1. 4. Tptyapou?, referring to Helen's union with Theseus, Menelaus,
and Paris respectively.
(P) oux etc' IxufJLOs x.t.X, From the famous ' Palinode ' to which
reference is made by a host of ancient authorities. The passage is
quoted by Plato Phaedr. 243 A, with the remark — xat roirjaa? or* -aaav
t^v xaXouuivTjv TzaXivojofav -apaypri'jj.a avc'pXs'lev.
III. IloXXa [jlev Kuow'vta x.x.X. Quoted by Athen. iii. 81 D, from
Stesichorus' ' Helena,' in which poem there apparently occurred an
Epithalamium celebrating the nuptials of Helen and Menelaus
(Schol. Argum. Theocr. xvii. v. Bergk, Stesich. 31). It is, therefore,
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 borrow-
ing the idea of Stesichorus) Choeph. 527, tsjcsIv Spaxovx' e'Soifsv, and
Schneidewin quotes Eur. Or. 469, [i.7)TpooovT7j; Spaxwv of Orestes.
The word psPpoTiofxe'vos will then imply 'smeared with the blood of his
mother.'
The Pentameter (1. 2) if correct is most unusual in Melic. By the
omission of jj-oXav in 1. 1 we should 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. Athen. x. 456 F, with reference to Epeus who
was forced to carry water for the Atridae.
A16; xou'pa, either Athene or Helen.
We are reminded of Miranda and Ferdinand in the Tempest :
' My sweet mistress
Weeps when she sees me work.'
VI. Ays Mouaa Xiyst' x.x.X. Quoted by Strabo viii. 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 Leon-
tychus, being enamoured of her, followed her to that city. There the
tyrant slew them both, and at first cast forth their bodies unburied.
He afterwards relented, and had them duly interred. Pausanias
however (vii. 5, 13) speaks of their tomb in Samos, at which anxious
lovers prayed.
'Epaxtovup-ou Bergk, for Ipaxwv ujivou?, Ahrens aoi^a? £paxwvu';jiou$.
VII. Totaoe yprj x.x.X. Quoted from the 'Orestea' by Schol. Ar.
Peace 797, where we have xotaSe yp7J . . . xaXXixo(juov | xov aocpov
^oi7]xrjv I u[xvs1v oxav r,ptva filv tptovfj yEXiStov | £^o[jl£vt] (Bergk ^Soj-iEvrj)
y.zk<xOT\.
Sa[Ato[j.axa explained by Schol. xd 8r)[j.oai'a aSd[j.eva, Hesych. ^aiyvia.
e?£upovxa;, Kleine for ISJEupovxa.
VIII. MaXa xoi (f/dXiaxa) x.x.X. Plut. de EI ap. Delph. c. 21.
Bergk refers the lines to the flute-contests at Delphi, which were
abolished shortly after their introduction ; see p. y]2>. Regarding
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 xdo£a, but see Dialect, p. 78.
IX. (a) Stob. Flor. cxxiv. 15. 'Apfyava (Schneidewin and Bergk
d[j.ayava), Dialect, I.e.
(P) Id. exxvi. 5, a-oXXuxat x.x.X. Kleine for ciXux' dvfh ydpt«, from a
marginal reading r.ana. r.okia. -ox' dvO-p. y. Compare Archil. XV. ydpiv
o£ [JidXXov xou £oou Stwxofiev.
346 GREEK LYRIC POETS
IBYCUS
I. ~Hpt fjiv x.t.X. Quoted among other erotic passages by Athen.
xiii. 601 B, who comments on the fervour of the poet's outcry, fioS. xa\
xexpayev.
In the metrical scheme I have treated the dactyls as ' choreic ', i.e.
in | time, equal to the ordinary trochees. It is of course possible to
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
for this poem. On the other hand in No. II., owing to the rarity of
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 con-
trast between the joy of nature and the sorrow of the poet, familiar
as it is to us in modern lyrics, is rare enough in surviving Greek
poetry.
1. i. KuSwvicu, cf. Stesich. ill. i.
1. 2-3. apoo[j.svai poav lx xox. ' watered by streams from rivers ' ; the
expression seems to point to some process of orchard-irrigation.
The genit. poav may be described as one of 'agency', or possibly of
'material'. The Homeric Xousafrai 7rota[j.oto is not quite parallel, since
it 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?
eosuts yatav. It is, however, not unlikely that the construction is
simply apS. ex poav uoxapuov, ' watered from streams of rivers.'
IlapO-Evwv x^7to; : this is generally supposed to refer to the Nufxcpatoi
■/.r t -oi, which Demetrius tells, de Eloc. c. xxxii., Sappho was fond of
introducing into her poetry. If this be so, the phrase probably re-
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', cf. 'Nympharum domus ' Verg. Aen. i. 168 and Odyss. xii.
317-318. Hartung suggests an entirely different explanation, quoting
Pausan. viii. 24. 4, who speaks of cypress-trees round the grave of
Alcmaeon which were never cut down, and which were called
riapSHvot.
1. 4. In xf]7i:os, as in epr]fx.io? (1. 8), i\ should be retained as due to
Epic influence : ' The first buds that sprout beneath the shadowing
vine-shoots.' Stephanus reads uV Epvsatv, but the form Ipvo; is men-
tioned in Cramer. Ann. i. 173, 27.
1. 6. ■SaXs'O-oiaiv, Lesb. Dial. p. 83, e[j.oi, Ethic dat.
1. 7. a9-' . . . Pope'a?, ' like the north wind of Thrace, that rages amid
the lightning-flashes.' u^o expresses accompaniment, as in Sa'tSwv
vr.o Xa;j.7:o[i.Evawv, //. xviii. 492. Buchholz compares (aikli)) uto
Ppov-rijfc, //. xiii. 796, and he thinks that there is reference to the
I B Y C U S 347
ancient notion of the wind bringing the lightning from the clouds.
v. Lucret. vi. 246 seq., and 96. For (pXs'ytov, cf. on Bacchyl. I. 12.
1. 8. atuawv . . . Ioejavos, 'speeding on his dark course from the side of
Aphrodite, with parching frenzy ' ; a£aXs'ais, ' active ', v. Lid. and Scott.
I. 9 seq. aO-ajj-Pr]'? x.x.X. ' unflinching holds fast from earliest man-
hood the fortress of my heart.' natSofrsv is generally taken to be the
objective genitive ( = ' love for a boy '). I have followed Schneidewin's
explanation ' a puero ', i.e. ' from the time when my boyhood left me.'
'AO-ajxPrj? Eyxpaxc'w?, Herman from a-9-a(j.p7]<js(v) xpaxaiw?.
For the description of Eros in this and the next passage, v. Addi-
tional Note B on Eros in the Lyric Poets.
II. "Epos auxs x.x.X. Plat. Parmen. 137 A, Schol. For the metre,
cf. on No. 1.
1. 1 seq. ' Eros, with melting glance beneath his shadowy eyelids,
thrusts me 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
-/.aX)u-po3to7:s x.x.X. {v. p. 277), with the remark xucpXo? 6 eracivos xat
/oct' ouoev o[j.<ho? tu ipuxsuo sV.sivox
A 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
yXuxspov with ■fraXo;. The words yap. S-aXo?, ' nurseling of the Graces ',
express the same idea as Alcaeus' r.o'kr.w a' Eo^avx' ayvat Xa'pnrsc,
No. xiii.
1. 3. IlEiiko, see on Sap. I. 18, and v. Bockh on Pind. Pyth. ix. 39.
IV. tou's te Xeuxitckou? x.t.X. Ath. ii. 57.
Hercules is speaking of his slaughter of the Molionidae, for whom
see Pind. 01. xi. 26 seq. Bockh. This fragment and the next, not of
any particular value in themselves, show us that Ibycus did not con-
fine himself to subjective lyric after the fashion of the Aeolic School,
but dealt also with mythological subjects, cf. Biog. Ibyc. p. 137.
laoxscpaXou?, Meineke proposes taorazXou?.
V. rXauxiomoa Kaaaavopav. Herodian, 7:sp\ <r/ji[J-. 60. 3 1, in discuss-
ing the so-called <J'/.%a 'Ipuxsiov. He remarks that it consists of the
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 SaX^ai 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
Bergk suggests that the termination was first applied to verbs in -e'w,
as if 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
occur, in Homer and elsewhere, are subjunctives and not indicatives.
Compare E. Mucke de Dialectis, etc. pp. 62-8. However this may be,
Ahrens reasonably objects to the form being regarded as Rhegine
(in which we should expect -rjTi, Dor. Dial. p. 94) — rather it has become
associated with Rhegium from its employment by Ibycus. He adds
that the 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.
VI. Aioov/.a. x.x.X. Plut. Quaest. Symp. ix. 15, 2, and Plat. Phaed):
242 c.
' I fear that I 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.
(a.) Athen. xv. 681 A. The hiatus in xai \'a may be ascribed to the
influence of the ancient F in (F) "a.
(p'.) Herod, rapi ayr^L. 60. 24, cf. on No. v. Compare the well-known
words of Soph. El. 17, Xajjotpov ^Xiou asXa; | Iwa xtvsi cpO-Eyi-iax' opviahov
aacpY).
(y'O Theon. Smyrn. p. 146, to show that Ibycus and others use
Setptoc, or Setpiov of any star, cf. Hesych. and Suidas.
VIII. oux s'cmv x.t.X. Chrysipp. t.z$\ a^oyax. c. 1 4.
Schneidewin compares the German saying, ' Fur den Tod ist kein
Kraut gewachsen.'
ANACREON
I. 'Epw xs 07]ux£. Hephaest. 29. I have placed this fragment first
as it forms a fitting motto for the poet and his songs. He lives, he
implies, for love and wine, but is never carried away by either passion.
II. rouvoufxou x.t.X. Hephaest. 125.
1. 5. rj xou, Bergk from rjxou which is given by four MSS. The usual
reading is "xou (with syxaftopoe in 1. 6, v. below), which involves
ANACREON 349
asyndeton and a dubious construction in iiA Sivrjat. Besides, A^O-ato;
was a river in Magnesia (v. Athen. 683 c), with which region, so far
as we know, the poet had no connection. On the other hand,
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
prayer. Schneidewin (without, I think, much reason) is of opinion
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 streams.'
1. 6. saxaxopa; Bergk, for lyxaSopa, on the strength of a MS. reading,
Eaxaropsi; or -ai?, and a passage from Apollon. de Syntaxi p. 55, where
saxaxopa? rcdXiv is given among instances of psilosis in Ionic.
1. 7. yatpoua', 'propitia', Moebius.
III. 'I2va? x.x.X. Dk> Chrys. Or. II. t. i. 35.
1. I. SajxaXr]?, Hesych. xov §a[j.a£ovxa, 7} ays'pto/ov. Cf. No. IV. 1. 5.
1. 2. Nu'[/.<pat. Owing partly to the custom of celebrating the rites
of Bacchus among the woods and mountains, and partly perhaps as
the mythical representatives of the Maenads, the Nymphs are con-
stantly associated with that deity. Cf. Hor. 2 Od. xix. 1, ' Bacchum
. . . vidi, Nymphasque discentes.'
1. 3. Notice that in jropepups'?], s:u<jxpE<p£ai (1. 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.
1. 7. -/.Eyapia[x£V7);, proleptic, ' Give heed to our prayer, and may it be
well-pleasing to thee.'
1. 8. ercaxou'eiv. Monro, Horn. Gram. 241, points out that the em-
ployment of the infinitive for the imperative is chiefly found (as in
this instance) after another imperative, 'so that the infinitive serves
to carry on the command already given.'
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. Clem. Alex. Strom, vi. 745.
II. 2-3. |ae7.o|j.ou . , . asiostv Hermann for jj.eXrojj.at . . . aEiStov [juxpoa?.
V. ILiokz Gprf/.u]. Heraclid. Pont. Alleg. Horn. c. 4.
These couplets of acatalectic and catalectic trochaic tetrameters
furnish us with one of the most charming specimens of metre in
Anacreon. Notice the light and rapid movement imparted by the
very sparing use of the irrational trochee ( ), while a welcome
pause is given by diaeresis after the second dipody ; this, however, is
3SO GREEK LYRIC POETS
not found in 1. 7, xXu{K p.su x.x.X., nor does it justify us in dividing each
of these lines into two, as is done in Hartung's edition.
1. 1. IIgjXe, cf. Hor. 3 Od. xi. 7, ' Quae velut latis equa trima
campis.' 6p7]xi7] ; cf. Eur. Hec. 1090, where the Thracians are spoken
of as euittcov ye'vo.;. For the form Buchholz quotes C. B. Stark : ' In
primae declinationis formis fere ubique t\ pro a positum est, prae-
cedentibus vocali I aut littera p in nominative' Fick prefers epswirj,
from a form eps'txto? which he says should be used in Hippon. 42. 1. 1,
where the metre would otherwise be imperfect.
Xojfov, implying scorn, as in Theocr. x. 13, yst'Xeai (j.u/aK£oi<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 this is the local accusative,
comparing mrjSwvxa raoia, Soph. Aj. 30, and contrasting poaxofisvo?
Xsi[j.wvi, Odyss. xxi. 49. The expression in Sophocles is only parallel
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
motion, or perhaps an accusative of extension. Compare our ' rove
the sea ', and similar phrases.
1. 6. i7T7Toa£iprjv Bergk, for t-^ojist'prjv.
KXGaK fj.su. Hephaest. 76. Liddell and Scott give Eusfrstpos as of
only two terminations, and Bergk formerly read Eus'9-aps ; but
Tocvusfrstpa occurs Find. 01. ii. 26. It is possible that this line belongs
to the song from which 11. 1-6 are taken.
Bergk suggests xoupa, comparing Theocr. xxvii. 55.
VI. 2a>a(pr) x.x.X. Quoted by Athen. xiii. 599 c, mentioning a report
that the poem was addressed to Sappho. See however Addl. Note A.
1. 1. Scpaipr) -, cf. Meleager Ep. 97, CT^aipiarav Tov"Epwxa xps'tpw. Plate
HI., in which Eros is represented as a youth playing at ball, graphi-
cally 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. 135.
The metaphor is very happily employed by the poet to express the
light and playful nature of the attacks that Love made upon him.
He uses, with less truth, a contrary metaphor in the next passage.
1. 3. v7Jvi, contracted from vr]vu, dative of v^vi? contracted from the
Ionic form ve^vi; (= vsavt;). Bergk compares the Samian v^ (= ve'a).
7roixiXoaap.pa>.(o, Seidler's ingenious conjecture for tohx&o; Xap-Pavto,
or TcoixiXou; a;j.paXto. Cf. aa;j.|BaXa Sappho XI,.
1. 8. aXXr]v sc. x&[j.7}v ; some commentators unnecessarily alter to aXXov.
VII. MsyaXw x.x.X. Hephaest. 68. For trochaic dipodies answer-
ing to Ionics, see Metre, p. 70. -/ei^z^ . . . yapaopr], 'a bath of
despair '. ' It would seem as if blades were tempered in naturally
cold mountain-springs.' Gold. Treas. Greek Lyrics.
ANACREON 351
VIII. 'AorpayaXai, Schol. //. xxiii. 88, illustrating the Ionic ctorpa-
yaXat for -01. Compare Apoll. Rhod. iii. 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
which I fail to understand. Surely "Epwxo? must be taken with
aaTpayaXai, so that the lines mean that Eros sports with the frenzies
and conflicts of his victims as if with dice.
IX. (a) 'Ava7i£xo[xai, Hephaest. 52 and Schol. Arist. Birds 1372.
The resolution of the first long syllable of a choriamb is very rare
in monodic Melic, but is excellently adapted to the spirit of this
passage.
Bergk compares Himer. Or. xiv. 4, wherein Anacreon, finding him-
self spurned by the object of his affections, threatens the Loves (toIs
"Epwcuv) that he will never celebrate them in song unless they aid
him. The meaning of these lines is ' I flutter up to Olympus on
account of Eros ' {i.e. to accuse or threaten Eros).
auvrjPav, cf. Scol. XIV. and r§t\ in Pind. Pyth. iv. 295, •9-ujj.ov exoosQ-cu
r.poc, ^av, and oaixo? fjpr), Eur. Cycl. 504, and Hesych. r^av suuyaaD-ai,
(j.s9-uaxea9ai x.t.X. ; but in the present passage as in No. XX. the word
seems to have an erotic signification which does not belong to it in
the other instances.
{b) Cleverly restored by Bergk from Lucian Here. Gall. c. 8, 6 epw?
6 ao?, w Ttjis 7:oi7]-ca, asiouiv (or latowv) fie u7uotc. ye'v. ypuacxp. TCtsp. f) aExotc
7rapa7:£T£a8-w. I see no reason for inserting w? (Bergk) or o'c
(Schneidewin) before [x' e<ji§wv.
zTspuywv, see Additional Note B.
X. 'a not. Athen. xiii. 564 D.
1. 1. TOxpS-e'viov PXotwv, cf. No. v. 1, Xo?ov . . . pXEKouaa, and Ibyc.
II. I, xayip' 0[j.[j.aTi 0£pxo[j.Evo;.
oux afets, Bergk conjectures ou xost?, Schneider oux ast?.
XI. KX£o[3ouXou x.x.X. Herod, rapt ayrjji.. 57. 5.
SI otoaxE'w (dissyll.), Bergk from 3to? xvewv, 5e Sioaxvao, etc. Hesych.
oios/eV oiapX£7i:£tv auv£/w; xrjv opaaiv [j.£Ta[5aXXovTa. Thus the meaning-
is ' to keep on casting glances at,' rather than ' to look earnestly at,'
as Lid. and Scott render it.
XII. Strabo iii. 151. 'Eyw o' out' av x.t.X.
For the Iambic basis, v. p. 187.
'A.[j.aX0-L7]? x£pa;, the Cornucopia, see Diet, of Biography. .
Tap-crjcaou (5aatX£uaat, referring to Arganthonius, for whom see
Hdt. i. 163, where a more moderate span of years is assigned to his
reign.
The general sense appears to be that the poet would rather win
the object of his affections than the greatest treasures.
352 GREEK LYRIC POETS
XIII. '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
fragments. Sappho VII. closely resembles it, but the choriambs are
there introduced by anacrusis instead of basis. Again, Alcaeus v.
would be identical in metre, but for its catalectic conclusion.
Aeux. tot. Hartung quotes Eur. Cycl. 165, mxxav 8' lq aXpjv
Aeuxa8o? mxpa? ano, remarking that the expression had become pro-
verbial. The poet is speaking metaphorically of plunging into the
waves of love.
XIV. <£s'p' uowp x.x.X. Athen. xi. 782 A. For the metre in this and
the two following passages, v. p. 87.
1. 2. I have adopted Fick's correction of av9-Ep.ouvTa? for av-frsp^uvTa?.
Cf. on No. xxi. 1. 2.
1. 3. Referred to by Eustath. II. 1322. 53, Orion p. 62. 31, and Et.
M. 345. 39. We are left 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
perhaps, ' bring wine and garlands that I may give up the contest
with Eros, and greet him as conqueror' ; with 8ij, ' bring wine that I
may fight unhesitatingly'. Bergk comp. Trachin. 441/EpwTi piv vuv
ooTis avravtataxat | tiuxtt]? 07110? e? y/tpa? x.t.X. Arj not infrequently
accompanies to? ( = ut) or "va to emphasise the purpose. Cf. //. v. 24
and Plat. Rep. 420 E.
XV. napa 07]uts x.t.X. Hephaest. 70.
xocteouv i'pwTa, Bergk for xoctsoW sptoTa.
XVI. "Ays 3v) x.t.X. Athen. x. 437 A.
We have here an illustration of the sober habits of the better sort
among the Greeks. Wine was to be an incentive not to uproar or
stupefaction but to song (xaXot? up.voi?). Compare Introd. to Scolia,
pp. 236-7, and Athen. x. 431.
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
(Schol. Ar. Knights 11 84). Elsewhere (Append. Anac. 23) he calls
for a slightly stronger potation, xa&apf 8' £v xeXe'Ptj 7:evts xai tpeI?
avaystaikov.
1. 5. avuPptoTio?, Bergk follows Baiter in reading avu[Epiari, but this
would give us a solitary instance of hiatus between Anacreon's rapidly
moving lines. For the Ionics, v. p. 187.
ANACREON 353
1. 7 seq. Compare Hor. I Od. xxvii. 2, 'Tollite barbarum | Morem,
verecundumque Bacchum | Sanguineis prohibete rixis ' ; and Ben
Jonson's
' So may there never quarrel
Have issue from the barrel
But Venus and the Graces
Pursue thee (Bacchus) in all places.'
1. 9. 2xu{hx7jv 7:oaiv. explained by Athen. x. 427 as axpaxoTroaiav.
The Scythians were notorious drunkards, see Athen. I.e. 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 and pleasing custom.
1. 1 1. u7to7uvovTss. Not ' soaking ', as in Ar. Birds 494, but ' drinking
quietly ', as in Plat. Rep. 372 D, [xs-rpiw? ujcomvovxE?.
XVII. MrjS' wars xujia x.t.X. Athen. x. 446 F. This passage ex-
presses the same sentiments as we find in No. xvi.
1. 2. if jroXuxpdtyi, ' the noisy, chattering Gastrodore ', not as Lid.
and Scott strangely translate the expression in the passage ' the
many-oared', i.e. the ship(!) The term is mentioned in Lobeck's
Parall. 466 as implying contempt.
1. 4. emaxiov, explained by Athenaeus as a kind of cup, usually
called ctviawv.
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. 3. £?s7:tov xaoov, ' drained a bumper '. The word xaoo; generally
denotes a large earthenware vessel, so that we feel disposed to ex-
claim, as Prince Henry at Falstaff, ' But one halfpenny-worth of
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 to have taken place in the day-time (cf. rtpiaxrfitx) as well as
in the evening.
7iaYo(\) appfj, Hermann for 7:atot appf,, or ^oo\v appto;. Bergk, in
justification of the elision, quotes Pind. 01. ix. 112, where, however,
the reading is doubtful ; and an Attic inscription, xrjpuxi aOavaxwv
'EpjjuJ aT7jaav \x ayopaito.
{b) 'iaXXw x.-.X. Athen. xiv. 634 C.
1. 1. Bergk supplies AuSov on the strength of Athen. I.e. r\ yap
[/.ayaot; opyavov laxt 'J/ocXtixov, oj? 'Avaxpswv cprjai, Auowv t£ £upr)[j.a.
1. 2. yopof[aiv . . . jj.ayao7]v, Bk. for /opoataiv |j.ayaotv, cf. Pollux iv. 61,
where [j.ayaor) is said to be the form used by Anacrcon.
1. 3. 7j[3as, cf. No. IX. (a) 1. 2, note, and No. xxi.
Z
354 GREEK LYRIC POETS
XIX. 'Eyw Se pae'w x.x.X. £7. M. i. 45.
I have placed this and the next three passages together, since they
display to some extent the poet's personal character {v. Biog. p. 85).
I. 2. 6'aoi, Bk. for o". XGoviovs seems to be explained by Hesychius ;
/9-ovia - -/.sxp u;j.[jiva, (3ape'a, spo{3epa. Bergk translates it here, ' callide
celans iram '. Jacobs axoXiou;. 'PuO-jj.ou';, 'temper,' cf. Theogn. 964 :
izpiv av ei8rs avopa aacpr]V(o;
opyrjv xai pu9p.dv xat xpo7:ov oaxt? av Vj.
II. 3-4. ' I have found thee, O Megistes, to be one of the gentle in
disposition.' a[3axi£. Rt. M. jjou^wy xat \i.r\ •9-opu[5w5wv, cf. on Sap.
XV. f. The word is inadequately explained in Lid. and Scott.
Mq-LaS-rjxa a to M. Bergk, for [j.£[xa9-r]xa-Jtv to; [asyigttj. For Megistes,
cf. No. xxvi.
XX. "E[j.£ yap x.x.X. Quoted with the next passage by Maxim.
Tyr. xxiv. 9, to exhibit Anacreon's at.^poauvrj, even in his love-songs.
aow, Valckenaer for oiSw.
XXI. "Epafiai x.x.X. v. above.
Bergk /apixsuv e yap, for /apuv yap I. Herodian attributing the word
/apixdct; to Anacreon. I have adopted Fick's correction to yaptxouv.
For auv7](3av, cf. on No. IX. (a) 1. 2.
XXII. 7:oXto\ [j.lv x.x.X. Stob. /^/^r. cxviii. 13.
For the metrical arrangement, see Introduction. Notice that
yr]paXsoi, 'aISew, apyaXE7] are trisyllabic ; cf. on No. III. 1. 3.
I. 4. The Ionic measure takes the place of the Trochaic dipody.
See p. 70.
XXIII. SavSf x.x.X. Athen. xii. 533 E.
An interesting specimen of Anacreon's satiric powers. He appears
to have been fired by jealousy ; for Eurypyle, the 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. I.e. Sia xd xputpepw?
[Btouvxa TOpKBEpEuS-at I7A xXivrjg, though a different meaning is given to the
word by Schol. Arist. Achar. 815. Bergk renders 'famosus', object-
ing to any mention of a litter, since he is said (1. 10) to ride in a
chariot.
I. 3. psp(3spiov, the meaning of the word is quite uncertain. Schd-
mann thinks it signifies some barbarian head-covering, and that the
words xaXu[i.(j.ax' Eaorjxtojjiva (the 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
' bis trium ulnarum toga,' in Hor. Epod. iv. where the spirit of this
passage is closely imitated. For xocXu^jLa, not in the sense of a head-
dress at all, but merely of a covering, cf. Soph. Track. 1078. But a
possible objection is that Anacreon goes on to describe the man's
garment in 1. 4 seq., and the plural xaXu[j.[j.axa receives some support
from Hesychius' xaXu7:xpa - xe^aXyj? xaXu|j.[j.axa.
1. 4. 'Wooden earrings', contrast ypuasa xa9-c'pij.axa in 1. io. Scho-
mann refers to Plin. A". H. xi. 37, 50, for the use of earrings by
Asiatic men.
That Artemon followed the customs of the barbarian or Asiatic (cf.
1. 3 and 1. 5) is probably meant as a jeer at his low, and perhaps
non-Hellenic birth.
1. 5. Ssppiov (Bk.), or a similar word is required. Schneidewin refers
to Hdt. i. 71, for the use of leather clothing among the primitive Per-
sians.
1. 6. v7j-Xuxov, 'unwashed,' so Schdmann for vso^Xouxov, vsd^Xuxov,
etc.
dpxoTrwXtatv ; these persons did not enjoy a high reputation; cf.
Dionysus' rebuke to Aeschylus, Frogs, 858, XoioopsiaQm 0' ou S-e'^i; |
avopa; £ou]xa; io<T7isp apxojxwXioai;.
1. 8. ' — earning a fraudulent living', for which he receives the pun-
ishment described in the next line, v. note.
1. 9. ev Soup\, explained by Schdmann as ev ?uXw, i.e. the xu'owv
or pillory described by Pollux x. 177, axeuo; ijuXivov w xov auye'va evfre'vxa
oft. [jLaaxtyoGiail'ai tov irepl ri\v a-yopav KaKovp-yovvra.
1. 10. Hesychius has aaxtvar ai ap.a£at. In this passage, however,
as in the others in which it occurs, viz. Eur. Hel. 131 1, and Hymn to
Venus, 1. 13, the penultimate is short. The word is said to be of
oriental origin. For the genit. plur. in -e'wv, cf. Archil, xiv. 2. It
comes from -awv through -7]wv.
1. 12. xaO-£p[j.axa, 'earrings,' cf. 1'pjj.axa in Homer. See on 1. 4.
1. 13. axiaotaxrjv, 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', Casaubon ; v. Buttm. Lexil. i. 30, where,
however, there is no other example of the word in this sense with
the dative.
XXIV. "Ayavw? ola x.x.X. Athen. ix. 396 D. Aelian Hist. An. vii.
39 ; Schol. Pind. 01. iii. 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
me similis Chloe | Quaerenti pavidam montibus aviis | Matrem'; so
that we may conclude that Anacreon also is addressing a coquettish
lady-friend.
356 GREEK LYRIC POETS
orf or eg t^ cf. Alcm. II. 3, and note on Sappho xxxvn. In oars,
xs has the force of an undeclined xi?. Monro's Horn. Gr. p. 67.
xsposW)?, the epithet as applied to a hind is more picturesque than
correct ; but cf. Pind. I.e. ypuaoxspwv sXacpov ^Xstav, and the remark
of the Scholiast, 0! 7roi7]xa\ xavxs; xe'paxa syouaa; ^otouatv.
XXV. Met? [j.sv or) x.x.X. Schol. II. xv. 1 92 ; and Eustath. //. 1012, 1.
1. I. IloatS. Eust. I.e. xov izspi yap-spiou? xpeuza; p]va.
1. 2 seq. vscpsXa; x.x.X. I have given Bergk's conjectural reading.
The Schol. //. I.e. gives veojeXv) 8' uowp (3apu 8' aypioi j. xax. ; Eust. /.£
vscpsXai 8' ooaxi (3apuvovxai, ayp. 8s yst[jL. ^axayoucyiv. Bergk introduces
Aia from a comparison with Hor. Epod. xiii. 2, ' Nivesque deducunt
Jovem.'
XXVI. 6 MEyiaxrj? x.x.X. Athen. xv. 671 E.
Ionic (a minore) tetrameters ; cf. Alcaeus XIV. ; and Hor. 3 Od.
xii.
1. 1. MsytTcr);, cf. No. XIX. and iizd t cf. on Sappho xxxvn.
Xuyw ; Athen. xv. 673, mentions that the custom of wearing willow-
chaplets was popular among the Carians, and copied by the Samians.
XXVII. Ti? IpaafjLirjv x.x.X. Restored from Athen. iv. 177 A, Tie ip.
xp. ahi[J.. sas'{3r)V xs'psv' to; r^[j.(o^ov x.x.X.; Bergk s; rjPr)v, Casaubon xspsvtov
r^[j.to7:wv from Athen. iv. 182 C.
7][3r), 'merriment,' 'revelry,' cf. on No. IX. 1. 2.
XXVIII. 'Erfi 8' ocppuaiv x.x.X. These passages are quoted by Athen.
xv. 674 in illustration of the custom of wearing garlands on the brows,
and hanging from the neck over the breast. (Cf. Alcaeus VI.)
1. 3. 6pxr,v . . . Aiovuaw. Perhaps merely a figurative expression
for his wine-party, although Bergk quotes passages from Hesych. and
Steph. Byzant. indicating an extensive cult of Bacchus in Samos.
-
XXIX. These passages refer apparently to the wars which drove
Anacreon from Teos, or else to troubles at Samos. Cf. Biog. p. 183.
In the first the attack is 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.
(a) 'Opaolor.os. Hephaest. 90.
[ff) Nuv aTO [jlsv x.x.X. Schol. Pind. 01. viii. 42, illustrating oxsoavo?
in the sense of the wall of a city. Bergk conjectures 7:oXsus as the
Ionic contraction from raiXso;. Fick, however, declares that this
belongs to a later period.
(e) 'aXxijjlwv x.x.X. Anth. Pal. xiii. 4.
(d) I 1. Ei. Gud. 333. 22.
1. 2. Attil. Fortunat. 359. Adopting Schneidewin's suggestions of
ANACREON 357
ai>x% and <puyov for aux7j; and ©suyo), which restore the choriambic
metre, I have joined these two lines together.
I. 2. Bergk piia; . . .' 7rap' oy9a; for ovl' £$ . . . r.po-/_6a.i. It must
be confessed that both the text of the lines and the circumstances to
which they refer are quite uncertain.
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.
Tyr. xxiv. 9, [j.s<rxa 3s auxou (Anacreon) xa aajxaxa xij; SfJiepSio? xo'jat];
x.x.X. 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 MON IDES
I. Tiovev Gcpjj.07:uXat? x.x.X. Diod. Sic. xi. II. 2t[j.wviorj; . . . aijiov
xr;? ap£x% auxiov ~ot7jaa? syxto^iov.
It is doubtful to what description of Melic poetry this song belongs,
for Diodorus' expression lyxw[i.iov is obviously not to be understood
in a technical sense. It may have been intended for some public
funeral ceremony, as it were, in honour of the heroes of Thermopylae.
1. 2. ' Glorious their fortune, and splendid their fate.' Tu'ya = fors,
7:0x^0? = sors (Schneidewin), the former being the chance or oppor-
tunity given to them for distinguishing themselves.
I. 3. [3w[xo?, implying that they would be worshipped at their tomb
as if they were heroes or demigods.
xrpo yowv, Ilgen for rpoyovwv. He is, however, inclined to regard
the words ?:poyovwv ok jj.v. as an interpolation by singers of Scolia
in later times. Mehlhorn retains -poyovwv, and explains thus :
' majorum virtutem posteris in mentem revocat.' Oixxo? Jacobs, for
oTxo?. 'O 8' cTixxo? Muaivo?, i.e. ' Instead of pitying their untimely end,
we congratulate them on their glorious lot.'
II. 5-6. ypovo?. 'Av8pcov ay. Bergk, for ypdvo;, dvSpwv ayaO-tov. The
latter would give an awkward redundancy, avSp. ay. being merely
explanatory of toioutov.
11. 6-7. oixExav x.x.X., i.e. the glory of Greece has taken up its head-
quarters, so to speak, in the tomb of her brave defenders.
11. 7-8. jjLapxupEt . . . xXe'o;. These words form a tame conclusion
to the poem, and it is hard to see 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 7i£Xayou; cpspo^Evr] Aavarj, toc; eau-rij? a^ooupo[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 cuji-PaXstv guts aTpd<prjv outs avxiaxpocpov oute exwoov. 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
the latter begins is uncertain. Line 13 seems the most natural point,
and is consequently chosen for the purpose by Schneidewin and by
Bergk in his earlier edition, though in his last he places the epode
back to 1. 10.
The song 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.
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.)
1. 1, etc., ' What time 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.
In this doubtful passage I have followed Schneidewin who in 1. 2
has altered jx^v to jxtv, and in 1. 3 out' to oux. In 1. 3, rjptrav is
Brunck's conjecture for EpEirav. It is true that £ps(ic<i> in the 2d Aor.
is usually intransitive, but Schneidewin quotes Hdt. ix. 70 for a
transitive use, hzi^r^m tou tei/eo? xai 7jpi7tov.
Certainly in the reading given aS. 7:apsiai? is an unusually bold
example of the 'comitative' dative. In none of the other cases
quoted, e.g. in Monro's Horn. Gr. p. 99, is this dative so isolated from
the rest of the sentence.
1. 5. auxio;, Mehlhorn for auTat;, or oouts elg (Athen. ix. 396 E) ;
Casaubon awTst; ' thou sleepest ', which would be awkward before
xvto'aasis in the next line ; Schneidewin awpel? 'thou heedest not'.
1. 6. aT7jO-EY Schneidewin : in Dion. Hal. we have the unintelligible
oeiO-ei, in Athen. I.e. yaX. o' ^Topi, which is objectionable since the
dative of ^xop is not elsewhere found in classical Greek. Bergk
XaO-sV.
1. 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 359
lucent (h. e. oxoxos) ', Schneidewin, as if the gloom at night plays the
part of the light by day. Compare Oed. Tyr. 419, pXeirovTa vuv p.ev
optP, ETOtxa 8e «tkotov, and Eur. Hel. 518, pXa^ass Ip^o?. Bergk
accepts Ilgen's vuxtI dXa;j.7:Ef, remarking that hiatus is frequent in
Simonides (cf. 1. 3).
xaakt? Schneidewin, for xaoe si?.
1. 9. Bergk's reading aX[j.av followed by xsav xojj.av (Ahrens for
•rsav xo'fj.av) is too attractive to be resisted. ' Thou heedest not the
deep briny-waters above thine hair as the wave rolls by.' The usual
reading is auaXeav . . . teccv xd[j.av x.t.X. 'Thou heedest not the wave
as it rolls past thine uncombed, thick hair, high above.' The employ-
ment 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.
1. II. cpfroyyov Bergk, on the authority of 3 MSS., for cpO-dyyiov.
1. 12. r.poator.ov xaXov, if correct, must mean 'beautiful child that
thou art '. As some MSS. give r.poa. xaXdv Tipocpaiviov, various con-
jectures have been made, e.g. rcpda. xaX. ^poceafvwv Ahrens, 7rpda. xXiS-sv
T.povwTzw Bergk.
1. 13. p7)[juxTwv, genit. as if urar/s; oua?= u-yjxous;.
I. 14. xsXop\ar euSe, the pause accounts for the hiatus. Cf. Pratinas
Dithyr. Poets i. 16.
II. 15-16. £u8s x.t.X. Doubtless the poet, as the commentators point
out, is pathetically imitating the style of the (3auxaX7][j.a or Cradle-
song. Compare the beautiful lullaby in Theocr. xxiv. 7-9 :
Euost' E[J.a [3ps<psa yXuxepov xai eyc'pat[j.ov ut:voV
euost' £;j.a J/uya Su' aSeXosio euaoa Texva"
oXpiot suva£ota9s xai dXj3tot aw "xotafrc.
1. 17. M£Ta[3ouXta 'change of purpose' on the part of Zeus. Bergk's
[XExaiPoXta would rather signify 'change of circumstances', the prayer
for which could hardly be called SapsaXsov e'tos. With [xaxatopouXta,
the usual reading, the sense would be ' may the counsels of my foes
fail '.
Schneidewin remarks that the ray of hope displayed in this line
is intended as a consolation to those for whom Simonides was
writing.
1. 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 more probably simply imitating a constant
Epic usage (e.g.//. vii. 35, xii. 737, xxiv. 744, etc.) due, of course, to
the influence of the old F\n et:o?, but it does not follow that Simonides
was aware of the fact.
1. 19. TExvdcpiv o(xav, so Mehlhorn, with the exception of the v
£<p£XxuaT. which I have added for the improvement, as I think, of
the metre. Schneidewin takes 01/av to mean 'for the sake of my
360 GREEK LYRIC POETS
child, comparing Aeschyl. Prom. 614, xou oi'xqv j^a'aya? xa3s; where,
however, Sixtjv may clearly be ' (as) the penalty.' Possibly oixav here
is accusative in apposition to the sentence : ' Grant me thy pardon, as
compensation to my child', i.e. for its abandonment by its father, Zeus.
The MSS. have xexvdcpt 8!xa? and xvoowixac. Bergk reads voaiyi o>V.a?.
III. "Av9pw7:o? ehjv x.x.X. Stob. Flor. cv. 62 and 9. 6 TOtrjxrjs
Scs^Epysxai xrjv twv Szo^aooj'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). Bergk reads wzaa yap, ouoe . . . ou xdaa [jLsxaaxaat? ' For
swift is the change, and not so great is that of, etc. This reading
improves the metre, but otherwise is objectionable ; loxsta yap stand-
ing alone is very tame ; and xdaa is out place, since the 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.
V. 'Av8-pw7cwv dXiyov x.x.X. Plut. Consolat. ad. AftolL c. 11.
2t[.uovt07]; av9pwmov <prjatv dXiyov [j.ev . . .
The metre of 1. 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
x
\j w — -w w ^ — w \j — w — ' ^
a form of choriambic verse with basis very common in Sappho and
Alcaeus.
1. 1. Schneidewin a^pijxxoi for arcpaxxot. on the strength of Bockh's
Not. Crit. Pind. Isthm. vii. 7, ' a^piixxov, itiutile, quo nihil proficias,
a^paxxov, quod perfici non potest '.
1. 3. I 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.
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 the nature of the consolation Schneidewin aptly compares
Pyth. iii. 86 — atiov 6" aaoaXrj? | oux s'ysvx' ouV Aiaxioa 7uapa II7]Xe"i | ouxs
tzixq' avxttk'io Ka3[j.w.
VII. navxa yap (j.iav x.x.X. Stob. Flor. cxviii. 5.
SIMONIDES 361
VIII. noXXo? yap. Stob. Flor. cxxi. 1.
A good example of the force of the perfect Tsfrvavou, ' Long is the
time for us to lie dead ', ' Long is the time after death '.
ETHICAL SUBJECTS
IX. The arrangement of this poem must always be a matter of
uncertainty. I have with some hesitation followed Bergk, who with
no very considerable violence to the text of Plato, wherein amplifica-
tion and paraphrase are entangled with quotation, has reproduced a
monostrophic song, which, even if not entire, is yet sufficiently com-
plete 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
quotations occur as follows : — Protagoras first cites 11. 1-2, avopa . . .
T£Tv-y|i€'vov ' (339 b), in apparent contradiction to which he quotes a
passage further on in the poem (xpo'to'vxo? tou aap.aTo;) ' otiSe |aoi
ep.|i€\«os . . . &r9\ov ^|i|x€vai ', 11. 7-9. The object of the discussion in
Plato is to reconcile, if possible, these two passages with each other.
Socrates, who eventually undertakes the task, remarks that Simonides'
comment on the dictum of Pittacus is that he misapplies the term
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 added (344 E), 'irpdlcus . . . 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
against Pittacus, /.at ira Imo'vxa ys tou a?[i.aTT; i'xt fxaXXov oi\koV cprjat yap*
•Toweicev . . . |idxovTcu\ 11. 15-21 (345 C, d).
Lastly are quoted (346 c), though without their position in the song
being indicated, the lines ' ?(xot-y' ^apKtt 8s &v n^ ko-kos "n • • • ■w'H.iKTai,'
11. 2-7 (the first two words and [j.rj are omitted by Bergk, v. note ad
loc). Now Socrates regards, or at any rate applies, these words as
a personal explanation from Simonides to Pittacus, thus : ' I don't
blame you, Pittacus, out of a cavilling spirit (cm sq-u cpiXo'loyo;), since
I am quite satisfied with mediocrity and am not cptAdpuo^o?. But your
mistake is too serious (r.eo\ tmv [xeyiaxtov isuSci'[Jievo;) even for me to
condone.'
At first sight then it would appear that, wherever these words are
to be placed, they must come somewhere after the mention of Pittacus
(1. 8, etc.). Bergk, however, is with little doubt right in urging that
vSocrates for his own purposes is applying the words of Simonides
in 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'.
Hermann, followed by Schneidewin, treats the lines as forming
362 GREEK LYRIC POETS
an epode, occurring after cpiXeWt (1. 14 above) ; Hartung, preserving
the monostrophic arrangement, places them in a final and addi-
tional strophe o'.
The poem, Plato tells us, 339 A, is addressed to Scopas of Thessaly
{v. Biog. Simon, p. 199), and it is 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
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 St' oXou tou aapta-co; lr.i\ipyvca.i toj tou IIiTxaxou
pr)(j.axt, 345 B, cf. 344 B) l ; since he hoped (octe cpiXoxip-o; wv eVi ao<j>ta)
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
A, B, C). His mode of attack hardly wins him respect, since he
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
known and much admired (see Protag. 339 B, and 344 b).
Strophe a'. — ' Ever to reach perfection is indeed hard. We must
be satisfied with mediocrity in a man ; plenty fall short even of that.'
11. 1-2. The emphasis in the sentence, if Socrates be right, is on
yevEdQ-ai, ' to become,' i.e. ever once to reach the level of virtue, in
contrast with Ep.jj.svou, 1. 9, signifying 'to keep oneself up to the
standard.' 'AXaQ-sw? is 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
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.
Tsxpaywvo; is explained, Schneidewin says, by yepaiv . . . vdo>
' sound all round, alike in mind and in body '. Compare Hor. 2 Serm.
vii. 86,
' Fortis et in se ipso totus teres atque rotundus.'
1. 3. Most editors, employing a different metrical arrangement,
insert the words given by Plato, ' sp-oiy' i£apxsi,' 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 The words Si' oAou tov ao>iaTos seem to show that we have before us nearly the entire
song, or at any rate leave little room for the subjects proper to an Epinician Ode, as some
suppose this to be.
S I M O N I D E S 363
in Plato after p.«pjao[j.at. He also, metri causa, omits [j.rj before stccxog,
urging that it is easily supplied from p]3' dyav d-dXa[j.vo;.
eiSw; . . . oiV.av, ' with justice in his heart,' like the Homeric /.sovd,
dfrspuarta, siSto?, etc.
1. 4. uy 1 ' 7 )? sc - ^ aTt - ou ^' £ \yh \ xv * Bergk, for ou pjv.
1. 5. I have followed Mucke in retaining [j.to[j.7]'ao(j.ai (Schneidewin
and Bergk -d<xo[j.ou). He compares fitoj/iiv, Hesiod Op. 754, and
(j.iop.suvxai, Theogn. 369, from a stem [j.MfAs-.
1. 7. 7tdvTa, etc., i.e. ' We may call those virtuous who display no
flagrant vices.' See Protag. 346 D, t<x pica d^oSs'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.
Strophe [3'. — ' Pittacus should not have said it is "hard" for a man
to maintain his virtue; it is not "hard," but impossible, for man's
virtue varies with his fortune, and is therefore dependent entirely
on the favour of the gods.'
1. 8. ejj.jj.eXew; sc. E?p7)[iivov from 1. 9.
1. 9. ^ata, a Doric form of owia. This word is of uncertain origin,
so it is hardly safe to compare Dor. Tipaxo; = 7ipwxo;, from rpoaxo?.
s"ij.[jt£vat . . . Simonides, according to Socrates, understands this to
mean y£vo[j.£vov (dyafrov) oiaf/ivciv ev xaux^ ttj l^et, xai Eivai dvopa dyaSdv
(344 c), as if Pittacus was speaking of never exhibiting any trace
of vice or imperfection — an ideal which, Simonides remarks, is
superhuman.
1. 11. ov, Bergk for ov dv (metri causa). See Monro's Horn. Gram.
p. 204. '(In conditional Relative clauses) the pure Subjunctive (i.e.
without dv or xs'v) is used when the speaker wishes to avoid reference
to particular cases, especially to any future occasion or state of things.
Hence the governing verb is generally a Present or Perfect Indica-
tive.' All this is true of the present instance.
1. 12. 7:pd?at$, Lesb. Dial. p. 83.
1. 13. xt is added by Bergk to complete the line. He remarks that
it may easily have fallen out in the text of Plato, as it is succeeded
by the word xt? (345 a).
1 14. Plato's paraphrase runs — etu ^Xaaxov ok xa\ dptarof eisiv ou? dv
ot 9-eo v i 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. OiXewchv (trisyllabic) is more cor-
rect than qnXwaiv, since the choral poets do not contract s-w, cf. p. 80.
Strophe y'. — ' I therefore will never seek idly for that impossibility, a
blameless man. All meet with my esteem who do not plunge wilfully
into vice — for when circumstances drive men to it, they cannot help
themselves.'
1. 15-17. ' I will never fling away upon an idle hope my span of
life to render it void, seeking what can never be a blameless man
(among) all of us who,' etc.
364 GREEK LYRIC POETS
1. 16. /.svs'av Buchholz takes not with IX-ioa but with [-latpav, as a
proleptic epithet. Balko is dissyllabic.
supus'Sous, etc., on the model of the Homeric ' 01 apouprj? xaprcov eoouat.'
1. 18. ' Festive haec addita', Schneid. 'Y[j.[jliv, the Scopadae or an
imaginary audience (See Lesb. Dial, for ufifuv and E7catvr)[xt, 1. 19.),
Socrates remarking that Simonides is purposely imitating Pittacus'
own dialect (346 E); cf. xpaSjai? in 1. 12.
1. 20. Ixoiv Socrates (345 D and e) professes to take not with epSr,
but with ijcaiv. x. ©cXe'co ; for, he urges, a wise man like Simonides
would never speak of a man voluntarily pursuing vice. Doubtless
the philosopher is ironical in putting into the head of the poet his
own favourite doctrine of the involuntariness of vice.
X. "Etci xi? Xdyo? x.x.X. Clem. Alex. Strom, iv. 585, in illustration
of the text, ' Every one who believeth on him shall not be ashamed '.
1. 3. -8'ewv Bergk, for S-uav, Schneid. frsav.
I. 4 seq. ' 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
I 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? <zv£u 9'eiov. Theoph. ad Autol. ii. 8.
I have adopted Bergk's conjecture of iort ■9-vaxot? for saxiv ev auxot?.
With 11. 1-2 compare Diagoras, Dithyr. Poets ill. a, 1. 3.
XII. Tt's yap aoova; axsp x.x.X. Athen. xii. 512 c. xa\ 01 <ppovi[j.wxaxoi
xa\ [j.Eyt<3X7]v oo?av \tz!l aocpta syovxs? fisytaxov ayaftov xrjv tjSovtjv Eivat
vojjit^ouatv" SipLtoviSr]? jjlev ouxw; Xc'ywv z.x.X.
With this passage, cf. Pind. Frag. 92. (Bockh), ' MrjS' a[j.aupcu
xipJuv ev (Biw tcoXu xoi I cpE'oxidxov avop\ Xcpxvo; altov.' 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.
XIII. ou'oe xaXa; aocsia? x.x.X. Sextus Emp. Adv. Matth. xi. 556
Bekk., Schneidewin restoring the Oratio Recta.
Compare the address to'YyiEia, p. 253, and Scol. IX.
XIV. Gnomic passages.
(a.) Stob. Flor. cxviii. 6. Compare, of course, Horace's ' Mors et
fugacem prosequitur virum ', 3 Od. ii. 14.
SIMONIDES 365
For the choreic dactyl -yj in this and the following passage
instead of the cyclic, -^u see Metre, pp. 63-4.
{b.) Schol. Soph. Aj. 375. Cf. Hon 3 Od. xxix. 47 ; Agathon ap.
Arist. Ethics, vi. 2 :
Movou yap auxou xa\ S'Eo? oTspidxsxat
aysvrjTa 7COtetv aa^ av fj Ke7tpay{Ji£va.
(&) Aristid. II. 192. Translated by Horace in 3 Od. ii. 25, 'Est
et fideli tuta silentio | Merces'. Comp. Pind. Frag. XI. $', saO-" ore
maxo-raxa aiya? 63d?.
For the Epitrits in this and the following fragments, v. Metre,
pp. 66-7.
(d.) Stob. Eclog. ii. 10. Cf. //. vi. 234, 'rXau'xoj. . . <ppeva? e?sXeto
Zed's.' Schneidewin takes the words to be a Simonidean excuse for a
patron's misconduct.
(e.) Schol. Eur. Or. 236 (xpeiaaov oe to ooztiv, -/.av aXrjikia; owuf).
(/) Plut. An seni resp. sit ger. c. 1. Thus tcoXi; appears to signify
not mere ' civic life', but ' political life', ' the holding of political office'.
EPINICIAN SUBJECTS
Many 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.
XV. OuSe IIoXuoeuxeo; (3fa /..x.X. Quoted by Lucian pro /mag. c. 19,
in Oratio Obliqua, ouos IIoX. |3{av cpr^aa? avaTsivaafrai av aoxw Evavt. xa;
-/slpa? x.t.X. I have retained the article, which Bergk and Schneidewin
omit, with different metrical arrangements. Simonides, as appears
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.
In 1. 1. the metre would be decidedly simplified by reading
nioXuoEUKEo;, a Doric form which occurs in Append. Alcman, No. 23,
1. 1. The resolution of the arsis of a spondee is most unusual until
a later period. Cf. on No. xvil. I. 4.
XVI. Tt? or] x.t.X. Quoted by Photius 413, 20 under TcspiaYeipof/.evoi,
to illustrate the custom of showering down flowers and garlands
upon a victorious athlete ; a custom, he adds, supposed to have
originated at the time of Theseus' triumphant return after slaying
the Minotaur. The lines are addressed to Astylus, a runner of Cro-
tona, who at three successive meetings won the prize at the Olympic
games. On one occasion, to please Hiero, he allowed himself to
366 GREEK LYRIC POETS
be proclaimed a Syracusan, a disloyalty for which he was disgraced
at Crotona. Pausan. VI. xiii. i.
xii; ori . . . dvso7jaaTo, ' which of the men of this day ever garlanded
so many victories with leaves of myrtle or chaplets of the rose ? ' A
fine metaphor, Pindaric in its boldness.
1. 3. iv aywvi raptxx., the local contests in which a young athlete
first won his laurels.
XVII. "O; ooupl 7tavTa; x.t.X. Athen. iv. 172 E, 2ip.<ovior]s . . . jrep\
tou MsXsaypoo x.-^.X. The passage probably belongs to an Epinician
Ode in honour of a victory at casting the javelin.
1. 4. "Opjpos ; as no reference to the subject in Homer is known,
Schneidewin supposes that Simonides is thinking of some cyclic
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 for. See Schmidt {Rhythmic and Metric of the
Class. 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 XEyo^ai, an undue emphasis would be given to the thesis
(arsis in Schmidt's terminology). He gives the musical notation thus
-y-, I It is perhaps simpler to assign to the third syllable its usual
e • • value, and to regard the first two syllables as a resolved form
of the syncopated syllable 1— . The musical notation corresponding
to this foot would then be J_ 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. bz3-<x&, ' got himself well-shorn '. Hartung compares ' pectere
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. Xaipsx x.t.X. Quoted by Arist. Rhet. iii. 2 (and Heracl. Pont.
Polit. c. 25) in connection with a well-known story, illustrative alike
of Simonides' cupidity and of his skill in overcoming difficulties in
his subject. 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.
S I M O N I D E S" 367
The poet, not being satisfied with the payment offered, refused on
the ground that mules were unworthy of his muse. On the offer
being increased he waived his objection and skilfully ignored the
asinine descent of the victorious animals.
MISCELLANEOUS
XX. T(?x£v 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; e?ji.\, Mtosto 6' iiii a/jijiaxi xeijjloci,
ear' 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( ys (k'waiv, avaxXui^) os 0-aXaaaa"
auxou xrfos [j.3vouaa rcoXuxXauTto eVi xu^Poj
ayysXs'io 7i:apiou3t, Mioa; oxi xt|os xs'9-arcxai.
Bergk thinks that Diogenes is wrong in referring the words of
Simonides to this epigram, since in the above the monument is of
brass, while Simonides speaks of stone (1. 5). But may he not be
using Xf9-o; generally, for a monument ?
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 weak points in the wisdom of the sage.
1. 2. roxa[j.cHcuv, Bergk for x:oxa[jLots, to avoid the pentameter, which
would be ill-suited for a Melic passage.
1. 3. 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.
XXI. I have placed xxi.-xxin. together, as they are all descriptive
of nature.
Tou xai a7r£tpc'aioi x.x.X.
II. 1-3. Tzetz : Chil. i. 316, rcep\ 'Opcpe'ws. 11. 4-6. Plut. Quaest. Symp.
viii. 3, 4, vr]VE[Aia yap rf/woc? x.x.X. 11. 7- 10. Arist. Hist. Anim. v. 9,
explaining the expression ' halcyon days'. The three passages are
very plausibly united by Schneidewin into one.
1. 2. ava o' r/O-us? x.x.X. There is something of bathos in the
transition from the countless birds fluttering above the poet's head to
the leaping fish. The idea recurs in Ap. Rhod. i. 569, where the fish
are said to leap up and follow Orpheus. For the use of auv Bergk
compares Find. Dith. Frag. VI. 18 (p. 289), cr/axoa ^ d[j.oa( [/.eXsoIv auv
368 GREEK LYRIC POETS
auXol?, but auv in the passage before us hardly has such a distinct
meaning of ' in accompaniment to,' as it has in Pindar's Fragment.
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.
1. 5. xiovajjivav Schneidewin, for axiovapisva.
1. 7. 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.)
yafjisptov . . . pjva, Arist. I.e. tells us that these halcyon days occur
seven before and seven after the winter solstice.
mvuay.T), for the metaphor implied by this word of calming the angry
passions of the tempest, cf. Verg. Aen. i. 57, 'mollitque animos et
temperat iras ' (referring to Aeolus and the winds), and similar expres-
sions in that part of the Aeneid.
TJfxaxa, the rj is Epic, see Dial. p. 78. Schneidewin and Bergk
ajj.axa.
XXII. (a) ' Ar.aXoi o' urap x.x.X.
Heiner. Orat. iii. 14, speaks of xr,v Ksiav wo7Jv sung by Simonides to
the breeze, and elsewhere Eclog. xiii. 32, ix t^c, Ksi'a? Mouar)? zpoasi^Eiv
Z&ikio xov ocvs[aov . . . a^aXo? . . . xupiaTa.
I have followed Schneidewin in omitting X7jv before ^ptopav, but not
in his other alterations.
(b) "ia/ei x.x.X. Quoted by Plut. de Exil. c. 8 (speaking of a 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 be-
long to a poem by Simonides entitled 'H ev 2aXa[j.1vi vaujj.ayja.
XXIII. (a) "AyyeXs x.x.X. Schol. Birds 1410.
A-yyeXe, cf. the Swallow-song (p. 246) and Notes.
kXvtcL, 'shrill-voiced', cf. Pind. 01. xiv. 21. xXuxav . . . ayysXiav.
Pyth. x. 6, xXuxav oxa.
a8uoo[j.ou, cf. Pind. Frag. Dithyr. VI. 1. 15, suoofxov . . . jap.
(b) Etym. M. 813. 8. Asux' Schneidewin, for sux'.
yXtopauyevEc, cf. Odysi. xix. 518, yXwprfi; arjSto'v, and M. Arnold's
Hark to the nightingale, the tawny-throated '.
XXIV. A. SONG AND DANCE.
For Simonides' skill in the orchestic art, see p. 206.
(1) Plut. Sympos. ix. 15. 2. Auto; youv lauxov oux cuayu'vsxcu rapi x^v
opyj]aiv ouy r,TTov r t x<qv TtoiVjatv lyxiofjua^iov Oxav oe yr;ptoaat vuv iX op/.
ofSa x.x.X.
S I M O N I D E S 369
11. 1-2. I have followed Schneidewin's text in o'-x -/..x.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. It is uncertain what musical instrument is
implied. Athen. vi. 629 E speaks of MoXotsixtj e^piXeia.
(2) Plut. I.e. 11. 2>~1 ar e quoted separately, but as they exactly fit
on to 11. 1-3, I have treated the whole passage as continuous, and
placed only a comma after ouoztov.
1. 2. 'A[i.uzXa{av. The penultimate is probably shortened as in Ar r
ftatou, Anacr. II. The fame of Laconian hounds is well known,
cf. Pind. Frag. 73 (Bockh) : 'A~o TxuyExou (J-ev AaV.xivxv | irl Ebjpafc
xu'va xpE/siv tcuxivioxxxov sp-Exo'v ; and Midsummer Nighfs Dream,
' My hounds are bred out of the Spartan kind.'
'A[J.uxXaiav, I suppose, simply stands for Laconian, the poetical
imagination dwelling upon the ancient times when Amyclae was the
representative city of that district.
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 :
' A cry more tuneable
Was never holla'd to, nor cheered with horn
In Crete, in Sparta, nor in Thessaly.'
•/.cposW Wyttenbach, for xspaaacra. For hinds with horns, cf.
Anacr. xxiv. and note.
I. 5. [jLaxsutov Schneidewin, for {jucvsu'idv.
II. 6-7. The text here is doubtful, the original being xav o' eV auysV
Tcpscpotav s'xEpov y.apa ^avxa exoi|aov. Schneidewin s'X' and Hartung
EXEpwas and -avx' axoX;j.ov. A verb such as eXe (Gnomic Aorist) is
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. VARIETY OF SUBJECT (see p. 206).
11. 1-3. Bergk has united two passages quoted by Aristid. ii. 513,
2 A
370 GREEK LYRIC POETS
with the remark that the poet is praising himself, wc. yovip.ov xat
7T0ptp.0V El? Ta [J.e'Xt].
' For the Muse with bounteous hand grants us a taste not alone of
that which is set before us, but onward goes, gathering all things to
her harvest. Prithee stay (her) not, since the tuneful flute of many
notes has begun sweet melodies.'
tcoXvx°P^ os au^°S ; the epithet is curious and interesting as indicat-
ing the predominance in Greek music of string- over wind- instru-
ments, musical terms being devised primarily for the former and
then applied or misapplied to the latter. Schneidewin quotes Plut.
Synip. ii. 4 : xai xov auXov 7|p[j.oa9-oa Xs'youat scat xpoujiaxa auXr;'[j.aTa
xaXouaiv, a.r.6 ttj? Xupac XapJBavovxs; xa; xrpoarjyopias.
11. 4-5. Plut. de Prof, in Virt. c. 8 and Cram. An. Ox. iii. 173, 12,
xaXto as . . . [jiXixxav Mouarj;, oux <xt;o xivtov 9-ujj.wv xai 8pt[j.uxax(ov avSiiov
£av9-ov jasXi [X7jSo[jle'v7iv w; opqaiv 6 SipnoviSrjs x.x.X. We may then
assume that Simonides is comparing his Muse to a bee culling
honey from every flower (cf. r:avxa frsp. 1. 2), and that the passage is
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 :
Kwxav ayaaov . . . iyxtopiiwv yap awxo? upiviov j ir.' aXXox' aXXov wte [j-sXtaaa
■O-uvEi Xoyov.
XXV. (EupuSixa?) JoorxEoavou. Athen. ix. 396 E, in reference to the
fate of the infant Archemorus. 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.
XXVI. 2/e'xXis TOc! x.x.X. Quoted by Schol. Apol. Rhod. iii. 26 as
one of several genealogies of Eros.
1. 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
the slaughter of his former victims, to a new antagonist. But this is
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
same occasion would have been abhorrent to Greek taste. The
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 371
TIMOCREON
I. 'AXX' e? xuye Ilauaaviav x.t.X. Plut. Them. c. 21.
Grote, v. p. 135, remarks on this 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
opinion. I have followed Ahrens and 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
Timocreon.
II. 1-2. xuyc, Dor. Dial. p. 94.
Notice os in the apodosis implying distinct opposition.
The poet emphasises his admiration for Aristides, as being the
rival and antitype of the avaricious and corrupt Themistocles. Thus
the connecting s-si is not inappropriate.
AtuTir/ioav, 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.
1. 4. eqj.17. rj/Oaoc Aaxto ; Schneidewin suggests that the reference
is to Lato in her capacity as xoupoxpooos, the meaning being that
Themist. was a rascal from his very cradle.
1. 6. /.opaXi/otat ; Bergk's suggestion for MSS. axupaXixotai, PaXtxolat,
zuij.jjaX'./.ot'Ti.
1. 7. 'laXuaov ( ^) ; the poets allowed themselves freedom in
the quantities of this word. In Horn. II. ii. 656, it is scanned <-> — ,
in Pind. 01. vii. 74, ^ - ^ C7, while in Anth. Pal. vii. 716. 1 we find
'IaXuaoto as the conclusion of a hexameter — ^w — ^.
1. 8. apyupiov, ' fortasse non sine contemtu ', Bergk.
£'j3a 7;Xswv £1? oXsO-pov, ' went on his accursed voyage'.
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 indi-
viduals took place, at which Themistocles kept the lion's share for
himself, and left 'cold comfort' ('iuypa xps'a) for his coadjutors.
yXoiw; Bergk (for yzXoiwc,), ' stingily ', as an adverb from yXoioc,
expl. by Hesych. as purapo'?.
1. 12. [j.rj wpav x.t.X. 'that the day of Themistocles might be no
more', i.e. that his ascendancy might come to an end.
372 GREEK LYRIC POETS
For the hiatus Schneidewin compares Arist. Lysistr. 1037. Per-
haps, however, pi should coalesce with the first syllable of w'pav, and
the line scanned thus :
— . — ^
II. (a.) Mousa x.x.X. Plut. I.e. r.oku o\ txaskyz'Tzipz . . . [iXaacpripa
xe'yp7]Tai pxd x^v yuyr^ auxou (Themistocles) . . . <xi[).cc TZO'.rpxi ou 1^
(p.) oox apa Ttjxoxpe'wv. Plut. /.f. with reference to the same circum-
stances. The meaning seems to be as follows : ' I am not the only one
who has suffered for his villany (lit. lost his tail). Others, too,
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, x.x.X. Schol. Achar. 532, ' axoXiov xaxa xou IIXouxqu.'
One would think that Timocr. is 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 xtjv auvcTuaaiv aTTTsafrai Xupa; xai aosiv' 'AnoXoto, u>
IlXouTc, xai \).r\it £v yf^ <pavsfr)?, pjx' lv O-aXasari.
1. I. "QtpsXsv a w Ilgen, for wtpeXs; w ; he considers that the MSS.
'i2<I>EAESQ = (093X3 a to. For the impersonal construction, cf. Pind.
Nem. ii. 6 ; oasiXei . . . vtxav Tijjlovoou rcatSa, and Luc. Dea Syr. 25 T.
ix. p. no ; ota pjxE as ^aO-ftv, |0Jt £p\ 'to£a9-ai (jo<peXe.
rjTOi'ow. Schneidewin, objecting to the pleonasm after yf, proposes
oupavw. As a conjecture I suggest n^ 'irl -yfj, p|i sv &aX. pjx' ev r^Eipw
x.x.X., z>. ' Would that thou mightest not be seen upon the earth (as
opp. to Tdpxapov, 1. 2), whether on sea or land.'
IV. Krjta |j.s ^poarJXO-e x.x.X. Anth. Pal. xiii. 31.
The lines are a parody on an epigram by Simonides, Bergk 170.
Mouaa pioi 'AXxpjV7]s xaXXtacpupou ulov ast§s.
Ytov *AXxu.7)V7is aao£ Mousd jj.o'. xaXXtsoupou.
BACCHYLIDES
I. Tt'xxsi 0£ xe •D-vaxotaiv x.x.X. Stob. Flor. lv. 3 : BaxyuXioou xaidvcov.
Commentators expend considerable ingenuity in endeavouring to
restore the lost division of strophe, antistrophe, and epode. The
predominance of dactyls and of the epitrit (v. p. 67) makes it clear
that the song is in f or § time, and not in -j) or f ; so that the
trochees must be scanned not — ^ but L - ^. Altogether there is a
BACCHYLIDES 373
ring of calm but deep-felt triumph about the rhythm which is admir-
ably suited to the subject.
The description in these lines, idealised it may be, is not with-
out value in helping us to realise the bright and cheerful existence of
the Greek citizen in time of peace. The passage was evidently
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 in his description of the ' feasts, plays, sacrifices,
and bankets' (North) celebrated over all Italy.
1. 1. 8e ts, see note on Sap. xxxvu. 1. 5.
1. 2. aoioav avO-ea, a favourite figure of speech in Pindar, e.g. aviha
ufivwv, 01. ix. 48. MeXtyXwaawv, cf. Pind. Is. ii. 3, [j.sXiyapua; o[avous, and
id. 1. 8, jJLaXO-ax.dcflwv&i doiSai.
1. 3 seq. The next three lines probably refer to the sacrifices and
rejoicings in honour of the return of peace ; or, perhaps, simply to
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 the ingenious and probable
reading of Dindorf and Schneidewin for eO-eafre. Neue and others
atO-^tat, and f/iXsi (1. 5). A'tihaOai and fjiXstv are dependent on tixtei,
as if they were substantives co-ordinate with 7cXoutov and av9sa.
1. 4. pipa Buttmann, xavuTpfywv Schneidewin, from a MS. reading
(jnrjpixav suTpr/wv. Buttmann and Neue pjpa Saauxpiywv.
1. 5. auX<ov Tc xai xwp.wv, perhaps a kind of hendiadys, the flute
being the almost inseparable accompaniment of Comus- songs.
Cf. p. 8 and Dithyr. Poets I. a, 1. 10.
1. 6. atO-av, ' fiery-red ', which appears to be the meaning also of
aifrtov aX(o-7)5, Pind. 01. x. ad fin.
1. 7. icrco v i, so Stob. ; spya, Plut. I.e., in which case the second
syllable of apa/vav would be long, and the line scanned thus :
With this passage Schneidewin aptly compares Theocr. xvi. 96 :
apayvta 8' si; orcV apayvai
Xs'-Ta oiaTcr^aaivTo, [3oas 3' i'xi |j./)3' ovojj.' s\'r].
and Tib. i. 10, 50.
I. 8. Eupw;, not given in Stob., is supplied by Plutarch. Bergk need-
lessly inverts eupw? and oajj-vaxat. Notice the scansion of iyysa.,
and £icpea, ^ — .
II. 12-13. PpMtovrt, p. 95.
ayuiai, ' the streets,' because of the processional choruses etc.
associated with these au[j.r.6iiot. \ thus too are suggested the 7rai3iy.ot
u'fj.voi, songs of love or serenades, which often formed the sequel to
the banquet (see p. 8).
374 GREEK LYRIC POETS
(pXs'Yovxai (or as Bergk suggests cpXeyovxi), 'burst forth'. Cf. Oed.
Tyr. 1 86, ::aiav Xdpiet. The metaphor as applied to song is
particularly common in Pindar, e.g. Pyth. v. 42, as 8' jjuxopoi cdXe'yovti
XapiTS? ; Nem. vi. 37, Xapnrwv . . . op-.aow oXs'ysv ; /y/^i. vi. 23, and iii. 61,
TCUpdOV U|JLV(OV.
This poem is perhaps imitated by Eurip. Frag. 462 :
Eiorjva PaO-u'xXouxs . . .
oioov/.tx [j.rj j;p v iv t:ovoi;
urepPaXy) I* 8 Y^P a ?,
jcp\v aav )(apis<i(jav topav jtpoaiSslv,
xal xaXXiyopou; aot5a;
cpiXoiTE^avou; te xcoudu;.
II. rXuxel' avaY^-a x.t.X. Athen. ii. 39 E.
Neue is of opinion that this poem is a Scolion. He regards it as
choral (cf. Pind. Frag. XI. note, and p. 24), and endeavours to
distinguish strophe and antistrophe. But surely the lines with their
easy and regular metre fall beautifully into the form of the 4-line
stanza of monodic song.
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 dis-
tinct, 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., and that Pindar's sublimity is in this instance a little
out of place. Horace has closely imitated this fragment in 3 Od. xxi.
12 seq. : ' Tu lene tormentum ingenio admoves . . . Tu spem reducis
-. . . addis cornua pauperi ', etc. But the spirit of Bacchylides' poem is,
I think, best displayed in the lines of Burns' Tarn o' Shanter :
' Kings may be rich, but Tarn was glorious,
O'er all the ills of life victorious.'
11. 1-3. 'Sweet compulsion speeding from the cups fires my soul
with love.' The word avaY^a (cf. Pind. Nem. ix. 51, (3iaxav a^Xou
rattSa) simply implies that wine takes away from men freedom of
thought and action. Schweighauser's explanation is unsuitable, 'vis
ilia, qua . . . calices hominem . . . attrahunt ad se'. Casaubon, objecting
to the omission of the preposition iv. or a-o before xuXixwv, reads
Y£uop.£va, Bergk ifferujxsvav, which mars the beauty of the passage.
Jacobs connects avotYxa xoXixuv together. ' Blanda ilia potandi
necessitas,' or ' lene tormentum quod admovent calices' (Ilgen).
O-aX^cyt, Schem. Ibyc, = Q-a.Xr.ei, cf. on Ibyc. 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. Ktkptoo?, cf. the
' material genitives ' ' 7ip^cat 7tupos,' ' rcupos S^oto 9c'p7]Tai' (v. Monro's
Horn. Gr. p. 107). In 1. 3 the MSS. give KikpiSo? 1 ilrX; o' aiO-uacrsi cpp.
BACCHYLIDES 375
Erfurdt corrects to KunptSos S'lXrcls oiaifruW-. (pp., but Ilgen reasonably
urges that Ku'rcpioo? IXms is out of place, as we require rather ' spes in
universum', cf. Hor. I.e. and 4 Od. xii. 19. Neue's Ku7tpt8os" sXx:ioi 8'
aiO-uWt (pp. is not in accordance with what appears to be the metrical
scheme ; Bergk's Ku'jxpt? w?" IXm? yap atd\ cpp. is very flat. I have con-
jecturally written in the text Ku'rptoo;* x' Uric, 8iai9-u'a?Ei x.x.X., for if 3'
a!9-uaa£t became substituted for oiatOuWi, x(ai) would naturally be
dropped as unnecessary. For the elision of xat, cf. Scol. I. 1. 2.
1. 4. ap.p.iyvu[j.s'va, Neue -a; (with cppi'va;) to avoid the repetition in
sense of aEuopiva xuXixwv.
Atov. Swpoi?, cf. Hes. Theog. 975, ' Aiuvu'cjou Stop' eaastpap-evo? ' and
//. iii. 54, ' owp' 'Acppooixrj?.' The expression appropriately attaches
itself to deities associated with pleasure.
1. 5. u'l/oxa-irw rJ[i. [jLsp., i.e. raises men's thoughts to a higher level,
as is explained by what follows. For this sense of jj.spip.va? Mehlhorn
compares Pind. Pyth. viii. 92.
1. 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 Bergk explains it.
Xuei as in //. xxiii. 513, Odyss. vii. 74.
1. 8. Cf. Hor. 2 CW. xviii., ' Non ebur neque aureum | mea renidet
in domo lacunar,' and Odyss. iv. 71, opa£so . . . XaXxou xe axspo^v
xa3 8wjj.axa ^yjjsvxa | Xpuaou x' r^Exxpou xe xa\ apyu'pou rfi' iXe'epavTO?.
1. 9. ko'vxov is conjecturally supplied by Erfurdt, Bergk xap^ov.
III.-XII. ETHICAL PASSAGES
I have grouped together under this heading fragments, belonging
to various classes of Melic poetry, which contain reflections upon
human life or destiny (v. p. 223).
III. Stob. Eel. Phys. 1. v. 3.
1. 4. ve'cpo; in this metaphorical sense is used specially of evils (cf.
VE90? t:oXe[j.oio, vEtpo; axsvaypuov, etc.), and therefore refers in this passage
only to "Aprj; and axasu, not also to oXJjo?. 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.
1. 5. yatav Bockh, for yav.
IV. "oXpto? omvi x.x.X. Stob. Flor. ciii. 2 and xcviii. 27, both
passages being from the same Epinician Ode.
For the trochees in f-time in this and many of the subsequent
passages cf. on No. I.
1. 1. uxivt, altered 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 GREEK LYRIC POETS
I. 2. The last syllable of xu/a coalesces with the first of d<pv£tdv.
II. 3-6. Bergk refers to Cic. Tusc. Quaest. i. 48, where the same
sentiment is ascribed to Silenus.
V. naupoiat 31 ftvaxwv x.x.X. Clem. Alex. Strom, vi. 745.
1. 1. oaijjiwv eowxe, so Neue for tw 3ai(j.ovi Swxev.
1. 2. 7:paac;ovTas ev xaipw, apparently ' faring prosperously ', but such
a signification of ev xatow is doubtful. Perhaps we should read
E'jzat'po);.
VI. IlavTsaai frvaxolai x.x.X. Stob. Flor. xcviii. 25, from a
Prosodion.
VII. Et? opo; x.x.X. Stob. Flor. cviii. 26, from a Prosodion.
1. 2. oiax. ouvax. Dindorf, for Suvax. otax.
I. 3. The MSS. have 01; Se jj.upia jj.sv a[x«p. (pp. Stephanus w §e
Neue |JiEpi[j.va.
II. 4-5. The MSS. have xoSs (or xo Se) rcapd[Jiapxs vuxxa (aeX. yap. advt
a7iXExai xE'ap. The reading in the text is that of Grotius ; Bockh ocJev
ia^xExai. The subject in this clause is changed from fjipi[j.va to oc,
implied in w (1. 3).
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.
a^prjxxa Bockh, for a^paxxa, v. on Simonides V. 1.
VIII. 'O Tpws? x.x.X. Quoted by Clem. Alex. Strom, v. 731, from
' Aupixo?.' They are ascribed by Sylburg to Bacchylides on the
strength of the words of Porphyrio ad Hor. 1 Od. xv., ' Hac ode
Bacchylidem imitatur ; nam ut ille Cassandram fecit vaticinari
futura belli Trojani, ita hie Proteum.'
On the other hand it may be noticed that the sentiments here are
contrary to the tone elsewhere adopted by Bacchylides with regard
to the inevitable woes which the deity brings upon mankind.
1. 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 is rejected by Neue. Bergk reads
ayva?.
1. 5. dXpiwv 7:at8s? x.x.X. Cf. //. vi. 127, ' Auuxr-jvwv oi xs JuatSsg ijxw
{jle'vsi avxtdwaiv.' But in Homer the emphasis is on the misery of the
bereaved parents ; (' Unhappy are the parents whose sons oppose my
might ') ; while in this passage the notion is perhaps that the happy
lot is inherited by children from their parents — '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.
OL ii. 86, aood; 6 toXX' stow; oua* [j.a9-dvx£; 5s x.x.X.
BACCHYLIDES 377
IX. AuSt'a yap Xtfro; x.t.X. Stob. Flor. xi. 7, from a Hyporchem,
and on a gem (Caylus Rec. d. Ant. T. v. tab. 50. 4) thus :
AYAIA
AI0O2MA
. . . EIXPY . . .
ANAPQNAAP . . .
. . . IATEIIA . . .
-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? s'pyou '.
1. 2. aocpiav is -ay/.pax^; eX. So Salmasius for aotpta te -ayxpaTr,;
x' eX., the reading on the gem, and in the MSS., though there is
some authority for aocsiav.
Neue retains aocpia ts 7iay. te, interpreting aocpia as 'poetic skill'
(cf. on Sapph. xviii.), so that the whole expression = 'a poet who
speaks the truth '. That men's achievements require song to display
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
passage cf. Eur. Med. 561 :
'O Zsu, Tt or\ 7pu30u [j.ev 5$ -/.((3or]Xos f x.t.X.
X. nioxov oaao[jLEv x.t.X. Plut. de Audie?id. Poet. c. 14.
-irr. <paao[A. Bockh, for <faaw[i.Ev -kjto'v.
XI. 'Q? 8' a-a?£i-Elv x.t.X. 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
A similar passage is attributed to Alcman, v. Bergk, vol. iii. p. 193.
MISCELLANEOUS PASSAGES
XIII. Ou pVov jtapean x.t.X. Athen. xi. 500 B, with the words
-otoujAEvo? (Bax7uX.) tov Xoyov t.^qc, tou? Aioaxou'pou?, -/.ixXmv auTOu; E7:\
?Evia (or ?Evia). The lines 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
378
GREEK LYRIC POETS
ordinary trochaic tetrameter, would perhaps have been more adapted
for recitation than for song.
(3oiwTioi<3iv ev oxucpoujiv. Athen. I.e. mentions that Boeotian cups
were famous, their distin-
guishing feature being the
'HpaxXeios Seo[jios. This is
doubtless identical with
the 'Nodus Herculeus',
or Herculean Knot, em-
ployed on cups for deco-
rative effect, or perhaps
for its supposed medi-
cinal value (Plin. N. H.
xxviii. 63). A series of
a/.u'cpoi may be seen in
the British Museum with
their handles interlaced
in the Herculean or reef-
knot, thus : —
It is possible that Bacchylides mentions Boeotian cups in his invi-
tation, because the Dioscuri had special connection with Thebes.
XIV. Nixa yXuxuSwpo? x.x.X. Ursinus, p. 206, from Stob. Flor. iii.
in Orat. Obliqua. It has been restored by Neue, who substitutes 31
in 1. 2, for /.at ev t.o\. OX.
xsT-o;, 'prize', as in Pind. 01. xi. (x.), 70, ^uy;j.a? xeXo;.
XV. "Exspo? 15 sxs'pou x.x.X. Clem. Al. Strom, v. 687, from a Paean.
Such a passage as this could not fail to be regarded as a hit at
Pindar. Should this be so, it would be apparently in answer to 01.
ii. 86. 1000c, 6 no\X stow? cpua" [j.a9dvxE? os . . . xdpaxs? to; axpavxa
yaposxov x.x.X.
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
ingeniously suggests pa 'ar£v. 'Pa would be more consistent with
his own views ; see on Alcman xx. [i'.
appifjxwv, either ' unspoken ' (as Odyss. xiv. 466) i.e. original poetry,
or ' unutterable by common mortals ', i.e. mysteriously inspired.
1. 3. Ira'wv jtuXa?, cf. Pind. 01. vi. 27 (in celebrating a mule-victory)
yprj xot'vuv 7toXa? up.vcov dvara7:xa(./.sv auxat;.
XVI. Ou/ Bpa; spyov x.x.X. Quoted by Dion. Hal. de Comp. Verb.
c. 25, 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 1. 1 is exceptional.
'ixwvia;. An epithet of Athene, from a town I ton in Phthiotis,
where she had a sanctuary. Cf. Catul. Epithal. Pel. and Thet. 228.
BACCHYLIDES 379
XVII. "Eora 8' in\ Xaivov ouSov x.t.X. Athen. v. 188 B, BaxyuXiSrjs
jcsp\ 'HpaxXe'ou? Xs'ycov w; v]X0cV et:\ tov tou Ktjuxo? oixov.
1. 1. Neue, evtuov for e'vtOvov, and e'cpa for ecpaa', the elision being
hardly possible.
1. 2. The explanation of oe (which Brunck omits) is to be looked
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
£tA Satxa; 'taat, in Zenob. ii. 19, and in. Plat. Symp. 174 B. From
Zenobius we learn that Hesiod first put the proverb into the mouth of
Hercules on entering the house of Ceux.
XVIII. Aloe! -ce'xog x.t.X. Stob. Flor. exxii. 1.
By whom we are to suppose this beautiful lament to be uttered is
uncertain.
XIX. '12 mXo^o; x.t.X. Schol. Pind. 01. xiii. ad init. where Corinth
is described as 'I<j!>;j.iou -oo9upov.
XX. 'Exaxa Saoocpops x.t.X. Schol. Ap. Rhod. iii. 467.
I 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.
70). This is evident from the fact that in 1. 2 an ordinary trochaic
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 concep-
tion of Hecate partly as a divinity of the nether world, partly as a
moon-goddess. It is hardly necessary, with Ursinus, to alter [j.syaXo-
xoXtou, 'ample-bosomed', 'all-embracing', to [jieXavoxoXTrou.
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.-
[j.c'vr] sic, a^oxox-ca l Jtcj;j.dv ' ; Athen. giving a somewhat different account,
' ::oT7]piov -po; Tr ( v tuv xoxxaptov -aioiav ypr^ijj.ov '.
XXII. Nw[j.axat x.t.X. Schol. Hes. Theog. 116 (illustrating the use
of yao? for drjp), BaxyuX. jtepk toO &€tov. Cf. I bye. (Append. No. 14)
-otaxat o' lv aXXoTpio) yast.
Bacchyl. is perhaps imitating the Epic Si' ai9s'po? axpuysTolo, II. xvii.
425.
SCOLIA, Etc.
Scolia 1. -XIX. are quoted by Athen. xv. 694-5, as examples of the
most popular banquet-songs. In 693 E, he uses the expression tiov
'Attixwv Ixei'vwv sxoXioTv, and it appears to be applied to most of
3 8o GREEK LYRIC POETS
these that he quotes, with the exception of the verses by Praxilla,
Hybrias, etc. I have placed first those which refer, directly or pre-
sumably, to Athenian history. In these and in others there will be
noticed amidst the ordinary dialectical peculiarities of Lyric many
Attic forms {e.g. xr,v, ©fXrjv, x.t.X.) which the commentators rightly
refrain from altering.
Metre of Scolia, i.-ix. LI. 1-2 begin with the Basis, which assumes
a variety of forms ; - ^ or are the commonest, in which case the
line is equivalent to a Sapphic pentapody with the cyclic dactyl in
the 2d instead of the 3d foot ; we also find ^ - e.g. svix7)aa|j.Ev x.t.X.
(No. in.), and^-^. uyiaivsiv x.t.X. (No. IX.). Line 3 displays no
variations in its metrical scheme throughout the Scolia. It consists
of a basis always of the form ^ ^ and two catalectic dipodies. Diaeresis
predominates after the first dipody, though with many exceptions, e.g.
ote tov -rupavvov xTavsTrjv, cf. I P', VIII., IX. In 1. 4, on the contrary,
diaeresis never occurs after the 6th syll. 1-, with one exception,
yatpsxov eu Se xavo' x.t.X., 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 synco-
pated syllable in 11. 3 and 4 the universal rule.
I. HARMODIUS and ARISTOGEITON. It is disputed whether
these famous stanzas are to be taken separately or regarded
as forming one complete song. Hesychius, in explaining 'Ap[xoS(ou
[aeXo;, mentions only the first, which he assigns to Callistratus,
while in Schol. Acharn. 980, the second is taken as the beginning^
the poem, if not as the entire song— [J.EX05 'Ap|j.ooiou xaXou[j.evov 06 r,
apyr;, *[Xxa8-' "Ap^dSis. The most probable view seems to be that,
although the stanzas were not necessarily all composed at the same
time, they were intended to be taken together as a single poem, even
if the order of their delivery was not always the same. In any case,
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
Thuc. vi. 54-55, Hdt. v. 55, and Grote pt. ii. c. xxx. pp. 38-42. From
these authorities we gather (a) that Hipparchus who was slain was
not xupavvo; at all, (&) that Harmodius and Aristogeiton could not be
rightly said to have liberated Athens, for in the first place they were
merely endeavouring to satisfy a desire for personal vengeance, and
secondly, in spite of their partial success, the tyranny endured in an
aggravated form for four years longer. I think, however, that, at
any rate as far as these Scolia are concerned, the charges of inaccu-
racy are overstated. As to Hipparchus being designated -cupavvo?, it
may with some reason be urged that, although no doubt the actual
xupawo; was the elder brother Hippias, we can hardly help conclud-
SCO LI A, ETC. 381
ing even from Thucydides that Hipparchus was invested with a con-
siderable share of the despotic power. He has a bodyguard of his
own (Thuc. vi. 57. 4), his influence is sufficient to exclude Harmodius'
sister from the procession, and to banish Onomacritus (Hdt. vii. 6) ;
and finally Thucydides himself includes Hipparchus under the title
of xu'pavvo;, for he uses the expression oc Tu'pavvot goto', in a passage
(c. 54. 7) where we cannot urge that he is speaking of Pisistratus the
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
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
position of the tyranny was rendered by the partially successful
conspiracy. Consequently I think that Grote lays too much stress
on the literal inaccuracy of the line iaovd[jLou? t' 'AOrJva; lnoir\<j<xxi)v,
particularly as Thucydides in his strictures on the erroneous nature
of the 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
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 ;ac7,q;' to im'ApfJioSio) nooifrsv trxoXiov y-o KaXXurrpaTou
outcd; sXeyov.
(a') 1. 1. [iupxou xXaS-'. There is a double reference, after the usual
manner of the Scolia, on the one hand to the 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.
I.e. 58 ad fin.). For the practice of carrying myrtle-boughs at sacred
festivals Ilgen refers to Arist. Birds 43 :
xavouv o' i'/ovxc xai yuxpav xai [J.upp'iva;'
cf. Thesm. 37, Wasps 861. On the other hand Hesychius speaks of
olive-branches, s.v. 9aXXocpopoV '0 jtopceutov 'A'JhJvrjai xai IXaia? xXaSov
tpeptov.'
([5') Harmodius is addressed separately because he won the
additional credit of perishing in the very act of the tyrannicide.
v7)<jois . . . ftaxaptov, as loci classici on this subject, see Hesych.
Works 164, Pind. 01. ii. 71 sea., Frag. Threnos No. II. (in this
edition).
1. 4. Tuostorjv. He was still more fortunate according to another
tradition, v. Pind. Nem. 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 effect of 11. 1-3.
(y') 'AthjVairjc, penult, short, cf. Anacr. II. 4, Ar ( 0ato-j.
(0') /.TavsTov . . . e-oiv-jiaTov, so Ilgen for -r ( v -r,v, a reading which is
due, he thinks, to a mistaken imitation of (a') 11. 3-4.
II. Aloti Ast'I/uopiov. This Scolion was composed, as we are told in
Etym. M. 361. 31, in lamentation over the defeat of the anti-Pisis-
tratid party headed by the Alcmaeonids, who had fortified Leipsydrion
and were disastrously defeated by Hippias. Leipsydrion was a spot
on the southern slopes of Mount Parnes, not far from Deceleia, and
commanding the descent into the Athenian plain.
Col. Mure {Hist, of Gk. Lit. vol. iii. p. 106) fancies that he detects
puns in the words AenJ*uSpiov and 7cpoSwa£Tatpov, which would have been
in the worst possible taste, for the passage is obviously a pathetic
one, and belongs to the class of Scolia described by Eustathius as
cjcouoaioc (p. 237).
1. 3. xal Eu^axpfoac. Various conjectures are made to avoid the
hiatus, but they are, I think, needless, since it is softened by the
metrical pause on the syncopated syllable xai •— •
III. *Evi-/.7]cja[j.sv x-.x.X. I have placed this Scolion next, since it may
possibly refer to the final triumph over the Pisistratids. If so, it
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,
Apollod. iii. 14. 1). Hence the gods were said to bring the victory,
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 ancient explanation of this word is ' water-born ',
and accordingly the birth of Athene was localised by the fabulous
river Triton in Libya, or by the Tritonian lake. That there was an
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 Pelopon-
nesian war. He would therefore prefer the Doric 'AOava used in the
Lyric poets, and borrowed by them from the Tragedians.
V. nXou~ou |xr,Tc'pa.
1. 1. '0Xujj.7:'!av, she was called yfroviot at Sparta, as goddess of the
earth, hence 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
the fact that the last syllable of "Oprviav (for so it should be accented)
is short and not long. 'OXup:iav is applied to Demeter simply as a
divinity.
1. 2. (jTEcpavrjcpopoi; ev 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 ('a cette heure du repas oil Ton est couronne', De la
Nauze). 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 Ilav. Bockh (Frag. Pind. p. 592) conjectures, without
much foundation, that this Scolion was in celebration of the assistance
given by Pan at Marathon. It closely resembles a fragment from
Pindar : No. 63 (Bockh) —
D. Ilav, Apx.aota? luSe'cov, xai seavcov aouxwv <puXa£,
Maxoo; (j.cyaAa; or.ixoi, as[j.vav Xapi'xwv [j.s'Xr][j.a xsp-vov.
In 1. 1. 'Iu is altered by Hermann to to, but is defended by Ilgen,
who treats it as monosyllabic, comparing Eur. Bacch. 531, where to>
Zeu answers to aiat in 1. 316.
I. 2. opyrjaxa. Cf. Aesch. Pers. 448, 6 cpiXo/ppo? Ilav, and Orph.
3S4 GREEK LYRIC POETS
Hymn x., where he is called <mp-njT7]s. Pan of course figures among
the Bacchic nymphs and revellers in endless vase-representations.
Bpo[jJ.y.ii . . . vu[jLcpau, cf. on Anacreon ill. 2. Some commentators
prefer Ppo^iaig, 'the noiseful Nymphs'.
1. 3. ysXaaeia; Valckenaer, for ysXaai'ai?.
1. 4. The text is Hermann's ; MSS. eucppoauvat; xatao' aoioal; aeiot xsy.
Bergk reads Euopoau'vatsi, Tobo"' ao-.oat; /.£/., regarding the line as a
variety on the ordinary metrical scheme. Cf. on No. I. [3', 1. 4.
VII. 'Ev Ar-Xio. 'Aypotc'pa was a common title of Artemis. Cf.
Paus. i. 19, vao? 'AypoTs'pa; iaftv 'ApTEi-uSo;, and Arist. Knights 660,
Thesm. 115.
VIII. E'tS' sJfrjv. Ilgen gives the order for translation thus : sift' e?^v,
xo (re. 5tsX. s'-stTa tov vouv s^ioovtk, o~oto? xt; i^v ex.. x.t.X. Hermann
more suitably regards tov vouv as a mere pleonastic repetition of
ojtoIos Tt? r ( v Ix. The past tense ^v is either due to the attraction of
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 latter.
Eustath. ad Odyss. vii. p. 277 1. 8, compares with this Scolion the
fable of Momus blaming Prometheus for not constructing a gate in
man's breast.
IX. 'Yytatvsiv x.t.X. Ascribed by some to Simonides {e.g. Clem.
Alex. Strom, iv. 575), and by some to Epicharmus on the strength of
Schol. Plat. Gorg. 151 e.
It is, however, probably an ordinary popular song by no known
poet, as appears from Athen. xv. 694, ' 6 to axoXiov supwv ixetvo? o<m;
^v', and Plat. Gorg. I.e. ' 6 tco^t^; tou axoXtou ', and again ' 6 to axoXtov
7:ot7jaa; ' : and similarly in Laws u. 661 he criticises the sentiment of
the lines without naming the author.
1. 1. Cf. the Ode 'Yyisia ^pEc^iaTa [xaxa'ptov x.t.X., p. 253, and with the
sentiment contrast Plat. Laws I.e. ' TauTa (all sorts of external advan-
tages) au;j.-avTa otxaioi; [xev xai oaioig avopaaiv aptara /.T7j'[jLaTa, dSt/.oi? 8k
xdxierra aup-roxvTa, ap£ap.sva iizo TrJ; uyisia;.' Notice the anapaestic basis,
unless indeed uyiaivstv can be treated as a trisyllable, cf. the (un-
classical) 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. 385
u-6 'yppi'ou too Kpr)to; rM7]&iv. We should certainly have expected
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.
293. The style of the Scolion is supposed to be exhibited in the
partial repetition of the first stanza 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
population.
1. 1. For [jiyac, (jisya is given by Eustath., who quotes this passage,
1574, 7, and taken by Byron in his translation of this song, 'My
wealth's a burly spear and sword.' Mfya, however, is obviously un-
metrical.
1. 2. Aat37]Yov, cf. Hdt. vii. 91, AaiarJYa Eiyov avu aa^iStov w[j.o$oir\z
TzeKoi7][j.ivtx. The word occurs twice in Homer, each time with the
epithet TrrepoEVTa, which seems to imply that it was lighter than the
arci;. Hdt. is speaking of the Cilicians, and perhaps the large pro-
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
Miiller Arch. d. Kunst. 342, 6. He there states that it was such a
shield as is represented and described by Tischbein 4, 51, and Mil-
lingen Cogh. 10, i.e. a large round shield differing from the aaxis only
by having a long rectangular cloth hanging from it. This theory,
however, has been demolished by Michaelis, Annali delP Inst., 1875,
p. 76. Cf. Helbig, Homer. Epos. p. 234.
1. 3. Cf. Archil. Bergk 2 :
ev 3op\ [iiv [jloi [xa£a [j.£[j.ay[j.£V7j, ev 3op\ 3' oivo;
'Iapaptxo;, Tz'.vio 3' ev 3op\ x.czXi[i.Evo;.
1. 4. afjuTsXeo, v. Dor. Dial. p. 93.
1. 5. 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.
' We may infer that every state in Crete was possessed of public lands,
which the Mnotae cultivated in the same relative situation to the
community in which the Aphamiotae stood to the several proprietors.'
Midler's Dor. iii. 4. sec. 1. In the present passage, as Midler pro-
ceeds to remark, the term [Avofa is probably used for the serf
population in general.
I. 6. toX[juovt(i) (= ToX[j.torjt, v. Dor. Dial. p. 95) Hermann, for
ToX[i.wvxEi;, so that the metre corresponds with that of 1. 1.
II. 8-10. a(/.ov Hermann, for q-iov. Bergk supplies ap.91 (placing
£[i.6v in 1. 9) since yovu seems to require a preposition to govern it.
Possibly, however, yo'vu may be the object of -s-xr^oxe;, ' crouching
2 I!
386 GREEK LYRIC POETS
before 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 : npooxuvouu! p.s co? Secr^dxrjv xoii
-pocrcpwvoucji x.x.X., whence Bergk inserts |^s as indicated in the text.
If we follow Eustath. on this point it is reasonable to accept also the
third pers. plur. in 1. 10, although the MSS. authority is in favour of
cpwvc'ovTs; rather than -ovxt.
For xuvsuvxt, fflwvsov-ui, see Dor. Dial. p. 95 and p. 96.
XI. Praxilla of Sicyon, who flouiished about 450 B.C., is said by
Athenaeus I.e. to have been distinguished as a writer of Scolia,
£$-au(j.a£sTo IjA if xtov axoXiwv r.oirfisi. If these were genuine Scolia
(i.e. songs written specially for the banquet), it is remarkable that the
writer 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 com-
poser 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.
Sap. vi. and XVin.), and some to Praxilla ; while Schol. Aristoph.
Wasps 1240, states 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. He certainly appears to be right with regard at least to
No. XII. -vide seq.
The passage is thus explained in Eust. I.e., £W.e ok owe fxsv xwv aya-
9-tov ttjv ysvvatav xa\ <ptXavopov u^oorjXouv AXx7]axiv, Sta ok xuv ostXtov
xdv 'A8pt.7]Too 7:aTs'pa, "? tox-vrjae •9-avstv uxrep xou jcaiSd?.
XII. 'Yr.o Tiavft Xi'9-w x.x.X. A very similar line is attributed to
Praxilla, Schol. Arist. Thestn. 529, 'Y^d jiavxi Xi#-w axdpmov, w 'xalps,
<soXaaaEO.
The proverb was a familiar one, cf. Zenob. vi. 20, Diogen. viii. 59,
etc. and is wittily applied by Aristoph. I.e., vr.o Xi'9-io yap | -avxt tiou
■/jpi] I [j.rj oaxrj p^xwp a-9-pstv.
©pa£su Dor. Dial. p. 96.
XIV. 2uv p.01 7ftv£ x.x.X. A very clever expression of the require-
ments of an ideal camaraderie, auvrjpa, ' make merry with me ', see
on Anacr. IX. 2.
auoT£cpavr)tpdpsi refers, Ilgen says, to the garlanding at convivial
meetings. Cf. Demos, de Pal. Peg. 380, 27, aovsoxEcsavoCxo xat
auv£7:attovt£s tw $iXimtto.
It is perhaps possible that the poet was not unconscious of the
rhyme in this couplet. Cf. on No. XVI.
SCO LI A, ETC. 387
XV. 'A us x.x.X. The close juxtaposition of the Dor. xav and the
Attic tt]v is curious, but perhaps hardly to be corrected in a Scolion
(v. p. 78).
XVI. (a') E'tO-s Xupa x.x.X. (P') sTO^ arcupov x.x.X. In many editions
(*.£•. 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
style (see Introd. pp. 234-5). There is a very Elizabethan ring in
the sentiment of the lines, perhaps unique in Greek poetry. We
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
text (i. 36), eu/ag ou paatXsuai 7cpCTOuaag, aXXa Srjjxoxais xa\ cppaxopaiv
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 initial cyclic dactyls.
(a) Xupa IXstpavxivrj, cf. Ov. Metam. xi. 168, ' Distinctamque lyram
gemmis et dentibus Indis.' A 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
the dithyramb and other Dionysiac choral performances the lyre was
certainly used, and not the flute exclusively. Cf. p. 263.
(P) omupov, not so much ' unrefined ' gold, as gold so pure as not to
need refining. Thus Zeus is said to have changed himself into
a-upo; youaos, in a passage referring to Danae, wrongly attributed to
Euripides {Frag. 11 17).
xa9\ -9cf/.. vdov, cf. Aesch. Prom. 163, dtftsvog ayvarj.-xov vdov, and
Pind. Nem. x. 89 ou yvwjxa 3i7:Xo'av {h'xo pouXav.
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 ecu [jls'y' apioxog e'tjv TcXa[j.w'vto; A'tag,
o«pp' 'A/iXsu; pajviev* 6 yap rcoXu os'pxaxo; ^ev.
and Pind. Nem. vii. 27, xpaTiorov (Ajax) 'A/iXe'o? axsp.
These lines are attributed to Pindar, Schol. Lysistr. 1237, probably
because Ajax was a favourite hero with that poet.
XVIII. 'Ex y^; ypr] xaxiSslv tcXoov. Ilgen's interpretation of 11. 1-2 is
as follows : ' E 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
should consider whether it be achievable, and whether one has the
requisite ability. For this use of e? with the optative as an ' object-
clause' see Monro's Homeric Gram. pp. 228-9, where we find that
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:sx-
Tupofpuyoijxi XdpupStv, the pure optative should probably be regarded as
equivalent to the optative in an apodosis with dv in ordinary Attic to
express indistinct futurity. For similar cases of the omission of dv
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 in Hdt. ii. 38 xaxopa . . . xd? xpi/a; X7j;
oup%, el xaxd ou'aiv eyei 7ue<puxuias, but there xaxopa implies actual physical
scrutiny, whereas xocxiSelv zloov must, according to Ilgen's version, be
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,
and not to go to sea at all,' i.e. to keep yourself, if you can, out of all
risks. Cf. ' Suave mari magno,' etc. Line 2 will then be an ordinary
protasis with a slight tautology, ' should a man have the chance,
and find any device (to escape the voyage).'
1. 2-3. ' When once in the open sea you must needs run before the
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
should expect ypr\ rather than dvdyx.7].
XIX. 'O xapxivo; x.x.X. This Scolion gives a lively expression to
the sentiment which is more soberly stated in Scol. XIII, The play
upon the words sufruv and ax.oXid as applied to the snake is especially
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,
after finding his admonitions lost upon the snake, throttles him
in his sleep and 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
snake let him drop again.' Eustath., who quotes this Scol. 1574. 14,
makes it clear that we should read yalx = (yr{kf l ).
1. 3. £[j.[xev Casaubon, from £v ;j.ev, i\xev. Ilgen 't[j.£v ; so that, bearing
in mind the sidelong gait of the crab, an additional point is given to
the passage by the pot calling the kettle black.
XX. Ou yprj -6XV eys.iv x.x.X.
The words of Amipsias ap. Athen. xi. 783 E, regarded by Bergk as
a quotation of an old Scolion.
SCO LI A, ETC. 389
XXI. Ouokv r^v apa x.x.X.
A line from a certain Pythermus of Teos, referred to by Athen.
xiv. 625 C, as a writer of Scolia.
' So then all else is nought save only gold.' Cf. Goodwin's Moods
and Tenses, p. 13. ' The 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
xuitpfs oux ap' r ; v •vho?. Eur. Hipp. 359.
For the sentiment cf. Alcaeus VII. /pi^ax' 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 expres-
sion, 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 to the several Sages.
Cf. note on No. xxvi. ad Jin.
XXII. 'Aaxoiaiv apsaxs x.x.X.
Compare 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?. Ilgen 'si vivis in communione cum aliis civibus.'
This is most unnatural. The condition is rather one of immediate
futurity. ' If you are for abiding, propose to abide, in any city.
Casaubon reads a*s.
1. 3. ' Xaijjrw, saepe active, sed non nisi in re quae natura sua
Xap.x:si, ut <?e'yyoc, r.up. Itaque h.l. axav absolute positum arbitror ;
emicuit periculo malo, i.e. insignem cladem tulit,' Mehlhorn. Cf. on
Sap. III. But, though Mehlhorn's objection may hold good against
treating yav in Sappho's line as the object of Xaj^st, it hardly applies
to the present passage, where the expression is purely metaphorical.
XXIII. "E/ovxa est x.x.X.
I. 4. oiyo[j.u{k>v hardly ' 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/o-
(j.uO-0? in No. XXIV. Cobet changes to otyoS-upLov e/ouaa ; Bergk, object-
ing apparently to the boldness of the metaphor, alters to E/ouat.
390 GREEK LYRIC POETS
XXIV. Il£(puXay|Jisvo? z.x.X.
1. 2. The metaphor is curious, and we can hardly take xpaott] to
mean simply 'bosom'. Ilgen ingeniously conjectures f/So; 'enmity',
for e'y/o;.
1. 3. as zpoa£vv£7tT) Bergk, for Ttpo<3Evim\. Ilgen <pai3po7 r.poz a' ivemj.
1. 4. or/o'piu&os ?/. on No. XXIII. 1. 4.
XXV. 'Ev XiO-tvai? x.x.X.
Cf. 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
these sententious passages. Cf. Nos. xxn. 3, xxvi. 1.
XXVI. Oiixi xa j^oXXa e^tj.
1. 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]).'
Auasi?. Schneidewin objects to Xueiv yXtJaaa? in the sense of
'gagging the tongues,' urging that the expression would have just
the contrary meaning. (Compare the opposite metaphor KXfi? lid.
yXwwjt], quoted in note on Miscel. XIII.) He therefore suggests
xXeissi?, Bergk rcau'trei?. But Xuw is so frequently used in the sense
of ' undo,' ' frustrate,' ' bring to nought,' that it may quite conceivably
be applied in this way to yXwaaas. Compare Pind. 01. x. 9, Xuaai . . .
Eju[j.o[j.9av. It is worth noticing that there is a strangeness in the
metaphorical expressions of several of these passages attributed to
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.
XXVII. 'Ap.ouaia x.x.X.
The last line is doubtless corrupt, being hardly translateable, and,
even with considerable alteration, quite unconnected with the rest of
the passage.
6 xatpo?, apparently opposed to Xoywv 7zXfj9-o?, ' seasonable words ',
' words no more than are enough '.
XXVIII. "Ey/Et y.ix\ Ktjouvi x.x.X. Athen. xv. 695 E.
A curious instance of a Scolion in elegiac metre.
An Athenian Kedon fell at Naxos 376 when Chabrias defeated the
Spartans (Diod. Sic. xv. 34). Bergk suggests Kuowvi, cf. Diog. viii. 42.
Ti$ ev KuSwvo;, lizi xwv ©tXocppovw; osyo[jivwv xou? ?e'vou?. Ei yprj xoi?
Porson, for el orj ypyj xot?.
NOTES 391
POPULAR SONGS
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 descrip-
tion, but 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 there-
fore included them among the Miscellaneous and Anonymous pas-
sages {e.g. Miscel. xxvn., xxvm.).
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 ^orjvrjxtxov [jlsXo? sung in a shrill
tone ([ast' iT/vocpwvta;), cf. //. I.e. Xs7iTaXsY, (pcovfj. We learn from the
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.
sS. aftava-coi avfrp. x.x.X. Some hexameters are also given, Schol. Horn.
I.e. and Eustath. 1163 closely imitating the original song, and begin-
ning thus :
'{2 Atve, T:aat ahotai TSTt[xe've acA yap e'owxav
dxJ-avatoi jupcoTW [ajXo; dvOpwjxoiaiv aetaac z.t.X.
1. 4. <pwvats Xi-yvpais, perhaps simply a stock epithet in connection
with singing, but it is specially appropriate in reference to the high,
shrill notes of the Linus-song {v. above). Cf. on Terpander I. Xiysta.
1. 6. Mouaai ; similarly the Muses sing the dirge of Achilles {Odyss.
xxiv. 60). As dirge-singing was confined to females {v. p. 11), they
appear, in these cases, to be taken simply as the most distinguished
poetical representatives of their sex. Otherwise we might be sur-
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 ;
see p. 14. I cannot understand how Athenaeus and after him
Eustathius, can say that it was sung in the month Boedromion, since
it manifestly greets the first approach of spring. It is true that
among the Rhodians this name (in the form Baopop.10?) was not applied
to September but to June {v. Darembert and Saglio's Diet. Cheli-
392 GREEK LYRIC POETS
donisma), but even this is, of course, much too late. I can only
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
practice is said to have been instituted by Cleobulus, tyrant of
Lindus, in a time of great scarcity (Athen. I.e.) ; but we cannot accept
so special an explanation of a custom so wide-spread. 1 The actual
song before us can hardly belong to a very ancient period, since
with the Dorian forms there is a large admixture of ordinary Attic,
characteristic of the later modified (mitior) Doric (see Dor. Dial.,
p. 92). That the latter cannot be ascribed to later alterations is shown
by the fact that in certain cases they are required by the metre, e.g.
saao[ji£v, 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 swallow-
received 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) N^ xov 'Hpax.Xs'a.
(Boy) Auxrji
(Man) "Eap rfir\.
v. Monum. delP Institut. di Corr. Archaeol. 1 1. Plate xxiv. and
Annali, do. vii. p. 238.
The Modern Chelidonisma is as follows : —
XeXtSova ip/exa'.
'At:' ttjv aarprjv Q-aXaaaav
xaOrjas seal XaXrjas*
MapT7], Mapt7] [jlou xaXe
xai $Xe[Bapr] oXtpsps
-/.' av -/lovtaTji;, x' av xovuar,;
tm\z avoi£iv [j.upi£st;.
Metre. In 11. 1-11 the form ^^ : - ww-— , an Adonius with ana-
crusis, prevails. In 1. 1 1 the anacrusis is not 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,
1 We may compare the practice still existing, I believe, in the Isle of Man, of children
going round in the winter from house to house, saying :
' The night is cold, our shoon are thin,
Gie 's 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 fol-
lowed the commentators who have endeavoured to remove the irregu-
larities. As in the Linus-song, the verses here seem to run in
couplets (cf. pp. 35, 46), beginning at 1. 2, 1. 1 standing alone as
specially emphatic. The transition to Iambic trimeters in the latter
part of the poem gives a good dramatic effect, the children pausing
in their song to remonstrate in metrical dialogue with the tardiness
of the householder.
1. 2, for a in the ace. plur. xaXa; wpac, v. Dor. Dial. p. 94.
1. 3. Hermann omits xa\ before xaXous, metri causa.
svtauTou's, in the sense of ' seasons ', is not easy to parallel ; but the
meaning is closely enough akin to ' period ' or ' cycle ', of which several
instances may be seen in Liddell and Scott, s.v. It is, perhaps, here
used as longer or more emphatic than wpa;.
1. 6. -aXa9av, expl. by Eustath. as ouxwv IrctauvS-sais.
au ^poxuxXsi, Hermann for the unmetrical ou jipoxuxXe??. Yet
Eustath. paraphrases ou 7:aXa9-av £rjToupiEv o"vou te Sc'^aarpov, a ysk.
xai Xsxi{h oux autoQ-etxai, i.e. ' we don't want luxuries like fig-preserve
or wine, wheaten cakes content the swallow ' ; and I fail to see how
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
put forth.' With <ru the meaning appears to be, ' Do you from a
rich house (emphatic) bring forth luxuries, (but if you won't go so
far as that), even from rcu'pva and Xsx. the swallow turns not away
in contempt.' Ilgen regards 7upoxuxXst as equivalent to IxxuxXet,
referring to the ixxuxX7][jux on the stage. Such a reference is hardly
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.
xai 7:upwv ysXiowv.
1. 12. If the text be correct, we have a trochaic tetrameter, forming
a natural transition between the lively metre of 11. 1-11 and the con-
versational tone of what follows.
ooticojass v. Dor. Dial. p. 95, cf. 1. 14, cpEpcojis?.
1. 13. Cf. Horn. Carm. Min. xv. 1. 14 (The Eiresione) :
Et piv ti cSwasi; - si ok p.r;, ou/ Eaxr^oixeV
ou yap auvoiX7]<javres EvOao' fjXO-ojxsv.
eI otoast; is an example not of future condition (usually e«v with the
subjunc), but of a present condition expressing intention, v. Good-
win, Moods and Tenses, p. 146, and Monro's Horn. Gram. p. 239.
1. 17. I have adopted Bergk's text for av orj spe'pfl? ti p.. orj i\ xa\ tpspoi?
(two MSS. omitting xat) ; orj may have arisen from the succeeding Srj ;
«pepoio, 'mayst thou win or obtain,' is more suitable than (pEpot?, 'mayst
thou bring us something large,' and the sudden change back to the
394 GREEK LYRIC POETS
short metre is effective. Dindorf restores the trimeter by reading
lav tpe'prjs OE Tl X.T.X.
III. As'?at x.t.X. Argument. Theoa\ iii., where we are told that
shepherds in Sicily sometimes meet together with supplies of food,
etc., to be given to the best singer. After the contest, the unsuccess-
ful competitors go round the neighbourhood to collect food for them-
selves, and 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.
IV. Tortoise -Game. Described by Pollux ix. 125, and Eustath.
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. Com-
pare 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 in the defeat at Salamis.
1. 1. yeXi or 7sXe\ is expl. by Eustath. as 7ipoaxaxxixov orJO-sv napriy-
ou(j.svov tt] ysXwvT] ; cf. probably, xo'prj or xopl xopw'vr), Append. Carm.
Pop. 9 ; and 7iovw7:ov7]pos, Arist. Wasps, 466 ; Lys. 350.
I. 3. riotst? and juoitwv Meineke, for t.oieu;, tcouov ; v. Ahrens Dor. Dial.
p. 208, where totE'cov, jra'tavxt are quoted from Heraclean inscriptions.
xpoxav MtXrjatav, cf. Verg. Georg. iii. 306 ; ' quamvis Milesia magno |
vellera mutentur '.
I. 4. Xsuxwv do' "r.iztav, explained by many commentators as the
' white horses ' or ' breakers '. This I think objectionable, simply
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.
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
and mimetic gestures. It is tempting to regard po8a and 'ta as
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 [jloi xd "a ; ;
IIou [j.01 Ta xaXa asXtva ; ;
Otherwise, I do not see what explanation can be given of the metre.
POPULAR SONGS 395
VI. Blind Marts Buff. It is interesting to read in Pollux ix. 123,
thatthis game is of remote antiquity. One boy, he says, ties a band
tightly round his eyes, remarking yaXxrjv x.x.X., the rest responding
(hjpaaeis x.x.X. They then beat him with strips of leather, until he
catches one of them. (See Illustrations, PL iv.) Becq de Fouquiere,
p. 88, explains /aXxTjv puitav as ' l'insecte aux reflets metalliques que
l'enfant poursuit de buisson en buisson, . . . et qui lui £chappe au
moment meme ou il croit le saisir '.
VII. Pollux I.e. says that when a cloud passes over the sun
children clap their hands and cry, e?eyj x.t.X. Cf. Arist. Frag. 346.
VIII. "aXji, [j.uXa, aXst x.x.X.
Thales (Plut. Sept. Sap. Conv. xiv.) says he heard the song sung by
a Lesbian woman at the mill-stone. The Mill-stone Song was a
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 pro-
clivities.
1. 1. Bergk has followed Koester in changing the accentuation of
aXct to aXsi, the word thus being imperative : in 1. 2, akzi is for rjXsi,
the imperf. indie. It is only reasonable to restore the Lesbian accent
Iltxxaxo; (Bergk ITixxaxds).
The metrical scheme is 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,
the Sheaf-Goddess, from ouXo? or 'touXoc, ' a sheaf '. Koester thinks
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,
with whom a romantic love-story is connected. She was enamoured
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.
XL The Games.
These are the opfl-ia xripuypiaxa of Sophocles Elect. 683, or poetical
formulae chanted by the heralds at the games.
(a) Julian. Caes. 289. This corresponds to the ringing of the bell
at our athletic meetings which summons the competitors to the
start.
396 GREEK LYRIC POETS
(P) Moeris, p. 193. 4. The herald calls upon them to toe the line
at the start, (3aXpto£? being explained by Moeris as at sVt xwv atfE'aswv
paasi? syxs-/apay[jivat at; £-£[5aivov ot SpofiEi? x.x.X. The line in Moeris is
corrupt, BaXjBloa 7:006? (v. I. 7:00a?) #-e'xe 7:00a 7t. 7:08a. Bergk conjec-
tures BaXplot 7joSo~v •9-e'vxe? 7:00a 7:ap 7:o5a #-s1xe ( = run) ; 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
the text. ' Place your feet on the line foot to foot. 5
(y) Lucian in Demonactis Vita 65.
XII. 'EXQ-Elv 7]pw AlOVUSE, X.X.X.
This 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.
Atov. The passage is quoted by Plut. Quaes/. Gr. 36. 7. Ata xt tov
Atdvuaov at twv 'HXsicov yuvalxs? up.vooaat TrapaxaXouat poe'w iroSI x.x.X.
Erta oi? ^aoouatv' "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
(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 vegeta-
tion and growth, the limitation of his power to the vine being
probably later.
Compare odvrfii xaupo?, Eur. Bacch. 108, and many similar expres-
sions.
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
8i9-upa'p.[3w, and Ben Jonson's address to Bacchus (elsewhere quoted,
P- 353); '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
xolc [jtaXtoxa Atovuaov ajpouaiv 'HXstot, xa\ x6v •S-eov aotatv E7:t(potxav £? xtov
Gui'tov 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
ivy, enter upon the stage from the side- and centre-entrances singing
this song, 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
may rightly be regarded as Melic.
POPULAR SONGS 397
I suppose that the novelty claimed for the song (1. 3 seq.) consists
in the adaptation of Iambics (ax:Xouv pufyov) to complicated melody
(atdXto f/iXa) : or perhaps in discarding the ruder invocations of
ancient times, of which No. xn. is an example.
a-apih'vsuTov, not in its usual sense of ' unmaidenly ', but 'virgin-
pure' (a copulative), so Hesych. d-impO. a/Epato;, xafrapa, cf. Soph.
Frag. 287.
XIV. Schol. Arist. Frogs 479, 'Ev xot; A7]va'iV.ot? aywcn ... 6 oaoouyo?
. . . Xs'ysi xaX. •S-edv" xa\ 01 ejiaxouovxe? potoai' 2'E(ieX7]Te x.x.X.
TtXouxoodxa, as the god of fertility, etc. (cf. on No. XII.)
XV. The Libation.
1. I. Schol. Ar. /Wtf 968, ara'voovxs; yap eXsyoV xt; xfos ; . . . eixa
01 rcapovxE; £u<pt][j.^o'[j.£voi IXEyoV IIoX. xay.
1. 2, Schol. Frogs 479, £-£toav axovoo7:oir^wvxai x.x.X.
XVI. 'Ava^aV avw x.x.X.
Plut. Quaest. Symp. iii. 6. 4, £v xot; $-£wv u't-ivot? x.x.X.
XVII. Sxptyy' <xr.oizo\LT.£ ! .v x.x.X.
Quoted by Festus, p. 314, the term crxpiy? being applied, he says, to
witches (' maleficis mulieribus '). The reference in these lines, which
we may regard as a kind of nursery-song or prayer, is rather to the
strix as a bird supposed to be dangerous to infants, {v. Pliny
H. N. xi. 232, who adds ' quae sit avium constare non arbitror '.)
1. 1. <x7:o7iofj.x£tv Bergk, from MIOMIIEIEN ; Hesych. diroTrofJLir€iv
co:o7:£[j.'i/aa9'ai xai d-oxaJbjpaaO-ou.
1. 2. vuxxipdav. Turneb. on the authority of Hesych. ; MSS. Nuxxt-
XOIAOCV.
1. 4. avwvu[j.ov Bergk, for avi»vd[.uov, in the sense of ouawvu[Jiov.
Bergk, with no authority, adds iy&puv, since otherwise he fails to
see the force of 1. 5. The objection, however, of unintelligibility
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.
MISCELLANEOUS AND ANONYMOUS
I. Y'it1X£ 9-£WV X.X.X.
This passage is ascribed to Arion by Aelian, Hist. An. xii. 45, in
illustration of the musical taste of dolphins. Modern critics are
almost unanimous in discrediting Aelian's testimony that the hymn
was composed by Arion. The language and metre are entirely
unsuited to a pupil of Alcman, as Suidas describes Arion (see p. 102),
and the shallow verbosity is eminently suggestive of the 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 his offering at Taenarum consult Herod, i. 24, and
Pausan. iii. 25. 5. Schmidt is 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.
1. 2. Perhaps imitated by Ar. Knights 559, w ypuaoTptatv', to SeXtpfvtov
[jleSe'ojv.
1. 3. So Hermann for yatr^o/J syxutA.ovaX[j.av.
1. 4. Cf. //. xiii. 27. Bpay/tot is supposed to be an adjective in-
vented by the poet from Ppayytov. Hermann reads (3payyjoi?.
1. 6. noSiov, an unwarrantable poetic licence as applied to dolphins.
1. 7. atfj.cn two MSS., the rest aEta[j.oi.
1. 14. o/eovte? Brunck, MSS. yopEu'ovTE?.
I. 18. aXtnopcpupov, Reiske aXt7ropcpupou, Bergk cno[j.a rcopcpupouv.
II. (a) ME[j.cpo[j.oa ok x.t.X.
Apoll. De Pro/i. 324 c, to illustrate the use among the Boeotians of
tuivya for lywvya (s'ywys).
The Boeotian Mi\j.yo\>.t] . . . xrj . . . Moupito. are restored by Bockh
for jjiiJ.cpofj.ou . . . xai . . . MupxiS. I have retained jjifj.90fj.a1 and xal,
following Fiihrer (De Dial. Boeot.) who maintains that, although the
Boeotians pronounced at as rj, it was not so written in the time of
Corinna. Bergk maintains that in 'twvya ( = eyioy£) the spiritus asper,
which Fiihrer discredits, is natural enough, being due to transposition
from ?iovya, where it has arisen from the loss of the guttural seen in
iyw. Bockh, C. I. 720, gives many other instances from Boeotian
inscriptions of t for s. The form twvya occurs in Ar. Acharn. 906.
Bava is explained by Hesychius and Herod. lisp. |j.ov. Xe'?. 18-25 as
the Boeotian form of yuvrj. For a in the first syllable cf. the Sicilian yava.
(b) Nt/.aa' x.x.X.
Quoted by Apoll. De Pron. 358 B, from Corinna's xa-ca7uXous.
'Oaptwv, Orion, famed as a Boeotian hero, see Midler's Orchom.
p. 100 ; cf. Bockh or Dissen on Pind. Nem. ii. 12.
ywpav. Schneidewin ingeniously suggests that the district was
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
this instance.
wvouptatvEv. Bockh and others wvou'^vev ; see on (a').
(e) 'H StavE/.w? x.x.X.
Quoted by Hephaest. 22, as an example of Synizesis in otavenw?.
The shortening of the a is remarkable. Bergk {q. v.) compares the
option that poets gave themselves between eucxve[j.os and £utjvejj.o;,
ouaEpt? and Suarjpt;, avoXsQ-po; and avtoXE9-poi;.
MISCELLANEOUS AND ANONYMOUS 399
III. KaXXtaxov [asv eyto x.x.X.
Quoted by Zenob. iv. 21, in explanation of the proverbial phrase
r]Xi{hw'xspo; xou Ilpa^tXXr]? 'Aotovioo?. Adonis, he says, gives this
answer on being asked by the shades after his death what was the
finest thing he left behind him in the world above. With the senti-
ments we may perhaps compare Charles Lamb, Essays of Elia,
' New Year's Eve ' — " Sun and sky, and breeze and solitary walks,
and summer holidays, and the greenness of fields, and the delicious
juices of meats and fishes — do these things go out with life ? "
SsXrjvatrig, properly adjectival, cf. yaXrjvaia (= yaXrvrj), TuapS-svtxr,
( = rcapO-s'vo?).
IV. 'X2 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'^oicja, 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 lines in the poem of Licymnius are
nearly identical with 11. 3, 4, 9, in this. It is 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
familiar hymn to 'Yyt'sta (v. Bergk ad loc). The poem in the text
enjoyed a great reputation (x6 yvwpijxtoxaxov exslvo xal xaai Sta
axo[j.axo?, Lucian De Lapsu Liter Sal. c. 6). It is found engraved very
faultily on a monument, Bockh C. I.. Athen. iii. p. 66. It was prob-
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
Health, Fortune, Virtue, rather than to the old divinities of
mythology.
1. 1. npeafJiarra 'most revered', as 'Yytsta could hardly be called
' eldest of the gods '.
1. 2. au'voixo?, cf. Bacchyl. VIII., 6Xp£wv jcalSe'g viv (Aixav) supovxe?
auvoixov.
1. 4. Cf. on Licymnius I.e.
1. 5. 2pxE<nv Bergk, for apxuatv (Athen.) on the strength of eXxsai on
the monument.
1. 6. x:ovtov a(j.i:v, cf. [.lo/xhov ct[j.Tcvoa, Pind. 01. viii. J.
1. 8. ?:avxa is omitted on the monument and bracketed by Bergk.
Schneidewin interprets the rest of the line . . . ' instar veris, quod
Gratiae reddunt pulcrum, affulgent ', ' are bright as a spring of the
Graces ' (i.e. blessed by the Graces). Bergk reads eapt.
4 oo GREEK LYRIC POETS
1. 9. ecpu, wanting in Athen., is supplied from the monument and
from Licymnius.
VI. 'Apsxa r.o\6[xoyQ-B x.x.X. Athen. xv. 695 A, to ux:6 xou 7ToXufj.a9-£<7-
xaxou ypacplv 'ApiaxoxsXou; x.x.X. Athen. goes on to describe the Ode
as a ' kind of Scolion ', denying that it is a Paean, as a certain
Demophilus urged, who wished to convict Aristotle of the impiety of
addressing a Paean to a mortal, Hermias of Atarna (v. on 1. 13) ;
see on No. xxvu. It is not easy to understand why Athen. classifies
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., and therefore
declares that it is falsely attributed to Aristotle. We have yet to
learn, 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. 1. 7ToXu'(j.oy9-c, we need hardly treat this as used in a passive
signification, ' won by much toil ' (Liddell and Scott) ; rather ' full of
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. 2. |3iw (= f3iou) Bentley, for (3ut>.
1. 5. ax.a[i.avxa?, explained by Schweighauser as agreeing with the
implied subject of xX^'vai. He is, however, of opinion that the word
has been substituted for axap-axou?, for which there is more authority,
and that the latter was merely a gloss explaining ^aXepou?, a close con-
nection being established between the two epithets from the constant
application of either one or other of them to rcup in Homer.
1. 6 seq. ' Such a reward dost thou bestow upon the mind, a reward
immortal, and more precious than gold ', etc. For xap7i:o'v x' a9\ ( =
xaprcov ad-, xs), compare //. v. 878, and other instances of the misplace-
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.
(j.aXax.auyrjxoio, ' languid-eyed', but Ilgen quotes Hesych. auyslv ( =
aXysw), and suggests that the epithet = ' lessening pain '. This would
require a derivative rather from the verb fj.aXa/.t£w than from the
adjective [j.aXaxo?.
I. 9. Cf. Hor. 3 Od. iii. 9, ' Hac arte Pollux, et- vagus Hercules', etc.
II. 9-1 1, epyot? . . . Suvapuv, Aristotle is perhaps thinking of his own
doctrine in the Ethics ii. 1. 4, xa; apsxa? (which are Suvapi;) Xa[i.|3avo-
[xev Evepy^aavxe? rcpoxEpov.
1. 14. 'Axapv. Evxpocp., the reference, as we learn from Athen. I.e. is to
MISCELLANEOUS AND ANONYMOUS 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
friendship of the latter (Diog. Laert. v. 9). He advised Eubulus to
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 £-//jp;u<7c, etc.
1. 15. aoi3t(j.ov (v. 1. aoiot[j.o?), proleptic after au^Toutji.
1. 16. Ato; ijsvio'j -/..T.X., 'who extol reverence for hospitality, and the
honour of steadfast friendship.' Auijouaai is awkward after au^aoucrc
in 1. 15 ; Bergk reads acrxouaou, Ilgen omits altogether, taking aspa? as
in apposition to juv, Hermias, = tov <j£(ja£ovxa ; but, as Schweighauser
points out, the abstract when employed in such cases for the concrete
has a passive, not an active, signification ; cf. Soph. El. 685, ~acu toi?
i/.sl 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
'hospitality'. Cf. the well-known tov ejjiov ike'ciov Aia (Eur. Hec. 345)
= ' my supplication '. Zsus ?e'vw5 occurs in Aesch. Ag. 61, 353.
VII. Tu/a [jjEpo^wv. Stob. Eel. Phys. I. vi. 13.
The lines are attributed by some to Aeschylus, but Bergk thinks
this to be a manifest error, and regards them as the composition of
some poet-philosopher.
1. 2. T£ inserted by Meineke. T£p[j.a tu Grotius from a reading
Tepfj-a-n. •fraxets e'opa?, Jacobs' conjecture for axo; opaj.
1. 5. 7:T:puya. The representation of Toy/] as winged is a mere
poetic idea, rarely if ever exemplified in art. Cf. Hor. 3 Od. xxix. 53.
1. 8. ev ay.oxw, perhaps we should read ev ax.o'xov, regarding ev as the
' Aeolic' form of si;, often found in Pindar. See on Pind. Frag. VI.
1. 1.
VIII. KXwfho Aaysai; x' x.t.X. Quoted anonymously by Stob. EcL
I. v. 12, between two passages from Sophocles.
1. 1. Bergk thinks that the name of the third Fate may have
dropped out (Awa xa\ KXco&co /..t.X.). He points out, however, that
Pausan. x. xxiv. 4, speaks of two Fates being worshipped at Delphi.
2 C
402 GREEK LYRIC POETS
1. 4. Jtepre-t;', Bergk reads ra'fjareTe 8\ "A[j.[aiv, v. Lesb. Dial. p. 87.
1. 5. a§sX»sai; Dindorf, for 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 ei^ov). They are mostly Transitive or Causative in
meaning ; compare E-Xayo-v, ' I got for my share ', with XeXoc/o-v, ' I
made to share ', ap^ps, ' isfitting\ with rjpaps, ' made to fit\
IX. Ou ypuao? ayXao? -/..x.X. Plat. £"/. a', quoted on rejecting an
offer of gold from a friend.
II. 1-2. - Gold, bright gold, is not the rarest thing in the hope-baffling
life 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
'cheerless', 'hopeless'. The apparent 'Schema Pindaricum' in
octfxpaTwtEi is accounted for by the neuter oo-/.qxa£o[i.Eva, referring to
aoa;j.a? and xXtvat. 'A<rcpa7rrei belongs to 11. 3-4 also by a kind of
zeugma, unless in 1. 3 we are to think of the gleam of the yellow
corn.
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
the chariot-race at Olympia. Cf. Athen. i. 3 E. Plutarch mentions
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 420 B.C. (01. 90).
1. 2. Bergk reads xaXov a vi/.a" (to) xaXXiaxov (0') [l. /..x.X.
1. 4. The asyndeton is very awkward ; Bergk suggests axEcp-S-Ei? x\
Some commentators alter oic, to xp\?, but, as 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
in Thucydides (and after him Plutarch) lead to this conclusion.
'EvixTjaa oe, xai Ssu'xEpo? /.at XExapxo; Eysvo^v, ' I 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
follows him. Either word is connected closely enough with axsipate'vxa
to account for the position of xe.
MISCELLANEOUS AND ANONYMOUS 403
XI. "Eraixa xeiasrat Plut. Non Posse Suav. Viv., Sec. Epic. 26.
XII. ' Q,c, ap' sircdvxa fAiv x.x.X. Plut. /.<:. 27. 7:pdaw7tov Wyttenbach,
for TTpO? T07:OV.
XIII. Nai xav"oXu;j.-ov. Quoted by Clem. Alex. Strom, v. 661, who
compares a 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 ev [xiioiai. Clem. Alex. Strom, v. 654.
oua;jur/7]Ta, 'hard-won '. 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 x.x.X. Theodor. Metoch. p. 515.
z:Xouxoodxapa. Cf. Bacchylides I. 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
Glyconics. See Introd. to Anacreon ad Jin. Bergk is of opinion that
these lines are by Glycon himself, whom he considers to have been a
poet of the Alexandrine period.
XVIII. Xaporav xuva x.x.X. Dio Chrysos. Or. xxxiii. T. II. 470,
referring to the legend of Hecuba being converted into 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 . . .
tpihyyoijiva;, for the change in construction Bergk compares //. xvi.
531 ; xiv. 25 ; Od. xxii. 17, etc., in all of which cases we may regard
the participle as in the genit. absolute with the pronoun understood.
1. 4. ^ayot, conjecturally inserted by Bergk.
XIX. npopaxwv yap x.x.X. Plut. de Pyth. Orac. c. 29, in explanation
of the name Galaxion in Boeotia.
7:EXXat yap Bergk, for ^cX-Xai ok.
XX. 'Ex Santos x.x.X. Choerobosc. in Aldi Cornu Cop. 268.
Ahrens has restored the Lesb. accent to the Lesb. genitive Sarow;.
404 GREEK LYRIC POETS
XXI. 'Eyoj cpajxt, x.-.y. Plut. De Garrul. c. 5. Bergk thinks that
the line, in an altered form, may be Sappho's. Cf. Sap. xvi. b, and
XVII. ev [jmvgt.oXio o'xta.
XXII. "AXXov tp'otov, jct.X. Plut. De Antic. Mult. c. 5. Bergk
xpozov for xpo^og.
XXIII. not/.iXXsxat [jlsv, /..x.X. Demetr. De Eloc. 164. One is reminded
of Pindar's Dithyramb {Frag. VI. 1. 16), tots PccXXetou, tot' It:' a;j.[BpoTav
•/s'paov spaxai | "cov ©o^at, x.t.X.
XXIV. ou [j.r]v -ot£ Clem. Al. Strom, vi. 796. Bergk t.qxz for t:ox'
av, 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. Dion. Hal. De Comp. Verb. c. 17.
For the Bacchic metre, cf. Aesch. Prom. 115.
Ti? a/w', t'-Z oojj.a ^poas'^Ta [J.' doayyvj; ;
XXVI. Mtas'to x.x. 1. Plut. Quaest. Symp. I. Proem, and Lucian,
Sympos. c. 3.
XXVII. Tov 'EXXaoo? ayaO-s'a?, x.x.X. This, we are told by Douris
ap. Plut. Vit. Lysand. 18, was the first instance among the Greeks
of an adulator)' apotheosis of a living man ; Trpwxov jjIv yap ' EXXr]vwv
ixsivto pupu; at tzoXzic, avsTcrjiav 10; O'cto xa\ 9-uaia; E^uaav, v.q 7iptoT0V ol
Trcu&ves (cf. on Miscel. VI.), fod-r^a.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.
XXVIII. 'Q$ ot fiiytoroi x.t.X. Quoted by Athen. vi. 253 c with. a
full account from Demochares of the adulation heaped upon Demetrius
at Athens. For the circumstances leading to his triumphal reception
on this occasion, see Grote, vol. xii. p. 205 seq. (cf. p. 197). The date
of this occurrence, as indicated partly by the references to the
Aetolians, and to the Eleusinian Mysteries, was 302 B.C. in the month
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
MISCELLANEOUS AND ANONYMOUS 405
Athens. It is not only against foreign potentates that the Athenians
avow themselves incapable of self-defence, but even against the incur-
sions of the Aetolians,' etc. It is at least satisfactory to read that the
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.
1. 1. '{2?. Either we have not the beginning of the song, which is
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.
1. 7. tXapd; . . . xat xaXd; ; in this description flattery was in
accordance with fact, judging from the testimony of Plut. Vit. Demetr.
c. 24. Indeed his lively disposition led him to excesses which it
required a stretch even of Athenian reverence to condone. Cf. Grote,
vol. xii. p. 207.
1 9. asj-Lvo? 08-1, x.t.X. The text as it stands is only just translatable,
' where he shines forth in majesty, his friends all around him, and
himself in their midst, like as if his friends were the stars and he the
sun '.
A majority of MSS. give aqj.vdv, and Bergk adopts the reading of
Meineke and Mehlhorn as|j.vdv xi oatvsO-'. He has also changed 6'jj.chos
to S[j.oiov. Oi cptXoi probably refers to Demetrius' personal retinue of
flatterers, Athen. 253, mentioning that the Athenians, oc twv xoXaxwv
xdXa/.Ec, paid divine honours to these also.
1. 13. 7:a1 noasiotovo?, alluding probably to his maritime power;
xa<ppo8iT7]s, a compliment to his beauty.
1. 15 seq. This passage, with its curious mixture of outspoken
blasphemy and fulsome idolatry, reveals to us how entirely the old
religion had by this time lost its hold on the Athenians. We may
•compare Philos. Apollon. i. 15 (on Emperor cult) : tot? pacjiXetot;
avooaaiv, oi xai Aid; xou ev 'OXu[j.ria cpo[jSpwxspoi tote /.at aauXtoTEpoi -qrsixv,
and Ovid's Trist. III. i. 35, and 11. 77-8.
1. 18. Cf. Hor. 3 Od.v. 2 : 'Praesens divus habebitur | Augustus.'
1. 25. AhwXov (v. 1. 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.
1. 31. x.dXajov Toupe, for s/dXaaov.
4 o6 GREEK LYRIC POETS
1. 34. smvov, Schweighauser for a-s(vov, -£tvr[v, etc., as if there were
some legend of the Sphinx being transformed to a finch. Meineke
a-'!Xov, a rock.
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. I have conjectured [j.sya),3toxaxav 'most glorious at keeping
oaths ', for the corrupt [j-cyodsuxxoxaxav. Bergk reads |j.syaAauyoxaxav,
but a depreciatory sense attaches itself to this word.
XXX. Ode to Rome.
Stob. Flor. vii. 13. MsXivvou? Acadia? si; Pio;j.r i v. It is presumed by
some that Melinno, a poetess of Epizephyrian Locri, is meant, who
is 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
Pyrrhus who had occupied the city {v. Li v. ix. 16) : or else the
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
too genuine for mere flattery. It is, therefore, I think, far better to
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 Ode : see p. 154 sea.
1. 1. •9-uyaxTjp "Aprjo;, particularly applicable to ' Mavortia Roma'.
"ApTjos, Epic, the Lesbian form would be rather "Apsuo;, v. Meister.
p. 156.
1. 2. ypucjEO[j.ixpa, the third syllable should be long, and Welcker
compares oiXo[j.;j.sior^ : but in the latter case the [ip is no doubt
due to the lost consonant seen in our ' ^mile ', while ypu?sop.[.uxpa
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 liquid. Many of these cases are accountable for by the
influence of a second consonant subsequently lost ; others are due to
analogy ; but in not a few, notably in the instances of [xs'ya; and
MISCELLANEOUS AND ANONYMOUS 407
[xe'yapov, we can allege no certain reason, etymological or otherwise.
Doubtless then in ypuaEopuxpa the author is endeavouring to copy a
not uncommon Epic practice.
I. 3 vaiet?. Lesbian would be vau'ei? {v. Meister, p. ill, and cf.
Alcaeus Append. 2).
The Roman land is said to be a heaven upon earth. Schneidewin
compares Odyss. vi. 42. Sswv SSo? aa^aXs; atsi.
II. 6-7. appifjxTw, v. Lesb. Dial. p. 84, syoiaa, p. 83.
1. 9. aSeuyXa, Lesbian Dial. p. 83.
1. 10. OTEpva yaicc?, cf. Soph. O. T, 691, axEpvou'you yOovo's, with
Jebb's note ad loc. and Pind. Nem. vii. 33. 7:apa [jiyav 6[j.cpaXov
EupuxoXTrou I jaoXov y-ftovo;.
DITHYRAMBIC POETS
I. (a') Pratitias.
Athen. xiv. 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.
p. 40) ; auXrjTtov v.dx yopsuxwv [.usOo^opiov /axsyovxwv xa? opyrjaxpa?,
ayava/tXEtv xiva? eVi xw xou; auXrjxa; \xr\ auvauXstv xot§ yopot;, xat>a^sp r^v
rcaxotov, aXXa xou? yopou? auvaosiv xot? auXrjxat? ... npaxiva; l[a.cpavt^£i
Sta xouoe xou ux:opy^[jLaxo?. Pratinas emphasises his invective by
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
had become subordinated to the music. The song is called a
hyporchem ; but the distinctions of the various classes of Melic
poetry were now becoming uncertain {v. p. 106) and the dithyrambic
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
the hyporchem.
II. 1, 2. For the alliteration of the dentals, cf. on Sap. xxxi.
I. 2. xtva, Stephanus for v..
II. 4-5. £>o? . . . £>£, i.e. ' I the poet, and not the flute-player,
should take the lead in the worship of Bacchus.'
1. 6. -8-u|jl£vov, 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.
1, 8. /ax. II. PaaiXEiav Bergk, from y.ax£axaa£^i£p£t? (jaaftsia.
4o8 GREEK LYRIC POETS
1. 10. /.w[j.t;> x.x.X. v. p. 8. and cf. Anacr. xxvn. and note on
Bacchyl. I. 5.
1. 12. I have given the MSS. reading, which defies any but purely
conjectural 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
meaning is uncertain.
In <£puvatou it is probable that some such word as $puya is 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, Hartung kolob xov <J>puy' aoXou -oixiXou zvoav r/ovxa.
1. 13. oXscncriaX. ' spittle- wasting ' Emperius and Bergk, foroXoataXov
xaXajjiov, or oXoaiaXoxaXa[Jiov.
I. 14. 3-' u-at Emperius, for d-ur.ix, 'its body fashioned beneath the
borer '.
II. 16-17. Ss^ta? Bamberger, for 8s?(a ; the meaning appears to be
' See ! this is the 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. Awpiov, in the calm Dorian style. Cf. p. 31.
((3') 'A [xev 'A&ava x.x.X.
Athen. xiv. 616 E. o jxe'v xi? scpr) tov MsXavi7;7no7]v xaXto; ev tw Mapsua
oiasupovxa X7jv aoXrjxtx^v EtprjXEvat rap't T7js 'Aib)va; x.x.X.
'A-9-ava, cf. on Scol. IV. 1. 1.
1. 4. oii [j.s Bergk, for e[j.s.
(y) "Ov aoipdv x.x.X.
Athen. xiv. 616 F. TEXs'axrjs xw MEXavt-rfor; avxLxopu<Tad[j.svo; ev 'Apyot.
1. i. seq. 'Which cunning thing (sc. auXo'v), I believe not that the
cunning goddess, bright Athene, amid the mountain thickets took and
cast the instrument again from her hands, fearing to deform her
countenance.' "Opyavov, if the text be correct, resumes the object
already expressed in ov. Schweighauser plausibly suggests ?v oo^ov,
i.e. unum omnium, etc. Bergk reads opyavwv dep. on a'ia/o? ; but the
flute is 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
as the 'basis ', v. p. 38.
1. 5. yopoiTur.oi, suggested in Liddell and Scott, cf. Pind. Frag. 57
(Bdckh). 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
DITHYRAMBIC POETS 409
singing, for which the flute was particularly adapted. Two more
verses after 1. 1 1 are added by Athenaeus, but they are in a hope-
lessly corrupt condition.
(<$') fj <£pu'ya x.x.X.
Athen. xiv. 617 B. 6 TsXe'<ro]s ev xoj 'ActxXtjziw.
The Phrygian 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 . . .
voji.ov : cf. Plut. de Mas. c. xv. "oXuprov . . . £r.v/.rfizi<jv auX^aat AuSiari.
The text however is too uncertain for any definite conclusions.
Auoov o? Huschke, for auoovo; ; apjxoas Schmidt, for 7j'poas ; vdjx. aioXov
o[j.cpa Dobree and Schweighauser, for vo[j.oatoXov dpovai.
(s') OoV. aoio x.x.X. Athen. iii. 122 D.
1. 1. I have put aoio 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. 2. acrjj.aTa Schneidewin, for a[i.a, Bergk [j.aXa.
I. 4. xd -aXai Meineke, for to 7:aXaidv.
II. (a) IlavTE? o' aTCEaxu'yEov x.x.X.
Quoted by Athen. x. 429 B to illustrate the power of wine.
1. 3. Hartung's reading for ouv araXau'ovxo. There is not much sense
in Bergk's xo v t [jlev olt:' wv oXovto.
(b) KXu9i [xot x.t.X. Clem. Al. Strom, v. 716.
The language of these lines is a little remarkable, and is the out-
come of those higher religious sentiments which were beginning to
gain ground at the time among the cultivated. Cf. Introductory
remarks on Pindar's Threni, p. 413.
III. (a') ■9'eo?, &zos x.x.X.
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.
1. 2. V(i)[xa <?ps'va, cf. Od. xiii. 225. Aikv ev\ axrjO-Eaat vo'ov ^oXuxspoEa
vto[j.(ov.
1. 3. Added by Didymus Alexan. de Trinit. iii. 2, p. 320. Com-
pare Simon. XI.
(jj') Kaxa oaijjiova x.x.X.
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 Saffi. x. xu'/_. -avxa XEXstxai.
IV. (a') IlaXXaoa TZEpai'-oX'.v x.x.X.
Quoted by the Scholia on Arist. Clouds 967, "H IlaXXaoa -spaE-oXiv
410 GREEK LYRIC POETS
Savav rj TrjXETOpov xt pdapia. The passage is given in one of the
Scholia almost exactly as it appears in the text. Other Scholia give
a somewhat different version, and it is mentioned that some con-
sidered the lines to be from Phrynichus. Thirdly, in Schol. Aristid.
T. iii. 537, similar words are attributed to Stesichorus ; so that we
may 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
form proper to the early hymnal style.
1. 3. oa[j.acji^^ov. Bergk quotes from Et. M. 474. 30. 'ijntia*
ExX7]xh r j outtos 7) 'AS^va, lr.i\. £x ir[c, y.E^aX^c, xou Aid? [xzQ-' 'imzwv avvjXaro, 105
6 etc' aux% u[j.vo$ o7]Xot . . . and he thinks that the hymn there men-
tioned is perhaps the ancient one imitated by Stesichorus, Phrynichus,
and Lamprocles.
(P') a'lTE TCOTavaT? x.x.X. Athen. xi. 491 C.
Ks1<j9-e, Bergk and Meineke veI^Oe.
V. At7:apo'[j.[j.aTE pia-sp x.x.X. Sext. Emp. xi. 49, 556 (Bekker).
See Miscellaneous Passages, No. v. and notes. Compare also
Scol. IX.
1. 2. 'AtioXXwvos as the god of healing.
1. 3. Bergk has improved the metre by reading '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,
the sense requires asS-Ev /m? 1 '? to be included in the same sentence
with the words T(? yap . . . ap/as.
iaooa'![j.ovo; . . . apya;, cf. Eur. Troad. 1169, x% taoxk'ou xupavv(8o;,
and Eur. Hec. 356, where Polyxena describes herself, when a princess
of Troy, as \?r\ S-Eotat, Ttkrp to xaxfravElv [jlovov.
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.i£s, which gives a harsh
metre. Schmidt reads oasoiai xoifu£et xo'pag, as the pupils may be said
to sleep 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.
VII. (a') Mup(ai; x.x.X. Stob. Eel. Phys. i. 41. 50, with reference
to the 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 7raya1ai for ;:aya1; (Grotius for raaai?).
((3') Stob. I.e. The passage is of course in imitation of Aesch.
Ag. 1558, wxu^opov I TzdpOp.sujji' a/Etov.
DITH YRAMBIC POETS 411
VIII. '& y.aXkir.poabyjts. Quoted by Athen. xiii. 564 E, with the
remark that the Cyclops, as if with a presentiment of his blindness
(-po[j.avTEuo;j.svo? t^v xucpXwrtv), praises everything in Galatea except her
eyes. Athen. contrasts this 'blind praise' with the lines in Ibycus
in. Cf. above on VI. 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. i. 17. 19.
The Paean was addressed to Apollo, who, however, 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.
1. 2. axxlai Xap, Bergk for Xajj.. a/.x.
1. 3. For the sake of the metre I have altered syO-poi? to i/d-potoiv.
X. v E/sue 0' x.x.X. Athen. xi. 465 C, Tqj.o'9-so? sv KuxXomu.
1. 1. xiaatvov . . . oir.ac, alluding perhaps to the xtffaufiiov, the term
applied to the Cyclops' cup, Od. ix. 346.
1. 4. The florid language is characteristic of the later Dithyrambic
poets. Ba/./iou for Ba/.yoo, as in Soph. Atitig. 154.
XI. (a') KXsivov /..x.X. Quoted by Plut. Vit. Pkilopoetn. c. II. The
line chanced to 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
a' is a further indication ; cf. pp. 7, 266.
(P') Plut. de And. Poet. c. 1 1, 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 in-
sufficient justification (see on Archil, xi. 9). I have, therefore, omitted
81 altogether.
XIII. Ouxoi z.x.X. Chrys. k. a^oipax. c. 10, Cyclops loqidtur.
XIV. Ma/.apto; ^aOa x.x.X. Plut. de Sc Ips. Laud. c. 1, condemning
the bad taste of Timotheus' self-laudation.
Ka[j.tovo; Bergk, for Kap[3wvos, explaining this passage by Pollux iv.
66, /.at 'i'pvviv ok tov Kdfiwvos [J-eXeti noXuxa^Eai . . . xr/p7j<?0ai Xiyouaiv.
XV. "aXXo; o' aXXav /..x.X. Athen. xiv. 637 A, TsXEaxr); ev 'Y(X€Vaia>
8i9upd(j.pa) (see p. 106 note, on the confusion at this later period be-
tween the different classes of Melic poetry).
1. 1. "'aXXo;. Schweighauser remarks that we must suppose that there
are several musicians all playing the magadis, and that we should
rather expect the plural in Eps'th^s, etc. He suggests aXXw;.
'EpEvh^s, ' digitorum pulsu velut titillare ' (Dalecamp).
412 GREEK LYRIC POETS
XVI. IIpw-coi racpa x.x.X. Athen. xiv. 625 F, to prove that the Greeks
learnt the Lydian and Phrygian harmonies from the Lydians and
Phrygians who, as he says, accompanied Pelops to the Peloponnese.
XVII. ToS' dvaTi9-T][jLt x.x.X. Athen. xv. 670 E., the speaker being a
goatherd in love. Schweighauser supposes that he is presenting the
gifts to a boy whom he now neglects for a maiden. I think it preferable
to consider that, according to a common custom, the goatherd is
offering up to some deity (aoi) the emblems of his calling, which love
now forces him to abandon. To these he adds the simple rustic
offering of a rose.
1. 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. Cf. Alcaeus XIII.
XVIII. Outs ratoo; appsvo? x.x.X. Athen. xiii. 564 A, from Lyco-
phronides.
Xpuao'fopwv, probably = ypuaora'rXtov, cf. ypuaoTOTiXe xoupa, Anac. V.
1. 7., and Pind. Isth. v. 75 ; or perhaps 'wearing golden ornaments',
cf. Scol. xvi. b. 1. 2.
1. 2. oiixs Porson, for ouos.
1. 3. 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 ^afhjxtxws
will be fully appreciated by any who compare the following passages
with e.g. the 'Danae' of Simonides (No. I.). The latter, by exalting
the incident into the region of mythic ideality (cf. p. 19) affords an
indirect consolation by lending a poetic beauty to the sorrow of the
mourners. Pindar endeavours to transcend the sadness of the occa-
sion 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
PINDAR'S FRAGMENTS 413
philosophical mystics seem to have had much in common ; cf. Hdt.
ii. 81. Total 'Optptxolai xaXeojAEVOiai xa\ Baxyr/.olai, eouat Be AiyuftTtoiai xa\
nuO-ayopstotai. Miiller in his Hist, of Greek Lit. ch. xvi., which should
be read on this subject, points out that, whereas in Homer only the
specially favoured, such as Menelaus, the son-in-law of Zeus, are
admitted to Elysium, while of the rest even the best lead but a joy-
less 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 one rather with Hesiod, accord-
ing to whom all the heroes (oX(3ioi 7Jp w£ s) assemble in the Islands of
the Blest (Whs. 169). See 01. ii. 1. 61 seq. 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
in the mysteries. I see, however, nothing in the text to support the
limitation, with the exception of Frag. v. ; and Plutarch's words in
citing No. II. are expressly against it (jrepl xwv eu'seJjojv ev aoou, and
sucyspwv ywpov). 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
the doctrine of immortality has an universal application. Neverthe-
less Pindar was probably speaking, as usual, for aristocrats only,
and had no notion, to use M. Girard's expression, of 'une vaste cite
divine, facilement accessible a tous.'
I. 'OXpt'a 0' OOTOCVTSS X.T.X.
Plut. Cons, ad Apoll. 1. 35. ev . . . -9-pTjvw r.sp\ Auyjj's Xe'ywv x.t.X.
The 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?
icrciv ozosa iyeptHvTE^ opeojiiev, ox.osa oe euoovte? utxvo; . . . Ka\ to £r)v
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, T£9vrjxap.£v ok tov ixefvwv (3tov. The
well-known lines of Sophocles will also suggest themselves, Ti; o' olosv
zl to ^v \£v eoti xaT8-avstv x.T.X.,and Shelley's Adonais, Stanza xxxix. seq.
1 1. oXpia o' awavxe? aiffa, i.e. aracvces 0! euuspelg, since for others there
is in store the yaXercwv xpiat? (1. 5).
(xETavticjovTai, conjecturally supplied by Bockh.
1. 2. Insxat, ' obeys the call of.
1. 3. aiojvo; eiSojXov ; judging from the context (eu8si os jxpaaaovxcuv
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
purity as divested of its bodily form. Translate perhaps ' the image
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 it and is transformed into a
reality.
1. 4. 7;pa<T<To'vTwv [/eX, when the limbs are in action. For this neuter
4H GREEK LYRIC POETS
use of r.paavtii, Bockh compares Nem. i. 26, irpdaasi yap epyo) ;j.sv aJh'vog
I JjouXalai §k cppr,v.
suSovxeaat, .sr. jxeXsatv, or else av9pwjuois.
I. 5. Tjp^viov /aX. ts xptatv ' award be it of gladness or of sorrow '.
II. Tolai Xaprst, x.t.X. Quoted by Plut. Consol. ad Apoll. c. 35, and
reconstructed by Hermann and Bockh, with but little violence to
the original.
1. 1. ' For them the might of the sun shineth below in our night-
season.' Mkv 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.,
but of an Elysium in Hades (xdxw). In that passage the sun is
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. 2. xpoacrciov (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
were, in which the spirits wander at random. ' Nulli certa domus ;
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
on Thuc. iv. 69 : ' The 7:poacrcaov of a Greek city was not what we
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.'
I. 3. <mapa Hermann, for axupav, cr/.iapov. Xpuasot; -/.apTcol? Bockh,
for ypuaoxaprcotai.
II. 4-5. Cf. Vergil I.e. 11. 642-4, ' Pars in gramineis exercent membra
palaestris,' etc. Euav9^; arc. zi&. oX(jo?, cf. Is. IV. (v.) 12, suavO-fi auv
oX]3a>. Metaphors of this kind from flowers are very common in
Pindar, e.g. £n>a? darrov, ■9-aXXota dpexa, Is. I.e. ; tepov Eu£wa? atotov,
Pyth. IV. 131 ; auiJExat 8' dpsxa, jrXwpats EEpaai? w; ote Ss'vSpsov aaast,
•/..t.X., Nem. VIII. 40.
I. 7. •JHi'a Hermann, for •O-u^axa.
II. 8-9. These lines, which, as far as they go, correspond metrically
to 11. 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 rivers of Hades. With (3Xr)ypo\ . . . x:oTafj.o£,
cf. Hor. 2 Od. xiv. 17, 'visendus ater flumine languido Cocytus';
Aeneid vi. 323, 'Cocyti stagna alta vides, Stygiamque paludem.
BXrj/po; is applied to calm winds in Alcaeus XXVII.
PINDAR'S FRAGMENTS 415
III. '"Joi/ai o' dcjEJJs'wv, x.x.X. Quoted by Clem. Alex. Strom, iv. 640,
22, and attributed to Pindar by Theodoretus. There can however be
little doubt that Dissen is right in rejecting the testimony of the
latter. Pindar would hardly have spoken of the souls of righteous
going to heaven, and not to the Elysium in Hades, or to the Max.dpwv
N^aoi ; nor is he likely to have used such an expression as [xdxapa
[jiyav. The passages mentioned in Fennell's note (from Prof. Sey-
mour) do not materially affect Dissen's argument ; and it is probable
that the poet was of the Jewish or Christian religion.
1. 2. rcwxtovxai, Dissen compares Eumen. 98, where Clytemnestra,
speaking of her existence in Orcus, says a.hyptZ<; dXw[j.ai.
1. 4. vafotaat, Lesb. Dial. p. 83.
1. 5. aEioovx(t), Bockh for dsiooua(i), v. Dor. Dial. p. 95.
IV. Olsi SI 4>cp7s»ova, x.x.X. Quoted by Plat. Metio, 81 B, in con-
nection with his doctrine of avd^vrjat?. Pindar is supposed to derive
his notions of transmigration from the Pythagoreans or from the
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-
tary homicide. But ravS-so? simply as an euphemism for sin is not
inappropriate to the context, where emphasis is laid on the penance ;
and the number nine may very likely have some connection with Pytha-
gorean mysticism (cf. the employment of its factor xp£s in a similar
passage, 01. II. 68) ; finally, why should Pindar say that the souls of
kings and heroes issue from the souls of those who have atoned for
involuntary homicide ?
1. 1. oiat, 'at whose hands ', cf. Pyth. IV. 22, Shoj . . . ?avta . . . oE?axo.
mxXaiou r.bt. cf. Aen. vi. 739, ' veterumque malorum | supplicia
expendunt'.
1. 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. 3. J/uyas Bockh, for Auyav.
1. 5. 7jptoEs has its penultimate short as in ^'pwa? dvxi9-Eou?. P. I. 53.
V. "oXp\o? oaxi?, x.x.X. Clem. Alex. Strom, iii. 518. Ilivoapo; rapt xwv
£v 'eXeuto/i [xuaxrjpiojv. A dirge 'On an Athenian who had been initi-
ated 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
at all.
I. 1. KotXav, for /.oiva, Heins and Bockh.
II. 2-3. oToe ... p. xsXsuxdv. This expression supports the view that
those initiated in the Eleusinian mysteries were introduced to certain
esoteric doctrines with regard to a future life (cf. above, Introd. to
Threnoi).
416 GREEK LYRIC POETS
VI. "Ioete ev yopov, x.x.X. Quoted by Dionys. Hal. de Comp. Verb.
c. 22, as exhibiting the quality of to dpya'tV.ov . . . xai auatrjpov, and
not to Ssatpixov -/.at yXacpupov xdXXo;, Pindar being the representa-
tive that he selects in poetry of the auat^pa dp[v.ovi'a, and Thucydides
in prose.
The song was apparently composed for the Great Dionysia at
Athens, celebrated in the month Elaphebolion (part of March and
April) ; and in date is subsequent to the Persian wars (v. on 1. 5).
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, degene-
rated 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
ei;, e?, was a later form adopted by most dialects ; but Boeotian,
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 ',
'laetitia'. I 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
justify so bold a translation. Bergk interprets the line rather strangely,
' non i7twrc'[MreTe yapiv 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.
Journ. vol. iii.
1. 3. o^oaXov. Dissen, with much plausibility, urges that by this is
meant the Altar of the Twelve Gods in the 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,
'multum frequentata a diis ' (Dissen).
I. 5. raxvoaioaXov . . . 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 is uncertain ; eaptopoxwv Bergk, Bockh
Xot(3av, for Xoipdv. Tav t' sap. Xoipldv, ' drink-offerings of spring-
gathered herbs ' (Myers). Bergk reads ais^dvwv xwv Eapioporctov
ct[j.oi[5dv Aiofl-Ev /..T.X., explaining djxoiPav as ya'piv, ' in return for the
garlands offered to you.'
PINDAR'S FRAGMENTS 417
For AioO-ev, which Bergk explains as oupavod-sv, ' look down on me
from heaven', see below on I. 13.
I. 8. 7;opsu9'EVT' £5 aotoav Hermann, for TTOpeuSwres dotoav, it. aotoat?,
jc. aotoai. Bockh reads auv dyXda lo. Tcopsu^evx' aotoa.
Ssu'xepov. Fennell suggests that the first occasion may have been
that with which Frag. xiv. is connected.
II. 11-12. [j.eX7T£[j.ev . . EfxoXov, 'I came to sing', so Bockh for
[).ikT;o\t.Ev, x.x.X. naxsptov . . . yuvatxwv, plural for singular referring
to Zeus and Semele respectively. Cf. Isth. vn. (vill.) 36, Aios 7:ap'
aosXcpsotat, i.e. 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.
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
. . . 7Top£u8c'vT' . . . ItzX xiaa. 0-eov, i.e. 'journeying from Nemea (where
Zeus was the presiding deity) to the Dionysia at Athens.' The
mention of Nemea, or some place where the poet has last been stay-
ing, is natural enough after ejjloXov in 1. 12, although Bergk renders it
probable that Bockh and others are wrong in placing the Nemean
games 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 nopsu^evTa
and ejjloXov is simply identifying himself with his song.
<E>otvtxosavwv, 'bright-robed', H. A. Koch from <poiW.os savwv
©oivwoaawv. The usual reading is <poivixo$ spvos, which Bockh explains
by the fact that the victor at the Nemean games 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
Xavfravsi is implied in or.oxz x.t.X. ' In Argive Nemea the bard over-
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- 1 1 :
' Simul ac species patefacta est verna diei
Et reserata viget genitabilis aura Favoni.'
J ebb, in his article on Pindar already referred to, suggests that
many of Pindar's epithets may refer to well-known contemporary
pictures or other works of art, e.g. cpoivr/.oxrE^av . . . Aajj.orcpa {01. vi.
94). The same might well be conjectured of the epithet {poivwoeavtov
as applied to 'flpav.
2 D
418 GREEK LYRIC POETS
ETcattoatv, the plural verb with a neuter plural subject is not uncom-
mon in Pindar, cf. Pyth. i. 13, 01. ii. 91, 01. ix. 89.
Bergk's version of 11. 13-15 is as follows: svapys' avs'fjiwv [ucvttJ'i? ou
XavS-avsi, I cpotvtxosaviov or:. 0?/. 'flp. &<xk. | suoo. E7:aywaiv sap" ouxa vsxxapsa
I xoxe x.x.X.
1. 16. (JaXXexai, a good instance of the ' Schema Pindaricum ,' cf.
aysixai below. Matthiae, Gr. Gr. sec. 303, remarks that in most
instances there is a singular noun or a neuter plural forming part of
the subject, as in //. xvii. 387, xxiii. 380, and Pind. 01. x. 5-6. In this
passage, however, as in Pyth. x. 71, xstrai . . . xu[3spvacriss, such an ex-
planation does not hold good. In both, as in most other instances,
the verb precedes its subject, and, in the words of Professor Gilder-
sleeve {Introduction to Pindar, p. lxxxviii.), we have ' not so much a
want of concord, as an afterthought '.
1. 17. 'iwv <po|3ai, referring to the violet garlands worn at the Dionysia,
cf. toTrs'oavoi in Frag. XIV.
1. 18. aystxai, for the middle = vj/st, cf. Oed. Col. 1500, where, how-
ever, Jebb takes the verb to be in the passive. Bergk ays! x' ojj.cpca
x.x.X. AuXots, the usual Bacchic instrument, cf. p. 37.
VII. 'Axx\; 'AeXiou x.x.X. Dionys. Hal. De adm. vi die. Demosth.
c. 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
P.M., just falling short of a total eclipse. The fragment is assumed
by Bockh to be from a hyporchem, both on account of its metrical
nature and from the words of Dionys., who is speaking of ' Dithy-
rambs 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. ix. More special reference may have been made
in the course of the poem to Apollo as aX^ixaxog, or the like.
1. 1. 'Axxl; 'AsX., cf. Antig. 1. 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.
53 we find the words paraphrased thus — xr,v axxtva . . . sivat xwv ejjlojv
098-aXpwv [oixpa ; hence Bockh reads e^at? ah'at? jj-sxp' 6;j.[j.axwv, which
he interprets ' visui meo mensura rerum adspectabilium,' regarding
o|i.(j.axa as = 9sa[j.axa, for which he compares Soph. El. 903, and Plat.
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
pjxs'pa. See Bergk for many other conjectures ; his own reading is
xt 7:oXuaxo7T:' epLrJaao, Sotov p.ax£p 6[ji[j.axtov ;
1. 2. aaxpov, of the sun, cf. 01. I. 6 ; and Aesch., Sept. contr. Th. 390,
calls the full moon 7:p:'aPiaxov aaxpwv.
PINDAR'S FRAGMENTS 419
I. 3. 'Made useless unto men the wings of their strength' (Myers).
Similarly Lid. and Scott, ' soaring, aspiring strength.' But why not
'transient, fleeting', as in Eur. Frag. 273, -xrjva? — sX^ioa; ? This
quality is constantly associated with the attribute of wings, as in the
instances of Victory, Fortune, and Love.
1. 4. uocpta;, ' especially augury and foreknowledge ' (Fennell).
Corrected by Hermann and Schneider from stcicjxotxxev dx. Eaaafjiva.
1. 5. eXau'vstv, cf. Nem. III. 74 ; s'Xa os xai XEaaapa? dpsxa; | d [j.axpo;
atwv. Ti vsu-cspov 'some strange thing' (Myers) ; a familiar euphem-
ism, cf. Pyth. iv. 155 ; and Soph. Phil. 1229, etc.
I. 6. I have slightly altered Hermann's '0:71:01; fl-oats, MSS. '(r.r.o<; Q-oa;.
II. 7-8. xpdraiio, MSS. xpoTroio. The use of the middle xpsxropiat in an
active sense is doubtful, and some editors therefore read xpdrroc;.
1. 9. 0' el aaj-ia Hermann, for Si? d;j.a. I have partly followed Bergk's
inversion of the order of the words in this sentence, axdsiv ou. occur-
ring in the MSS. most inappropriately between vicssxou ad-. u~. and r t
"GVXOU XEV. x.x.X.
1. 13. oispov Scaliger, for tspov.
1. 14. xaxaxXuaaiia, Lcsb. Dial. p. 83.
I. 15. 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. (a') Xatp u •9'£oo[j.axa, x.x.X.
II. 1-5. Philo De Corrupt. Mundi, p. 961 (ed. Francof.) ; the rest by
Strabo x. p. 742 B, 743 A. It is a Prosodion, or rather ' Processional
Paean ' (r:aidv jrpoaoStaxds), sung by worshippers approaching Delos,
of the kind mentioned by the Schol. Isth. 1. ad init.
1. 2. epvo?, further explained by t:ovxou Q-u'yaxsp (1. 3).
I. 3. dxivijirov. In Hdt. vi. 98, we are told that Delos was first dis-
turbed by an earthquake in 490 B.C. in accordance with an oracle
xivrjaw xa\ ArJXov axtvTjxdv rsp souaav. Thucyd. ii. 8, speaking of the
Peloponnesian War, says, A7JX0? Ixivij&T] dXtyov 7xpo xou'xwv, rcpoxspov
ou7tto oeiO'9-siCTa, da>' ou eXX7]ve; [jiu.vr]vxai. Klein endeavours to recon-
cile the discrepancy by supposing that Hdt. ante-dates, and Thucyd.
post-dates, the same occurrence. We may either assume that Pindar
wrote before the earthquake, whatever its date, or take dxtv^xov simply
as opposed to xo-dpoi#-£ cpopr,xd below.
II. 4-5. AdXov 'Far-seen'; dsxpov, the ancient name being Asteria.
Dissen remarks that primitive names are constantly ascribed, especi-
ally in Epic poetry, to the gods (cf. Odyss. x. 305 ; MwXu o; [juv
xaXsouai 0-eoi, and //. xiv. 291 ; //. i. 403).
Antistr. 1. 4, Koioysvris, Porson's correction from xdl 6 ys'vo?,
xatvoyEvr];. Cf. Apoll. 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.
420 GREEK LYRIC POETS
1. 5. impa vtv Porson, for imfiaivav.
3^ ™ TS ) x.t.X ' Then verily from foundations deep in the earth
there shot up four straight pillars, shod in adamant, and held up the
rocky isle on their capitals.' npfp-viov Hermann, for xpujj.vwv.
1. 8. ir.6'ba.xo yevvav, 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.
(P') Tlpoi 'OXupciou, x.t.X. Aristid. T. II. p. 379. Bockh concludes
that the passage is from a Prosodion on approaching Delphi, and
apparently the poet himself took part in it.
ywpio. Donaldson thinks that this refers to the dancing-place at
Delphi, where the choral odes were performed.
IIt£pJ3wv 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.avK£7]xai. In Plat. Phaedr. 262, Mouawv jcpocpifxai is used of grasshop-
pers ; cf. on Alcaeus, II. 1. 3.
SCOLIA.
For Pindar's Scolia, see Bockh, vol. iii. p. 607 ; Bergk, Poet. Lyr.
Gr. vol. i. 371 ; and Engelbrecht De Scol. Poesi, ad fin. It is doubt-
ful 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
supojjLsvov axoXiou. Their peculiarity was that they were choral, thereby
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,
were short, and the metrical system was in the simple Dorian style.
There are several fragments which seem to be referable to the 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
spwxwd;. It is only in these fragments that this feature in his char-
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 ;
i.e. ' the beauty of Th. makes me forget what becomes old age '. Mev
Heyne, for p.s.
II. 2, 3,4. Quoted elsewhere also by Athen. 564, with the expression
o pieyaXocpwvdxaxo; nlvoapo;. In this passage Ath. gives oaawv instead
PINDAR'S FRAGMENTS 421
of jupoffwjrou, which occurs in Ath. 601 c, and which is less poetical.
Hermann restores the metre by the insertion of xi;.
Map[jtapi£oi<ia; (Lesb. Dial. p. 83). Dissen compares the op.p.axa
[i.ap;i.atpovxa of Venus, //. iii. 397.
1. 4. [xil. xapS. Dissen, who compares Soph. Aj. 955, xeXaivwroxv
ih)[j.6v of Ulysses, regards the epithet as implying not dulness of heart,
but villany or brutality. If so, Pindar is regarding vice as the natural
associate of insensibility, just as Shakespeare does in the passage :
'The man that has not music in his soul,' etc. But I think that
the force of pisXouvav is explained rather by 'iu/oa 0X071, i.e. 'The
dark metal of his heart has never been heated to a red glow '. Or
possibly 'black' in this connection signifies 'turbid', 'brooding',
compare 7iop<pupw, xaXyaivw, perhaps from the notion of the black
and turbid surface of a pool.
I. 6. 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.
yuv. 9-p. x.x.X. Fennell suggests that frpaasi is a ' Pindaric ' dative
after frspa-cuwv, ' an attendant on shameless 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. 8-9. ' But I by her power (Aphrodite's) melt away like the wax
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 xa; (-oikiva;) -/.r]po; w; | Aayd-iiz eXairjpdv p.sXiaaav (the
honeyed bees). With xaso' i'xaxt cf. Alcman xvi., Ku-pwo; Fxaxi. The
epithet Upo? is applied by Pindar to bees in Frag. 129 (Bockh), xat;
ispofidi [xsXiacjai; x;'p-orj.ai., and Bockh explains it from the fact that
bees were closely connected with the worship of Ceres and Proser-
pine. Demeter and Artemis were both called MsXtacra, and the
priestesses at Delphi MjXickjou (v. Liddell and Scott) ; and there seems
to have been a special connection between bees or honey and pro-
phecy. See Pind. Of. vi. 47, and Horn. Hymn to Mercury 556 seq.
Krjpo; ozydziz Tax is, however, a doubtful expression, though oayfhl; in
the sense of ' love-smitten ' is not uncommon : cf. Eur. P/ioe?i. 303,
Hipp. 1303. With the whole passage Cookesley compares Ov. Met.
iii. 487 seq. :
. . . ' ut intabescere flavae
Igne levi cerae . . .
... sic attenuatus amore
Liquitur, et caeco paulatim carpitur igni '.
1. 10. Hartung is in favour of omitting the words uiov 'Ayrja., and
indeed it is perhaps somewhat unnatural to say ' In Tenedos Per-
suasion and charm dwell in the son of Ages', as if Persuasion, like
yapt?, were a personal quality of his. It is not unlikely that utov is
422 GREEK LYRIC POETS
overned by a verb not preserved, so that 1. 10 would be simply ' In
Tenedos Persuasion dwells'. For Peitho, see on Sappho I. 18.
&
X. Avix' dv9-pionwv x.t.X.
Quoted by Athen. xi. 782, in illustration of the inspiring influence
of wine. Compare the veiy similar passage from Bacchylides II.
and note. From the nature of the subject I have placed this frag-
ment under the heading of ' Scolia'.
I. 3. "era Hermann, for Taa. Bergk, who objects to "sa as an adverb
in Pindar, reads "c'aa.
II. 4-5. Dissen thinks that the gap indicated after ^Xoute'ovte? by
Athen. (six 5 E7:dy£i) is a small one. Transl. 'And the rich grow
(wealthier still), their senses mastered by the vine-shaft '.
XI. Bockh thinks that these three passages, only the first of
which 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
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;,
To'aiv !oap[J.o£ou, iwv xsv xat o^-iov I'ktjch.
ETraivTjaai? {Lesb. Dial. p. 83), 'assenting to', cf. 77. xviii. 312 :
"E/.xopi [J.£v yap ir.r^r^av x.ax.a [j.7]tioojvti.
(p'). Mr; r:pos a-avra? x.x.X.
Clem. Al. Strom. I. 345. 11.
1. 1. avapp^ai, 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).
For the expression cf. Ar. Knights 626, IXaatPpovx' avappr]?a; en*},
and 'rumpitque hanc pectore vocem', Acn. iii. 246. 'Aypslov Bockh,
for dpyatov, the correction being supported by the words St' ouSsv
yp7iat[a.ov quoted by Clem. Al. in illustration of this passage. 'AypElov
appears to be an example of [xstwai?, ' useless ', i.e. ' harmful ', ' irritat-
ing', unless «./. Xoyov signifies rather 'unseasonable exhortation or
admonition '.
1. 2. raat. tiiy. 600? 'Silence is the safest course'. Sylburg for cm
-iGzoid.xa.ic, aiya? 65o1?. Cf. Simon, xiv. C and Nem. v. 15— oifcoi
a'^aoa xspSuov | maivoicra 7:poato-ov dXd frsi' axpex.r\<; | xai to aiyav rcoXXaxi?
i<rc\ ao'-pcoTaiov dv!)-pu>~o} vorjaai.
6 /.pa-rtaxEuwv Xoy. ' overbearing language '.
P I N D A R'S FRAGMENTS 423
(y') 'AXXoxpiotai x.x.X.
Stob. Flor cix.i. IIivoocpou "Y(i.vwv according to one MS.
Bockh attaches these lines to Frag, [i' so as to form one con-
tinuous passage. The transition, however, would be abrupt both in
language and sentiment.
11. 1-2. Cf. Pyth. iii. 84, xa xaXa tpeJ/avxes s£w.
1. 4. axX. xax. Bockh, for axXrjXTjxcxa;, axXrjxrjxdxa. Bergk axa, from
a MS. ax7].
XII. (a) Tt o' eXtceoi x.x.X.
Stob. Eel. Phys. ii. 18. Iltvoapou IlaiaVov. and Clem. Al. Strom.
v. 726.
Bockh I'[j.[j.£vat, ipeuvdaei, for sivat, s'psuvaaat. For the signification
of eX^sou, cf. Nem. vii. 20.
To the 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; apyav x.x.X.
Eftist. Soer. I., from a hyporchem, of which the Cretic rhythm in
the lines is characteristic.
ev = e;, see on Pind. VI. 1. 1.
(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. XI., note.
(o') 0eo<; 6 xa -avxa xsuywv x.x.X.
Didymus Alex. De Trin. iii. 1, p. 320, and Clem. Al. Strom, v. 726.
For yapiv, see on vi. 2.
(e') Kitvoi yap x.x.X. Plat, de Sitperst. c. 6. 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. ii. 509.
1. 1. Xpuasa, an epithet often used by Pindar for 'splendid',
'glorious', cf. ypuasa iXaia 01. X. 13, ypuaij 3a<pv7) 01. X. 40, uyfsiav
ypuasav Pyth. III. 73, ypuaEaiatv fmrai? {Frag. VI. Bockh). Kpr^l?, a
favourite architectural epithet in Pindar {v. Jebb, I.e.), cf. xprjriioa
aocpwv exewv Pyth. IV. 138, xprjri; dotoav Pyth. VII. 3, cpasvvdv xpTjrftS'
EXsuO-spia; /^r^. 196 (Bockh). Bockh points out that the word stands
not for the foundations below the ground, but for the whole basement
(cf. Pausan. vi. 19. 1). Thus 7:otxi'X. xo<x[j.ov = the 'beautifully-wrought
superstructure '. Bergk's alteration to rcotxiXwv is unnecessary.
I. 2. eta x£tyt£«[j.£v, which has the authority of one MS., is far more
spirited than 01a xEiyt^ojxsv.
II. 4-5. 8-ewv xai xax' avft-pwrtov ayuia? may be regarded as a case of
424 GREEK LYRIC POETS
zeugma. The poet is speaking of ' Thebe ' as a goddess, and not
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. Schol. Arist. Achat'. 673, rcapa xa ex xwv Ilivoapou Sifru-
pa[j.[3tov, Schol. Nub. 299, Schol. Aristid. i. 319. Cf. Ar. Knights 1329,
where the line is parodied. From these and a score of other
references to the passage (v. 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 compli-
ments 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 made him Proxenus, and gave him 10,000 drachmae.
1. 1. toaxsWvoi, cf. vi. 1. 6 and note.
i. 2. W. Christ scans without anacrusis - uw = I ^ H equivalent
to a dactyl (j J^).
1. 4. Plut. De Glor. Athen. c. 7, implying that the lines belong to the
same poem as 11. 1-2. They refer to the battle at Artemisium.
XV. "Evfra (xa\) [EouXai. Plut. Vit Lycurg. c. 21. Compare the very
similar passage from Terpander No. I. and note. See pp. 10 1, 22.
1. 1. Plut. Ev3a pouXat yep., but the metre seems to require another
long syllable, and I have inserted xal. Bockh reads evO-a (3ouXai |j.sv.
Motaa, ap'.Tusu'oiatv (Bockh for Mouaa, . . . -ouaiv) Lesb. Dial. p. 83.
ADDITIONAL NOTES
A.
SAPPHO AND ALCAEUS
See Alcaeus XI., Sappho x., and Plate 1. (Frontispiece).
The story of romantic relations between Alcaeus and Sappho rests
on no less authority than that of Aristotle. In Rhet. i. 9. 20 he states
that Alcaeus addressed the line •9-sXw xt s't-rjv x.x.X. to Sappho, and
that the poetess made answer in the stanza Et o' rf/s; s'crXwv /..x.X. The
line 'IoTcXoy.' ayva x.x.X. is quoted separately by Hephaestion from
Alcaeus, but is plausibly enough connected with 1. 2 by Bergk, and
his example is generally followed.
There would have been little hesitation in accepting Aristotle's
statement but for the fact that Anna Comnena, who, however, is
evidently quoting loosely from memory, ascribes the words aXkd. jj.e
ADDITIONAL NOTES 425
xwXusi atStj; to Sappho (w? t:ou cprja-.v r\ y.oCki] Sarcoto) ; and Stephanus
ap. 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 : —
Erre 6 'AXxaio; rjpa xdp7]s nvd?, i] aXXo; xi? 7jpa, -apaysi ouv o(J.w? r\ Sorrow
otaXoyov, xa\ Xs'ysi 6 Iptov xpo; xrjv ip(0[ie'v»)v x.x.X. One of three courses
may be thought satisfactory. Either let us regard Stephanus as
unduly sceptical, and accept Aristotle's testimony, together with
Bergk's addition of the first line 'IotcXox' ayva scx.X. ; or we may urge
that Aristotle, who is not here speaking as a commentator or critic,
adopted a common, though perhaps erroneous tradition ; or, finally,
we may accept, not without boldness, a suggestion that Aristotle
merely wrote sJ-dvxo? xivog, and that xou 'AXxaiou was substituted for
xtvo? by a glossator imbued with the popular tradition. Consult
Museo Italico Antichita Classica, vol. ii. (1886). It is of course pos-
sible to urge that biographical gossip was a priori certain to bring
the great Lesbian poet into connection with the still greater Lesbian
poetess ; and we are put on our guard by the story of Anacreon
making 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
limited society of a Greek city they 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 argu-
ment in support of the tradition from the fact that each writer adopted
the other's favourite metrical style.
The incident implied in the verses became a popular subject in art.
The most famous instance is that of a vase at Munich belonging to
the fifth century, in which Alcaeus and Sappho with their names
inscribed are standing together lyre in hand apparently singing the
one to the other. See Plate I. (Frontispiece), and Millingen Uned.
Momim. i. 33, 34. There is also a terra-cotta in the British Museum,
without names, but conjecturally described as a representation of the
same subject. In neither case is there any direct proof that Alcaeus
is making love to Sappho, though from his expression on the Munich
vase it is certainly probable. All that we can safely affirm is that
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 representa-
tions of Sappho. In one case, see Plate n., Sappho is seated reading
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
The character of Eros in the early lyric poets is worthy of
attention from the fact of its 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
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 in Sappho 132 (Bergk), where he is called a son of
Ge and Uranus.
The wings usually attributed to him both by poets and artists pro-
bably 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).
The 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 a distinguishing mark of the Anacreontea as distinguished from
the genuine fragments of Anacreon.
APPENDIX
ALCMAN
Bergk
1. Vit. Arati ed. Buhle ii. 437. 2
'Eyiovya 5' asicrojxai
£/, Aio? ap/0|xsva.
2. Apol. de Pron. 399 B. 3
'T[J.£ T£ Jtai (TCpSTSptO?
3. Priscian rtfe Afc/r. Terent. 251. 4
Kal vao; ayvc<; £U7tupyo) SspaTtva?.
*4. Schol. Apol. Rhod. i. 146. 8
Tw? t£/.£ ol -8-uyaTyjp
rXauxoj [xa>catpa.
5. HEROD, -apt ayrjjj.. 61. 9
KacTtop ts 7tojawv co^ecov &[/.aT?;p£;, It:— OTai COCpOl,
*6. Hephaest. 3. 10
Kal sajvo? ev GvJkzrjai tcoaaoi? yjp.svo? [v.axap; avvjp.
*7. Apol. d? /V*w. 334 A.
Max.ap; S/tetvo?.
8. lb. 356 B. 17
'E|X£, Aaroi'Sa, teo Sau/vocpopov.
9. Schol. Hom. //. <p. 485. 18
' E^a^iva TOpi S£p[7.a.Ta {bjpoov.
*10. Schol. Hephaest. p. 77. 19
Ou<$£ toj KvajcaAW ouc>£ to! Nup<7u7>a.
430
APPENDIX
Bergk
11. ATHEN. iii. 114^. 20
SoJ)y.y.{a/.o!.c, ts y.al jcptjUava; vcovto;.
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,
Btoxd^ov ts tov (SiaTav,
5 .... T£ TOV JCOpUGTOCV.
Eutei^v] te, /-avastTa t' apr^ov
. . . s<;oyov r,[/.M7i«v
. . . tov aypsTav
. . . {Asyav, EupuTOv te
IO "Apso? av xcopti) xXovov.
'A'Xx.wva te too; apicTco;
. . . xaor.Toasc
34 atkxcxtx. §s
(For lines 35-68, .sw Text.)
Page 3 ... tov ayaty.a,
70 ouSs Tal Navvto? <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
75 xal 7TOT7]vs7rot <£>ikuKka.,
Aajxaydpa t' spaTa te 'Iavfrsaic,
a^l' 'Ayvjci/opa ij.s TVjpsT.
Ou yap a y.xXTaacpupo; crrp. C'
'Ayvjciyopa 7rap' auTSt,
80 'AyiSoi Ss TcapixsvEt,
•B-wrrr/jpta -8-' ay.' STroavst,
aXXa tscv . . . utoi,
ALCMAN
43i
Bergk
Sziy.ad . . .
x.al tsXoc . . .
85 d-KOipi v: owrccv jviv aura
TOxpaevo? [/.octoiv . . .
yXau£" eytov o . . . [/.aAiffTa
avSxvvjv eptlj' ttg'vcov yap
a(/.iv iarcop sysvTO"
90 zE, 'Ayvjaiyopa; Ss veavtoe?
. . . spaxa; srspav. . . ,
13. Arist. ii. 40.
IIolXa>iycov ovu[/.' av^pi, yjvai/.l Si Hotoi^sdpYJa.
14. Apol. rtfe /*;-£»«. 399 B.
2)9ea Ss xpoxl youvaxa ~t~ tco.
15. CYRILLUS a^. Cram. y4;/. Am iv. 1S1. 27.
Tco Ss yuva rayia cr<pea<; ssi^s X.<opac.
16. EUSTATH. //. I IO, 25.
("Apx.Tov 5') sit' apwiTspa X 7 ]?^ ^ tov -
17. Athen. XV. 682 A.
Xpuctov op;/.ov sytov paStvav TCTa/^o&; I'cra xaXyav.
18. SCHOL. HOM. //. -. 236.
Kai 7tot' 'OSuacrvjO? TaXxGi<ppovO(; tuT-afr' sxaiptov
Kip/ca STOxXe£(j;o«7a.
19. AMMON. z/. Ira;.
jcai 7roi>'.i'Xov i>ta, tgv a.p.TtsAwv
6<p&aAf/xov oAST/jpa.
20. Herodian. jtspi [j.ov. Xe'£. 44, 10.
Too 5s s/.o^uvSea /.ax' av Jtappav (/.afito; £~ta(,sv.
21. Schol. Hom. Odyss. y. 171.
Ilap #•' ispov cx-OTislov 7capa ts ^Fupa.
22. Aristid. ii. 509.
EiuaTE (7.01 Ta^e, <pu/\a ppoTy-ca.
23. Hephaest. 40.
TaijTa [j.iv to? av 6 5a[j.o; axa?.
27
30
32
39
4i
43
44
46
47
49
432 APPENDIX
Bergk
24. Apol. de Pron. 324 B. 51
Ou yap sytovya, fixvacua, Aio; -ftuyaxsp.
25. Apol. de Pron. 366 c. 52
ITpo; fts ts Ttov <piAiov.
*26. /A 53
Ts! yap 'AXs^av&po? oaf/.acsv.
*27. /A 54
s yap u.Lo[j.y.i.
28. £"/. M. 622. 44. 55
"Ejqsi [/.' a^oc, to 'as Saty.ov.
29. Apol. de Pron. 403. 56 A
290!'; aSeXfpiosoi?
xapa stal <povov.
30. £7. /%/-. Miller Af/jr. 213. 56 B
Eitto [/.' S' auTS <pai<Wo? Al'a?.
*31. £$wi. Fa. «^. Gaisf. Et. M. p. 327. 57
Mvj^s [/.' aeiSvjv awspuxe.
32. Schol. Hom. //. v. 588. 59
Miocra, Ato? •fruyarsp,
wpaviacpt Aiy' asi<?0(/.ai.
33. Apol. dfe C<?;{/'. Bekk. ^4/^. ii. 490. 61
. . . 'Hpa tov <I>ol ( 8ov ovstpov siSov ;
34. Eustath. CW. 1787,43. 64.
"Ettl TrapsvTiov p/acmv s— i$s<7&ai.
35. Apol. de Pron. 378 a 65
r £lq y.[jM T xaAov [/.saiocov.
36. CHOEROBOSC. Efiimer. i. 94. 68
Aoup! Ss Euctco ;ji|X7]vsv Aia? ai^ara? ts Msp.vwv.
37. Schol. Hom. 77. a. 222. 69
"O? FsOsv toxaoi? t~ ocasv oaif/.ova<; t' doaaaafo.
ALCMAN
433
38. Athen. iv. 140 c.
K^m xa [/.uaoc SpucpyJToa y.rpi\ txX$ <7uvatx.Aiat;.
39. lb.
Aix,Aov 'A^jcjaocwv apjxoEaTO.
40. Herod. Cram. Aft. Ox. i. 159. 30.
'Hcr/ȣ rig GxacpEu; avacawv.
41. Apol. <jfe /Sfrfy. Bekk. Ann. ii. 563.
IIpdG&' 'Atcgaacovo? Aua-qto.
42. £/ /7<?r. Miller Misc. 55.
Naotatv avS-ptoTroiciv at^oisaTatrov.
43. Apol. de Pron. 383 b.
At, yap ap.tv
TO'JTOOV [/.SAOt . . .
'Ap.lv V vTza.u'krpzi f/iXoc.
44. Priscian i. 21.
Kal yetj/.a 7r0p te Sa^iov.
45. Herod. Cram. y?«. (9r. i. 287. 4.
Oijtx? yap ^p a ^w aivco.
46. 7£. 60. 24.
Ae7TTa. &' aTap7roc, vyjAEYji; S' avay>ta.
47. STRABO xii. 580.
<J>puyiov auAvjcsv [xs'ao? Keppr^ctov.
48. Hephaest. 81.
ITepictfov ai, yap 'Atcoaacov 6 Au/.yjoc
'Ivto <7aAaG<70[AsSoic', av octto [/.ac&tov.
49. Hephaest. 66.
"Ex,aTOv usv Ai6<; uiov TaSe Mtoaai >tpoxo7ve7rAOi.
50. £"/. .F/cr. Miller yJ/»<r. p. 206.
Aiyux.opTOv xaAiv ayet.
51. Apol. </<? ^ww. 365 a.
6 yopo? ap-o? seal toI, FavaE.
2 E
Bkrgk
70
71
72
73
74 A
77-8
79
80
81
82
82-3
85 A
85 R
86
4 34 APPENDIX
52. Herod. Cram. An. Ox. i. 418. 8.
' Ottots utco tou ' l-KTzoloyw, xlio$ $' £(iaAAov
OU VUV UTCGTiXVTlOV.
53. Apol. Z?jw. «fc Synt. 212.
Nixo S' 6 /capptov.
54. Athen. iii. 81 f. 9°
Mvjov vj xo&jjxaAov.
55. lb. xiv. 636 F.
MayaStv V a7tofr£<70at.
Bergk
88
89
9i
56. Et. M. 171. 7- 92
TauGia 7raAAa/UU>.
57. lb. 506. 20. 93
Kal Ke'px.upo? ayeiTai.
59. lb. 620. 35. 94
"Ox/.a §7) yuva s'fy v
60. Eustath. //. 1547. 50. 95
Tav Mtocav xaTaOcsi?.
61. Schol. Hom. //. [x. 66. 96
Tiov £v ©£<raaAia yJXetTSt..
62. Eustath. 77. 1147. 1. 97
AaSo? si[/.s'va *aAov.
63. £/. Af. p. 486. 39- 98
KaAAa [j.EAicSo^ivai.
64. Apol. de Pron. 396 c. 99
Ta Fa. xa^ea.
65. Athen. ii. 39 a. 10 °
To v£x.xap sSp.svai.
66. Eustath. <9</. 1618. 23. 10 1 a
'ApTs'pTO? &£pa7rovTa.
67. £/. Flor. Miller iT/w. 291. IDI B
MfiAlGJtOVa TOV a.[7.6p7).
APPENDIX 435
ALCAEUS
Bergk
1. Hephaest. 79. I
'ft 'va£ "Attoaaov, 7rat p.EyaXo) Ato;.
2. Strabo ix. 411. 9
^ftvacrd' 'A&avaa 7roA£y..ao*6'>to;.
a 7rot Kopwvr ; a; i%i 7d<j£o)v
vauw TOxpot&£v ajjwpt (paivetc)
KtopxXico TCOTap.w xap' cfy&ai;, 1
3. APOL. Dysc. de Pron. 358 B. n
"ftcTe #io)v [/.TjosV 'Oaujj-tticov AOaat. aTsp Fe8-£v.
4. Apol. </(? /V^/z. 387 b. 13 A
To yap Oiwv LoTar' uf/.f/.s AayovTtov yspai acpO-irov
av&r^Et.
■"■5. Apol. dV ./V0#. 395 a. 14
To a £pyov ay^aatTO rsa xdpa.
*6. APOL. de Adv. in Bekk. An. ii. 613, 36. 17
. . . Taia? x.al vtcpoEvro? topavw p.£<7ot.
T. Strab. xiv. 661. 22
Aocpov te G£icov Kapi/.ov.
8. Herod. 7rEp\ jaov. lit 10, 25. 26
£/ Flor. Miller ^/*w. 264 (1. 3).
Ou§£ 7TC0 IToCTElSaV
aA[XUp0V £CTTU(pEAlC,£ 7T0VT0V
oiov (toSov) ya? yap 7fiAST«i cr£o>v.
*9. Herod. Cram. An. Ox. iii. 237. 1.
"Ap£o 0V190P0; $a6cn]p.
*10. ChoerobOSC. Epim. i. 210. 29
"Ap£UO? CTp7.Tl0iT£p0t;.
1 The passage as it stands above is mainly conjectural, otherwise
I should have inserted it in the text. In Strabo we have only^Aaar'
'A^ava ajioXe . . . a~o Koipwvta? E7tt5so.iv auw TtapoiO-ev ajxcpi . . . KcopaX'lw
x.x.X.
436 APPENDIX
To yap
"Apeu'i x,aT&av/jv xaXov,
Bergk
30
31
Mi£av S' sv aAAaXoi; v Ap£ua.
*11. Hephaest. 63. 38
Tpi{3o)A£Tsp* 00 yap 'Apx.ao*EGGi At/pa.
12. Plut. Sympos. iii. 1, 3. 42
Koct xa? 7roAAa Tra-SmcTa; x.£<paAa<; xax^Ea-rto p.upov
3Cal 3C0CT T(J3 7T0AIO) CiTTJ&EO;. 1
13. Athen. xi. 481 a. 43
Aaraye? TTOTSOvrai
xuA!.y(vav a7rd Tyjiav.
14. Athen. ii. 39 b. 47
"Aaaotoc p.iv {asakxSeo?, aAAoxa S'
d^UTEpCD Tpt^OAdiV apUTT^fAEVOl.
15. Hephaest. 61. 48 a
KpovioV. (3aaiA7]0? y£vo? Al'av, tov apirrrov
7teo" 'AyjXkzcx..
16. Eustath. a</. Dionys. Per. 306. 48 B
. . . 'A^iaaeu, 6 ya; Sjcu&taai; pio*£t;.
*17. Demetr. TOpl 7iot7][xaTwv, Vol. Hercul. Ox. i. 122. 50
. . . Ao/Uf/.ot S' apwrros E[/.p.Svai
7rcovcov ai Se 5c' ovyjci ^ao\x; tcoI <pp£va; otvo?, au
Si; a-9-Aio;.
Ka.7ro; yap xEcpaXav x.a.Ti<r££i" tov ^dv &af/.a -&u{/,ov
aiTta{/.£vo;
7r£Sa[/.£udp.£vd? t' acra^st" tox' oujceti FavSavEf
7TG) TaV§£, 7T<5.
17. Athen. iii. 85 f. 51
IlETpa; x.al xoAia; &aAa<7(7a; tsjcvov . . .
. . . ix. Se xaiScov ^auvoi; ©psvas, a •9-aAaaaia A£7ra<;.
1 Conjecturally restored from Plutarch's (xeXeuwv) xaxa^eat to jiupov
auTou xata toe? 7toXXa ^afrofaa; xecpaXa? xat xto 7ioXtcJ arr^Eos.
A L C A E U S 437
Bergk
18. Athen. xi. 460 D. 52
'Ex. &£ 7TOT7]piG)V 7U{OV7j$ AtVV0[-/.EV7] 7rapiffSwv.
*19. EtM.($9,$i. 54 a b
Xaips xal xio tocvSe
AsOpO <7U[J.77<i)iH.
20. SCHOL. PlND. 01. x. 15. 58
OuxsV Eyw Auxov
ev Moicoa; aAsyto.
21. Herod. Cram. An. Ox. i. 144-6. 60
"Etctov KuTcpoyev^a; 7ra/\a(/.ai<7tv.
22. /£. 413, 23. 61
Tepsvae avO-o; oirtopa?.
23. 112
'Ex TO'J ^SCpO'X . . . TO^SUOVTE?.
24. -fiVyw. Gad. 162, 31. 64
Kal 7rXeiGT0t? eavactfe Aaoi?.
25. Strabo xiv. 606. 65
IIpcoTa [jiv "AvxavSpo? Asaeywv 7^6X1?.
26. HESYCH. 'Eni7:v3uwv. 66
"H 7TOU GuvayavSptovSa<7^.£vov
CTpaTOV VOW.IGI7.EVOC 7TV£OtC7a.
27. Cram. ^4«. /"ar. iv. 61. 13. 66
Tov yaTavov apxo; say).
28. Harpocr. 175. 15. 68
Tla{y.7rav fV Itu^ciXt', ex. ft' s/\stg cppsva?.
*29. Hephaest. 43. 69
Kai ti? eV EG^axiaiTcv obtst?.
30. Photius 244. 11. 70
Miy&a p.aXeupov.
31. Comment in Arat. a/. Iriart. p. 239. 71
'fls /^oyo; ex 7ry.T£'po)v opwpev.
438 APPENDIX
Bergk
*32. Apol. de Pron. 363 a. 72
'Epiauftp 7raXa^a«7o;j.ai.
33. lb. 388 B. 73
"Ot' accp' a7TOAAU[7.evoi; catoc.
34. lb. 395 a. 74
0'ix.to ts Trip ceo x,al rap' afifAias.
35. £7. vJ/. 290. 47. 75
Elc tcov Suo/'.aiSsx.tov.
36. /& 639- 3 J- 76
Kai y.' ouSev ex, Ssvo; ysvoiTO.
37. Apol. di? /Vtf«. 384 b. 77
Ai Si y£ ap.iAi Zeu? tsXsot] vo7jjxa.
*38. /£. 363 a. 78
. . . Noov S' eauTto
Tiap.Tirav asppsi.
39. Herod. Cram. An. Ox. i. 298. 17. 79
KaTUTCAsW/) vasortv.
40. Apol. ^ Pre;?. 384 B. 80
vfaav.
41. £"/. M. 188. 44. 8l
'Awar7&)i)|JU /.v./mi;' outi yap oi (ptAOt..
42. Eustath. //. 633. 61. 82
NuV S' (abT') OUTO? £7WX.pETSt
xivraaig tov a^' ipa; 7UJ[/.aTOv >iO-ov.
43. Procl. Hesiod. Op. 719. 83
A't /»' £t—/]? xa •ftEASi?, (auTO?) a/.ouaat; x.£
toc x' ou S-eaoi;.
44. Hephaest. 60. 85
Nuftcpat?, Tfflc, Aio; s£ odyio/jto 9atcrt TETuypivat;.
45. HERODIAN. jcepi [-1.0V. Xe?. 27. 7. 86
Ai yap xocaao&sv ea&t) toSe, 901 x7]vo&£v sjAfxevat.
ALCAEUS 439
Bergk
46. Apol. de Pron. 263 B. 87
... 2'' Se crauTti) TO[jia<; ect/].
47. /*. 381 c. 88
MtjS' oviat; toi? TC£Aa<; ap.u.eo)v xapey^v.
48. Schol. HOM. Odyss. <p. 71. 89
OuSs Tt |Auva|A£voc ocaaui to v6v]f/.a.
49. Cram. An. Par. Hi. 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 x£p x,£<paAa? [/.sya?, to AicijAiSa, aC9o;.
52. Hephaest. 90. 94
'Hp' £ti, Aivvoj/ivv], to) TuppaSvja)
Tap[A£va Aap-Trpa xiavT* £v MupciA'^cp ;
53. lb. 15. 95
"E'/t [/.' tkOLGCLC, (XAyEtOV.
54. Apol. dfe Pron. 382 B. 96
OlTIVS? ECTAOt
U[A[/itOV T£ x.al afX(A£ti)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
'Ex! yap ilapo; ovtapov istvyjTai.
57. Paroemiog. t. ii. 765, ed. Goth. 99
IlaAiv a Cc xapopivei.
58. Apol. de Pron. 383 a 100
"A[/.[A£<jIV 77£f>aOpOV.
59. /A 363 B. 1 01
'Alia cauTto ;ASTsya)v a(Ua; xpo? 7Co'giv.
44Q APPENDIX
Bergk.
60. Et. M. 264. 17. 1 02
"Eyw p.Ev ou Sew TaOxa [/.apTupsOvTa?.
61. Harpocrat. 168. 103
Kal 2/tu&focoa? U7roo*Yj(7a(/.svo?.
62. HERODLAN. juep\ [j.ov. Xe?. 36. 1 5. 104
'Arc xaTspwv p.a&o?.
*63. Apol. Dysc. de Pron. 381 c. 105 A b.
ITaTeptov a[/.[/.wv
' Af/.(/.£T£pO)V v.jioiv.
SAPPHO
1. Strabo i. 40. 6
"H as Kuxpo? xal rio^O!; ^ IIavop(/.o?.
2. Apol. dfe /Vtf«. 364 c. 7, 8
3Ca7TlA£l^O) TOt.
3. Apol. de Syn. 291. 13
"Eyto 0*
£ K7,V OT-
-Tto rt? Epaxai.
4. Apol. de Pron. 324 B. 15
"Eywv §' E^aura
touto cruvotSa.
5. 2s£ ^/. 576. 22. lb. 335. 38. 17
. . . Kar' £jaov GraXayp-ov
t6v S' £7ri7rAa^ovT£? ajzoi <pspoisv
xal f/.eAe<Wvai?.
6. Ammon. 23. 18
'Apxtw? {/.' a ^puG07T£^iAXo? Auo);.
7. SCHOL. Apol. Rhod. i. 727. 20
va /jJoi'atGtv.
SAPPHO 441
Bergk
*8. Apol. de Pron. 343 B. 2 1
. . . "Ef/.s&ev S' E^sic&a Xa&av.
*9. lb. 22
"H Ttv' aXXov
((/.aXXov) av&pc)7rtov £[/.e&ev <piX>]<>&a.
*10. £7. M. 485. 45. 23
Kal TTOibjco xal {Aaop.ai.
*11. Apol. de Pron. 379 B. 24
Ou Tt j/.ot ujy.p.E?.
12. /*. 25
"A? QiXsT up.fASc.
13. ATHEN. ii. 54 F. 30
XpUGEWl O SOEplvfrot, £77' ato'viOV £<pU0VT0.
14. lb. xiii. 571 D. 31
Aarco x.al Ntopa p.aXa piv cptXai r<j av sraipai.
*15. Herod. Ksp\ (j.ov. Xs£ 26. 20. 35
"AXXa, p//j p.syaXuvso SaxruXito 7rspi.
16. Julian Epist. xviii. 126
to p.£'X7]p.a TCOp.OV.
17. Apol. dfe Pron. 386 b. 43
"Oia 7ravvu^o? a<7<pi xaTaypsi.
18. Athan. ix. 410 D. 44
XEipop.ax.Tpa Vz /.ayyovwv
xopcpupa . . ,
Kal TauTa piv dmp,a(7Sts,
E7T£p.tj/ axu <3?(oy.aa;
o<3pa Tip.ta y.ayyovoiv.
19. /£. xv. 674 D. 46
KaTOzXan; <j7ro&up.io*a; x
■nrXsV.Tai; ap/rc' a7raXa &Epa.
1 Bergk has U7:o0-o[.u8a;, I presume, by an oversight, since he adopts
Psilosis throughout the Lesbian poets.
442
APPENDIX
20. Zenob. iii. 3.
TsXXw; 7raiSo<piAtoT£pa.
21. Ald. Cornu. Cop. 268 B.
MaXa Svj xȣ/top7jL/.eva?
ropyco?.
22. Athen. xv. 690 e.
23. Herod. mp\ jjlov. Xe'?. 39. 27.
"Eyto ^' £~l [./.aA&ax.av
TuXav (tttoaeco [/.EAea.
*24. lb. 26. 21.
"Afipa Stjuts xapjcjt a-6lx aAAc'p.av.
25. £/. i^/. 822. 39.
Oafct. Svj xoxa A-/]Sav ua>avihvov
7T£7VUX.aS|7.£V0V to'lOV
SUOVJV.
26. 72. 117. 14-
'OcpB-aAfAOt; o£ [j.sAoa; vjx.to; acopo;.
27. Philodem. 7isp\ EUCTcPsta?, p. 42, ed. Gomperz.
XpuacKpavj freparaivav 'AcppoStTa?.
28. Hephaest. 82.
^aTicpoi, ti xav 770Auoa[2ov 'A^poStTav.
29. Attil. Fortun. 359.
IIap»>£vov aS'Jcptovov.
*30. Mar. Plot. p. 266.
H TOV "AotOVlV.
31. Pollux, x. 124.
"EaO-ovt' ic, opavto xop^upiav (s^ovto)
7T£p9£|7.£VOV ^AOCfAUV.
32. Priscian. vi. 92.
'O S' "Apsu? <paic»t x,£v 'Acpaurrov ay/jv fiia.
Bkrgk
47
48
49
5°
55
56
57
57 a
59
61
63
64
66
SAPFHO 443
Bergk
33. Athen. xi. 460 d. 67
. . . IIoAAa S' avaptaty.a 7TOT7]pia
*34. Ald. CV#« Cop. 268 B. 71
"Hptov ££eSioa£' ex, Tuaptov Tav Tavu<7i§poj/.ov.
35. Schol. Ar. T/iesm. 401. 73
. . . Aurap opaiai GTSCpavy]— Id/isuv.
36. Max. Tyr. xxiv. 9. 74
. . . Su ts x.ap.0; 0-epaTrtov "Epo?.
37. Hephaest. 64. 76
Euij.opooTepa MvacrtStx.a ra? araAa? Fupivvto?.
38. lb. 77
'Acaporlpa? ouoaj/.' err', to pavva, ge&ev Tujfotaa.
39. Herod, rapl piov. Xe'£. 39. 27. 81
Kap. asv te TUAav xaG7iroA£to.
40. Hephaest. 85. 82
Aura Ss cu KaAAiOTCa.
41. £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 xai^a jfaipvjv.
44. Hephaest. 69. 87
Za S' £A£c;yp.£v ovap KuTrpoyEvvja.
45. Hephaest. 66. 88
Ti [J.z IlavSiovi; to pavva jfsXiotov.
46. Pollux, vii. 73. 89
. . . *Au.<pl &' ajiipot.; Aacioi; eo /•£ —ux.acrGSv.
444 APPENDIX
Bergk
47. Demetr. de Eloc. 162. 122,123
^pucrto ^pucroTepa.
48. Herod. Cram. An. Ox. i. 71. 19. 96
'Airazp-ftevcx; ecraop.ou.
49. 7#. i. 190. 19. 97
Ato(jo[/.ev, ^<ri 7caT7)p.
50. Hephaest. 102. 100
MEAAtjao? S' iiz' ipipTW /.e^utou 7:po<no7«i>.
51. ApOL. de Conj. in Bekk. An. ii. 490. 102
'Hp' Sti TCap&svia? S7ri(3aAAO[/.ai.
*52. Hephaest. 25. 103
Xaipotaa vu[/.<pa, ^atpsTto %' 6 yaf/.(3po;.
53. DlONYS. de. Comp. Verb. a xxv. 106
Oo yap ^v aTspa rcai?, to ya^-Pps, TOtauT*.
*54. Plotius 266. 107-8
v E(77T£t' 'Tp.^vaov.
fl TOV 'A^OJVtOV.
*55. Herod, rcepi jaov. Xejf. 26. 21. no
"AXAav [y.7j xa^-eGTspav cppeva.
56. Apol. de Pron. 366 A. 1 1 1
c&atvSTod /-bi y.yjvo?. 1
57. Athen. ii. 57 D. 112
'fltoi uoXu Asoxoxepov.
58. Moschopul. Opusc. 86 (ed. Titz). 113
MtJt' StXOt [A£Al p.^TS piAiacra.
59. Schol. Apol. Rhod. i. 1123. 114
Mv; xivvj ^spaSa;.
60. Apol. «fc /Vv?«. 387 a. 115
"07UTai; ap.p.e.
1 See on Sappho II. 1. 1.
SAPPHO 445
Bergk
61. Schol. Arist. Plut. 729. 116
' H[/.itu|3iov CTocXacaov.
62. Apol. de Pron. 396 B. 117
Tov fov xaiSa xaAsi.
STESICHORUS
1. EL M. 544- 54- '
' EpfASia$ (pAoysov [aev sSooxs xal "Apuayov coxsV.
xsxva IIooapya<;.
"Hpa 5e Ha'v&ov xal KuAAapov . .
2. ATHEN. iv. 172 D. 2
Sacay.iSa? ^ov&pov ts xai Eyxpioa;,
aAAa ts 7CS[/.[AaTa xal {/.sai ^Acopov.
3. Athen. iv. 172 E. 3
©ptocxcov [/iv yap t 'A[//piapao:, axovxt, oi vixaasv
MsAsaypo?.
4. Athen. iii. 95 d. 14
axpov ya? uTCVEp&sv.
*5. EUSTATH. 316. 16. 17
narpti)' £[xov avTi9-sov MsXa^TroSa.
*6. Schol. Ar. Pac. 775. 35
Mouca au [/iv . . . [/.st' £;aou
xAeiouca atetov ts yajy-ou; av&ptov te SaiTa?
xal ftaAiai; [/.axapiov.
*7. /£. v. 780. 36
"Otocv TJpos topa xsAa&Jj ysAtScov.
8. Eustath. //. 10. 1. 45
Aeup' aye KaAALOTCta Atysta.
9. Aristid. ii. 572. 46
MeTeijj.t S' dcp' STEpov 7rpootatov.
1 Conjecturally restored by Bergk.
446 APPENDIX
Bergk
10. Zonar. 1338. 47
Maxa? et7tO)v.
11. Athen. iv. 154 F. 48
Autov cs ITuXap.aye 7up«3TOv.
12. Schol. Hom. //. C 507. 49
KoiAcovuywv IVrxcov xpuTavi?, IIoaEiSav.
13. Schol. Ap. Rhod. iii. 106. 53
' Pa-9-ivo'j? S' £7ue7T£j/.TCOv ax,ovTac.
IBYCUS
1. Athen. ix. 388 e. 4
Afa][/.', 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. 10 b
Uo'.y.ika. 6£yyL<x.T<x. y.ca /caAUTCTpa?
TCpova? t' avaAucaf7-Eva.
4. £■/. -Af. 171. 7. 12
u yap a'jciov 7rat; luoeax;.
*5 DlOMED. i. 323 (Keil). 13-14
'EXsva MsvsAal';,
'AA&aia M£A£aypt;
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. 18
Outi xara cr<p£T£pav EsXcWp.
9. /£. p. 32, 25. 19
"Ect9-aov 7cpo^eSey{/ivov £A$cop.
I B Y C U S 447
Bergk
10. Et. M. 542, 51. 20
OuSe Kuapa? 6 M'/j^eiov (jTpa.Tayo's.
11. Herod, k. [xov. Xe'5. 36. 2. • 21
Aapov o aveoi xpovov 7: i ,7T0 fa<psi 7V£7rayto;.
12. SCHOL. PlND. /V«?/«. LI. 22
Ilapa ydpcov
Xiikvov ox.Xsx.tov xaXa^.atTt, {JpoTtov
7rpocT>e Se viv 7ieS' avapt/rav
fy&us? top.c^ayoi ve^.ovto. 1
13. PORPHYR. in Ptolem. Harmon, in Vallis. Opp. T. iii. p. 255. 26
(Tayjx xiv ti; avyjp) "EpiSo; toti p.apyov e/ojv <rro[/.a
avTta o*-/;piv S(/.ol x.opucrcoi.
14. Schol. Ar. Av. 192. 28
IIoTaTai 0*' £v a.XXoTpioo ya£i.
15. Schol. Pind. Ztf/fc. viii. 43. 29
KXaSov 'EvjaXiou.
ANACREON
1. Eusth. Oct i. 542, 47. 5
'AXV to Tpi? X.£X.Op'/]{/.evE
£(JLSpOlY].
2. Schol. Hom. II. y. 219. 7
2u yap rfi Euoiy'
aGTEj/Zp'/j?.
3. Athen. xv. 687 e. 9
. . . Ti Xtajv TOTeat
aupiyywv x.oiXwTspa
TT/j-8-Ea ypwaixsvo; f/.'Jpo> ;
4. £7. Af. 601. 20. 10
'O &' u^yjXa vEvtoyxvo;.
1 Conjecturally restored from — Ilapa 7. XiOtvov tov naXapiai$ (3po-c<ov
rcpdafre viv 7:a15a vr^pttov •/.- X. It relates to Ortygia.
448 APPENDIX
Bergk
5. Et M. 259. 28. 11
IIoAAa S' epiPpofxov
Aslvucov.
6. Schol. Eur. Hec. 361. 12 a
Out' Sjrnv axa7.7jv x.actv.
7. £/. Flor. Miller iT/wc. 208. 12 B
A£UX,l7r7T(i)V £7Tt $iveai.
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 §' ava vvjaov
MeyCcynj, 5i£7roucriv
ipov a(JTU (Nuj7.<pscov).
11. Hephaest. ioi. 22
Sip-aAov eiSov e*v x ? 1 ? wtjxtw zyovnx xaA^v.
12. 7£. 52. 23
'Ex 7TOTapt.ou 'Travsp^o^ai rcavTa <pspou<ra AajjOTpa.
13. Athen. vi. 229 B. 26
Xsipa t' dv ^yavio |3aA£iv.
14. Priscian. vii. 7. 27
"HAlE X.aAAtAap.7T£T7J.
15. Hephaest. 96. 30
Tov [AUpOXOtOV ^p6|J.7jV STpa.TTIV £1 xop-T^aEi.
16. Schol. Pind. Isth. ii. 9. 33
OuS' apyup£7] x.to tot' £Xa.f/.7r£ u£i&co.
17. Attil. Fortun. 359 (ed. Gaisfd.). 34
ElfJM Aapwv £? "Hp7]<;.
A N A C R E O N 449
Bergk
18. SCHOL. HOM. //. to. 278. 35
supetv, fxi£iv oyoiv 7vpd; arTcou?.
19. Schol. Hom. Odyss. jj.. 313. 36
20. Pollux, vii. 172. 37
. . . XrjXivov ayyo; . . .
s^ov xu0-(7.£va<; aypiiov aeAivtov.
21. HESYCH. v. "Epfxa. 38
'Ac7J(/.tov uTOp spp.a.Ttov <popsut/.ai.
22. Apol. afe 5y«/. 238. 40
2s yap <py]
TapyTJXto? i[>.\j.£kiii>c,
oiaxstv.
23 Athen. x. 430 d. 42
Ka&apY) §' ev ksaeP - /] tcsvte xal rp£i£ avaysurO-tov.
24. £7. J/. 713. 26. 52
Sivap.copoi 7roXs{/.iQou<Ti 8upwp(3.
25. Hephaest. 69. 55
Aiovucou ca.OXoa Ba<7<7apiSs:;.
*26. Schol. Aeschyl. Prom. 128. 56
OuS' ai' [j! saerei? [as&uovt ot>ca^' axsAfrslv.
27. Athen. x. 433 f. 57
<f>&7] yap ei ^£vot?, saaov ^£ p.s SupwvTa tciciv.
28. Apol. Sophist. 87. 21. 58
'Arco S' £^£iXeto 8-s<j[/.dv piyav . . .
29. Schol. Eur. Hec. 934. 59
'E/cSuc7a yrrtova &wpia£siv.
30. Ammon. 42, Valck. 60
Kai [/.' £7ufkoTOv icaxa yEirova? 7roiy«T6i?.
31. Schol. Hesiod. Theog. 767. 64
XO-dvtov S' £;y.auT0v vjpEv.
2 F
450 APPENDIX
Bergk
32. Schol. Pind. 01. vii. 5. 66
. . . 'AAAa 7rpo7rtv£
paSivoO?, to cpile, [AVjpOiVg.
33. Hephaest. 39. 67
'ASujaeaec, ^apiEGaa yzkuSoi.
34. /A 68
Mvaxat Stjuts (paAaxpo? "Aae?^?.
35. is/. M. 429. 50. 71
Outs yap "m&Tspsiov outs JcaXoy.
*36. Schol. Hephaest. p. 163 (ed. 2 Gaisf.). 72 b
'AcTSpi?, OUTS <X Syw Cp'.AEtO oCV 'AtcSAASTIJi;.
37. £/. i»/. 433- 44- 73
BouAsxat araoouos (ft;) iqp.lv etvai.
38. Julian. Misopog. 366 b. 77
Euts p,ot Asu/.al p.eAatvai; ava[/.E[/.i£ovTai Tpi^e;.
39. Schol. Soph. Antig. 138. 78
('Ev) fj.£Aa|x<p'jAAw Sa<pv<x }(Aiopc2 t sXaia TavxaAi^ei.
40. Herod, rtfe Barbar. 193 _^<?j/ Ammon. Valcken. 78
Kofyucrov S', to ZeO, goaoixov cpOoyyov.
41. Schol. Hom. //. p. 542. 79
AtOC SspVjV §}CO^S (J.SGTG7JV, xaS &£ Atoxo; SG^lG-8-7].
42. HEROD. Cram. An. Ox. i. 288. 3. 81
Ai Ss p.£u <ppsvs;
siocs/CGxpsaTai.
43. Athen. vi. p. 498 c. 82
'Eyto S' s^tov <Jxu7i:(pov 'EpSutovi
TtO AEUKOAOCpOU [7.ECT0V sEeTUVOV.
44. Ammon. p. 37, ed. Valck. 86
Kal -8aAa[7.o?, Iv ia xstvo; oux £y>][.'-£v, <xaa' syrpaTO.
45. £V. M. 523. 4. 87
Kvt^T) ti? >;Sy] xal 7T£7i£ipa yivoy-ai
ct/jv Sta [/.apyocuvyjv.
ANACREON 451
Bergk
46. Zonar. 1 5 12. 88
Kou p.ox.Xov sv S-upyjai o\£/j(7lV pa/vCOV
tcd'/oc, xa9suo*£i.
47. Strabo xiv. 661. 91
Aia Ss'jts Kapi/iS'jpyso?,
ojy.voio jpfpa Tiftsy.evai.
*48. Hephaest. 30. 92
'O piv #i"X(ov {/.ayea-9-ai,
TrapscTi yap, fy.ajscrfroo.
49. PRISC. flfe Metr. Terent. 249, Lind. 93
'XI 'paws 0*/) Xtvjv,
tcoXXoigi yap [j^iXziq. 1
S IMON I DES
1. PRISCIAN. de Metr. Com. 250 Lindem. 1-2
'Epo;^p*/jT£v B-aXacaa;
2. PLUT. de Discr. Amic. et Adul. c. 2. 15
' IxTCOTpocpia. yap ou ZaK.'jv9w
aXX' apo'jpatiri 7T'jpocpopoi; cratosT.
3. Schol. Ar. /W. 117. 16
. . . Kovia So xapa xpo^ov (/.,£Tatitovto? apO-vj.
4. Plut. de Virtut. Mor. c. 6. 17
My) paXy) <poivi5ca; ex. /£'p<3v i[/.avTa?.
5. Athen. xi. 490 f. 18
AiSi«m §' so tiv 'Epp.a; Ivaywvioc,
Maia^o; oupsia? sXix.o l 3Xs<papoo Tat;'
£Tt>cT£ S' "AxXa? rav y' s£oyov sio*o$
ETCTa io7rXo/ta[/.wv qptXav O-uyarpcov, Tal xaXlovxat
IIs>.eiaSs; oupavisu. 2
1 Conjecturally restored by Bergk from opav asl [jirv k.t.X.
2 The first part of this passage especially is in a very rough state,
and is restored partly with the assistance of Schol. Pind. Nem. ii. 16.
452 APPENDIX
Bergk
*6. Plut. Praec. Rei pub. Ger. c. 2. 23
Aeuxa? x.a&u7t£p&£ yaXava?
£u7i:p6Go)7rot acpa? rcapai^av spears; vai'a;
xXawfo? /apa^ovTOu 5ai|/.oviav e? uppiv. 1
*7. ARISTOT. /?/**/. iii. 8. 20 B
AaXoy£v£;, site Auxiav . . .
j^puffsoxo^a? "Exaxe, toxi Aioc.
8. Plut. de Pyth. Orac.c. 17. 44
"Ev-9-a ^£pvLp£CTGi.v apusTai
Moiaav xaXXix6|j.tov uTC£V£p&£v ayvov uotop.
9. /*. 45
'Ayva S7ucrxo7r£ KXeioT, ^spvi^cov tsoXuXuttov
(ax') apuovTEdct, va[j.a ^puc»07r£7rXou (Mva^oauva?)
(ei' coo*£<;) iz'.c, ap^pocicov ex [J.uytov spavvov uScop. 2
10. SCHOL. EURIP. Af^. 20. 48
'O 5*' ocst' ic, KoptvS-ov, o\ Mayvvjtfiav
vat£v, aXoyou 5s KoX)*to*o<;
ffuv&povo; aaxso? Asyaiou t* avaTcrEv.
11. Schol. Hom. //. x. 252. 49
Kal a\ p.£v, sl'xoci 7taio*o)v (xaxsp, iXa&i.
12. Schol. Pind. 01. xiii. 78. 50
Kopiv&toi? 0" ou [/.avisi, ouoe Axvaoi.
13. Plut. F/V. 7%«nw. c. 17. 54
TCcpupf/ivov TTpivo? av&£t, . . . spifraXXou.
14. Schol. Soph. Aj. 740. 55
Biotou xs crs p.aXXov wvaaoc 7cpoT£po? sXfraiv.
1 I have considered the passage too doubtful for insertion in the
text. Schneidewin in 1. 2 seq. has surcpoawTOS a<pa; roxpaxv^a? y £ Xw<;
vatat? xXaosaa' dpaijEt 7iovxou x.t.X.
2 The words in brackets are inserted by Bergk, who has re-
modelled the whole passage, which is hopelessly corrupt in Plutarch.
SIMON IDES 453
Bergk
15. Herod, re. jaov. Xe'ij, 12, 18. 59
Touto yap fAaAicrra <pvjp scrroye rcutp.
16. Plut. ^4«. Sen. resp. sit ger. c. 1. 63
"Ea^arov Sustou jcaxa yac.
17. Plut. Discrim. Amic. el Adul. c. 24. 64
Ilapa ^pucdv axrpavrov scpfrdv
ouAO|/.oXuf3o*o? £cov.
18. Plut. de Util. Ex host. Cap. c. 10. 68
'Era£
■7racaic xopuSaAAtat, jfp-q Aocpov dyysvsa&at.
19. Athen. xiii. 604 b. 72
Iloptpupsou
oltzo (JTop.aTO? istaa <pa)vav 7rap&evo;.
20. Schol. Pind. 6>/. ix. 74. 75
Kouptov o" iE,tk£-yyzi vso<;
oivo? ou to TTspucri o*<3pov
ap-TreXou" 6 Ss p.09oc xsvsdfppoov.
21. Theodor. Metoch. 90. 77
Mo'vo; aXio? sv oupavto.
22. Schol. Hom. //. <p. 127. 78
Eur' aAa GTi^oiaa -nrvoia.
23. Schol. Hom. //. |3. 2. 79
OuTO? OS TOl Tjo'ufAOV U71V0V s/wv.
24. Cram. ^4». /"ar. iv. 186. 33. 80 a
"Eva o otov svsi*s #sa (/iyav si? Suppov.
25. Athen. ix. 374 d. 80 b
' Ay.spd<po)v' aAex.T(op.
454 APPENDIX
TIMOCREON
Bergk
Hephaest. 71. 6
7totI xav [7.aT£p' £<pa.
CORINNA
1. Herod, rc. (j.ov. Xe?. 11. 8. *
Tou Se, [/.axap KpoviSa, too IIoT£Lo*awvo;, ava£ Boiwte.
2. Apol. <& /Vtf#. 365 B. 4
Ou yap tIv 6 (p^ovspo? Sai[AWV.
3. /£. 379 b. 6
Oupi? Si xoM.i.cr9ivT£;.
*4. Priscian. i. 36. 8
KaAAiyopw ^ovo;
Oupia; SouyaTep.
5. Apol. dfc /V<?«. 325 a. 10
'Ioivsi r>' slpwwV apsTa?
^EipwiaSwv (alow).
6. /*. 355C. ^ f H
ITspl tsou; 'Epaa; xot' "Ap£ua tcoujctsui.
7. THEODOS. «/>. Dindorf rt^Aristoph. Schol. T. iii. p. 418. 12
AocSovto? o*ovax.OTpo<pw.
8. Hephaest. 108. 13
Kyj tcvt^xovt' ou^i(3ia?.
9. /& 106. 14-18
Awpaxo; wctt' £<p' iittcw.
Kapra p.sv [3pip.af/.evoi.
IToAtv o* £7tpa9op.£v, 7vpo<pav£i?.
rAooxou Sei ti; ai'Swv
IlEAE/CEGGt, SoVSItT].
10. Apol. <& Pron. 396 b. 19
(EUWVU[A17]C)
Tr/jSa fov SsAwoa cptXvj?
ay^aAT)!; eaeg&t].
CORINNA 455
Bergk
11. Hephaest. 106. 20
KXia yspovT* atcofjiva
Tavaypu^ecrcrt. ~kzwz.0T:£Tzk\><;'
jt«.sya S' S[/.r? ysyace tcoai?
AtyoupoxoiTiA*/]? SV07UVJ;. 1
12. APOL. de Pron. 382 B. 22
To So Tt? otlu.iwv a/tou(?aTO).
13. SCHOL. HOM. //. p. 498. • 23
©soma x.aAAiy£vE8-AS, <pt,Ad£svs, fAOucKxpDajTe.
*14. Apol. de Pron. 356 A. 24
Teu? yap 6 xAapo?.
*15. lb. 381 c. 25
'Af/.OOV Sdp.wv.
*16. Herod. Cram. An. Ox. i. 172. 14. 26
'EcrTap^i 7rroA£[AO).
BACCH YLIDES
1. SCHOL. Pind. 01. i. Argum. 6
Hav-9dxpi^a p.iv ^epsvtJtov
'AA<peov 7vap' eupuolvav tcgjaov aEAAoSpofxov
eiSe vtx.a<javTa.
2. Apol. <fe /V^w. 368 a. 8
IIpocnpcoveiTS viv em vUat;.
3. Hephaest. 130. 25
'H xaAo? ©edxpiTO?" ou p.dvo? avfrpo)7ra)v epa?"
4. /£. 26
2C O £V j(_itc5vi [/.ouvio
7tapa tvjv tpiATjv yuvafcta cpeuyet;.
5. lb. 76. 31
*fl ITeptxAeiTe, tocaV ayvo^<rsiv piv ou <r' eA7rou.at.
1 Conjecturally restored by the commentators.
456 APPENDIX
Bergk
6. Plut. vit. Num. c. 4. 37
Ei §s "Kiyzi ti; aX><oc, 7wXaT£Ta xileu&o;.
7. £7. ^/. 296. 1. 38
MeXayxsuOi? el'Sco^ov avSpo? ' I&a>a]<Jiou.
8. Athen. i. 20 d. 39
Tav a^sip-av-rdv tj Me;/.<piv x.al SovaxcoSsa NeiXov.
9. Schol. Pind. 01. xi. 83. \i
TTocstSaviov to? Mavuvsi; Tpicoovxa
^aXxoSaiSo&oiGiv ev dumai (popeuvTS?.
10. IOANN. SlCEL. Walz. vi. 241. 42
' A(3pcTVjTi ^uvsaciv 'Icoviov paGiXvje?.
11. PRISC. Afc/r. Terenl. p. 251 (Lind.). 43
Xpucov PpoTtSv yvto|j.at<7i (j.avuet x.a-9-apdv.
12. Et. M. 676. 25. 45
rD/r^.'/.uptv 7T0VT0U <puya>v.
13. Herod. Cram. An. Ox. i. 65. 22. 46
Auerfv-sveoov 8' ai^r?.
14. Clem. Al. Strom, v. 715. 34
Oi [/iv aS|/.aT££ aetxe>.iav eicrl voggjv xal ava.roi,
ouSev av8po)xoi!; ticsXot. 1
15. Clem. Al. Praedag. iii. 310. 35
Ou yap u7rdx.)t07rov (pops?
PpoTOici (ptovasvTa 'Xdyov cotpia. 1
POPULAR SONGS
L Athen. xiv. 636 d.
W ApT£|J.l <70l p.E Tl CppT^V £<piJXSpOV
u{v.vov usvai T£ 0&£V
Ai Ss ciov-i)-' a[/.a ^pucocpaevva
x,p£ij.pala ^."XxoTtapaa ^spaiv.
1 Conjecturally restored from a corrupt text.
POPULAR SONGS 457
Bergk
2. ATHEN. xiv. 622 B. 7
('AvaySTE xocvte;) avaysT' eupujrwpiav
TW #£C0 7T01EITS'
s&sAEt, yap 6 -9-soi; 6p9-6? £c<purWj.Evo?
o\a u.iaoi) paS^eiv.
3. PROCLUS z'« Hes. Op. 389. 9
IIapi9-i, >cop>], ys'cpupav
6<70V 0U7TG) Tpl? 7C0AS0U(JIV.
4. ORlGENES~(Hippolyt.) adv. Haeret. p. 115. 10
'Ispov etexe xofvia xoupov
Bpi'xto (3pt.|xov.
5. Heraclit. Alleg. Horn. c. 6. 12
"HTao? 'AtttoAAwv, 6 8s y' 'AttoAAwv vJAtoc.
6. Athen. iii. 109 f. 13
'A^ai.'V7]v CT£aTO? sy/TrAsoov Tpayov.
7. HESYCH. V. ^ayw /. x. 22 B
'E^ayto ^toAov xpaytaxov.
8. Plut. Quaest. Graec. c. 35. 23
"Ia)[j,sv zlc, 'A&rpctq.
9. H or apollo Hierogl. i. 8. 25
'E>«cdpsi, xop7j 3copw'vr ( .
10. Athen. xv. 697 b. 27
'XI ti tzolg'/zv;, u.y\ 7zoo()(Zc, ay.tj.', IxetsuW
7rplv x,al f/.oAsv xsTvov, avicTio"
[/.•^ x.ax.ov c£ f/iya 7roi^cryj? »ty^[/i tyjv o*£lAa;tpav•
afxspa jcotl oVj" to cpw? £a tk? t)upi&o? oux, 6pjjs ;
11. Pausan. iv. 16. 6. 28
"E? T£ (XEGOV TTsStOV STSVUXA^piOV, £? t' OpO? aXpOV
£17T£t' 'ApiGTOyivTJ? T01? AaXESaiiJ-OVlOli;. 1
1 Although in Elegiac metre, 1 have inserted this couplet, since
Pausanias distinctly describes as a song aa[j.a to xa\ I? ^[xa? hi
a8o[ji£vov. There follow in Bergk's edition a series of riddles or the
like (29-40), chiefly in Iambic metre, which hardly come under the
heading of ' Melic poetry '.
458 APPENDIX
Bergk
12. PLUT. Amator. c. 17. 44
^n rcai^s? 6'ffoi XapiTWv te *al xaxspov AaYET' sgO-acov,
[/.in <p9ov£l9-' wpa? aya&oiciv 6[/.iXiav"
guv yap avripsia scai 6 Au<Jt[/.SArj? spw? em
XaAjaSetov ftaAAEt, xoAEffiv.
ANONYMOUS AND MISCELLANEOUS
1. On a Vase. • 3° A.
Molcra p.01, a[/.<pl 2*af/.av&pov eoppwv ap;j(0[/.'
aeiSev.
2. £V. jJ/. 48. 39. 3° B
Xstpcov TjSs 7roSa>v ax.ivayp.aTa.
3. Priscian i. 20. 32
'O^Op.EVO? /"EAEVaV SAlXCOTU&X.
4. /£. 21. 32
NeGTOpa §s Fco 7raiSd<;.
5. /£. 22. 33 a
' A[/i? S' eipavav, te Ss, TappoSs Mcuaa Aiysia.
6. Apol. de Pron. 356 B. 33 B
AivoSpixpy^ ()k raAatva teou x.aTa TU^^OY^ovjca.
7. Id. de Synt. p. 335. 35, 35, 36, 37 a, b
Koi TO^OTa? ' Hpa/.A£7]£.
KaAAiCT 1 uraxuAsv.
Ka p.EyacSEVTj? 'Acavaia.
MEAay.TToSa T* 'Ap~ OAU/tOV T£
"Ap^oif/.sv yap xxo&paciwv.
8. £/. M. 579. 19. 38
MevaAa? te >caya[/.S[/.vo)v.
9. Athen. xi. 781 d. 40
'A S' uTroSs^af/iva &ar<7aTO.
ypucrsov ai^a 7TOT7jpiov. . . .
ANONYMOUS AND MISCELLANEOUS 459
Bergk
10. Apoi.. de Pron. 318. 41
M^t' StACO aura?
11. lb. 328 B. 42-3 A
Kal tu Aio$ ■9-uyaTsp [xeyaXocQevs?.
Kai TU <plAl7l7tOV £$'/]>C£V.
12. HESYCH. 'Eve-cfSa?. 43 b
'EveTtoa; rtoikoic, <JTS<pav7j<popa)?.
13. Schol. Hom. //. 7T. 52. 44
'AXa' a tcoauvei/CtJi;
Si* ' EAsva.
14. Hephaest. p. 25. 45
"Ay* «0t' £? OIXOV TOV KAE7JG17C7CO).
15. /£. 46 A
Ei^a' <ot' a7r' ueraajcoa AuSEfoa.
16. Et. Flor. Miller Afw. 263. 46 b
"Apxap, puTEtpa TO^tOV.
17. Et. M. 420. 40. 47 b
'Aoov (piXov, 0? Jtev a&yjcriv.
18. /£. 417. 12. 48-9
'Aj(_i At^a piya gv^.ol'
'Ayi. 6 x.'Xeivgi;
'A[/.<ptTpuo)viSa<;.
19. Et. Gud. 308. 26. 50
Kauxwv &' sXucog poa?.
20. Hephaest. 81. 51
Toioutoj sis ©y^a? wat? ap|AaTS<je>' oyr^svos.
21. /£. 54
MaAi? (/iv evvvj aetctov ejokj' eV aTpaxTto aivov.
4 6o APPENDIX
Bergk
22. Apol. de Adv. Bekk. An. ii. 573. 57
"Oij;i yap apEa/ro.
23. /rf. <fc /V<?«. p. 383 b. 58
'Aaaoc tk; ap.p Sai'AWV.
24. Herod. Cram. An. Ox. iii. 239. 28. 59
IIai> 6 X^P ?*
25. Herod. Cram. ^#. Ox i. 63. 29. 60
Kocl xaT* ttj/rltov 6p£wv.
26. ZJ. 327. 3. 61
'AAA' Oi TOXVf' £7T0p£lC "AXtE.
27. /£. 208. 13. 63
'iSpoI? af/.<poT£pa.
28. HESYCH. Ilaaaupiov. 64
To 7ra<jGuptov rp.aSv arcavTWv y£voc.
29. £/. J/. 574. 65. 65
KXatTjv Sa/.puctv.
30. Et. M. 587. 12. 66
Atriao TO. [7.£T£ppa.
31. APOL. de Adv. Bekk. ^4^. ii. 563. 67
'O V ££'J7ucr8a )ca<7Ta^£tc.
32. £/. Af. 702. 41. 68
ITapa &e crept x.6pai A£ux.a<77tto£c.
33. Hephaest. p. 50. 69, 70, 71
' Ictoxovoi p.£tpa^£;.
OuSe A£ovt(ov gQsvoc, ouSe xpocpai.
Ai Ku&Ep^a? sm7we?T opyia asuxmaevou.
34. £7. Af. 635. 22. 72
'fl; 7r6; £^£i [/.aivof/ivoicuv.
35. £/. .F/tfr. Miller Misc. 249. 73
ITavT£? (paupoTspoi? 7rox,TOi<; <p£pov.
36. HESYCH. Tu8e. 74
TutS' av xoAo'vav TuvSapiSav.
ANONYMOUS AND MISCELLANEOUS 461
Bergk
37. Et. M. 199. 52. 75
IIo&sv 8'
Oikv.bc, £U7T£TE<; t$"kt\c, ;
38. Herod. Cram. An. Ox. i. 413. 12. 76
Napjucrcou TSpSVCuTSpOU.
39. /2V. M. 225. 8. 77
40. Herod. Cram. An. Ox. iii. 237. 23. 78
'EtcI 5' tayjE
Zyjvo? u^specpvj*; $o[/.o?
£aj£psts$.
41. Hesych. op., xaatv. 79 B
' O[A07tc«Sa xaaiv Ka<JavSpa<;.
42. Hesych. Eu«(X. 79 c
EuGSAOCVOV StOV OWCOV.
43. Athen. xiv. 633 a. 80- 1
rXuxuTaTWV TCpuTaviv u{/.vtov.
MsAsa (7.£>.t7rT£poiTa Mwcrav.
44. HEROD. Cram. An. Ox. iii. 237. 26. 82 A B
KXu-iK [7.01 Zavo? x£ x.oupy]
Zavi t' eXeufrepiCt).
45. £7 /%r. Miller Misc. 142. 83 A
Bata) S' ev aicovt, ppoTtov.
46. /27. Af. 230. 58. 83 b
47. Origenes adv. Haeret. v. p. 96, ed. Miller. 84
"Av^pt07rov (co?) avScoxe youa -nrpoiTa £vsyx.a(/iva KaAov
yepa?
... TO §' £^£Up£tV ya^EXOV,
sits BoiwTotcrtv 'AAaX/Co;y.£V£u? A^va; U7T£p Ka(pi<riXo?
xp(3T05 av9po)7rwv av£<7y£v,
5 £iT£ Koup^TE? £<rav y£vo; 'iSaiot 9-£tuv,
462 APPENDIX
Bergk
•q <J>puytoi KopujUavTS?,
ouV'Aaio; 7upwT0u? stoiSev Ssvo*po<pu£i? ava^acTGVTa?,
sit' 'ApxaSia 7rpoffeXavaiov nsXacyov,
r 'Papia? AiauXov oLjugtJjp' "Eae'jgi;,
IO Y) JcaXXiTcaiSa AajAvo; appvJTtov st£/.vcog£ Kapsipov opyitov,
sits nsXXacva ^sypxiov'AX/.uovvja TiyavToiv xpecrpoTaTov
, . • • •
. . . cpavTi <)i 7upcoTo'yovov Tapa^avxa
Ai^us; au^v/qptov tcSicov avaouVTa yXuxela?
Ai6? aTrap^aG&ai |3aAavou'
Neiao; Sk . . .
I S. capjtouasv' uvpa frspw.OTaTi £toa Gcoaar' avo\o*oT.
48. From a chart found in Egypt. See Egger ^4<r/. Acad.
Paris, 1877, and Blass Rhein. Mus. xxxii. 450. 85
XXXII 450 l
"Tjavov OJV
JtAUSTS" TZZV.TZOi M VIV
co? gs, KX(ei)&S{MO£ 7uaT,
'ATroXXtovt [x£v -Ostuv,
5 arap av&ptov ' E/£x.paT£t
•rcaio"! IJu&ayysXti)
CT£«pav(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?
<x£ig' ayXaov jaeao:;
rcapSsv/jta.; ottoc S'jTjpaTto
gto(a<xti 7t£pavav.
49. Athen. v. 217 c. 86 a
(Mtj^s) xav gtti /.' eV axaipif/.av
yXtoGGav £tto? Duly] itsXaosiv.
1 The fragment in the original is in a most mutilated condition, and
Bergk's text, as above, rests for the most part on conjectural restora-
tions.
ANONYMOUS AND MISCELLANEOUS 463
Bergk
50. Schol. Aristot. iv. p. 26 b, 35. 88
'AcppoSixa? aAo/.a Tsp.vcov /ton, Xapi-rcov avapxaTo;.
51. YlMT. an. Seni sit get: Resp. 12. 91
"Ore TuvSapiSav aSsA©<3v aXiov vaurav 7rd#o<;
paAAsi.
52. /tf. «fe Cto. Fz'z/. c. 6. 92
Nuxto? a'iova? aepyiqAoTo $•' mrvou xoipavov.
53. Id. Non. pos. suav. viv. c. 13. 93
Eupuo— a jesXaSov a>cpoGO<po)v ayvup.svov (W gto^octcov.
54. Id. adv. Stoic. 19. 94
Ou ^a;zu.o; ^ Jtdvi? r^ TCTspa Tuoi'/UAoO-pdcov oio>vo"v
TOdcrov av ^suaif' apt9-[/.dv.
55. Schol. Pind. Nem. vi. 85. 95
AiTCTuyoi yap oSuvat vtv y-psi/cov 'A^iaasIou Soparo?.
56. Plut. <& &»'«£ Praec. c. 13. 100
ITpo ^si[7,axo; cost' dva 7rovTiav axpav
Bopsa xvsovto;;.
57. Ar. jV#0. 966. 102
TvjAsxopdv Tt pda.[xoc Aupa?.
58. Bacchius Introd. Mus. p. 25. 103
'O tov tutuo; CTSCpaVOV.
59. Herod. Cram. ^4». <9.r. i. 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
®u[i.eXtttav tOt p.axap cptAocppdvto; si? spiv
62. Dion. Hal. ^ G?/«/. F<?r£. c. 17. 108
Bpd(/.ie, Sopaxcxpop', evua.Aie, 7roAep.0)csAaoe, TraTEp "Apvj.
63. lb. 109
"Iax^s -O-piajxpE, <7U toovSs yopccyz.
464 APPENDIX
Bekgk
64. Dion. Hal. de Comp. Verb. c. 17. "o
65. /J. m
Kspxat TCOAt? u^itcuAo; xaxa yav,
66. lb. II2
Asys o*£ go xxto TCo'Sa vso^uxa p.£A£a.
67. Schol. Hephaest. p. 157. n 3
"I*h p-OAS Taxuxof^o; cti Ssp.a; £Aacpou.
68. Marius Plot. 264. n 4
Befvs, tov 'Ap^uopoo ra<pov.
69. /tf.294. IX 5 A
"I&i (JMXTSp {y.eyaAa,
70. Plotius 293. 115 b
' EAixoTOTaAs, xa&ix&a&e, cpiAo^opEUTa (Ba^e).
71. Dion. Hal. de Comp. c. 17. ll 7
Ol o" sWyovro TCAuTsa; ownqvawn ^aAJcs^oAoi;.
72. lb., c. 25. Il8
Kpr^iot? ev pu-Jty.oi; 7raioa piAycoj/Ev.
73. Mar. Plot. p. 259. "9
"Iaiov a[7.<p' 'Easvyj 7rem>pfa>[/ivov c-jasto.
74. A* p. 273. 120
' O Ili'-fho; p.ecro(A(paAot? &e6? Tvap' sa/apai;.
75. Hephaest. 68. I21
TaAAal [J.TjTpo? opsivj? cpiAoftupcoi SpofxaSe?,
al; svTea TwtTayelToci Jtai jpcAJtsa jtpoTaAa.
76. Herod, tc. 3i-/p. in Cram. ^4«. iii. p. 283. 5. 122
KXaSa yp'jcreoV.apTtOv.
77. Cod. v. ap. Gaisfd. ad Hesiod. Op. v. 664. 123
Kal Tav ajcopsffTOV auaxav.
78. Aristot. Rhet. iii. 14. 124
Aia c£ x.al TSa otop' eI'te cxuAa.
79. Plut. de Prim. Frig. c. 17. 251
Eu&u<; avsuATjcev aepopaxav piyav oixov av£(/.b>v.
ANONYMOUS AND MISCELLANEOUS 465
Bergk
80. Plut. Non poss. suav, viv. c. 23. 133
' E~spyoy.svov te [/.aXa^ovTE? ptaxav
tcovtov to/.sia; t' av£;v,tov ptTCa?.
81. Apollon. Tyan. Ep. 83, p. 55 (Kayser). 142
'Oosiei fy.oipa xpo; teao? avSpwiv,
oite Tav xpwTav AEAoy/jxat ti|akv.
82. Plut. «/. Stob. Ed. Phys. i. 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 (/.?} jcarsvavTa asovto?
vePpo? ea8-wv [/.oipav aipsiij-9-ai jcpsoov.
2. ATHEN. xiv. 651 F. p. 589
MELANIPPIDES — DANAIDS
Ou yap avOptoTCoiv cpo'psuv f/.op<pav dvsiSo?,
ou Siarrav Tav yuvaixeiav s^ov,
a/\/V' ev ap[/.aT£ff(H o\<ppouyjoi? EyujAva^ovT av si,
oY aAcrsa 7TOAAa;a ^patTtv <pp£va TSpTro'p.svai, 4
-/■$■' ispoSaxpuv Aipavov eutoosi? te <poivi)ca<; Karriav TEjAaTsGsai,
Tspsva Supta crTOp.aaTa. 1
_ r ,- r — — rr
3. Stob. Eclog. Phys. i. 41. 50. p. 590
Id. PERSEPHONE
KaAstroa §' eivsx.' ev /toA7rot<n yaia?
ays' EWtV 7UpOyjf<OV
'A ' .2
Ayspttv.
4. Athen. ii. 35 A. p. 591
'E-Trcovup.ov, Segtcot' oivov Oivsoi;.
5. Plut. Erot. c. 1 5.
("Epo);) Tauxu yap Sipoc, avSpo? u7roe>7rsipo)v 7rpa7ri^£<7(Ji
7T0-8OV.
1 This passage has undergone very considerable alterations at the
hands of Bergk and other commentators.
2 Restored conjecturally from a corrupt text.
2 G
466 APPENDIX
Bergk
6. p. 600
PHILOXENUS
Aei7rvov.
(a) Athen. xv. 685 D.
Kara ysipo; S'
Tj'Xufr' uSwp" aizoCkoc xatSicrxo; £v apyupsa rcpoyoo) (pspoov etcs-
/EUEV
SIT' £<pSpS <7TS<jpaV0V l£77Ta; aTCO (AUpTtSo? £'jyv7"jTO)V X.XaSs(OV
^icruvaxTOv.
(b) Athen. iv. 146 f.
El? §' £<pspov cWXoot 7uat§£? Xarapd)7ra Tpa7i;s£av
a|x;x', £T£poi S' £T£pav, aXXot, o srspav p.E/pt ou xXTJpwrav
oix.ov.
Tal Se 7rpo? u^iXu^vou; ETTtXpov auya?
EucrrE^pavoi Xsjiavai? 7rapo<|/i<7t t' 6£<jPa<poiv 7rX"/jpsi; erov t£
^Xiotocou
5 TvavToSaTTOtdt TzyyoiC, sup^p-acrt, 7rpo? ^torav, ^uya? SeXsoc-
(j(/.aTtotcrt.
. . . TCzpcpspov £v Kavsoi? p,a£a? j^ovoypoa?, a'XXot. 5' . . .
(toi; &') £7U 7rpwiTa TrapvjXx)'' ou x.a>ocaf3o;, to <ptXoTa$, aXX'
aXXoxXaTEl; to piytc>TOv
tcocvt' £7ra8-£v XiTtapo'v t' £? sy^sXsa tivs; apiGTOv,
yoyypoiTOtcovTjTEp.wv TtXrjpe? #-£OT£p7usV eV auxw S'
10 aXXo xap^XSs to'cov, (3aTi? S' evetj; lao'xuxXo;.
p.ixpa Ss jcaxjcapt' 7^, E^ovxa to (aev yaXsou ti
vapxiov aXXo, . . .
■KCLprfi ETEpOV 7UCOV OCTTO TEUtka&G)V x,al <77j7rt07TOuXuXoSEtOiV
(tcov) dbraXo7tXo-/.a(/.<i>v - <9-sp[/.6? p.ETa TauTa 7rap'/jX&sv
1 5 i<JOTpa7TE^O? 0X0? V7](TTl? (JUVoStiW . . .
m>po? ETCEiTa (3a#'p.ou<; aTpi^wv" £7rl tw §' £7U7TaGTat
teu&uJe?, o) <piXs, /ta^av&tff(/.£vat >capt^£? ai xutpal xapYjX&ov,
0-put/.[/.aTtSs(; &' £~l Ta'JTai; sutotocXoi yXcopai &' ao\>-
<papuyy£; . . .
xupvov ts OTEyaval (pucTai p.EyaSo? x.a>ca x,ax.>caf3oo yXuttuou
o£w; . . .
20 6{/.<paXo? &oiva<; xaXEirat rcapa y' £p.lv x.al tiv, <ia<p' oiSa.
ucTOCTa val {/.a &sou; »j7V£p[7.£y£^£? ti §i[J.<x.c, ftuvvou (aoXsv
OTCTOV eV.£1&SV,
DITHYRAMBIC POETS 467
■9-epf/.o0, o-8-i yXutpavot? TSTp.vjf/ivov eu-8-ui; efiatpO-v)'
too §' u7uoya<7TpiStot; Siavexeio? etoxjauveiv
eiusp £[aiv T£ (jt&oi xal tiv, [/.aXa xsv x£^apoi[AS&'.
25 d&V 6&ev eXXt7iro[7-£v, 0-otva 7caps7]<;, 6V ItzcCKKv^oli Suvar
e7«xpaTSco(; £y<oy' srt, xoo xs Isyoi ti?.
uavra irapvjs £tu[jlo)(; af/jav* 7capS7rai<7£ Se 9-Epp.ov
cnrXay^vov, £7i£tTa §s vyjcmc
S&cpaxo? oixSTnca? xal vwto? egtjX&e xal 6<r<pu? xal
f/.ivupiy[xaTa &£pf7.a"
xal xs<paXaiov 6'Xov (W.tctu^e; £<pB-6v aTC£p7T£u&7]v6?
aXEXTOTpOtpOU XVlXTa? £pi<pOU 7Uap£-8-7]/CEV.
30 Etxa &£<p$-' axpoxo&ia, ayeXtXas ts [/.st' auTcov
X£ux.o<popivo^poou<;, p'uy/7], x£<paXaia, rco&as ts, ^vaufxaTto'v te
<J£Ct>.(p«jJ[J.EVOV.
£<pO-a t ETCEtxa xps' 07rnx t' aXV Epicpcov t£ xal apvwv
a&uTOptop.a xapo? ^op&a yXuxicrnx,
[/.t^Ept(papvoy£V7]C,av §-^ (pi^sovxt &£o(' toutcov( au f/iv), to <pi>.o-
Ta<; scfroi? xs' Xayaa S' stcit' alEXTpuovwv te veogcoi,
35 TCEp&xtov (pa.GEO)v te j^u^av tj&t] 7cap£(3aX}.STO &£pf/.a uoXXa . . .
xal [/.alaxoTCTU^Etov apxcov 6[/.o<7u£uya &£ ^av-0-ov t' sxeict-
tJX&ev [j.zki xal yaAa au[/.7i;axTOv to xs Tupov axac ti?
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 d^axaEipov o*f/.o3£q, ETCEtTa Se 7ral§s<; vi7rrp' s<)o<Jav
xaTa yziptiv,
40 Gfr/]f/.aatv Ipwof/ixTOi? ^XtEpo^aXxE? u&wp EXEy^EOvTS?
TOtfCOV 0<70V (Tl?) EypTjC,', EXTpi[/.f/.aTa TE . . . Xaf/xpa
<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 f/.o'Xoucrac; . . . Xttcapauysf?,
uop9|/iSa<; izoXkiZv aya&oSv Tualtv Eicrcpspov y£f/.o>j<7a?,
to; £<p7]f/.£pot xa>iovTi TpaTCE^a; (SsoTEpa?,)
a&avaTOi Se t* 'Af/.aX9£ia<; xs'pa?.
5 Taici S' £v (/.Esau; xa&iSputb] f/iya X.°W- a PpoTOi? Xeuxo<;
{/.ueX6<; yXuxEpo;, Xextoi? apaj<va? Evaliyxioici XEx'Xot?.
cuyxa"Xu7TTOiv o^tv aldj^uva? utco, \).y\ xaTt^rj ti?
fAa>.oy£V£? 7rwu >.i7TOvt' avayxai;
468 APPENDIX
Bergk
^Tjpov sv £v)paT; 'Apicxaiou 7raXippuT<Hci 7rayai;'
to" ft ovojj.' if ap.uXo?' yspclv S' eto^-evto <jto(xiov
[/.acXspati;
10 . . . tocv Se^apivav o ti jcoc o\5g5 tic' a Zavo;
X.a^£UVTt
>. V > J /
TptoyfxaT • S7T£iT stcsvsi^ev £yxaTax.vaxopy£; XEcppoyp.Evov
7rupPpo[/.o'X£ux.£p£piv8o^avi>(i)[/-' Exxprrov aSu
Pptop-a to TOxyxaTapxTOV a(/.7rupix.Y)poi&y)<rrtya; 7rap£yiv£T0
TOUTOl?
(TTaiTivoxoy^o^ayyji; ~/y> ^ai<7T£>,aio£av#'£7aTCay}caTa7n'pcOTo;
yoipiva<;.
15 aSla Si . . . x.uxXo>&' oXocpoiXT avapiO-f/.a,
xal [A£Xi7ry]XTa TETi>y|j.iv' acpfrovoc craaatxocpoiXTa.
Tupaxtva? &£ yo&axTi xai [/iXt cuyxaTacpupTo; */]<; ajj.uXo?
TrXa^-aviTa?' ,
caaa^OTupoTraTay^ §£ xai ^£c?£Xat07rayyj 7i:>.aTuv£T0 golgol-
p.07ra<JTa
7r£|X[i.aTa xkt' £p£(3iv9-oi. xvocxo<7U[/.j.uy£i? aTcaXaT; 0-aAXovT£?
copai?,
20 wa t a|/.oySaXio*£s T£ tcov |/.aXaxo(pXoi.'So)v . . . ts TpioxTa
7raiaiv
aoV$7i xapu', r/Xkoi. t' 6'aca TtrpsTcst Tvapa. #oivav
oX(3t07ir},OUTOV (£[7.£v)' 7T0<Jl? T* £TCpatV£TO XOTTaj^Ol T£ >>6yOl
t' £tu xoivac -
svO-a ti xoavov £7iyrb] xo^.^ov a-9-up^aTtov, xal -9-aup.adav
v > » \ » >/
a>JT £Xl T TjVTjCfaV . . .
(rf) Athen. xi. 487 A.
, , . 2u &£ tocvSe Baxyiou
EuSpocov 7rXr,py] f/.£Tavi7rrpi5(X os'gxf
xpau ti Tot Bpopo? yavo; to&£ Sous £7u TEp^iv
zavTa; ayet.
(e) Athen. xi. 476 e.
IIiveto v£)CTa.p£ov 7ro5(j.' dv ypu<7£<xi<; 7rpOTop,aTc xoiAcov
XEpOCTtOV.
£[ip£yovTO §£ xocto. fAixpov.
*7. Athen. xv. 692 d. p. 610
Su(/.(3aXou[xai ti [j.£koc, upJtv ei; Iptdra..
DITHYRAMBIC POETS 469
Bergk
8.
Zenob. v. 45.
Ol'w (/.' 6 &aip.tov rspaTi <7uyKafreip£ev.
p. 611
9.
SUIDAS "E9-uaa?.
p. 612
10.
Athen. i. 6 A.
p. 614
11.
Ttf. ii. 35. D.
p. 615
TIMOTHEUS
TO ARTEMIS
12. Plut. de And. Poet. c. 4. p. 629
MatvaSa, SuiaSa, cpoifia^a, Xuaca^a.
*13. Id. Qu. Symp. iii. 10. 3. lb.
Aia xuaveov xoXov a<7Tpa>v,
Sia t' coxutoxoio aeAavac.
*14. Porphyr. a/. Stob. £"<;/. /V&yj. i. 41, 61. /&
"Or' as^STai oXioij abyaic.
*15. DiOG. Laert. vi. 28, de Zenone. p. 621
"Ep^o[j.ai' ti \l auei? ;
16. £V. M. 630. 41. p. 622
Tsraf/ivov opiyava &ta (Aue^OTpe<pvj.
*17. Plut. defort. Alex. ii. c. 1. p. 624
2u 8s tov Y'/jyevETav apyupov aivet?.
SUBJECT INDEX
( The references are to pages, jvhen not otherwise stated)
Acatalectic, see Metre (60).
Addison on Sappho, 154.
Adjective, double, Ibyc. i. 5.
Admetus, Scol. xi.
Adonis, Miscel. xvii.
Adonius, see Metre (63).
Aegidae, Pindar a member of the
family, 282.
Aeolic race, some characteristics of,
98-9.
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.
Agesidas, Alcman's master at Sparta,
125.
Alcaeus, Biography, etc. — rank ; date;
loses shield 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.
Alcaeus and Sappho, Additional
Note A.
his vituperations compared with
Sappho's, 152.
— — songs as Parcenia, 233-238.
Alcaics, 139 seq. ; effect of anacrusis
in, note on Ale. xi.
Alcibiades, his Olympic victories,
Misc. x.
Alcman, Biography — birthplace ; life
at Sparta ; dialect ; love - songs ;
some fragments of exceptional merit,
124-6.
some characteristics of his choral
songs, 30 seq.
Alcman, progress of music shown in his
choral systems, 39.
development of choral strophe,
49.
Praise of Sparta for lyric poetry,
101.
Parthenion recently found, Alcm.
i. note ; love of nature, xxi. note.
Alexander spares Pindar's house at
Thebes, 283.
Alliteration, Sappho xxxi. note.
Amasis and the Greeks in Egypt, 149.
Amyclaean hounds, Simon, xxiv.
Anabole in the Dithyrambic Poets,
265.
Anacreon, Biography — his position
among melic poets ; a court - poet
(cf. 103) ; a typical Ionian ; flight
from Teos ; warfare ; life with Poly-
crates ; with Hipparchus ; subse-
quent career ; character as man and
writer ; metrical power ; character-
istics of his metres, 182-187.
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, rival to Sappho, 152,
Sap. xv.
Antimenidas, brother to Alcaeus,
serves under king of Babylon, 136.
Antistrophic style, employed by Alc-
man and probably by Thaletas, 29,
49-
addition of Epode, ibid ; con-
trast between lyric and dramatic
systems, 40.
Aorist, reduplicated forms, Misc. viii.
8 note.
gnomic, in sententious passages,
Scol. xxv. note.
Apollo and flute-music, 37.
and Marsyas, 106.
472
GREEK LYRIC POETS
Apollo identified with sun-god, Dith.
Poets ix., cf. on Pind. vii.
Apotheosis of living men, Carm. Pop.
xxvii. note.
Archilochus, Biography— How far a
' melic ' poet (cf. note on xii.
a) ; parentage ; travels ; return to
Paros ; military life ; Neobule and
Lycambes ; character; honoured at
Delphi; comparison with Homer;
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 ;
cultivated choral dithyramb, 102.
Aristophanes on Ibycus, 178.
on Anacreon, 186.
references to Scolia in, 233 seq.
on avajBoXai, 265.
Aristotle, Ode on Virtue, Misc. vi. ;
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
employed, 47 note.
Artemis worshipped at Magnesia,
Anacr. ii. 4 note.
Article omitted before participle,
Bacchyl. iii.
Astragali, Anac. viii.
Astylus, a Crotoniate runner, dis-
graced, Simon, xvi.
Athene and flute, Dith. Poets, i. |3',y'.
Athens, praise of, in Pindar, xiv.
Atthis, 152 ; Sap. xv. b. c. d.
Attic Scolia, see Scolia.
Aphrodite and Eros contrasted, Alc-
man xvii.
Bacchic song, primitive, Pop. Songs
xii.
Bacchius, Metre, 71.
Bacchylides, Biography — scanty de-
tails ; nephew of Simonides accom-
panied him to court of Hiero ;
reputation ; characteristics of his
poetry, 222-3.
ethical principles in, note on
Bacchyl. iii.
Attic dialectic forms in, 78.
see also p. 105.
Baetis, called Tartessus, Stes. i. /3' n.
Ballads, long narrative ballads in Eng-
lish, with dance accompaniment,
compared with the epico-lyric poems
of Stesichorus, 169.
Banquet songs ; chief occasion for
monodic poetry ; early connection
with religion ; description of banquet
songs in Athenaeus, etc., as Paeans,
Paroenia, and Scolia proper, the
latter as a 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, 232-
238.
antiquity of, 12.
choral, 24, and Pindar ix. note.
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.
Bockh on Heptachord, 36.
on musical modes, 43.
on metre, 52.
Boeotian cups, Bacchyl. xiii. 1. 2,
Plate v.
Brachycatalexis, Metre (61).
Bread-sellers, bad reputation of, Anac.
xxiii. 6.
Burns, illustration from his employ-
ment of local dialect, 75.
effect of acatalexis in, 60.
line in Tarn 0' Skanter, cp. with
Bacchyl. ii.
see also on Sappho, xv. d.
Caesura, origin of, 72.
in Horatian Sapphics, ibid. , and
154.
Catalexis, see Metre (60).
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.
Cea Naenia, 205.
Cercylas, Sappho's husband.
Chalcidian swords, Alcaeus, xvi. 6-
note.
Chappell on the Heptachord, 36.
on Pythagoras and the octave,
39-
on the musical modes, 43.
on high pitch of Greek vocal
music, note on Terp. i.
Charaxus, a brother of Sappho, 149.
SUBJECT INDEX
473
Cheese-offerings to gods, Alcman xv.
note.
Chelidonisma, Pop. Songs ii.
modern Greek, ibid. note.
See also 46, note 1.
Chilo, Scolion attributed to, Scol.
XXV.
Choral song, causes of its predomi-
nance over monody, Art. iii.
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.
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.
Sappho's daughter, 149.
Cleobulus, epigram of, attacked by
Simonides, Simon, xx. note.
and the Chelidonisma, Pop.
Songs ii. note.
modern Swallow-Song, ibid.
Clonas, composer of Aulodic nomes,
36. .
mentioned in connection with
early poetical contests, 106.
Cnossian decree on Timotheus, 270.
Colon, see Metre, ad Jin.
Commerce, its importance among
Lesbians, 99.
Comus-song, Bacchic character, sub-
seauent extension of term, 8.
see also Anacr. xviii. (a) note.
Contests in lyric poetry of ancient
origin, 106.
results in final period of melic
poetry, 107.
Convivial songs, see Banquet-songs.
Corinna, apparent exception to rule of
choral poets avoiding local dialect.
75-
Court-poetry, absence of sycophancy
in, 103-104.
Cradle-song, traces of $oix>v.txkr\[}.a. in
Danae-passage, Simon, ii. note on
1. 16.
Cretan dances, 27, 29, 70, Sappho,
xix.
Cretics, time-value of, 70.
cf. Bacchyl. xvi. note.
Croiset, A., on Pindar, 281.
Crusius on Stesichorus and the EpocW-,
170.
Cyclic dactyls, see Metre (63).
Cyclops and Galatea, Dith. Poets
viii. note.
Cydonian apples, Stesich. iii. 1.
Ibyc. i. 1.
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 surviv-
ing metrical systems ; continual
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 pre-
valence of choral song amongGreeks,
21, 22.
of Spartan old men, Spartan
Dance-song i. note.
Danae and Perseus, Simon, ii.
Daphnephoria, 9.
Dative, ' comitative,' Simon, ii. 4
note.
Delos, earthquake at, Pindar viii. a'
note.
ancient name of, ibid.
Demetrius, on Sappho, 154.
Poliorcetes, adulation to,
Pop.
to Greek
Songs xxviii. and note.
Democracy, unfavourable
lyric poetry, 106.
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, abandon-
ment of Epic for local dialect by
monodic poets ; causes leading to
formation of artificial dialect of choral
poetry ; Epic the main element with
Doric and also Lesbian admixture ;
difficulties in restoring properdialecti-
cal forms to the text ; forms common
to choral poets ; appropriate poetic
diction thus created, intelligible to
the whole Hellenic race, 75-80.
Sec. 2 — Lesbian Dialect ; Psilosis ;
Barytonesis, its important effect ;
digamma ; doubling of liquids, nasals,
and a ; 01;, ai; for Attic, ou?, a? ;
further characteristics, 80-91.
Sec. 3 — Doric 'severior' and 'mitior,'
chiefly the latter employed by lyric
474
GREEK LYRIC POETS
poets ; summary of Doric forms in
lyric poetry, 91-96.
Dialect, Fiihrer opposed to the theory
a composite lyric ' dialect,' 97-
of Alcman, 126.
Didactic element in melic poetry, 18.
Digamma, in Lesbian, 82 ; in Doric,
see also Simon, ii. 18 note.
Digressions, from proper subject, in-
troduced by Simonides, 206.
cf. Simon, xxiv B, note.
Dionysia, poetical contests at, 106.
Dio Chrysostom on Archilochus, 1 14,
115 ; on Stesichorus, 171.
Dionysius of Halicarnassus on Sappho,
153 ; on Stesichorus, 170 ; on
Simonides, 205.
Dionysus with ox-attributes, Pop.
Songs xii. and note.
Dioscuri at Sparta, Alcman i., intro-
ductory 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
'ETCiy.rjoeta, 10-12.
Dithyramb, invention attributed to
• Arion ; comparatively late as a culti-
vated branch of melic poetry; men-
tioned by Aichilochus, 7-8.
cultivated by Arion, 102.
by Simonides, 201.
in final melic period, 106-107.
Dithyrambic Poels, introduction to —
innovations of Lasus, gradual cor-
ruption of lyric poetry ; complaints
of Pherecrates against various com-
posers ; general character of later
dithyramb (cf. 106- 107) ; lives of
certain poets, 263-271.
Division of labour among lyric poets,
Dochmius, Metre, 7 1.
Dorian influence on melic poetry ; Art.
iii. passim.
Dialect, 91-96.
Ear-rings, use of among Asiatics,
Anacr. xxiii. 4 and note.
Egypt, corn from, Bacchyl. ii. IO.
Elean hymn to Bacchus, Pop. Songs,
xii. and note.
Elegiac poetry, a step between epic and
melic ; nature of its subjects, 2.
Eiresione, a mendicant song, Pop.
Songs ii. note.
Eleusinian mysteries, Pind. v.
Elizabethan age, comparison with
Lesbian period, 99.
Endymion, beloved by Sleep, Dithyr.
Poets, vi. and note.
Engelbrecht on Scolia, 235.
Epic poetry, preceded by melic, but
first to assume a cultivated form, I ;
its influence on lyric poetry in treat-
ment of subject, 19, in dialect,
76, 78 ; traces of early "lyric metres
in epic, 45 ; passages in epic descrip-
tive of branches of melic, 5 seq., re-
lating to union of dance and song,
25 seq.
Epico-lyric style of Stesichorus, 169 :
of Ibycus, 176.
Epinician ode, in primitive form,
Archil, viii. note ; cultivated by
Simonides, 206 ; special province of
Pindar, 19.
Epinician ode on Alcibiades, Mis
eel. x.
Epithalamia, 12.
Epitrit, Metre, 64, 66 seq.
Epode, attributed to Stesichorus, 49.
objections to this view, 170.
Epodic metre, Archil, i. note.
Eriphanis, love story of, Pop. Songs x.
Eritheia, a name of Gades, Stesich. i.
(b).
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.
Euripides, passages from, as banquet
songs, 233.
Eustathius on Scolia, 237.
Falling rhythm 61, Archil, ii. note.
Fauriel on mod. Greek songs, II, 12.
Fennell's Introduction to Pindar, 281.
Flamininus, Pecan to, Miscel. xxix.
Flowers, metaphors from, in Pindar ii.
4, 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.
xxiv. B. 3 note.
and Comus songs, Bacchyl. i.
5 note.
— and lyre, Dith. Poets i.
— see also under Apollo.
SUBJECT INDEX
475
Four-line stanza in early times, 46.
Fox and Eagle, fable of, Archil, vi.
note.
Fox and Ape, ibid. vii. note.
Fuhrer, on the dialect of Greek lyric
poetry, 97.
Genealogies, often allegorical in
poets, Alcm. xxii. ; Alcaeus xxiv. ;
Bacchyl. xx.
Genitive, usage of, in Ibycus i. 2 ; in
Bacchyl. ii. 3.
Gildersleeve's introduction to Pindar,
281 ; on Schema Pindaricum, Pind.
vi. 16.
Girard, J., on the epoch of Pindar and
Aeschylus, 284, n. 1.
Glaucus, the boxer, Simon, xv.
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 Har-
modius and Aristogeiton, Scol. i.
note ; on Alcibiades' Olympic vic-
tories, Misc. x. note ; on Paean to
Demetrius, Misc. xxviii. note.
Gyges, Archilochus contemporary with,
112.
Gymnastics, influence on melic poetry,
22.
Gymnopsedia, choral poetry developed
by Thaletas in connection with,
29.
Gyrete, rocks of, Archil, xiv. 2 note.
Halcyon, Alcm. ii. note.
days, Simon, xxi.
Harmodius and Aristogeiton, see on
Scol. i. note.
Hebrew lyric poetry, as cp. by Cole-
ridge with Greek, 16.
Hecuba, changed into a hound, Miscel.
xviii.
Heptachord, see Music, 35; Terp. ii.
note.
Heracles and Helios' cup, Stesich. i.
note.
Heraclitus, a doctrine of, Pind. i.
note.
Hermann on Pindar's dialect, 77.
Hermes, as cup-bearer to the gods,
Sappho xli. note.
Hermias, friend of Aristotle, Miscel.
vi. note.
Herodotus, on Alcaeus, 136; on Sap-
pho, 149 ; contemp. with Simon-
ides, 197 ; on Harmodius and
Aristogeiton, Scol. i. note ; on
earthquake at Delos, Pindar viii.
note.
Hexameter, its origin, 45-6 ; in lyric
poetry, 62.
Hiero, patron of Simonides, Pindar,
etc., 104, 201, 282.
Hinds with horns in poets, Anacr.
xxiv. and Simon, xxiv. A (2), 4,
with notes.
Hipparchus, entertains Anacreon, 183,
and Simonides, 198 ; regarded as
Tupavvo?, Scol. i. note.
Horace, on Archilochus, in.
on Alcaeus, 137.
on Anacreon, 185.
his choriambics, 59, 68.
his Alcaics, as cp. with the
Greek, 139.
— — his Sapphics, 154 seq.
Ionics in, 70.
Hybrias, song of, Scol. x. note.
Hygieia, ode to, Miscel. v. ; Dithyr.
Poets v. and notes.
Hymenaeus, 12.
distinct from Epithalamion, ibid.
Hymn, as a branch of melic poetry, 3.
Hypercatalectic metre, 61.
Hyporchem, nature of, 5.
Cretan origin, ibid.
cultivated by Thaletas, 6.
description in Homer, ibid.
Iambic poetry, cultivated in the period
between epic and lyric, its subjec-
tive character, 2.
Iambics in melic poetry, Pop. Songs,
xiii. note.
Ibycus, Biography — birthplace ;
rank ; at court of Polycrates ; story
of cranes ; resemblance to Stesi-
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.
Ilgen on Scolia, 233.
Improvisation in banquet-songs, 233,
234-
Infinitive in imperative sense, Anac.
iii. 8, note.
Ionic verse, Metre, 69.
dialect, employed by Anacreon,
182.
Irrational Syllables, Metre, 65, 66.
illustrated from English
Poetry, ibid.
Islands of the Blest, Scol. i. p' note.
Italy, Melic Poetry in, 102-3.
Ithyphallus Song, Miscel. xxviii. note.
476
GREEK LYRIC POETS
Itonia, epithet of Athene, Bacchyl.
xvi.
Ivory, decorates houses, Bacchyl. ii. ;
sword-hilts, Alcaeus xxv. ; lyre, Scol.
xvi. a.
J ebb, Prof., reference to article on
Pindar.
Lacrimae Simonideae, 205.
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-
ramb, 263-4.
Leighton, Sir F., his picture of the
Daphnephoria, 9.
Leipsydrion, defeat of Eupatrids at,
Scol. ii. note.
Lesbian Dialect. See Dialect, Sec. 2.
school of lyric poetry, its pro-
bable antiquity, and enduring influ-
ence, 23. Cf. on Archil, xxi. j3'.
circumstances favourable to
its excellence, 98-9.
comparison with Elizabethan
age, 99.
Lesbos, tyrants at, 135-6.
position of women at, 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.
Linus-song, 13-14 ; Pop. Songs i. and
note.
metre of, in connection with
origin of Epic hexameter, 45-6.
Lions milked by Bacchantes, Alcman
xv. 5 note.
Lityerses-song, 14.
Logaoedics, Metre, 47 seq.
Longinus on Sappho, Sap. ii. note.
on Bacchylides, 223.
Love-songs in choral form in Ibycus,
177.
Love stories — subjects of Stesichorus'
poems, 169.
Lucretius on the notion of the wind
bringing lightning from the clouds,
Ibyc. i. 7.
Lycambes attacked by Archilochus,
113-
Lydian fillet, Alcm. i. 35.
dye, Sap. xxix. m>te.
— — touchstone, Bacchyl. ix.
Lyre — the genuine Hellenicinstrument,
3 8 -
additions of Terpander, 35.
— — - ivory-horned, Scol. xvi. a'.
Lyric poetry, see Melic Poetry.
first written for fixed pay by
Simonides, 105.
Lysander, Paean to, Miscel. xxvii.
Magadis, Dith. Poets xv. 2.
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-
Melanippides, 265.
confusion between an older and
younger, 268 ; prominence of the
latter among later poets and musi-
cians, 269 ; a corrupter of old
musical style, 265.
mythical subjects in, 107.
Melic poetry, our deficient acquaint-
ance with, Pref. p. vii.
overshadowed in early times by
Epic ; its revival and rapid develop-
ment ; variety of branches ; de-
scription of these, I-14.
distinct classification in poetry ;
' occasional ' — results of this ; re-
ligious or didactic tone predominate
ing ; objective character ; mythologi-
cal ; otrjYTjTL/.rj, 15-20.
penultimate period, when poems
were written for fixed charges,
105. Consequences averted for a
while by the inspiring circumstances
cf the times, ibid.
final period that of public com-
petition ; disappearance of all
classes of song except the Nome and
the Dithyramb ; low standard of
poetry, subordinated to musical ac-
companiment ; foreign elements,
such as dialogue, introduced into
lyric passages ; importance of
myth, 106-107.
attained its highest excellence
just before its place was taken by
dramatic literature, 283.
Messoa, a district in Laconia, 124.
Metre (Pref. Art. VI. ). Primitive song-
SUBJECT INDEX
477
metres, how far traceable in hexa-
meter ; the four-line stanza ; primi-
tive 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
rhythms ; Greek metre to be ex-
plained on musical principles ; con-
trast with modern metres ; long and
short syllables vary in quantitative
value ; ' equality of times ' the
essential principle in Greek metre ;
cyclic dactyls ; short syllable in place
of long, at the end of a verse ; limi-
tations imposed upon the licences
allowed to metre by its connection
with music ; resolution of the syl-
lable in arsi rarely employed until
the decadence of Greek poetry.
Variety of length of lines in the
same strophe, signifying effective
changes in dance and melody.
Roman imitations of Greek lyric
metres. Anacrusis, its musical
equivalent, rule. 'Irrational' syl-
lables, meaning of the term, general
effect. Basis explained and illus-
trated, disappears in recited lyrics ;
how far connected with rhythm of the
line. Catalexis, etc. explained and il-
lustrated. ttypercata/exisa.nd Brachy-
catalexis, peculiar to song-poetry ;
nature of verse-pauses and signs to
denote them. Dactylic Metres —
the hexameter in lyric poetry ; Pros-
odiac ; Adonius ; final dactyls not
permitted except in systems ; Choreic
dactyls ; dactyls in the Epitrit. Ana-
pastic metre, dactylic with Anacrusis,
appropriate for march - songs.
Trochaic, the predominant Greek
metre. Dipodies, explanation of
irrational syllable in trochaic di-
podies ; Epitritic measure ; three
kinds of trochaic dipodies ; brachy-
catalexis in trochaicdipodies. Chori-
ambics, origin of term; suited only for
song ; complete choriambic lines
hardly found ; time-value of chori-
amb. Ionics a tnajore and a minore,
not alwaysdistinguishablefrom chori-
ambics with anacrusis ; time-value ;
Ionics a majore only suited for
song ; Picons and Cretics only in
connection with dance songs ;
Bact hius ; Dochmius. Colon, single
and compounded ; origin of caesura
and diaeresis ; complete verse or
UTiyo?, distinguishing marks of con-
clusion of a line ; the System, semi-
independence of lines, 4574.
Metre, contributions of Archilochus to,
2, 116.
of existing fragments as a partial
clue to the Greek Dance, 31.
Milesian wool, Pop. Songs iv.
Mill Song, Pop. Snngs viii.
Mvofa at Crete, Scol. x. 5 note.
Modern Greek funeral song and cere-
monies, n.
wedding-song and ceremonies,
12.
- swallow song, cp. with ancient,
hymns sung in unison, 14, n. 2.
Molossian flute, 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,
14.
151-
on Stesichorus as son of Hesiod,
168.
— on Pindar's dithyrambic frag-
ment, 264.
on the later dithyrambic poets, 267.
Mure, on the branches of Greek lyric
poetry, 3.
on Alcaeus, 137.
on Sappho, 157.
on Stesichorus, 171.
on the Scolia, 237.
Muses, dancing and singing in Hesiod,
singing dirge of Linus, Pop.
Songs i. A, and note.
Music, in accompaniment to lyric
poetry, (Pref. Art. v.). Their close
connection ; music subordinate in
earlier times ; simplicity of early
style, traceable in metre of early
songs ; the heptachord and Terpan-
der ; Clonas and Olympus develop
flute-music; opposition to flute-music
gradually overcome, important results
on choral poetry ; Thaletas and
flute-music ; progress of music shown
in the metres of Alcman and Stesi-
chorus ; further development in the
time of Pythagoras ; music in dram-
atic, as compared with lyric chorus ;
tendency of later music to predomi-
nate over poetry ; songs all in unison;
one syllable one note ; exact agree-
ment between words and musical
accompaniment ; ethical importance
attached to Greek music, how far
reconcilable with its deficiencies ;
the musical ' modes,' 34-44.
478
GREEK LYRIC POETS
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 note.
Myth, its importance in the Dithy-
rambic period, 107.
its treatment in Pindar, 19.
employment in dirges, ibid, and
Simon, ii.
Mythology in lyric poets, due greatly
to epic influence, 19.
fondness of Greeks for illustration
from, 19, and Sap. xli. note.
Naucratis, 149.
Nature, love of, displayed in Sappho,
151.
in Alcman, 126.
Ibyc. i. note.
Neobule and Archilochus, 113.
Neuter plural nouns with plural verb,
Alcaeus ii. 2 ; Pind. vi. 15.
Nine chief lyric poets, the greater
number of Asiatic-Greek descent,
23.
Niobe, Miscel. xvi.
Nome, a branch of religious lyric, 6.
Aulodic, ibid.
improvements by Terpander, 36.
in final period of epic poetry, 106.
Nymphs, Gardens of, Sap. iv. note ;
Ibyc. i. 3.
and Bacchus, Anacr. in. 2 note.
Objective character of Greek lyric
poetry, 19-20.
Octave-system, Music, 39.
Olympus and flute-music, 36. Dith.
Poets i. d. note.
' Orchestic ' singing, its development,
25 seq.
Orpheus, Simon, xxi.
Orthia, a name of Diana, Alcm. i. 28,
note.
Paean, in Homer, 5.
cultivated by Thaletas, 28.
both accompanied and unaccom-
panied by dance in Homer, 27, 28.
and Banquet-songs, 232.
Painting ' silent poetry,' 205.
Palinode, Stesich. ii. /3' note.
Pan — 'Opyrjim]?, Scol. vi.
Pandrosus, Scol. iii. note.
Parcemiacs, Sap. xxxiii. note.
Parcenia, see Banquet-songs.
Parthenia, cultivated by Alcman at
Sparta, 9.
Pausanias (the Spartan general),
friendship with Simonides, 203.
Pausanias (Geographus) on dialect of
Alcman, 126.
Peitho in lyric poets, Sap. i. 18 note ;
Ibyc. iii. 3 ; Pindar ix. 10.
Personifications of abstract ideas,
Miscel. v. note.
Phalaris and Stesichorus, 168.
Pherecrateans in Anacreon, 186-7.
Pherecrates on the later poetical style,
264.
Philoxenus, the Dithyrambic poet, 265.
mythological subjects in, 107.
Phrynis, a Dithyrambic poet, 266.
Pillory, Anacr. xxiii. 9 note.
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 contem-
porary ; 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 Sparta for music and
song, 101.
complains of the shackles laid
upon poetry, 105.
on Archilochus, 1 14.
influenced by Stesichorus, 169.
— resemblance of their metres, 17 1.
rival of Simonides at court of
Hiero, 201.
Threnoi of Simonides and Pindar,
205.
Longinus on Pindar and Bacchy-
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.
Pisistratids, Anacreon and Simonides
at court of, 183, 198.
see also Scol. i. note.
Pittacus, 138, 139, 148.
criticised by Simonides, ix. 8 (cf.
203).
and
mill-stone song, Popular
Songs viii.
— Scolion attributed to, Scol. xxiii.
SUBJECT INDEX
479
Plato on the theory of music, 39, note I.
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
Anacreon, 183.
Popular songs, signification of the
title, 391. _
Pratinas, Biography — his connection
with lyric poetry ; date, etc., 267-8.
quoted by Athenaeus for invec-
tive against flute - players, Dith.
Poets, i. a'.
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.
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 ;
Anac. ii. 6.
Publicity of Greek civil life, influence
upon lyric poetiy, 20, 21.
Punning allusions in Scolia, 237, and
Scol. xix.
Pythagoras and musical improvements,
39-
Pythagoreanism in Pindar, iv. note.
Quintilian on Archilochus, 116.
on Alcaeus, 138.
on Stesichorus, 170, 19.
Reduplicated Aorists, Misc. viii.
8 note.
Refrain, 27, and Sap. xxxiii.
Rhadina, story of, in Stesichorus, 169,
and Stesich. vi. note.
Rhodopis and Sappho's brother, 149.
Rhyme, instances of, Scol. xiv. xvi.
notes.
Roses, sacred to Muses, Sap. vi. note.
Royal power at Sparta favourable to
lyric poetry, 101.
Sages, Scolia attributed to, Scol.
xxii. note.
Sapphics in Sappho and in Horace,
I54-
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 ;
personal qualities ; immense reputa-
tion, borne out by fragments, 148-
154.
as a musician, 38, 150.
comparison with Ibycus, 177.
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. 16
note.
Schmidt (M.), on the four-line stanza,
46, n. 2.
new principles applied to Greek
metre, 52.
reference to, on eurhythmy, 56.
on basis, 58.
on 'falling rhythm,' 61.
on the Bacchius, and Dochmius,
7i-
Schubert, illustrations from his song-
accompaniment, 40, 42.
Schumann, illustrations from his song-
accompaniment, 42.
Scolia, see Banquet - songs, ' Attic '
Scolia, their metre, Scol. i. note :
choral scolia in Pindar, Fiag. xi.
note ; and perhaps in Timocreon,
219.
Scopadae, story of their fate, 199.
Scythians, notorious drunkards, Pind.
xvi. 9 note.
Seasons of years, certain songs appro-
priate to them, 14.
Serenade, 8 : Alcaeus xii. note.
Shelley, logacedics in, 48.
' irrational ' syllables in, 66.
Sicily, melic poetry in, 102-103.
Sicilian influence on the compositions
of Stesichorus, 103.
Simonides, Biography — tangible-
data for his career ; his import-
ance in the history of Greek
melic poetry ; birthplace and early
lifeinCeos; at court of Pisistratus
in Thessaly ; story of Dioscuri and
Scopad* ; returns to Athens ; patri-
otic poems ; victory over Aeschylus ;
successes in dithyramb ; at court of
480
GREEK LYRIC POETS
Hiero ; rivalry with Pindar ; poetic
activity maintained to the last ; his
character ; reputation for wisdom ;
philosophical views ; careful training
and finished style ; wit ; his poetry;
excelled in elegy and epigram ;
exactitude of language ; pathos;
his dirges ; realistic power ; his
hyporchems, epinicia, etc., 197-206.
Simonides: his position in Greek melic
poetry, 105 ; Simonides and Lasus
as Dithyrambic poets, 206 ; story of
his cupidity, Simon, xix. note ;
enmity with Timocreon, 219 ;
popular for banquet songs, 233.
Sirius, used of the sun, note on Alcm.
i. 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 of, and his disciples,
cp. with those of Sappho and her
pupils, 151.
Solon and Sappho, Sap. xvii. note ;
Scolion xxiv. attributed to him.
Sophocles, a remark on his poetry by
Longinus, 223.
Sparrows, sacred to Aphrodite, Sapph.
i. 10 note.
Sparta, progress of melic poetry at ;
a centre to which lyric poets were
attracted from all parts of Greece ;
causes of her pre-eminence, and of
the absence of native talent ; her
long-enduring fame in poetry and
music, 100-102.
Parthenia at Sparta, 9 ; Terpander
at Sparta, 36 ; Thaletas at Sparta,
28 ; life at Sparta in time of Alcman,
125 ; praise of Sparta in Terpander
i. ; in Pindar xv.
Spartan dishes and wines in Alcman
xii. xiii.
Sphinx, Aetolians cp. with, Miscel.
xxviii. 33.
Springende Heiligen at Luxemburg,
33.
Stesichorus, Biography— birthplace,
date, etc. ; Stesichorus and Phalaris
exiled to Catana ; first great lyric
poet of western Greeks ; epico-lyric
style ; influence on Pindar ; love-
stories ; Paeans ; epode attributed
to him ; compared by ancients with
Homer ; his fragments hardly repre-
sentative of his powers, 168-171.
Progress of music traceable in his
choral metres, 38; his position in
the history of Greek lyric poets,
103 ; his blindness and recovery,
Stes. ii. note; imitated by Ibycus,
176.
Strabo, on Sappho, 153; story _ in
Strabo of her leap from Leucadian
rock, 149.
Strophe, in Alcman's Parthenia, 49.
Suidas on Archilochus, 114.
on Alcman, 124.
on Sappho, 148.
on Stesichorus, 168.
on Simonides, 202.
on Pratinas, 268.
on Melanippides, 265, 26S.
Sun-shades, among Greeks, Anacr.
xxiii. 13 note.
Swallow, as messenger of spring,
Simon, xxiii.
Swallow-song, see Chelidonisma.
Swan singing, Dith. Poets i. a' 7
note.
Swinburne, quoted for metre, 53.
on Sappho, 154.
System, Metre, 93.
— — in Anacreon, 186, 187.
Tantalus-stone, Alcman xxvii.
note.
Tartessus, a name of the Baetis,
Stesich. i. /3' note.
Telesicles, father of Archilochus, 1 12.
Telestes, a Sicilian Dithyrambic poet,
270.
Terpander, musical innovations, 35-6 ;
praise of Sparta, 101 ; takes part
in poetical contests, 106 ; his nomes
altered by Phrynis, 266.
Tetrameters, why so called, 65.
how far melic, III.
in Anacreon v. note.
Thales, Scolion xxvi. attributed to
him.
Thaletas, cultivated Paean and
Hyporchem, 5, 6 ; part played by
him in development of ' orchestic '
singing, 28-9 ; Thaletas and flute
music, 38.
Thargelia, poetical contests at, 106.
Thasos, abused by Archilochus, 1 1 2.
Thebe, as a goddess, Pind. xiii. 4.
Themistocles, friendship with Simon-
ides, 200.
attacked by Timocreon, Frag. i.
see note.
Thermopylae, favourite subject with
Simonides, 200.
Threnos, see Dirge.
Thucydides, on victories of Alcibiades
SUBJECT INDEX
481
at Olympia, Miscel. x. note ; on
earthquake at Delos, Pind. viii. a.
3 note ; on Harmodius and Aristo-
geiton, Scol. i. note.
Timocreon, Rhodian lyric poet ;
charged with Medism ; enmity with
Themistocles and Simonides ;
athlete ; personal or subjective
character of his poems although
choral, 219.
Timotheus, date and importance in
later lyric poetry, 270 ; innovations,
266.
Tortoise-song, Pop. Songs iv. note.
Touch-stone, metaphors from, Bacchyl.
ix. note.
Tragedians, ethical character of their
choruses, inherited from lyric poetry
proper, 285.
Transmigration, doctrine of, Pind. iv.
note.
Tribrach, in f time, Simon, xvii. note.
Trimeters, nature of, 65.
Trochaic metres, 65 seq.
Tyche, ode to, Miscel. vii. ; genealogy
of, Alcm. xx.
Tyrants, their influence on melic
poetry, 103.
Usener, on early metres, 45.
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.
Wedding-songs, 12.
Welcker on Sappho, 152 ; on Ibycus,
177.
Wine, proportions of wine and water
among Greeks, Alcaeus v. ; Anac.
xvi. notes.
Wool-workers' song, Pop. Songs ix.
Xenelasy, not practised in early
Sparta, 100.
Xenophon, discourse between Hiero
and Simonides, 201.
2 H
II
GREEK INDEX
The word note after a reference signifies that the Greek expression
occurs in the commentary only, and not in the text also.
'Afldxjjs, sense of, Sap. xv.f.
dfJaxiSofiat, sense of, Anac. xix. 4.
dyavojEXscpapo? IlaO-w, Ibyc. iii. 3.
dyxuXr], in connection with cotta-
bus, Bacchyl. xxi. 1.
dypsl = alpet, Sap. ii. 14.
'Ayooxc'pa, epithet of Artemis, Scol.
vii. 3.
dyw, of singing, Dithyr. Poet. i. a'
,7-
doap.avxora'8tXoi xiovs;, of the pillars
of Delos, Pind. viii. a' 7.
dStd^Twroi, of second-rate poets,
, P\ 22 3- .
aStxrjei, Sap. 1. 20.
deXXorcoSiov 9-uyatpe? Imvav, of mules,
Simon, xix.
dsX^xia, i% <xz\-t{i}$ = aik-KTU)^ Archil.
xiv. 3.
de'ppw, Sap. xxxiii. 3, Alcae. v. 2.
d^aXe'o;, in active sense, Ibyc. i. 18.
'Afrdva and 'a8-7jv«, Scol. iv. 1.
ai = ei, Spartan Dance-song, i. 2.
aisvdoiSs Mura, Alcm. vii. 2.
aiO-os, of spiders, Bacchyl. i. 6.
aiXtvos, as a refrain, p. 27.
otT[j.a Bax/tou, of wine, Dith. Poets
x. 4.
Atvojwcpis, Alcm. xxvi.
d'i'xa, quantities, Alcm. v. 2.
«?7jj.d, sense of, Terp. i. 1.
dtoj dist. from xXuw, Sap. i. 6.
dxajA7:To?"Ap7]<;, Bacchyl. iii. 3.
dxivrjTo?, as applied to Delos, Pind.
viii. «' 3,
'Axxt? deXtou, form of address to
sun, Pind. vii. 1.
dXdO-sa = dXr^sia, Alcae. ix. 2.
dXd B-sia, with penult, short, Bacch.
vii.
'AXxjxdv for 'AXx[a.a!wv, p. 92.
dXka. . . . yap, Alcm. xiii. 7.
dXXoxa, p. 85.
'AjxaXxK?]; xe'pas, Anac. xii. 1.
d[j.£XyopiEvo? fieXi, Misc. xx.
dpijj.es = ri[xiii, Alcae. xvii. 3, etc.
d[A|i.i, Alcae. vi. 4, etc.
d[xoi[3dv, as prepn = ydpiv, Pind.
vi. 6 note.
d[j.ov = spiov, Bacch. i. 11.
I 'Ap.uxXaiav . . . xuva, Simon, xxiv. A.
dp.u'vsiv = d[i.uvsaO-ai in sense of
dpLEijBsaO-ai, Alcm. i. 32.
dv, omitted with optative in apo-
dosis, Scol. xviii. 1-2, note ;
omitted in ' relative conditional,'
Sim. ix. 11.
dvapoXr], p. 265.
dvdyxa, of the influence of wine,
Bacch. ii. 1.
dvayvwTuxo;, of Licymnius, p. 271.
dvaxXwjjLEva Sip.sxpa, p. 187.
dvapp^at . . . Xoyov, Pind. xi. [3' I.
dvaaxaXu^w, Anac. xxiii. 7.
dvSpaia = auaatxia, Alcm. \i. 2.
dvSps;, Epic usage of xe'xxove; dvSpe;,
Sap. xxxiii. 3 : ^chjaeve; dv., Id.
xxxvii 3.
dvEorjaaxo vixa?, Simon, xvi. 2.
dvrjxov at banquets, Alcae. vi. 1.
dv9-o; xu|j.axo; Alcm. ii. 3, dvO-sa
noa;, Sap. xix. 3 ; dv. doiodv,
Bacchyl. i. 2 ; dv. xopj?, Anac.
xix.
drcdXotpivo;, Alcae. vii. 1 ; Simon.
ix. x
GREEK INDEX
483
ajuapS-sveuTos, sense, Pop. Songs
xiii. 2.
aTOpavToXoyou? . . . yXtoacra?, Scol.
xxvi. 4.
«jco«pEpetv, perhaps with dat., Sap.
xxxix. 2.
a^paxTo; as dist. from obtprjxTos,
Simon, v. 1.
a^u = goto, Alcae. xxv. 7.
obcupos, of gold too pure for refining,
Scol. xvi. p';
eacuo-cpE'tpeafrai, with dative, Sap. vii.
, 4;
ajctojxoros, sense in Archil, xi. 1.
apa = apa, Archil, vi. a' ; vii. 4.
apa in the phrase Vjv apa, Scol.
xxi.
apao = 7jpa<jo, Sap. xxxvi. 2.
apyupi'a, Sap. iii. 4.
apyupopi£ous . . . Jcaya;, Stes. i. 2.
apoeaO-at, with genitive, lb. i. 2.
jxpsxxo?, Simon, xiv. (b).
"Apeuos, Lesb. genitive, Misc. xxx.
1 note.
apprjxo?, sense in Bacchyl. xv. 2.
ap/siv, of love, Archil, xix. 1.
a? — !'w;, p. 92.
aoaxo?, the bough at banquet songs.
p. 233, note 2.
auajj-evot, Alcae. iv. 2.
aatpayaXou? ijuXivou?, of ear-rings,
Anac. xxiii. 4.
aaxpov, of the Dog-star, Alcae. ii. 1 ;
of the sun, Pind. vii. 2 ; of the
moon, ibid, note ; of Delos, with
reference to its ancient name,
Pind. viii. a' 5.
aauvE~7][.u, Alcae. xvii. 1.
aacps, acstp;, p. 87, Append. Sap. xvii.
atepo?, p. 93.
'Axpeioa, genitive, p. 92.
auyaaoso, Spartan Dance-song i. 2.
auyslv = aXyav, Miscel. vi. 6 note.
auoto;, Sap. i. 6.
au£tpo{ie'vat, Alcm. i. 30.
auaxrjpa ap[j.ovia, Pind. vi. //tfte.
auioSa^; apsia, Dith. Poets iii. a' 3.
auTw? with dative = instar, Anac.
xxiii. 12.
a/api?, sense in Sap. xv. b.
ayEixat = r t yfi, Pind. vi. 18.
a/opsuxo; . . . <pa;j.a, sense, Dith.
Poets i. y' 8.
a/psto; . . . Xdyo?, sense, Pind. xi.
P'l.
BaSpdpuo?, Rhodian for Bo»]8po[jLiwv,
Pop. Songs ii. note.
j paivEiv, _eu |3E|37]xoTa?, metaphorical,
Archil, x. 3 ; cf. Id. xiii. 4.
Bax/io? for Baxyo;, Dith. P. x. 4.
paXjhoc?, Pop. Songs xi. (3'.
PaXe = utinam, Alcm. ii. 2.
[3aXoia%)-a, p. 89.
(3ava, Boeot. for yuvrj, Misc. ii. a'.
Paaaaprjaw, Anac. xvi. 6.
,3au/.aX7)[j.a, the Cradle-song, Simon.
ii. 15-16 note.
(3sXeus, genitive, Alcae. xvi. 4.
(Bs'vtha vu'xxo?, Stes. i. 3.
PspPEpiov, sense, Anac. xxiii. 3.
[Biaiw?, sense in Pind. ix. 6.
[BXacrcat te'xvwv, Miscel. xvi. 2.
PXe'toiv, with cogn. accus. Anac. x.
1.
[iXriypd?, |3. nc>Ta[i.o£, Pind. ii. 9 ; (3.
avE'fxwv, Alcae. xxvii.
pdaxEsO-at, with accus., Anac. v. 5.
|3payyto;, Misc. i. 4.
Ppa3tvo; = 5a3ivo;, Sap. xiii. 4 ; xxxiv.
2.
[ipaxEa = pax£a, signification, Sap.
xv. d. 2.
j3pdScov = pdSwv, Sap. vi. 2.
PpoSojwcxses, Sap. xxiii. |B'.
Ppdysws, Sap. ii. 7.
Buxyt?, Lesb. for Baxyo<;, Alcae. iv.
,3-"
Buaio;, first month of spring at
Delphi, p. 5.
raXafr^vw raj'S-Ei, Simon, ii. 6.
yEyXwac;a(j.£vo?, Alcm. xxi. a' 2.
yevva-ro, Alcae. xxiii. 3.
ys'vo? wov, y. StJiXaaiov, in metre, pp.
2, 47 5 T- %dXiov, pp. 37, 49, 70.
yXoiw?, ' stingily,' Timoc. i. 10.
yXuxujjiaXov, Sap. xxxviii. 1.
yXuxurcixpov, Sap. viii. a' 2.
yvaO-[j.d?, feminine, Misc. xviii. 2.
yvo9aXXov = xvacsaXXov, Alcae. iii. 8.
ydvva plur. of ydvu, p. 82.
Tupsat, Archil, xiv. 2.
Aaxe'0-u[j.o? t3pw'?, Simon, x. 5.
oaxvEsfrai, SayD-st; gXa, Pind. ix. 8 ;
of love, ibid. note.
oaxpua Nui-i^av, of water, Dith.
Poets x. 4.
SaxxuXos, as a moment of time,
Alcae. v. 1.
4»4
GREEK LYRIC POETS
AaXo?, origin of name, Pind. viii.
a 4.
oap:a£stv, of Eros, Anac. iv. 4.
Saji.aXr]?"Epw?, Anac. iii. I.
oapcairaios, of Athene, Dith. Poets
iv. a' 3.
oa[j.vat;, Alcae. viii. 1.
oafxvatai rcdQ-o?, Arch. iii. I.
oaj-ieiTa 7td9"w, Sap. xiii. 3.
Sajj.ioji.axa, public-songs, Stes. vii. 1.
8s', position of, Archil, xi. 9 ; Dith.
Poets xii. 2 note.
o£upu = o£upo, Sap. vii. 4 note.
07], with w? emphasising purpose,
Anac. xiv. 3.
8ia7tsiva[j.£?, p. 92.
otaraxXiypiEvo; OTpaTrjyds, Archil.
xiii. 1.
SiajcXs'xei cqjipav, Alcm. i. 5.
8tappi<pa, Se^ta? xa\ 71000;., Misc. i. a'
16-17.
Sioaxsw, Anac. xi. 3.
3'xav, sense of, Simon, ii. 19.
3tv£uvT£?, Sap. i. II.
oiydji.uO'Ov . . . vdrjji.a, Scol. xxiii. 4.
ooxot, sense of, Archil, ix. 3.
ooXotcXoxe, of Aphrodite, Sap. i. 2.
8dpu, of the pillory, Anac. xxiii. 9.
opaV.wv, bracelet, Alcm. i. ^
ouoxaiSExiov, Alcae. xxv. note ;
Append. Alcae. 35.
SuuElmaro?, sense, Miscel. ix. 1.
Suapiayrjia . . . owpa, Miscel. xiv. 1.
ou'aroxpis, Alcm. xxvi.
Stopa, of Bacchus and Aphrodite,
Bacchyl. ii. 4 and note.
AwTtov . . . raStov, Simon, xxiv. A
(2)4-
'Eapiopdrctov . . . Xoi(3av, Pind. vi. 6.
lyEtprjat, Ibyc. vii. (3'.
lyxcdfj.tov, why applied to many of
Pindar's Odes, p. 8.
Eyxsijxai 7ud9-()), Archil, i. 1.
E'ypE/.uSotjj.oi;, of Pallas, Dith. Poets,
iv. a'.
£t, introducing 'object-clause,* Scol.
xviii. 2 note ; with fut. indie. ;
Pop. Songs ii. 13.
Eiapivo';, Simon, xx. 2.
c\'apo?, gen., Alcm. ii. 4.
EijBrJ vo? = s'pfj vo?, Alcm. i. 26.
e'SwXov, signification in, Pind. i. 3.
e'iSw? . . . Sixav, Simon, ix. 3.
EtxdaSto, Sap. xxxiv. 1.
ecxei = Txsi, Sap. ii. 7.
'iv.axi . . . Ku7rpt8o?, Alcae. xiv., cf.
Pind. ix. 8.
ExxuxXriiJLa, Pop. Songs ii. 6 note.
ExroXsxai, ' it is the lot of,' Sap. vii.
ex tou, sense in Archil, xi. 5.
ExXafATtsiv, with accusative, Scol.
xxii. 3.
sXaippi^wv . . . [J.ayjjv, sense, Archil.
v'i ; p' 3.
eXixoc^u";, of Semele, Pind. vi. 19.
EXtypuao? Alcm. x. 2 ; Ibyc. vii. a' 1.
E|j.[Ba'vEtv, with genitive, Alcae. xviii.
„ 3-
E[ji|j.Ev = stvai, Sap. ii. 2, etc.
E[j.jj.t = Etjj. 1, Sap. ii. 15, etc.
EjjupEprjv (accus. sing.), Sap. xiv. 2.
iv=e?s, Pind. vi. 1 ; xii. (3 2.
'EvEiixd?, . . . xeT.vjs, Alcm. i. 18.
Evtauxo?, ' season,' Pop. Songs ii. 3.
Evvoa'tpuXXo;, Simon, xxi. 4.
siiapijai, of leading off a song, p. 7,
Archil, xxi. 1.
£7iatvrj[xt, Simon, ix. 19.
£7raVov . . . Hpo?, Alcae. i. I.
smji-dXio?, as a species of lyric, Pop.
Songs viii. note.
Ikot^oiv, Sap. xvi. (3\
?7iExai . . . awp ■S-avatw, Pind. i. 2.
IttlSeutjV, Sap. ii. 15.
|jtix7iSe1ov, dist. from 9-prjvo;, p. 12.
Itc'tho?, a cup, Anac. xvii. 4.
ipEO-t^Etv, Dith. Poets xv. 2.
IpEiTcw, usage of strong aorist in
Simon, ii. 2.
EpEtajxa 'EXXaSo;, of Athens, Pind.
xiv. 2.
'Epaa, as daughter of Zeus and
Selene, Alcm. xxii. 2.
'Epuotyoctos, Alcm. iv. 4.
Ipyojiivoto, in 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.
eue'9-eipo;, Anac. v. 7.
suoyfroi oatTE?, Bacchyl. xvii. 2.
euxe'SiXXo?, Alcae. xxiv. 2.
supuayuta A'xrj, Terp. i. 2.
euS-u?, punning usage of, Scol. xix.
, 3;
EupuTteSo? yala, Misc. ix. 3.
Euarayu? xaprto?, Misc. xxx. 19.
Eyrjai, Ibyc. v. 2.
GREEK INDEX
485
£a(Jaiov, p. 84.
£a8r]Xov, form and sense, Alcae.
xvii. 7.
Zsu? ?e'vios, Misc. vi. 16. Zeu'?, of
the sky, Anac. xxv. 3.
'HjiSav, fjpr], significations of, Anac.
ix. a' 2.
»j8ovij, Simon, on, xii.
W^i — W y, ( gp art Dance-song i.
>i[jLto7:oi; auXo?, Anac. xxvii. 2.
7]v, in present signification, Scol.
viii. and Scol. xxi. (i^v apa).
rj^toSwpo?, of Aphrodite, Stes. ii. 2
a',
rjxop, dative of, doubtful, Simon, ii.
6 note.
'HpaxXeto; Seo[jlos, Bacchyl. xiii. 2
»)'pwes, as dactyl, Pind. iv. 5.
"Hpwv, as accus. in Lesbian, p. 87.
/]/£? = et/e?, Sap. x. 1.
GaXXooopdc, Scol. i. a' «0/tf.
9-aXo? Xapixwv, Ibyc. iii. 1 ; &. Kut;-
piSos, Miscel. xvii. 3 ; cf. Dith.
Poets viii. 3 note.
S-aXm^a^fraXrot, Bacchyl. ii. 2.
thparcsuwv, perhaps with a dative,
Pind. ix. 6.
0peix.ir], Anac. v. 1 #<?&?.
9-pr)vo;, dist. from etclxtjoeiov, p.
12.
3-pdva -oix.iXa, Sap. i. 1 «#/£.
ftupwpo;, an uncommon Lesbian
contraction, Sap. xl. 1.
S-uyaxrjp 'Apijo?, of Rome, Misc. xxx.
Gula, a Bacchic festival at Elis,
Pop. Song xii. note adfi.71.
9-ujji.Evo;, 'in haste,' Dith. P. i. a' 6.
9-upajj.ayoi; . . . 7coy[j.aytaiT. ve'wv,
Dith. Poets i. a' 10.
9-o)jj.tyS-£i?, Anac. xxiii. 10.
'IaXuaos, quantities, Timocr. i. 7.
'i|3u5 or i|3us, in connection with
name of Ibycus, p. 176.
'iopw; (=t8p(os), fern., Sap. ii. 13.
lepd?, of bees, Pind. ix. 9; of fishes,
ibid. note.
I(j.£pp£t, Sap. i. 27.
t(j.£po9wvo? arjotov, Sap. xxvi.
10x0X7:0?, Alcae. xv.
lo<rce«pavot . . . 'A^vai, Pind. xiv. 1.
'IouXw, Epithet of Demeter, Pop.
Songs ix. note.
"aa, adverb, Pind. x. 3.
idoSaifxovos ap/a?, Dith. Poets v. 5.
'Itwvta, of Athene, Bacchyl. xvi. 1.
ii|»oi=uAoi, Sap. xxxiii. 1.
?w, monosyllabic, Scol. vi. 1.
2tovosca[«ro]s, Dith. Poets xiv. 3.
twvya, Boeot. for eywye, Misc. ii. 9.
Ka(3a{vwv, Alcm. xvii. 2.
xaJipaXXc = xaxa(3aXXE, Alcae. iii. 5.
xao ok = x.axa 61, Alcae. v. 1.
xa^epjiaxa, 'ear-rings,' Anac. xxiii.
12.
•/.aO-opav, followed by si, in what
sense, Scol. xviii. 1-2 note.
xa(, elided, Bacchyl. ii. 3 ; cf. Scol.
i. («') 2.
jcaipog, sense of £v statpw, Bacch. v. 2.
xax xscpaXa;, sense, Alcae. v. 5.
xax.-/££t, Alcae. ii. 4.
xaXr][i.i, Sap. i. 16.
xaXu[j.ij.a, 'a garment,' Anac. xxiii.
3-
xaXyaivto, origin of its meaning,
Pind. xi. 4 «<?/£\
x.a|j.7:uXov [ieXo;, Simon, xxiv. A (2),
3-
x.ajJL'i/'.otauXov . . . /eipa, Dith. Poets
xv. 4.
xappovss=xpetTTovs5, Spart. Dance-
song i. 3.
xaxa, in Lesbian, p. 88 ; see xao,
scax, xaxxav.
x.axappei, apparently non- Lesbian,
Sap. iv. 3 note.
x.axaaxaai; Ssuxspa, of the second
epoch in lyric poetry at Sparta,
xaxxav = xa9-' ojv, Alcae. xvi. 2.
x.axxuTcxsaQ-e, Sap. xxi. 2.
xeidfl-ai, usually of lying dead,
Simon, xxvii. ; xeiaS-ai with dative,
' to be in the power of,' Archil.
xix. 2.
xsXaSst, impersonal, Sap. iv. 1.
xr] = £xa, Sap. xii. 1.
xrjvo?, Sap. ii. i. ; xii. 3.
X7}v = xa\ iv, Sap. vi. 3.
x.rjpivav 07cwpav, 'honey,' Alcm. xii.
2.
K^pux.tor^, Archil, vi i. 1.
x.i9-apiaxrjs, = x.t9-apioo"ds, Alcm. iv. 2.
x.ipvai?, participle, Alcae. iii. 6.
486
GREEK LYRIC POETS
xiaau^iov, of the Cyclops' cup, Dith.
Poets x. note.
xXewcc, form and sense, Alcm. i. II.
xXuxdg, ' shrill-voiced,' Simon, xxiii.
xXu'w, as dist. from afw, Sap. i. 7.
xvwSaXa, of the monsters of the
deep, Alcm. iii. 5.
xo|3aXixds, Timoc. i. 6.
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,
Frag. ii. (5' 3.
xdcjxo;, as opp. to xp7)7u?, Pind. xiii.
2
xpainvoi aO-Evsi, Pind. i. 4.
xpaxtaxEuwv Xdyo?, sense, Pind. xi.
P'3- ,
xp£To?=xpaxo?, Alcae. xx. 1.
xprjxi?, favourite metaphor in Pin-
dar, xiii. I ; xiv. 4.
xpouat; urcd xrjv worjv, p. 41.
xxs'vvat?, Alcae. xxv. 5.
Kuowvuxt . . . p-aXtSs;, Ibyc. i. I ;
K. jxaXa, Stesich. iii. 1.
xuviaiai, Alcae. xvi. 2.
xw[j.a^£tv = dpy£laS-ai, Spart. Dance-
song ii. 2.
Asc-tt), see "kffi and Xwaa.
XaSavEjjLov . . . topav, halcyon-days.
Xatayj'tov, nature of, Scol. x. 2.
XaXo? 2sipr]v, of Bacchyl. p. 222.
Xaprw, usage in active signification,
Scol. xxii. 3, cf. Sap. iii. 3.
XeXaQ-ours, Misc. viii. 8.
Xeovxeiov yaXa, Alcm. xv. 5.
Xf^, Spart. Dance-song i. 2.
AvjTtov, Lesb. accus., p. 87.
Xiyupo?, of the Linus-song, Pop.
Songs i. 4.
Xiyu?, as applied to song and music,
Terp. i. 1.
Xt7iapd|j.p.at£ (j.ax£p, of 'YyiEta, Dith.
Poets v. 1.
AuSia Xtfro;, Bacchyl. ix. 1 ; A. [juxpa,
Alcm. i. 34.
Xuai[iiX7]s, of love, desire, etc.. Sap.
viii. 1 ; Archil, iii.
Xu'yvov, singular neuter doubtful,
Alcae. v. 1 note.
Xdw, with penult, long, Bacchyl.
ii. 6 ; X. yXwaaa?, Scol. xxvi. 2.
Xwara, Alcm. i. 12.
MouvdXa thlfiw, Sap. i. 18.
jjuxls, Sap. i. 19.
[j.aXaxauy7)'xoto . . . utcvou, Misc. vi.
8.
[xaaXrji; = (AaafrXr)?, Sap. xxix. 2.
[j.axep . . . tha; dp.ji.axwv, Pind. vii.
I.
[xayaixav = [j-a/^x^v, Alcae. xxv. 5.
[i.aiuXaxav, Sap. xv. (g) 2.
(j.£yaXau/oxaxav, Miscel. xxix. 2
note.
[j.£yaXEtoxaxav, Miscel. xxix. 2.
[A£yaXo7soXt£;, p. 94.
[j.EyaXoxdX7rou Nuxxd;, Bacchyl. xx.
[j-s'Set.?, as participle, Alcae. xxiii. t.
p.£9-ua0-r)v, aor. infin., Alcae. iv. 4 ;
xix. 1.
[xet?, accent in Lesbian, p. 81.
[jiXaivav . . . xapBiav, Pind. ix. 4 ;
[i. cppEvd?, Scol. xxiv. 5.
fj.cXa[jj:uyo;, of the eagle. Arch. vi.
[j.£Xtao£a . . . yapuv, Simon, xxi. 4.
[jLsXiyapues . . . 7i:apQ-Evixat, Alcm. ii.
I.
[j.£XtyXwaawv . . . aot^av, Bacchyl.
i. 2.
fjLsXtaaa, 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, Bacchyl. i. 10.
|jL£XXtyd|j.EtSa, as vocative, Alcae. xi.
1.
;j.£v . , . xe, Pind. vi. 11- 12.
[jiptjjiva, ' thought,' ' aspiration,'
Bacchyl. ii. 5.
(jiao; or [jiaao?, in Lesbian, p. 83,
cf. Alcae. xvii. 3 with Sap. ix. 2.
[juSpw? = JSpw?, Sap. ii. 3 note.
Mvoia, at Crete, Scol. x. 5.
Motaa,j)p. 79, 93.
potaorcdXto, Sap. xvii. I.
fioXro;, not always of song, p. 26.
*[j.dvxta, pp. 79, 93.
[j-o/O-euvxes, Alcae. xvii. 5.
[xdpptva, Stes. iii. 3.
[js.wfi.Etv, Simon, ix. 5 note.
|j.wvos, p. 82.
Mwaa, pp. 79, 93 ; Alcm. vii. i, etc.
GREEK INDEX
487
NauxpaiiT7]s crre'<pavos, Anac. xxxi. 2.
vauw, Lesbian, Miscel. xxx. 3 note;
Append. Alcae. ii. 3.
vs'cpos, as a metaphor of evils.
Bacchyl. iii. 4.
vswTEpdv Tt, as a euphemism, Pind.
vii. 5.
v7]X$yks i^xop, Alcm. ii. 4.
vrjvi, Ionic dat. of veavt;, Anac. vi. 3.
vrjaot [jiaxaptov, Scol. i. |3' 2.
vo'[j.iov, of a pastoral poem, Pop.
Songs x. note.
vuxxe;, plural for sing., Sap. ix. 2.
vuxxijBdav axpiyya, Pop. Songsxvii.2.
vuxxtXapi7:»5; • • • 8vo<6os, Simon, ii. 7.
vu[i.coa, comp. with Lesbian vocative,
p. 86.
vw[jia . . . opEva, Dith. iii. a' r.
"Oy[j.o; xaxwv yjj'paos, Archil, v. 2.
600? oiyas, Pind. xi. [3' 2.
oivaviKoE?, I bye. i. 4.
olvoyosuaa, Sap. v. 4.
'OXuij^ia, of Demeter, Scol. v. 1 .
oXsaiaiaXoxaXajjios, of the flute-player,
Dith. Poets i. a' 13.
Opjptxwxaxo?, of Archilochus, p.
115 note.
d[i.[i.aTa = S-sap.axa, Pind. vii. 1 note.
d[xpivojj.Ev = ava[j(.£v., Alcae. v. r.
6[A09pa§[i.tov vocals, Misc. ix. 4.
6[j.7r£iaaov = ava^:sT., Sap. xii. 2.
'Opzvic^ of Demeter,' Scol. v. 1 note.
dv = ava, Alcae. xvii. 3, etc.
dv(cuai = aviouat, Sap. i. 3.
dvw = avw. Alcae. xviii. 1.
drazoxa = oTuoxav, Alcae. ii. 4; Sap.
iii ; 3-
07t7:aTSTai = dfjiij.a'7c, Sap. ii. II.
otcxccvxe?, p. 92.
opavo;, Lesbian for cupavd?, Alcae.
iii. I ; Sap. xvi. a' ; cf. sub
wpavo;.
ops'-w, Sap. ii. 1 1 note.
dpvi[j.i, Lesb. for opw, Sap. ii. 11.
opfjs, Dorian contraction, Alcm. i.
17-
'OpO-ta, of Diana, Alcm. i. 28.
opfria [i.eXrj, p. 233.
opxta-roij.Etv, Timoc. ii. [i' 2.
dpvi'/wv, Alcm. xxi. [}'.
dpsdXo-og "Apr;;, Anac. xxix. a'.
op/rjTTr];, of Pan, Scol. vi. 2.
oa<jo§ = 6'ao$, Sap. i. 26 ; xxvii. 1.
qS te, Alcm. ii. 3.
OTTi, dxxtva?, p. 88 ; Alcae. i. 2 ; Sap.
xv. (a), etc.
d<petXet, impersonal, Timoc. iii. 1
note.
naya; = ^r)yot;, Stes. i. jB' 2.
natSixoi C'pLvoi, Bacchyl. i. 12.
rcaiSd'tkv, sense in Ibyc. i. 10.
r.adrsa. = 7;aaa, Alcae. xvi. 1 ; Sap. ii.
14.
7cata8et= racist, Alcm. xvii. 1.
-auo, transl. by Bergk as ' abigere,'
Dith. Poets i. a' 12.
7:aXa9-av, Pop. Songs ii. 6.
^aXiyxoxo;, n. dpyav, Sap. xv. f; r..
rcayo;, Archil, vj. |3' 2.
Tzajjupayo;, sense, Alcm. xiii. 4.
?:ava'[j.to[j.o;, Simon, ix. 17.
r:avoaioaXov . . . dyopav, of Athenian
forum, Pind. vi. 5.
7:av3wpo? ataa, Bacchyl. iii. 5.
7iav£Xoxs;, Alcae. xxviii. 2.
-(XVTEpr.rfa ?a/a; ~avxsp7i£o; auXcov,
Misc. xi. 3.
;;ap = 7rapa', p. 88 ; Sap. xxiv. 2, etc.
7:apapL£Xopu9-p.o[3axav, of the flute,
Dith. i. a' 14.
"aparXrjxTov d(/.oav, Dith. ii. a' 4.
-ap£y.paa£t;, digressions in lyric
poems, p. 206.
Tiaprjaps cpp£va;, Archil, iv. a' 2.
jrapirjopos vdou, Archil, x. 5.
-ap3-£vixat = 7:ap9£voi, Alcm. ii. 1.
7:ap9-£vwv xarco?, Ibyc. i. 3.
7:apa£vot?, Alcm. vii. 3, p. 94.
7raaov = £7ia9'ov, Alcm. i. 2.
7:aT£ptov . . . yuvcaxwv, singular for
plur., Pind. vi. 11.
-£Sa = [i.£xa, p. 88: Alcm. i. 25;
Sap. vi. 4, etc.
reeSe'/ei;, Sap. vi. 2.
jTEivavxt, p. 92.
7C£tpaxa, vix^? n. Archil, xiv. 5.
-e'xoj, punning usage ofEra'ifaxo in
Simon, xviii. 1.
r.eki/yri, Alcm. xii. 3.
-e'(j.7:e = 7:£vxe, p. 83 ; declined (r.i\x-
7cwv) in Alcae. xxv. 7.
TX£jjL7X£(3dr]a, Sap. xl. 2.
ra'vS-o?, of sin, Pind. iv. 1 note.
7tsvxapa(3o) . . . pu9|«o, Dith. Poets
xv. 3.
-£7:xEpuyto[j.at, Sap. xxxi.
Txsp, Lesb. for reepf, p. 88 ; Alcae,
xvii. 6,
488
GREEK LYRIC POETS
rcepi in sense of unep, p. 88 ; Alcae.
xvii. 6 ; Sap. i. io.
7tepicpdpT]Tos, sense, Anac. xxiii. 2.
Ilspoe'rtoXis, of Pallas, Dith. Poets
iv. a' I.
ra'aaupe? = te'cjaapss, p. 83.
Tajyin, of mines, Stes. i. p 2, «0te.
mjXui = X7JXoa£, pp. 83, 88; Sap.i. 6.
7iiT)<y9-a, p. 89.
niviiaxetv, of calming the storm,
Simon, xxi. 7.
rciauyyoi, ' shoemakers ', Sap. xl. 3.
7iXavaa!>ai, of evils, Archil, x. 5.
Tclia.ii;, participle, Alcae. v. 5.
7iXouToodx£tpa, of Eiprjvr), Misc. xv. 2.
7tdac Tc'psv dv9-oc, Sap. xix. 3.
tcoIeic, 7to!a>v, Pop. Songs iv.
tcoixiXXexoci . . . yaioc, Miscel. xxiii.
jiot/.tXdoeppot, Alcae. xxviii. 2.
7roi/.tXdO-povo?, of Aphrodite, sense,
i. 1.
7ioixiXo7rTspov piXoc, Dith. Poets i. a'
7-
rtoXuxpdx»]s, ' chattering', Anac.
xvii. 2.
tcoXu/wxiXoi gojSoves, Simon, xxiii. p'
1.
7roXu|j.o/j8'£ . . . 'Apsia, Misc. vi. 1.
TcoXurcdxaya -9'urj.sXav, Dith. Poets i.
a ', 3-
7ioXu<pavoc, perhaps from tpavoe, a
torch, Alcae. xv. 2 »<?/?.
r:oXu-/op§o<; auXdc, Simon, xxiv. B 3.
7tova>7tdvr)poc, Pop. Song iv. 1 note.
zopcpupsV] 'A^pooixrj, Anac. iii. 3.
rcopcpupw, "brood,' origin of signifi-
cation, Pind. ix. 4 note.
r.oTx, p. 85 ; Sap. xv. b.
IIoxEiSdv, IloxtSav, p. 94,
roxxav = rcpoc xwv, p. 95.
Trpaaaeiv, intrans. 'to be in a state
of action', Pind. i. 4.
Ttpoaaxiov, nature of, Pind. ii. 2.
jcpoxuxXeiv, Pop. Songs iv. 6.
lipoid tkioc, as mother of Tu/rj, Alcm.
xx. a'.
Ttpo? pfav sense in Alcae. xix. 1.
7cpdcrto7:ov, usage in Simon, ii. 12
note.
7cpocpdxav IIisp(o<ov, of the poet, Pind.
viii. |3' 5.
7rravov layu'v, sense, Pind. vii. 3.
r:xd£to = 7:T7jaa(o, Alcae. xxvi. 1.
7rnjcraw, with accus., Scol. x. 8.
j:xod-w, whence 27trd««v, Sap. ii. 6.
^uxxaXt^to, Anac. xxiv. 4.
7:iiXa; . . . erawv, Bacchyl. xv. 3.
tzuXewv, a sacrificial wreath, Alcm.
x. 2.
nwXuSsuxrjs, Simon. xv. »<?/£ ;
Append. Alcm. i. 23.
7iwv7)v — jtt'veiv, Alcae. xix. 2.
'Pa = paoiw?, Alcm. xx. p'; Bacch.
xv. 2 «0/te.
601x0s, Archil, xiii. 4.
5u9-p.dc, ' disposition ', Anac. xix. 2 ;
Arch. ix. 7 Twte.
cuap.dc = pu9p.dc, Archil, ix. 7.
SaXXsi = -9-aXXst, Alcm. xiv. 4.
aosuyXa = ^suyXrj, Misc. xxx. 9.
aap.[BaXa, Sap. xl. 2.
ae'lBac applied to a person, Misc. vi.
16 note.
2sip7)v, Alcman, of his muse, ix.
2e(ptov, of the sun, Alcm. i. 29 ; of
any star, Ibyc. vii. y'.
osXavva, Sap. iii., ix., xx., 1. 1.
asXrjvairj, = (jeXrjvrj, Misc. iii. 2.
uiEtS^s = -9"so£tSyjc, Alcm. i. 38.
dvvovxai, Sap. xv. (a).
aid? = S-eoc, p, 94 ; Alcm. i. I.
axoXidv, origin of term, p. 238,
accent, p. 235, pun on the word,
Scol. xix. 4.
S/cuSr/o^ ;idcn;, Anac. xvi. 9.
azuXaxoxxdvw . . . dSdvTt, of a boar,
. .*
Misc. xvii.
ijxuxaXr), Archil, vii. 2.
axto7UTixd, as applied to Scolia, p.
2 37-
cjocpia, of poetic skill, Sap. xviii. 2 ;
Bacchyl. ix. 2 #0te ; of augury,
Pind. vii. 4.
soodc, 'skilled in poetry,' Alcm. iv. 2.
■771:1X0;, a rock, Misc. xxviii. 34
note.
(rue'pva yatac, Misc. xxx. 10.
aTEcpav7)cpdpotc Iv topatc, sense, Scol.
V. 2.
axoty?, of witches, Pop. Songs xvii.
1.
auyx£pauvwO-£\c cpps'vac, Archil, xxi. 2.
■3up.[xa/£tc, Lesb. participle, Alcae.
xxv. 4.
aupp.Ep.iyp.svov 9-aXi'atai vs'xxap, Sap.
, v -> „
auv dotoa, perhaps ' in accompani-
ment to', Simon, xxi. 2.
GREEK INDEX
489
cruvEppaiaa = auvEtpaaa, Sap. vii.
2.
auvrjpav, see r(3av.
cjuvFor/.rjv, Sap. xi. 2.
(juvotxos, of Aixt], Bacch. viii. 5 ; of
'Yyista, Misc. v. 2.
TUTrs«pav7)cpopetv, Scol. xiv. I.
■jcdeicov, p. 87.
ayoivoxa'vsia aoiSa, of the old Dithy-
ramb, p. 263.
Tapustov hzt yXwaaas, Misc. xiii. 2.
xa[j.vw, p. 93.
taupoxepws, xaupopixa)7ro$, Pop.
Songs xii. «0/£.
Taupog, of Dionysus, Pop. Songs
xii. note.
re, combined with Se, /.at, yap, etc.,
Sap. xxxvii. 5 tiote ; with o?,
Anac. xxiv. 2 »0te ; Alcm. ii. 3
note); fjtkv . . . xs, 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.
teXo?, ' prize ', Bacch. xiv. 2.
xs'o = <jou, p. 95.
xsxpayr]pu; . . . aotoa, Terp. ii. I.
xsxpaywvo;, Simon, ix. 2.
xirjva, Pop. Songs ii. 2.
T^veXXa, Archil, viii. 1.
x(9t)[ju, usages of, xot; •xhot? xiQ-ei xa
jcavxa, Archil, x. 1 ; eu &ito (expl.
as TOtstv eu e'/eiv), Sap. xv. (a) 2 ;
xaO-apov #-sp.s'vr] vdov, Scol. xvi. (3'.
xiv = sot, Alcm. xi. 1, and p. 95.
xtw = xtvt, p. 88, Sap. xxxiv. 1.
rd, etc., relatival in Lesb. p. 88,
Sap. ii. 5, etc.
xot = <jot, Sap. ii. 2.
xov?, Cretic, p. 83.
xd£a, plural for sing., Sap. ix. 2,
note.
xpayt/.d; /opo;, used by Arion, p.
107.
xparaaSat, Alcm. xii. 1.
xpt/opi'a, at Sparta, Spart. Dance-
song i. note.
xporox?, accus. plur. Alcm. xiii. 5.
xutoE, p. 88, Sap. i. 5.
xw = xou, Alcae. i. 2, etc.
tw?, Doric, p. 83.
'YyEia, late form of uyiEta, Scol. ix.
1 note.
uytaivEiv, perhaps trisyllabic, Scol.
ix. 1.
uypov Se'os, sense, Archil, xi. 4.
u[j.rjvaov, Sap. xxxiii. (a),
upiv uptEvats, a formula of remote
antiquity, p. 10.
up-P-tv, p. 87, Simon, ix. 18, etc.
u7caxousi, force of preposition in,
Sap. ii. 4.
u^o^Exptoiwv, Alcm. i. 16.
urco7uvEtv, ' drink quietly,' Anac.
xvi. 1 1.
uTC07:dXto?, Anac. ix. b 2.
uaoo; (=o£os), Sap. iv. 1.
<J>atai = 9a<j£, Alcae. vii. 1.
cpapo?, <papo?, Alcm. i. 28.
cpaxa, Dorian, = cpwxa, Simon, ix. 9.
<Dr i p = $r i p, Dith. Poets i. y' 6.
<p{kppio, p. 82.
^pXe'yeiv, of poetry, Bacchyl. i. 12 :
of the wind, Ibyc. i. 7.
tpoivatg = 9-otvou$, Alcm. xi. 1.
(potvtxoEtxvtov, Pind. vi. 14.
<potvtxopd8ots ev\ XEtp-wvEaat, Pind. ii. 2.
^op^'ptsO-a, Alcae. xvii. 4.
cpouaa, Boeot. = <puaa, Misc. ii. 2.
<ppaai, p. 93.
<ppovxi'ao7]v, Sap. xv. (c), 2.
cpuydpiayo;, Simon, xxvi. a'.
(ptovsuaa;, Sap. ii. 3.
XaX/.^v punav, Pop. Songs vi.
XaXxiowat arcaO-at, Alcae. xvi. 6.
yaos = drjp, Bacchyl. xxii.
yaptsi;, of Anacreon, p. 185.
/apt?, sense, Pind. vi. 2 ; frequency
in Pindar, ibid, note ; usage in
Sap. xv. b note.
Xapu[3oi$, metaphorical, Simon, vii. 1.
ysXi, or /eXel, before ysXtdv7], Pop.
Songs iv. 1.
/Euaxw, Alcae. vi. 3.
ys'w, vdo? xr/uxat, Dith. P. xvii. 3.
yrjpto, sense, Miscel. vi. 14.
y9-dvio;, sense, Anac. xix.
yXtopauysvE; . . . a7]3dvs;, Simon.
xxiii. b.
XpXai<jt=yaXwai, Alcae. xvii. 9.
yopayd?, 'leader of the chorus,'
Alcm. L II.
yopoixu;:o;, of Pan, Dith. P. i. y' 5.
ypr)'[j.7), sense, Archil, x. 5.
ypdvo? xevds, in metre corr. to a
musical rest, pp. 54, 55.
2 I
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GREEK LYRIC POETS
-/puscdjJUTpa, third syll. lengthened,
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dar, Pind. xiii. I ; y. aeXava;,
Simon, xx. 3.
/puaocpopwv . . . TiapxhVov, Dith. P.
xviii. 2.
yu[ju£etv apjioviav, used of Ibycus,
p. 178; of Anacreon, p. 186.
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yv.r.®\ vocative before vowel, Sap.
i. 20.
iil-q xiO-apilTlS, pp. 40, 43.
•iCypos, signification, Sap. xxiv. 1.
'Qaptwv, Orion, Miscel. ii. <£.
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wipeXs, impers., Timocr. iii. 1 note.
Faosa, Alcae. ii. 3.
Fs'Fays, Sap. ii. 8, p. 82.
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fs'pyov, Alcae. xvi. 7.
Fc'j-spe, Sap. xxxix. 1.
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A CATALOGUE OF BOOKS IN GENERAL LITERATURE.
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