230:
547:). The language of the poem is typically direct and concise and comprises short sentences — the first line is in fact a model of condensed meaning, comprising an exhortation ("Let's drink!"), a rhetorical question ("Why are we waiting for the lamps?") and a justifying statement ("Only an inch of daylight left"). The meaning is clear and uncomplicated, the subject is drawn from personal experience, and there is an absence of poetic ornament, such as simile or metaphor. Like many of his poems (e.g., frs. 38, 326, 338, 347, 350), it begins with a verb (in this case "Let's drink!") and it includes a proverbial expression ("Only an inch of daylight left") though it is possible that he coined it himself.
467:: Alcaeus wrote on such a wide variety of subjects and themes that contradictions in his character emerge. The grammarian Athenaeus quoted some verses about perfumed ointments to prove just how unwarlike Alcaeus could be and he quoted his description of the armour adorning the walls of his house as proof that he could be unusually warlike for a lyric poet. Other examples of his readiness for both warlike and unwarlike subjects are lyrics celebrating his brother's heroic exploits as a Babylonian mercenary and lyrics sung in a rare meter (Sapphic Ionic in minore) in the voice of a distressed girl, "Wretched me, who share in all ills!" – possibly imitated by Horace in an ode in the same meter (C.3.12:
27:
173:
colonies securing its trade-routes in the
Hellespont. The city had long been ruled by kings born to the Penthilid clan but, during the poet's life, the Penthilids were a spent force and rival aristocrats and their factions contended with each other for supreme power. Alcaeus and his older brothers were passionately involved in the struggle but experienced little success. Their political adventures can be understood in terms of three tyrants who came and went in succession:
266:(fr. 384), may owe its inspiration to her performances at the festival. The Lesbian or Aeolic school of poetry "reached in the songs of Sappho and Alcaeus that high point of brilliancy to which it never after-wards approached" and it was assumed by later Greek critics and during the early centuries of the Christian era that the two poets were in fact lovers, a theme which became a favourite subject in art (as in the urn pictured above).
832:. The discovery of the Oxyrhynchus papyri towards the end of the nineteenth century dramatically increased the scope of scholarly research. In fact, eight important fragments have now been compiled from papyri – frs. 9, 38A, 42, 45, 34, 129, 130 and most recently S262. These fragments typically feature lacunae or gaps that scholars fill with 'educated guesses', including for example a "brilliant supplement" by
387:: Alcaeus often composed on a political theme, covering the power struggles on Lesbos with the passion and vigour of a partisan, cursing his opponents, rejoicing in their deaths, delivering blood-curdling homilies on the consequences of political inaction and exhorting his comrades to heroic defiance, as in one of his 'ship of state' allegories. Commenting on Alcaeus as a political poet, the scholar
753:
1833:
205:, the poet threw away his shield to make good his escape from the victorious Athenians then celebrated the occasion in a poem that he later sent to his friend, Melanippus. It is thought that Alcaeus travelled widely during his years in exile, including at least one visit to Egypt. His older brother, Antimenidas, appears to have served as a mercenary in the army of
168:"A probably authentic Lesbian coin has been preserved, bearing upon the obverse ... a profile head of Alcaeus, and upon the reverse ...a profile head of Pittacus. This coin is said to have belonged to Fulvius Ursinus. It passed through various hands and collections into the Royal Museum at Paris, and was engraved by the Chevalier Visconti." — J. Easby-Smith
163:
372:, after commending Alcaeus for his excellence "in that part of his works where he inveighs against tyrants and contributes to good morals; in his language he is concise, exalted, careful and often like an orator"; goes on to add: "but he descended into wantonness and amours, though better fitted for higher things".
172:
The broad outlines of the poet's life are well known. He was born into the aristocratic, warrior class that dominated
Mytilene, the strongest city-state on the island of Lesbos and, by the end of the seventh century BC, the most influential of all the North Aegean Greek cities, with a strong navy and
313:
The other six of the canonic nine composed verses for public occasions, performed by choruses and professional singers and typically featuring complex metrical arrangements that were never reproduced in other verses. However, this division into two groups is considered by some modern scholars to be
188:
Myrsilus – it is not known when he came to power but some verses by
Alcaeus (frag. 129) indicate that the poet, his brothers and Pittacus made plans to overthrow him and that Pittacus subsequently betrayed them; Alcaeus and his brothers fled into exile where the poet later wrote a drinking song in
632:
modelled his own lyrical compositions on those of
Alcaeus, rendering the Lesbian poet's verse-forms, including 'Alcaic' and 'Sapphic' stanzas, into concise Latin – an achievement he celebrates in his third book of odes. In his second book, in an ode composed in Alcaic stanzas on the subject of an
360:
below. Alcaeus himself seems to underscore the difference between his own 'down-to-earth' style and Sappho's more 'celestial' qualities when he describes her almost as a goddess (as cited above), and yet it has been argued that both poets were concerned with a balance between the divine and the
314:
too simplistic and often it is practically impossible to know whether a lyric composition was sung or recited, or whether or not it was accompanied by musical instruments and dance. Even the private reflections of
Alcaeus, ostensibly sung at dinner parties, still retain a public function.
760:
The story of
Alcaeus is partly the story of the scholars who rescued his work from oblivion. His verses have not come down to us through a manuscript tradition – generations of scribes copying an author's collected works, such as delivered intact into the modern age four entire books of
209:
and probably took part in the conquest of
Askelon. Alcaeus wrote verses in celebration of Antimenides' return, including mention of his valour in slaying the larger opponent (frag. 350), and he proudly describes the military hardware that adorned their family home (frag. 357).
597:, a verse form popularly associated with his compatriot, Sappho, but in which he too excelled, here paraphrased in English to suggest the same rhythms. There were probably another three stanzas in the original poem but only nine letters of them remain. The 'far-away light' (
401:, Alcaeus made every occasion an excuse for drinking and he has provided posterity several quotes in proof of it. Alcaeus exhorts his friends to drink in celebration of a tyrant's death, to drink away their sorrows, to drink because life is short and along the lines
345:
In the variety of his subjects, in the exquisite rhythm of his meters, and in the faultless perfection of his style, all of which appear even in mutilated fragments, he excels all the poets, even his more intense, more delicate and more truly inspired contemporary
607:, an electrical discharge supposed by ancient Greek mariners to be an epiphany of the Dioscuri, but the meaning of the line was obscured by gaps in the papyrus until reconstructed by a modern scholar; such reconstructions are typical of the extant poetry (see
367:
exhorts us to "Observe in
Alcaeus the sublimity, brevity and sweetness coupled with stern power, his splendid figures, and his clearness which was unimpaired by the dialect; and above all mark his manner of expressing his sentiments on public affairs", while
772:
Ancient scholars quoted
Alcaeus in support of various arguments. Thus for example Heraclitus "The Allegorist" quoted fr. 326 and part of fr. 6, about ships in a storm, in his study on Homer's use of allegory. The hymn to Hermes, fr308(b), was quoted by
333:
The
Aeolian song is suddenly revealed, as a mature work of art, in the spirited stanzas of Alcaeus. It is raised to a supreme excellence by his younger contemporary, Sappho, whose melody is unsurpassed, perhaps unequalled, among all the relics of Greek
823:
to form fr. 362. Three separate sources were combined to form fr. 350, as mentioned above, including a prose paraphrase from Strabo that first needed to be restored to its original meter, a synthesis achieved by the united efforts of Otto Hoffmann,
1814:
192:
Pittacus – the dominant political figure of his time, he was voted supreme power by the political assembly of Mytilene and appears to have governed well (590-580 BC), even allowing Alcaeus and his faction to return home in
222:. He had the high spirit and reckless gaiety, the love of country bound up with belief in a caste, the licence tempered by generosity and sometimes by tenderness, of a cavalier who has seen good and evil days. —
308:
They preferred quite short, metrically simple stanzas or 'strophes' which they re-used in many poems – hence the 'Alcaic' and 'Sapphic' stanzas, named after the two poets who perfected them or possibly invented
321:
If we compare the two, we find that Alcaeus is versatile, Sappho narrow in her range; that his verse is less polished and less melodious than hers; and that the emotions which he chooses to display are less
756:
A 2nd century AD papyrus of Alcaeus, one of the many such fragments that have contributed to our greatly improved knowledge of Alcaeus' poetry during the 20th century (P.Berol. inv. 9810 = fr. 137 L.–P.).
765:'s odes – but haphazardly, in quotes from ancient scholars and commentators whose own works have chanced to survive, and in the tattered remnants of papyri uncovered from an ancient rubbish pile at
781:, the rhetorician, quoted the first two lines of fr. 350, celebrating the return from Babylon of Alcaeus' brother. The rest of fr. 350 was paraphrased in prose by the historian/geographer
419:, to entertain his companions rather than to glorify the gods and in the same meters that he used for his 'secular' lyrics. There are for example fragments in 'Sapphic' meter praising the
294:
was held by many ancient critics to be pre-eminent, but some gave precedence to Alcaeus instead. The canonic nine are traditionally divided into two groups, with Alcaeus, Sappho and
819:
Some of the fragments quoted by ancient scholars were able to be integrated by scholars in the nineteenth century. Thus for example two separate quotes by Athenaeus were united by
555:
Alcaeus rarely used metaphor or simile and yet he had a fondness for the allegory of the storm-tossed ship of state. The following fragment of a hymn to Castor and Polydeuces (the
449:: Almost all Alcaeus' amorous verses, mentioned with disapproval by Quintilian above, have vanished without trace. There is a brief reference to his love poetry in a passage by
254:
and, since both poets composed for the entertainment of Mytilenean friends, they had many opportunities to associate with each other on a quite regular basis, such as at the
435:
was believed to have floated singing, eventually crossing the sea to Lesbos and ending up in a temple of Apollo, as a symbol of Lesbian supremacy in song). According to
769:
and other locations in Egypt: sources that modern scholars have studied and correlated exhaustively, adding little by little to the world's store of poetic fragments.
808:
compiled a fuller collection of Alcaic fragments, including a commentary, which was published at Antwerp in 1568. The first separate edition of Alcaeus was by
457:, who often wrote in imitation of Alcaeus, sketches in verse one of the Lesbian poet's favourite subjects – Lycus of the black hair and eyes (C.1.32.11–12:
1986:
1042:
796:
The first 'modern' publication of Alcaeus' verses appeared in a Greek and Latin edition of fragments collected from the canonic nine lyrical poets by
611:
below). This poem does not begin with a verb but with an adverb (Δευτέ) but still communicates a sense of action. He probably performed his verses at
229:
177:
Melanchrus – he was overthrown sometime between 612 BC and 609 BC by a faction that, in addition to the brothers of Alcaeus, included
262:
in frs. 129 and 130), where Sappho performed publicly with female choirs. Alcaeus' reference to Sappho in terms more typical of a divinity, as
1881:
1802:
1789:
1772:
1759:
492:
The following verses demonstrate some key characteristics of the Alcaic style (square brackets indicate uncertainties in the ancient text):
2001:
1094:
789:, principally on the subject of wine-drinking, but fr. 333, "wine, window into a man", was quoted much later by the Byzantine grammarian,
1844:
1996:
909:
282:
sometime in the 3rd century BC, and yet his verses today exist only in fragmentary form, varying in size from mere phrases, such as
1084:
286:(fr. 333) to entire groups of verses and stanzas, such as those quoted below (fr. 346). Alexandrian scholars numbered him in their
889:
26:
1971:
2006:
992:
405:, to drink through winter storms and to drink through the heat of summer. The latter poem in fact paraphrases verses from
1991:
829:
43:
162:
1981:
996:
274:
The poetic works of Alcaeus were collected into ten books, with elaborate commentaries, by the Alexandrian scholars
1163:
388:
364:
1976:
1874:
279:
275:
1894:
774:
559:) is possibly another example of this though some scholars interpret it instead as a prayer for a safe voyage.
223:
20:
258:, an annual festival celebrating the island's federation under Mytilene, held at the 'Messon' (referred to as
1966:
615:
for friends and political allies – men for whom loyalty was essential, particularly in such troubled times.
1048:
1421:
fr. 384; however, Liberman (1999) reads "Aphro" (Ἄφροι; a diminutive of "Aphrodite"), instead of "Sappho".
825:
809:
356:
The Roman poet, Horace, also compared the two, describing Alcaeus as "more full-throatedly singing" – see
302:
They composed and performed personally for friends and associates on topics of immediate interest to them;
243:
86:
1854:
1157:
1088:
860:
847:
182:
1867:
813:
436:
239:
1915:
800:, published at Basle in 1556. This was followed by another edition of the nine poets, collected by
608:
357:
801:
538:
234:
1781:
837:
604:
1091:
1935:
1859:
1798:
1785:
1768:
1755:
905:
461:). It is possible that Alcaeus wrote amorously about Sappho, as indicated in an earlier quote.
305:
They wrote in their native dialects (Alcaeus and Sappho in Aeolic dialect, Anacreon in Ionic);
206:
39:
1626:
901:
1890:
1818:
1020:
897:
634:
287:
128:
56:
1745:
1098:
805:
797:
124:
431:(a river significant in Lesbian mythology since it was down its waters that the head of
594:
471:). He also wrote Sapphic stanzas on Homeric themes but in un-Homeric style, comparing
439:, the hymn to Hermes was imitated by Horace in one of his own 'sapphic' odes (C.1.10:
201:
and Alcaeus was old enough to participate in the fighting. According to the historian
1960:
853:), Bowra conjured up a phrase that develops the meaning and the euphony of the poem (
833:
820:
472:
416:
120:
633:
almost fatal accident he had on his farm, he imagines meeting Alcaeus and Sappho in
790:
147:
752:
154:, the main city of Lesbos, where he was involved in political disputes and feuds.
1711:
Müller, Karl Otfried, "Ein Bruder des Dichters Alkäos ficht unter Nebukadnezar",
1945:
1925:
766:
391:
once observed that "if you removed the meter you would find political rhetoric".
143:
132:
112:
925:
1838:
1530:, P. Easterling and E. Kenney (eds), Cambridge University Press (1985), p. 212
1399:, P. Easterling and E. Kenney (eds), Cambridge University Press (1985), p. 213
1081:
646:
369:
135:
521:
Let's drink! Why are we waiting for the lamps? Only an inch of daylight left.
786:
612:
398:
202:
298:, being 'monodists' or 'solo-singers', with the following characteristics:
1767:. D. A. Campbell (ed.). Harvard University Press, Cambridge, Mass., 1982.
380:
The works of Alcaeus are conventionally grouped according to five genres.
1920:
1827:
778:
713:
556:
527:
to help them forget their troubles. Mix one part of water to two of wine,
480:
420:
295:
215:
178:
151:
812:
and it was published at Halle in 1780. The next separate edition was by
432:
428:
219:
198:
1797:. Translated by Willis Barnstone. Schoken Books Inc., New York, 1988.
541:, adroitly used to convey, for example, the rhythm of jostling cups (
1940:
1930:
1910:
1905:
782:
762:
651:
629:
476:
454:
450:
424:
406:
291:
251:
139:
116:
35:
31:
317:
Critics often seek to understand Alcaeus in comparison with Sappho:
1823:
529:
pour it in up to the brim, and let one cup push the other along...
197:
Sometime before 600 BC, Mytilene fought Athens for control of
751:
537:
The Greek meter here is relatively simple, comprising the Greater
228:
161:
25:
1044:
Lyric and Greek Myth (The Cambridge Companion to Greek Mythology)
836:
in fr. 34, a hymn to the Dioscuri that includes a description of
1855:
Alcaeus Bilingual Anthology (in Greek and English, side by side)
1478:
David Campbell, 'Monody', in P. Easterling and E. Kenney (eds),
709:
1863:
1528:
The Cambridge History of Classical Literature: Greek Literature
1480:
The Cambridge History of Classical Literature: Greek Literature
1397:
The Cambridge History of Classical Literature: Greek Literature
1754:. D.A. Campbell (ed.). Bristol Classical Press, London, 1982.
718:
639:
494:
361:
profane, each emphasising different elements in that balance.
185:); Alcaeus at that time was too young to be actively involved;
142:, with whom he may have exchanged poems. He was born into the
71:
854:
841:
598:
542:
500:
74:
866:), describing luminescence "running along the forestays".
189:
celebration of the news of the tyrant's death (frag. 332);
19:
This article is about the lyric poet. For other uses, see
409:, re-casting them in Asclepiad meter and Aeolian dialect.
59:
1621:
Donald. A. Russell and David Konstan (eds. and trans.),
1138:
1136:
840:
in the ship's rigging. Working with only eight letters (
738:
receive more praise, although he resounds more grandly.
735:
Nor does Alcaeus, my fellow-countryman and fellow-poet,
525:
for wine was given to men by the son of Semele and Zeus
523:
Lift down the large cups, my friends, the painted ones;
77:
68:
1595:.15.29s, cited and translated by David A. Campbell,
62:
415:: Alcaeus sang about the gods in the spirit of the
65:
1047:. University Press. pp. 19–51. Archived from
1228:
1226:
582:Landing on tall ships with a sudden, great bound,
1474:
1472:
716:, where Sappho is imagined to speak as follows:
683:Yawned at that instant! I half glimpsed the dire
469:Miserarum est neque amori dare ludum neque dulci
965:, University of Michigan Press, 1992, pp. 77–78
561:
502:πώνωμεν· τί τὰ λύχν' ὀμμένομεν; δάκτυλος ἀμέρα·
343:
331:
319:
250:Alcaeus was a contemporary and a countryman of
212:
1543:, Bristol Classical Press (1982), pp. 286, 289
1175:
1173:
1036:
1034:
1032:
510:πλήαις κὰκ κεφάλας, δ' ἀτέρα τὰν ἀτέραν κύλιξ
1875:
1748:(ed.). Polak and van Gennep, Amsterdam, 1971.
1556:Vol. I, Loeb Classical Library (1990), p. 247
1207:Quintillian 10.1.63, quoted by D.Campbell in
1109:
1107:
1041:Nagy, Gregory (2007). Woodward, R. D. (ed.).
986:
984:
8:
1386:, Bristol Classical Press (1982), pp. 292–93
1130:, Hackett Publishing Co. (1996), Intro. xiii
1072:, W. H. Lowdermilk and Co., Washington, 1901
785:. Many fragments were supplied in quotes by
724:nec plus Alcaeus consors patriaeque lyraeque
696:And war, hardship on land, hardship at sea.
694:Singing with your gold quill of ships, exile
685:Judge of the dead, the blest in their divine
508:ἀνθρώποισιν ἔδωκ'. ἔγχεε κέρναις ἔνα καὶ δύο
1482:, Cambridge University Press (1985), p. 214
690:Mourning the cold girls of her native isle,
568:Showing yourselves kindly by nature, Castor
1882:
1868:
1860:
1612:, Bristol Classic Press, 1982, pp. 285–305
727:laudis habet, quamvis grandius ille sonet.
584:A far-away light up the forestays running,
564:Hither now to me from your isle of Pelops,
506:οἶνον γὰρ Σεμέλας καὶ Δίος υἶος λαθικάδεον
214:Alcaeus was in some respects not unlike a
1625:, Society of Biblical Literature (2005),
573:Travelling abroad on swift-footed horses,
504:κὰδ δ'ἄερρε κυλίχναις μεγάλαις ποικίλαισ·
1515:Greek Lyric: An Anthology in Translation
1346:, Bristol Classical Press (1982), p. 286
1146:, Bristol Classical Press (1982), p. 287
1128:Greek Lyric: An Anthology in Translation
978:, Bristol Classic Press, 1982, pp. 285–7
894:Oxford Research Encyclopedia of Classics
575:Over the wide earth, over all the ocean,
290:(one lyric poet per Muse). Among these,
1504:, Bristol Classical Press (1982), p. 60
880:
681:How close the realm of dusky Proserpine
586:Bringing radiance to a ship in trouble,
566:You powerful children of Zeus and Leda,
1599:, Loeb Classical Library (1982), p. 39
1517:, Hackett Publishing Co. (1996), p. 48
902:10.1093/acrefore/9780199381135.013.254
692:And you, Alcaeus, more full-throatedly
687:Seclusion, Sappho on the Aeolian lyre,
1728:, Bristol Classic Press, 1982, p. 290
577:How easily you bring deliverance from
7:
1159:Bacchylides: the poems and fragments
459:nigris oculis nigroque/crine decorum
119:who is credited with inventing the
14:
1765:Greek Lyric 1: Sappho and Alcaeus
1597:Greek Lyric I: Sappho and Alcaeus
1183:, Penguin Classics (1964), p. 116
952:, W. H. Lowdermilk and Co. (1901)
1987:Ancient Greek political refugees
1831:
1795:Sappho and the Greek Lyric Poets
804:and published in Paris in 1560.
55:
1851: – Alcaeus, many fragments
1025:, MacMillan and Co. 1878, p. 59
748:Scholars, fragments and sources
609:Scholars, fragments and sources
441:Mercuri, facunde nepos Atlantis
264:holy/pure, honey-smiling Sappho
991:Easby-Smith, James S. (1901).
712:compared Alcaeus to Sappho in
397:: According to the grammarian
181:(later renowned as one of the
1:
1526:David Campbell, "Monody", in
1395:David Campbell, 'Monody', in
1195:, quoted from Easby-Smith in
673:dura fugae mala, dura belli!
666:et te sonantem plenius aureo,
664:Sappho puellis de popularibus
656:sedesque descriptas piorum et
105:
98:
1841: – English translations
1742:Sappho et Alcaeus. Fragmenta
830:Franz Heinrich Ludolf Ahrens
44:Staatliche Antikensammlungen
2002:6th-century BC Greek people
1830:(public domain audiobooks)
1780:. Gauthier Liberman (ed.).
1702:Athenaeus 15.674cd, 15.687d
1623:Heraclitus:Homeric Problems
669:Alcaee, plectro dura navis,
138:. He was a contemporary of
2023:
1513:Andrew M.Miller (trans.),
1430:fr. 362, Athenaeus 15.687d
1164:Cambridge University Press
1126:Andrew M.Miller (trans.),
855:
842:
599:
543:
501:
389:Dionysius of Halicarnassus
365:Dionysius of Halicarnassus
218:soldier of the age of the
90:
18:
1997:Poets from ancient Lesbos
1901:
1815:Works by or about Alcaeus
890:"Alcaeus (1), lyric poet"
660:Aeoliis fidibus querentem
619:Tributes from other poets
488:A drinking poem (fr. 346)
280:Aristarchus of Samothrace
276:Aristophanes of Byzantium
123:. He was included in the
115:from the Greek island of
1895:Ancient Greek literature
1262:, quoted by Campbell in
997:W. H. Lowdermilk and Co.
963:Early Greek Lyric Poetry
888:Carey, C. (2016-03-07).
645:quam paene furvae regna
643:
593:The poem was written in
588:Sailed in the darkness!
224:Richard Claverhouse Jebb
21:Alcaeus (disambiguation)
1179:James Michie (trans.),
930:Encyclopedia Britannica
714:Letters of the Heroines
284:wine, window into a man
1156:Jebb, Richard (1905).
1068:James S. Easby-Smith,
993:"The Songs of Alcaeus"
926:"Alcaeus | Greek poet"
757:
733:
722:
679:
650:et iudicantem vidimus
591:
519:
498:
354:
342:
330:
247:
244:The Walters Art Museum
227:
169:
95:Alkaios ho Mutilēnaios
47:
1972:6th-century BC deaths
755:
544:ἀ δ' ἀτέρα τὰν ἀτέραν
232:
183:Seven Sages of Greece
165:
91:Ἀλκαῖος ὁ Μυτιληναῖος
29:
2007:6th-century BC poets
1724:David. A. Campbell,
1608:David. A. Campbell,
1115:The Songs of Alcaeus
1070:The Songs of Alcaeus
974:David. A. Campbell,
950:The Songs of Alcaeus
864:próton' ontréchontes
810:Christian David Jani
603:) is a reference to
579:Death's gelid rigor,
437:Pomponius Porphyrion
240:Lawrence Alma-Tadema
1992:Ancient Mytileneans
1552:David A. Campbell,
1539:David A. Campbell,
1500:David A. Campbell,
1382:David A. Campbell,
1342:David A. Campbell,
1142:David A. Campbell,
1113:James Easby-Smith,
856:πρότον' ὀντρέχοντες
826:Karl Otfried Müller
131:by the scholars of
51:Alcaeus of Mytilene
1982:Aeolic Greek poets
1752:Greek Lyric Poetry
1726:Greek Lyric Poetry
1713:Rheinisches Museum
1610:Greek Lyric Poetry
1541:Greek Lyric Poetry
1502:Greek Lyric Poetry
1384:Greek Lyric Poetry
1344:Greek Lyric Poetry
1181:The Odes of Horace
1144:Greek Lyric Poetry
1097:2011-08-06 at the
976:Greek Lyric Poetry
802:Henricus Stephanus
758:
475:unfavourably with
248:
235:Sappho and Alcaeus
170:
48:
42:, c. 470 BC,
1954:
1953:
1803:978-0-8052-0831-3
1790:978-2-251-00476-1
1773:978-0-674-99157-6
1760:978-0-86292-008-1
1448:Athenaeus 14.627a
1275:Athenaeus 10.430c
745:
744:
702:
701:
535:
534:
351:James Easby-Smith
207:Nebuchadnezzar II
2014:
1977:Nine Lyric Poets
1891:Nine Lyric Poets
1884:
1877:
1870:
1861:
1839:Poems by Alcaeus
1835:
1834:
1824:Works by Alcaeus
1819:Internet Archive
1778:Alcée. Fragments
1729:
1722:
1716:
1709:
1703:
1700:
1694:
1687:
1681:
1678:
1672:
1661:
1655:
1648:
1642:
1635:
1629:
1619:
1613:
1606:
1600:
1589:
1583:
1576:
1570:
1563:
1557:
1550:
1544:
1537:
1531:
1524:
1518:
1511:
1505:
1498:
1492:
1489:
1483:
1476:
1467:
1464:
1458:
1455:
1449:
1446:
1440:
1437:
1431:
1428:
1422:
1419:
1413:
1406:
1400:
1393:
1387:
1380:
1374:
1371:
1365:
1362:
1356:
1353:
1347:
1340:
1334:
1327:
1321:
1318:
1312:
1309:
1303:
1300:
1294:
1291:
1285:
1282:
1276:
1273:
1267:
1257:
1251:
1248:
1242:
1239:
1233:
1230:
1221:
1218:
1212:
1205:
1199:
1197:Songs of Alcaeus
1190:
1184:
1177:
1168:
1167:
1153:
1147:
1140:
1131:
1124:
1118:
1111:
1102:
1079:
1073:
1066:
1060:
1059:
1057:
1056:
1038:
1027:
1023:Greek Literature
1018:
1012:
1006:
1000:
999:
988:
979:
972:
966:
959:
953:
948:J. Easby-Smith,
946:
940:
939:
937:
936:
922:
916:
915:
885:
858:
857:
845:
844:
816:, Leipzig 1827.
777:and both he and
739:
728:
719:
674:
670:
661:
657:
640:
613:drinking parties
602:
601:
546:
545:
514:
513:
495:
479:, the mother of
358:Horace's tribute
352:
340:
328:
129:nine lyric poets
110:
107:
103:
100:
92:
84:
83:
80:
79:
76:
73:
70:
67:
64:
61:
16:Greek lyric poet
2022:
2021:
2017:
2016:
2015:
2013:
2012:
2011:
1957:
1956:
1955:
1950:
1897:
1888:
1832:
1811:
1784:, Paris, 1999.
1782:Collection Budé
1746:Eva-Maria Voigt
1738:
1733:
1732:
1723:
1719:
1710:
1706:
1701:
1697:
1688:
1684:
1679:
1675:
1662:
1658:
1649:
1645:
1636:
1632:
1620:
1616:
1607:
1603:
1590:
1586:
1577:
1573:
1564:
1560:
1551:
1547:
1538:
1534:
1525:
1521:
1512:
1508:
1499:
1495:
1490:
1486:
1477:
1470:
1465:
1461:
1456:
1452:
1447:
1443:
1438:
1434:
1429:
1425:
1420:
1416:
1407:
1403:
1394:
1390:
1381:
1377:
1372:
1368:
1363:
1359:
1354:
1350:
1341:
1337:
1328:
1324:
1319:
1315:
1310:
1306:
1301:
1297:
1292:
1288:
1283:
1279:
1274:
1270:
1258:
1254:
1249:
1245:
1240:
1236:
1231:
1224:
1219:
1215:
1206:
1202:
1191:
1187:
1178:
1171:
1155:
1154:
1150:
1141:
1134:
1125:
1121:
1112:
1105:
1099:Wayback Machine
1089:Pseudo-Longinus
1080:
1076:
1067:
1063:
1054:
1052:
1040:
1039:
1030:
1019:
1015:
1007:
1003:
990:
989:
982:
973:
969:
960:
956:
947:
943:
934:
932:
924:
923:
919:
912:
887:
886:
882:
877:
872:
851:pró...tr...ntes
843:πρό...τρ...ντες
838:St. Elmo's fire
814:August Matthiae
806:Fulvius Ursinus
798:Michael Neander
750:
741:
737:
736:
730:
726:
725:
707:
698:
695:
693:
691:
689:
688:
686:
684:
682:
676:
672:
671:
668:
667:
665:
663:
662:
659:
658:
655:
654:
649:
628:The Roman poet
626:
621:
605:St. Elmo's Fire
600:Πήλοθεν λάμπροι
595:Sapphic stanzas
590:
587:
585:
583:
581:
580:
578:
576:
574:
572:
571:
570:And Polydeuces!
569:
567:
565:
553:
551:A hymn (fr. 34)
531:
528:
526:
524:
522:
516:
511:
509:
507:
505:
503:
490:
403:in vino veritas
385:Political songs
378:
353:
350:
341:
338:
329:
326:
272:
167:
160:
108:
101:
58:
54:
24:
17:
12:
11:
5:
2020:
2018:
2010:
2009:
2004:
1999:
1994:
1989:
1984:
1979:
1974:
1969:
1967:620s BC births
1959:
1958:
1952:
1951:
1949:
1948:
1943:
1938:
1933:
1928:
1923:
1918:
1913:
1908:
1902:
1899:
1898:
1889:
1887:
1886:
1879:
1872:
1864:
1858:
1857:
1852:
1845:A. M. Miller,
1842:
1836:
1821:
1810:
1809:External links
1807:
1806:
1805:
1792:
1775:
1762:
1749:
1737:
1734:
1731:
1730:
1717:
1704:
1695:
1682:
1673:
1656:
1643:
1630:
1614:
1601:
1584:
1571:
1558:
1545:
1532:
1519:
1506:
1493:
1484:
1468:
1459:
1450:
1441:
1432:
1423:
1414:
1401:
1388:
1375:
1366:
1357:
1348:
1335:
1322:
1313:
1304:
1295:
1286:
1277:
1268:
1252:
1243:
1234:
1222:
1213:
1200:
1185:
1169:
1148:
1132:
1119:
1103:
1074:
1061:
1028:
1013:
1001:
995:. Washington:
980:
967:
961:David Mulroy,
954:
941:
917:
910:
879:
878:
876:
873:
871:
868:
749:
746:
743:
742:
731:
706:
703:
700:
699:
677:
625:
622:
620:
617:
562:
552:
549:
533:
532:
517:
489:
486:
485:
484:
462:
444:
427:and the river
410:
395:Drinking songs
392:
377:
374:
348:
336:
327:David Campbell
324:
311:
310:
306:
303:
271:
268:
195:
194:
190:
186:
159:
156:
102: 625/620
15:
13:
10:
9:
6:
4:
3:
2:
2019:
2008:
2005:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1983:
1980:
1978:
1975:
1973:
1970:
1968:
1965:
1964:
1962:
1947:
1944:
1942:
1939:
1937:
1934:
1932:
1929:
1927:
1924:
1922:
1919:
1917:
1914:
1912:
1909:
1907:
1904:
1903:
1900:
1896:
1892:
1885:
1880:
1878:
1873:
1871:
1866:
1865:
1862:
1856:
1853:
1850:
1848:
1843:
1840:
1837:
1829:
1825:
1822:
1820:
1816:
1813:
1812:
1808:
1804:
1800:
1796:
1793:
1791:
1787:
1783:
1779:
1776:
1774:
1770:
1766:
1763:
1761:
1757:
1753:
1750:
1747:
1743:
1740:
1739:
1735:
1727:
1721:
1718:
1715:1 (1827):287.
1714:
1708:
1705:
1699:
1696:
1692:
1686:
1683:
1680:Strabo 13.617
1677:
1674:
1670:
1667:x 3; Libanus
1666:
1660:
1657:
1653:
1647:
1644:
1640:
1634:
1631:
1628:
1624:
1618:
1615:
1611:
1605:
1602:
1598:
1594:
1588:
1585:
1581:
1575:
1572:
1568:
1562:
1559:
1555:
1549:
1546:
1542:
1536:
1533:
1529:
1523:
1520:
1516:
1510:
1507:
1503:
1497:
1494:
1488:
1485:
1481:
1475:
1473:
1469:
1463:
1460:
1454:
1451:
1445:
1442:
1436:
1433:
1427:
1424:
1418:
1415:
1411:
1405:
1402:
1398:
1392:
1389:
1385:
1379:
1376:
1370:
1367:
1361:
1358:
1352:
1349:
1345:
1339:
1336:
1332:
1326:
1323:
1317:
1314:
1308:
1305:
1299:
1296:
1290:
1287:
1284:Frs. 335, 346
1281:
1278:
1272:
1269:
1265:
1261:
1256:
1253:
1247:
1244:
1238:
1235:
1229:
1227:
1223:
1217:
1214:
1210:
1204:
1201:
1198:
1194:
1189:
1186:
1182:
1176:
1174:
1170:
1166:. p. 29.
1165:
1161:
1160:
1152:
1149:
1145:
1139:
1137:
1133:
1129:
1123:
1120:
1116:
1110:
1108:
1104:
1100:
1096:
1093:
1090:
1086:
1083:
1078:
1075:
1071:
1065:
1062:
1051:on 2011-07-19
1050:
1046:
1045:
1037:
1035:
1033:
1029:
1026:
1024:
1017:
1014:
1010:
1005:
1002:
998:
994:
987:
985:
981:
977:
971:
968:
964:
958:
955:
951:
945:
942:
931:
927:
921:
918:
913:
911:9780199381135
907:
903:
899:
895:
891:
884:
881:
874:
869:
867:
865:
862:
852:
849:
839:
835:
834:Maurice Bowra
831:
827:
822:
821:Theodor Bergk
817:
815:
811:
807:
803:
799:
794:
792:
788:
784:
780:
776:
770:
768:
764:
754:
747:
740:
732:
729:
721:
720:
717:
715:
711:
704:
697:
678:
675:
653:
648:
642:
641:
638:
636:
631:
623:
618:
616:
614:
610:
606:
596:
589:
560:
558:
550:
548:
540:
530:
518:
515:
497:
496:
493:
487:
482:
478:
474:
473:Helen of Troy
470:
466:
465:Miscellaneous
463:
460:
456:
452:
448:
445:
442:
438:
434:
430:
426:
422:
418:
417:Homeric hymns
414:
411:
408:
404:
400:
396:
393:
390:
386:
383:
382:
381:
376:Poetic genres
375:
373:
371:
366:
362:
359:
347:
335:
323:
318:
315:
307:
304:
301:
300:
299:
297:
293:
289:
285:
281:
277:
269:
267:
265:
261:
257:
253:
245:
241:
237:
236:
231:
226:
225:
221:
217:
211:
208:
204:
200:
191:
187:
184:
180:
176:
175:
174:
164:
157:
155:
153:
149:
145:
141:
137:
134:
130:
126:
122:
121:Alcaic stanza
118:
114:
96:
88:
87:Ancient Greek
82:
52:
45:
41:
37:
33:
28:
22:
1846:
1794:
1777:
1764:
1751:
1741:
1725:
1720:
1712:
1707:
1698:
1690:
1685:
1676:
1668:
1664:
1663:Hephaestion
1659:
1651:
1650:Hephaestion
1646:
1638:
1633:
1627:Introduction
1622:
1617:
1609:
1604:
1596:
1592:
1587:
1579:
1574:
1566:
1561:
1553:
1548:
1540:
1535:
1527:
1522:
1514:
1509:
1501:
1496:
1487:
1479:
1462:
1453:
1444:
1435:
1426:
1417:
1409:
1404:
1396:
1391:
1383:
1378:
1369:
1360:
1351:
1343:
1338:
1330:
1325:
1316:
1307:
1298:
1289:
1280:
1271:
1263:
1259:
1255:
1246:
1237:
1216:
1208:
1203:
1196:
1192:
1188:
1180:
1158:
1151:
1143:
1127:
1122:
1114:
1077:
1069:
1064:
1053:. Retrieved
1049:the original
1043:
1022:
1021:R. C. Jebb,
1016:
1008:
1004:
975:
970:
962:
957:
949:
944:
933:. Retrieved
929:
920:
893:
883:
863:
850:
818:
795:
791:John Tzetzes
771:
759:
734:
723:
708:
680:
644:
627:
592:
563:
554:
536:
520:
499:
491:
468:
464:
458:
446:
440:
412:
402:
394:
384:
379:
363:
355:
344:
339:Richard Jebb
332:
320:
316:
312:
288:canonic nine
283:
273:
263:
259:
255:
249:
233:
213:
196:
171:
144:aristocratic
94:
50:
49:
30:Alcaeus and
1946:Bacchylides
1926:Stesichorus
1847:Greek Lyric
1637:Heraclitus
1554:Greek Lyric
1410:Tusc. Disp.
775:Hephaestion
767:Oxyrhynchus
647:Proserpinae
133:Hellenistic
46:(Inv. 2416)
38:red-figure
1961:Categories
1082:Quintilian
1055:2009-12-09
935:2019-10-17
870:References
447:Love songs
370:Quintilian
256:Kallisteia
146:governing
136:Alexandria
113:lyric poet
111:BC) was a
109: 580
1936:Simonides
1582:2.13.21–8
1260:Imit. 422
1193:Imit. 422
1009:Histories
875:Citations
787:Athenaeus
539:Asclepiad
399:Athenaeus
203:Herodotus
158:Biography
125:canonical
1921:Anacreon
1893: —
1828:LibriVox
1689:Tzetzes
1408:Cicero,
1364:fr. 308c
1266:, p. 286
1241:fr. S262
1211:, p. 288
1095:Archived
779:Libanius
557:Dioscuri
512:ὠθήτω...
481:Achilles
421:Dioscuri
349:—
337:—
325:—
322:intense.
296:Anacreon
216:Royalist
179:Pittacus
152:Mytilene
127:list of
40:calathus
1916:Alcaeus
1817:at the
1736:Sources
1578:Horace
1565:Horace
1466:fr. 10B
1457:fr. 350
1439:fr. 357
1355:fr. 34a
1329:Hesiod
1320:fr. 347
1311:fr. 338
1302:fr. 333
1293:fr. 38A
1232:fr. 332
1220:fr. 129
1085:10.1.61
433:Orpheus
346:Sappho.
260:temenos
220:Stuarts
199:Sigeion
166:Alcaeus
1941:Pindar
1931:Ibycus
1911:Sappho
1906:Alcman
1801:
1788:
1771:
1758:
1491:fr. 42
1373:fr. 45
1264:G.L.P.
1087:; cf.
908:
783:Strabo
763:Pindar
652:Aeacum
630:Horace
624:Horace
477:Thetis
455:Horace
451:Cicero
429:Hebrus
425:Hermes
407:Hesiod
334:verse.
292:Pindar
270:Poetry
252:Sappho
193:peace.
140:Sappho
117:Lesbos
32:Sappho
1691:Alex.
1665:Ench.
1654:xiv.1
1652:Ench.
1591:Ovid
1333:582–8
1250:fr. 6
1209:G.L.P
1117:p. 31
635:Hades
413:Hymns
309:them.
148:class
36:Attic
1799:ISBN
1786:ISBN
1769:ISBN
1756:ISBN
1671:13.5
1569:3.30
1412:4.71
1092:33.5
1011:5.95
906:ISBN
828:and
710:Ovid
705:Ovid
278:and
238:by
1826:at
1693:212
1669:Or.
1639:All
1593:Her
1580:Od.
1567:Od.
1331:Op.
898:doi
861:tr.
848:tr.
150:of
1963::
1744:.
1641:.5
1471:^
1225:^
1172:^
1162:.
1135:^
1106:^
1031:^
983:^
928:.
904:.
896:.
892:.
859:;
846:;
793:.
637::
453:.
443:).
423:,
242:.
106:c.
104:–
99:c.
97:;
93:,
89::
85:;
72:iː
34:,
1883:e
1876:t
1869:v
1849::
1101:.
1058:.
938:.
914:.
900::
483:.
246:.
81:/
78:s
75:ə
69:s
66:ˈ
63:l
60:æ
57:/
53:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
