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466:. The poems themselves appear to have been composed over a long period of time, from the time of Alexander the Great until the time that paganism gave way in the Roman Empire. They reflect the light-hearted elegance of much of Anacreon's genuine works although they were not written in the same Ionic Greek dialect that Anacreon used. They also display literary references and styles more common to the time of their actual composition.
43:
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originals, with the primary, sometimes only, connection to the Greek verses being the subject matter. More recent translators have tended to attempt a more spare translation which, though losing the sound of the originals, may be more true to their flavor. A sample of a translation in the
English rhyming tradition is included below.
414:, are not so very unlike what we call "Anacreontic" poetry as to make the contrast of style as great as the word might seem to imply. The tone of Anacreon's lyric effusions has probably led to an unjust estimate, by both ancients and moderns, of the poet's personal character. The "triple worship" of the
369:
In keeping with Greek poetic tradition, his poetry relied on the meter for its construction. Metrical poetry is a particularly rhythmic form, deriving its structure from patterns of phonetic features within and between the lines of verse. The phonetic patterning in
Anacreon's poetry, like all the
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Anacreon's poetry touched on universal themes of love, infatuation, disappointment, revelry, parties, festivals, and observations of everyday people and life. It is the subject matter of
Anacreon's poetry that helped to keep it familiar and enjoyable to generations of readers and listeners. His
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The Greek language is particularly well suited to this metrical style of poetry but the sound of the verses does not easily transfer to
English. As a consequence, translators have historically tended to substitute rhyme, stress rhythms, stanzaic patterning and other devices for the style of the
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in 1554 initiating a trend for short and playful "Anacreontic" poetry. In the early modern period, Anacreon's poetry was translated into Latin as well as into the vernacular, and poets started once again to adapt his works. The
European Anacreontic movement reached its height in the eighteenth
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takes the subject matter of
Anacreon's verses and works them into a rhyming style typical of the English poetry written in Headlam's day. The subject of the poem still remains: Anacreon complaining that a young woman, whom he compares to a Thracian filly, does not recognize his amatory skills.
1182:
240:, the future tyrant of Samos, who Strabo reports was one of the main subjects of his poetry. If Himerius is correct and Anacreon arrived on Samos before Polycrates became tyrant, this would have been before 530 BC. From Samos, Anacreon moved to Athens on the invitation of
418:, Wine and Love, ascribed to him as his religion in an old Greek epigram, may have been as purely professional in the two last cases as in the first, and his private character on such points was probably neither much better nor worse than that of his contemporaries.
548:, composed between the first century BC and the sixth century AD, imitate him in both theme and metre, particularly his erotic and sympotic poetry, while avoiding themes present in Anacreon but which fall outside of the stereotype of him.
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Greek poetry of the day, is found in the structured alternation of "long" and "short" syllables. The Ionic dialect also had a tonal aspect to it that lends a natural melodic quality to the recitation. Anacreon's meters include the
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The anacreontic meter continued to be used into the medieval period, though the direct influence of
Anacreon is uncertain. The Anacreontea were the most important influence on Anacreon's later reception, with the edition of
224:
402:, consisting of eight and eleven lines respectively, stand first amongst his few undisputed remains, as printed by recent editors. But hymns, especially when addressed to such deities as
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paintings while he was still alive. His writings influenced fifth-century
Athenian drama, as tragedy adopted his metres, while several surviving comic fragments mention him, and
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Ancient sources do not record if or when
Anacreon left Athens. He may have left after the assassination of his patron Hipparchus in 514, or the expulsion of Hipparchus' brother
426:, his statue on the Acropolis of Athens depicts him as drunk. He himself strongly repudiates, as Horace does, the brutal characteristics of intoxication as fit only for
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doubts this tradition. He probably died at the beginning of the fifth century: Hutchinson says around 500, Bernsdorff suggests 495, and
Campbell says 485. According to
193:. Anacreon's poetry touched on universal themes of love, infatuation, disappointment, revelry, parties, festivals, and the observations of everyday people and life.
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illustrates the ancient story that he choked to death on a grape seed. The ancient stereotype of Anacreon as the elderly, drunken poet of love was illustrated by
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he died by choking on a grape seed, though this is generally considered apocryphal. An epigram in the Greek anthology says that his tomb was on Teos.
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included adaptations of Anacreon's poems in his plays. Ancient philosophical and moralistic writers were divided on Anacreon, with some, such as
244:, presumably sometime after Hipparchus came to power in 528/7; according to Herodotus he was still on Samos in 522 when Polycrates was murdered.
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reports four possible names for his father: Eumelus, Aristocritus, Parthenius, and Scythinus. Ancient sources agree that Anacreon came from
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By the Hellenistic period, a caricature of Anacreon as drunken and lustful was established; the poems inspired by Anacreon known as the
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Anacreon lived in the sixth century BC. He was likely born in the 570s BC: Hans Bernsdorff says c. 575, David Campbell says c. 570. The
217:, and at least one of Anacreon's fragments mentions the city. When Teos was conquered by Persia in the 540s BC, the Teians moved to
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A collection of poems by numerous, anonymous imitators was long believed to be the works of Anacreon himself. Known as the
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remarks acutely that he seems at least to have been sober when he wrote. His character was an issue, because, according to
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Brill's New Pauly Supplements II - Volume 7 : Figures of Antiquity and their Reception in Art, Literature and Music
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mention as extant in their time, only the merest fragments exist today, collected from the citations of later writers.
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poet, notable for his drinking songs and erotic poems. Later Greeks included him in the canonical list of
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in 510, though there is some evidence of his presence in the city later than this. Two epigrams from the
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499: And make thee bend
490: That cruel glance,
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512: Has not been met
501: Each turning-end
488: Why turn askance
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In the visual arts, Anacreon was largely shown in a biographical or literary context:
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century, with Anacreontic groups in Germany, France, and Britain including the London
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widespread popularity inspired countless imitators, which also kept his name alive.
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Red-figure vase depicting the assassination of Anacreon's Athenian patron Hipparchus
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and amatory lyrics which are commonly associated with his name. Two short hymns to
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1070:. Vol. I: Introduction, Text, and Translation. Oxford University Press.
864:. Vol. 1 (11th ed.). Cambridge University Press. pp. 906–907.
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Greek Lyric II: Anacreon, Anacreontea, Choral Lyric from Olympis to Alcman
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Anacreon was already famous in his own lifetime, depicted on Athenian
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Anacreon had a reputation as a composer of hymns, as well as of those
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McLachlan, Bonnie (1997). "Anacreon". In Gerber, Douglas E. (ed.).
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Typical of most efforts at translation, this 19th-century one by
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Drinking songs, erotic poems, being one of the Nine Lyric Poets
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Anacreon was respected as a poet and included in the canon of
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Possible names: Eumelus, Aristocritus, Parthenius, Scythinus
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Greek Lyric Poetry: A Commentary on Selected Larger Pieces
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Of the five books of lyrical pieces by Anacreon which the
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This article is about the Greek poet. For other uses, see
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Anacreon depicted in the act of singing and playing his
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Anacreon wrote all of his poetry in the ancient Ionic
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allude to him, and he was an important influence on
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suggest that he spent some time in Thessaly, though
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358:. Anacreon's verses were primarily in the form of
178:. Anacreon wrote all of his poetry in the ancient
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232:Anacreon spent time in Samos. According to
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1149:Sappho in the Making: The Early Reception,
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1068:Anacreon of Teos: Testimonia and Fragments
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1075:Brinker, Wolfram (2012). "Anacreon".
1049:Baumbach, Manuel (2016). "Anacreon".
456:, it was preserved in a 10th-century
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299:adding citations to reliable sources
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1124:. Oxford: Oxford University Press.
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514:To mount the car and manage thee.
236:, he was invited there to educate
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492:And think that such a dunce am I?
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1141:A Companion to Greek Lyric Poets
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508:And frisking it with merry glee;
506:But now 'tis yet the meadow free
503:In harness all the course of it.
484:Ah tell me why you turn and fly,
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47:A bust of Anacreon in the Louvre
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16:6th century BC Greek lyric poet
607:painted him in the company of
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486:My little Thracian filly shy?
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1105:. Harvard University Press.
584:Anachreon, Bachus et l'Amour
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1329:6th-century BC Greek people
1198:(public domain audiobooks)
1147:Yatromanolakis, Dimitrios,
1101:Campbell, David A. (1988).
495:O I am blest with ample wit
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1349:Ancient Greek erotic poets
1183:Works by or about Anacreon
1120:Hutchinson, G. O. (2001).
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1094:Greek Lyric: A Selection
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615:, while a caricature by
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1151:Cambridge, Mass., 2007.
861:Encyclopædia Britannica
555:. The Hellenistic poet
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1344:Poets of ancient Ionia
885:Headlam, Walter George
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1324:5th-century BC deaths
890:A Book of Greek Verse
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1170:at Wikimedia Commons
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600:(1772–1779).
598:Anacreontic Society
586:by Jean-Léon Gérôme
382:Themes and subjects
593:Henricus Stephanus
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463:Palatine Anthology
362:rather than for a
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257:Gregory Hutchinson
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1192:Works by Anacreon
1178:Project Gutenberg
1174:Works by Anacreon
1166:Media related to
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1011:, pp. 40–41.
937:, pp. 32–33.
773:, pp. 10–11.
470:A translated poem
350:. Like all early
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535:Aristophanes
528:
483:
473:
461:
451:
449:
438:
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392:bacchanalian
389:
385:
376:
372:anacreonteus
368:
352:lyric poetry
345:
313:
304:
293:Please help
288:verification
285:
246:
231:
200:
187:lyric poetry
105:
104:
1293:Bacchylides
1273:Stesichorus
821:Pausanias,
557:Callimachus
546:Anacreontea
453:Anacreontea
1308:Categories
1043:References
812:iii.25, 51
565:Propertius
458:manuscript
428:barbarians
242:Hipparchus
238:Polycrates
167:BC) was a
165: 495
163: – c.
161: 573
83:Lyric poet
80:Occupation
1283:Simonides
613:Parnassus
520:Reception
445:Athenaeus
432:Scythians
424:Pausanias
420:Athenaeus
404:Aphrodite
307:July 2024
215:Herodotus
96:Parent(s)
56:c. 573 BC
1268:Anacreon
1240: —
1196:LibriVox
1168:Anacreon
887:(1907).
856:Anacreon
412:Dionysus
400:Dionysus
234:Himerius
151:Ἀνακρέων
106:Anacreon
36:Ἀνακρέων
30:Anacreon
1263:Alcaeus
1185:at the
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605:Raphael
525:Ancient
396:Artemis
348:dialect
249:Hippias
183:dialect
153:ὁ Τήϊος
1288:Pindar
1278:Ibycus
1258:Sappho
1253:Alcman
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823:Attica
609:Sappho
575:Modern
569:Horace
364:chorus
360:monody
267:Poetry
64:Turkey
825:xxv.1
631:Notes
539:Plato
416:Muses
211:Ionia
180:Ionic
172:lyric
169:Greek
145:Greek
1126:ISBN
1107:ISBN
623:and
563:and
561:Ovid
443:and
440:Suda
430:and
410:and
408:Eros
398:and
356:lyre
340:lyre
207:Teos
203:Suda
197:Life
191:lyre
72:Died
60:Teos
53:Born
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1081:doi
1055:doi
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611:in
297:by
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