374:, to Archilochus, but reneged on the agreement, and the poet retaliated with such eloquent abuse that Lycambes, Neobule and one or both of his other daughters committed suicide. The story later became a popular theme for Alexandrian versifiers, who played upon its poignancy at the expense of Archilochus. Some modern scholars believe that Lycambes and his daughters were not actually the poet's contemporaries but fictional characters in a traditional entertainment. According to another view, Lycambes as an oath-breaker had marked himself out as a menace to society and the poet's invective was not just personal revenge but a social obligation consistent with the practice of 'iambos'.
196:
707:, but Archilochus uses it here to communicate the need for emotional moderation. His use of the meter isn't intentionally ironic, however, since he didn't share the tidy functionalism of later theorists, for whom different meters and verse-forms were endowed with distinctive characters suited to different tasks – his use of meter is "neutral in respect of ethos". The following verse is indicative too of the fragmentary nature of Archilochus's extant work: lines 2 and 3 are probably corrupted and modern scholars have tried to emend them in various ways, though the general meaning is clear.
51:
265:
1940:
358:
768:
228:. There is nothing in those two fragments to suggest that Archilochus is speaking in those roles (we rely entirely on Aristotle for the context) and possibly many of his other verses involved role-playing too. It has even been suggested by one modern scholar that imaginary characters and situations might have been a feature of the poetic tradition within which Archilochus composed, known by the ancients as
398:. A Naxian warrior named Calondas won notoriety as the man that killed him. The Naxian's fate interested later authors such as Plutarch and Dio Chrysostom, since it had been a fair fight yet he was punished for it by the gods: He had gone to the temple of Apollo at Delphi to consult the oracle and was rebuked with the memorable words: "You killed the servant of the Muses; depart from the temple."
467:"For of the two poets who for all time deserve to be compared with no other, namely Homer and Archilochus, Homer praised nearly everything ... But Archilochus went to the opposite extreme, to censure; seeing, I suppose, that men are in greater need of this, and first of all he censures himself ...", thus winning for himself "... the highest commendation from heaven." –
504:"... not all his iambic and trochaic poetry was invective. In his elegiacs we find neat epigrams, consolatory poems and a detailed prediction of battle; his trochaics include a cry for help in war, an address to his troubled soul and lines on the ideal commander; in his iambics we find an enchanting description of a girl and Charon the carpenter's rejection of tyranny."
862:"Tellis appears to be in his late teens, Cleoboea as still a girl and she has on her knees a chest of the sort that they are accustomed to make for Demeter. With regard to Tellis I heard only that he was the grandfather of Archilochus and they say that Cleoboea was the first to introduce the rites of Demeter to Thasos from Paros." – Pausanias 10.28.3
345:'s boat with the priestess of Demeter. The poet's father, Telesicles, also distinguished himself in the history of Thasos, as the founder of a Parian colony there. The names 'Tellis' and 'Telesicles' can have religious connotations and some modern scholars infer that the poet was born into a priestly family devoted to Demeter. Inscriptions in the
901:
pre-eminent among holy islands, but
Archilochus spewed forth frightful reproach and a hateful report against our family. We swear by the gods and spirits that we did not set eyes on Archilochus either in the streets or in Hera's great precinct. If we had been lustful and wicked, he would have not wanted to beget legitimate children from us." –
514:) – elegy aimed at some degree of decorum, since it employed the stately hexameter of epic, whereas the term 'iambus', as used by Alexandrian scholars, denoted any informal kind of verse meant to entertain (it may have included the iambic meter but was not confined to it). Hence the accusation that he was "too iambic" (see
604:, yet he was also censured by them as the archetypal poet of blame – his invectives were even said to have driven his former fiancée and her father to suicide. He presented himself as a man of few illusions either in war or in love, such as in the following elegy, where discretion is seen to be the better part of valour:
495:"We find in him the greatest force of expression, sententious statements that are not only vigorous but also terse and vibrant, and a great abundance of vitality and energy, to the extent that in the view of some his inferiority to anyone results from a defect of subject matter rather than poetic genius."
393:
His combative spirit also expressed itself in warfare. He joined the Parian colony on Thasos and battled the indigenous
Thracians, expressing himself in his poems as a cynical, hard-bitten soldier fighting for a country he doesn't love ("Thasos, thrice miserable city") on behalf of a people he scorns
215:
A considerable amount of information about the life of
Archilochus has come down to the modern age via his surviving work, the testimony of other authors, and inscriptions on monuments, yet it all needs to be viewed with caution – the biographical tradition is generally unreliable and the fragmentary
900:
include the following by a certain
Dioscorides, in which the victims are imagined to speak from the grave: "We here, the daughters of Lycambes who gained a hateful reputation, swear by the reverence in which this tomb of the dead is held that we did not shame our virginity or our parents or Paros,
486:
of Homer. Homer did not create the epic hexameter, however, and there is evidence that other meters also predate his work. Thus, though ancient scholars credited
Archilochus with the invention of elegy and iambic poetry, he probably built on a "flourishing tradition of popular song" that pre-dated
252:
from the sanctuary include quoted verses and historical records. In one, we are told that his father
Telesicles once sent Archilochus to fetch a cow from the fields, but that the boy chanced to meet a group of women who soon vanished with the animal and left him a lyre in its place – they were the
235:
The two poems quoted by
Aristotle help to date the poet's life (assuming of course that Charon and the unnamed father are speaking about events that Archilochus had experienced himself). Gyges reigned 687–652 BC and the date of the eclipse must have been either 6 April 648 BC or 27 June
220:, that Archilochus sometimes role-played. The philosopher quoted two fragments as examples of an author speaking in somebody else's voice: in one, an unnamed father commenting on a recent eclipse of the sun and, in the other, a carpenter named Charon, expressing his indifference to the wealth of
499:
Most ancient commentators focused on his lampoons and on the virulence of his invective, yet the extant verses (most of which come from
Egyptian papyri) indicate a very wide range of poetic interests. Alexandrian scholars collected the works of the other two major iambographers, Semonides and
381:
imply that the poet had a controversial role in the introduction of the cult of
Dionysus to Paros. It records that his songs were condemned by the Parians as "too iambic" (the issue may have concerned phallic worship) but they were the ones who ended up being punished by the gods for impiety,
441:
This couplet testifies to a social revolution: Homer's poetry was a powerful influence on later poets and yet in Homer's day it had been unthinkable for a poet to be a warrior. Archilochus deliberately broke the traditional mould even while adapting himself to it. "Perhaps there is a special
353:
There is no evidence to back isolated reports that his mother was a slave, named Enipo, that he left Paros to escape poverty, or that he became a mercenary soldier – the slave background is probably inferred from a misreading of his verses; archaeology indicates that life on Paros, which he
500:
Hipponax, in just two books each, which were cited by number, whereas
Archilochus was edited and cited not by book number but rather by poetic terms such as 'elegy', 'trimeters', 'tetrameters' and 'epodes'. Moreover, even those terms fail to indicate his versatility:
450:) and for "the unseemly and lewd utterances directed towards women", whereby he made "a spectacle of himself" He was considered "... a noble poet in other respects if one were to take away his foul mouth and slanderous speech and wash them away like a stain" (
923:"I have no liking for a general who is tall, walks with a swaggering gait, takes pride in his curls, and is partly shaven. Let mine be one who is short, has a bent look about the shins, stands firmly on his feet, and is full of courage." – Fragment 114
442:
relevance to his times in the particular gestures he elects to make: The abandonment of grandly heroic attitudes in favour of a new unsentimental honesty, an iconoclastic and flippant tone of voice coupled with deep awareness of traditional truths."
240:
of a cenotaph, dated around the end of the seventh century and dedicated to a friend named in several fragments: Glaucus, son of Leptines. The chronology for Archilochus is complex but modern scholars generally settle for c. 680 – c. 640 BC.
354:
associated with "figs and seafaring", was quite prosperous; and though he frequently refers to the rough life of a soldier, warfare was a function of the aristocracy in the archaic period and there is no indication that he fought for pay.
462:
banished the works of Archilochus from their state for the sake of their children "... lest it harm their morals more than it benefited their talents." Yet some ancient scholars interpreted his motives more sympathetically:
361:"Look Glaucus! Already waves are disturbing the deep sea and a cloud stands straight round about the heights of Gyrae, a sign of storm; from the unexpected comes fear." The trochaic verse was quoted by the Homeric scholar
791:. About half of these fragments are too short or too damaged to discern any context or intention (some of them consisting of single words). One of the longest fragments (fragment 13) has ten nearly complete lines.
445:
Ancient authors and scholars often reacted to his poetry and to the biographical tradition angrily, condemning "fault-finding Archilochus" for "fattening himself on harsh words of hatred" (see Pindar's comment
211:, late 5th century BC. Archilochus was involved in the Parian colonization of Thasos about two centuries before the coin was minted. His poetry includes vivid accounts of life as a warrior, seafarer and lover.
526:
or pipe, whereas the performance of iambus varied, from recitation or chant in iambic trimeter and trochaic tetrameter, to singing of epodes accompanied by some musical instrument (which one isn't known).
382:
possibly with impotence. The oracle of Apollo then instructed them to atone for their error and rid themselves of their suffering by honouring the poet, which led to the shrine being dedicated to him. His
236:
660 BC (another date, 14 March 711 BC, is generally considered too early). These dates are consistent with other evidence of the poet's chronology and reported history, such as the discovery at
369:
The life of Archilochus was marked by conflicts. The ancient tradition identified a Parian, Lycambes, and his daughters as the main target of his anger. The father is said to have betrothed his daughter,
248:) was established on his home island Paros sometime in the third century BC, where his admirers offered him sacrifices, as well as to gods such as Apollo, Dionysus, and the Muses. Inscriptions found on
216:
nature of the poems does not really support inferences about his personal history. The vivid language and intimate details of the poems often look autobiographical yet it is known, on the authority of
818:, Volume LXIX (Graeco-Roman Memoirs 89, 2007). A discovery of a fragment of writing by Archilochus contained a citation of a proverb that was important to the proper interpretation of a letter in the
50:
1734:
Archiloque, Fragments, texte établi par François Lasserre, traduit et commenté par André Bonnard, Collection des Universités de France, publié sous le patronage de l'Association Guillaume Budé
187:. He is celebrated for his versatile and innovative use of poetic meters, and is the earliest known Greek author to compose almost entirely on the theme of his own emotions and experiences.
771:
A small papyrus scrap first published in 1908 which is derived from the same ancient manuscript of Archilochus that yielded the most recent discovery (P.Oxy. VI 854, 2nd century CE).
596:
Although his work now only survives in fragments, Archilochus was revered by the ancient Greeks as one of their most brilliant authors, able to be mentioned in the same breath as
566:). He did in fact compose some lyrics but only the smallest fragments of these survive today. However, they include one of the most famous of all lyric utterances, a hymn to
257:. Not all the inscriptions are as fanciful as that. Some are records by a local historian of the time, set out in chronological order according to custom, under the names of
487:
Homer. His innovations however seem to have turned a popular tradition into an important literary medium. His merits as a poet were neatly summarized by the rhetorician
394:
yet he values his closest comrades and their stalwart, unglamorous commander. Later he returned to Paros and joined the fight against the neighbouring island of
783:(tom. II, 1882) There are about three hundred known fragments of Archilochus' poetry, besides some forty paraphrases or indirect quotations, collected in the
1427:
317:. According to tradition, Archilochus was born to a notable family on Paros. His grandfather (or great-grandfather), Tellis, helped establish the cult of
671:
Like other archaic Greek poets, Archilochus relied heavily on Homer's example for his choice of language, particularly when using the same meter,
1988:
2044:
651:
Archilochus was much imitated even up to Roman times and three other distinguished poets later claimed to have thrown away their shields –
244:
Whether or not their lives had been virtuous, authors of genius were revered by their fellow Greeks. Thus a sanctuary to Archilochus (the
1953:
253:
Muses and they had thus earmarked him as their protégé. According to the same inscription, the omen was later confirmed by the oracle at
1963:
679:), but even in other meters the debt is apparent – in the verse below, for example, his address to his embattled soul or spirit,
1983:
1958:
1922:
1879:
1847:
1826:
1619:
1310:
992:
1968:
2029:
1898:
1535:
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The name 'Enipo' has connotations of abuse (enipai), which is curiously apt for the mother of a famous iambographer.
269:
518:) referred not to his choice of meter but his subject matter and tone (for an example of his iambic verse see
1973:
2014:
268:
Ionic capital from the grave of Archilochus, with inscription "Here lies Archilochus, son of Telesicles",
2019:
17:
2039:
362:
519:
2034:
2009:
2004:
195:
1908:
334:
1759:
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with the final syllable omitted), a form later favoured by Athenian dramatists because of its
2024:
1944:
1215:
562:– his range exceeded their narrow criteria for lyric ('lyric' meant verse accompanied by the
325:
near the end of the eighth century BC, a mission that was famously depicted in a painting at
284:
1939:
8:
823:
819:
652:
830:, with the same proverb: "The bitch by her acting too hastily brought forth the blind."
1794:
1471:
962:
811:
672:
342:
313:
31:
1918:
1894:
1875:
1843:
1822:
1777:
Moran, William L. (1978). "An Assyriological gloss on the new Archilochus fragment".
1615:
1531:
1306:
1221:
988:
966:
508:
One convenient way to classify the poems is to divide them between elegy and iambus (
292:
1954:
Introduction to Archilochos and translation of A's longest fragment by Guy Davenport
1861:
1786:
954:
559:
455:
308:
275:
Snippets of biographical information are provided by ancient authors as diverse as
176:
123:
1978:
788:
1912:
1869:
1837:
1816:
888:, or a mythological allusion to the rocks on which the Lesser Ajax met his death.
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850:
827:
531:
468:
395:
304:
229:
221:
180:
159:
1979:
Zweisprachige Textauswahl zu den griechischen Lyrikern mit zusätzlichen Hilfen
1072:
Van Sickle (October–November 1975), "Archilochus: A New Fragment of an Epode"
958:
365:, who said that Archilochus used the image to describe war with the Thracians.
1998:
776:
571:
1865:
1857:
942:
846:
698:
555:
1528:
Archilochus, Alcman, Sappho: Three Lyric Poets of the Seventh Century B.C.
703:
697:
character, expressing aggression and emotional intensity. The comic poet
530:
The Alexandrian scholars included Archilochus in their canonical list of
480:
639:
But at least I got myself safely out. Why should I care for that shield?
1948:
1815:
Brown, Christopher (1997). "Archilochus". In Gerber, Douglas E. (ed.).
799:
686:
488:
330:
1798:
535:
483:
383:
264:
249:
217:
1974:
Archilochus Bilingual Anthology (in Greek and English, side by side)
752:
But delight in things that are delightful and, in hard times, grieve
1893:. Loeb Classical Library. Cambridge, MA: Harvard University Press.
1790:
1553:
1404:
803:
746:
Now from this side and now that, enduring all such strife up close,
690:
656:
567:
547:
543:
539:
429:
357:
350:
296:
1388:
1386:
985:
Travelling Heroes: Greeks and their myths in the epic age of Homer
1749:, ed. Karen Weisman (Oxford: Oxford University Press 2010) 13-45.
1688:
1056:
1054:
1052:
1006:
1004:
795:
371:
318:
280:
258:
767:
1508:
1383:
1315:
754:
Not too much – appreciate the rhythm that controls men's lives.
744:
Bear up, hold out, meet front-on the many foes that rush on you
660:
601:
459:
326:
322:
288:
276:
254:
237:
200:
1670:
1668:
1612:
Sappho's Lyre: Archaic lyric and women poets of ancient Greece
1049:
1001:
1694:
897:
885:
807:
720:
701:
employed it for the arrival on stage of an enraged chorus in
685:, has Homeric echoes. The meter below is trochaic tetrameter
680:
676:
597:
575:
551:
523:
509:
416:
387:
338:
300:
225:
208:
204:
184:
163:
85:
1720:
Archilochus fr. 128, quoted by Stobaeus (3.20.28), cited by
1305:
Encyclopedia of ancient Greece By Nigel Guy Wilson Page 353
126:
1665:
1424:
563:
451:
349:
identify Archilochus as a key figure in the Parian cult of
147:
141:
1289:
1287:
1285:
1283:
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Nor, defeated, throw yourself lamenting in a heap at home,
580:, in which the first word imitates the sound of the lyre.
1027:
1025:
1023:
1021:
1019:
845:
While these have been the generally accepted dates since
135:
55:
Bust of a bearded man, possibly Archilochus. Roman copy (
742:
My Soul, my Soul, all disturbed by sorrows inconsolable,
1653:
1430:(vol. I, p. 376 Adler) = Aelian fr. 80 Hercher, trans.
1280:
1184:
794:
Thirty previously unknown lines by Archilochus, in the
748:
Never wavering; and should you win, don't openly exult,
1148:
1111:
1016:
914:"The of all the Greeks have come together in Thasos".
787:
edition (1958, revised 1968) by François Lasserre and
775:
Fragments of Archilochus' poetry were first edited by
642:
Let it go. Some other time I'll find another no worse.
1099:
558:, but he was not included in the Alexandrian list of
150:
144:
132:
1196:
554:. Modern critics often characterize him simply as a
138:
1989:
Archilochos of Paros and Archilochos' Beloved Paros
1628:
1541:
1268:
1256:
636:
Unwillingly near a bush, for it was perfectly good,
129:
59:
2nd century BC) of Greek original (4th century BC).
1864:(1985). "Elegy and Iambus". In Easterling, P. E.;
1376:Denis Page, 'Archilochus and the Oral Tradition',
1244:
1160:
1037:
542:, yet ancient commentators also numbered him with
479:The earliest meter in extant Greek poetry was the
618:αὐτὸν δ' ἔκ μ' ἐσάωσα· τί μοι μέλει ἀσπὶς ἐκείνη;
1996:
1856:
1614:. Berkeley, CA: University of California Press.
1597:
1559:
1514:
1392:
1321:
1060:
1010:
1475:1985. Ithaca: Cornell University Press. p. 137/
734:μὴ λίην· γίνωσκε δ᾽ οἷος ῥυσμὸς ἀνθρώπους ἔχει.
726:στέρνον, ἐν δοκοῖσιν ἐχθρῶν πλησίον κατασταθείς
1984:SORGLL: Archilochos 67; read by Stephen Daitz
849:(1941), some scholars disagree; for instance,
724:ἄνα δέ, δυσμενέων δ᾽ ἀλέξευ προσβαλὼν ἐναντίον
1871:The Cambridge History of Classical Literature
612:Ἀσπίδι μὲν Σαΐων τις ἀγάλλεται, ἥν παρὰ θάμνῳ
434:and skilled in the lovely gift of the Muses.
261:. Unfortunately, these are very fragmentary.
27:Ancient Greek lyric poet (c. 680 – c. 645 BC)
798:meter, describing events leading up to the
732:ἀλλὰ χαρτοῖσίν τε χαῖρε καὶ κακοῖσιν ἀσχάλα
418:Εἰμὶ δ' ἐγὼ θεράπων μὲν Ἐνυαλίοιο ἄνακτος,
49:
762:
1835:
1674:
1659:
1609:
1575:, Nigel Wilson (ed.), Routledge, page 76
1293:
1190:
1031:
766:
730:μηδὲ νικηθεὶς ἐν οἴκωι καταπεσὼν ὀδύρεο.
728:ἀσφαλέως· καὶ μήτε νικῶν ἀμφαδὴν ἀγάλλεο
633:) now delights in the shield I discarded
356:
263:
194:
1571:Sophie Mills (2006), 'Archilochus', in
987:. London, UK: Allen Lane. p. 388.
722:θυμέ, θύμ᾽ ἀμηχάνοισι κήδεσιν κυκώμενε,
714:
712:
410:
408:
401:
14:
1997:
1888:
1779:Harvard Studies in Classical Philology
1721:
1647:
1547:
1502:
1457:
1444:
1443:Valerius Maximus, 6.3, ext. 1, trans.
1431:
1412:
1364:
1351:
1334:
1238:
1202:
1178:
1142:
1129:
1093:
941:
570:with which victors were hailed at the
2045:Epigrammatists of the Greek Anthology
1991:: documentaries by Yannis Tritsibidas
1814:
1776:
1745:Gregory Nagy, "Ancient Greek Elegy",
1634:
1274:
1262:
1154:
1117:
1043:
420:καὶ Μουσέων ἐρατὸν δῶρον ἐπιστάμενος.
311:and several anonymous authors in the
1907:
1818:A Companion to the Greek Lyric Poets
1250:
1217:A Companion to the Greek Lyric Poets
1166:
1105:
853:(2008) dates him c. 740–680 BC.
606:
447:
1472:The Art and Culture of Early Greece
979:
945:(1941). "The date of Archilochus".
615:ἔντος ἀμώμητον κάλλιπον οὐκ ἐθέλων·
333:. The painting, later described by
30:For the genus of hummingbirds, see
24:
621:Ἐρρέτω· ἐξαῦτις κτήσομαι οὐ κακίω.
25:
2056:
1932:
1914:Studies in Greek Elegy and Iambus
1736:(Paris, 1958; 2nd ed. rev., 1968)
822:language from the emperor of the
810:, have been identified among the
588:αὐτός τε καὶ Ἰόλαος, αἰχμητὰ δύο.
1938:
1747:The Oxford Handbook of the Elegy
1530:University of California Press.
1456:Dio Chrysostom 33.11–12, trans.
550:as the possible inventor of the
522:). Elegy was accompanied by the
122:
1808:
1770:
1752:
1739:
1727:
1714:
1701:
1680:
1640:
1603:
1578:
1573:Encyclopaedia of Ancient Greece
1565:
1520:
1491:
1478:
1463:
1450:
1437:
1418:
1398:
1370:
1357:
1340:
1327:
1299:
1231:
1208:
1172:
1135:
1123:
917:
908:
891:
874:
865:
856:
1969:Archilochos fragments in Greek
1874:. Cambridge University Press.
1082:
1066:
973:
935:
839:
515:
270:Archaeological Museum of Paros
13:
1:
1488:1.472–474; 16.182–183; 18.493
929:
574:, with a resounding refrain,
172:
95:
78:
56:
1959:Web Resources on Archilochos
1598:Barron & Easterling 1985
1560:Barron & Easterling 1985
1515:Barron & Easterling 1985
1393:Barron & Easterling 1985
1322:Barron & Easterling 1985
1061:Barron & Easterling 1985
1011:Barron & Easterling 1985
802:, in which Achaeans battled
190:
7:
1889:Gerber, Douglas E. (1999).
1842:. Bristol Classical Press.
1836:Campbell, David A. (1982).
68:
10:
2061:
2030:7th-century BC Greek poets
1214:Gerber, Douglas E., 1997,
721:
717:
681:
576:
510:
417:
413:
164:
29:
1964:The Poetry of Archilochos
1760:"POxy Oxyrhynchus Online"
1709:The Songs of Aristophanes
959:10.1017/S0009838800027531
610:
474:
428:I am the servant of Lord
107:
91:
74:
64:
48:
41:
1610:Diane J., Rayor (1991).
1592:p. 57, Scholiast on Ar.
833:
666:
377:The inscriptions in the
1764:www.papyrology.ox.ac.uk
1707:L.P.E. Parker, (1997),
1526:Davenport, Guy (1980),
1348:Exhortation to learning
1092:3.17.1418b28, cited by
175:680 – c. 645 BC) was a
1600:, p. 129 (note 1)
816:The Oxyrhynchus Papyri
772:
763:Reception and editions
627:
594:
506:
497:
472:
366:
272:
212:
1917:. Walter de Gruyter.
1499:Principles of Oratory
1333:Fragment 114, trans.
1074:The Classical Journal
770:
592:χαῖρ' ἄναξ Ἡράκλεες.
582:
502:
493:
465:
360:
285:Clement of Alexandria
267:
198:
1484:See for example the
781:Poetae Lyrici Graeci
586:χαῖρ' ἄναξ Ἡράκλεες,
402:The poet's character
2015:Ancient Greek poets
1891:Greek Iambic Poetry
1866:Knox, Bernard M. W.
1698:22.98–99 and 22.122
1677:, pp. 153–154.
1646:Fragment 5, trans.
1562:, pp. 120–121.
1469:Jeffrey M. Hurwit,
1380:10: 117–163, Geneva
1363:Fragment 1, trans.
1181:, p. 145, n. 1
947:Classical Quarterly
884:is a promontory on
824:Old Assyrian Empire
675:(as for example in
629:One of the Saians (
337:, showed Tellis in
183:from the island of
1943:Works by or about
1839:Greek Lyric Poetry
1411:10.520a-b, trans.
903:Palatine Anthology
814:and published in
812:Oxyrhynchus Papyri
773:
673:dactylic hexameter
584:Τήνελλα καλλίνικε,
520:Strasbourg papyrus
367:
314:Palatine Anthology
273:
213:
199:Coin from ancient
32:Archilochus (bird)
2020:Ionic Greek poets
1924:978-3-11-083318-8
1881:978-0-521-35981-8
1862:Easterling, P. E.
1849:978-0-86292-008-1
1828:978-90-04-09944-9
1621:978-0-520-07336-4
1311:978-0-415-97334-2
1157:, pp. 45–46.
1120:, pp. 43–44.
1108:, pp. 22–39.
994:978-0-7139-9980-8
760:
759:
649:
648:
590:Τήνελλα καλλίνικε
577:Τήνελλα καλλίνικε
439:
438:
115:
114:
16:(Redirected from
2052:
1942:
1928:
1904:
1885:
1853:
1832:
1803:
1802:
1774:
1768:
1767:
1756:
1750:
1743:
1737:
1731:
1725:
1718:
1712:
1705:
1699:
1684:
1678:
1672:
1663:
1657:
1651:
1650:, pp. 80–82
1644:
1638:
1632:
1626:
1625:
1607:
1601:
1582:
1576:
1569:
1563:
1557:
1551:
1545:
1539:
1524:
1518:
1512:
1506:
1501:10.1.60, trans.
1495:
1489:
1482:
1476:
1467:
1461:
1454:
1448:
1441:
1435:
1422:
1416:
1402:
1396:
1390:
1381:
1378:Entretiens Hardt
1374:
1368:
1361:
1355:
1344:
1338:
1331:
1325:
1319:
1313:
1303:
1297:
1291:
1278:
1272:
1266:
1260:
1254:
1248:
1242:
1235:
1229:
1212:
1206:
1200:
1194:
1188:
1182:
1176:
1170:
1164:
1158:
1152:
1146:
1139:
1133:
1132:, pp. 16–33
1127:
1121:
1115:
1109:
1103:
1097:
1096:, pp. 93–95
1086:
1080:
1070:
1064:
1058:
1047:
1041:
1035:
1029:
1014:
1008:
999:
998:
977:
971:
970:
939:
924:
921:
915:
912:
906:
895:
889:
882:heights of Gyrae
878:
872:
869:
863:
860:
854:
843:
736:
735:
710:
709:
684:
683:
643:
637:
622:
616:
607:
579:
578:
560:nine lyric poets
513:
512:
456:Valerius Maximus
454:). According to
422:
421:
406:
405:
390:over 800 years.
309:Aelius Aristides
177:Greek lyric poet
174:
167:
166:
157:
156:
153:
152:
149:
146:
143:
140:
137:
134:
131:
128:
100:
97:
83:
80:
58:
53:
39:
38:
21:
2060:
2059:
2055:
2054:
2053:
2051:
2050:
2049:
2040:Ancient Parians
1995:
1994:
1935:
1925:
1909:West, Martin L.
1901:
1882:
1850:
1829:
1811:
1806:
1775:
1771:
1758:
1757:
1753:
1744:
1740:
1732:
1728:
1719:
1715:
1711:, Oxford, p. 36
1706:
1702:
1685:
1681:
1673:
1666:
1658:
1654:
1645:
1641:
1633:
1629:
1622:
1608:
1604:
1583:
1579:
1570:
1566:
1558:
1554:
1546:
1542:
1525:
1521:
1513:
1509:
1496:
1492:
1483:
1479:
1468:
1464:
1455:
1451:
1442:
1438:
1423:
1419:
1403:
1399:
1391:
1384:
1375:
1371:
1362:
1358:
1345:
1341:
1332:
1328:
1320:
1316:
1304:
1300:
1292:
1281:
1273:
1269:
1261:
1257:
1249:
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1236:
1232:
1213:
1209:
1201:
1197:
1189:
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1177:
1173:
1165:
1161:
1153:
1149:
1140:
1136:
1128:
1124:
1116:
1112:
1104:
1100:
1087:
1083:
1079:.1:1–15, p. 14.
1071:
1067:
1059:
1050:
1042:
1038:
1030:
1017:
1009:
1002:
995:
978:
974:
953:(3–4): 97–109.
940:
936:
932:
927:
922:
918:
913:
909:
896:
892:
879:
875:
870:
866:
861:
857:
844:
840:
836:
765:
755:
753:
751:
749:
747:
745:
743:
737:
733:
731:
729:
727:
725:
723:
689:(four pairs of
669:
645:
641:
640:
638:
635:
634:
624:
620:
619:
617:
614:
613:
591:
589:
587:
585:
477:
433:
423:
419:
404:
329:by the Thasian
193:
125:
121:
102:
98:
84:
81:
70:
60:
44:
35:
28:
23:
22:
15:
12:
11:
5:
2058:
2048:
2047:
2042:
2037:
2035:Ancient Thasos
2032:
2027:
2022:
2017:
2012:
2010:640s BC deaths
2007:
2005:680s BC births
1993:
1992:
1986:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1934:
1933:External links
1931:
1930:
1929:
1923:
1905:
1899:
1886:
1880:
1854:
1848:
1833:
1827:
1810:
1807:
1805:
1804:
1791:10.2307/311017
1769:
1751:
1738:
1726:
1713:
1700:
1679:
1664:
1662:, p. 145.
1652:
1639:
1627:
1620:
1602:
1596:217, cited by
1577:
1564:
1552:
1540:
1519:
1517:, p. 123.
1507:
1490:
1477:
1462:
1449:
1436:
1417:
1409:de curiositate
1397:
1395:, p. 119.
1382:
1369:
1356:
1339:
1326:
1324:, p. 121.
1314:
1298:
1296:, p. 138.
1279:
1267:
1255:
1243:
1230:
1207:
1195:
1193:, p. 150.
1183:
1171:
1159:
1147:
1141:translated by
1134:
1122:
1110:
1098:
1081:
1065:
1063:, p. 118.
1048:
1036:
1034:, p. 136.
1015:
1013:, p. 117.
1000:
993:
972:
933:
931:
928:
926:
925:
916:
907:
890:
873:
864:
855:
851:Robin Lane Fox
837:
835:
832:
828:Shamshi-Adad I
764:
761:
758:
757:
739:
716:
715:
713:
668:
665:
647:
646:
631:Thracian tribe
625:
476:
473:
469:Dio Chrysostom
437:
436:
425:
412:
411:
409:
403:
400:
305:Dio Chrysostom
224:, the king of
192:
189:
181:Archaic period
113:
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109:
105:
104:
93:
89:
88:
76:
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61:
54:
46:
45:
42:
26:
9:
6:
4:
3:
2:
2057:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
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2021:
2018:
2016:
2013:
2011:
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2002:
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1987:
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1980:
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1972:
1970:
1967:
1965:
1962:
1960:
1957:
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1936:
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1920:
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1910:
1906:
1902:
1900:9780674995819
1896:
1892:
1887:
1883:
1877:
1873:
1872:
1867:
1863:
1859:
1858:Barron, J. P.
1855:
1851:
1845:
1841:
1840:
1834:
1830:
1824:
1820:
1819:
1813:
1812:
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1788:
1784:
1780:
1773:
1765:
1761:
1755:
1748:
1742:
1735:
1730:
1724:, p. 167
1723:
1717:
1710:
1704:
1697:
1696:
1691:
1690:
1683:
1676:
1675:Campbell 1982
1671:
1669:
1661:
1660:Campbell 1982
1656:
1649:
1643:
1637:, p. 49.
1636:
1631:
1623:
1617:
1613:
1606:
1599:
1595:
1591:
1587:
1581:
1574:
1568:
1561:
1556:
1549:
1544:
1537:
1536:0-520-05223-4
1533:
1529:
1523:
1516:
1511:
1504:
1500:
1494:
1487:
1481:
1474:
1473:
1466:
1459:
1453:
1446:
1440:
1433:
1429:
1426:
1421:
1414:
1410:
1406:
1401:
1394:
1389:
1387:
1379:
1373:
1366:
1360:
1353:
1349:
1343:
1337:, p. 153
1336:
1330:
1323:
1318:
1312:
1308:
1302:
1295:
1294:Campbell 1982
1290:
1288:
1286:
1284:
1277:, p. 46.
1276:
1271:
1265:, p. 59.
1264:
1259:
1253:, p. 27.
1252:
1247:
1240:
1234:
1227:
1226:90-04-09944-1
1223:
1219:
1218:
1211:
1205:, p. 75.
1204:
1199:
1192:
1191:Campbell 1982
1187:
1180:
1175:
1169:, p. 28.
1168:
1163:
1156:
1151:
1144:
1138:
1131:
1126:
1119:
1114:
1107:
1102:
1095:
1091:
1085:
1078:
1075:
1069:
1062:
1057:
1055:
1053:
1046:, p. 43.
1045:
1040:
1033:
1032:Campbell 1982
1028:
1026:
1024:
1022:
1020:
1012:
1007:
1005:
996:
990:
986:
982:
976:
968:
964:
960:
956:
952:
948:
944:
943:Jacoby, Felix
938:
934:
920:
911:
904:
899:
894:
887:
883:
877:
868:
859:
852:
848:
842:
838:
831:
829:
825:
821:
817:
813:
809:
805:
801:
797:
792:
790:
789:André Bonnard
786:
782:
778:
777:Theodor Bergk
769:
756:
740:
738:
718:
711:
708:
706:
705:
700:
696:
692:
688:
678:
674:
664:
662:
658:
654:
644:
632:
626:
623:
609:
608:
605:
603:
599:
593:
581:
573:
572:Olympic Games
569:
565:
561:
557:
553:
549:
545:
541:
537:
534:, along with
533:
528:
525:
521:
517:
505:
501:
496:
492:
490:
485:
482:
471:
470:
464:
461:
457:
453:
449:
443:
435:
431:
426:
424:
414:
407:
399:
397:
391:
389:
385:
380:
379:Archilocheion
375:
373:
364:
359:
355:
352:
348:
347:Archilocheion
344:
340:
336:
332:
328:
324:
320:
316:
315:
310:
306:
302:
298:
294:
290:
286:
282:
278:
271:
266:
262:
260:
256:
251:
247:
246:Archilocheion
242:
239:
233:
231:
227:
223:
219:
210:
206:
202:
197:
188:
186:
182:
178:
170:
161:
155:
119:
110:
106:
99: 645 BC
94:
90:
87:
82: 680 BC
77:
73:
67:
63:
52:
47:
40:
37:
33:
19:
2025:Iambic poets
1913:
1890:
1870:
1838:
1817:
1809:Bibliography
1782:
1778:
1772:
1763:
1754:
1746:
1741:
1733:
1729:
1716:
1708:
1703:
1693:
1687:
1682:
1655:
1642:
1630:
1611:
1605:
1593:
1589:
1585:
1580:
1572:
1567:
1555:
1550:, p. 6.
1543:
1527:
1522:
1510:
1505:, p. 65
1498:
1497:Quintilian,
1493:
1485:
1480:
1470:
1465:
1460:, p. 43
1452:
1447:, p. 39
1439:
1434:, p. 39
1420:
1415:, p. 63
1408:
1400:
1377:
1372:
1367:, p. 77
1359:
1354:, p. 41
1347:
1342:
1329:
1317:
1301:
1270:
1258:
1246:
1241:, p. 49
1233:
1216:
1210:
1198:
1186:
1174:
1162:
1150:
1145:, p. 75
1137:
1125:
1113:
1101:
1089:
1084:
1076:
1073:
1068:
1039:
984:
975:
950:
946:
937:
919:
910:
902:
893:
881:
876:
867:
858:
847:Felix Jacoby
841:
815:
793:
784:
780:
774:
741:
719:
702:
699:Aristophanes
694:
670:
650:
630:
628:
611:
595:
583:
532:iambic poets
529:
507:
503:
498:
494:
478:
466:
444:
440:
427:
415:
392:
378:
376:
368:
346:
312:
274:
245:
243:
234:
214:
168:
117:
116:
101:(aged c. 35)
36:
1945:Archilochus
1722:Gerber 1999
1648:Gerber 1999
1548:Gerber 1999
1503:Gerber 1999
1458:Gerber 1999
1445:Gerber 1999
1432:Gerber 1999
1413:Gerber 1999
1365:Gerber 1999
1352:Gerber 1999
1335:Gerber 1999
1239:Gerber 1999
1203:Gerber 1999
1179:Gerber 1999
1143:Gerber 1999
1130:Gerber 1999
1094:Gerber 1999
704:The Knights
169:Arkhílokhos
118:Archilochus
65:Native name
43:Archilochus
1999:Categories
1949:Wikisource
1692:20.18 ff,
1635:Brown 1997
1275:Brown 1997
1263:Brown 1997
1228:. cf. p.50
1155:Brown 1997
1118:Brown 1997
1088:Aristotle
1044:Brown 1997
930:References
800:Trojan War
687:catalectic
556:lyric poet
489:Quintilian
386:lasted on
363:Heraclitus
341:, sharing
331:Polygnotus
250:orthostats
108:Occupation
18:Archilocus
1821:. Brill.
1586:ap. Orion
1350:, trans.
1251:West 1974
1220:, Brill.
1167:West 1974
1106:West 1974
981:Fox, R.L.
967:170382248
536:Semonides
516:Biography
484:hexameter
384:hero cult
335:Pausanias
218:Aristotle
191:Biography
165:Ἀρχίλοχος
69:Ἀρχίλοχος
1911:(1974).
1868:(eds.).
1590:Et. Mag.
1584:Didymus
1405:Plutarch
1090:Rhetoric
983:(2008).
820:Akkadian
806:king of
804:Telephus
691:trochees
657:Anacreon
568:Heracles
548:Callinus
544:Tyrtaeus
540:Hipponax
460:Spartans
430:Enyalios
351:Dionysus
297:Plutarch
203:showing
1689:Odyssey
1346:Galen,
1237:trans.
898:Elegies
796:elegiac
695:running
653:Alcaeus
372:Neobule
319:Demeter
281:Proclus
259:archons
179:of the
1921:
1897:
1878:
1846:
1825:
1799:311017
1797:
1785:: 18.
1618:
1538:, p.2.
1534:
1428:α 4112
1309:
1224:
991:
965:
661:Horace
602:Hesiod
511:ἴαμβος
475:Poetry
458:, the
343:Charon
327:Delphi
323:Thasos
293:Aelian
289:Cicero
277:Tatian
255:Delphi
238:Thasos
230:iambus
201:Thasos
1795:JSTOR
1695:Iliad
1594:Birds
1486:Iliad
963:S2CID
905:7.351
886:Tenos
834:Notes
808:Mysia
677:elegy
667:Style
598:Homer
552:elegy
524:aulos
448:below
396:Naxos
388:Paros
339:Hades
301:Galen
226:Lydia
222:Gyges
209:nymph
205:Satyr
185:Paros
160:Greek
103:Paros
86:Paros
1919:ISBN
1895:ISBN
1876:ISBN
1844:ISBN
1823:ISBN
1686:See
1616:ISBN
1532:ISBN
1425:Suda
1307:ISBN
1222:ISBN
989:ISBN
880:The
785:Budé
682:θυμέ
659:and
600:and
564:lyre
546:and
538:and
481:epic
452:Suda
207:and
111:Poet
92:Died
75:Born
1947:at
1787:doi
955:doi
779:in
321:on
127:ɑːr
2001::
1860:;
1793:.
1783:82
1781:.
1762:.
1667:^
1588:,
1407:,
1385:^
1282:^
1077:71
1051:^
1018:^
1003:^
961:.
951:35
949:.
826:,
663:.
655:,
491::
307:,
303:,
299:,
295:,
291:,
287:,
283:,
279:,
232:.
173:c.
171:;
162::
158:;
96:c.
79:c.
57:c.
1927:.
1903:.
1884:.
1852:.
1831:.
1801:.
1789::
1766:.
1624:.
997:.
969:.
957::
432:,
154:/
151:s
148:ə
145:k
142:ə
139:l
136:ɪ
133:k
130:ˈ
124:/
120:(
34:.
20:)
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