363:, 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'.
185:
696:, 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.
40:
254:
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217:. 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
387:. 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."
456:"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." –
493:"... 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."
851:"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
334:'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
890:
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." –
503:) – 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
593:, 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:
484:"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."
382:
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
204:
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
889:
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,
475:
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
241:
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
224:
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
209:, 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
488:
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
370:
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,
430:
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
342:
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
489:
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:
439:) 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" (
912:"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
431:
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."
229:
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.
343:
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.
451:
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:
350:"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
780:. 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.
434:
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
200:, 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.
515:
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).
371:
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
225:
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
358:
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,
237:) 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
205:
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
807:, 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
39:
1723:
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
176:. 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.
760:
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).
585:
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
555:). 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
246:. 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
476:
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
383:
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
772:(tom. II, 1882) There are about three hundred known fragments of Archilochus' poetry, besides some forty paraphrases or indirect quotations, collected in the
1416:
306:. According to tradition, Archilochus was born to a notable family on Paros. His grandfather (or great-grandfather), Tellis, helped establish the cult of
660:
Like other archaic Greek poets, Archilochus relied heavily on Homer's example for his choice of language, particularly when using the same meter,
1977:
2033:
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Archilochus was much imitated even up to Roman times and three other distinguished poets later claimed to have thrown away their shields –
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Whether or not their lives had been virtuous, authors of genius were revered by their fellow Greeks. Thus a sanctuary to Archilochus (the
1942:
242:
Muses and they had thus earmarked him as their protégé. According to the same inscription, the omen was later confirmed by the oracle at
1952:
668:), but even in other meters the debt is apparent – in the verse below, for example, his address to his embattled soul or spirit,
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The name 'Enipo' has connotations of abuse (enipai), which is curiously apt for the mother of a famous iambographer.
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507:) referred not to his choice of meter but his subject matter and tone (for an example of his iambic verse see
1962:
2003:
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Ionic capital from the grave of Archilochus, with inscription "Here lies Archilochus, son of Telesicles",
2008:
2028:
351:
508:
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1993:
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with the final syllable omitted), a form later favoured by Athenian dramatists because of its
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1933:
1204:
551:– his range exceeded their narrow criteria for lyric ('lyric' meant verse accompanied by the
314:
near the end of the eighth century BC, a mission that was famously depicted in a painting at
273:
1928:
8:
812:
808:
641:
819:, with the same proverb: "The bitch by her acting too hastily brought forth the blind."
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1460:
951:
800:
661:
331:
302:
20:
1907:
1883:
1864:
1832:
1811:
1766:
Moran, William L. (1978). "An Assyriological gloss on the new Archilochus fragment".
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1210:
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One convenient way to classify the poems is to divide them between elegy and iambus (
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Introduction to Archilochos and translation of A's longest fragment by Guy Davenport
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297:
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Snippets of biographical information are provided by ancient authors as diverse as
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1805:
877:, or a mythological allusion to the rocks on which the Lesser Ajax met his death.
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457:
384:
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218:
210:
169:
148:
1968:
Zweisprachige Textauswahl zu den griechischen Lyrikern mit zusätzlichen Hilfen
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Van Sickle (October–November 1975), "Archilochus: A New Fragment of an Epode"
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354:, who said that Archilochus used the image to describe war with the Thracians.
1987:
765:
560:
1854:
1846:
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544:
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Archilochus, Alcman, Sappho: Three Lyric Poets of the Seventh Century B.C.
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character, expressing aggression and emotional intensity. The comic poet
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The Alexandrian scholars included Archilochus in their canonical list of
469:
628:
But at least I got myself safely out. Why should I care for that shield?
1937:
1804:
Brown, Christopher (1997). "Archilochus". In Gerber, Douglas E. (ed.).
788:
675:
477:
319:
1787:
524:
472:
372:
253:
238:
206:
1963:
Archilochus Bilingual Anthology (in Greek and English, side by side)
741:
But delight in things that are delightful and, in hard times, grieve
1882:. Loeb Classical Library. Cambridge, MA: Harvard University Press.
1779:
1542:
1393:
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Now from this side and now that, enduring all such strife up close,
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645:
556:
536:
532:
528:
418:
346:
339:
285:
1377:
1375:
974:
Travelling Heroes: Greeks and their myths in the epic age of Homer
1738:, ed. Karen Weisman (Oxford: Oxford University Press 2010) 13-45.
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1041:
995:
993:
784:
360:
307:
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247:
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1304:
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Not too much – appreciate the rhythm that controls men's lives.
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Bear up, hold out, meet front-on the many foes that rush on you
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590:
448:
315:
311:
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Sappho's Lyre: Archaic lyric and women poets of ancient Greece
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employed it for the arrival on stage of an enraged chorus in
674:, has Homeric echoes. The meter below is trochaic tetrameter
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Archilochus fr. 128, quoted by Stobaeus (3.20.28), cited by
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Encyclopedia of ancient Greece By Nigel Guy Wilson Page 353
115:
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1413:
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identify Archilochus as a key figure in the Parian cult of
136:
130:
1278:
1276:
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Nor, defeated, throw yourself lamenting in a heap at home,
569:, in which the first word imitates the sound of the lyre.
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1014:
1012:
1010:
1008:
834:
While these have been the generally accepted dates since
124:
44:
Bust of a bearded man, possibly Archilochus. Roman copy (
731:
My Soul, my Soul, all disturbed by sorrows inconsolable,
1642:
1419:(vol. I, p. 376 Adler) = Aelian fr. 80 Hercher, trans.
1269:
1173:
783:
Thirty previously unknown lines by Archilochus, in the
737:
Never wavering; and should you win, don't openly exult,
1137:
1100:
1005:
903:"The of all the Greeks have come together in Thasos".
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edition (1958, revised 1968) by François Lasserre and
764:
Fragments of Archilochus' poetry were first edited by
631:
Let it go. Some other time I'll find another no worse.
1088:
547:, but he was not included in the Alexandrian list of
139:
133:
121:
1185:
543:. Modern critics often characterize him simply as a
127:
1978:
Archilochos of Paros and Archilochos' Beloved Paros
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1530:
1257:
1245:
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Unwillingly near a bush, for it was perfectly good,
118:
48:
2nd century BC) of Greek original (4th century BC).
1853:(1985). "Elegy and Iambus". In Easterling, P. E.;
1365:Denis Page, 'Archilochus and the Oral Tradition',
1233:
1149:
1026:
531:, yet ancient commentators also numbered him with
468:The earliest meter in extant Greek poetry was the
607:αὐτὸν δ' ἔκ μ' ἐσάωσα· τί μοι μέλει ἀσπὶς ἐκείνη;
1985:
1845:
1603:. Berkeley, CA: University of California Press.
1586:
1548:
1503:
1381:
1310:
1049:
999:
1464:1985. Ithaca: Cornell University Press. p. 137/
723:μὴ λίην· γίνωσκε δ᾽ οἷος ῥυσμὸς ἀνθρώπους ἔχει.
715:στέρνον, ἐν δοκοῖσιν ἐχθρῶν πλησίον κατασταθείς
1973:SORGLL: Archilochos 67; read by Stephen Daitz
838:(1941), some scholars disagree; for instance,
713:ἄνα δέ, δυσμενέων δ᾽ ἀλέξευ προσβαλὼν ἐναντίον
1860:The Cambridge History of Classical Literature
601:Ἀσπίδι μὲν Σαΐων τις ἀγάλλεται, ἥν παρὰ θάμνῳ
423:and skilled in the lovely gift of the Muses.
250:. Unfortunately, these are very fragmentary.
16:Ancient Greek lyric poet (c. 680 – c. 645 BC)
787:meter, describing events leading up to the
721:ἀλλὰ χαρτοῖσίν τε χαῖρε καὶ κακοῖσιν ἀσχάλα
407:Εἰμὶ δ' ἐγὼ θεράπων μὲν Ἐνυαλίοιο ἄνακτος,
38:
751:
1824:
1663:
1648:
1598:
1564:, Nigel Wilson (ed.), Routledge, page 76
1282:
1179:
1020:
755:
719:μηδὲ νικηθεὶς ἐν οἴκωι καταπεσὼν ὀδύρεο.
717:ἀσφαλέως· καὶ μήτε νικῶν ἀμφαδὴν ἀγάλλεο
622:) now delights in the shield I discarded
345:
252:
183:
1560:Sophie Mills (2006), 'Archilochus', in
976:. London, UK: Allen Lane. p. 388.
711:θυμέ, θύμ᾽ ἀμηχάνοισι κήδεσιν κυκώμενε,
703:
701:
399:
397:
390:
1986:
1877:
1768:Harvard Studies in Classical Philology
1710:
1636:
1536:
1491:
1446:
1433:
1432:Valerius Maximus, 6.3, ext. 1, trans.
1420:
1401:
1353:
1340:
1323:
1227:
1191:
1167:
1131:
1118:
1082:
930:
559:with which victors were hailed at the
2034:Epigrammatists of the Greek Anthology
1980:: documentaries by Yannis Tritsibidas
1803:
1765:
1734:Gregory Nagy, "Ancient Greek Elegy",
1623:
1263:
1251:
1143:
1106:
1032:
409:καὶ Μουσέων ἐρατὸν δῶρον ἐπιστάμενος.
300:and several anonymous authors in the
1896:
1807:A Companion to the Greek Lyric Poets
1239:
1206:A Companion to the Greek Lyric Poets
1155:
1094:
842:(2008) dates him c. 740–680 BC.
595:
436:
1461:The Art and Culture of Early Greece
968:
934:(1941). "The date of Archilochus".
604:ἔντος ἀμώμητον κάλλιπον οὐκ ἐθέλων·
322:. The painting, later described by
19:For the genus of hummingbirds, see
13:
610:Ἐρρέτω· ἐξαῦτις κτήσομαι οὐ κακίω.
14:
2045:
1921:
1903:Studies in Greek Elegy and Iambus
1725:(Paris, 1958; 2nd ed. rev., 1968)
811:language from the emperor of the
799:, have been identified among the
577:αὐτός τε καὶ Ἰόλαος, αἰχμητὰ δύο.
1927:
1736:The Oxford Handbook of the Elegy
1519:University of California Press.
1445:Dio Chrysostom 33.11–12, trans.
539:as the possible inventor of the
511:). Elegy was accompanied by the
111:
1797:
1759:
1741:
1728:
1716:
1703:
1690:
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1629:
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1567:
1562:Encyclopaedia of Ancient Greece
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1197:
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906:
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854:
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1958:Archilochos fragments in Greek
1863:. Cambridge University Press.
1071:
1055:
962:
924:
828:
504:
259:Archaeological Museum of Paros
1:
1477:1.472–474; 16.182–183; 18.493
918:
563:, with a resounding refrain,
161:
84:
67:
45:
1948:Web Resources on Archilochos
1587:Barron & Easterling 1985
1549:Barron & Easterling 1985
1504:Barron & Easterling 1985
1382:Barron & Easterling 1985
1311:Barron & Easterling 1985
1050:Barron & Easterling 1985
1000:Barron & Easterling 1985
791:, in which Achaeans battled
179:
7:
1878:Gerber, Douglas E. (1999).
1831:. Bristol Classical Press.
1825:Campbell, David A. (1982).
57:
10:
2050:
2019:7th-century BC Greek poets
1203:Gerber, Douglas E., 1997,
710:
706:
670:
565:
499:
406:
402:
153:
18:
1953:The Poetry of Archilochos
1749:"POxy Oxyrhynchus Online"
1698:The Songs of Aristophanes
948:10.1017/S0009838800027531
599:
463:
417:I am the servant of Lord
96:
80:
63:
53:
37:
30:
1599:Diane J., Rayor (1991).
1581:p. 57, Scholiast on Ar.
822:
655:
366:The inscriptions in the
1753:www.papyrology.ox.ac.uk
1696:L.P.E. Parker, (1997),
1515:Davenport, Guy (1980),
1337:Exhortation to learning
1081:3.17.1418b28, cited by
164:680 – c. 645 BC) was a
1589:, p. 129 (note 1)
805:The Oxyrhynchus Papyri
761:
752:Reception and editions
616:
583:
495:
486:
461:
355:
261:
201:
1906:. Walter de Gruyter.
1488:Principles of Oratory
1322:Fragment 114, trans.
1063:The Classical Journal
759:
581:χαῖρ' ἄναξ Ἡράκλεες.
571:
491:
482:
454:
349:
274:Clement of Alexandria
256:
187:
1473:See for example the
770:Poetae Lyrici Graeci
575:χαῖρ' ἄναξ Ἡράκλεες,
391:The poet's character
2004:Ancient Greek poets
1880:Greek Iambic Poetry
1855:Knox, Bernard M. W.
1687:22.98–99 and 22.122
1666:, pp. 153–154.
1635:Fragment 5, trans.
1551:, pp. 120–121.
1458:Jeffrey M. Hurwit,
1369:10: 117–163, Geneva
1352:Fragment 1, trans.
1170:, p. 145, n. 1
936:Classical Quarterly
873:is a promontory on
813:Old Assyrian Empire
664:(as for example in
618:One of the Saians (
326:, showed Tellis in
172:from the island of
1932:Works by or about
1828:Greek Lyric Poetry
1400:10.520a-b, trans.
892:Palatine Anthology
803:and published in
801:Oxyrhynchus Papyri
762:
662:dactylic hexameter
573:Τήνελλα καλλίνικε,
509:Strasbourg papyrus
356:
303:Palatine Anthology
262:
202:
188:Coin from ancient
21:Archilochus (bird)
2009:Ionic Greek poets
1913:978-3-11-083318-8
1870:978-0-521-35981-8
1851:Easterling, P. E.
1838:978-0-86292-008-1
1817:978-90-04-09944-9
1610:978-0-520-07336-4
1300:978-0-415-97334-2
1146:, pp. 45–46.
1109:, pp. 43–44.
1097:, pp. 22–39.
983:978-0-7139-9980-8
749:
748:
638:
637:
579:Τήνελλα καλλίνικε
566:Τήνελλα καλλίνικε
428:
427:
104:
103:
2041:
1931:
1917:
1893:
1874:
1842:
1821:
1792:
1791:
1763:
1757:
1756:
1745:
1739:
1732:
1726:
1720:
1714:
1707:
1701:
1694:
1688:
1673:
1667:
1661:
1652:
1646:
1640:
1639:, pp. 80–82
1633:
1627:
1621:
1615:
1614:
1596:
1590:
1571:
1565:
1558:
1552:
1546:
1540:
1534:
1528:
1513:
1507:
1501:
1495:
1490:10.1.60, trans.
1484:
1478:
1471:
1465:
1456:
1450:
1443:
1437:
1430:
1424:
1411:
1405:
1391:
1385:
1379:
1370:
1367:Entretiens Hardt
1363:
1357:
1350:
1344:
1333:
1327:
1320:
1314:
1308:
1302:
1292:
1286:
1280:
1267:
1261:
1255:
1249:
1243:
1237:
1231:
1224:
1218:
1201:
1195:
1189:
1183:
1177:
1171:
1165:
1159:
1153:
1147:
1141:
1135:
1128:
1122:
1121:, pp. 16–33
1116:
1110:
1104:
1098:
1092:
1086:
1085:, pp. 93–95
1075:
1069:
1059:
1053:
1047:
1036:
1030:
1024:
1018:
1003:
997:
988:
987:
966:
960:
959:
928:
913:
910:
904:
901:
895:
884:
878:
871:heights of Gyrae
867:
861:
858:
852:
849:
843:
832:
725:
724:
699:
698:
673:
672:
632:
626:
611:
605:
596:
568:
567:
549:nine lyric poets
502:
501:
445:Valerius Maximus
443:). According to
411:
410:
395:
394:
379:over 800 years.
298:Aelius Aristides
166:Greek lyric poet
163:
156:
155:
146:
145:
142:
141:
138:
135:
132:
129:
126:
123:
120:
117:
89:
86:
72:
69:
47:
42:
28:
27:
2049:
2048:
2044:
2043:
2042:
2040:
2039:
2038:
2029:Ancient Parians
1984:
1983:
1924:
1914:
1898:West, Martin L.
1890:
1871:
1839:
1818:
1800:
1795:
1764:
1760:
1747:
1746:
1742:
1733:
1729:
1721:
1717:
1708:
1704:
1700:, Oxford, p. 36
1695:
1691:
1674:
1670:
1662:
1655:
1647:
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1634:
1630:
1622:
1618:
1611:
1597:
1593:
1572:
1568:
1559:
1555:
1547:
1543:
1535:
1531:
1514:
1510:
1502:
1498:
1485:
1481:
1472:
1468:
1457:
1453:
1444:
1440:
1431:
1427:
1412:
1408:
1392:
1388:
1380:
1373:
1364:
1360:
1351:
1347:
1334:
1330:
1321:
1317:
1309:
1305:
1293:
1289:
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1270:
1262:
1258:
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1238:
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1225:
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1198:
1190:
1186:
1178:
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1166:
1162:
1154:
1150:
1142:
1138:
1129:
1125:
1117:
1113:
1105:
1101:
1093:
1089:
1076:
1072:
1068:.1:1–15, p. 14.
1060:
1056:
1048:
1039:
1031:
1027:
1019:
1006:
998:
991:
984:
967:
963:
942:(3–4): 97–109.
929:
925:
921:
916:
911:
907:
902:
898:
885:
881:
868:
864:
859:
855:
850:
846:
833:
829:
825:
754:
744:
742:
740:
738:
736:
734:
732:
726:
722:
720:
718:
716:
714:
712:
678:(four pairs of
658:
634:
630:
629:
627:
624:
623:
613:
609:
608:
606:
603:
602:
580:
578:
576:
574:
466:
422:
412:
408:
393:
318:by the Thasian
182:
114:
110:
91:
87:
73:
70:
59:
49:
33:
24:
17:
12:
11:
5:
2047:
2037:
2036:
2031:
2026:
2024:Ancient Thasos
2021:
2016:
2011:
2006:
2001:
1999:640s BC deaths
1996:
1994:680s BC births
1982:
1981:
1975:
1970:
1965:
1960:
1955:
1950:
1945:
1940:
1923:
1922:External links
1920:
1919:
1918:
1912:
1894:
1888:
1875:
1869:
1843:
1837:
1822:
1816:
1799:
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1780:10.2307/311017
1758:
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1727:
1715:
1702:
1689:
1668:
1653:
1651:, p. 145.
1641:
1628:
1616:
1609:
1591:
1585:217, cited by
1566:
1553:
1541:
1529:
1508:
1506:, p. 123.
1496:
1479:
1466:
1451:
1438:
1425:
1406:
1398:de curiositate
1386:
1384:, p. 119.
1371:
1358:
1345:
1328:
1315:
1313:, p. 121.
1303:
1287:
1285:, p. 138.
1268:
1256:
1244:
1232:
1219:
1196:
1184:
1182:, p. 150.
1172:
1160:
1148:
1136:
1130:translated by
1123:
1111:
1099:
1087:
1070:
1054:
1052:, p. 118.
1037:
1025:
1023:, p. 136.
1004:
1002:, p. 117.
989:
982:
961:
922:
920:
917:
915:
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905:
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853:
844:
840:Robin Lane Fox
826:
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817:Shamshi-Adad I
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620:Thracian tribe
614:
465:
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458:Dio Chrysostom
426:
425:
414:
401:
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294:Dio Chrysostom
213:, the king of
181:
178:
170:Archaic period
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9:
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1889:9780674995819
1885:
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1856:
1852:
1848:
1847:Barron, J. P.
1844:
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1713:, p. 167
1712:
1706:
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1686:
1685:
1680:
1679:
1672:
1665:
1664:Campbell 1982
1660:
1658:
1650:
1649:Campbell 1982
1645:
1638:
1632:
1626:, p. 49.
1625:
1620:
1612:
1606:
1602:
1595:
1588:
1584:
1580:
1576:
1570:
1563:
1557:
1550:
1545:
1538:
1533:
1526:
1525:0-520-05223-4
1522:
1518:
1512:
1505:
1500:
1493:
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1476:
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1463:
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1455:
1448:
1442:
1435:
1429:
1422:
1418:
1415:
1410:
1403:
1399:
1395:
1390:
1383:
1378:
1376:
1368:
1362:
1355:
1349:
1342:
1338:
1332:
1326:, p. 153
1325:
1319:
1312:
1307:
1301:
1297:
1291:
1284:
1283:Campbell 1982
1279:
1277:
1275:
1273:
1266:, p. 46.
1265:
1260:
1254:, p. 59.
1253:
1248:
1242:, p. 27.
1241:
1236:
1229:
1223:
1216:
1215:90-04-09944-1
1212:
1208:
1207:
1200:
1194:, p. 75.
1193:
1188:
1181:
1180:Campbell 1982
1176:
1169:
1164:
1158:, p. 28.
1157:
1152:
1145:
1140:
1133:
1127:
1120:
1115:
1108:
1103:
1096:
1091:
1084:
1080:
1074:
1067:
1064:
1058:
1051:
1046:
1044:
1042:
1035:, p. 43.
1034:
1029:
1022:
1021:Campbell 1982
1017:
1015:
1013:
1011:
1009:
1001:
996:
994:
985:
979:
975:
971:
965:
957:
953:
949:
945:
941:
937:
933:
932:Jacoby, Felix
927:
923:
909:
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893:
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883:
876:
872:
866:
857:
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837:
831:
827:
820:
818:
814:
810:
806:
802:
798:
794:
790:
786:
781:
779:
778:André Bonnard
775:
771:
767:
766:Theodor Bergk
758:
745:
729:
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707:
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695:
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582:
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562:
561:Olympic Games
558:
554:
550:
546:
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530:
526:
523:, along with
522:
517:
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396:
388:
386:
380:
378:
374:
369:
368:Archilocheion
364:
362:
353:
348:
344:
341:
337:
336:Archilocheion
333:
329:
325:
321:
317:
313:
309:
305:
304:
299:
295:
291:
287:
283:
279:
275:
271:
267:
260:
255:
251:
249:
245:
240:
236:
235:Archilocheion
231:
228:
222:
220:
216:
212:
208:
199:
195:
191:
186:
177:
175:
171:
167:
159:
150:
144:
108:
99:
95:
88: 645 BC
83:
79:
76:
71: 680 BC
66:
62:
56:
52:
41:
36:
29:
26:
22:
2014:Iambic poets
1902:
1879:
1859:
1827:
1806:
1798:Bibliography
1771:
1767:
1761:
1752:
1743:
1735:
1730:
1722:
1718:
1705:
1697:
1692:
1682:
1676:
1671:
1644:
1631:
1619:
1600:
1594:
1582:
1578:
1574:
1569:
1561:
1556:
1544:
1539:, p. 6.
1532:
1516:
1511:
1499:
1494:, p. 65
1487:
1486:Quintilian,
1482:
1474:
1469:
1459:
1454:
1449:, p. 43
1441:
1436:, p. 39
1428:
1423:, p. 39
1409:
1404:, p. 63
1397:
1389:
1366:
1361:
1356:, p. 77
1348:
1343:, p. 41
1336:
1331:
1318:
1306:
1290:
1259:
1247:
1235:
1230:, p. 49
1222:
1205:
1199:
1187:
1175:
1163:
1151:
1139:
1134:, p. 75
1126:
1114:
1102:
1090:
1078:
1073:
1065:
1062:
1057:
1028:
973:
964:
939:
935:
926:
908:
899:
891:
882:
870:
865:
856:
847:
836:Felix Jacoby
830:
804:
782:
773:
769:
763:
730:
708:
691:
688:Aristophanes
683:
659:
639:
619:
617:
600:
584:
572:
521:iambic poets
518:
496:
492:
487:
483:
467:
455:
433:
429:
416:
404:
381:
367:
365:
357:
335:
301:
263:
234:
232:
223:
203:
157:
106:
105:
90:(aged c. 35)
25:
1934:Archilochus
1711:Gerber 1999
1637:Gerber 1999
1537:Gerber 1999
1492:Gerber 1999
1447:Gerber 1999
1434:Gerber 1999
1421:Gerber 1999
1402:Gerber 1999
1354:Gerber 1999
1341:Gerber 1999
1324:Gerber 1999
1228:Gerber 1999
1192:Gerber 1999
1168:Gerber 1999
1132:Gerber 1999
1119:Gerber 1999
1083:Gerber 1999
693:The Knights
158:Arkhílokhos
107:Archilochus
54:Native name
32:Archilochus
1988:Categories
1938:Wikisource
1681:20.18 ff,
1624:Brown 1997
1264:Brown 1997
1252:Brown 1997
1217:. cf. p.50
1144:Brown 1997
1107:Brown 1997
1077:Aristotle
1033:Brown 1997
919:References
789:Trojan War
676:catalectic
545:lyric poet
478:Quintilian
375:lasted on
352:Heraclitus
330:, sharing
320:Polygnotus
239:orthostats
97:Occupation
1810:. Brill.
1575:ap. Orion
1339:, trans.
1240:West 1974
1209:, Brill.
1156:West 1974
1095:West 1974
970:Fox, R.L.
956:170382248
525:Semonides
505:Biography
473:hexameter
373:hero cult
324:Pausanias
207:Aristotle
180:Biography
154:Ἀρχίλοχος
58:Ἀρχίλοχος
1900:(1974).
1857:(eds.).
1579:Et. Mag.
1573:Didymus
1394:Plutarch
1079:Rhetoric
972:(2008).
809:Akkadian
795:king of
793:Telephus
680:trochees
646:Anacreon
557:Heracles
537:Callinus
533:Tyrtaeus
529:Hipponax
449:Spartans
419:Enyalios
340:Dionysus
286:Plutarch
192:showing
1678:Odyssey
1335:Galen,
1226:trans.
887:Elegies
785:elegiac
684:running
642:Alcaeus
361:Neobule
308:Demeter
270:Proclus
248:archons
168:of the
1910:
1886:
1867:
1835:
1814:
1788:311017
1786:
1774:: 18.
1607:
1527:, p.2.
1523:
1417:α 4112
1298:
1213:
980:
954:
650:Horace
591:Hesiod
500:ἴαμβος
464:Poetry
447:, the
332:Charon
316:Delphi
312:Thasos
282:Aelian
278:Cicero
266:Tatian
244:Delphi
227:Thasos
219:iambus
190:Thasos
1784:JSTOR
1684:Iliad
1583:Birds
1475:Iliad
952:S2CID
894:7.351
875:Tenos
823:Notes
797:Mysia
666:elegy
656:Style
587:Homer
541:elegy
513:aulos
437:below
385:Naxos
377:Paros
328:Hades
290:Galen
215:Lydia
211:Gyges
198:nymph
194:Satyr
174:Paros
149:Greek
92:Paros
75:Paros
1908:ISBN
1884:ISBN
1865:ISBN
1833:ISBN
1812:ISBN
1675:See
1605:ISBN
1521:ISBN
1414:Suda
1296:ISBN
1211:ISBN
978:ISBN
869:The
774:Budé
671:θυμέ
648:and
589:and
553:lyre
535:and
527:and
470:epic
441:Suda
196:and
100:Poet
81:Died
64:Born
1936:at
1776:doi
944:doi
768:in
310:on
116:ɑːr
1990::
1849:;
1782:.
1772:82
1770:.
1751:.
1656:^
1577:,
1396:,
1374:^
1271:^
1066:71
1040:^
1007:^
992:^
950:.
940:35
938:.
815:,
652:.
644:,
480::
296:,
292:,
288:,
284:,
280:,
276:,
272:,
268:,
221:.
162:c.
160:;
151::
147:;
85:c.
68:c.
46:c.
1916:.
1892:.
1873:.
1841:.
1820:.
1790:.
1778::
1755:.
1613:.
986:.
958:.
946::
421:,
143:/
140:s
137:ə
134:k
131:ə
128:l
125:ɪ
122:k
119:ˈ
113:/
109:(
23:.
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