Biography of Anacreon
Anacreon ((570 BC – 488 BC) was a Greek lyric poet, notable for his drinking songs and hymns. Later Greeks included him in the canonical list of nine lyric poets.
Anacreon wrote all of his poetry in the ancient Ionic dialect. Like all early lyric poetry, it was composed to be sung or recited to the accompaniment of music, usually the lyre. Anacreon's verses were primarily in the form of monody, which means that they were to be performed by a single voice rather than by a chorus.
In keeping with Greek poetic tradition, his poetry relied on 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 Greek poetry of the day, is found in the structured alternation of "long" and "short" vowel sounds. The Ionic dialect also had a tonal aspect to it that lends a natural melodic quality to the recitation. Anacreon's meters include the anacreonteus.
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 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.
Themes and subjects of Anacreon's poetry
Anacreon's poetry touched on universal themes of love, infatuation, disappointment, revelry, parties, festivals, and the 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 widespread popularity inspired countless imitators, which also kept his name alive.
Anacreon had a reputation as a composer of hymns, as well as of those bacchanalian and amatory lyrics which are commonly associated with his name. Two short hymns to Artemis and Dionysus, 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 Aphrodite, Eros and Dionysus, 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 Muses, Wine and Love, ascribed to him as his religion in an old Greek epigram (Anthol. iii.25, 51), 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. Athenaeus remarks acutely that he seems at least to have been sober when he wrote; and he himself strongly repudiates, as Horace does, the brutal characteristics of intoxication as fit only for barbarians and Scythians (Fr. 64).
Of the five books of lyrical pieces by Anacreon which the Suda and Athenaeus mention as extant in their time, we have now but the merest fragments, collected from the citations of later writers.
A collection of poems by numerous, anonymous imitators was long believed to be the works of Anacreon himself. Known as the Anacreontea, it was preserved in a 10th century manuscript which also included the Palatine Anthology. The poems were published in 1554 with a Latin translation by Henry Estienne, known as Stephanus, but little is known about the origins of the manuscript. Salmasius reports seeing the Anacreontea at the library in Heidelberg in 1607. In 1623, it was given to Pope Gregory XV after the sacking of Heidelberg. It was later taken from the Vatican City by Napoleon in 1797, who had it rebound as two separate volumes. One of those volumes was returned to Heidleberg but the other remained in the Bibliothèque Nationale in Paris.
In the 17th century, Thomas Stanley translated the Anacreontea into English verse. A few poems were also translated by Robert Herrick and Abraham Cowley. 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.
This page is based on the copyrighted Wikipedia Anacreon; it is used under the Creative Commons Attribution-ShareAlike 3.0 Unported License. You may redistribute it, verbatim or modified, providing that you comply with the terms of the CC-BY-SA.
Youth And Age
When I see the young men play, Young methinks I am as they; And my aged thoughts laid by, To the dance with joy I fly:
Wine The Healer
Who his cups can stoutly bear, In his cups despiseth fear, In his cups can nimbly dance, Him Lyæus will advance:
Here Recline You, Gentle Maid
Here recline you, gentle maid, Sweet is this imbowering shade; Sweet the young, the modest trees, Ruffled by the kissing breeze;
Wine And Song
Bring me hither Homer's lute, Taught with mirth (not wars) to suit; Reach a full cup, that I may All the laws of wine obey, Drink, and dance, and to the lyre Sing what Bacchus shall inspire.
The Women Tell Me Every Day
The women tell me every day That all my bloom has past away. 'Behold,' the pretty wantons cry, 'Behold this mirror with a sigh;
Pleasant 'tis abroad to stray Thro' the meadow deep in hay, Where soft zephyrs, breathing low, Odorous sweets around us throw:
In a dream unto me came Anacreon, of Teian fame. He accosted me, and I Ran up to him lovingly,
And Now With All Thy Pencil's Truth
And now with all thy pencil's truth, Portray Bathyllus, lovely youth! Let his hair, in lapses bright, Fall like streaming rays of light; And there the raven's die confuse
In the Lemnian forge of late Vulcan making arrows sate, Whilst with honey their barb'd points Venus, Love with gall anoints:
With the flowery crowned spring Now the vernal rose we sing; Sons of mirth, your sprightly lays Mix with ours, to sound its praise:
Men and maids at time of year The ripe clusters jointly bear To the press, but in when thrown, They by men are trod alone,
Grasshopper thrice-happy! who Sipping the cool morning dew, Queen-like chirpest all the day Seated on some verdant spray;
I Will; I Will; The Conflict's Past
I will; I will; the conflict's past, And I'll consent to love at last. Cupid has long, with smiling art, Invited me to yield my heart;
Young men dancing, and the old Sporting I with joy behold; But an old man gay and free Dancing most I love to see;
Horns to bulls wise Nature lends;
Horses she with hoofs defends;
Hares with nimble feet relieves;
Dreadful teeth to lions gives;
Fishes learn through streams to slide;
Birds through yielding air to glide;
Men with courage she supplies;
But to women these denies.
What then gives she? Beauty, this