Алкей Митилендіктің өмірі мен шығармашылығы

Greek lyric poet

Alcaeus of Mytilene (/æ//l/'/s//iː//ə//s/; Ἀλκαῖος ὁ Μυτιληναῖος, Alkaios ho Mutilēnaios; c. 625/620 – c. 580 BC) was a lyric poet from the Greek island of Lesbos who is credited with inventing the Alcaic stanza. He was included in the canonical list of nine lyric poets by the scholars of Hellenistic Alexandria. He was a contemporary of Sappho, with whom he may have exchanged poems. He was born into the aristocratic governing class of Mytilene, the main city of Lesbos, where he was involved in political disputes and feuds.

The works of Alcaeus are conventionally grouped according to five genres. Political songs: Alcaeus often composed on a political theme, covering the power struggles on Lesbos with the passion and vigour of a partisan, cursing his opponents, rejoicing in their deaths, delivering blood curdling homilies on the consequences of political inaction and exhorting his comrades to heroic defiance, as in one of his 'ship of state' allegories. Commenting on Alcaeus as a political poet, the scholar Dionysius of Halicarnassus once observed that "if you removed the meter you would find political rhetoric". Drinking songs: According to the grammarian Athenaeus, Alcaeus made every occasion an excuse for drinking and he has provided posterity several quotes in proof of it. Alcaeus exhorts his friends to drink in celebration of a tyrant's death, to drink away their sorrows, to drink because life is short and along the lines in vino veritas, to drink through winter storms and to drink through the heat of summer. The latter poem in fact paraphrases verses from Hesiod, re casting them in Asclepiad meter and Aeolian dialect. Hymns: Alcaeus sang about the gods in the spirit of the Homeric hymns, to entertain his companions rather than to glorify the gods and in the same meters that he used for his 'secular' lyrics. There are for example fragments in 'Sapphic' meter praising the Dioscuri, Hermes and the river Hebrus (a river significant in Lesbian mythology since it was down its waters that the head of Orpheus was believed to have floated singing, eventually crossing the sea to Lesbos and ending up in a temple of Apollo, as a symbol of Lesbian supremacy in song). According to Porphyrion, the hymn to Hermes was imitated by Horace in one of his own 'sapphic' odes (C.1.10: Mercuri, facunde nepos Atlantis). Love songs: Almost all Alcaeus' amorous verses, mentioned with disapproval by Quintilian above, have vanished without trace. There is a brief reference to his love poetry in a passage by Cicero. Horace, who often wrote in imitation of Alcaeus, sketches in verse one of the Lesbian poet's favourite subjects – Lycus of the black hair and eyes (C.1.32.11–12: nigris oculis nigroque/crine decorum). It is possible that Alcaeus wrote amorously about Sappho, as indicated in an earlier quote. Miscellaneous: Alcaeus wrote on such a wide variety of subjects and themes that contradictions in his character emerge. The grammarian Athenaeus quoted some verses about perfumed ointments to prove just how unwarlike Alcaeus could be and he quoted his description of the armour adorning the walls of his house as proof that he could be unusually warlike for a lyric poet. Other examples of his readiness for both warlike and unwarlike subjects are lyrics celebrating his brother's heroic exploits as a Babylonian mercenary and lyrics sung in a rare meter (Sapphic Ionic in minore) in the voice of a distressed girl, "Wretched me, who share in all ills!" – possibly imitated by Horace in an ode in the same meter (C.3.12: Miserarum est neque amori dare ludum neque dulci). He also wrote Sapphic stanzas on Homeric themes but in un Homeric style, comparing Helen of Troy unfavourably with Thetis, the mother of Achilles.

The story of Alcaeus is partly the story of the scholars who rescued his work from oblivion. His verses have not come down to us through a manuscript tradition – generations of scribes copying an author's collected works, such as delivered intact into the modern age four entire books of Pindar's odes – but haphazardly, in quotes from ancient scholars and commentators whose own works have chanced to survive, and in the tattered remnants of papyri uncovered from an ancient rubbish pile at Oxyrhynchus and other locations in Egypt: sources that modern scholars have studied and correlated exhaustively, adding little by little to the world's store of poetic fragments. Ancient scholars quoted Alcaeus in support of various arguments. Thus for example Heraclitus "The Allegorist" quoted fr. 326 and part of fr. 6, about ships in a storm, in his study on Homer's use of allegory. The hymn to Hermes, fr308(b), was quoted by Hephaestion and both he and Libanius, the rhetorician, quoted the first two lines of fr. 350, celebrating the return from Babylon of Alcaeus' brother. The rest of fr. 350 was paraphrased in prose by the historian/geographer Strabo. Many fragments were supplied in quotes by Athenaeus, principally on the subject of wine drinking, but fr. 333, "wine, window into a man", was quoted much later by the Byzantine grammarian, John Tzetzes. The first 'modern' publication of Alcaeus' verses appeared in a Greek and Latin edition of fragments collected from the canonic nine lyrical poets by Michael Neander, published at Basle in 1556. This was followed by another edition of the nine poets, collected by Henricus Stephanus and published in Paris in 1560. Fulvius Ursinus compiled a fuller collection of Alcaic fragments, including a commentary, which was published at Antwerp in 1568. The first separate edition of Alcaeus was by Christian David Jani and it was published at Halle in 1780. The next separate edition was by August Matthiae, Leipzig 1827. Some of the fragments quoted by ancient scholars were able to be integrated by scholars in the nineteenth century. Thus for example two separate quotes by Athenaeus were united by Theodor Bergk to form fr. 362. Three separate sources were combined to form fr. 350, as mentioned above, including a prose paraphrase from Strabo that first needed to be restored to its original meter, a synthesis achieved by the united efforts of Otto Hoffmann, Karl Otfried Müller and Franz Heinrich Ludolf Ahrens. The discovery of the Oxyrhynchus papyri towards the end of the nineteenth century dramatically increased the scope of scholarly research. In fact, eight important fragments have now been compiled from papyri – frs. 9, 38A, 42, 45, 34, 129, 130 and most recently S262. These fragments typically feature lacunae or gaps that scholars fill with 'educated guesses', including for example a "brilliant supplement" by Maurice Bowra in fr. 34, a hymn to the Dioscuri that includes a description of St. Elmo's fire in the ship's rigging. Working with only eight letters (πρό τρ ντες; tr. pró tr ntes), Bowra conjured up a phrase that develops the meaning and the euphony of the poem (πρότον' ὀντρέχοντες; tr. próton' ontréchontes), describing luminescence "running along the forestays".