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75-413: One canon is there, one sure way of happiness for mortals – if one can keep a cheerful spirit throughout life. This precept, from one of Bacchylides' extant fragments, was considered by his modern editor, Richard Claverhouse Jebb , to be typical of the poet's temperament: "If the utterances scattered throughout the poems warrant a conjecture, Bacchylides was of placid temper; amiably tolerant; satisfied with

150-748: A humanist and an unsurpassed translator from and into the classical languages. A collected volume, Translations into Greek and Latin , appeared in 1873 (ed. 1909). Jebb's publications include: His translation of the Rhetoric of Aristotle was published posthumously under the editorship of J. E. Sandys (1909). A selection from his Essays and Addresses , and a subsequent volume, Life and Letters of Sir Richard Claverhouse Jebb (with critical introduction by A. W. Verrall ) were published by his widow in 1907; see also an appreciative notice by J. E. Sandys, History of Classical Scholarship, iii. (1908). The Archives and Special Collections at Amherst College holds

225-626: A closed nightly rite into fully-fledged athletic-games event which was dedicated to Poseidon , open to all Greeks, and was at a suitable level of advancement and popularity to rival those in Olympia , which were founded by Heracles . Theseus arranged with the Corinthians for any Athenian visitors to the Isthmian games to be granted the privilege of front seats ( prohedria , Ancient Greek προεδρία). Another version states that Kypselos , tyrant of Corinth in

300-683: A collection of Jebb's papers. Isthmian Games Isthmian Games or Isthmia ( Ancient Greek : Ἴσθμια) were one of the Panhellenic Games of Ancient Greece , and were named after the Isthmus of Corinth , where they were held. As with the Nemean Games , the Isthmian Games were held both the year before and the year after the Olympic Games (the second and fourth years of an Olympiad ), while

375-399: A few iambics. The surviving poems in fact are not metrically difficult, with the exception of two odes (Odes XV and XVI, Jebb). He shared Simonides's approach to vocabulary, employing a very mild form of the traditional, literary Doric dialect, with some Aeolic words and some traditional epithets borrowed from epic. Like Simonides, he followed the lyric tradition of coining compound adjectives –

450-432: A humbler and lighter strain, even venturing on folksiness and humour. The distinctive merits of Bacchylides, his transparent clearness, his gift of narrative, his felicity in detail, the easy flow of his elegant verse, rather fitted him to become a favourite with readers... he was a poet who gave pleasure without demanding effort, a poet with whom the reader could at once feel at home. – Richard Claverhouse Jebb Lyric poetry

525-455: A hundred new words to Greek lexicons. Ironically, his newly discovered poems sparked a renewed interest in Pindar's work, with whom he was compared so unfavourably that "the students of Pindaric poetry almost succeeded in burying Bacchylides all over again." Together with true glories, men will praise also the charm of the melodious Cean nightingale. – Bacchylides, Ode 3 Much of Bacchylides's poetry

600-745: A member of the Cambridge Apostles , an intellectual society, from 1859. Jebb won the Porson and Craven scholarships, was senior classic in 1862, and became fellow and tutor of his college in 1863. From 1869 to 1875, he was public orator of Cambridge University . On 18 August 1874, Jebb married Caroline Lane Reynolds , born in 1840 in Evansburg, Pennsylvania , whose first husband had been US Army Lieutenant Adam J. Slemmer . After his death in 1868, Caroline lived briefly in Cambridge. From 1875 to 1889 Jebb

675-458: A modest lot; not free from some tinge of that pensive melancholy which was peculiarly Ionian; but with good sense..." Bacchylides' lyrics do not seem to have been popular in his own lifetime. Lyrics by his uncle, Simonides, and his rival, Pindar, were known in Athens and were sung at parties, they were parodied by Aristophanes and quoted by Plato , but no trace of Bacchylides' work can be found until

750-482: A much earlier date, around 524–1 BC. Most modern scholars however treat Bacchylides as an exact contemporary of Pindar, placing his birth around 518 BC. According to one account, Bacchylides was banished for a time from his native Keos and spent this period as an exile in Peloponnesus , where his genius ripened and he did the work which established his fame. Plutarch is the only ancient source for this account and yet it

825-418: A number of passages in Pindar as hostile allusions to Bacchylides and Simonides and this interpretation has been endorsed by modern scholars also. As a composer of choral lyrics, Bacchylides was probably responsible also for the performance, involving him in frequent travel to venues where musicians and choirs awaited instruction. Ancient authorities testify to his visit to the court of Hieron (478–467) and this

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900-570: A packet of photographs. He presented his find in 1896 to Frederic Kenyon in the British Museum's Department of Manuscripts. Kenyon reassembled 1382 lines, of which 1070 were perfect or easily restored and, the following year, he published an edition of twenty poems, six of them nearly complete. Some more pieces of the Egyptian fragments were fitted together by Friedrich Blass in Germany and then followed

975-405: A poem by Alcaeus (fragment 347), which virtually quotes a passage from Hesiod ( Works and Days 582–8). Pindar's Olympian Ode 1 and Bacchylides's Ode 5 differ also in their description of the race – while Pindar's reference to Pherenicus is slight and general ("...speeding / by Alpheus' bank, / His lovely limbs ungoaded on the course...": Olympian I.20–21), Bacchylides describes the running of

1050-518: A poet probably benefited from the high reputation of his uncle, Simonides, whose patrons, when Bacchylides was born, already included Hipparchus , brother of Hippias the tyrant of Athens (527–10 BC) and cultural coordinator of the city at that time. Simonides later introduced his nephew to ruling families in Thessaly and to the Sicilian tyrant, Hieron of Syracuse , whose glittering court attracted artists of

1125-470: A reference to Bacchylides and his uncle. It is possible in that case that Bacchylides's image of himself as an eagle in Ode 5 was a retort to Pindar. Moreover, Bacchylides's line "So now for me too countless paths extend in all directions" has a close resemblance to lines in one of Pindar's Isthmian Odes (1.1–2), "A thousand ways ... open on every side widespread before me" but, as the date of Pindar's Isthmian Ode

1200-645: A scene told by Homer. He instead describes a scene which is new to the audience, but which is given context by knowledge of the Iliad and Odyssey . The story of this embassy was known to Homer, who merely alludes to it at Iliad 3.205ff., but it was fully related in the cyclic epic poem Cypria , according to the Chrestomathy of Proclus. The style also plays off of Homer. Characters are almost always named with their fathers, i.e. Odysseus, son of Laertes (as reconstructed). They are also given epithets, though these are not

1275-405: A successful tradition of athletic competition, especially in running and boxing – making the island a congenial home for a boy of quick imagination. Athletic victories achieved by Ceans in panhellenic festivals were recorded at Ioulis on slabs of stone and thus Bacchylides could readily announce, in an ode celebrating one such victory (Ode 2), a total of twenty-seven victories won by his countrymen at

1350-480: A tradition in which the poet was expected to be both innovative and tasteful – but the results are thought by some modern scholars to be uneven. Many of his epithets however serve a thematic and not just a decorative function, as for instance in Ode 3, where the "bronze-walled court" and "well-built halls" of Croesus (Ode 3.30–31 and 3.46) contrast architecturally with the "wooden house" of his funeral pyre (Ode 3.49), in an effect that aims at pathos and which underscores

1425-431: Is considered credible on the basis of some literary evidence (Pindar wrote a paean celebrating Keos, in which he says on behalf of the island "I am renowned for my athletic achievements among Greeks" [Paean 4, epode 1], a circumstance that suggests that Bacchylides himself was unavailable at the time.) Observations by Eusebius and Georgius Syncellus can be taken to indicate that Bacchylides might have been still alive at

1500-628: Is indeed indicated by his fifth Ode (476 BC), where the word xenos (V.11) implies that he had already been Hieron's guest, (probably accompanied by his uncle). Verses 15 and 16 of his third ode (468 BC), also for Hieron, indicate that he might have composed that work at Syracuse . The poems were collected into critical editions sometime in the late 3rd century BC by the Alexandrian scholar, Aristophanes of Byzantium , who probably restored them to their appropriate metres after finding them written in prose form. They were arranged in nine 'books', exemplifying

1575-466: Is the first of Bacchylides’s dithyrambs in the text restored in 1896. The opening is incomplete, as part of the papyrus was damaged. The dithyramb treats a moment in myth before the Trojan war, when Menelaus , Antenor, and Antenor’s sons go to King Priam to demand the return of Helen. As is often the case with ancient Greek literature, Bacchylides plays of the audience’s knowledge of Homer without repeating

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1650-456: Is uncertain, it is not clear in this case who was imitating whom. According to Kenyon, Pindar's idiosyncratic genius entitles him to the benefit of a doubt in all such cases: "... if there be actual imitation at all, it is fairly safe to conclude that it is on the part of Bacchylides." In fact one modern scholar has observed in Bacchylides a general tendency towards imitation, sometimes approaching

1725-456: The editio princeps ) must be parts of a single ode (for Lachon of Keos) – hence even today the poems can be found numbered differently, with Jebb for example one of those following Blass's lead and numbering the poems differently from Kenyon from poem 8 onwards (Kenyon 9 = Jebb 8 and so on). Bacchylides had become, almost overnight, among the best represented poets of the canonic nine, with about half as many extant verses as Pindar, adding about

1800-480: The Ionian race , where the people of Keos annually sent choirs to celebrate festivals of Apollo. There was a thriving cult of Apollo on Keos too, including a temple at Carthaea, a training ground for choruses where, according to Athenaeus , Bacchylides's uncle, Simonides, had been a teacher in his early years. Ceans had a strong sense of their national identity, characterized by their own exotic legends, national folklore and

1875-680: The Isthmian Games . Ceans had participated in the defeat of the Persians at the Battle of Salamis and they could take pride in the fact that an elegy composed by Bacchylides's uncle was chosen by Athens to commemorate the Athenians who fell at the Battle of Marathon . Being only thirteen miles from the Athenian cape Sunium , Keos was in fact necessarily responsive to Athenian influences. Bacchylides's career as

1950-598: The Pythian Games were held in the third year of the Olympiad cycle. The Games were reputed to have originated as funeral games for Melicertes (also known as Palaemon), instituted by Sisyphus , legendary founder and king of Corinth , who discovered the dead body and buried it subsequently on the Isthmus . In Roman times, Melicertes was worshipped in the region. Another likely later myth held that Theseus , legendary king of Athens , expanded Melicertes' funeral games from

2025-457: The victory ode genre. Whereas however Pindar's ode focuses on the myth of Pelops and Tantalus and demonstrates a stern moral about the need for moderation in personal conduct (a reflection on Hieron's political excesses), Bacchylides's ode focuses on the myths of Meleager and Hercules , demonstrating the moral that nobody is fortunate or happy in all things (possibly a reflection on Hieron's chronic illness). This difference in moral posturing

2100-649: The 4th century also: Ammianus Marcellinus (xxv. 4) observed that the emperor Julian enjoyed reading Bacchylides, and the largest collection of quotations that survived up until the modern era was assembled by Stobaeus (early 5th century). All that remained of Bacchylides's poetry by 1896, however, were sixty-nine fragments, totalling 107 lines. These few remains of his writings were collected by Brunck , Bergk, Bland, Hartung, and Neue . The oldest sources on Bacchylides and his work are scholia on Homer , Hesiod , Pindar, Aristophanes , Apollonius Rhodius and Callimachus . Other fragments and 'notices' are sprinkled through

2175-579: The 7th century BC, returned to the Games their old splendour. The first Isthmian Games were held in 582 BC. The festival included athletic and musical competitions to honor the god Poseidon, and was held in the spring of the second and fourth years of each Olympiad at Poseidon's rural sanctuary on the Isthmus of Corinth, the small neck of land that connects the Peloponnesian peninsula with Central Greece. Since it

2250-586: The British Museum. Budge's plan to return to the museum with the papyrus was unacceptable to the British Consul and to the Egyptian Service of Antiquities so he resorted to desperate measures. In an elaborate plan involving a crate of oranges, switched trains and covert embarkations including a midnight rendezvous with a P&O steamship, he eventually sailed from the Suez with the papyrus dismembered and disguised as

2325-632: The Capitol at Rome to express their gratitude, and inscribed themselves as allies of the Roman people. Such was the end of the second war between the Romans and Philip. Since the games' inception, Corinth had always been in control of them. When Corinth was destroyed by the Romans in 146 BC, the Isthmian games continued, but were now administered by Sicyon . Corinth was rebuilt by Caesar in 44 BC, and recovered ownership of

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2400-458: The Games shortly thereafter, but they were then held in Corinth. They did not return to the Isthmus until AD 42 or 43. Libanius mentions the continuation of cultic activities at the Isthmus into the middle of the 4th century, and the games probably continued at least until the end of that century. The circumstances of their demise are unknown. Imperial pressure against pagan rituals was heightened at

2475-650: The Hellenistic age, when Callimachus began writing some commentaries on them. Like Simonides and Pindar, however, Bacchylides composed lyrics to appeal to the sophisticated tastes of a social elite and his patrons, though relatively few in number, covered a wide geographical area around the Mediterranean, including for example Delos in the Aegean Sea , Thessaly in the north of the Greek mainland, and Sicily or Magna Graecia in

2550-536: The Macedonians and Philip, their king, order that Greece shall be free from foreign garrisons, not subject to tribute, and shall live under her own customs and laws." Thereupon there was great shouting and rejoicing and a scene of rapturous tumult; and groups here and there called the herald back in order that he might repeat his words for them. They threw crowns and fillets upon the general and voted statues for him in their cities. They sent ambassadors with golden crowns to

2625-596: The Reverend Heneage Horsley , Dean of Brechin . His grandfather Richard Jebb had been a judge of the Court of King's Bench (Ireland) . His sister was the social reformer Eglantyne Louisa Jebb , founder of the Home Arts and Industries Association . Jebb was educated at St Columba's College, Dublin 1853–55 and at Charterhouse School 1855–1858. He then studied Classics at Trinity College, Cambridge where he became

2700-496: The Trojans from burning the Greek ships. Bacchylides relates how Achilles’ inaction spurred the Trojans to false hope, and how their swollen pride led them to be destroyed at the hands of the men they thought they had vanquished. The ode plays upon the fact that those who are listening to Bacchylides have also read the epics of Homer, and understand the whole story behind this scene that would speak poorly of Achilles if people did not know

2775-610: The authoritative edition of Bacchylides' poetry by Richard Claverhouse Jebb – a combination of scholars that inspired one academic to comment: "we almost had the Renaissance back again". As noted by Frederic Kenyon, the papyrus was originally a roll probably about seventeen feet long and about ten inches high, written in the Ptolemaic period, with some Roman characteristics that indicate a transition between styles, somewhere around 50 BC. It reached England in about two hundred torn fragments,

2850-414: The calibre of Pindar and Aeschylus . Bacchylides's first notable success came sometime after 500 BC with commissions from Athens for the great Delian festival (Ode 17) and from Macedonia for a song to be sung at a symposium for the young prince, Alexander I (fr. 20B). Soon he was competing with Pindar for commissions from the leading families of Aegina and, in 476 BC, their rivalry seems to have reached

2925-543: The description of the eagle's flight, near the beginning of the poem, has been called by one modern scholar "the most impressive passage in his extant poetry." Bacchylides's image of the poet as an eagle winging across the sea was not original – Pindar had already used it earlier ( Nemean Odes 5.20–21). In fact, in the same year that both poets celebrated Pherenicus's Olympic victory, Pindar also composed an ode for Theron of Acragas ( Olympian 2), in which he likens himself to an eagle confronted with chattering ravens – possibly

3000-456: The end of the 4th century, but some polytheistic cult practices certainly continued at Corinth into the 6th century. The games were the same as those in Olympia including wrestling , pancration , and horse racing. Among other competitions were: The commentator Papagalos also records the first instance of οισοληνειν (oisoleven), an early form of snooker played with painted pottery balls Before

3075-465: The following genres (Bacchylides in fact composed in a greater variety of genres than any of the other lyric poets who comprise the canonic nine, with the exception of Pindar, who composed in ten): The Alexandrian grammarian Didymus (circa 30 BC) wrote commentaries on the work of Bacchylides and the poems appear, from the finding of papyri fragments, to have been popular reading in the first three centuries AD. Their popularity seems to have continued into

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3150-466: The games. In 196 BC Titus Quinctius Flamininus used the occasion of the games to proclaim the freedom of the Greek states from Macedonian hegemony. According to Appian 's account: When he had arranged these things with them he went to the Isthmian games, and, the stadium being full of people, he commanded silence by trumpet and directed the herald to make this proclamation, "The Roman people and Senate, and Flamininus, their general, having vanquished

3225-420: The gap between the fleeting present in its glorious display of beauty and energy and the eternal world of the gods. Pindar however grasps the contrasts between the extremes of mortality and divinity with greater intensity than Bacchylides and for this reason seems the more philosophical and meditative, more concerned with ultimate questions of life and death, transience and permanence. Bacchylides prefers to observe

3300-564: The gentler play of shadow and sadness over the sensuous surface of his brilliant world. – Charles Segal You, Pindar, holy mouth of the Muses, and you, talkative Siren, Bacchylides ...-anon. in Palatine Anthology Ode 13 of the Bacchylides is a Nemean ode performed to honor the athlete Pytheas of Aegina for winning the pancration event of the Nemean games . Bacchylides begins his ode with

3375-469: The highest levels when Bacchylides composed an ode celebrating Hieron's first victory at the Olympian Games (Ode 5). Pindar celebrated the same victory but used the occasion to advise the tyrant of the need for moderation in one's personal conduct (Pindar's Olympian Ode 1), whereas Bacchylides probably offered his own ode as a free sample of his skill in the hope of attracting future commissions. Bacchylides

3450-524: The influence of Aeschylus with several words being common to both poets and found nowhere else. The use of gripping and exciting narrative and the immediacy gained from the frequent use of direct speech are thought to be among Bacchylides's best qualities, influencing later poets such as Horace (who imitated him, according to Pomponius Porphyrion , in Carmen I. 15, where Nereus predicts the destruction of Troy ). These narrative qualities were modelled largely on

3525-408: The island Aegina, and how "her fame excites a dancer’s praise." Bacchylides continues this dancer allusion in praise of Aegina, and ends it by listing some famous men who were born on the island, namely Peleus and Telamon . Bacchylides then tells of the greatness of these men’s sons, Achilles and Ajax , alluding to a second myth, the tale of Ajax repelling Hector on the beaches of Troy, keeping

3600-441: The largest about twenty inches in length and containing four and a half columns of writing, the smallest being scraps with barely enough space for one or two letters. The beginning and end sections were missing and the damage done to the roll was not entirely the result of its recent discovery. Kenyon gradually pieced the fragments together, making three independent sections: the first, nine feet long with twenty-two columns of writing;

3675-513: The leading poetic genre, borrowing the literary dialect, the metres and poetic devices of lyric poetry in general and the dithyramb in particular (Aristotle Poetics IV 1449a). The debt however was mutual and Bacchylides borrowed from tragedy for some of his effects – thus Ode 16, with its myth of Deianeira , seems to assume audience knowledge of Sophocles's play, Women of Trachis , and Ode 18 echoes three plays – Aeschylus's Persians and Suppliants and Sophocles's Oedipus Rex . His vocabulary shows

3750-521: The level of quotation: in this case, the eagle simile in Ode 5 may be thought to imitate a passage in the Homeric Hymn to Demeter (375–83), and the countless leaves fluttering in the wind on "the gleaming headlands of Ida", mentioned later in the ode, recall a passage in Iliad (6.146–9). A tendency to imitate other poets is not peculiar to Bacchylides, however – it was common in ancient poetry, as for example in

3825-457: The moral of the ode. Bacchylides is renowned for his use of picturesque detail, giving life and colour to descriptions with small but skilful touches, often demonstrating a keen sense of beauty or splendour in external nature: a radiance, "as of fire," streams from the forms of the Nereids (XVI. 103 if. Jebb); an athlete shines out among his fellows like "the bright moon of the mid-month night" among

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3900-509: The most prestigious of Hieron's victories, was however celebrated by Bacchylides (Ode 3). The tyrant's apparent preference for Bacchylides over Pindar on this occasion might have been partly due to the Cean poet's simpler language and not just to his less moralizing posture, and yet it is also possible that Bacchylides and his uncle were simply better suited to palace politics than was their more high-minded rival. Alexandrian scholars in fact interpreted

3975-479: The next section, a little over two feet long with six columns; the third, three and a half feet long with ten columns – a total length of almost fifteen feet and thirty-nine columns, in which form the papyrus remains in the British Library . Friedrich Blass later pieced together some of the still detached fragments and concluded that two of the poems on the restored roll (Odes vi. and vii., as numbered by Kenyon in

4050-527: The outbreak of the Peloponnesian War , but modern scholars have differed widely in estimates of the year of his death – Jebb, for example sets it at 428 BC and yet a date around 451 BC is more favoured. Keos , where Bacchylides was born and raised, had long had a history of poetical and musical culture, especially in its association with Delos , the focal point of the Cyclades and the principal sanctuary of

4125-435: The poet's pleasure. There is no originality of structure; the poet's art is shown in craftsmanship rather than in invention. – Frederic G. Kenyon Bacchylides however might be better understood as an heir to Stesichorus , being more concerned with story-telling per se, than as a rival of Pindar. But irrespective of any scruples about his treatment of myth, Bacchylides is thought to demonstrate in Ode 5 some of his finest work and

4200-468: The role he played in the Trojan war. With this tale complete Bacchylides proclaims once again that the actions he has just told will be forever remembered thanks to the muses, leading once again into his praise of Pytheas and his trainer Menander, who shall be remembered for their great victories in the Pan-Hellenic games, even if an envious rival slights them. The Sons of Antenor , or Helen Demanded Back,

4275-451: The simile of the eagle in Ode 5 below. Bacchylides has often been compared unflatteringly with Pindar, as for example by the French critic, Henri Weil : "There is no doubt that he fails of the elevation, and also of the depth, of Pindar. The soaring wing was refused him, and he should never have compared himself, as he does somewhere, to an eagle." The image of the eagle occurs in Ode 5, which

4350-558: The stars (VIII. 27 if.); the sudden gleam of hope which comes to the Trojans by the withdrawal of Achilles is like a ray of sunshine "from beneath the edge of a storm-cloud" (XII – 105 if.); the shades of the departed, as seen by Heracles on the banks of the Cocytus, resemble countless leaves fluttering in the wind on "the gleaming headlands of Ida" (V. 65 if ). Imagery is employed sparingly but often with impressive and beautiful results, such as in

4425-542: The surviving works of ancient authors, which they used to illustrate various points they were making, as for example: Fortunately for Bacchylidean scholarship, a papyrus came to light in Egypt at the end of the 19th century with a text of Greek uncials, which a local claimed to have found in a ransacked tomb, between the feet of a mummy. It was snapped up for a "preposterous" price by the Egyptologist Wallis Budge , of

4500-461: The tale of Heracles fighting the Nemean lion , employing the battle to explain why pancration tournaments are now held during the Nemean games. The allusion to Heracles’ fight with the lion is also meant to incite why it is that Pytheas fights for the wreaths of the games: to obtain the undying glory that the heroes of old now possess for their deeds. Bacchylides then sings the praises of Pytheas' home,

4575-509: The traditional Homeric epithets: godly Antenor, upright Justice, reckless Outrage. Attribution: Richard Claverhouse Jebb Emily Harriet Horsley (mother) Sir Richard Claverhouse Jebb OM FBA FRSE (27 August 1841 – 9 December 1905) was a British classical scholar and MP for Cambridge . Jebb was born in Dundee , Scotland, to Robert, a well-known Irish barrister , and Emily Harriet Horsley, daughter of

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4650-481: The west. It has been inferred from the elegance and quiet charm of his lyrics that he only gradually acquired fame towards the end of his life. Being drawn from sources compiled long after his death, the details of Bacchylides's life are sketchy and sometimes contradictory. According to Strabo , he was born in Ioulis , on the island of Keos , and his mother was the sister of Simonides. According to Suda , his father's name

4725-411: The winner more vividly and in rather more detail – a difference that is characteristic of the two poets: Ultimately, however, Bacchylides and Pindar share many of the same goals and techniques – the difference is largely one of temperament: They share a common repertory of motifs, images, conventions, diction; and they affirm and celebrate the heroic values of an ancient aristocracy. Both seek to bridge

4800-410: The winners of the Isthmian games received a wreath of celery; later, the wreath was altered such that it consisted of pine leaves and called Isthmian pine (Ἰσθμικὴ πίτυς). Victors could also be honored with a statue or an ode . Besides these prizes of honor, the city of Athens awarded victorious Athenians with 100 drachmas . From 228 BC or 229 BC onwards the Romans were allowed to take part in

4875-471: The work of Stesichorus , whose lyrical treatment of heroic myth influenced, for instance, Ode 5. Whereas however Stesichorus developed graphic images in his poetry that subsequently became established in vase painting, Bacchylides merely employed images already current in his own day. Simonides, the uncle of Bacchylides, was another strong influence on his poetry, as for example in his metrical range, mostly dactylo-epitrite in form, with some Aeolic rhythms and

4950-519: Was Professor of Greek at Glasgow , and the couple initially lived in that city, spending their summers in Cambridge . In 1889 Jebb was appointed Regius Professor of Greek at Cambridge, following the death of the incumbent, Benjamin Hall Kennedy , and the couple moved permanently to Cambridge. In 1891 Jebb was elected Member of Parliament for Cambridge University , he was knighted in 1900, and he

5025-408: Was Meidon and his grandfather, also named Bacchylides, was a famous athlete, yet according to Etymologicum Magnum his father's name was Meidylus. There is an ancient tradition, upheld for example by Eustathius and Thomas Magister , that he was younger than Pindar and some modern scholars have endorsed it, such as Jebb , who assigns his birth to around 507 BC, whereas Bowra , for example, opted for

5100-459: Was commissioned by Hieron in 470 BC, this time to celebrate his triumph in the chariot race at the Pythian Games (Ode 4). Pindar also composed a celebratory ode for this victory (Pindar's Pythian Ode 1), including however stern, moral advice for the tyrant to rule wisely. Pindar was not commissioned to celebrate Hieron's subsequent victory in the chariot race at the Olympic Games in 468 BC – this,

5175-447: Was commissioned by proud and ambitious aristocrats, a dominant force in Greek political and cultural life in the 6th and early part of the 5th centuries, yet such patrons were gradually losing influence in an increasingly democratic Greek world. The kind of lofty and stately poetry that celebrated the achievements of these archaic aristocrats was within the reach of 'The Cean nightingale', yet he seems to have been more at home in verses of

5250-465: Was composed for Hieron of Syracuse in celebration of his Olympic victory with the race-horse Pherenicus in 476 BC. Pindar's Olympian Ode 1 celebrates the same race and the two poems allow for some interesting comparisons. Bacchylides's Ode 5 includes, in addition to a brief reference to the victory itself, a long mythical episode on a related theme, and a gnomic or philosophical reflection – elements that occur also in Pindar's ode and that seem typical of

5325-509: Was easy to reach both from land and sea, the Isthmia was a natural meeting place. This festival was open to all Greeks and the Isthmian games were especially popular with Athenians, though the Eleans boycotted them. The Isthmian games were used by many as a forum for political propaganda. These were stephanitic games (i.e., with a crown as prize) and at least until the 5th century BC ( Pindar 's time)

5400-706: Was elected a Fellow of the British Academy in 1902. He received many honorary degrees from European and American universities, and in May 1902 at Caernarfon received the honorary degree of DLitt from the University of Wales during the ceremony to install the Prince of Wales (later King George V ) as Chancellor of that university. In 1904, he was elected a member to the American Philosophical Society . In 1905, he

5475-715: Was made a member of the Order of Merit . Jebb died at his home, Springfield House in Cambridge, on 9 December 1905 and was buried at the St Giles Cemetery (now known as the Parish of the Ascension Burial Ground ) in the town. Caroline Jebb died and was cremated in America, her ashes being returned to Cambridge for interment in her husband's grave. Jebb was acknowledged to be one of the most brilliant classical scholars of his time,

5550-412: Was still a vigorous art-form and its genres were already fully developed when Bacchylides started out on his career. From the time of the Peloponnesian War , around the end of his life, the art-form was in decline, as exemplified by the inferior dithyrambs of Philoxenos of Cythera . Meanwhile, tragedy, as developed by Athenian dramatists of the calibre of Aeschylus and Sophocles , had begun to emerge as

5625-436: Was typical of the two poets, with Bacchylides adopting a quieter, simpler and less forceful manner than Pindar. Frederic G. Kenyon , who edited the papyrus poems, took an unsympathetic view of Bacchylides's treatment of myth in general: The myths are introduced mechanically, with little attempt to connect them with the subject of the ode. In some cases they appear to have no special appropriateness but to be introduced merely at

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