Simonides of Ceos - Poetry

Poetry

Simonides composed verses almost entirely for public performances and inscriptions, unlike previous lyric poets such as Sappho and Alcaeus, who composed more intimate verses to entertain friends—"With Simonides the age of individualism in lyric poetry has passed." Or so it seemed to modern scholars until the recent discovery of papyrus P.Oxy.3965 in which Simonides is glimpsed in a sympotic context, speaking for example as an old man rejuvenated in the company of his homo-erotic lover, couched on a bed of flowers. Very little of his poetry survives today but enough is recorded on papyrus fragments and in quotes by ancient commentators for many conclusions to be drawn at least tentatively (nobody knows if and when the sands of Egypt will reveal further discoveries).

Simonides wrote a wide range of choral lyrics with an Ionian flavour and elegiac verses in Doric idioms. He is generally credited with inventing a new type of choral lyric, the encomium, in particular popularizing a form of it, the victory ode. These were extensions of the hymn, which previous generations of poets had dedicated only to gods and heroes:

In one victory ode, celebrating Glaucus of Carystus, a famous boxer, Simonides declares that not even Heracles or Polydeuces could have stood against him—a statement whose impiety seemed notable even to Lucian many generations later.

Simonides was the first to establish the choral dirge as a recognized form of lyric poetry, his aptitude for it being testified, for example, by Quintillian (see quote in the Introduction), Horace("Ceae...munera neniae"), Catullus ("maestius lacrimis Simonideis") and Dionysius of Halicarnassus, where he says:

Simonides was adept too at lively compositions suited to dancing (hyporchema), for which he is commended by Plutarch. He was highly successful in dithyrambic competitions according to an anonymous epigram dating from the Hellenistic period, which credited him with 57 victories, possibly in Athens. The dithyramb, a genre of lyrics traditionally sung to Dionysus, was later developed into narratives illustrating heroic myths; Simonides is the earliest poet known to have composed in this enlarged form (the geographer Strabo mentioned a dithyramb, Memnon, in which Simonides located the hero's tomb in Syria, indicating that he didn't compose only on legends of Dionysius.)

Simonides has long been known to have written epitaphs for those who died in the Persian Wars and this has resulted in many pithy verses being mis-attributed to him "...as wise saws to Confucius or musical anecdotes to Beecham." Modern scholars generally consider only one of the attributed epigrams to be unquestionably authentic (an inscription for the seer Megistius quoted by Herodotus), which places in doubt even some of the most famous examples, such as the one to the Spartans at Thermopylae, quoted in the introduction. He composed longer pieces on a Persian War theme, including Dirge for the Fallen at Thermopylae, Battle at Artemisium and Battle at Salamis but their genres are not clear from the fragmentary remains - the first was labelled by Diodorus Siculus as an encomium but it was probably a hymn and the second was characterized in the Suda as elegiac yet Priscian, in a comment on prosody, indicated that it was composed in lyric meter. Substantial fragments of a recently discovered poem, describing the run-up to the Battle of Plataea and comparing Pausanias to Achilles, show that he actually did compose narrative accounts in elegiac meter. Simonides also wrote Paeans and Prayers/Curses (κατευχαί) and possibly in some genres where no record of his work survives.