[93] Bergk, p. 935.
[94] Carm., i. 32, thus translated by Conington:
Thou, strung by Lesbos' minstrel hand,
The bard who 'mid the clash of steel,
Or haply mooring to the strand,
His battered keel,
Of Bacchus and the Muses sung,
And Cupid, still at Venus' side,
And Lycus, beautiful and young,
Dark-haired, dark-eyed.
[95] De Nat. Deorum, i. 28.
[96] See Bergk, p. 948.
[97] Rhet., i. 9.
[98] Bergk, p. 936.
[99] The people of Athens gave him a statue on their Acropolis. The Teians struck his portrait on coins. Critias said that his poems would last as long as the Cottabos in Hellas. He did in fact exactly represent one side, and that the least heroic side, of the character of the Greeks—their simple love of sensual pleasure. As mere Hedonism grew, so did the songs and the style of Anacreon gain in popularity, whereas the stormier passion of Sappho became unfashionable.
[100] It is unhistorical to confound the Dorians with the Spartans, who were a specially trained section of the Dorian stock. Yet it will be seen that, in relation at least to lyric poetry, Sparta fairly may be taken as the Dorian state.