Editing Bacchylides (section)

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{{cquote|Together with true glories, men will praise also the charm of the melodious Cean nightingale. – Bacchylides, Ode 3<ref name=c423>Campbell 1982, p. 423</ref>}}

Much of Bacchylides's poetry 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.<ref>Maehler 2004, p. 4</ref> The kind of lofty and stately poetry that celebrated the achievements of these [[Archaic Greece|archaic]] aristocrats was within the reach of 'The Cean nightingale',<ref name=sl6>Slavitt 1998, p. 6</ref><ref name=j78>{{harvnb|Jebb|1905|p=78}}</ref> yet he seems to have been more at home in verses of a humbler and lighter strain, even venturing on folksiness and humour.<ref name=sl6/><ref name=j78/>

{{Quotation|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<ref>{{harvnb|Jebb|1905|p=74}}</ref>}}

Lyric poetry 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]].<ref name=j27/> Meanwhile, tragedy, as developed by Athenian dramatists of the calibre of [[Aeschylus]] and [[Sophocles]], had begun to emerge as 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''.<ref>Maehler 2004, p. 18</ref> His vocabulary shows the influence of Aeschylus with several words being common to both poets and found nowhere else.<ref>{{harvnb|Jebb|1905|pp=67–68}}</ref> 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,<ref name=c415/> influencing later poets such as [[Horace]] (who imitated him, according to [[Pomponius Porphyrion]], in ''Carmen'' I. 15, where [[Nereus]] predicts the destruction of [[Troy]]).<ref>{{harvnb|Jebb|1905|p=77}}</ref> These narrative qualities were modelled largely on the work of [[Stesichorus]], whose lyrical treatment of heroic myth influenced, for instance, Ode 5.<ref>{{harvnb|Jebb|1905|pp=32–33}}</ref> 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.<ref name="Jebb" /> 
[[File:Theseus Prokroustes Louvre G104.jpg|thumb|right|Theseus triumphing over the notorious thug [[Procrustes]] – here depicted by the artist [[Euphronios]]. Bacchylides celebrated such victories by Theseus in one of his dithyrambs, sung in the form of a dialogue between chorus and chorus-leader (poem 18).]]

Simonides, the uncle of Bacchylides, was another strong influence on his poetry,<ref>[[Gregory Hutchinson (academic)|G. O. Hutchinson]], ''Greek Lyric Poetry: A Commentary on Selected Larger Pieces'', Oxford University Press (2001), p. 324 {{ISBN|0-19-926582-8}}</ref> as for example in his metrical range, mostly dactylo-epitrite in form, with some Aeolic rhythms and a few iambics. The surviving poems in fact are not metrically difficult, with the exception of two odes (Odes XV and XVI, Jebb).<ref>{{harvnb|Jebb|1905|p=92}}</ref> 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 – 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.<ref name=c415/><ref>{{harvnb|Jebb|1905|p=63}}</ref> 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 the moral of the ode.<ref>Segal 1985, p. 238</ref>

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 the stars (VIII. 27 if.); the sudden gleam of hope which comes to the [[Trojan War|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 ).{{sfn|Jebb|1911|p=123}} Imagery is employed sparingly but often with impressive and beautiful results,<ref>{{harvnb|Jebb|1905|pp=60–61}}</ref> such as in the simile of the eagle in Ode 5 below.