Editing Hipponax

{{Short description|Ancient Greek poet}}
{{infobox writer}}
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[[File:Hipponax of Ephesus.jpg|thumb|200px|Hipponax from [[Guillaume Rouillé]]'s ''[[Promptuarium Iconum Insigniorum|Promptuarii Iconum Insigniorum]] ''(1553)]]
'''Hipponax''' ({{IPAc-en|'|h|I|p|@|n|ae|k|s}}; {{langx|grc|Ἱππῶναξ}}; ''gen''. Ἱππώνακτος; {{fl|late 6th century BCE}}),<ref>{{Citation|last=West|first=Martin L.|title=Hipponax|date=2015|url=https://oxfordre.com/classics/view/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-3125|encyclopedia=Oxford Research Encyclopedia of Classics|publisher=Oxford University Press|language=en|doi=10.1093/acrefore/9780199381135.013.3125|isbn=978-0-19-938113-5|author-link=Martin Litchfield West}}</ref> of [[Ephesus]] and later [[Clazomenae]], was an [[Ancient Greek]] [[Iambus (genre)|iambic]] [[Greek lyric|poet]] who composed verses depicting the vulgar side of life in Ionian society. He was celebrated by ancient authors for his malicious wit, especially for his attacks on some contemporary sculptors, [[Bupalus and Athenis]]. Hipponax was reputed to be physically deformed, which might have been inspired by the nature of his poetry.<ref>Christopher G. Brown, 'Hipponax' in ''A Companion to Greek Lyric Poets'', Douglas E. Gerber (ed.), Brill (1997) pages 84</ref>

==Life==
Ancient authorities record the barest details about his life (sometimes contradicting each other) and his extant poetry is too fragmentary to support autobiographical interpretation (a hazardous exercise even at the best of times).<ref>Christopher G. Brown, 'Hipponax', in ''A Companion to the Greek Lyric Poets'', Douglas E. Gerber (ed), BRILL, 1997. {{ISBN|90-04-09944-1}}. Cf. p.81</ref>

The [[Marmor Parium]], only partially preserved in the relevant place, dates him to 541/40&nbsp;BCE, a date supported by [[Pliny the Elder]] in this comment on the theme of sculpture:
{{quotation|There lived in the island of [[Chios]] a sculptor Melas who was succeeded by his son Micciades and his grandson Achermus; the latter's sons, [[Bupalus|Bupalus and Athenis]], had the very greatest fame in that art at the time of the poet Hipponax who was clearly alive in the 60th Olympiad (540–37).—[[Natural History (Pliny)|Natural History]] 36.4.11}}
Archeological corroboration for these dates is found on the pedestal of a statue in [[Delos]], inscribed with the names Micciades and Achermus and dated to 550–30 BCE.<ref>Pliny, ''Natural History'', translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), including archeological notes 1 and 2, page 343</ref> The poet therefore can be safely dated to the second half of the sixth century BC.<ref>David A. Campbell, ''Greek Lyric Poetry'', Bristol Classical Press (1982), page 373</ref> According to [[Athenaeus]], he was small, thin and surprisingly strong<ref>Athenaeus 12.552c-d, cited by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 347</ref> The Byzantine encyclopaedia ''[[Suda]]'', recorded that he was expelled from [[Ephesus]] by the tyrants Athenagoras and Comas, then settled in [[Clazomenae]], and that he wrote verses satirising Bupalus and Athenis because they made insulting likenesses of him.<ref>''Suda'', translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 345</ref> A [[scholiast]] commenting on [[Horace]]'s ''[[Epodes (Horace)|Epodes]]'' recorded two differing accounts of the dispute with Bupalus, characterized however as "a painter in Clazomenae": Hipponax sought to marry Bupalus's daughter but was rejected ''because'' of his physical ugliness, and Bupalus portrayed him as ugly ''in order'' to provoke laughter. According to the same scholiast, Hipponax retaliated in verse so savagely that Bupalus hanged himself.<ref>[[Pseudo-Acron]] on Horace, ''Epodes'', cited by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 351</ref>
Hipponax in that case closely resembles [[Archilochus|Archilochus of Paros]], an earlier iambic poet, who reportedly drove a certain Lycambes and his daughters to hang themselves after he too was rejected in marriage.<ref>Christopher G. Brown, 'Hipponax', in [https://books.google.com/books?id=Zzlnqb_64SYC&pg=PA50 ''A Companion to the Greek Lyric Poets''], Douglas E. Gerber (ed.), BRILL, 1997. {{ISBN|90-04-09944-1}}. Cf. p.50</ref> Such a coincidence invites scepticism.<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 159</ref> The comic poet [[Diphilus]] took the similarity between the two iambic poets even further, representing them as rival lovers of the poet [[Sappho]].<ref>Christopher G. Brown, 'Hipponax' in''A Companion to the Greek Lyric Poets'', Douglas E. Gerber (ed.), BRILL, 1997. {{ISBN|90-04-09944-1}}. Cf. p.82</ref>

The life of Hipponax, as revealed in the poems, resembles a low-life saga centred on his private enmities, his amorous escapades and his poverty<ref>David A. Campbell, ''Greek Lyric Poetry'', Bristol Classical Press (1982), page 373</ref> but it is probable he was another [[Petronius]], depicting low-life characters while actually moving in higher social circles.<ref>Christopher G. Brown, 'Hipponax' in''A Companion to the Greek Lyric Poets'', Douglas E. Gerber (ed.), BRILL, 1997. {{ISBN|90-04-09944-1}}. Cf. p.80</ref> In one fragment, Hipponax decries "Bupalus, the mother-fucker ({{lang|grc|μητροκοίτης}}) with Arete", the latter evidently being the mother of Bupalus, yet Arete is presented as performing [[fellatio]] on Hipponax in another fragment and, elsewhere, Hipponax complains "Why did you go to bed with that rogue Bupalus?", again apparently referring to Arete (whose name ironically is Greek for 'virtue').<ref>fragments 12, 17, translated and annotated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 363 and 367</ref><ref>fragment 15, translated by B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 160</ref> The poet is a man of action but, unlike Archilochus, who served as a warrior on Thasos, his battlefields are close to home:
{{quote|''Take my cloak, I'll hit Bupalus in the eye! For I have two right hands and I don't miss with my punches.''<ref>fragments 120, 121, translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 453</ref>}}
Hipponax's quarrelsome disposition is also illustrated in verses quoted by [[Tzetzes]], where the bard abuses a painter called Mimnes, and advises him thus:
{{quote|''when you paint the serpent on the trireme's full-oared side, quit making it run back from the prow-ram to the pilot. What a disaster it will be and what a sensation—you low-born slave, you scum—if the snake should bite the pilot on the shin'' —fragment 28<ref>Fr. 28, translated by B. M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 160</ref>}}

==Work==
Hipponax composed within the [[Iambus (genre)|iambus]] tradition which, in the work of Archilochus, a hundred years earlier, appears to have functioned as ritualized abuse and obscenity associated with the religious cults of [[Demeter]] and [[Dionysus]] but which, in Hipponax's day, seems rather to have had the purpose of entertainment. In both cases, the genre featured scornful abuse, a bitter tone and sexual permissiveness.<ref>Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), pags 1–3</ref>
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The nature of Hipponax's attack on Bupalus is more doubtful than the nature of Archilochus's attack on Lycambes.<ref>Christopher G. Brown, 'Hipponax' in ''A Companion to Greek Lyric Poets'', Douglas E. Gerber (ed.), Brill (1997) pages 87</ref>
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Unlike Archilochus, however, he frequently refers to himself by name, emerging as a highly self-conscious figure, and his poetry is more narrow and insistently vulgar in scope:<ref>Christopher G. Brown, 'Hipponax' in''A Companion to the Greek Lyric Poets'', Douglas E. Gerber (ed.), BRILL, 1997. {{ISBN|90-04-09944-1}}. pages 80, 83</ref> "with Hipponax, we are in an unheroic, in fact, a very sordid world",<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), page 159</ref> amounting to "a new conception of the poet's function."<ref>David A. Campbell, ''Greek Lyric Poetry'', Bristol Classical Press (1982), page 374</ref>

He was considered the inventor of a peculiar metre, the scazon ("halting iambic" as Murray calls it<ref>Cf. Murray, 1897, p.88</ref>) or [[choliamb]], which substitutes a [[spondee]] or [[trochee]] for the final iambus of an iambic senarius, and is an appropriate form for the [[burlesque]] character of his poems.<ref>{{EB1911|wstitle=Hipponax|inline=1|volume=13|page=522}}</ref> As an ancient scholar once put it:
{{quotation|In his desire to abuse his enemies he shattered the meter, making it lame instead of straightforward, and unrhythmical, i.e. suitable for vigorous abuse, since what is rhythmical and pleasing to the ear would be more suitable for words of praise than blame. —[[Demetrius of Phalerum]]<ref>Demetrius ''de. eloc.'' 301, cited and translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 351</ref>}}
Little of his work survives despite its interest to Alexandrian scholars, who collected it in two or three books.<ref>David A. Campbell, ''Greek Lyric Poetry'', Bristol Classical Press (1982), page 374</ref> Most of the surviving fragments are in choliambs but others feature [[trochaic tetrameter]] and even [[dactyl (poetry)|dactyls]], the latter sometimes in combination with [[Iamb (foot)|iambs]] and even on their own in [[dactylic hexameter]], imitating epic poetry.<ref>Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 8</ref> Ancient scholars in fact credited him with inventing [[parody]] and [[Athenaeus]] quoted this diatribe against a glutton 'Euromedontiades', composed in dactylic hexameter in mock-heroic imitation of Homer's [[Odyssey]]:
:''Muse, sing of Eurymedontiades, sea-swilling [[Charybdis]],''
:''his belly a sharp-slicing knife, his table manners atrocious;''
:''sing how, condemned by public decree, he will perish obscenely''
:''under a rain of stones, on the beach of the barren salt ocean''''—fragment 128<ref>fragment 128, translated by B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 159</ref><ref group="nb">'Euromedontiades' means 'son of Euromedon', who was a king of giants mentioned by Homer (Odyssey 7.58f.); Charybdis is also mentioned by Homer (Odyssey 12.104); Aristotle named [[Hegemon of Thasos]] as the founder of parody (''Poetics'' 1448a12) but he meant thereby that Hegemon was the first to make parody a profession—Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), notes 4, 6, 8 page 459</ref>
Most archaic poets (including the iambic poets Archilochus and [[Semonides]]) were influenced by the Ionian epic tradition, as represented in the work of Homer. Except for parody, Hipponax composed as if Homer never existed, avoiding not only heroic sentiment but even epic phrasing and vocabulary.<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 158</ref> He employed a form of [[Ionic dialect|Ionic]] Greek that included an unusually high proportion of [[Anatolia]]n and particularly [[Lydian language|Lydian]] [[loanword]]s,<ref>J.Adiego 'Greek and Lydian', in ''A History of Ancient Greek: from the beginnings to late antiquity'', A.F.Christidis (ed.), Cambridge University Press (2001) [https://books.google.com/books?id=WJbd0m6YaFkC&dq=Hipponax+Lydian+language&pg=PA768 Page 768-72] {{ISBN|978-0-521-83307-3}}</ref> as for example here where he addresses Zeus with the outlandish Lydian word for 'king' (nominative {{lang|grc|πάλμυς}}):
:{{lang|grc|Ὦ Ζεῦ, πάτερ Ζεῦ, θεῶν Ὀλυμπίων πάλμυ,}}
:{{lang|grc|τί μ᾽ οὐκ ἔδωκας χρυσόν...}}
:''Zeus, father Zeus, sultan of the Olympian gods,''
:''why have you not given me gold...?''—fragment 38<ref>fragment 38, translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 385</ref>

Eating, defecating and fornicating are frequent themes and often they are employed together, as in fragment 92, a tattered papyrus which narrates a sexual encounter in a malodorous privy, where a Lydian-speaking woman performs some esoteric and obscene rites on the narrator, including beating his genitals with a fig branch and inserting something up his anus, provoking incontinence and finally an attack by [[dung beetles]]—a wild scene that possibly inspired the 'Oenothea' episode in [[Petronius]]'s ''Satyricon''.<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 163</ref>

{{quote|Hipponax remains a mystery. We have lost the matrix of these fascinating but puzzling fragments; ripped from their frame they leave us in doubt whether to take them seriously as autobiographical material (unlikely, but it has been done), as complete fiction (but there is no doubt that Bupalus and Athenis were real people), as part of a literary adaptation of some ritual of abuse (a ''komos'' or something similar), or as dramatic scripts for some abusive proto-comic performance. Whatever they were, they are a pungent reminder of the variety and vitality of archaic Greek literature and of how much we have lost." —B.M. Knox<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 164</ref>}}

The extant work also includes fragments of [[epode]]s (fr. 115–118) but the authorship is disputed by many modern scholars, who attribute them to Archilochus on various grounds, including for example the earlier poet's superior skill in invective and the fragments' resemblance to the tenth [[Epodes (Horace)|epode]] of [[Horace]] (an avowed imitator of Archilochus).<ref>David A. Campbell, ''Greek Lyric Poetry'', Bristol Classical Press (1982), page 157</ref> Archilochus might also have been the source for an unusually beautiful line attributed to Hipponax<ref group="nb">The Hipponax fragment 119 might have been a contamination of the Archilochus fragments 118 ({{lang|grc|εἴ μοι γένοιτο χεῖρα Νεοβούλης θιγεῖν}} / ''Would that I might thus touch Neoboule on her hand'') and 196a.6 ({{lang|grc|καλὴ τέρεινα παρθένος}} / ''a beautiful, tender maiden'')—Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), note 1 for fr. 119 page 159</ref> (a line that has also been described "as clear, melodious and spare as a line of [[Sappho]]"):<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 164</ref>
:{{lang|grc|εἴ μοι γένοιτο παρθένος καλή τε καὶ τέρεινα}}—fr. 119
:''If only I might have a maiden who is both beautiful and tender.''<ref>Fragment 119, translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 451</ref>

===Influence===
Hipponax influenced Alexandrian poets searching for alternative styles and uses of language, such as [[Callimachus]] and [[Herodas]],<ref>Christopher G. Brown, 'Hipponax' in ''A Companion to Greek Lyric Poets'', Douglas E. Gerber (ed.), Brill (1997) pages 80, 82</ref> and his colourful reputation as an acerbic, social critic also made him a popular subject for verse, as in this epigram by [[Theocritus]] rendered here in prose:
:''Here lies the poet Hipponax. If you are a scoundrel, do not approach the tomb; but if you are honest and from worthy stock, sit down in confidence and, if you like, fall asleep,''<ref>Theocritus ''epig.'' 19 Gow, cited by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 347</ref>
or in this 19th century rhyming translation by C.S.Calverley:

:Tuneful Hipponax rests him here.
:Let no base rascal venture near.
:Ye who rank high in birth and mind
:Sit down—and sleep, if so inclined.<ref>Theocritus, translated into verse by C.S.Calverley, DEIGHTON, BELL, AND CO. LONDON: BELL AND DALDY.
1869</ref>

Ancient literary critics credited him with inventing literary parody<ref>Athenaeus 15.698b, cited by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 459</ref> and "lame" poetic meters suitable for vigorous abuse,<ref>Demetrius ''de eloc.'' 301, cited and translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 351</ref> as well as with influencing comic dramatists such as [[Aristophanes]].<ref>Tzetzes on Aristophanes, 'Plutus', cited by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 383</ref> His witty, abusive style appears for example in this passage by [[Aelius Herodianus|Herodian]], who was mainly interested in its linguistic aspects (many of the extant verses were preserved for us by lexicographers and grammarians interested in rare words):
:{{lang|grc|τίς ὀμφαλητόμος σε τὸν διοπλῆγα}}
:{{lang|grc|ἔψησε κἀπέλουσεν ἀσκαρίζοντα;}}

:''What navel-snipper wiped and washed you as you squirmed about, you crack-brained creature?''
where 'navel-snipper' signifies a midwife.<ref>Herodian 'On Inflections', cited by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 367</ref>

===Transmission and reception===
Few fragments of his work survived through the Byzantine period despite his earlier popularity with Alexandrian poets and scholars. The Christian fathers disapproved of his abusive and obscene verses and he was also singled out as unedifying by [[Julian the Apostate]], the pagan emperor, who instructed his priests to "abstain not only from impure and lascivious acts but also from speech and reading of the same character...No initiate shall read Archilochus or Hipponax or any of the authors who write the same kind of thing."<ref>''Ep.'' 48, translated by B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 158</ref> Moreover, Hipponax's Ionic dialect and his extensive use of foreign words made his work unsuited to an ancient education system that promoted [[Attica|Attic]], the dialect of classical Athens. Today the longest fragment of complete, consecutive verses comprises only six lines.<ref>B.M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 158</ref> Archeologists working at [[Oxyrhynchus]] have added to the meagre collection with tattered scraps of papyrus, of which the longest, published in 1941, has ''parts'' of over fifty [[choliambics]].<ref>David A. Campbell, ''Greek Lyric Poetry'', Bristol Classical Press (1982), page 373</ref>

[[Old Comedy]], as a medium for invective and abuse, was a natural successor to [[Iambus (genre)|iambus]] from the viewpoint of [[Aristotle]]<ref>''Poetics'' 1449a2ff, cited by E.W. Handley 'Comedy' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), note 2 page 363</ref> and Aristophanes, the master of Old Comedy, certainly borrowed inspiration from Hipponax: "Someone ought to give them a Bupalus or two on the jaw—that might shut them up for a bit" the men's chorus says about the women's chorus in [[Lysistrata]],<ref>Lysistrata lines 360–61, translated by Alan H. Sommerstein, ''Aristophanes: Lysistrata, The Acharnians, The Clouds'', Penguin Classics (1973), page 194</ref> and "Wonderful poet, Hipponax!" Dionysus exclaims in [[Frogs (play)|Frogs]], while trying to disguise the pain inflicted on himself during a flogging.<ref>Frogs line 660, translated by David Barrett, ''Aristophanes: The Frogs an Other Plays'', Penguin Classics (1964), page 180</ref> A quote attributed to Hipponax by [[Stobaeus]] actually appears to have been composed by a [[New Comedy]] poet.<ref group="nb">"The best marriage for a sensible man is to get a woman's good character as a wedding gift: for this dowry alone preserves the household&nbsp;..." —fr. 182, translated and annotated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 497</ref>

===Some Hipponactean sayings===
*"There are two days when a woman is a pleasure: the day one marries her and the day one carries out her dead body." ({{lang|grc|δύ᾿ ἡμέραι γυναικός εἰσιν ἥδισται, ὅταν γαμῇ τις κἀκφέρῃ τεθνηκυῖαν}})<ref group="nb">(Attribution to Hipponax is not accepted by all scholars—Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 405</ref><ref group="nb">[https://www.thefreelibrary.com/Palladas+of+Alexandria+on+women-a0221920139 A variant of these lines] was used nearly a thousand years later by [[Palladas]]</ref>
*"drank like a lizard in a privy."<ref>Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 481</ref>
*"croaking like a raven in a privy."<ref>B. M. Knox, 'Elegy and Iambus: Hipponax' in ''The Cambridge History of Classical Literature: Greek Literature'', P. Easterling and B. Knox (eds.), Cambridge University Press (1985), page 162</ref>
*"sister of cow manure"<ref>Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 471</ref>
*"opening of filth...self-exposer" ({{lang|grc|βορβορόπιν...ἀνασυρτόπολιν}})<ref group="nb">Descriptions of a woman, recorded by Suda:<br>"Hipponax calls her 'opening of filth' as one who is impure, from {{lang|grc|βορβορος}} (filth), and 'self-exposer' from {{lang|grc|ἀνασύρεσθαι}} (to pull up one's clothes)."—cited and translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 467</ref>
*"Mimnes, you who gape open all the way to the shoulders." ({{lang|grc|Μιμνῆ κατωμόχανε}}):<ref group="nb">Mimnes was a painter, here addressed hyperbolically as a sodomite (wide-arse, or {{lang|grc|ευρύπρωκτος}}, ''euryproktos'', in this case gaping all the way to the shoulders)—cited and translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 375</ref>
*"interprandial pooper" ({{lang|grc|μεσσηγυδορποχέστης}})<ref group="nb">A comic word coined by Hipponax, defined by [[Suetonius]] in ''On Defamatory Words'' as "...one who often retires to defecate in the midst of a meal so that he may fill himself up again."—cited and translated by Douglas Gerber, ''Greek Iambic Poetry'', Loeb Classical Library (1999), page 437</ref>

==Notes==
<References group="nb"/>

==Citations==
{{Reflist}}

==Sources==
* [[P. E. Easterling|Easterling, P.E.]] (Series Editor), [[Bernard M.W. Knox]] (Editor), ''Cambridge History of Classical Literature'', v.I, Greek Literature, 1985. {{ISBN|0-521-21042-9}}, cf. Chapter 5, "Elegy and Iambus", pp.&nbsp;158–164 on Hipponax.
* [[Gilbert Murray|Murray, Gilbert]], [https://books.google.com/books?id=DW4qAAAAYAAJ&q=a+history+of+ancient+Greek+literature ''A History of Ancient Greek Literature''], 1897. Cf. p.&nbsp;88
* [[Todd M. Compton]], [http://chs.harvard.edu/CHS/article/display/4915 ''Hipponax: Creating the Pharmakos''] {{Webarchive|url=https://web.archive.org/web/20170626014507/http://chs.harvard.edu/CHS/article/display/4915 |date=2017-06-26 }} at the [[Center for Hellenic Studies]]

==External links==
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[[Category:6th-century BC Greek poets]]
[[Category:Ancient Ephesians]]
[[Category:Ancient Greek political refugees]]
[[Category:Ancient Greek iambic poets]]
[[Category:Ionic Greek poets]]
[[Category:Lydian language]]
[[Category:Year of birth unknown]]
[[Category:Year of death unknown]]