Anacreon (Greek , ''gen''.: Ἀνακρέοντος) (582 BC – 485 BC) was a Greek lyric poet, notable for his drinking songs and hymns. Later Greeks included him in the canonical list of nine lyric poets.

Life

It is likely that Anacreon fled into exile with the mass of his fellow-townsmen who sailed to Thrace when their homeland was attacked. There they founded a colony at Abdera, rather than remaining behind to surrender their city to Harpagus, one of Cyrus the Great's generals. Cyrus was, at the time (545 BC), besieging the Greek cities of Asia Minor. Anacreon seems to have taken part in the fighting, in which, by his own admission, he did not distinguish himself.

From Thrace he removed to the court of Polycrates of Samos. He is said to have acted as tutor to Polycrates; that he enjoyed the tyrant's confidence we learn on the authority of Herodotus, who represents the poet as sitting in the royal chamber when audience was given to the Persian herald. In return for his favour and protection, Anacreon wrote many complimentary odes upon his patron. Like his fellow-lyric poet, Horace, who was one of his great admirers, and in many respects a kindred spirit, Anacreon seems to have been made for the society of courts.

On the death of Polycrates, Hipparchus, who was then in power at Athens and inherited the literary tastes of his father Peisistratus, sent a special embassy to fetch the popular poet to Athens in a galley of fifty oars. Here he became acquainted with the poet Simonides, and other members of the brilliant circle which had gathered round Hipparchus. When this circle was broken up by the assassination of Hipparchus, Anacreon seems to have returned to his native town of Teos, where, according to a metrical epitaph ascribed to his friend Simonides, he died and was buried.

According to others, before returning to Teos, he accompanied Simonides to the court of Echecrates, a Thessalian dynast of the house of the Aleuadae. Lucian mentions Anacreon amongst his instances of the longevity of eminent men, as having completed eighty-five years. If an anecdote given by Pliny the Elder is to be trusted, he was choked at last by a grape-stone, but the story has an air of mythical adaptation to the poet's habits, which makes it somewhat apocryphal.

Anacreon was for a long time popular at Athens, where his statue was to be seen on the Acropolis, together with that of his friend Xanthippus, the father of Pericles. On several coins of Teos he is represented holding a lyre in his hand, sometimes sitting, sometimes standing. A marble statue found in 1835 in the Sabine district, and now in the Galleria Borghese, is said to represent Anacreon.

Poetry

Poetic form and style

In keeping with Greek poetic tradition, his poetry relied on meter for its construction. Metrical poetry is a particularly rhythmic form, deriving its structure from patterns of phonetic features within and between the lines of verse. The phonetic patterning in Anacreon's poetry, like all the Greek poetry of the day, is found in the structured alternation of "long" and "short" vowel sounds. The Ionic dialect also had a tonal aspect to it that lends a natural melodic quality to the recitation. Anacreon's meters include the anacreonteus.

The Greek language is particularly well suited to this metrical style of poetry but the sound of the verses does not easily transfer to English. As a consequence, translators have historically tended to substitute rhyme, stress rhythms, stanzaic patterning and other devices for the style of the originals, with the primary, sometimes only, connection to the Greek verses being the subject matter. More recent translators have tended to attempt a more spare translation which, though losing the sound of the originals, may be more true to their flavor. A sample of a translation in the English rhyming tradition is included below.

Themes and subjects of Anacreon's poetry

Anacreon had a reputation as a composer of hymns, as well as of those bacchanalian and amatory lyrics which are commonly associated with his name. Two short hymns to Artemis and Dionysus, consisting of eight and eleven lines respectively, stand first amongst his few undisputed remains, as printed by recent editors. But hymns, especially when addressed to such deities as Aphrodite, Eros and Dionysus, are not so very unlike what we call "Anacreontic" poetry as to make the contrast of style as great as the word might seem to imply. The tone of Anacreon's lyric effusions has probably led to an unjust estimate, by both ancients and moderns, of the poet's personal character. The "triple worship" of the Muses, Wine and Love, ascribed to him as his religion in an old Greek epigram, may have been as purely professional in the two last cases as in the first, and his private character on such points was probably neither much better nor worse than that of his contemporaries. Athenaeus remarks acutely that he seems at least to have been sober when he wrote; and he himself strongly repudiates, as Horace does, the brutal characteristics of intoxication as fit only for barbarians and Scythians.

Of the five books of lyrical pieces by Anacreon which the ''Suda'' and Athenaeus mention as extant in their time, we have now but the merest fragments, collected from the citations of later writers.

A collection of poems by numerous, anonymous imitators was long believed to be the works of Anacreon himself. Known as the ''Anacreontea'', it was preserved in a 10th century manuscript which also included the ''Palatine Anthology''. The poems were published in 1554 with a Latin translation by Henry Estienne, known as Stephanus, but little is known about the origins of the manuscript. Salmasius reports seeing the ''Anacreontea'' at the library in Heidelberg in 1607. In 1623, it was given to Pope Gregory XV after the sacking of Heidelberg. It was later taken from the Vatican City by Napoleon in 1797, who had it rebound as two separate volumes. One of those volumes was returned to Heidelberg but the other remained in the Bibliothèque Nationale in Paris.

In the 17th century, Thomas Stanley translated the ''Anacreontea'' into English verse. A few poems were also translated by Robert Herrick and Abraham Cowley. The poems themselves appear to have been composed over a long period of time, from the time of Alexander the Great until the time that paganism gave way in the Roman Empire. They reflect the light hearted elegance of much of Anacreon's genuine works although they were not written in the same Ionic Greek dialect that Anacreon used. They also display literary references and styles more common to the time of their actual composition.

A translated poem

Ah tell me why you turn and fly, My little Thracian filly shy? Why turn askance That cruel glance, And think that such a dunce am I?

O I am blest with ample wit To fix the bridle and the bit, And make thee bend Each turning-end In harness all the course of it.

But now 'tis yet the meadow free And frisking it with merry glee; The master yet Has not been met To mount the car and manage thee.

Cultural references

Literature

Music

External links

Cultural and historical figures named after Anacreon

Notes

References

Category:Nine lyric poets Category:570 BC births Category:488 BC deaths Category:5th-century BC Greek people Category:6th-century BC poets Category:Ionic Greek poets Category:Poets of ancient Ionia Category:Ancient Greek erotic poets Category:Epigrammatists of the Greek Anthology

Biography

After graduating magna cum laude from Yale, he moved to New York and began work as a musical director and accompanist. Over the past 15 years, he has worked with such distinguished artists as Kitty Carlisle Hart, John Raitt, Leslie Uggams, Jennifer Holliday, Brian Stokes Mitchell, Michael Rupert, and Liz Callaway. He was selected by the Rodgers and Hammerstein Organization to create a complete re-orchestration of South Paci ic for a major regional production, and has worked on projects for composers including John Kander, Ricky Ian Gordon, Scott Frankel and Michael Korie.

As a musical theater composer, he is a three-time recipient of the Richard Rodgers Award for new musical writing, administered by Stephen Sondheim and the American Academy of Arts and Letters, for The Tutor (book and lyrics by Maryrose Wood), and recently won his fourth for his original musical, Gloryana. He won a 2006 Jonathan Larson Award for Meet John Doe (lyrics by Eddie Sugarman), which had its world premiere production at the Ford’s Theatre in Washington, D.C. in 2007 and was nominated for seven Helen Hayes Awards. He was also the first recipient of the Burton Lane Fellowship for Young Composers, awarded by the Theater Hall of Fame. His songs have been performed on Public Radio International, at Symphony Space, the Public Theater and the Lincoln Center Songbook series in New York, and on VH1’s Save the Music benefit. This September, he will have an evening of his work at the Kennedy Center as part of ASCAP’s “Songwriters: the Next Generation” series.

An accomplished orchestrator and arranger, Andrew’s symphonic orchestrations of Broadway standards have been performed by the Boston Pops and over a dozen other US symphony orchestras. He created an evening of new arrangements and orchestrations for the Baltimore Symphonyʼs Gershwin Centennial celebration, in which he also appeared as piano soloist. His work as a musical director has taken him from off-Broadway houses to regional theaters, from Texas to Cape Cod, and from Russia to Taiwan. At 26, he was one of the youngest conductors ever to conduct a major international orchestra when he led the Seoul Philharmonic Symphonic in a series of sold-out concerts at the 3,000-seat Sejong Cultural Center. He has been a writer in residence at the Eugene O'Neill National Musical Theater Conference, and a Fellow at the MacDowell Artists’ Colony in New Hampshire and the Ucross Foundation in Wyoming.

Andrew’s play, Renovations, based on the memoir by the same title, will be premiered at the White Plains Performing Arts Center in March 2011, and his song cycle, Drink Well and Sing, based on ancient Greek love poetry, will be premiered by eminent American countertenor Lawrence Zazzo at London’s Wigmore Hall, also in March. His opera, The Beach (with librettist Royce Vavrek), will receive its premiere reading as part of New York City Opera’s prestigious VOX series in May. A CD of Andrew’s jazz arrangements of the songs of Maltby & Shire with vocalist Christa Justus was released in 2010 under the PS Classics Label. As an actor, Andrew appeared in the 2009 revival o f Terrence McNally’s Master Class at the Paper Mill Playhouse in New Jersey starring Tony nominee Barbara Walsh, and has appeared in productions of Two Pianos, Four Hands. In 2010, he was heard as the “hands” of Coalhouse Walker Jr., in the Tony Award-winning revival o Ahrens & Flaherty’s RAGTIME at the Neil Simon Theater.

Andrew is the author of The Enraged Accompanist’s Guide to the Perfect Audition, which will be published this March by Hal Leonard (Applause Books). He is also on the faculty of Yale University, where he teaches musical theater songwriting.

References