Critics often seek to understand Alcaeus in comparison with Sappho:

If we compare the two, we find that Alcaeus is versatile, Sappho narrow in her range; that his verse is less polished and less melodious than hers; and that the emotions which he chooses to display are less intense. — David Campbell[14]

The Aeolian song is suddenly revealed, as a mature work of art, in the spirited stanzas of Alcaeus. It is raised to a supreme excellence by his younger contemporary, Sappho, whose melody is unsurpassed, perhaps unequalled, among all the relics of Greek verse. — Richard Jebb[15]

In the variety of his subjects, in the exquisite rhythm of his meters, and in the faultless perfection of his style, all of which appear even in mutilated fragments, he excels all the poets, even his more intense, more delicate and more truly inspired contemporary Sappho. — James Easby-Smith[12]

The Roman poet, Horace, also compared the two, describing Alcaeus as "more full-throatedly singing"[16] — see Horace's tribute below. Alcaeus himself seems to underscore the difference between his own 'down-to-earth' style and Sappho's more 'celestial' qualities when he describes her almost as a goddess (as cited above), and yet it has been argued that both poets were concerned with a balance between the divine and the profane, each emphasising different elements in that balance.[9]

Dionysius of Halicarnassus exhorts us to "Observe in Alcaeus the sublimity, brevity and sweetness coupled with stern power, his splendid figures, and his clearness which was unimpaired by the dialect; and above all mark his manner of expressing his sentiments on public affairs,"[17] while Quintilian, after commending Alcaeus for his excellence "in that part of his works where he inveighs against tyrants and contributes to good morals; in his language he is concise, exalted, careful and often like an orator;" goes on to add: "but he descended into wantonness and amours, though better fitted for higher things."[18]
Poetic genres

The works of Alcaeus are conventionally grouped according to five genres.

Political songs: Alcaeus often composed on a political theme, covering the power struggles on Lesbos with the passion and vigour of a partisan, cursing his opponents,[19] rejoicing in their deaths,[20] delivering blood-curdling homilies on the consequences of political inaction[21] and exhorting his comrades to heroic defiance, as in one of his 'ship of state' allegories.[22] Commenting on Alcaeus as a political poet, the scholar Dionysius of Halicarnassus once observed that "...if you removed the meter you would find political rhetoric."[23]
Drinking songs: According to the grammarian Athenaeus, Alcaeus made every occasion an excuse for drinking and he has provided posterity several quotes in proof of it.[24] Alcaeus exhorts his friends to drink in celebration of a tyrant's death,[20] to drink away their sorrows,[25] to drink because life is short[26] and along the lines in vino veritas,[27] to drink through winter storms[28] and to drink through the heat of summer.[29] The latter poem in fact paraphrases verses from Hesiod,[30] re-casting them in Asclepiad meter and Aeolian dialect.
Hymns: Alcaeus sang about the gods in the spirit of the Homeric hymns, to entertain his companions rather than to glorify the gods and in the same meters that he used for his 'secular' lyrics.[31] There are for example fragments in 'Sapphic' meter praising the Dioscuri,[32] Hermes[33] and the river Hebrus[34] (a river significant in Lesbian mythology since it was down its waters that the head of Orpheus was believed to have floated singing, eventually crossing the sea to Lesbos and ending up in a temple of Apollo, as a symbol of Lesbian supremacy in song).[35] According to Porphyrion, the hymn to Hermes was imitated by Horace in one of his own 'sapphic' odes (C.1.10: Mercuri, facunde nepos Atlantis).[36]
Love songs: Almost all Alcaeus' amorous verses, mentioned with disapproval by Quintilian above, have vanished without trace. There is a brief reference to his love poetry in a passage by Cicero.[37] Horace, who often wrote in imitation of Alcaeus, sketches in verse one of the Lesbian poet's favourite subjects — Lycus of the black hair and eyes (C.1.32.11-12: nigris oculis nigroque/crine decorum). It is possible that Alcaeus wrote amorously about Sappho, as indicated in an earlier quote.[38]
Miscellaneous: Alcaeus wrote on such a wide variety of subjects and themes that contradictions in his character emerge. The grammarian Athenaeus quoted some verses about perfumed ointments to prove just how unwarlike Alcaeus could be[39] and he quoted his description of the armour adorning the walls of his house[40] as proof that he could be unusually warlike for a lyric poet.[41] Other examples of his readiness for both warlike and unwarlike subjects are lyrics celebrating his brother's heroic exploits as a Babylonian mercenary[42] and lyrics sung in a rare meter (Sapphic Ionic in minore) in the voice of a distressed girl,[43] "Wretched me, who share in all ills!" — possibly imitated by Horace in an ode in the same meter (C.3.12: Miserarum est neque amori dare ludum neque dulci).[44] He also wrote Sapphic stanzas on Homeric themes but in un-Homeric style, comparing Helen of Troy unfavourably with Thetis, the mother of Akhilles.[45]

A drinking poem (fr. 346)

The following verses demonstrate some key characteristics of the Alcaic style (square brackets indicate uncertainties in the ancient text):

πώνωμεν· τί τὰ λύχν' ὀμμένομεν; δάκτυλος ἀμέρα·
κὰδ δ'ἄερρε κυλίχναις μεγάλαις [αιτα]ποικίλαισ·
οἶνον γὰρ Σεμέλας καὶ Δίος υἶος λαθικάδεον
ἀνθρώποισιν ἔδωκ'. ἔγχεε κέρναις ἔνα καὶ δύο
πλήαις κὰκ κεφάλας, [ἀ] δ' ἀτέρα τὰν ἀτέραν κύλιξ
ὠθήτω...[46]

Let's drink! Why are we waiting for the lamps? Only an inch of daylight left.
Lift down the large cups, my friends, the painted ones;
for wine was given to men by the son of Semele and Zeus
to help them forget their troubles. Mix one part of water to two of wine,
pour it in up to the brim, and let one cup push the other along...[47]

The Greek meter here is relatively simple, comprising the Greater Asclepiad, adroitly used to convey, for example, the rhythm of jostling cups (ἀ δ' ἀτέρα τὰν ἀτέραν). The language of the poem is typically direct and concise and comprises short sentences — the first line is in fact a model of condensed meaning, comprising an exhortation ("Let's drink!), a rhetorical question ("Why are we waiting for the lamps?") and a justifying statement (Only an inch of daylight left.)[48] The meaning is clear and uncomplicated, the subject is drawn from personal experience, and there is an absence of poetic ornament, such as simile or metaphor. Like many of his poems (e.g., frs. 38, 326, 338, 347, 350), it begins with a verb (in this case "Let's drink!") and it includes a proverbial expression ("Only an inch of daylight left") though it is possible that he coined it himself.[14]

A hymn (fr. 34)

Alcaeus rarely used metaphor or simile and yet he had a fondness for the allegory of the storm-tossed ship of state. The following fragment of a hymn to Castor and Polydeuces (the Dioscuri) is possibly another example of this though some scholars interpret it instead as a prayer for a safe voyage.[49]

Hither now to me from your isle of Pelops,
You powerful children of Zeus and Leda,
Showing youselves kindly by nature, Castor
And Polydeuces!

Travelling abroad on swift-footed horses,
Over the wide earth, over all the ocean,
How easily you bring deliverance from
Death's gelid rigor,

Landing on tall ships with a sudden, great bound,
A far-away light up the forestays running,
Bringing radiance to a ship in trouble,
Sailed in the darkness!

The poem was written in Sapphic stanzas, a verse form popularly associated with his compatriot, Sappho, but in which he too excelled, here paraphrased in English to suggest the same rhythms. There were probably another three stanzas in the original poem but only nine letters of them remain.[50] The 'far-away light' (Πήλοθεν λάμπροι) is a reference to St. Elmo's Fire, an electrical discharge supposed by ancient Greek mariners to be an epiphany of the Dioscuri, but the meaning of the line was obscured by gaps in the papyrus until reconstructed by a modern scholar—such reconstructions are typical of the extant poetry (see Scholars, fragments and sources below). This poem doesn't begin with a verb but with an adverb (Δευτέ) but still communicates a sense of action. He probably performed his verses at drinking parties for friends and political allies—men for whom loyalty was essential, particularly in such troubled times.[44]
Tributes from other poets
Horace

The Roman poet Horace modelled his own lyrical compositions on those of Alcaeus, rendering the Lesbian poet's verse-forms, including 'Alcaic' and 'Sapphic' stanzas, into concise Latin — an achievement he celebrates in his third book of odes.[51] In his second book, in an ode composed in Alcaic stanzas on the subject of an almost fatal accident he had on his farm, he imagines meeting Alcaeus and Sappho in Hades:

quam paene furvae regna Proserpinae
et iudicantem vidimus Aeacum
sedesque descriptas piorum et
Aeoliis fidibus querentem

Sappho puellis de popularibus
et te sonantem plenius aureo,
Alcaee, plectro dura navis,
dura fugae mala, dura belli! [52]

How close the realm of dusky Proserpine
Yawned at that instant! I half glimpsed the dire
Judge of the dead, the blest in their divine
Seclusion, Sappho on the Aeolian lyre,

Mourning the cold girls of her native isle,
And you, Alcaeus, more full-throatedly
Singing with your gold quill of ships, exile
And war, hardship on land, hardship at sea.[16]
Ovid

Ovid compared Alcaeus to Sappho in Letters of the Heroines, where Sappho is imagined to speak as follows:

nec plus Alcaeus consors patriaeque lyraeque
laudis habet, quamvis grandius ille sonet.

Nor does Alcaeus, my fellow-countryman and fellow-poet,
receive more praise, although he resounds more grandly.[53]
Scholars, fragments and sources
A 2nd century AD papyrus of Alcaeus, one of the many such fragments that have contributed to our greatly improved knowledge of Alcaeus' poetry during the 20th century (P.Berol. inv. 9810 = fr. 137 L.–P.).

The story of Alcaeus is partly the story of the scholars who rescued his work from oblivion.[6][54] His verses have not come down to us through a manuscript tradition — generations of scribes copying an author's collected works, such as delivered intact into the modern age four entire books of Pindar's odes — but haphazardly, in quotes from ancient scholars and commentators whose own works have chanced to survive, and in the tattered remnants of papyri uncovered from an ancient rubbish pile at Oxyrhynchus and other locations in Egypt: sources that modern scholars have studied and correlated exhaustively, adding little by little to the world's store of poetic fragments.

Ancient scholars quoted Alcaeus in support of various arguments. Thus for example Heraclitus 'The Allegorist'[55] quoted fr. 326 and part of fr. 6, about ships in a storm, in his study on Homer's use of allegory.[56] The hymn to Hermes, fr308(b), was quoted by Hephaestion (grammarian)[57] and both he and Libanius, the rhetorician, quoted the first two lines of fr. 350,[58] celebrating the return from Babylon of Alcaeus' brother. The rest of fr. 350 was paraphrased in prose by the historian/geographer Strabo.[59] Many fragments were supplied in quotes by Athenaeus, principally on the subject of wine-drinking, but fr. 333, "wine, window into a man", was quoted much later by the Byzantine grammarian, John Tzetzes.[60]

The first 'modern' publication of Alcaeus' verses appeared in a Greek and Latin edition of fragments collected from the canonic nine lyrical poets by Michael Neander, published at Basle in 1556. This was followed by another edition of the nine poets, collected by Henricus Stephanus and published in Paris in 1560. Fulvius Ursinus compiled a fuller collection of Alcaic fragments, including a commentary, which was published at Antwerp in 1568. The first separate edition of Alcaeus was by Christian David Jani and it was published at Halle in 1780. The next separate edition was by August Matthiae, Leipzig 1827.

Some of the fragments quoted by ancient scholars were able to be integrated by scholars in the nineteenth century. Thus for example two separate quotes by Athenaeus[61] were united by Theodor Bergk to form fr. 362. Three separate sources were combined to form fr. 350, as mentioned above, including a prose paraphrase from Strabo that first needed to be restored to its original meter, a synthesis achieved by the united efforts of Otto Hoffmann, Karl Otfried Müller[62] and Franz Heinrich Ludolf Ahrens. The discovery of the Oxyrhynchus papyri towards the end of the nineteenth century dramatically increased the scope of scholarly research. In fact, eight important fragments have now been compiled from papyri — frs. 9, 38A, 42, 45, 34, 129, 130 and most recently S262. These fragments typically feature lacunae or gaps that scholars fill with 'educated guesses', including for example a "brilliant supplement" by Maurice Bowra in fr. 34, a hymn to the Dioscuri that includes a description of St. Elmo's fire in the ship's rigging.[63] Working with only eight letters (πρό...τρ...ντες; tr. pró...tr...ntes), Bowra conjured up a phrase that develops the meaning and the euphony of the poem (πρότον' ὀντρέχοντες; tr. próton' ontréchontes), describing luminescence "running along the forestays".