Go tell the Spartans, stranger passing by, that here, obedient to their laws, we lie..

"the smartest person in the fifth century BC" (Anne Carson) because he was the first poet in the Western tradition to take money for poetic composition (Suda)

Simonides of Ceos (ca. 556 BC-469 BC), Greek lyric poet, was born at Ioulis on Kea. During his youth he taught poetry and music, and composed paeans for the festivals of Apollo. He was included, along with Sappho and Pindar, in the canonical list of nine lyric poets by the scholars of Hellenistic Alexandria. He is the narrator and main character of Mary Renault's historical novel The Praise Singer.

Finding little scope for his abilities at home, he went to live at Athens, at the court of Hipparchus, the patron of literature. After the murder of Hipparchus (514 BC), Simonides withdrew to Thessaly, where he enjoyed the protection and patronage of the Scopadae and Aleuadae (two celebrated Thessalian families).

Cicero (De oratore, ii. 86) tells the story of the end of his relations with the Scopadae. His patron, Scopas, reproached him at a banquet for devoting too much space to the Dioscuri in an ode celebrating Scopas' victory in a chariot-race. Scopas refused to pay all the fee and told Simonides to apply to the Dioscuri for the remainder. Shortly afterwards, Simonides was told that two young men wished to speak to him; after he had left the banqueting room, the roof fell in and crushed Scopas and his guests. [1] There seems no doubt that some disaster overtook the Scopadae that resulted in the extinction of the family. After the Battle of Marathon Simonides returned to Athens, but soon left for Sicily at the invitation of Hiero I of Syracuse, at whose court he spent the rest of his life.

His reputation as a man of learning is shown by the tradition that he introduced the distinction between the long and short vowels (ε, η, ο, ω), afterwards adopted in the Ionic alphabet which came into general use during the archonship of Eucleides (403 BC). He was also the inventor of a system of mnemonics (Quintilian xi.2,n).

So unbounded was his popularity that he was a power even in the political world; we are told that he reconciled Hiero and Thero on the eve of a battle between their opposing armies. He was the intimate friend of Themistocles and Pausanias the Spartan, and his poems on the war of liberation against Persia no doubt gave a powerful impulse to the national patriotism.

For his poems he could command almost any price: later writers, from Aristophanes onwards, accuse him of avarice, probably not without some reason. To Hiero's queen, who asked him whether it was better to be born rich or a genius, he replied "Rich, for genius is ever found at the gates of the rich." Again, when someone asked him to write a laudatory poem for which he offered profuse thanks, but no money, Simonides replied that he kept two coffers, one for thanks, the other for money; that, when he opened them, he found the former empty and useless, and the latter full.

Of his poetry we possess two or three short elegies (Fr. 85 seems from its style and versification to belong to Simonides of Amorgos, or at least not to be the work of our poet), several epigrams and about 90 fragments of lyric poetry. The epigrams written in the usual dialect of elegy, Ionic with an epic colouring, were intended partly for public and partly for private monuments.

There is strength and sublimity in the former, with a simplicity that is almost statuesque, and a complete mastery over the rhythm and forms of elegiac expression. Those on the heroes of Marathon and the Battle of Thermopylae are the most celebrated. Thomas Bullfinch wrote that Simonides "particularly excelled" in the genre of elegy: "His genius was inclined to the pathetic, and none could touch with truer effect the chords of human sympathy." [2]

In the private epigrams there is more warmth of colour and feeling, but few of them rest on any better authority than that of the Greek Anthology. One interesting and undoubtedly genuine epigram of this class is upon Archedice, the daughter of Hippias the Peisistratid, who, "albeit her father and husband and brother and children were all princes, was not lifted up in soul to pride."

The lyric fragments vary much in character and length: one is from a poem on Artemisium, celebrating those who fell at Thermopylae, with which he gained the victory over Aeschylus; another is an ode in honour of Scopas (commented on in Plato, Protagoras, 339 b); the rest are from odes on victors in the games, hyporchemes, dirges, hymns to the gods and other varieties.

The poem on Thermopylae is reverent and sublime, breathing an exalted patriotism and a lofty national pride; the others are full of tender pathos and deep feeling, combined with a genial worldliness. For Simonides requires no standard of lofty unswerving rectitude. "It is hard," he says (Fr. 5),

to become a truly good man, perfect as a square in hands and feet and mind, fashioned without blame. Whosoever is bad, and not too wicked, knowing justice, the benefactor of cities, is a sound man. I for one will find no fault with him, for the race of fools is infinite. ... I praise and love all men who do no sin willingly; but with necessity even the gods do not contend.

Virtue, he tells us elsewhere in language that recalls Hesiod, is set on a high and difficult hill (Fr. 58); let us seek after pleasure, for "all things come to one dread Charybdis, both great virtues and wealth" (Fr. 38).

Yet Simonides is far from being a hedonist; his morality, no less than his art, is pervaded by that virtue for which Ceos was renowned--self-restraint. His most celebrated fragment is a dirge, in which Danae, adrift with the infant Perseus on the sea in a dark and stormy night, takes comfort from the peaceful slumber of her babe. Simonides here illustrates his own saying that "poetry is vocal painting, as painting is silent poetry," a formula that (through Plutarch's De Gloria Atheniesium) became Horace's famous "ut pictura poesis."

Of the many English translations of this poem, one of the best is that by J.A. Symonds in Studies on the Greek Poets. Fragments in T. Bergk, Poetae lyrici Graeci; standard edition by F.W. Schneidewin (1835) and of the Danae alone by H.L. Ahrens (1853). Other authorities are given in the exhaustive treatise of E. Cesati, Simonide di Ceo (1882); see also W. Schroter, De Simonidis Cei melici sermpne (1906).

Novels/Fantasy

The Praise Singer

Leoprepides, The poet Simonides, as son of Leoprepes ( Herod.vii. 228).

Links

• The 'Simonides Agon' as a Pivotal Discourse in Plato's Protagoras (http://www.kat.gr/kat/history/Txt/Cl/Plato/AgonSimonides.htm)
  
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• Anne Carson, Economy of the Unlost: Reading Simonides of Keos with Paul Celan. Martin Classical Lectures. First published in 1999. Paperback edition. Princeton: Princeton University Press, 2002. Pp. viii, 147. ISBN 0-691-09175-7.
• Part of a previously unknown epic poem by Simonides about the Greeks’ victory against the Persians at Plataea
• Simonides, Elegies: second century AD (http://www.csad.ox.ac.uk/POxy/VExhibition/3965.htm) Photos of fragments (click on pictures for larger images)
  
• Simonides of Ceos (http://www.bartleby.com/181/253.html) from the Age of Fable by Thomas Bullfinch (at Bartleby.com)