Εμφανίζονται 100 (επί συνόλου 134) τίτλοι με αναζήτηση: Βιογραφίες στην ευρύτερη περιοχή: "ΛΕΣΒΟΣ Νομός ΒΟΡΕΙΟ ΑΙΓΑΙΟ" .
ΛΗΜΝΟΣ (Νησί) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
Alcamenes, (Alkamenes). A Greek artist of Athens or Lemnos,
and a pupil of Phidias, who flourished towards the end of the fifth century B.C.
Following his master's ideal tendency, he devoted himself mainly to religious
subjects, working like him in various materials, gold and ivory, bronze and marble.
His statue of the winner in the Pentathlon was stamped as classic by the epithet
of enkrinomenos, as the Doryphoros of Polyclitus was by that of kanon. About B.C.
436 he was employed with Phidias in decorating the temple of Zeus at Olympia.
The marble groups of the battle of Centaurs and Lapithae in its western pediment
are his work. Of these considerable remains have been brought to light by recent
German excavations.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Alcamenes (Alkamenes), a distinguished statuary and sculptor, a native of Athens
(Plin. H. N. xxxvi. 5. s. 4.). Suidas (s. v.) calls him a Lemnian (if by Alcamenes
he means the artist). This K. O. Muller interprets to mean that he was a cleruchus,
or holder of one of the kleroi in Lemnos. Voss, who is followed by Thiersch, conjectured
that the true reading is Aimnios, and accordingly that Alcamenes was born in the
district called the Aimnai, which is in some degree confirmed by his having made
a statue of Dionysus in gold and ivory to adorn a temple of that god in the Lenaeum,
a part of the Limnae (Paus. i. 20.3). He was the most famous of the pupils of
Phidias, but was not so close an imitator of his master as Agoracritus. Like his
fellow-pupil, he exercised his talent chiefly in making statues of the deities.
By ancient writers he is ranked amongst the most distinguished artists, and is
considered by Pausanias second only to Phidias (Quintil. xii. 10.8; Dionys. De
Demosth.; Paus. v. 10.8). He flourished from about Ol. 84 (Plin. H. N. xxxiv.
8. s. 19) to Ol. 95 (B. C. 444-400). Pliny's date is confirmed by Pausanias, who
says (viii. 9.1), that Praxiteles flourished in the third generation after Alcamnenes;
and Praxiteles, as Pliny tells us, flourished about Ol. 104 (B. C. 364). The last
works of his which we hear of, were the colossal statues of Athene and Hercules,
which Thrasybulus erected in the temple of Hercules at Thebes after the expulsion
of the tyrants from Athens. (B. C. 403.) The most beautiful and renowned of the
works of Alcamenes was a statue of Venus, called from the place where it was set
up, He en kepois Aphrodite (Lucian, Imagines, 4, 6; Paus. i. 19.2) It is said
that Phidias himself put the finishing touches to this work (Plin. H. N. xxxvi.
5. s. 4). The breasts, cheeks, and hands were especially admired. It has been
supposed by some that this was the Venus for which lie gained the prize over Agoracritus.
There is no direct evidence of this, and it is scarcely consistent with what Pliny
says, that Alcamenes owed his success more to the favouritism of his fellow-citizens
than to the excellence of his statue. Another celebrated specimen of his genius
was the western pediment of the temple at Olympia, ornamented with a representation
of the battle between the Centaurs and the Lapithae (Pans. v. 10.2) Other works
of his were: a statue of Mars in the temple of that god at Athens (Paus. i. 8.5);
a statue of Hephaestus, in which the lameneess of the god was so ingeniously represented
as not to give the appearance of deformity (Cic. De Nat. Deor. i. 30; Val. Max.
viii. 11. ext. 3); an Aesculapius at Mantineia (Paus. viii. 9.1); a three-formed
Hecate (the first of the kind), and a Procne in the Acropolis at Athens (Paus.
ii. 30.2, i. 24.3); and a bronze statue of a victor in the Pentathlon (Plin. xxxiv.
8. s. 19). A story of very doubtful credibility is told by Tzetzes (Chil. viii.
193), that Alcamenes and Phidias contended in making a statue of Athene, and that
before the statues were erected in their destined elevated position, that of Aleamenes
was the most admired on account of its delicate finish; but that, when set up,
the effect of the more strongly defined features in that of Phidias caused the
Athenians to change their opinion.
On a Roman anaglyph in the villa Albani there is the following inscription :
Q. LOLLIUS ALCAMENES DEC. ET DUUMVIR.
If this contains the name of the artist, he would seem to have been a descendant of an Alcamenes, who had been the slave and afterwards the freedman of one of the Lollian family, and to have attained to the dignity of deenrio and duumvir in some municipium. He perhaps exercised the art of carving as an amateur. (Winckelmann, viii. 4, 5.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited June 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Among the numerous sculptors active in or based upon Athens in the
later fifth century, the sources explicitly name four as pupils of Pheidias and
agalmatopoioi (makers of divinities) par excellence: Alkamenes, Agorakritos, Kolotes,
and Theokosmas. By common consent the greatest of these was Alkamenes: Alkamenes
of Athens/Lemnos Alkamenes
The Souda calls Alkamenes a Lemnian, so he was perhaps born or (more
likely) raised in the Athenian colony (cleruchy) established on the island around
450. The sources often mention him in the same breath with Pheidias (Quintilian
12.7-9 ), which may account for the somewhat early floruit of 448-445 assigned
him by Pliny,
N.H. 35.49-52. At any rate, he was still active in or after 403, when he made
a colossal relief to celebrate the expulsion of the pro-Spartan puppet oligarchy
from Athens (no. 9, below). His Hephaistos at Athens (work no. 6), if identical
with that exhibited in the Hephaisteion and apparently recorded in IG 13 nos.
370-1, can be dated by the archons named on the stone to 421/20 -416/5. His early
career is obscure, but he presumably served his apprenticeship either on the Parthenon
or on the Zeus; if the former, he may have followed Pheidias to Olympia in 438/7
or stayed to complete the pediments.
Like Pheidias, Alkamenes worked in chryselephantine, bronze, and marble,
and tackled a similar range of subjects:
1. Aphrodite in the Gardens outside Athens, of marble (Lucian,
Imagines 4 and 6)
2. Hera, in a temple between Athens and Phaleron
3. Triple-bodied Hekate Epipyrgidia, on the Akropolis
4. Ares, in his temple in the Agora (moved by Augustus, perhaps from Acharnai)
5. Dionysos Eleuthereus, in his temple near the theater at Athens, in chryselephantine
6. Hephaistos, perhaps grouped with Athena, probably in the Hephaisteion at Athens,
in bronze (Valerius Maximus 8.11 ext. 3)
7. Hermes Propylaios at Athens, in marble (JdI 82: 40)
8. Asklepios in Mantinea (Pausanias
8.9.1)
9. Athena and Herakles on a colossal relief of Pentelic marble, dedicated by Thrasyboulos
and the democrats of 403 in the Herakleion at Thebes
10. West pediment (probably in fact the western akroteria) of the temple of Zeus
at Olympia (Pausanias
5.10.2-10)
11. Pentathlete in bronze
In addition, Pliny
(N.H. 36.16-17) records a victory over Agorakritos, gained because the Athenians
preferred a citizen to a foreigner; the subject was supposedly an Aphrodite (cf.
no. 1). A second such competition, between him and Pheidias, is recorded in Byzantine
sources (Tzetzes, Chiliades 340-369), but seems purely anecdotal.
Finally:
Pausanias
1.24.3: [On the Athenian Akropolis] there is Prokne too, who has already
made up her mind about the boy, and Itys too, a group dedicated by Alkamenes.
This is usually identified with a marble group found on the Akropolis:
Athens,
Acropolis 1358; Stewart 1990, fig. 399. Prokne's head, however, does not join
the body break-on-break, and may not belong.
Despite Alkamenes' high reputation, modern scholarship has encountered
problems with every one of the types regularly attributed to him in copy. Thus
the two archaistic works (3 and 7) each survive in two versions; while the Hekate
(3: Paus.
2.30.2) may be represented most faithfully by a headless statuette in the
British School at Athens, the Hermes is attested by inscribed replicas from Pergamon
(Istanbul, Archaeological Museum 527; Stewart 1990, fig. 400) and Ephesos that
both claim to be authentic but nevertheless differ markedly from each other:
JdI 82: 40 Here you see Alkamenes' most beautiful image, The
Hermes before the Gates; Pergamios dedicated it. I'm not just anyone's work; my
form, If you'll look closely, was wrought by Alkamenes.
Recent scholarship (e.g. Willers 1967) has tended to regard the Pergamene
type as a classicizing variant. Less unanimity exists concerning his most famous
creation, the Aphrodite in the Gardens (1), mentioned by both Pliny and Pausanias
(Pliny 36.16; Paus.
1.19.2) but only described by Lucian
(Imagines 4 and 6). Even before Delivorrias' publication of the version from
Daphni (Delivorrias 1968) most identified her with the so-called Leaning Aphrodite
type, but once more the statue exists in several recensions, both veiled and unveiled.
The debate continues.
As for the male cult-images, the Ares (4) is often recognized in the
so-called Borghese Ares, though Bruneau 1982 exposes the attribution as totally
gratuitous; fragments of a high-relief frieze found around the temple are often
ascribed to the base of this cult statue, and at times indeed resemble the Prokne
in style, though both their original location and subject-matter remain unclear.
The Hephaistos (6) is described by Cicero, de natura Deorum 1.30, 83 and, more
fully, by Valerius Maximus:
Valerius Maximus 8.11 ext. 3 Visitors at Athens are impressed
by the Vulcan made by the hands of Alkamenes; besides the other conspicuous signs
of his supreme art, there is one thing in particular that they admire -- the god's
lameness is masked. He stands there displaying a trace of it unobtrusively beneath
his garment, so that this is no blemish that could be censured, but a definite
and personal characteristic of the god, becomingly represented.
Since Athens boasted only one cult image of Hephaistos, the following
passage of Pausanias is usually taken to refer to the same statue, and the temple
in question is identified with the so-called "Theseion" in the Agora.
Pausanias
1.14.6 Above the Kerameikos and the so-called Royal Stoa is a temple of
Hephaistos. I was not surprised that a statue of Athena stands beside him because
I knew the story about Erichthonios. But when I saw that the image of Athena had
blue eyes I found out that the legend about them is Libyan. For they have a saying
that she is the daughter of Poseidon and Lake Tritonis, and so has blue eyes like
Poseidon.
A marble torso in Athens and a head in the Vatican, both copies, were
associated with this statue by Karouzou 1954/5, working from representations on
Roman-period lamps; since IG 13 nos. 370-1, probably the accounts for the group,
also mentions an anthemon or "floral", she also resurrected the nineteenth-century
identification of an Athena from Cherchel, which has a floral against her left
leg, as the Athena Hephaistia.
Against this, E.B. Harrison 1977a has argued that so much metal was
budgeted for the anthemon that it had to be enormous, that Neo-Attic reliefs (stylistically
related to the "Ares" frieze and the Prokne) showing Erichthonios's birth (Pausanias
1.14.6) demanded a high, wide base, and that the "Cherchel" Athena type is early
fourth century. For it she substitutes the colossal "Velletri" type and hangs
the Rondanini Medusa (Munich 252; cf. Belson 1980 and Stewart 1990, fig. 783)
on the anthemon . Since this whole ensemble is too large for the "Theseion", she
prefers to call this building the temple of Artemis Eukleia and identifies the
"real" Hephaisteion with the large Hellenistic foundation to the North on the
same hill.
This thesis has met with considerable skepticism, not least because
the Velletri Athena does not resemble the Prokne, and the "Theseion" is roughly
where Pausanias tells us that the Hephaisteion should be, while he places Artemis
Eukleia at the opposite corner of the Agora (Paus.
1.14.4-5); but see now Mansfield 1985, 361-65 for additional arguments against
the traditional view.
His archaistic work apart, then, Alkamenes remains an enigma, though
this very aspect of this output, together with the later tendency to pair him
with Pheidias (Pliny,
N.H. 35.49-52 , Quintilian
12.7-9) has suggested to some a conservative sculptor, perhaps ministering
to traditionalists among the wartime Athenians. The Prokne's style, so close to
some sections of the Parthenon frieze, might support this if only we could be
sure that he carved it, though the democrats' relief (no. 9) hints at an altogether
less straightforward situation. Indeed, since both the political implications
(if any) of stylistic choice and the artistic preferences (if any) of the ever-volatile
demos remain obscure in the extreme (Pliny,
N.H. 36.16-17), such neat equations may hinder understanding rather than advance
it.
This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Dec 2003 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Eunicus, a distinguished statuary and silverchaser of Mytilene, seems, from the order in which he is mentioned by Pliny, to have lived not long before the time of Pompey the Great. (Plin. xxxiii. 12. s. 55; xxxiv. 8. s. 19.25.)
Ariston, a celebrated silver-chaser and sculptor in bronze, born at Mytilene. His time is unknown. (Plin. xxxiii. 55, xxxiv. 19.25)
Hecataeus, a statuary and silver-chaser of some note, who seems, from the way in which he is mentioned by Pliny, to have been a native of Mytilene, and to have lived not long before the time of Pompey the Great. (Plin. H. N. xxxiii. 12. s. 55; xxxiv. 8. s. 19.25)
Lesbothemis, was a statuary of an ancient date, and probably a native of Lesbos. He is the only artist who is mentioned in connection with that island. His statue of one of the Muses holding a lyre of the ancient form (sambuke) at Mytilene, was mentioned by Euphorion in his peri Isthmion (Athen. iv. p. 182, e., xiv. p. 635, a. b.; Meineke, Euphor. Fr. 31, Anal. Alex. p. 67, Fr. 32).
650 - 569
A native of Mitylene in Lesbos, and one of the so-called Seven Sages
of Greece, was born about B.C. 650. Having obtained popularity among his countrymen
by successfully opposing the tyrant Melanchrus, he was intrusted with the command
of a fleet in a war with the Athenians concerning some territory which they had
seized in the island. In the course of this war the Athenian commander Phryno,
a man of uncommon size and strength, challenged him to single combat. Providing
himself with a net, which he concealed under his buckler, he took the first opportunity
to throw it over the head of his antagonist, and by this means gained an easy
victory. According to Strabo's account, Pittacus came into the field armed with
a castingnet, a trident, and a dagger; and it is said that from this stratagem
of the Mitylenean was borrowed the mode of fighting practised by the Roman gladiators
called retiarii. From this time Pittacus was held in high esteem among the Mityleneans,
and was intrusted with the supreme power in the State (Aristot. Polit. iii. 15).
Among other valuable presents, his countrymen offered him as much of the lands
which had been recovered from the Athenians as he chose; but he only accepted
of so much as he could measure by a single cast of a javelin; and one half of
this small portion he afterward dedicated to Apollo, saying, concerning the remainder,
that "the half is better than the whole." Cornelius Nepos says that the Mityleneans
offered him many thousand acres, but that he took only a hundred. Pittacus displayed
great moderation in his treatment of his enemies, among whom one of the most violent
was the poet Alcaeus, who frequently made him the object of his satire. Finding
it necessary to lay severe restrictions upon drunkenness, to which the Lesbians
were particularly addicted, Pittacus passed a law which subjected offenders of
this class to double punishment for any crime committed in a state of intoxication.
When he had established such regulations as seemed to him satisfactory, he resigned
his power, which he had held for ten years, and retired to private life.
Some of his famous sayings are as follows: "Power reveals the man;"
"Whatever you do, do well;" "Watch for opportunities;" "Never talk of your plans
before they are carried out." The life of Pittacus is given by Diogenes Laertius.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Sept 2003 from The Perseus Project URL below, which contains interesting hyperlinks
Life of Pittacus, by Diogenes Laertius
Pittacus of Mitylene was not only admired of men for his wisdom, but
he was also such a citizen as the island never produced again, nor, in my opinion,
could produce in time to come--not until it bears wine both more abundant and
more delicious. For he was an excellent law-giver, in his dealings with individual
citizens affable and kindly, and he freed his native land from the three greatest
evils, from tyranny, civil strife, and war.
Pittacus was a man of consequence, gentle and inclined to self-disparagement.
Consequently he was regarded by all as a man who, beyond dispute, was perfect
in respect of every virtue: for as to his legislation, he showed himself statesmanlike
and prudent, as to keeping his plighted faith strictly just, as to his distinction
in armed combat, courageous, and as to his greatness of soul in the matter of
lucre, having no trace of avarice.
When the inhabitants of Mitylene offered to Pittacus the half of the
land for which he had fought in single combat, he would not accept it, but arranged
to assign to every man by lot an equal part, uttering the maxim, "The equal share
is more than the greater." For in measuring "the greater" in terms of fair dealing,
not of profit, he judged wisely; since he reasoned that equality would be followed
by fame and security, but greediness by opprobrium and fear, which would speedily
have taken away from him the people's gift.
Pittacus acted consistently with these principles toward Croesus also,
when the latter offered him as much money from his treasury as Pittacus might
desire to take. For on that occasion, we are told, in refusing the gift he said
that he already had twice as much as he wished. And when Croesus expressed his
surprise at the man's freedom from avarice and inquired of him the meaning of
his reply, Pittacus said, "My brother died childless and I inherited his estate,
which was the equal of my own, and I have experienced no pleasure in having received
the extra amount."
The poet Alcaeus, who had been a most confirmed enemy of Pittacus
and had reviled him most bitterly in his poems, once fell into his hands, but
Pittacus let him go free, uttering the maxim: "Forgiveness is preferable to punishment."
This extract is from: Diodorus Siculus, Library (ed. C. H. Oldfather, 1989). Cited Sept 2003 from The Perseus Project URL below, which contains comments & interesting hyperlinks.
Croesus was once building ships of war, we are told, with the intention
of making a campaign (560-559 BC) against the islands. And Bias, or Pittacus,
who happened to be visiting Lydia at the time and was observing the building of
the ships, was asked by the king whether he had heard of any news among the Greeks.
And when he was given the reply that all the islanders were collecting horses
and were planning a campaign against the Lydians, Croesus is said to have exclaimed,
"Would that some one could persuade the islanders to fight against the Lydians
on horseback!" For the Lydians are skilled horsemen and Croesus believed that
they would come off victorious on land. Whereupon Pittacus, or Bias, answered
him, "Well, you say that the Lydians, who live on the mainland, would be eager
to catch islanders on the land; but do you not suppose that those who live on
the islands have prayed the gods that they may catch Lydians on the sea, in order
that, in return for the evils which have befallen the Greeks on the mainland,
they may avenge themselves at sea on the man who has enslaved their kinsmen?"
Croesus, in admiration of this reply, changed his purpose at once and stopped
building the ships.
When (Croesus) he had subjugated all the Asiatic Greeks of the mainland
and made them tributary to him, he planned to build ships and attack the islanders;
but when his preparations for shipbuilding were underway, either Bias of Priene
or Pittacus of Mytilene (the story is told of both) came to Sardis and, asked
by Croesus for news about Hellas, put an end to the shipbuilding by giving the
following answer: "O King, the islanders are buying ten thousand horse, intending
to march to Sardis against you." Croesus, thinking that he spoke the truth,
said: "Would that the gods would put this in the heads of the islanders,
to come on horseback against the sons of the Lydians!" Then the other answered
and said: "O King, you appear to me earnestly to wish to catch the islanders
riding horses on the mainland, a natural wish. And what else do you suppose the
islanders wished, as soon as they heard that you were building ships to attack
them, than to catch Lydians on the seas, so as to be revenged on you for the Greeks
who dwell on the mainland, whom you enslaved?" Croesus was quite pleased
with this conclusion, for he thought the man spoke reasonably and, heeding him,
stopped building ships. Thus he made friends with the Ionians inhabiting the islands.
And also Pittacus was one of the tyrants (Reigned 589-579 B.C.). Now Alcaeus would rail alike at both Pittacus and the rest, Myrsilus and Melanchrus and the Cleanactidae and certain others, though even he himself was not innocent of revolutionary attempts; but even Pittacus himself used monarchy for the overthrow of the oligarchs, and then, after overthrowing them, restored to the city its independence. (Strabo 13.2.3)
ΛΗΜΝΟΣ (Νησί) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
1951
Γεννήθηκε στη Λήμνο το 1951. Σπούδασε σχέδιο στην Αθήνα
και μαθήτευσε κοντά σε γνωστούς Έλληνες ζωγράφους. Έργα του βρίσκονται σε ιδιωτικές
συλλογές στην Ελλάδα και το
εξωτερικό.
Τα έργα του χαρακτηρίζονται από μία τάση υπερρεαλιστική, αλλά ταυτόχρονα
και αφηρημένη, δημιουργώντας μια πολύπλοκη εικαστική επιφάνεια η οποία αναγκάζει
το θεατή να συνδέσει και να κατανοήσει την πολύπλευρη αντιμετώπιση του καλλιτέχνη
για τα θέματα του. Κεντρικός πρωταγωνιστής είναι το ανθρώπινο σώμα που μεταμορφώνεται
και συνεχώς αλλάζει, καθώς ο καλλιτέχνης αποτυπώνει τις φιλοσοφικές και εικαστικές
του ανησυχίες.
Εκθέσεις:
1976-79: Συμμετοχή σε ομαδικές εκθέσεις με τις ομάδες δημιουργίας και εκπαίδευσης
σε διάφορες Ευρωπαϊκές χώρες.
1981-89: Δημιουργία εικαστικού τμήματος στο Πολιτιστικό Σωματείο Λήμνου. Ατομικές
και ομαδικές εκθέσεις.
1989: Γκαλερί Αντήνωρ. Ατομική έκθεση
1990: Γκαλερί Αντήνωρ. Ατομική έκθεση
199:1 Art Gallery Χρ. Κυριαζή
1994: Πολιτιστικό κέντρο Νίκαιας. Ατομική
1994: Πολιτιστικό κέντρο "Αθηναϊκό Στέκι". Συμμετοχή στη διεθνή έκθεση καλλιτεχνικής
βεντάλιας
1995: FAN INTERNATIONAL (Λονδίνο)
1995: FAN ASSOCIATION OF NORTH AMERICA
1995: Ατομικές εκθέσεις στα πλαίσια πολιτιστικών εκδηλώσεων των ξενοδοχειακών
συγκροτημάτων Lemnos Village και Kaviria Pallace
1998: Έκθεση Λημνίων ζωγράφων στο Πνευματικό Κέντρο του Δήμου Αθηναίων
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα του Ιατρικού Συλλόγου Λήμνου
ΠΕΤΡΑ (Κωμόπολη) ΛΕΣΒΟΣ
1911 - 1987
Ο Τάκης Ελευθεριάδης γεννήθηκε στις 23 Ιουνίου 1911 στην Πέτρα της
Λέσβου όπου και κατοικούσε μέχρι το θάνατο του το 1987. Αρχισε να ζωγραφίζει από
το 1925. Στα 1930 γνώρισε τον Γιώργο Γουναρόπουλο που, κατά κάποιον τρόπο, στάθηκε
ο μοναδικός του δάσκαλος. Εξέθεσε για πρώτη φορά το 1933 με την ομάδα "Τέχνη",
της οποίας έγινε αργότερα μέλος. Στην Αθήνα έκανε τέσσερις ατομικές εκθέσεις.
Πήρε μέρος στις πανελλήνιες εκθέσεις του 38, 39, 40 και 48. Το 1950 μαζί με άλλους
ίδρυσαν την ομάδα "Στάθμη", με την οποία εκθέτει το '51 και στη Θεσσαλονίκη.
Το 1959 παίρνει μέρος στην 5η Μπιενάλε του Σαν Πάολο και στην έκθεση νεοελληνικής
Τέχνης του Καναδά. Το 1960 προτάθηκε ως υποψήφιος για το διεθνές βραβείο Γκουγκενχάιμ.
Το 1961 παίρνει μέρος στην 4η Μπιενάλε Μεσογειακών Χωρών στην Αλεξάνδρεια. Μετά
την τελευταία του έκθεση στον "Ζυγό" το 1959, σταμάτησε να ζωγραφίζει.
Από τότε πλούτιζε με πάθος και επιμονή τις συλλογές του: βιβλία, δίσκους μουσικής
και πήλινα. Έργα του βρίσκοναι στη Δημοτική Πινακοθήκη Αθηνών, στην Δημοτική Πινακοθήκη
Ρόδου, και σε ιδιωτικές συλλογές.
Το κείμενο παρατίθεται τον Οκτώβριο 2004 από την ακόλουθη ιστοσελίδα,
με φωτογραφίες
ΜΗΘΥΜΝΑ (Αρχαία πόλη) ΛΕΣΒΟΣ
480 - 400
Hellanicus, (Hellanikos). One of the Greek logographi or chroniclers,
born at Mitylene in Lesbos about B.C. 490. He is said to have lived till the age
of eighty-five, and to have gone on writing until after B.C. 406. In the course
of his long life he composed a series of works on genealogy, chorography, and
chronology, of which the fragments are collected by C. and Th. Muller (Paris,
1841). He was the first writer who attempted to introduce a systematic chronological
arrangement into the traditional periods of Greek, and especially Athenian, history
and mythology. His theories of the ancient Attic chronology were accepted down
to the time of Eratosthenes.
Hellanicus, (Hellanikos). Of Mytilene in the island of Lesbos, the most eminent
among the Greek logographers. He was the son, according to some, of Andromenes
or Aristomenes, and, according to others, of Scamon (Seammon), though this latter
may be merely a mistake of Suidas (s. v. Hellanikos). According to the confused
account of Suidas, Hellanicus and Herodotus lived together at the court of Amyntas
(B. C. 553--504), and Hellanicus was still alive in the reign of Perdiccas, who
succeeded to the throne in B. C. 461. This account, however, is irreconcilable
with the further statement of Suidas, that Hellanicus was a contemporary of Sophocles
and Euripides. Lucian (Macrob. 22) states that Hellanicus died at the age of eighty-five,
and the learned authoress Pamphila (ap. Gellium, xv. 23), who likewise makes him
a contemporary of Herodotus, says that at the beginning of the Peloponnesian war
(B. C. 431), Hellanicus was about sixty-five years old, so that he would have
been born about B. C. 496, and died in B. C. 411. This account, which in itself
is very probable, seems to be contradicted by a statement of a scholiast (ad Aristoph.
Ran. 706), from which it would appear that after the battle of Arginusae, in B.
C. 406, Hellanicus was still engaged in writing; but the vague and indefinite
expression of that scholiast does not warrant such an inference, and it is moreover
clear from Thucydides (i. 97), that in B. C. 404 or 403 Hellanicus was no longer
alive. Another authority, all anonymous biographer of Euripides (p. 134 in Westermann's
Vitarum Scriptores Graeci minores, Brunswick, 1845), states that Hellanicus was
born on the day of the battle of Salamis, that is, on the 20th of Boedromion B.
C. 481, and that he received his name from the victory of Hellas over the barbarians;
but this account is too much like an invention of some grammarian to account for
the name Hellanicus, and deserves no credit; and among the various contradictory
statements we are inclined to adopt that of Pamphila. Respecting the life of Hellanicus
we are altogether in the dark, and we only learn from Suidas that he died at Perperene,
a town on the coast of Asia Minor opposite to Lesbos ; we may, however, presume
that he visited at least some of the countries of whose history he treated.
Hellanicus was a very prolific writer, and if we were to look upon
all the titles that have come down to us as titles of genuine productions and
distinct works, their number would amount to nearly thirty; but the recent investigations
of Preller (De Hellanico Lesbio Historico, Dorpat, 1840, 4to.) have shown that
several works bearing his name are spurious and of later date, and that many others
which are referred to as separate works, are only chapters or sections of other
works. We adopt Preller's arrangement, and first mention those works which were
spurious. 1. Aiguptiaka. The late origin of this production is obvious from the
fragment quoted by Arrian (Dissert. Epictet. ii. 19) and Gellius (i. 2; comp.
Athen. xi., xv.) 2. Eis Ammonos anabasis, which is mentioned by Athenaeus (xiv.),
who, however, doubts its genuineness. 3. Barbarika nomima, which, even according
to the opinions of the ancients, was a compilation made from the works of Herodotus
and Damastes. (Euseb. Praep. Evang. ix.; comp. Suid. s.v. Zamolxis; Etymol. Mag.
p. 407. 48.) 4. Ethnon onomasiai, which seems to have been a similar compilation.
(Athen. xi. ; comp. Herod. iv. 190.) It may have been the same work as the one
which we find referred to under the name of Peri ethnon (Schol. ad Apollon. Rhod,
iv. 322), Ktiseis ethnon kai poleon, or simply ktiseis. (Steph. Byz. s. v. Charimatai;
Athen. x.) Stephanus of Byzantium refers to some other works under the name of
Hellanicus, such as Kupriaka, ta peri Ludian, and Skuthika, of which we cannot
say whether they were parts of another work, perhaps the Persika (of which we
shall speak presently). The Phoinikika mentioned by Cedrenus (Synops.), and the
historiai (Athen. ix., where hiereiais must probably be read for historiais; Theodoret,
de Aff.), probably never existed at all, and are wrong titles. There is one work
referred to by Fulgentius (Myth. i. 2), called Dios polutuchia, the very title
of which is a mystery, and is otherwise unknown.
Setting aside these works, which were spurious, or at least of very
doubtful character, we proceed to enumerate the genuine productions of Hellanicus,
according to the three divisions under which they are arranged by Preller, viz.
genealogical, chorographical, and chronological works.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
I. Genealogical works. It is a very probable opinion of Preller,
that Apollodorus, in writing his Bibliotheca, followed principally the genealogical
works of Hellanicus, and he accordingly arranges the latter in the following order,
agreeing with that in which Apollodorus treats of his subjects. 1. Deukalioneia,
in two books, containing the Thessalian traditions about the origin of man, and
about Deucalion and his descendants down to the time of the Argonauts. (Clem.
Alex. Strom. vi.) The Phettalika referred to by Harpoeration (s. v. tetrarchia)
were either the same work or a portion of it. 2. Phoronis, in two books, contained
the Pelasgian and Argive traditions from the time of Phoroneus and Ogyges down
to Heracles, perhaps even down to the return of the Heracleidae. (Dionys. i. 28.)
The works Peri Arkadias (Schol. ad Apollon. Rhod. i. 162), Argolika (Schol. ad
Hom. Il. iii. 75), and Boiotika (ibid. iii. 494) were either the same work as
the Phoronis or portions of it. 3. Atlantias, in two books, containing the stories
about Atlas and his descendants. (Harpocrat. s. v. Homeridai; Schol. ad Hom. Il.
xviii. 486.) 4. Troika, in two books, beginning with the time of Dardanus. (Harpocrat.
s. v. Krithote; Schol. ad Hom. Il.) The Adopis was only a portion of the Troica.
(Marcellin. Vit. Thue. § 4.)
II. Chorographical works. 1. Atthis, or a history of Attica,
consisting of at least four books. The first contained the history of the mythical
period ; the second was principally occupied with the history and antiquities
of the Attic demi; the contents of the third and fourth are little known, but
we know that Hellanicus treated of the Attic colonies established in Ionia, and
of the subsequent events down to his own time. (Preller; comp. Thuc. i. 97.) 2.
Aiolika, or the history of the Aeolians in Asia Minor and the islands of the Aegean.
The Lesbiaca and Peri Chiou ktiseos seem to have formed sections of the Aeolica.
(Tzetz. ad Lyeoph. 1374; Schol. ad Pind. Nem. xi. 43, ad Hom. Od. viii. 294.)
3. Persika, in two books, contained the history of Persia, Media, and Assyria
from the time of Ninus to that of Hellanicus himself, as we may gather from the
fragments still extant, and as is expressly stated by Cephalion in Syncellus (p.
315, ed. Dindorf).
III. Chronological works. 1. Hiereiai tes Heras in three books,
contained a chronological list of the priestesses of Hera at Argos. There existed
undonbtedly at Argos in the temple of Hera records in the form of annals, which
ascended to the earliest times for which they were made up from oral traditions.
Hellanicus made use of these records, but his work was not a mere meagre list,
but he incorporated in it a variety of traditions and historical events, for which
there was no room in any of his other works, and he thus produced a sort of chronicle.
It was one of the earliest attempts to regulate chronology, and was afterwards
made use of by Thucydides (ii. 2, iv. 1, 33), Timaeus (Polyb. xii. 12), and others.
(Comp. Plut. De Mus.; Preller, l. c.) 2. Karneonikai, or a chronological list
of the victors in the musical and poetical contests at the festival of the Carneia.
This work may be regarded as the first attempt towards a history of literature
in Greece. A part of this work, or perhaps an early edition of it, is said to
have been in verse. (Athen. xiv.) Suidas states that Hellanicus wrote many works
both in prose and in verse; but of the latter kind nothing is known.
All the productions of Hellanicus are lost, with the exception of
a considerable number of fragments. Although he belongs, strictly speaking, to
the logographers (Dionys. Jud. de Thuc. 5; Diod. i. 37), still he holds a much
higher place among the early Greek historians than any of those who are designated
by the name of logographers. He forms the transition from that class of writers
to the real historians; for he not only treated of the mythical ages, but, in
several instances, he carried history down to his own times. But, as far as the
form of history is concerned, he had not emancipated himself from the custom and
practice of other logographers, for, like them, he. treated history from local
points of view, and divided it into such portions as might be related in the form
of genealogies. Hence he wrote local histories and traditions. This circumstance,
and the many differences in his accounts from those of Herodotus, renders it highly
probable that these two writers worked quite independently of each other, and
that the one was unknown to the other. It cannot be matter of surprise that, in
regard to early traditions, he was deficient in historical criticism, and we may
believe Thucydides (i. 97), who says that Hellanicus wrote the history of later
times briefly, and that he was not accurate in his chronology. In his geographical
views, too, he seems to have been greatly dependent upon his predecessors, and
gave, for the most part, what he found in them; whence Agathemerus (i. 1), who
calls him an aner poluistor, remarks that he aplastos paredoke ten historian;
but the censure for falsehood and the like bestowed on him by such writers as
Ctesias (ap. Phot. Bibl. Cod. 72), Theopompus (ap. Strab. i.), Ephorus (up. Joseph.
c. Apion, i. 3; comp. Strab. viii.), and Strabo (x., xi., xiii.), is evidently
one-sided, and should not bias us in forming our judgment of his merits or demerits
as a writer; for there can be no doubt that he was a learned and diligent compiler,
and that so far as his sources went, he was a trustworthy one. His fragments are
collected in Sturz, Hellanici Lesbii Fragmenta, Lips. 1796, 8vo., 2d edition 11826;
in the Museum Criticum,vol.ii., Camb. 1826 ; and in C. and Th. Muller, Fragmenta
Histor. Graec. (Dahlmann, Herodot., Muller, Hist. of Greek Lit., and especially
the work of Preller above referred to.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Chorizontes. "Separators." A name given to such of the ancient scholars
and critics as held the belief that the Iliad and Odyssey of Homer were written
by different authors. The names of only two of these critics -Xenon and Hellanicus-
have come down to us.
4ος αιώνας π.Χ. Ο πρώτος που έγραψε την ιστορία της Σικελίας μέχρι το 375 π.Χ., τα Σικελικά σε 10 βιβλία
Hermeias. Of Methymna in Lesbos, the author of a history of Sicily, the third
book of which is quoted by Athenaeus (x. ); but we know from Diodorus Siculus
(xv. 37) that Hermeias related the history of Sicily down to the year B. C. 376,
and that the whole work was divided into ten or twelve books. Stephanus Byzantius
(s. v. Chalkis) speaks of a Periegesis of Hermeias, and Athenaeus (iv.) quotes
the second book of a work Peri tou Gruneion Apollonos, by one Hermeias, but whether
both or either of them is identical with the historian of Sicily is quite uncertain.
3ος αιώνας π.Χ. Έγραψε τα Λεσβιακά, ιστορία του νησιού και τα Ιστορικά Παράδοξα, συλλογή θαυμαστών ιστοριών.
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Alcaeus (Alkaios), the son of Miccus, was a native of Mytilene, according to Suidas,
who may, however, have confounded him in this point with the lyric poet. He is
found exhibiting at Athens as a poet of the old comedy, or rather of that mixed
comedy, which formed the transition between the old and the middle. In B. C. 388,
he brought forward a play entitled Pasiphae, in the same contest in which Aristophanes
exhibited his second Plutus, but, if the meaning of Suidas is rightly understood,
he obtained only the fifth place. He left ten plays, of which some fragments remain,
and the following titles are known, Adelphai moicheuomenai, Ganumedes, Endumion,
Hiepos gamos, Kallisto, Komoidotragoidia, Palaistra.
Alcaeus, a tragic poet, mentioned by Fabricius, does not appear to
be a different person from Alcaeus the comedian. The mistake of calling him a
tragic poet arose simply from an erroneous reading of the title of his " Comoedo-tragoedia."
ΑΝΤΙΣΣΑ (Αρχαία πόλη) ΛΕΣΒΟΣ
Aristocleides (Aristokleides), a celebrated player on the cithara, who traced his descent from Terpander, lived in the time of the Persian war. He was the master of Phrynis of Mytilene. (Schol. ad. Aristoph. Nub. 958; Suidas, s. v. Phrunis)
Archytas. A musician of Mitylene, mentioned by Diogenes Laertius as having written a treatise on agriculture.
Archytas (Archutas), of Mytilene, a musician, who may perhaps have been the author of the work Peri Aulon, which is ascribed to Archytas of Tarentum. (Diog. Laert. viii. 82; Athen. xiii., iv.)
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
A writer who probably lived in the third century A.D. He was
the author of a Greek pastoral romance, Daphnis and Chloe, in four books. It is
considered the best of all ancient romances which have come down to us, on account
of its deep and natural feeling, its grace of narrative, and the comparative purity
and ease of its language. It has suggested many imitations by Italian, French,
German, and English writers, the more famous being Bernardin de St. Pierre's Paul
et Virginie. The rare translation by John Day of the French version of Amyot was
reprinted in 1890. The Greek text is edited by Hirschig with a Latin version in
the Erotici Scriptores of the Didot collection (Paris, 1856). Translation by Smith
(London, 1855).
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Ο Λόγγος, μυθιστοριογράφος της ύστερης αρχαιότητας, καταγόταν, σύμφωνα με την επικρατέστερη εκδοχή, από τη Λέσβο. Οι πληροφορίες για τη ζωή του είναι ελάχιστες. Τη φήμη του οφείλει στο ποιμενικό και ερωτικό μυθιστόρημα του Δάφνις και Χλόη. Δυο έκθετα παιδιά, που σώζονται και υιοθετούνται από βοσκούς,μεγαλώνουν μαζί και ερωτεύονται. Ο συγγραφέας ιστορεί την πορεία τους από την αθώα παιδική αγάπη μέχρι την ερωτική αφύπνιση και ολοκλήρωση, με φόντο την ειδυλλιακή φύση και τον εξιδανικευμένο αγροτοποιμενικό κόσμο.
Ο μύθος του Δάφνις και Χλόη έγινε προσφιλές θέμα για την παγκόσμια τέχνη, ενώ το ίδιο το έργο, μια από τις καλύτερες στιγμέςτης αρχαίας πεζογραφίας, θα είναι πάντοτε ένα τερπνό ανάγνωσμα.
2ος αιώνας π.Χ. Εργάστηκε στην Αλεξάνδρεια, έγραψε για τους Αργοναύτες, την Τροία και για τις σχέσεις του Διόνυσου με τις Αμαζόνες.
Dionysius. Of Mytilene, was surnamed Scytobrachion, and seems to have lived shortly before the time of Cicero, if we may believe the report that he instructed M. Antonius Gnipho at Alexandria (Suet. de Illustr. Gram. 7), for Suetonius expresses a doubt as to its correctness for chronological reasons. Artemon (ap. Athen. xii.) states, that Dionysius Scytobrachion was the author of the historical work which was commonly attributed to the ancient historian Xanthus of Lydia, who lived about B. C. 480. From this it has been inferred, that our Dionysius must have lived at a much earlier time. But if we conceive that Dionysius may have made a revision of the work of Xanthus, it does not follow that he must needs have lived very near the age of Xanthus. Suidas attributes to him a metrical work, the expedition of Dionysus and Athena (he Dionusou kai Hathenas stratia), and a prose work on the Argonauts in six books, addressed to Parmenon. He was probably also the author of the historic Cycle, which Suidas attributes to Dionysius of Miletus. The Argonautica is often referred to by the Scholiast on Apollonius Rhodius, who likewise several times confounds the Mytilenean with the Milesian (i. 1298, ii. 207, 1144, iii. 200, 242, iv. 119, 223, 228, 1153), and this work was also consulted by Diodorus Siculus. (iii. 52, 66.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΑΝΤΙΣΣΑ (Αρχαία πόλη) ΛΕΣΒΟΣ
712 - 645
Terpander (Terpandros), of Lesbos,
was the father of Greek music, and through it of lyric poetry,
although his own poetical compositions were few and in extremely simple rhythms.
Muller, whose account of Terpander is so excellent, that it is necessary to follow him to a great extent, has justly remarked that, setting aside the mythological traditions about early minstrels, such as Orpheus, Philammon, Chrysothemis, and others, the history of Greek music begins with Terpander. But Muller, and other scholars, have pointed out the fact, that Terpander may be connected with one of the most interesting and important of those traditions. The beautiful fable, which told how the head and lyre of Orpheus, cast upon the waves by the Thracian Maenads, were borne to Lesbos, and there received with religious honours, was doubtless an allegory, signifying the transference of the art of music to that island from Pieria, which the ancients afterwards confounded with Thrace; a transference which is confirmed by the undoubted tradition, that Lesbos was colonised by the Aeolians of Boeotia, who were of the same race as the Pierians, and who had among them one of the earliest seats of the worship of the Muses, upon Mount Helicon. Now the very town in Lesbos, at which the grave of Orpheus was shown, and where the nightingales were said to sing most sweetly, Antissa, was the birthplace of Terpander. The presumption that he belonged to one of those families in which, according to the Greek custom, the art was handed down from father to son, is strengthened by the significancy of his name; and this significant name, again, finds numerous parallels in the early history of other arts as well as music [Cheirisophus, Eucheirus, Eugrammus]. It is not unreasonable to suppose, further, that the race of musicians, from which Terpander was descended, preserved traditions and rules which they had originally derived from the Pierian bards. The tradition which made him a decendant of Hesiod (Suid. s. v.) furnishes incidentally a certain degree of confirmation of these views. What Terpander himself effected for the art is thus described by Muller: " Terpander appears to have been properly the founder of Greek music. He first reduced to rule the different modes of singing which prevailed in different countries, and formed, out of these rude strains, a connected system, from which the Greek music never departed throughout all the improvements and refinements of later ages. Though endowed with an inventive mind, and the commencer of a new era of music, he attempted no more than to systematize the musical styles which existed in the tunes of Greece and Asia Minor." (Hist. of the Lit. of Anc. Greece, vol. i. p. 149.)
His father's name is said to have been Derdeneus (Marm. Par. Ep. 34), while another account made him the son of Boeus, the son of Phoceus, the son of Homer (Suid. s. v.). There can be no doubt that he was a Lesbian, and that Antissa was his native town (Pind. ap. Ath. xiv. p. 635, d.; Marm. Par. l. c. ; Plut. de Mus. 30, p. 1141, c.; Clem. Alex. Strom. vol. i. p. 309; Steph. Byz. s. v. Antissa; Suid. s. vv. Terpandros, Meta Les-bion oidon). The other accounts, preserved by Suidas, which made him a native either of Arne in Boeotia, or of Cyme in Aeolis, are easily explained, and are connected with what has been already said in an interesting manner. Both Arne and Cyme were among the Aeolian cities which were said to have sent colonies to Lesbos, and both might therefore have claimed to reckon Terpander among their citizens, on the general principle by which the natives of Grecian colonies were regarded as citizens of the parent state; and, besides this, the tradition connecting him with Arne, one of the oldest cities of Boeotia, is another indication of his descent from the Pierians, while the claim of Cyme is probably connected with the traditions which derived his genealogy from Homer or from Hesiod (See Plehn, Lesbiaca, pp. 140--142). The statement of Diodorus (vi. 28, ap. Tzetz. Chil. i. 16) that he was a native of Methymna, must be regarded as simply a mistake.
The age at which Terpander flourished is generally considered one of the best ascertained dates of that remote period of chronology; although the still more important question of his relation, in point of time, to the other early musicians, Olympus and Clonas, and to the earliest iambic and elegiac poets, Archilochus and Callinus, and the lyric poets Tyrtaeus and Alcman, is allowed to present very great difficulties. As to the first point, C. O. Muller says that " it is one of the most certain dates of the more 1 ancient chronology, that in the 26th Olympiad (B. C. 676) musical contests were first introduced at the feast of Apollo Carneius [at Sparta], and at their first celebration Terpander was crowned victor." (Hist. Lit. Anc. Greece, vol. i. p. 150, vol. i. p. 268 of the German; comp. Dor. b. iv. c. 6. § 1; and Mr. Grote echoes the statement, that " this is one of the best ascertained points among the obscure chronology of the seventh century " (Hist. of Greece, vol. iv. p. 102); and in the two great chronological works of Clinton and Fischer (s. a. 676), the date is laid down as certain.) The ancient authorities for this statement are Hellanicus (Athen. xiv. p. 635, f., Fr. 122, ed. Car. Muller, Frag. Hist. vol. i. p. 627, in Didot's Bibliotheca), and Sosibius the Lacedaemonian (Ath. l. c., Fr. 3, ed. Muller, ibid. vol. ii. p. 625); of whom the former gives us only the fact, that Terpander was the first victor at the Carneia, without the date; and the latter gives us only the date of the institution of the Carneia, without mentioning the victory of Terpander: the combination of the two statements, on which the force of the chronological argument rests, is made by Athenaeus, whose only object, however, in making it is to prove that Terpander was older than Anacreon; and who, in the very same sentence, quotes the statement of Hieronymus (de Poetis), that Terpander was contemporary with Lycurgus. Mr. Grote says (p. 103, note), " That Terpander was victor at the Spartan festival of the Karneia, in 676, B. C., may well have been derived by Hellanikus from the Spartan registers; " and a similar meaning has been put upon the phrase used by Athenaeus, hos Hellanikos historei, en te tois emmetrois Karneonikais, kan tois katalogaden: but, granting this supposition its full force, Hellanicus does not say that Terpander was victor " in 676, B. C.; " but he does give us, in another fragment, a date irreconcileable with this, namely, that Terpander flourished in the time of Midas (Clem. Alex. Strom. vol. i. p. 398, Potter; Fr. 123, ed. Muller. l. c.). The date 676, B. C., for the institution of the Carneia, therefore, rests alone on the testimony of Sosibius, for it can hardly be doubted that the same date, as given by Africanus (Euseb. Chron. pars i. Ol. 26. p. 144, ed. Mai, vol. i. p. 285, ed. Aucher) was copied from the chronon anagraphe of Sosibius. Still Sosibius alone would undoubtedly be a very high authority; but, in addition to the caution which is required in dealing with indirect evidence, and in addition to the testimonies which assign a different date to Terpander, it may be questioned whether the date of Sosibius for the institution of the Carneia is to be understood literally, or whether it was not derived from some other epoch by a computation which, on a different chronological system, would have given a different result. There can be little doubt that the records of Sparta, which Sosibius "may well have" followed were kept, not by Olympiads, but by the reigns of the kings, and that, in turning the dates of those early kings into Olympiads, Sosibius computed from the date which he assumed for the Trojan War, namely B. C. 1180 ; and that, if he had taken a different date for the Trojan War, e.g. that of B. C. 1217, he would, by the same computation, have placed the institution of the Carneia at Ol. 16, a date which would agree well enough with that really given by Hellanicus (See Car. Muller, Frag. Hist. vol. ii. p. 626). On the whole, then, it seems probable that the date of B. C. 676 is not quite so certain as it has been represented.
With respect to the other testimonies, that of Hellanicus, already referred to, is rendered some-what indefinite by the, at least partly, mythological character of Midas; but, if the date has any historical value at all, it would place Terpander at least as high as Ol. 20, B. C. 700, the date of the death of Midas, according to Eusebius. confirmed by Herodotus (i. 14), who makes Midas a little older than Gyges. To the same effect is the testimony of the Lydian historian Xanthus, who lived before Hellanicus, and who placed Terpander at Ol. 18, B.C. 708 (Clem. Alex. Strom. vol. i. p. 398, Potter). Glaucus of Rhegium also, who lived not long after Hellanicus, stated that Terpander was older than Archilochus, and that he came next after those who first composed aulodic music, meaning perhaps Olympus and Clonas; and Plutarch, who quotes this statement (de Mus. iv. p. 1132, e.) introduces it with the remark, kai tois chronois de sphodra palaios esti, and presently afterwards (5, p. 1133, a) he adds, as a general historical tradition (paradidotai) that Archilochus flourished after Terpander and Clonas. Mr. Grote accepts these testimonies; but draws from them the inference, that Archilochus should be placed lower than he usually is, about B. C. 670 instead of 700. The statement of Hieronymus (Ath. l. c.) that Terpander was contemporary with Lycurgus, is perhaps only another form of the tradition that the laws of Lycurgus were aided by the music and poetry of Terpander and Tyrtaeus, which has evidently no chronological significance. On the other hand, Phanias made Terpander later than Archilochus (Clem. Alex. l. c.), and the chronologers place his musical reform at Ol. 33, 2, B. C. 647 (Euseb.) or Ol. 34. 1, B. C. 644. (Marm. Par. Ep. 34). Lastly, we are told that Terpander was victorious in the musical contest at four successive Pythian festivals ; but there is abundance of evidence to prove that these Pythian musical contests were not those established by the Amphictyons in Ol. 48. 3, but some which had existed long before, and which were celebrated, according to Muller, every eight years, a circumstance which throws doubt on the number of Terpander's victories (See Muller, Dor. b. iv. c. 6. § 2; Grote, Hist. of Greece. vol. iv. p. 103, note). These discrepancies will show the great uncertainty attending the chronology of so early a period, and the danger of resting even upon an apparently definite date; although in the present case, the general comparison of the testimonies makes it far from improbable that the date first assigned is about the right one. All that can be said, with any approach to certainty, is that Terpander flourished somewhere between B. C. 700 and 650, and that his career may possibly have extended either a little above the higher, or, less probably, a little below the lower, of those dates.
Fortunately, we have clearer information respecting the scene and the nature of his artistic labours. From motives which were variously stated by tradition, he removed from Lesbos to Sparta, and there introduced his new system of music, and established the first musical school or system (katastasis) that existed in Greece. (Plut. de Mus. 9, p. 1134, c.: the other authorities respecting the migration of Terpander, the powerful effect of his music on the Spartans, and the honour in which they held him, during his life and after his death, are collected by Plehn, Lesbiaca, p. 147)
In order to explain fully the musical improvements introduced by
Terpander, it would be necessary to enter into the subject of Greek music at
greater length than is consistent with the limits of this article, or the plan
of the work. A full account of the subject will be found in the Dictionary of
Antiquities, art. Musica, in Muller's History of the Literature of Ancient Greece,
c. 12, and in Bockh (de Metr. Pind. iii. 7). It will be enough here to state
that Terpander enlarged the compass of the lyre from a tetrachord to an octave;
but in a peculiar manner. The old lyre had four strings, which were so tuned
that the extreme notes had to one another the relation called by the Greeks
dia tessaron, the fourth, and the two intermediate notes were such, according
to the most ancient genus of music, namely, the diatonic, and the prevailing
mode, the Dorian, that the intervals were (ascending) semitone, tone, tone,
that is:
[Figure] To this tetrachord Terpander added another, the lowest
note of which was one tone above the highest of the other, and the intervals
of which the same as those of the former that is:
[Figure] But, in combining these two tetrachords, he omitted the third
string, reckoning from the highest, so that he intervals (ascending) were 1/2,
1, 1, 1, 11/2, 1 2 , that is :
[Figure] The interval between the extreme notes is an octave, or, as
the Greeks called it, dia pason. Plutarch (de Mus. 19) adduces arguments to
prove that the omission of the third string was intentional; but whether the
reason was, the opinion that it could well be dispensed with, or some theoretical
preference for the number 7, we are not informed. It was afterwards restored,
so that the lyre had eight strings. The following table (from Plehn) shows the
names of the strings, and the intervals between them, in the descending order,
for each lyre: Heptachord. Octachord.
E nete E nete ----------- 1 tone. ----------- 1 tone.
D paranete D paranete ----------- 1 " ----------- 11/2 "
C trite ----------- 1/2 "
B trite B paramese ----------- 1 " ----------- 1 "
A mese A mese ----------- 1 " ----------- 1 "
G lichanos G lichanos ----------- 1 " ----------- 1 "
F parupate F parupate ----------- 1/2 " ----------- 1/2 "
E hupate E hupate
The invention of the seven-stringed lyre, or heptachord, is not
only ascribed to Terpander by several ancient writers, but it is also referred
to in two verses of his own still extant (Eucl. Introd. Harm. p. 19; Strab.
xiii. p. 618):
Soi d hemeis tetragerun aposterxantes aoidan
heptatonoi phormingi neous keladesomen humnous.
It remained in use even as late as the time of Pindar (Pyth. ii. 70, Ncm. v.
22). The invention of the barbiton or magadis, an instrument of greater compass
than an octave, is ascribed to Terpander by Pindar, but probably erroneously
(Pind. ap. Ath. xiv. p. 635, d.; Plehn, Lesb. p. 153). It is impossible here
to enter on the question whether the lyre of Terpander could be adapted, by
tuning its strings differently, to the different modes and genera of Greek music;
and whether his own compositions were in any other mode than the Dorian (See
Dict. of Ant. art. Musica)>
While Terpander thus enlarged the compass of the lyre, he appears
to have been the first who regularly set poetry to music (Clem. Alex. Strom.
vol. i. p. 364, b.). Plutarch (de Mus. 3) tells us that he set his own verses
and those of Homer to certain citharoedic nomes, and sang them in the musical
contests; and that he was the first who gave names to the various citharoedic
nomes. These nomes were simple tunes, from which others could be derived by
slight variations; and these latter were called mele. That the nomes of Terpander
were entirely of his own composition, is not very probable, and indeed there
is evidence to prove that some of them were derived from old tunes, ascribed
to the ancient bards, and others from national melodies. Neither were they all
adapted to the rhythm of the heroic hexameter; for among them we find mention
made of Trochaic nomes and of Orthian nomes, which consisted in a great extension
of certain feet; and there is still extant a fragment of Terpander, which affords
a good specimen of those Spondaic hymns which were sung at festivals of peculiar
solemnity, and the music of which would of course be in keeping with the gravity
of the rhythm and of the meaning (Clem. Alex. Strom. vi. p. 784):
Zeu, panton archa, panton agetor,
Zeu, soi pempo tautan humnon archan.
The question, whether any of Terpander's nomes were aulodic, cannot
be decided with absolute certainty. Nearly all that we know of him is any connection
with citharoedic music; and the arguments adduced to prove that he also used
the flute are by no means conclusive; while, on the other hand, the improvement
of that species of music is expressly ascribed to other composers, as Olympus
and Clonas, who stand in much the same relation to aulodic music as Terpander
does to that of the lyre. It is also uncertain whether his nomes were embodied
in any written system of musical notation, or whether they were handed down
by tradition in the school which he founded. Be this as it may, they remained
for a very long period the standard melodies used at religious festivals, and
the school of Terpander flourished for many generations at Sparta,
and in Lesbos, and throughout
Greece. At the festival of the Carneia, where Terpander had been the first to
obtain a victory, the prize for lyric music was gained in regular succession
by members of his school down to Pericleitus, about B. C. 550. Respecting the
improvements in citharoedic music after the time of Terpander, see Thaletas
at Gortyna.
The remains of Terpander's poetry, which no doubt consisted entirely of religious hymns, are comprised in the two fragments already quoted, and in two others, the one of one hexameter verse (Schol. Arist. Nub. 591), and the other of one and a half (Plut. Lyc. 21), and one reference (Bockh, Plehn, and Muller, as above quoted; Ulrici, Gesch. d. Hellen Dichtk. vol. ii. pp. 341, foll.; Bode, vol. ii. passim; Bergk, Poet. Lyr. Graec. pp. 537, 538).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited April 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΕΡΕΣΟΣ (Αρχαία πόλη) ΛΕΣΒΟΣ
630 - 570
Sappho ( Aeolic, Psappha). One of the two great leaders of the Aeolian
school of lyric poetry, Alcaeus being the other. She was a native of Mitylene,
or, as some said, of Eresos in Lesbos, and flourished towards the end of
the seventh century B.C. Her father's name was Scamandronymus, who died when she
was only six years old. She had three brothers, Charaxus, Larichus, and Eurigius.
Charaxus was violently upbraided by his sister in a poem, because he became so
enamoured of the courtesan Rhodopis at Naucratis in Egypt as to ransom her from
slavery at an immense price. Sappho was contemporary with Alcaeus, Stesichorus,
and Pittacus. That she was not only contemporary, but lived in friendly intercourse,
with Alcaeus is shown by existing fragments of the poetry of both. Of the events
of her life we have no other information than an obscure allusion in the Parian
Marble and in Ovid ( Her.xv. 51) to her flight from Mitylene to Sicily to escape
some unknown danger, between B.C. 604 and 592; and the common story that being
in love with Phaon, and finding her love unrequited, she leaped down from the
Leucadian Rock. This story, however, seems to have been an invention of later
times. The name of Phaon does not occur in one of Sappho's fragments, and there
is no evidence that he was mentioned in her poems. As for the leap from the Leucadian
Rock, it is a mere metaphor, taken from an expiatory rite connected with the worship
of Apollo, which seems to have been a frequent poetical image. At Mitylene Sappho
appears to have been the leader of a feminine literary set, most of the members
of which were her pupils in poetry, fashion, and gallantry, so that from this
association later writers have attempted to prove that the moral character of
Sappho was not free from all reproach; and it is difficult to read the fragments
which remain of her verse without being forced to come to the conclusion that
a woman who could write such poetry could not be the pure woman that her modern
apologists would have her. (See the defence of Sappho by Welcker [1816] and the
various papers in the Rheinisches Museum for 1857-58.) Of her poetical genius,
however, there cannot be a question. The ancient writers agree in expressing the
most unbounded admiration for the passion, sincerity, and grace of her poetry.
Already in her own age the recitation of one of her poems so affected Solon that
he expressed an earnest desire to learn it before he died. Her lyric poems formed
nine books, but of these only fragments have come down to us. The most important
is a splendid ode to Aphrodite, of which we perhaps possess the whole. The best
editions of the fragments is by Neue (Berlin, 1827), and that in Bergk's Poet.
Lyrici Graeci, vol. iii. (4th ed. 1882). The fragments are all collected and translated
into English by Wharton with a full bibliography in his Sappho (Chicago, 1895).
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Feb 2003 from The Perseus Project URL below, which contains interesting hyperlinks
Phaon. A boatman at Mitylene who is said to have been originally an ugly old man; but in consequence of his carrying Aphrodite across the sea without accepting payment, the goddess gave him youth and beauty. After this Sappho is said to have fallen in love with him, and to have leaped from the Leucadian rock, when he slighted her.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Feb 2003 from The Perseus Project URL below, which contains interesting hyperlinks
Sappho to Phaon, P. Ovidius Naso, The Epistles of Ovid
Leucatas, is a rock of white 14 color jutting out from Leucas into the sea and towards Cephallenia and therefore it took its name from its color. It contains the temple of Apollo Leucatas, and also the "Leap," which was believed to put an end to the longings of love. Where Sappho is said to have been the first, as Menander says, when through frantic longing she was chasing the haughty Phaon, to fling herself with a leap from the far-seen rock, calling upon thee in prayer, O lord and master.
This extract is from: The Geography of Strabo (ed. H. L. Jones, 1924), Cambridge. Harvard University Press. Cited Feb 2003 from The Perseus Project URL below, which contains comments & interesting hyperlinks.
Gorgo, a lyric poetess, a contemporary and rival of Sappho, who often attacked her in her poems. (Max. Tyr. Diss. xxiv. 9)
Damophila (Damophile). A poetess of Lesbos, intimate with Sappho. She composed a hymn on the worship of the Pergaean Artemis (Philostrat. Vit. Apollon. i. 20).
(Arion). A Greek poet and musician, of Methymna in Lesbos, who flourished about B.C. 625. In the course of a roving life he spent a considerable time at the court of Periander, tyrant of Corinth. Here he first gave the dithyramb (q.v.) an artistic form, and was therefore regarded as the inventor of that style in general. He is best known by the story of his rescue on the back of a dolphin. Returning from a journey through Lower Italy and Sicily, he trusted himself to a crew of Corinthian sailors, who resolved to kill him on the open sea for the sake of his treasures. As a last favour he extorted the permission to sing his songs once more to the lyre, and then to throw himself into the sea.
His strains drew a number of dolphins around him, one of which took him on its back, and carried him safe to land at the foot of the foreland of Taenarum. Thence he hastened to Corinth, and convicted the sailors, who were telling Periander that they had left the minstrel safe at Tarentum ( Hyg. Fab.194). A bronze statue of a man on a dolphin, which stood on the top of Taenarum, was supposed to be his thank-offering to Poseidon ( Herod.i. 24). A hymn of thanksgiving to the god of the sea, preserved under his name, belongs to a later time.
Arion, an ancient Greek bard and great master on the cithara, was a native of Methymna in Lesbos, and, according to some accounts, a son of Cyclon or of Poseidon and the nymph Oncaea. He is called the inventor of the dithyrambic poetry, and of the name dithyramb (Herod. i. 23; Schol. ad Pind. Ol. xiii. 25). All traditions about him agree in describing him as a contemporary and friend of Periander, tyrant of Corinth, so that he must have lived about B. C. 700. He appears to have spent a great part of his life at the court of Periander, but respecting his life and his poetical or musical productions, scarcely anything is known beyond the beautiful story of his escape from the sailors with whom he sailed from Sicily to Corinth. On one occasion, thus runs the story, Arion went to Sicily to take part in some musical contest. He won the prize, and, laden with presents, he embarked in a Corinthian ship to return to his friend Periander. The rude sailors coveted his treasures, and meditated his murder. Apollo, in a dream, informed his beloved bard of the plot. After having tried in vain to save his life, he at length obtained permission once more to seek delight in his song and playing on the cithara. In festal attire he placed himself in the prow of the ship and invoked the gods in inspired strains, and then threw himself into the sea. But many song-loving dolphins had assembled round the vessel, and one of them now took the bard on its back and carried him to Taenarus, from whence he returned to Corinth in safety, and related his adventure to Periander. When the Corinthian vessel arrived likewise, Periander inquired of the sailors after Arion, and they said that he had remained behind at Tarentum; but when Arion, at the bidding of Periander, came forward, the sailors owned their guilt and were punished according to their desert (Herod. i. 24; Gellius, xvi. 19; Hygin. Fab. 194; Paus. iii. 25.5.) In the time of Herodotus and Pausanias there existed on Taenarus a brass monument, which was dedicated there either by Periander or Arion himself, and which represented him riding on a dolphin. Arion and his cithara (lyre) were placed among the stars (Hygin. l. c.; Serv. ad Virg. Eclog. viii. 54; Aelian, H. A. xii. 45).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
...Periander, who disclosed the oracle's answer to Thrasybulus, was the son of
Cypselus, and sovereign of Corinth. The Corinthians say (and the Lesbians agree)
that the most marvellous thing that happened to him in his life was the landing
on Taenarus of Arion of Methymna, brought there by a dolphin. This Arion was a
lyre-player second to none in that age; he was the first man whom we know to compose
and name the dithyramb which he afterwards taught at Corinth.
They say that this Arion, who spent most of his time with Periander,
wished to sail to Italy and Sicily, and that after he had made a lot of money
there he wanted to come back to Corinth. Trusting none more than the Corinthians,
he hired a Corinthian vessel to carry him from Tarentum.But when they were out
at sea, the crew plotted to take Arion's money and cast him overboard. Discovering
this, he earnestly entreated them, asking for his life and offering them his money.
But the crew would not listen to him, and told him either to kill himself and
so receive burial on land or else to jump into the sea at once. Abandoned to this
extremity, Arion asked that, since they had made up their minds, they would let
him stand on the half-deck in all his regalia and sing; and he promised that after
he had sung he would do himself in. The men, pleased at the thought of hearing
the best singer in the world, drew away toward the waist of the vessel from the
stern. Arion, putting on all his regalia and taking his lyre, stood up on the
half-deck and sang the "Stirring Song," and when the
song was finished he threw himself into the sea, as he was with all his regalia.
So the crew sailed away to Corinth; but a dolphin (so the story goes) took Arion
on his back and bore him to Taenarus. Landing there, he went to Corinth in his
regalia, and when he arrived, he related all that had happened. Periander, skeptical,
kept him in confinement, letting him go nowhere, and waited for the sailors. When
they arrived, they were summoned and asked what news they brought of Arion. While
they were saying that he was safe in Italy and that they had left him flourishing
at Tarentum, Arion appeared before them, just as he was when he jumped from the
ship; astonished, they could no longer deny what was proved against them. This
is what the Corinthians and Lesbians say, and there is a little bronze memorial
of Arion on Taenarus, the figure of a man riding upon a dolphin.
Commentary:
1. The dithyramb was a kind of dance-music particularly associated with the cult
of Dionysus.
2. Stirring Song (orthios nomos) was a high-pitched (and apparently very well-known)
song or hymn in honor of Apollo.
This extract is from: Herodotus. The Histories (ed. A. D. Godley, 1920), Cambridge. Harvard University Press. Cited Oct 2003 from The Perseus Project URL below, which contains comments & interesting hyperlinks.
Methymna, whence came Arion, who, according to a myth told by Herodotus and his followers, safely escaped on a dolphin to Taenarum after being thrown into the sea by the pirates. Now Arion played, and sang to, the cithara; and Terpander, also, is said to have been an artist in the same music and to have been born in the same island, having been the first person to use the seven-stringed instead of the four-stringed lyre, as we are told in the verses attributed to him:
For thee I, having dismissed four-toned song, shall sing new hymns to the tune of a seven-stringed cithara
This extract is from: The Geography of Strabo (ed. H. L. Jones, 1924), Cambridge. Harvard University Press. Cited Oct 2003 from The Perseus Project URL below, which contains comments & interesting hyperlinks.
The Dithyramb.The Dorian worship of the gods, and especially of Apollo, had been accompanied from an early time by choral lyrics, to which an artistic development was given by Alcman of Sparta (660 B.C.) and Stesichorus of Himera (620 B.C.). It was reserved for a man of Aeolian origin to perfect one particular species of the poetry which Dorians had made their own.Arion, of Methymna in Lesbos, lived about 600 B.C. He gave a finished form to the dithurambos, or choral hymn in honour of Dionysus. The kuklios choros--i. e. the chorus which stood, or danced, round the altar of Dionysus--received from him a more complete organisation, its number being fixed at fifty. The earliest kuklioi choroi of this kind were trained and produced by Arion at Corinth in the reign of Periander. Pindar alludes to this when he speaks of Corinth as the place where the graces of Dionysus --the joyous song and dance of his festival--were first shown forth, sun boelatai . . . dithuramboi (Olymp. xiii. 19). The epithet boelates which is there given to the dithyramb probably refers to the fact that an ox was the prize, rather than to a symbolical identification of Dionysus with that animal. In one of his lost poems Pindar had connected the origin of the dithyramb with Naxos, and, in another, with Thebes. This is quite consistent with Corinth having been the first home of the matured dithyramb. It is well known that the dithyramb had existed before Arion's time. The earliest occurrence of the word is in Archilochus (circ. 670 B.C.), fr. 79: hos Dionusoi' anaktos kalon exarxai melos | oida dithurambon, oinoi sunkeraunotheis phrenas--a testimony to the impassioned character of the song. Herodotus speaks of Arion as not merely the developer, but the inventor (i. 23); and Aristotle made a similar statement, if we can trust the citation in Photius (ton de arxamenon tes oides Aristoteles Ariona phesin einai, hos protos ton kuklion egage choron: Biblioth. Cod. 239). But it was natural that the man who developed and popularised the dithyramb should have come to figure in tradition as its inventor. The etymology of dithurambos is unknown. Plato conjectures that its original theme was the birth of Dionysus (Legg. p. 700 B). If this was so, at any rate the scope must soon have been enlarged, so as to include all the fortunes of the god.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited August 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Arion: Various WebPages
Επικός ποιητής.
ΜΥΤΙΛΗΝΗ (Πόλη) ΛΕΣΒΟΣ
Ο Οδυσσέας Ελύτης (λογοτεχνικό ψευδώνυμο του Οδυσσέα Αλεπουδέλη) γεννήθηκε
στο Ηράκλειο της Κρήτης, γιος του εργοστασιάρχη σαπωνοποιίας και πυρηνελαιουργίας
Παναγιώτη Θ. Αλεπουδέλη και της Μαρίας το γένος Βρανά, που κατάγονταν από τη Μυτιλήνη.
Είχε τέσσερις αδερφούς και μια αδερφή τη Μυρσίνη, που πέθανε σε ηλικία είκοσι
χρόνων το 1918. Το 1914 το εργοστάσιο μεταφέρθηκε στον Πειραιά και η οικογένεια
Αλεπουδέλη εγκαταστάθηκε στην Αθήνα. Λόγω της πολιτικής τοποθέτησής του υπέρ του
Βενιζέλου, ο Παναγιώτης Αλεπουδέλης φυλακίστηκε και η οικογένειά του διώχτηκε
(1920).
Ο Οδυσσέας φοίτησε στο ιδιωτικό λύκειο Δ.Ν.Μακρή (1917-1924) με δασκάλους
μεταξύ άλλων τους Ι.Μ.Παναγιωτόπουλο, Ι.Θ. Κακριδή και Γιάννη Αποστολάκη. Σε παιδική
και νεανική ηλικία ταξίδεψε στην Ελλάδα (κυρίως στα νησιά του Αιγαίου) και την
Ευρώπη. Το 1924 γράφτηκε στο Γ΄ Γυμνάσιο Αρρένων στην Αθήνα (από όπου αποφοίτησε
το 1928) και άρχισε να γράφει στη Διάπλαση των Παίδων. Το καλοκαίρι του επόμενου
χρόνου πέθανε ο πατέρας του από πνευμονία.
Από το 1927 ξεκίνησε το εντεινόμενο ενδιαφέρον του για τη λογοτεχνία.
Το 1929 θεωρείται ως ορόσημο στη ζωή του Ελύτη. Τότε ήρθε σε επαφή με τον Υπερρεαλισμό,
μέσω της ποίησης του Λόρκα και του Ελυάρ και έγραψε τα πρώτα του ποιήματα. Τον
επόμενο χρόνο γράφτηκε στη Νομική Σχολή του Πανεπιστημίου Αθηνών. Το 1933 έγινε
μέλος της Ιδεοκρατικής Φιλοσοφικής Ομάδας του Πανεπιστημίου, μαζί με τους Κωνσταντίνο
Τσάτσο, Π. Κανελλόπουλο, Θεόδωρο Συκουτρή και άλλους. Το 1935 ταξίδεψε στη Μυτιλήνη
μαζί με τον Ανδρέα Εμπειρίκο, όπου γνώρισε τη ζωγραφική του Θεόφιλου. Γνωρίστηκε
επίσης με τους Κ.Γ.Κατσίμπαλη, Γιώργο Σεφέρη, Γιώργο Θεοτοκά και Α.Καραντώνη,
ιδρυτές των Νέων Γραμμάτων, όπου πρωτοδημοσίευσε ποιήματα με το ψευδώνυμο Ελύτης.
Το 1936 γνωρίστηκε με τον μετέπειτα στενό φίλο του Νίκο Γκάτσο και στο τέλος του
χρόνου κατατάχτηκε στο στρατό, στη σχολή εφέδρων αξιωματικών της Κέρκυρας. Στα
τέλη του 1937 μετατέθηκε στην Αθήνα και απολύθηκε το 1938.
Το 1940 κατατάχθηκε στη Βόρειο Ήπειρο. Ένα χρόνο αργότερα κινδύνεψε
να πεθάνει από κοιλιακό τύφο και γύρισε στην Αθήνα. Το 1945 διορίστηκε διευθυντής
προγράμματος της νεοσύστατης τότε Ελληνικής Ραδιοφωνίας με εισήγηση του Γιώργου
Σεφέρη (παραιτήθηκε ένα χρόνο αργότερα) και συνεργάστηκε με τα περιοδικά Νέα Γράμματα
και Αγγλοελληνική Επιθεώρηση.
Από το 1948 ως το 1951 εγκαταστάθηκε στο Παρίσι, από όπου ταξίδεψε
στην Ισπανία, την Ιταλία και την Αγγλία. Στο Λονδίνο γνωρίστηκε με το Mario Vitti
και τον Pablo Picasso.
Μετά την επιστροφή του στην Αθήνα έγινε μέλος της Ομάδας των Δώδεκα
(1952-1953), έγινε μέλος του Δ.Σ. του Θεάτρου Τέχνης(1953), του Ελληνικού Χοροδράματος
(1955) και επαναδιορίστηκε στην Ελληνική Ραδιοφωνία (από το 1953 ως τη νέα παραίτησή
του το 1954). Συνεργάστηκε με το Εθνικό Θέατρο και το Θέατρο Τέχνης ως μεταφραστής.
Το 1960 πέθαναν η μητέρα του και ο αδελφός του Κωνσταντίνος. Από το 1961 ταξίδεψε
στην Αμερική, τη Σοβιετική Ένωση, τη Βουλγαρία. Το 1965 χρονολογείται και η έναρξη
της ενασχόλησής του με τη ζωγραφική και το κολάζ.
Μετά το πραξικόπημα του 1967 κατέφυγε στο Παρίσι (1969) και το 1970
ταξίδεψε για τέσσερις μήνες στην Κύπρο (στην Κύπρο ξαναπήγε το 1973). Το 1974
έγινε πρόεδρος του Δ.Σ. της Ελληνικής Ραδιοφωνίας Τηλεόρασης. Πέθανε το Μάρτη
του 1996 στην τελευταία του κατοικία στην οδό Σκουφά.
Η πρώτη επίσημη εμφάνιση του Οδυσσέα Ελύτη στο χώρο της λογοτεχνίας
πραγματοποιήθηκε το 1939 με την έκδοση της πρώτης ποιητικής συλλογής του με τίτλο
Προσανατολισμοί. Το 1942 δημοσίευσε το δοκίμιο Η αληθινή φυσιογνωμία και η λυρική
τόλμη του Ανδρέα Κάλβου και το 1943 εκδόθηκε η ποιητική συλλογή του Ήλιος ο Πρώτος.
Ακολούθησαν μεταξύ άλλων το ?ξιον Εστί (1959), οι Έξι και μια τύψεις για τον ουρανό
(1960), το Μονόγραμμα (στις Βρυξέλλες), το Φωτόδεντρο και η δέκατη τέταρτη ομορφιά
και ο Ήλιος ο Ηλιάτορας (1971), η Σαπφώ και ο Μικρός Ναυτίλος (1984), τα Ελεγεία
της Οξώπετρας (1991), και οι τελευταίες του συλλογές Δυτικά της λύπης και Ο κήπος
με τις αυταπάτες (1995). Ο Οδυσσέας Ελύτης τιμήθηκε με το Πρώτο Κρατικό Βραβείο
Ποίησης (1960) , το Παράσημο Ταξίαρχου του Φοίνικος (1965), με το βραβείο Νόμπελ
λογοτεχνίας (1979), με το Χρυσό Μετάλλιο Τιμής του Δήμου Αθηναίων (1982), με το
βραβείο Μεσόγειος της Κοινότητας των Μεσογειακών Πανεπιστημίων (1988), με το Παράσημο
του Ανώτατου Ταξίαρχου της Λεγεώνας της Τιμής στο Παρίσι (1989). Το 1972 αρνήθηκε
βραβείο θεσπισμένο από τη δικτατορία και το 1977 αρνήθηκε την αναγόρευσή του ως
Ακαδημαϊκού. Το 1987 αναγορεύτηκε επίτιμος διδάκτωρ των Πανεπιστημίων της Ρώμης
και της Αθήνας. Εκτός από το ποιητικό του έργο στην Ελλάδα κυκλοφόρησαν ο τόμος
κριτικών κειμένων του Ανοιχτά χαρτιά (1974), ποιητικές και θεατρικές μεταφράσεις
του, δοκίμια και πεζογραφήματα. Εικαστικά έργα του παρουσιάστηκαν το 1980 σε έκθεση
με κολάζ του και τίτλο Συνεικόνες στην Αθήνα, το 1988 στο Beaubourg της Γαλλίας
και το 1992 στο Μουσείο μοντέρνας Τέχνης της ?νδρου. Ο Οδυσσέας Ελύτης τοποθετείται
από τους ιστορικούς της λογοτεχνίας στους κορυφαίους έλληνες ποιητές του αιώνα
μας. Με την ποίησή του υπέταξε τα λεγόμενα ορθόδοξα σχήματα της λογοτεχνικής έκφρασης
του υπερρεαλιστικού ρεύματος στην έκφραση της δια βίου πνευματικής αγωνίας του
για τον ορισμό της νεοελληνικής ταυτότητας σε σχέση με τη Δύση. Έργα του μεταφράστηκαν
σε πολλές ξένες γλώσσες. 1. Για περισσότερα βιογραφικά στοιχεία του Οδυσσέα Ελύτη
βλ., Δασκαλόπουλος Δημήτρης, «Χρονολόγιο Οδυσσέα Ελύτη», Χάρτης21-23, 11/1986,
σ.261-280, Σταυροπούλου Έρη, «Χρονολόγιο Οδυσσέα Ελύτη (1911-1995)», Διαβάζω362,
4/1996, σ.54-61, «Χρονολόγιο Οδυσσέα Ελύτη», Επτά Ημέρες (Καθημερινής)ΚΑ΄, 1997,
σ.105-120 και Vitti Mario, «Ελύτης Οδυσσέας», Παγκόσμιο Βιογραφικό Λεξικό3. Αθήνα,
Εκδοτική Αθηνών, 1985.
Ενδεικτική Βιβλιογραφία
- Αδαμόπουλος Χρίστος, Λόγος κεκρυμμένος περί φωτός · ή Αξονική τομογραφία Οδυσσέα Ελύτη. Μελέτη ομιλίας και ελληνικής γραφής. Αθήνα, Οι εκδόσεις των φίλων, 1987.
- Αργυρίου Αλ., Ανοιχτοί λογαριασμοί στην ποίηση του Οδυσσέα Ελύτη. Αθήνα, Καστανιώτης, 1998.
- Γαβαλάς Δημήτρης, Η εσωτερική διαλεκτική στη «Μαρία Νεφέλη» του Οδυσσέα Ελύτη. Θεσσαλονίκη, Κώδικας, 1987.
- Γιαλουράκης Μανώλης, «Ελύτης Οδυσσέας», Μεγάλη Εγκυκλοπαίδεια της Νεοελληνικής Λογοτεχνίας6. Αθήνα, Χάρη Πάτση.
- Γκρίτση-Μιλλιέξ Τατιάνα, Το «?ξιον Εστί» του Οδυσσέα Ελύτη. Κύπρος, 1961.
- Δανιήλ Ανθούλα, Οδυσσέας Ελύτης, μια αντίστροφη πορεία. Από το Ημερολόγιο ενός αθέατου Απριλίου στους Προσανατολισμούς. Αθήνα, Επικαιρότητα, 1986.
- Δασκαλόπουλος Δημήτρης, Βιβλιογραφία Οδυσσέα Ελύτη (1971-1992). Αθήνα, Εταιρεία Συγγραφέων, 1993.
- Δεκαβάλλες Αντώνης, Ο Ελύτης από το χρυσό ως το ασημένιο ποίημα. Αθήνα, Κέδρος, 1990.
- Δημοπούλου - Χατζηπέτρου Ντίνα, Οδυσσέας Ελύτης. Το μέτρημα του ανθρώπου. Αθήνα, εκδ. Κριτικών Φύλλων, 1985.
- Δήμου Νίκος, Δοκίμια 1, Οδυσσέας Ελύτης. Αθήνα, Νεφέλη, 1992.
- Ζωγράφου Λιλή, Ο ηλιοπότης Ελύτης. Αθήνα, Ερμείας.
- Θαλάσσης Γιώργος, Οδυσσέας Ελύτης. Τέχνη μυρεψού. Αθήνα, Βιβλιοπωλείο της Εστίας, 1974.
- Ιακώβ Δανιήλ Ι., Η αρχαιογνωσία του Οδυσσέα Ελύτη. Αθήνα, Πολύτυπο, 1983.
- Ιωάννου Γιάννης Η., Οδυσσέας Ελύτης. Από τις καταβολές του Υπερρεαλισμού στις εκβολές του μύθου. Αθήνα, Καστανιώτης, 1991.
- Καποδίστριας Παναγιώτης Π., Η αναστύλωση του απωλεσμένου πολιτεύματος. (Τύποι στιγμών στον Ελύτη). ?μφισσα, 1992 (ανάτυπο από το περ. Τετράμηνα48, σ.3199-3216)
- Καραντώνης Αντρέας, Για τον Οδυσσέα Ελύτη. Αθήνα, Παπαδήμας, 1980.
- Κεφαλίδης Ν.Χ. - Παπάζογλου Γ.Κ., Πίνακας λέξεων «Ποιημάτων» του Οδυσσέα Ελύτη. Θεσσαλονίκη, 1985.
- Κοκόλης Ξ.Α., Για το ?ξιον Εστί του Ελύτη - μια οριστικά μισοτελειωμένη ανάγνωση. Θεσσαλονίκη, University Studio Press, 1984.
- Λιγνάδης Τάσος, Το ?ξιον Εστί του Ελύτη - Εισαγωγή - Σχολιασμός - Ανάλυση. Αθήνα,
1976 (β' έκδοση με προσθήκη)
- Λυχναρά Λίνα, Η μεταλογική των πραγμάτων: Οδυσσέας Ελύτης. Αθήνα, Ίκαρος, 1980.
- Λυχναρά Λίνα, Το μεσογειακό τοπίο στην ποίηση του Γιώργου Σεφέρη και του Οδυσσέα Ελύτη. Μια παράλληλη ανάγνωση. Αθήνα, Βιβλιοπωλείο της Εστίας, 1996.
- Μαρωνίτης Δ.Ν., Όροι του λυρισμού στον Οδυσσέα Ελύτη. Αθήνα, Κέδρος, 1980.
- Μαυρομάτης Δημήτρης Κ., Πίνακας λέξεων του «?ξιον Εστί» του Οδυσσέα Ελύτη. Ιωάννινα, Πανεπιστήμιο Ιωαννίνων, Φιλοσοφική Σχολή. Έδρα Νεοελληνικής Φιλολογίας, 1981.
- Μερακλής Μ.Γ., Δεκαπέντε ερμηνευτικές δοκιμές στον Οδυσσέα Ελύτη. Αθήνα, Πατάκης, 1984.
- Παπαχρίστου - Πάνου Ευαγγελία, «Ιδού εγώ?» 1+4 δοκίμια για τον Οδυσσέα Ελύτη. Αθήνα, Δωδώνη, 1980.
- Τσεκούρας Δ.Ι., «Το Μονόγραμμα του Οδυσσέα Ελύτη (μια πρώτη κειμενογλωσσολογική/υφολογική ανάγνωση του έργου)», Πόρφυρας75 (Κέρκυρας), 10-12/1995, σ.87-96.
- Φράιερ Κίμων, ?ξιον εστί το τίμημα. Εισαγωγή στην ποίηση του Οδυσσέα Ελύτη.
Μετάφραση Νάσος Βαγενάς. Αθήνα, Κέδρος, 1978.
- Carson Jeffrey (μετάφραση Στρατή Πασχάλη), «Σχόλια στην ποίηση του Οδυσσέα Ελύτη», Η λέξη3, 3-4/1981, σ.167-171.
- Vitti Mario, Οδυσσέας Ελύτης - Κριτική μελέτη. Αθήνα, Ερμής, 1984.
- Vitti Mario, Οδυσσέας Ελύτης. Βιβλιογραφία 1935-1971. Συνεργασία Αγγελικής Γαβαθά. Αθήνα, Ίκαρος, 1977.
- Vitti Mario (επιμ.), Εισαγωγή στην ποίηση του Ελύτη, Επιλογή κριτικών κειμένων ? Επιμέλεια Mario Vitti. Ηράκλειο, Πανεπιστημιακές εκδόσεις Κρήτης, 1999.
Αφιερώματα περιοδικών -
- The Charioteer1, (Νέα Υόρκη), Φθινόπωρο 1960.
- Bolet ίn de la Universidad de Chile73, (Σαντιάγο), 4/1967.
- La Nouvelle Revue Francaise, (Παρίσι), 6/1970.
- Αιολικά Γράμματα13, ετ.3, 1-2/1973.
- Books Αbroad49, (Oklahoma), αρ.4, Φθινόπωρο 1975.
- Αιολικά Γράμματα8, αρ.43-44, 1-4/1975.
- Επίκαιρα586, 25/10/1979.
- Απανεμιά14, ετ.3, 11-12/1979.
- Αντί146, 29/2/1980.
- Θεατρικά Τετράδια3, ετ.Α', 3/1980.
- Η λέξη3, 3-4/1981, σ.155-171 και 241-246.
- The Charioteer24-25, (Νέα Υόρκη), 1982-1983.
- Γράμματα και Τέχνες43-44, 11-12/1985.
- Χάρτης21-23, 11/1986.
- Η λέξη92, 2/1990, σ.91-113.
- Η λέξη106, 11-12/1991.
- Αντί492, 24/4/1992.
- Εντευκτήριο6, (Θεσσαλονίκη), αρ.23-24, Καλοκαίρι - Χειμώνας 1993.
- Εντευκτήριο (Θεσσαλονίκη), αρ.28-29, Φθινόπωρο - Χειμώνας 1994.
- Επτά Ημέρες (Καθημερινής), 25/9/1994.
- Διαβάζω362, 4/1996.
- Επτά Ημέρες (Καθημερινής)ΚΑ', "Τα Ελληνικά Νόμπελ", 1997.
- Διαβάζω372, 3/1997, σ.47-65.
- Ελίτροχος12, ?νοιξη-Καλοκαίρι 1997, σ.57-105.
- Νέα Εστία141, 15/4/1997, ετ.ΟΑ', αρ.1674-1675.
Για περισσότερα στοιχεία βλ. Vitti Mario, Βιβλιογραφία Οδυσσέα Ελύτη (1971-1992). Αθήνα, Εταιρεία Συγγραφέων, 1993, Δασκαλόπουλος Δημήτρης, Βιβλιογραφία Οδυσσέα Ελύτη (1971-1992). Αθήνα, Εταιρεία Συγγραφέων, 1993, Δασκαλόπουλος Δημήτρης, «Βιβλιογραφικά Οδυσσέα Ελύτη (1993-1997)», Νέα Εστία141, 1η & 15/4/1997, ετ.ΟΑ΄, αρ.1674-1675, σ.611-635 και Σταυροπούλου Έρη, «Οδυσσέας Ελύτης: Επιλογή Βιβλιογραφίας», Διαβάζω362, 4/1996, σ.78-83.
Εργογραφία
(πρώτες αυτοτελείς εκδόσεις)
Ι.Ποίηση
- Προσανατολισμοί. Αθήνα, 1936. (ανάτυπο από το περ. Τα Νέα Γράμματα1 , 11/1935, σ.585-588).
- Οι κλεψύδρες του αγνώστου. Αθήνα, 1937. (ανάτυπο από τα "Επτά νυχτερινά
επτάστιχα", Μακεδονικές Ημέρες5 (Θεσσαλονίκη), 1-2/1937, σ.1-3.
- Προσανατολισμοί. Αθήνα, Πυρσός, 1940.
- Ήλιος ο Πρώτος μαζί με τις Παραλλαγές πάνω σε μιαν αχτίδα. Αθήνα, Ο Γλάρος, 1943.
- Το ?ξιον Εστί. Αθήνα, Ίκαρος, 1959.
- Έξη και μια τύψεις για τον ουρανό. Αθήνα, Ίκαρος, 1960.
- ?σμα ηρωικό και πένθιμο για το χαμένο ανθυπολοχαγό της Αλβανίας. Αθήνα, Ίκαρος, 1962.
- Θάνατος και ανάστασις του Κωνσταντίνου Παλαιολόγου. Αθήνα, 1971.
- Ο Ήλιος ο ηλιάτορας. Αθήνα, Ίκαρος, 1971.
- Το φωτόδεντρο και Η δέκατη τέταρτη ομορφιά. Αθήνα, Ίκαρος, 1971.
- Το Μονόγραμμα. Famagouste (Chypre), Les Editions de l' Oiseau, 1971 (πρώτη έκδοση
στην Αθήνα, Ίκαρος, 1972).
- Τα ρω του έρωτα. Αθήνα, Αστερίας, 1972.
- Ο Φυλλομάντης. Αθήνα, Αστερίας, 1973.
- Τα ετεροθαλή. Αθήνα, Ίκαρος, 1974.
- Villa Natacha. Θεσσαλονίκη, τραμ, 1973.
- Η καλωσύνη στις λυκοποριές. Espana, Dimitri, 1977.
- Μαρία Νεφέλη. Αθήνα, Ίκαρος, 1978.
- Τρία ποιήματα με σημαία ευκαιρίας. Αθήνα, Ίκαρος, 1982.
- Ωδή στη Σαντορίνη. Με ένα σχέδιο του Γεράσιμου Στέρη. Αθήνα, Αρχείο Θηραϊκών Μελετών - Συλλογή Δημήτρη Τσίτουρα, 1984.
- Ημερολόγιο ενός αθέατου Απριλίου. Αθήνα, Ύψιλον/βιβλία, 1984.
- Ο μικρός ναυτίλος. Αθήνα, Ίκαρος, 1985.
- Ιουλίου λόγος. Αθήνα, 1991.
- Τα ελεγεία της οξώπετρας. Προμετωπίδα Κώστα Πανιαρα. Αθήνα, Ίκαρος, 1991.
- Η ποδηλάτισσα. Εικόνες Ελένη Καλοκύρη. Δημήτρης Καλοκύρης. Αθήνα, Βιβλιοπωλείο της Εστίας, 1991.
- Δυτικά της λύπης. Αθήνα, Ίκαρος, 1995.
- Εκ του πλησίον. Αθήνα, Ίκαρος, 1998.
ΙΙ.Μεταφράσεις
- Paul Eluard. Ποιήματα - Εισαγωγή και απόδοση Οδυσσέα Ελύτη. Αθήνα, τυπ.Σεργιάδη, 1936. (ανάτυπο των «Paul Eluard · Ποιήματα Ι-ΙΧ», Τα Νέα Γράμματα2, 3/1936, σ.232-236 και «Paul Eluard · (Une seule vision variee a l? infini)», Τα Νέα Γράμματα2, 3/1936, σ.227-232)
- Paul Eluard. Από το «Δημόσιο Ρόδο». Ελληνική απόδοση Οδυσσέα Ελύτη. Αθήνα, τυπ.
Σεργιάδη, 1936. (ανάτυπο από το «Paul Eluard - Από το Δημόσιο Ρόδο», Τα Νέα Γράμματα2,
11/1936, σ.854-860.
- Pierre Jean Jouve. Ποιήματα - Εισαγωγή και απόδοση Οδυσσέα Ελύτη. Αθήνα, τυπ. Σεργιάδη, 1938. (ανάτυπο από τα «Pierre Jean Jouve - Ποιήματα Ι-ΧΧVΙΙ», Τα Νέα Γράμματα4, 10-12/1938, σ.761-773 και «Pierre Jean Jouve», Τα Νέα Γράμματα4, 10-12/1938, σ.754-760)
- Ζαν Ζιρωντού. Νεράιδα - Ονειρόδραμα σε τρεις πράξεις. Μετάφραση Οδυσσέα Ελύτη. Αθήνα, Εταιρεία Σπουδών Σχολής Μωραΐτη, 1973.
- Μπέρτολντ Μπρεχτ. Ο κύκλος με την κιμωλία στον Καύκασο - Θρύλος σε πέντε πράξεις. Μετάφραση Οδυσσέα Ελύτη. Αθήνα, Εταιρία Σπουδών Νεοελληνικού Πολιτισμού και Γενικής Παιδείας, 1974.
- Δεύτερη Γραφή , Arthur Rimbaud - Comte de Lautreamont - Paul Eluard - Pierre Jean Jouve - Giuseppe Ungaretti - Federico Garcia Lorca - Vladimir Maiakovski. Αθήνα, Ίκαρος, 1976.
- Σαπφώ. Ανασύνθεση και απόδοση Οδυσσέας Ελύτης. Αθήνα, Ίκαρος, 1984.
- Ιωάννης - Η Αποκάλυψη - Μορφή στα νέα ελληνικά Οδυσσέας Ελύτης. Αθήνα, Ύψιλον/βιβλία, 1985.
- Κριναγόρας - Μορφή στα ελληνικά Οδυσσέας Ελύτης. Αθήνα, Ύψιλον/βιβλία, 1987.
Ζ- αν Ζενέ,.Οι Δούλες. Αθήνα, Ύψιλον/Βιβλία, 1994.
ΙΙΙ.Δοκίμιο - Πεζά - Λευκώματα
- Ανοιχτά χαρτιά. Αθήνα, Αστερίας, 1974.
- Ο ζωγράφος Θεόφιλος. Αθήνα, Αστερίας, 1973.
- Η μαγεία του Παπαδιαμάντη. Αθήνα, Ερμείας, 1976.
- Σηματολόγιον. Αθήνα, Ερμείας, 1977.
- Αναφορά στον Ανδρέα Εμπειρίκο. Θεσσαλονίκη, τραμ, 1978.
- Το δωμάτιο με τις εικόνες - Κείμενο Ευγένιος Αρανίτσης. Αθήνα, Ίκαρος, 1986.
- Ιδιωτική οδός. Αθήνα, Ύψιλον/βιβλία, 1989.
- Τα δημόσια και τα ιδιωτικά. Αθήνα, Ίκαρος, 1990.
- Οδυσσέας Ελύτης. ?νδρος, Μουσείο Σύγχρονης Τέχνης. Ίδρυμα Βασίλη και Ελίζας Γουλανδρή, 1992.
- Εν λευκώ. Αθήνα, Ίκαρος, 1992.
- Οδυσσέας Ελύτης. Αθήνα, Ίκαρος, 1996.
- Ο κήπος με τις αυταπάτες. Αθήνα, Ύψιλον/βιβλία, 1995.
Για αναλυτικότερα στοιχεία βλ. Vitti Mario, Βιβλιογραφία Οδυσσέα Ελύτη (1971-1992). Αθήνα, Εταιρεία Συγγραφέων, 1993, Δασκαλόπουλος Δημήτρης, Βιβλιογραφία Οδυσσέα Ελύτη (1971-1992). Αθήνα, Εταιρεία Συγγραφέων, 1993 και Δασκαλόπουλος Δημήτρης, «Βιβλιογραφικά Οδυσσέα Ελύτη (1993-1997)», Νέα Εστία141, 1 & 15/4/1997, ετ.ΟΑ΄, αρ.1674-1675, σ.611-635.
Το
Το Αξιον Εστί
Ο Οδυσσέας Ελύτης εναντίον ενός κόσμου που δεν αποδεχόταν η συνείδηση του,
του Μιχάλη Σταφυλά
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Alcaeus, (Alkaios). A famous lyric poet of Mitylene, in Lesbos,
an elder contemporary of Sappho. Towards the end of the seventh century B.C.,
as the scion of a noble house, he headed the aristocratic party in their contests
with the tyrants of his native town, Myrsilus, Melanchrus, and others. Banished
from home, he went on romantic expeditions as far as Egypt. When the tyrants were
put down, and his former comrade, the wise Pitta cus, was called by the people
to rule the State, he took up arms against him also as a tyrant in disguise; but,
attempting to force his return home, he fell into the power of his opponent, who
generously forgave him. Of his further life nothing is known. His poems in the
Aeolic dialect, arranged in ten books by the Alexandrians, consisted of hymns,
political songs (which formed the bulk of the collection), drinking songs, and
love songs, of which we have but a few unsatisfactory fragments. In the opinion
of the ancients, his poems were well constructed, while their tone was in harmony
with the lofty passion and manly vigour of his character. The alcaic strophe,
so much used by his admirer and not unworthy imitator, Horace, is named after
him.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Lyric Poetry: . . . In Lesbos the Aeolian lyric was brought to its highest perfection by Alcaeus of Mitylene (about 600), and by his contemporary Sappho, also a Lesbian, and teacher of the poetess Erinna.
Alcaeus (Alkaios), of Mytilene, in the island of Lesbos, the earliest of the Aeolian
lyric poets, began to flourish in the 42nd Olympiad when a contest had commenced
between the nobles and the people in his native state. Alcaeus belonged by birth
to the former party, and warmly espoused their cause. In the second year of the
42nd Olympiad (B. C. 611), we find the brothers of Alcaeus, namely, Cicis and
Antimenidas, fighting under Pittacus against Melanchrus, who is described as the
tyrant of Lesbos, and who fell in the conflict. Alcaeus does not appear to have
taken part with his brothers on this occasion: on the contrary, he speaks of Melanchrus
in terms of high praise (Fr. 7). Alcaeus is mentioned in connexion with the war
in Troas, between the Athenians and Mytilenaeans for the possession of Sigeum
(B. C. 606). Though Pittacus, who commanded the army of Mytilene, slew with his
own hand the leader of the Athenians, Phrynon, an Olympic victor, the Mytilenaeans
were defeated, and Alcaeus incurred the disgrace of leaving his arms behind on
the field of battle; these arms were hung up as a trophy by the Athenians in the
temple of Pallas at Sigeum. His sending home the news of this disaster in a poem,
addressed to his friend Melanippus (Fr. 56, seems to shew that he had a reputation
for courage, such as a single disaster could not endanger; and accordingly we
find him spoken of by ancient writers as a brave and skilful warrior. He thought
that his lyre was best employed in animating his friends to warlike deeds, and
his house is described by himself as furnished with the weapons of war rather
than with the instruments of his art. During the period which followed the war
about Sigeum, the contest between the nobles and the people of Mytilene was brought
to a crisis; and the people, headed by a succession of leaders, who are called
tyrants, and among whom are mentioned the names of Myrsilus, Megalagyrus, and
the Cleanactids, succeeded in driving the nobles into exile. During this civil
war Alcaeus engaged actively on the side of the nobles, whose spirits he endeavoured
to cheer by a number of most animated odes full of invectives against the tyrants;
and after the defeat of his party, he, with his brother Antimenidas, led them
again in an attempt to regain their country. To oppose this attempt Pittacus was
unanimously chosen by the people as aisumnetes (dictator) or tyrant. He held his
office for ten years (B. C. 589-579), and during that time he defeated all the
efforts of the exiled nobles, and established the constitution on a popular basis;
and then he resigned his power.
Notwithstanding the invectives of Alcaeus against him, Pittacus is
said to have set him at liberty when he had been taken prisoner, saying that "
forgiveness is better than revenge". Alcaeus has not escaped the suspicion of
being moved by personal ambition in his opposition to Pittacus. When Alcaeus and
Antimenidas perceived that all hope of their restoration to Mytilene was gone,
they travelled over different countries. Alcaeus visited Egypt and he appears
to have written poems in which his adventures by sea were described. Antimenidas
entered the service of the king of Babylon, and performed an exploit which was
celebrated by Alcaeus. Nothing is known of the life of Alcaeus after this period;
but from the political state of Mytilene it is most probable that he died in exile.
Among the nine principal lyric poets of Greece some ancient writers
assign the first place, others the second, to Alcaeus. His writings present to
us the Aeolian lyric at its highest point. But their circulation in Greece seems
to have been limited by the strangeness of the Aeolic dialect, and perhaps their
loss to us may be partly attributed to the same cause. Two recensions of the works
of Alcaeus were made by the grammarians Aristarchus and Aristophanes. Some fragments
of his poems which remain, and the excellent imitations of Horace, enable us to
understand something of their character.
His poems, which consisted of at least ten book, were called in general
Odes, Hymns, or Songs (aismata). Those which have received the highest praise
are his warlike or patriotic odes referring to the factions of his state stasiotika
or dichostasiastika, the "Alcaei minaces Camoenae" of Horace. Among the fragments
of these are the commencement of a song of exultation over the death of Myrsilus
(Fr. 4), and part of a comparison of his ruined party to a disabled ship (Fr.
2), both of which are finely imitated by Horace. Many fragments are preserved,
especially by Athenaeus (x.), in which the poet sings the praises of wine (Fr.
1, 3, 16, 18, 20). Muller remarks, that "it may be doubted whether Alcaeus composed
a separate class of drinking songs (sumpotika);... it is more probable that he
connected every exhortation to drink with some reflection, either upon the particular
circumstances of the time, or upon man's destiny in general". Of his erotic poems
we have but few remains. Among them were some addressed to Sappho; one of which,
with Sappho's reply, is preserved by Aristotle (Rhet. i. 9; Fr. 38; Sappho, fr.
30), and others to beautiful youths. Most of his remaining poems are religious
hymns and epigrams. Many of his poems are addressed to his friends individually.
The poetry of Alcaeus is always impassioned. Not only with him, but
with the Aeolic school in general, poetry was not a mere art, but the plain and
warm outpouring of the writer's inmost feelings.
The metres of Alcaeus were generally lively, and his poems seem to
have been constructed in short single strophes, in all of which the corresponding
lines were of the same metre, as in the odes of Horace. He is said to have invented
the well-known Alcaic strophe.
His likeness is preserved, together with that of Pittacus, on a brass coin of
Mytilene in the Roval Museum at Paris, which is engraved by Visconti.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Alpheus Mytilenaeus (Alpheios Mutilenaios), the author of about twelve epigrams in the Greek Anthology, some of which seen to point out the time when he wrote. In the seventh epigram (Jacobs) he refers to the state of the Roman empire, as embracing almost all the known world; in the ninth he speaks of the restored and flourishing city of Troy; and in the tenth he alludes to an epigram by Antipater Sidonius. Now Antipater lived under Augustus, and Troy had received great favours from Julius Caesar and Augustus. (Strab. xiii. p. 889.) Hence it is not improbable that Alpheus wrote under Augustus. It is true that in the fourth epigram he addresses a certain Macrinus, but there is no reason to suppose that this was the emperor Macrinus. Another difficulty has been started, on the ground that other. the eleventh epigram was inscribed, as we learn from Pausanias (viii. 52.3), on the statue of Philopoemen in Tegea, and that it is very improbable that such a statue should have stood without an inscription till the time of Alpheus. But the simple fact is, that no reason can be discovered for attributing this epigram to Alpheus. (Jacobs, Anthol. Graec. xiii. p. 839.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Christophorus, Patricius, a native of Mytilene, whose time is unknown, wrote in Iambic verse a Menologium, or history of the saints, arranged according to the saints' days in each month. The MS. was formerly in the Palatine Library, but is now in the Vatican, Cod. 383, No. 7. There are also MISS. of the whole or part of the work at Venice, Moscow, and Paris. It is cited more than once in the Glossarium of Meursius.
Περίφημος κιθαρωδός και αυλητής, νικητής στα Παναθήναια του 456 π.Χ..
Phrynnis or Phrynis (Phrunis). A writer of dithyrambic verse, born at Mitylene, but a resident of Athens about the time of the Peloponnesian War. He is said to have added two strings to the heptachord, and to have been the first to conquer at the musical contests introduced into the Panathenaea by Pericles
Crinagoras (Krinagoras), a Greek epigrammatic poet, the author of about fifty epigrams in the Greek Anthology, was a native of Mytilene, among the eminent men of which city he is mentioned by Strabo, who speaks of him as a contemporary (xiii.). There are several allusions in his epigrams, which refer to the reign of Augustus, and on the authority of which Jacobs believes him to have flourished from B. C. 31 to A. D. 9. We may also collect from his epigrams that he lived at Rome (Ep. 24), and that he was richer in poems than in worldly goods (Ep. 33). He mentions a younger brother of his, Eucleides (Ep. 12). From the contents of two of his epigrams Reiske inferred, that they must have been written by a more ancient poet of the same name, but this opinion is refuted by Jacobs. Crinagoras often shews a true poetical spirit. He was included in the Anthology of Philip of Thessalonica.
ΠΑΝΑΓΙΟΥΔΑ (Χωριό) ΜΥΤΙΛΗΝΗ
Τόπος καταγωγής του ποιητή ο οποίος γεννήθηκε στο Ηράκλειο της Κρήτης.
ΠΥΡΡΑ (Αρχαία πόλη) ΜΥΤΙΛΗΝΗ
7ος αιώνας π.Χ. Από τους ποιητές του Επικού κύκλου, έγραψε: Μικρή Ιλιάς, Κύπρια, Ιλίου πέρσις.
(Lesches) or Lescheus (Lescheus). A Cyclic poet, a native of Mitylene or Pyrrha, in the island of Lesbos, and considerably later than Arctinus. The best authorities concur in placing him in the time of Archilochus, or about B.C. 708-676. Hence the account which we find in ancient authors, of a contest between Arctinus and Lesches, can only mean that the latter competed with the earlier poet in treating the same subjects. His poem, in four books, which was attributed by many to Homer, and, besides, to very different authors, was called the "Little Iliad" (Ilias Mikra), and was clearly intended as a supplement to the great Iliad. It is learned from Aristotle that it comprised the events before the fall of Troy, the fate of Aiax, the exploits of Philoctetes, Neoptolemus, and Odysseus, which led to the taking of the city, as well as the account of the destruction of Troy itself; which statement is confirmed by numerous fragments. The last part of this (like the first part of the poem of Arctinus) was called the "Destruction of Troy"(Iliou Persis), from which Pausanias makes several quotations with reference to the sacking of Troy and the partition and carrying away of the prisoners.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Lesches, Lescheus, one of the so-called cyclic poets, the son of Aeschylinus, a native of Pyrrha, in the neighbourhood of Mytilene (Paus. x. 25, 5), and thence also called a Mytilenean or a Lesbian. He flourished about the 18th Olympiad; and therefore the tale, which is related about a contest between him and Arctinus, who lived about the beginning of the Olympiads, is an anachronism. This tradition is explained by the fact that Lesches treated, at least to some extent, the same events in his Little Iliad (Ilias he elasson or Ilias mikra), which were the subject of Arctinus's Aethiopis. The little Ilias, like all the other cyclic poems, was ascribed to various poets -to Homer himself, to Thestorides of Phocaea (Herod. Vit. Hom. 16), to the Lacedaemonian Cinaethon, and Diodorus of Erythrae. The poem consisted of four books, according to Proclus, who has preserved an extract from it. It was evidently intended as a supplement to the Homeric Iliad; consequently it related the events after the death of Hector, the fate of Ajax, the exploits of Philoctetes, Neoptolemus, and Ulysses, and the final capture and destruction of Troy (Arist. Poct. 23, Bekk.), which part of the poem was called The Destruction of Troy (Iliou persis). There was no unity in the poem, except that of historical and chronological succession. Hence Aristotle remarks that the little Iliad furnished materials for eight tragedies, whilst only one could be based upon the Iliad or Odyssey of Homer. The extracts which Proclus gives of the poem of Lesches are interwoven with those from the Aethiopis of Arctinus. It is not to be presumed, as Miiller shows (Hist. of Greek Lit. vi. 3), that either poet should have broken off in the middle of an event, in order that the other might fill up the gap. The different times at which they lived is sufficient proof to the contrary, and there are fragments extant which show that Lesches had treated of those events also which in Proclus's extract are not taken from him, but from Arctinus. (Comp. Welcker, der Epische Cydus, pp. 272, 358, 368.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Diophanes. Of Mytilene, one of the most distinguished Greek rhetoricians of the
time of the Gracchi. For reasons unknown to us, he was obliged to quit his native
place, and went to Rome, where he instructed Tiberius Gracchus, and became his
intimate friend. After T. Gracchus had fallen a victim to the oligarchical faction,
Diophanes and many other friends of Gracchus were also put to death. (Cic. Brut.
27; Strab. xiii.; Plut. T. Gracch. 8, 20.) Another much later rhetorician of the
same name occurs in Porphyry's life of Plotinus.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΜΥΤΙΛΗΝΗ (Πόλη) ΛΕΣΒΟΣ
Ο Νίκος Περέλης γεννήθηκε στην Μυτιλήνη. Σπούδασε θέατρο στη Σχολή
του Εθνικού Θεάτρου και στο Πανεπιστήμιο του Κεμπέκ (γαλλόφωνος Καναδάς). Παρακολούθησε
τη θεατρική πράξη στην Αμερική, τον Καναδά, την Γαλλία, Ρωσία και αλλού.
Εργάζεται ως σκηνοθέτης επί 30 χρόνια, έχοντας σκηνοθετήσει στην Ελλάδα
και στο εξωτερικό περισσότερα από 100 έργα (Στρίντμπεργκ, Ίψεν, Τσέχωφ, Σαίξπηρ,
Μπρέχτ, Γκόγκολ, Τουργκένιεγφ, Μολιέρο, Βάϊς, Κρέτς, Ευριπίδη, Σοφοκλή, Αρντεν,
Μπέκετ κ.ά.) Στην Ελλάδα συνεργάστηκε με το Εθνικό Θέατρο, με το Κρατικό Βορείου
Ελλάδος, με το Αρμα Θέσπιδος, με τους Δεσμούς, με το Θέατρο Καισαριανής κ.ά.
Έχει παρουσιάσει δουλειά του στην Επίδαυρο, στο Ηρώδειο, στον Λυκαβηττό.
Δημιούργησε επίσης το "Θέατρο 3ης Σεπτεμβρίου" που διηύθυνε για 5 χρόνια,
στον ομώνυμο δρόμο. Το 1985 ανέλαβε την διεύθυνση του Δημοτικού Θεάτρου Πάτρας
και το 1987-90 τη διεύθυνση Δημοτικού Θεάτρου Ιωαννίνων. Δίδαξε θέατρο στο Conservatoire
του Κεμπέκ, στη Σχολή Κατσέλη, στη σχολή του ΚΘΒΕ και στη σχολή Βεάκη. Από τον
Αύγουστο του 1996 μέχρι τον Ιούλιο του 2001 δημιούργησε και διεύθυνε την Πειραματική
Σκηνή του Εθνικού Θεάτρου. Το 2002 δημιούργησε, μαζί με συνεργάτες του, την "Αλλη
Σκηνή".
Έγραψε θέατρο: Πρώτο θεατρικό του έργο "Η Μπόμπα" που παρουσιάστηκε
το 1981 στο Θέατρο Αναλυτή, το 1982 στο Λαϊκό Δωδεκανησιακό Θέατρο Ρόδου και στην
ΕΡΤ1 και το 1984 στο Θέατρο 3ης Σεπτεμβρίου.
Ακολούθησε η "Φελαχα Γιουλαλαμ" (ή Συμβόλαιο Τιμής) που
παρουσιάστηκε στο Θέατρο 3ης Σεπτεμβρίου και στην ΕΡΤ1.
Το 1992 βραβεύτηκε, με το κρατικό βραβείο θεάτρου, το έργο του «Η
Μοναξιά των Σκουληκιών» που παρουσιάζεται το 1994 στο Εθνικό Θέατρο.
Το 2002 η «Αλλη Σκηνή» παρουσιάζει τους «Τελευταίους» στο Θέατρο Παραμυθίας,
στο Γκάζι.
Όλα του τα έργα έχουν εκδοθεί από τις Εκδόσεις Δωδώνη το 1998 (α'
τόμος) και το 2000 (β' τόμος).
Είναι τακτικό μέλος της Εταιρείας Ελλήνων Θεατρικών Συγγραφέων, της
Εταιρείας Ελλήνων Σκηνοθετών και του Διεθνούς ινστιτούτου θεάτρου.
Το κείμενο παρατίθεται τον Οκτώβριο 2004 από την ακόλουθη ιστοσελίδα,
με φωτογραφία, της Εταιρείας Ελλήνων Θεατρικών Συγγραφέων
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Coes (Koes), of Mytilene, attended Dareius Hystaspis in his Scythian expedition as commander of the Mytilenaeans, and dissuaded the king from breaking up his bridge of boats over the Danube, and so cutting off his own retreat. For this good counsel he was rewarded by Dareius on his return with the tyranny of Mytilene. In B. C. 501, when the lonians had been instigated to revolt by Aristagoras, CoΓ«s, with several of the other tyrants, was seized by latragoras at Myus, where the Persian fleet that had been engaged at Naxos was lying. They were delivered up to the people of their several cities, and most of them were allowed to go uninjured into exile; but Coes, on the contrary, was stoned to death by the Mytilenaeans. (Herod. iv. 97, v. 11, 37, 38)
Laomedon of Mytilene, son of Larichus, was one of Alexander's generals, and appears to have enjoyed a high place in his confidence even before the death of Philip, as he was one of those banished by that monarch (together with his brother Erigyius, Ptolemy, Nearchus, and others) for taking part in the intrigues of the young prince. (Arrian. Anab. iii. 6). After the death of Philip, Laomedon, in common with the others who had suffered on this occasion, was held by Alexander in the highest honour: he accompanied him to Asia, where, on account of his acquaintance with the Persian language, he was appointed to the charge of the captives. (Arrian. l. c.) Though his name is not afterwards mentioned during the wars of Alexander, the high consideration he enjoyed is sufficiently attested by his obtaining in the division of the provinces, after the king's death, the important government of Syria. (Diod. xviii. 3; Arrian. ap. Phot. p. 69, a; Dexipp. ap. Phot. p. 64, a; Justin. xiii. 4; Curt. x. 10; Appian. Syr. 52). This he was still allowed to retain on the second partition at Triparadeisus, but it was not long before the provinces of Phoenicia and Coele Syria excited the cupidity of his powerful neighbour Ptolemy. The Egyptian king at first offered Laomedon a large sum of money in exchange for his government; but the latter having rejected his overtures, he sent Nicanor with an army to invade Syria. Laomedon was unable to offer any effectual resistance: he was made prisoner by Nicanor, and sent into Egypt, from whence, however, he managed to effect his escape, and join Alcetas in Pisidia. (Arrian. ap. Phot. p. 71, b; Diod. xviii. 39, 43; Appian, Syr. 52). There can be no doubt that he took part in the subsequent contest of Alcetas, Attalus, and the other surviving partizans of Perdiccas against Antigonus, and shared in the final overthrow of that party (B. C. 320), but his individual fate is not mentioned.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
Erigyius, (Eriguios), a Mytilenaean, son of Larichus, was an officer in Alexander's army. He had been driven into banishment by Philip because of his faithful attachment to Alexander, and returned when the latter came to the throne in B. C. 336. At the battle of Arbela, B. C. 331, he commanded the cavalry of the allies, as he did also when Alexander set out from Ecbatana in pursuit of Dareius, B. C. 330. In the same year Erigyius was entrusted with the command of one of the three divisions with which Alexander invaded Hyrcania, and he was, too, among the generals sent against Satibarzanes, whom he slew in battle with his own hand. In 329, together with Craterus and Hephaestion, and by the assistance of Aristander the soothsayer, he endeavoured to dissuade Alexander from crossing the Jaxartes against the Scythians. In 328 he fell in battle against the Bactrian fugitives. (Arr. Anab. iii. 6, 11, 20, 23, 28, iv. 4; Diod. xvii. 57; Curt. vi. 4.3, vii. 3.2, 4.32-40, 7.6-29, viii. 2.40.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΜΥΡΙΝΑ (Κωμόπολη) ΛΗΜΝΟΣ
Η Μαρία Λαμπαδαρίδου - Πόθου γεννήθηκε στη Μύρινα Λήμνου, όπου έζησε
την παιδική ηλικία και τη νεότητά της.
Εργαζόμενη στο επαρχείο Λήμνου, πήρε πτυχίο της Παντείου και με υποτροφία
της Γαλλικής κυβέρνησης έκανε σπουδές στο θεατρικό τμήμα του Πανεπιστημίου του
Παρισιού.
Εκεί γνωρίστηκε με τον Samuel Beckett και διατήρησε πολύχρονη αλληλογραφία
μαζί του.
Στα Γράμματα παρουσιάστηκε από τη νεανική ηλικία της με την ποιοτική
συλλογή "Συναντήσεις" που ο Οδ. Ελύτης είχε χαρακτηρίσει ως ποίηση ωριμότητας.
Από τότε και μέχρι σήμερα έχουν εκδοθεί 34 βιβλία, ποίηση, μυθιστορήματα, δοκίμιο,
διηγήματα.
Επίσης έγραψε θέατρο. Εργα της έχουν παιχτεί στην Ελλάδα και στο εξωτερικό
(Γαλλία, Αμερική, Καναδάς, Βέλγιο). Το ποιητικό της έργο "Μυστικό πέρασμα"
που προτάθηκε για το αριστείο της Ευρώπης 1991, μετέφρασε ο Jacques Lacarriere
και εκδόθηκε στη Γαλλία με δικό του πρόλογο.
Το ίδιο έργο μεταφρασμένο από το Σουηδό Ingermar Rhedin, εκδόθηκε
από τον εκδοτικό οίκο Bonnier της Στοκχόλμης. Επίσης ετοιμάζεται η αγγλική έκδοσή
του.
Βραβεύτηκε από την ομάδα των 12 το 1966, από την Ακαδημία Αθηνών το
1987, για το μυθιστόρημά της "Η Μαρούλα της Λήμνου" και από το ίδρυμα
Ουράνη το 1995 για το μυθιστόρημα της "Με τη Λάμπα Θυέλλης".
Είναι παντρεμένη με το Μίνωα Πόθο και έχει ένα παιδί.
Οπως γράφει η ίδια: "Στόχος μου είναι να δώσω τη ζωή στις αθέατες
διαστάσεις της, να βρω τη σχέση της ανθρώπινης ψυχής με το αόρατο, αυτό που περιρρέει
σαν μαγεία το ορατό, δίνοντας άλλες οπτικές και σημασίες στα πράγματα. Πιστεύω
πως από αυτή τη σχέση, από το αόρατο ξανοίγονται οι δρόμοι της αυτογνωσίας, οι
ψυχογραφικοί δρόμοι των μυθιστορημάτων μου".
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα του Ιατρικού Συλλόγου Λήμνου
ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Adaeus, or Addaeus (Adaios or Addaios), a Greek epigrammatic poet, a native most
probably of Macedonia. The epithet Makedonos is appended to his name before the
third epigram in the Vat. MS. (Anth. Gr. vi. 228); and the subjects of the second,
eighth, ninth, and tenth epigrams agree with this account of his origin. He lived
in the time of Alexander the Great, to whose death he alludes (Anth. Gr. vii.
240). The fifth epigram (Anth. Gr. vii. 305) is inscribed Addaiou Mitulenaiou,
and there was a Mitylenaean of this name, who wrote two prose wroks Peri Agalmatopoion
and Peri Diapheseos (Athen. xiii., xi.). The time when he lived cannot be fixed
with certainty. Reiske, though on insufficient grounds, believes these two to
be the same person (Anth. Graec. vi. 228, 258, vii. 51, 238, 240, 305, x. 20).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Sep 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΚΑΜΙΝΙΑ (Χωριό) ΛΗΜΝΟΣ
Ο Θεόδωρος Μπελίτσος γεννήθηκε το 1957 στη Ν.
Σμύρνη, όπου διαμένει μέχρι και σήμερα και υπηρετεί ως καθηγητής στη δευτεροβάθμια
εκπαίδευση. Σπούδασε χημεία στο πανεπιστήμιο της Θεσσαλονίκης, αλλά εκτός από
την επιστήμη του ασχολείται με την ιστορία, τη λαογραφία και τη λογοτεχνία. Κατά
καιρούς έχει δημοσιεύσει άρθρα, μελέτες και διηγήματα σε περιοδικά και εφημερίδες.
Με τη Λήμνο συνδέθηκε κατά την τριετία 1984-87 όταν υπηρέτησε στο
γυμνάσιο του Μούδρου καθώς
και μετά το γάμο του με τη Λημνία από τα Καμίνια Μαρία Προβατοπούλου. Εχει ασχοληθεί
ιδιαίτερα με τη Λήμνο καθώς και με τον Α. Μοσχίδη.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα του Ιατρικού Συλλόγου Λήμνου
ΜΗΘΥΜΝΑ (Αρχαία πόλη) ΛΕΣΒΟΣ
In the course of it, we happened to meet with a storm which forced us to put in at a place within the territory of Methymna, where the boat on to which Herodes transhipped, and on which the prosecution maintain that he met his end, lay at anchor.
Archippus (Athenian) lost his life at Methymna while serving as trierarch.
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