It must be remembered that both Anacreon and Ibycus were court poets, singing in the palaces of Polycrates and Hippias. The youths they celebrated were probably little better than the _exoleti_ of a Roman Emperor.[74] This cannot be said exactly of Alcæus, whose love for black-eyed Lycus was remembered by Cicero and Horace. So little, however, is left of his erotic poems that no definite opinion can be formed about them. The authority of later Greek authors justifies our placing him upon the list of those who helped to soften and emasculate the character of Greek love by their poems.[75] Two Athenian drinking-songs preserved by Athenæus,[76] which seem to bear the stamp of the lyric age, may here be quoted. They serve to illustrate the kind of feeling to which expression was given in public by friends and boy-lovers:-- "Would I were a lovely heap of ivory, and that lovely boys carried me into the Dionysian chorus."[77] This is marked by a very delicate, though naïf, fancy. The next is no less eminent for its sustained, impassioned, simple, rhythmic feeling:-- "Drink with me, be young with me, love with me, wear crowns with me, with me when I am mad be mad, with me when I am temperate be sober." The greatest poet of the lyric age, the lyrist _par excellence_ Pindar, adds much to our conception of Greek love at this period. Not only is the poem to Theoxenos, whom he loved, and in whose arms he is said to have died in the theatre at Argos, one of the most splendid achievements of his art;[78] but its choice of phrase, and the curious parallel which it draws between the free love of boys and the servile love of women, help us to comprehend the serious intensity of this passion. "The flashing rays of his forehead," and "is storm-tossed with desire," and "the young-limbed bloom of boys," are phrases which it is impossible adequately to translate. So, too, are the images by which the heart of him who does not feel the beauty of Theoxenos is said to have been forged with cold fire out of adamant, while the poet himself is compared to wax wasting under the sun's rays. In Pindar, passing from Ibycus and Anacreon, we ascend at once into a purer and more healthful atmosphere, fraught, indeed, with passion and pregnant with storm, but no longer simply sensual. Taken as a whole, the Odes of Pindar, composed for the most part in the honour of young men and boys, both beautiful and strong, are the work of a great moralist as well as a great artist. He never fails to teach by precept and example; he does not, as Ibycus is reported to have done, adorn his verse with legends of Ganymede and Tithonus, for the sake of insinuating compliments. Yet no one shared in fuller measure the Greek admiration for health and grace and vigour of limb. This is obvious in the many radiant pictures of masculine perfection he has drawn, as well as in the images by which he loves to bring the beauty-bloom of youth to mind.