In the Hellenistic Age, after the time of Alexander, Sappho was very popular. Clearchus, the Peripatetic philosopher (300 B.C.) drew on her for his _Treatise on Love Matters_.[139] In the third book of his _Biographies_ Aristoxenus, a writer on music (320 B.C.), classes her among inventors as did Menaechmus of Sicyon in his treatise _On Artists_. He says that “her books were her companions.”[140] The third century B.C. showed a serious interest in the Lesbians, and Theocritus has many imitations of Sappho in dialect,[141] metre, and content. In the second idyl Simaetha’s description of her feelings is taken from Sappho. In the seventh idyl, the picture of the farm to which two friends walked out from Syracuse in order to attend a harvest home festival, Theocritus is imitating Sappho’s Garden of the Nymphs, especially in ll. 135 ff.: “Close at hand the sacred water from the nymphs’ own cave welled forth with murmurs musical” (Lang). Probably the eighteenth idyl on Helen and Menelaus borrowed much from Sappho, since the first lines seem to be cited as Sappho’s by Himerius. Line 38, “O maid of beauty, maid of grace,” is lifted bodily from Sappho. The twenty-eighth idyl on _A Distaff_ undoubtedly employed Sappho as a model, and likewise the twenty-ninth and thirtieth idyls. Callimachus (270 B.C.) in his first hymn (ll. 95 ff.) echoes the fragment which influenced Pindar (E. 100): “Wealth without virtue cannot make men happy, nor virtue without wealth, therefore grant both virtue and wealth.” It was about the same time that a fellow townsman, Callias, interpreted her poems as well as those of Alcaeus. Apollonius of Rhodes (260 B.C.) knew her, and so did the _Lament for Bion_, which has been attributed doubtfully to Moschus (150 B.C.): “Oh, Bion, Mytilene bewails thy song evermore instead of Sappho’s” (III. 91). Bion (100 B.C.?) in his _Lament for Adonis_ was probably influenced by Sappho’s words about the dying Adonis (E. 103) and used in l. 44 the same word as Sappho did in E. 29. The philosopher Chrysippus (240 B.C.) mentions her (fr. 36, 69), as does Cicero’s contemporary, the poet-philosopher Philodemus (60 B.C.). In fragment 57a he speaks of her, and in an epigram he uses as an “intelligence test” of an educated woman a knowledge of the poems of Sappho. Alexander the Sophist gave a university extension course of lectures on her poems. A little later in the Augustan Age the great literary critic and grammarian, Dionysius of Halicarnassus (20 B.C.), quotes the hymn to Aphrodite, and Strabo calls her a marvel. Living probably sometime in the first century A.D., the anonymous author of the _Treatise on the Sublime_ quotes the second ode. A little later, about 85 A.D., the golden-tongued orator, Dio, cites her, and his contemporary Plutarch often refers to her, in his _Essay on Love_, 18; in his _Dinner-table Problems_, VII. 8, 2; in his _Moralia_, 243b, 622c, and 406a, where there is a comparison with the practice of _Paiderastia_ of Socrates.