[92] Those who are curious in the matter of metres will find the Sapphic stanza reproduced in English, with perfect truth of cadence, in Swinburne's "Sapphics" (_Poems and Ballads_). The imitations by Horace are far less close to the original. [93] Bergk, p. 935. [94] _Carm._, i. 32, thus translated by Conington: Thou, strung by Lesbos' minstrel hand, The bard who 'mid the clash of steel, Or haply mooring to the strand, His battered keel, Of Bacchus and the Muses sung, And Cupid, still at Venus' side, And Lycus, beautiful and young, Dark-haired, dark-eyed. [95] _De Nat. Deorum_, i. 28. [96] See Bergk, p. 948. [97] _Rhet._, i. 9. [98] Bergk, p. 936. [99] The people of Athens gave him a statue on their Acropolis. The Teians struck his portrait on coins. Critias said that his poems would last as long as the Cottabos in Hellas. He did in fact exactly represent one side, and that the least heroic side, of the character of the Greeks--their simple love of sensual pleasure. As mere Hedonism grew, so did the songs and the style of Anacreon gain in popularity, whereas the stormier passion of Sappho became unfashionable. [100] It is unhistorical to confound the Dorians with the Spartans, who were a specially trained section of the Dorian stock. Yet it will be seen that, in relation at least to lyric poetry, Sparta fairly may be taken as _the_ Dorian state. [101] The dramatic art was hereditary among the Athenians. Æschylus left a son, Euphorion, and two nephews, Philocles and Astydamas, who produced tragedies. The last is reported to have written no fewer than two hundred and forty plays. Iophon, the son, and Sophocles, the grandson, of the great Sophocles, were dramatists of some repute at Athens. Euripides had a nephew of his own name, and Aristophanes two sons who followed the same calling. It is only from families like the Bachs that we can draw any modern parallel to this transmission of an art from father to son in the same race. [102] The reputation gained by Simonides among the ancients for the sorrow of his song is proved by the phrase of Catullus,--"Moestius lachrymis Simonideis" (more sad than tears shed by Simonides). [103] See Bergk, vol. iii. pp. 1128, 1129, 1132, 1227. CHAPTER XI. _PINDAR._ His Life.--Legends connected with him.--The Qualities of his Poetry.--The Olympic Games.--Pindar's Professional Character.--His Morality.--His Religious Belief.--Doctrine of a Future State.--Rewards and Punishments.--The Structure of his Odes.--The Proemia to his Odes.--His Difficulty and Tumidity of Style.