The only definite estimate of him by an ancient critic occurs in the treatise περὶ Ὕψους commonly translated "On the Sublime," but meaning rather, "On the Sources of Elevation in Style"; a work ambiguously ascribed to Cassius Longinus (circ. A.D. 260), but more probably due to some writer of the first century of our era. In chapter xxxiii. of that treatise, the author asks whether we ought to prefer "greatness" in literature, with some attendant faults, to flawless merit on a lower level, and of course replies in the affirmative. In tragedy, he asks, who would be Ion of Chios rather than Sophocles; or in lyric poetry, Bacchylides rather than Pindar? Yet Bacchylides and Ion are "faultless, with a style of perfect elegance and finish." In short, the essayist regards Bacchylides as a thoroughly finished poet of the second class, who never commits glaring faults, but never reaches the loftier heights.

The first and most general quality of style in Bacchylides is his perfect simplicity and clearness. Where the text is not corrupt, there are few sentences which are not lucid in meaning and simple in structure. This lucidity is partly due, no doubt, to the fact that he seldom attempts imagery of the bolder kind, and never has thoughts of a subtle or complex order. Yet it would be very unjust to regard such clearness as merely a compensatory merit of lyric mediocrity, or to ignore its intimate connexion with the man's native grace of mind, with the artist's feeling for expression, with the poet's delicate skill. How many readers, who could enjoy and appreciate Pindar if he were less difficult, are stopped on the threshold by the aspect of his style, and are fain to save their self-esteem by concluding that he is at once turgid and shallow! A pellucid style must always have been a source of wide, though modest, popularity for Bacchylides. If it be true that Hiero preferred him to Pindar, and that he was a favourite with Julian, those instances suggest the charm which he must always have had for cultivated readers to whom affairs did not leave much leisure for study, and who rejoiced in a poet with whom they could live on such easy terms.

Another prominent trait in the style of Bacchylides is his love of picturesque detail. This characteristic marks the fragment by which, before the discovery of the 1896 MS., he was best known - a passage, from one of his paeans, on the blessings of peace (fr. 13, Bergk, 3, Jebb); and it frequently appears in the Odes, especially in the mythical narratives. Greater poets can make an image flash upon the mind, as Pindar sometimes does, by a magic phrase, or by throwing one or two salient points into strong relief. The method of Bacchylides is usually quieter; he paints cabinet pictures. Observation and elegance do more for him than grasp or piercing insight; but his work is often of very high excellence in its own kind. His treatment of simile is only a special phase of this general tendency. It is exemplified by the touches with which he elaborates the simile of the eagle in Ode v., and that of the storm-tossed mariners in Ode xii. This full development of simile is Homeric in manner, but not Homeric in motive: Homer's aim is vividness; Bacchylides is rather intent on the decorative value of the details themselves. There are occasional flashes of brilliancy in his imagery, when it is lit up by his keen sense of beauty or splendour in external nature.

A radiance, "as of fire," streams from the forms of the Nereids (xvi. 103 ff.). An athlete shines out among his fellows like "the bright moon of the mid-month night" among the stars (viii. 27 ff.). The sudden gleam of hope which comes to the Trojans by the withdrawal of Achilles is like a ray of sunshine "from beneath the edge of a storm-cloud" (xii. 105 ff.). The shades of the departed, as seen by Heracles on the banks of the Cocytus, are compared to the countless leaves fluttering in the wind on "the gleaming headlands of Ida" (v. 65 ff.) - an image not unworthy of Dante or of Milton.

Among the minor features of this poet's style the most remarkable is his use of epithets. A god or goddess nearly always receives some ornamental epithet; sometimes, indeed, two or even three (e.g. καλυκοστεφάνου σεμνᾶς ... Ἀρτεμίδος λευκωλένου, v. 98 f.). Such a trait is in unison with the epic manner, the straightforward narrative, which we find in some of the larger poems (as in v., x., and xvi.). On the other hand, the copious use of such ornament has the disadvantage that it sometimes gives a tinge of conventionality to his work. This impression is somewhat strengthened by the fact that many of the epithets are long compound words, not found elsewhere and (in some cases at least) probably invented by the poet; words which suggest a deliberate effort to vary the stock repertory.

The poems contained in the MS. of Bacchylides found (see below) in 1896 are of two classes: I. Odes of Victory; II. Dithyrambs. The Ode of Victory, ἐπινίκιον (μέλος) or ἐπίνικος (ὕμνος), is a form derived from the ὕμνος, which was properly a song in praise of a deity. Stesichorus (c. 610 B.C.) seems to have been the first who composed hymns in honour, not of gods, but of heroes; the next step was to write hymns in celebration of victories by living men. This custom arose in the second half of the 6th century B.C., the age in which the games at the four great Greek festivals reached the fulness of their popularity. Simonides (b. c. 556 B.C.) was the earliest recorded writer of epinikia. His odes of this class are now represented only by a few very small fragments, some twenty lines in all. Two of these fragments, belonging to the description of a chariot-race, warrant the belief that Simonides, in his epinikia, differed from Pindar in dwelling more on the incidents of the particular victory.