Collins, Derek. 2004. Master of the Game: Competition and Performance in Greek Poetry. Hellenic Studies Series 7. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_CollinsD.Master_of_the_Game.2004.
ἀστοὶ βούλονται χρήμασι πειθόμενοι.
The citizens themselves, persuaded by money, wish to
destroy the great city through folly.
ὕβριος ἐκ μεγάλης ἄλγεα πολλὰ παθεῖν·
οὐ γὰρ ἐπίσταντα; κατέχειν κόρον  οὐδὲ παρούσας
εὐφροσύνας κοσμεῖν δαιτὸς ἐν ἡσυχίῃ.
And the mind of the people’s leaders is unjust, who are ready
to suffer many pains from their great insolence;
For they do not know how to restrain excess nor how to
order the present mirth in the quiet of a feast.
Solon may be less overtly critical of Homeric performance than Xenophanes and Heraclitus, but he registers an acute awareness that the symposium is functionally a microcosm of the polis. Anything that threatens the quiet order (ἡσυχία) of the symposium threatens to leach more generally into the social order.  And Solon’s own experience in rousing the Athenians to resume their war with Megara over Salamis demonstrates how well he understood the mobilizing force of poetry: he is said to have feigned madness in the marketplace, mounted the herald’s stone, and sang his own elegy berating the Athenians for resigning their claims before Megara.  Thus if epic poets, by means of their performative vehicle, rhapsodes, are deceptive—and I believe that like Xenophanes Solon must surely have had Homer’s and Hesiod’s claims about divine misadventure in mind—they deserve as much censure as unjust leaders since both can be politically dangerous. I find it amusing that, according to one report,  the only use that Solon ever had for pure hexameters, as opposed to elegy, was for his own laws—another rebuke to rhapsodes and epic tradition.