Compton, Todd M. 2006. Victim of the Muses: Poet as Scapegoat, Warrior and Hero in Greco-Roman and Indo-European Myth and History. Hellenic Studies Series 11. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Compton.Victim_of_the_Muses.2006.
Chapter 3. Archilochus: Sacred Obscenity and Judgment
ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους
εἰ]ς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,
ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα
π]ρωΐτερον τῆς νυκτός, σελήνης λαμπρούσης,
ἄγ]ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν
τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας
ἰδ]εῖν ἀθρόας· νομίσαντα δ’ ἀπὸ τῶν ἔργων ἀπιέναι
αὐτὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ
δέξασθαι αὐτὸν μετὰ παιδιᾶς καὶ γέλωτος καὶ
ἐ]περωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,
εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·
ῥη]θέντων δὲ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι
φα]νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·
κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν
γεν]όμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας
καὶ] τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-
με]νον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ
τὰ γ]ενόμενα δηλῶσαι …
As in the poetic initiation of Hesiod (Theogony 22ff.), the poet receives a theophany of the Muses while engaged in tending animals; the goddesses mock him gently (perhaps a charter for the poet’s future mockery), and give him a physical token of their inspiration and his future poetic gifts. 
καὶ Μουσέων ἐρατὸν δῶρον ἐπιστάμενος.
I am a servant [therapōn] of lord Ares 
and of the Muses, and am skillful in their lovely gift.
These lines may not be paradoxical, as some have interpreted them;  Archilochus may be referring to an archaic commonplace, the complementary duality of war and poetry in archaic Greece and related cultures.  Archilochus was also known as “servant of the Muses” (Mousōn therapōn) in his death legend, in which he dies in battle.  Archilochus’ name means ‘leader of a company’. This “may simply be an aristocratic assumption of warrior caste,” or it may express the father’s expectations for the son.  Both poetry and war are concerned with a kind of frenzy, poetic inspiration and battle fury. 
οἶδα διθύραμβον οἴνωι συγκεραυνωθεὶς φρένας.
Thus I know how to lead off the dithyramb, fair song of lord Dionysos,
when my wits are thunderstruck with wine.
In this mere couplet, Archilochus touches on a number of interrelated themes: Dionysiac religion and rite, the call and response of archaic musical and poetic performance, art and madness, art and (literal and spiritual) intoxication, even the sacrality of the thunderbolt. 
φεύγειν δάκος ἀδινὸν κακαγοριᾶν.
εἶδον γὰρ ἑκὰς ἐὼν τὰ πόλλ’ ἐν ἀμαχανίᾳ
ψογερὸν Ἀρχίλοχον βαρυλόγοις ἔχθεσιν
Horace also knows the story of the fiancée hanging herself because of Archilochus’ invective.  He speaks of Archilochus’s “words attacking Lycambes” (agentia verba Lycamben) and points out that Alcaeus “does not seek a father-in-law whom he may besmear [or “pollute”—oblinat] with black verse neither does he tie a noose for his fiancée with an infamous song” (nec socerum quaerit quem versibus oblinat atris, / nec sponsae laqueum famoso carmine nectit). Here we see the blame poet as a polluter, as well as a killer.
ὡς κακῶς ἀκ[ουσα …
* * *
ἐν τεῖ κρίσει· Μ[ετὰ δὲ …
χρόνον γίνεσθ[αι ἀσθενεῖς]
εἰς τὰ αἰδοῖα …
They send to Delphi to discover the cause for this ailment and find a remedy; the Pythia accuses the Parians of having judged unjustly (Tipte dikais an[omois, 47), and tells them there will be no [healing] until they [honour] Archilochus. Perhaps a new form of Dionysiac worship (Dion[us-, 55) is then introduced.