FROM THE B RJE E K "_YRJ G >OET5. DEVISED EDITIOfJ HENRIM.TYLER. LIBRARY OF THE UNIVERSITY OF CALIFORNIA. fr 750 SELECTIONS FROM THE GREEK LYRIC POETS WITH A HISTORICAL INTRODUCTION AND EXPLANATORY NOTES REVISED EDITION BY HENRY M. TYLER PROFESSOR OF GREEK IN SMITH COLLEGE, NORTHAMPTON, MASS. GINN & COMPANY BOSTON NEW YOEK CHICAGO LONDON COPYRIGHT, 1879 BY GINN & HEATH COPYRIGHT, 1906 BY GINN & COMPANY ALL RIGHTS RESERVED GINN & COMPANY PRO- PRIETORS BOSTON U.S.A. PREFACE It is now twenty-six years since this little collection of Greek poems was first presented to the public as a text-book to be used in our American schools and colleges. In the revision which is now offered it is hoped that the friencfe whom the book has won may be pleased by its new appear- ance, and that it may be better fitted to encourage interest in this form of poetry which is so closely connected with the common life of the Greek people. We have no literature ?B which gives a more truthful picture of what the Greeks really were. If we are seeking expressions of the. Greek spirit, try- ing to find the sincerest utterances of Greek feeling, we can search nowhere with better results than among the fragments which are left to us of this popular poetry. The purpose of the book is particularly to suit the needs of students in the first or second year of the college course. It has been my desire to make the notes full enough to enable such students, with reasonable study, to understand the text, and yet to have them brief enough so that one may hope that they will be generally read. Examples of parallel thought and expression have been introduced to a limited extent, but here also I have tried not to weary the attention of the aver- age student. The book is small and might perhaps profitably be larger ; its object is to whet appetite, not to surfeit it, iv PEEFACE The text is generally that of Bergk's fourth edition. Where I have not followed him I have endeavored to give his reading in a foot-note. The grammatical references are to Goodwin's grammar (G.) and to Allen's edition of Hadley (HA.); also to Goodwin's Greek Moods and Tenses (GMT.). There are a few references to White's translation of Schmidt's Khythmic and Metric (S.). The poems which were included in the first edition are, with a very few exceptions, also in the present work. To these have been added the fragment from Alcman and four from Bacchylides, which can hardly fail to prove a welcome addition. I take this opportunity to acknowledge my obligations to my associate teachers, Professor Julia H. Caverno and Dr. Amy L. Barbour, for valuable suggestions and assistance. I shall be grateful to friends if they will send me corrections as they note the need of them. HENRY M. TYLER. SMITH COLLEGE, November 6, 1905. CONTENTS PAGE HISTORICAL INTRODUCTION vii ELEGIAC POETS CALLINUS 1 TYRT^US 3 MIMNERMUS 9 SOLON 11 XENOPHANES 19 THEOGNIS . 21 IAMBIC POETS ARCHILOCHUS 51 SIMONIDES OF AMORGOS 55 MELIC POETS ALCMAN ..-.. 61 SAPPHO 64 ALGOUS 68 ANACREON 73 ANACREONTEA 77 SIMONIDES OF CEOS 94 BACCHYLIDES 103 ISTOTES , , , 115 V HISTORICAL INTRODUCTION The beginning of European literature is found in the Homeric poems. This is the beautiful portal which marks the opening of occidental life and thought. To all of our modern civilization we must come by this entrance, or else feel that we are taking it from behind. European education, the appreciation of Euro- pean life, seems to lack its springtime to be begun at the wrong point unless we enter by way of the Greeks. And naturally as we stand in this portal we look both ways. What was the still earlier beginning? Who taught Homer to tell stories and to sing ? Or, if Homer was but the person- ification of the talents of an age, what was the schooling which made the youth-time whose pulse-beat we can feel in the Iliad and Odyssey ? What were the paths which led out of the mysterious past up to this border-land of recorded history ? It is a shadowy region into which we look as we try to realize what that prehistoric world was like. But we know that the Homeric poems have a world on either side of them, and the investigations which are carried on by our questioning age are constantly giving greater distinctness to our view of this distant past. We know something what that old world was, an era of palaces and princes and rude splendor well fitted to form traditions for the poets who should afterward tell of the heroic age. We can see that it was an age of story-telling, when the myths were elaborated and multiplied in endless variety of form, and that this myth-making civilization had its centers of culture and fashion, cities which have gained immor- tal fame because these stories loved to tell of them, vii viii HISTORICAL INTRODUCTION And if the love of story-telling had been getting its slow growth for ages before the Homeric poems could be evolved, the love of music must also have had a history reaching far back into the past. A very simple music it was, but the rhythmical instinct had had long cultivation and had been long at work shaping the language, molding lines and phrases, and storing many of them up as a treasure for the poets of future time. If Homer impresses us as old, he quite as surely gives us evidence that he is the youthful heir of long ages which were older than he, and one of the chief delights which we find in his song is in his suggestions of the culture which he had inherited, and of the prehistoric education of the Greeks and of those who come before them. The sturdy material of the early inhabitants of the land had been modified to such an extent that they were convinced that the gods delighted in music, that the muses dwelt in the Olympian mansions and charmed the divinities by singing with beautiful voice. Apollo also gave them special delight by playing upon his phorminx. So effective was music in its influence upon his mind that all the day long the sons of the Achaeans propitiated him singing a beautiful paean, as they celebrated him with dance and song, that he might bring relief from the plague, and he was delighted as he listened. On the shield of Achilles as represented in the eighteenth book of the Iliad there is a scene where youths and maidens dance with hands upon each other's wrists, while the divine bard plays and sings and the throng stands by admiring. This is a scene manifestly quite appropriate to the life of the Ho- meric age. It is an abundant proof that the music of the lyre and song had received long cultivation and that lyric poetry began its vigorous sway in Greek life ages before we can trace its products in extant literature. Such a picture means that to the Greek mind all heaven and earth were as full of music as of work, and Greek life was to be built upon that ideal, HISTORICAL INTRODUCTION ix So from the earliest times the Greek language had adapted itself to song, and the history of Greek poetry becomes a history of Greece. The whole growth of the nation is pic- tured to us in the nation's songs. Whatever the people thought, or planned, or did, flowed into verse as simply and naturally as in a school of artists all fancies clothe them- selves in form. The language became full of poetry which was a perfect reflection of Greek nature, with all that rich variety of form and expression which were so characteristic of the products of the Greek mind. The Hellenic people would not tolerate a dull uniformity in thought or language. Nowhere was the Athenian disposition to see and hear new things more richly illustrated than in the growth of the .national literature. But, what is even more remarkable, this Greek fertility did not trespass beyond the limits which Greek taste had marked out. Each new development came to fulfill appropriately a well- defined purpose. The growth went on with a perfect propriety of progress, as if there were some system of landscape-gardening which could control it to adapt each form and color to the place which it was destined to occupy. It was natural, but with a naturalness which anywhere else, especially with imitators, would be, and be felt to be, artificial. Greek songs, like the rainbow, had infinite different hues, yet all grouped under well-marked divisions of color. There was a prodigal abun- dance, yet no confusion. I quote, because they are much better than anything which "I can say, the words of Mr. Mure with regard to the interesting variety in Greek song : " From Olympus down to the work- shop or the sheepf old, from Jove and Apollo to the wandering mendicant, every rank and degree of the Greek community, divine or human, had its own proper allotment of poetical cele- bration. The gods had their hymns, nomes, paeans, dithyrambs ; the great men, their encomia and epinicia ; the votaries of pleas- ure, their erotica and symposiaca, ; the mourner, his threnoclia X HISTORICAL INTRODUCTION and elegies. The vine-dresser had his epilenia ; the herdsmen, their bucolica ; even the beggar his iresione and chelidonisma. The number of these varieties of Grecian song recorded under distinct titles, and most of them enjoying a certain benefit of scientific culture, amounts to upwards of fifty." The progress of the art of singing from the more simple to the more complex forms was of course only gradual. There is a long period in which, as far as we can trace the history, the hexameter occupied the whole field of Greek literature. This was the only form of composition which the Greeks considered worthy of their ear, or upon which they cared to bestow their interest or study. But the same condition of popular feeling which had brought forth the Iliad and the Odyssey could not remain forever, and new conditions demanded new forms of poetry. The precocious lonians with their enterprise and ambition, their wealth and luxury, idealizing the past in the charming pictures of the Homeric poems, and painting the present and future in similar imaginative if not always cheerful coloring, the lonians, refusing to realize the burdens of human experi- ence, were not the exponents of all of Greek life. The toil of getting a living pressed more heavily upon the peasants of the mainland of Greece than on the colonists of Asia Minor. If the latter had hardships, they had also excitement and large promises of future success, while Greece itself could offer little except monotonous calls to labor and somber views of the lot of man. But they were all Greeks and all must have their poetry. Greek song must get nearer to reality before it could accomplish all its mission. So after the Homeridae the Hesiodae appeared. It is said that the father of Hesiod emigrated from Aeolis, in Asia Minor, to the little village of Ascra, under the after- noon shadow of Mt. Helicon, where the poet was born. We might almost find an allegory in the story, to represent the HISTORICAL INTRODUCTION xi iterary life of the people. Homer had sung of national topics, nt, after all, the scenery, the locality, the life, were all foreign. With Hesiod the people forsook their wars in Asia and their wanderings round the earth, and came back to the fresh hills of Greece to be at home. The " Works and Days," the most characteristic of the writings of this school, a volume of frugal maxims for country life, was of inestimable value for its encouragement to the simpler virtues, and remains to us now to mark the progress which the Greeks were making in their home life. When Poetry came from the courts and feasts of Asia Minor to the farms and huts of Boeotia and Phocis the change was of vast significance. A mission work was inaugurated, intro- ducing a movement of surpassing importance in the history of the Greeks. In Homer the chiefs were all, the commons were nothing. Homer without his heroes would be absolutely without occupation, there would be no one for whom to write. Hesiod, on the contrary, writes for the multitude. We have here the delightful evidence that that marvelous progress of the race which lifted the common people up to the cultured democracy of Athens had already begun. The very contrasts between Homer and Hesiod strikingly illustrate how truly national, universal to all classes, was the artistic talent of the Greeks. From about the beginning of the seventh century before Christ we can trace the development of new types of poetry expressive of a change in the thoughts which were seeking utterance. Self-consciousness was increasing, and the people wished to bring into their poetry their feeling as to the present as well as their conception of the past. Nearest to the tradi- tional form was the elegiac verse, which is indeed but a simple modification of the hexameter by varying the alternate lines so as to give a more sententious and pointed expression. It was apparently in its origin emotional and mournful, but it became xii HISTORICAL INTRODUCTION an instrument of especial practical usefulness as society was trying to organize itself on new lines and prepare itself for new progress. As the people had found delight in using the hex- ameter to recount the glories of the days of old, they naturally employed this variation from the popular verse for their exchange of thought as they struggled with problems which were new and strange. It reminded of duty and stirred to valor ; and as poetry had devoted itself to celebrating the heroes who had filled the pictures of the past, so now it turned to creating the practical citizens who were the controlling figures of the present. Callinus pleads with the recreant people of Ephesus ; Tyrtaeus rouses the enthusiasm of the warlike Spartans ; Solon exhorts the Athenians to be both valorous and law-abiding ; and for them all the elegiac distich was the appropriate form. The shortness of its sentences, the unvaried limitation of the stanzas, was like a continual reminder to the poet to be brief and sententious and vigorous, and his thoughts were naturally compressed and intensified until they became peculiarly stirring and effective. But this very sententiousness of the elegiac verse adapted it even more peculiarly for another purpose. It is a most natural progress for*every one who exhorts or teaches, to express himself more and more in the language of maxims, especially as there is an innate fondness among all men for this form of instruction. This tendency of the verse to become a vehicle of didactic thought shows itself in a great variety of ways : Solon is incline^ to moralize, while Theognis bases his whole fame on a collection of sage remarks for the guidance of human conduct. A large part of the epigrams partake of this character, and this was the favorite verse in which to compose them. This fondness for the statement of truths in maxims (gnomes) has given to Solon and Theognis, together with Phocylides and Simonides of Ceos, the title of gnomic poets. Mimnermus, on the other hand, moralizes in a HISTOKICAL INTRODUCTION xiii more continuous, meditative style, reflecting with sadness upon the frailties of human life. Here in the mournfulness of the song is the commencement of the modern idea of the elegy, or, as the feeling seeks relief in such pleasures as are within reach of human striving, there is a natural transition to the love-songs and sentimental poems which in later times were written in this form. This last tendency of the elegy is espe- cially well illustrated in the Latin writers of the Augustan period. This same movement of the Greek mind toward self-con- scious thought brought forth iambic verse, though this had no literary parentage, springing rather from the loins of vigorous popular speech, molded by the instinctive fondness of the Greeks for poetic form. Iambic verse occupied at first very much the same province as the elegiac ; but the two were gradually, under the Greek love of order, set apart each for its peculiar sphere. The iambic tended naturally to the expression of popular sentiment largely tinctured with severity and bitter- ness. The branches of song which we have noticed have been ideal in their representations, didactic in their aim. They give us pictures of imagination, dreams, aspirations, hopes ; there are no representations of men of every-day lif e, as they actually are. The pictures are paintings, not photographs. The poet is largely a preacher ; he writes, not what men are, but what they ought to be. In the same period in which Callinus began to write elegies, Archilochus entered upon this new method of song, using iambic poetry to represent life as his indignant spirit saw it, and giving to the form of verse which he used the quality which always distinguished it as uttering the criti- cism of life from the standpoint of the prosaic realist. Unfor- tunate in his origin (being born of a slave woman), unhappy in his disposition, bitterly disappointed in his life, he suffered with cruel keenness, and it was a suffering which it was not his nature to repress. - His feelings burst forth to blaze like a xiv HISTORICAL INTRODUCTION fire which finds the air. All his grief and anger and hatred he brings into his verses, to poison the shafts of vengeance which he thus showers upon his enemies. His verses are full of spite- ful passion, but we are made conscious that it is just such pas- sion as the world brings forth ; it is no fancy picture with artificial varnishing and coloring which he presents ; its vivid, outspoken reality chills one at the sight. It is because he is a good hater that he is especially appropriate to his age. Just what he was, and frail men about him were, that was what he put into his poems. He proved his originality and greatness in being as frank in condemnation of himself as of any one. It was natural that for his purpose he should adopt and regu- late by rule the conversational iambi, and so prepare the vehicle for the dramatic authors of after days. The work of Archilochus marks a most important era in the history of Greek thought. He rouses a complete rebellion against the traditional past. The old times had been full of the conception of the divine right of kings and nobles ; he proved that even to the despised commoner there was open an appeal to a public sentiment which could touch and humble the proudest prince. He questioned and criticised everywhere with extreme boldness, and thus pricked the bubbles which had long been floating before the popular eyes, and made men look at things as they really are. The old sentiment had branded one who fled in battle as a coward, baser than the basest in society ; Archilochus sings with the utmost noncha- lance of the loss of his armor, "Let the shield go, I'll find another just as good." The conservative military Spartans would not suffer such a poisoner of morals to come into their city ; but the Greek nation, as a whole, honored him as one who helped to enlarge their thought. The ancients could never express sufficient admiration for the force and originality of Archilochus. He is placed side by side with Homer as preeminent in his art, almost the HISTORICAL INTRODUCTION xv iventor of a new art. It was the tradition that, before he vas born, the promise was made to his parents that they tiould have an immortal son, while over the man who slew him Apollo through his oracle uttered the sentence : " Go forth from the temple ; you slew the servant of the Muses." Through all atiquity his reputation for power never waned. The poetry which we have thus far considered is simple in its form. When, on the other hand, we come to notice that which is more distinctly lyric, we find an almost endless variety of versification. How could it be otherwise ? Lyric poetry is made up of songs and hymns, and these must seek variety as the human mind changes in its feelings. The Greek mind could not fail to manifest its versatility in a multitude of forms. These poems may be divided into two great classes. The Aeolians of the island of Lesbos became leaders in the first great movement for the cultivation of Greek song, and naturally made their singing a part of their joyous life. They gave expression to their individual feeling with a fervor and abandon which made their songs models for all future time. On the other hand, to the Dorians it was natural to move together in conservative obedience to that which tradi- tion approved. . They were the Puritans of the ancient Greeks in the prominence which they gave to the institutions of religion and worship. They cultivated religious hymns, and trained their choruses to sing them with most effective power. They placed their impress so thoroughly upon this style of poetry that even in the Attic tragedy the choruses in their solemn movement retain forms of the Doric dialect. And so like two sisters, one gay and careless, the other thoughtful and grave, these two great branches of the Greek family brought forth .each its peculiar style of music and poetry, and handed down its influence to the ages which were to follow. It was through the talent, or genius, or inspiration, or recep- tivity of the Lesbian Aeolians, that this new musical impulse xvi HISTORICAL INTRODUCTION was first communicated to the Greeks. Lesbos was, from its position, peculiarly adapted to furnish a point of connection for the traditional principles of the Pierian bards and the more artificial methods of Asiatic composers. The wildness and fancifulness of the Phrygians and Lydians were caught by the quick ear of the Greeks, but were taken by them only to be reformed and reconstructed, remodulated to satisfy the Greek taste. So the new art was from abroad, and yet it was their own. The commencement of this new Greek music is with Terpander. He took the ancient tetrachord whose un- varied notes had furnished the only accompaniment, or rather prelude, for the recitation of the ancient poems, and added three strings, giving it the compass of an octave, though with one omitted note. The peculiar benefit of his improvements is to be found in their fertility. He opened a field which his quick-witted countrymen hastened to cultivate with an ardor which gathered riches to be transmitted even to us. Terpander carried his art from his native Antissa, in Lesbos, to Sparta, and founded the first of the Spartan schools of music. He was followed in his adopted city, within the same genera- tion, by two other masters, Thaletas of Crete, and Alcman, a Lydian, apparently from Sardis. It was a central article of the inborn faith of the Greeks, that the proper balance of character could be obtained only through the refining yet uplifting influence of art. So these three poets, like Tyrtaeus, who belonged to the same age, were brought to Sparta to do for society a work without which Spartan discipline and Dorian valor were recognized as helpless. The development of this art was made as earnest work as the carrying out of the so- called constitution of Lycurgus ; music stayed the plague, propitiated the gods, healed the popular disorders, inspired the halting mind, was a necessary part of healthy life. Thus it was that the solemn Greek choruses received their character of impressive grandeur. HISTOEICAL mTKODUCTIOlSr xvii This poetry contains other suggestions of peculiar interest to the students of history. Alcman is no disciple of the school of Lycurgus. The laws and institutions of strict discipline which characterized the Sparta of later times were not supreme in the days when Lacedaemon had poets receiving her deference and shaping her life. Spartans were in those early times appar- ently much like other mortals, that is Greek mortals, until the intense struggles for supremacy in Peloponnesus (of which the Messenian wars were a prominent part) drove them into that system of militarism which we have been wont to consider inherent in their nature. It is almost impossible for us to comprehend what an element this choral song became in the life of these ancient Dorians. It is, moreover, difficult to say which was reckoned by the popular mind more worthy of admiration, the dignified flow of the poet's thoughts and words, the modulated cadence of the har- monizing voices, or the stately tread of the worshiping chorus as it danced about the altar of Apollo. Dancing, because it helped to train the body while it also exhibited its vigor and gracefulness, was held in high estimation among this people of muscular religion, and especial honor was given to Thaletas for the instruction which he gave in this manly art. Alcman helped to bring in a greater variety of form, even developing the idea of the strophe and antistrophe, to be written in the same meter, and to be sung with corresponding movements of the chorus, followed by the epode which was to be sung with a new arrangement of music. Further advances were made by Stesichorus of Himera, in Sicily, whose influence was of great importance in rendering more elaborate and stately the struc- ture of Greek choral songs. Stesichorus was a Dorian not merely by birth but in his principles. His songs were full of dignity and grandeur, and all his influence worked in harmony with Dorian manners, although he belonged to the same age as Alcaeus and Sappho. xviii HISTORICAL INTRODUCTION The island of Lesbos, which gave birth to Terpander and sent him to be a leader for the Spartan choruses, was itself to become the center of a school of even more striking brilliancy and glory. So preeminent was its influence upon the musical schools of Greece that I will again call attention to the characteristics of its inhabitants. Almost at the eastern fron- tier of the Greek-speaking people, it was the first to catch the suggestions and inspiration to be gained from the older, and in some respects more advanced, civilization of the East; it seized the new ideas, and improved upon them with a readi- ness and progressiveness which were peculiarly Greek. The island was not deficient in fertility, but the population was naturally impelled to maritime pursuits, and the result of this was a large development of mercantile enterprise. It is only by scattered hints that we are informed of the extent of this tendency, but we gain sufficient information to know that Lesbian energy reached out after wide conquests. The brother of Alcaeus appears among the courtiers of the king of Babylon; the brother of Sappho seeks his fortune among the Egyptians, and receives the reproaches of his sister for bringing home from there a noted courtesan. The men of Lesbos were not afraid of distant journeyings, and were coming in contact with people in remote quarters of the globe. These Aeolian s were thus quick-witted, commercial, wealthy, even luxurious in their tastes, developing also with great ra- pidity those versatile qualities of character which would come from contact with the world. They would become intensely fresh and individual in their sentiments, impatient of each other, eager for something new, full of large plans, only a small portion of which could by any possibility be carried out. The character of Greek citizens was such, especially in the seaboard towns, that each state was almost sure to come to a point where its circumscribed limits could scarcely contain the convulsions which were engendered. There was everywhere HISTORICAL INTRODUCTION xix too much bursting activity for the fields which were open. Thus it was that Mytilene was torn with civil dissensions in connection with new questions of progress and old questions of family and rank, which were always so rife in early Greek society, until the people, in despair, placed the supreme power in the hands of Pittacus, that a strong government might give them peace. There is, however, another point of great consequence in the character of the people of Lesbos. The religious ele- ment was not preeminent in their constitution. Choral songs would have been too serious to express their most ardent feel- ing. They were a luxurious, pleasure-seeking people ; they loved their festivals and banqueting-halls far better than their temples. They could have dispensed with the gods better than with their feasts. And so their poetry was the reflection of their character, calling forth its highest powers, not for wor- ship, but to celebrate the delights of the sensuous life. The intensity of personal feeling would thus furnish the motive force in this school of Greek poetry. The Dorian hymn was the emotion of the whole people, breathing through the swell- ing cadences of the poet ; the Aeolian song was but the feeling of the individual, interpreting his own thought to ask the sym- pathy of the listeners. The Dorians were grandly communis- tic ; the Aeolians were strikingly individual. Alcaeus was a politician, a partisan, in intention a patriot ; and he used his poetry to make others feel his feeling. In this respect his art would trace its lineage back to Archilochus and his fierce iambics, while in the increased variety in thought and form we see the evidence of growth in culture and of the development of the art of music on which the poetry leaned. The Lesbian poetry adopted a form which was suited to its aim. It was composed generally in simple measures, with the verses arranged in stanzas of moderate length, so as to lend a pleasing variety, and (since the poems were rendered as XX HISTORICAL INTRODUCTION solos, commonly in connection with the feasts) to furnish a convenient resting-place for the singer's voice. The form and the spirit is admirably illustrated in the Odes of Horace, which were largely imitations of these Greek songs. Of the two great composers of Mytilene, Sappho is by far the better representative of the art. With an intensity which makes one almost shrink back from her burning words, she furnishes thoughts as exquisite and graceful as pictures formed by the fancy in the wreathing flames of the evening fire. She is intensely personal; her imagination is all her own ; her songs are all of herself ; and yet, with the instinct of a true poet, she never deserts the listener, you are carried with her. She has apparently the perfect openness of a true lyric poet, and yet she is Greek, and with Greek skill she weaves her thoughts into a wonderful web-work of words and pictures and figures of speech, so that, while appearing to tell everything, she perhaps tells little or nothing. She seems to confess all her inward feeling, to be as open, in her exposure of herself and those about her, as ever Archilochus could have been ; and yet, with all her apparent frankness, the world of scholars has never been able to settle the question whether she was pure enough to be an adornment in any home, or corrupt enough to disgrace any society. If we ask how this can be, we answer, It is her art her poet's art and her woman's art, the perfection of art which hides the line between fiction and reality, and conceals deformity even from the keenest eye. It would be of interest to me to know the character of Sappho ; but it is even more interesting that no one can make her tell more than she has intended to. Sappho presents to us the best picture of the dominant characteristics of the Aeolian school, because she shows such power in the delineation of sensuous feeling. In the whole history of the world, no other author has represented so vividly the sensations of human nature. She was a wonderful HISTORICAL INTRODUCTION xxi outgrowth of a peculiar society. The Aeolians lived in the feel- ings and enjoyments of the day. Sappho was the Aeolian of the Aeolians ; in her their feelings were magnified and inten- sified. Yet all her writing is with consummate art. In the utmost frenzy of her sensation, she does not shock your taste, she hardly violates your sense of propriety. You read feeling that there are two marvels : first, that she could venture to say so much ; second, that in those times, with her surround- ings, she could say it all with so little offense to the most exacting taste. The Aeolians made the poetic art simply tributary to their physical and social enjoyment. Songs were to help their pleas- ures, and add to the enthusiasm of their feasts. The tendency which had been nourished and fostered by these bards of the island of Lesbos was of far-reaching influence among the Greeks, especially of the maritime towns. The islands of the Aegean had grown old in experience of luxury, and often of vice, while Sparta and Arcadia and almost all the mainland were still wrapped in the innocence of their natural simplicity. The product of a longer growth of this spreading plant of Greek luxury is presented to us in the Ionian Anacreon. He was born at Teos, on the coast of Asia Minor, but his life really belongs to the two courts of Samos and Athens, where he was a favorite of the wealthy and luxurious tyrants Polycra- tes and Hipparchus. He was devoted to pleasure, not with a peculiar, superhuman sensitiveness, like Sappho, but with a common love for all physical gratification, such as shows itself everywhere in human nature if it is encouraged to come to light. Anacreon represents to us the degeneracy of Greek life. He furnished the models for drinking-songs for all suc- ceeding ages. He lavished his artistic praises upon the joys of dissipation with a fervor which will insure him the sympathy of drunkards and debauchees to the end of time. There is, in fact, a sort of sincerity and earnestness in his dissipation, xxii HISTORICAL INTRODUCTION which few modern imitators would be able to preserve. Through all his verses there is an air of elegance which you cannot but admire, yet you feel it is only his birthright as a Greek and an artist which restrains him from becoming in- sufferably coarse. It is a striking testimony as to the estimate which 'was placed upon him, with reference to both his talent and his character, that long afterward so many songs, like the Anacreontea which we publish, imitated his style and tone and were attributed to his genius. Anacreon was an Ionian, but we are not to conclude that he represented the only tendency of that branch of the Greek race. The lonians were a people of strange versatility of char- acter, always reaching out for new fields in which to exhibit their enterprise, pushing their conquests with persistent energy and taking the enjoyment of the fruit of their labors with a zest which made them rivals in luxury of the Aeolians, with an adapt- ability and careless grace which were all their own. Their poetry is the exponent of their character. Anacreon has become the coryphaeus of the pleasure-seekers of all ages, and though his reputation in modern times has depended perhaps quite as much on the poems which he did not write as on his own composi- tions, still the works which are associated with his name bear testimony to the reputation which he had gained. At the same court of Hipparchus to which Anacreon was a brilliant orna- ment the lonians presented in Simonides of Ceos a man sug- gesting Dorian seriousness and power, with a gracefulness and elegance joined with facility of conduct and expression which bespoke his Ionic surroundings. He loved the grand form of the Dorian chorus and excelled especially in the composition of the dithyramb, or Dionysiac chorus, and of epinician odes and encomia. His elegies were also noted for their beauty, and as a composer of epigrams (and the epigram was child of the elegy) he was most widely celebrated. His short but grandly expres- sive verses in honor of heroic men are likely to be remembered HISTORICAL INTRODUCTION xxiii as long as the Greek language remains. Among his friends \rere the prominent citizens of both Sparta and Athens, and his sentiments were loved and admired in both these cities. The poetical activity of the Greeks must have grown at this to be enormous. Not merely was it true that in the chief cities there were poetical contests, calling out numerous competitors, but every town had its composers, its choruses, nd leaders, every village had its own musicians. Certain families kept alive the poetic art, handing it down from father to son, gaming renown not only for themselves but for the community to which they belonged. The impulse was univer- sal. The various divisions of the Greek race vied with each other in the pursuit of this beautiful art, each bringing its peculiar characteristics into its prosecution of the work. The different varieties of hymn and song had grown up with well- marked distinctions. The paean, in honor of Apollo, was as old as the Homeric poems, but had been cultivated with pecu- liar ardor wherever the Dorian race was found. The dithy- ramb, in praise of Dionysus, was known before the age of Archilochus, had received new attention from the genius of Arion, and was rapidly advancing to that perfection of devel- opment where it was to give birth to the Athenian tragedy. Parthenia, or processional hymns of the Dorian maidens, had been popular since the days of Alcman ; hyporchems, dancing- songs, always accompanied by mimetic performances, had a history from the time of Thaletas ; the threnoi, or songs of mourning, traced their pedigree up to the bard Olympus ; the erotica and symposiaca had been beloved by all the Aeolians, and the former could, perhaps, trace a well-authenticated rela- tionship with the pensive elegies of Mimnermus and his school. Scolia, songs of individual banqueters succeeding each other about the table, had been long cultivated with peculiar beauty; while the ringing melody of the comue was soon to develop into the epinician odes of Pindar. These and a multitude of xxiv HISTORICAL INTRODUCTION other forms, sacred and profane, prove to us that all Greece was full of poetry. The brilliant lines which are to us so precious are but sparkling spray-drops from what was then a full river of song. Then it was that Pindar appeared ; with these surroundings he cultivated the poet's art ; upon these foundations he built his power. With Pindar we reach the culmination of Greek lyric poetry. He loved especially the highly-developed form of the Dorian choruses, but he learned from all the schools, , and improved upon them with an originality all his own. And so almost five hundred years before the Christian era lyric poetry in Greece had gained its highest perfection ; we might almost say, the utmost of which it was capable. The later development was in new fields, with new methods. We have referred to the diversity of Greek poetry, its magnificent range, its contrasts and variety. Now we notice the time over which its growth extended, the centuries which were filled up with continual development, and we are amazed anew at the intel- lectual vigor of the favored Hellenic race. We can mark off periods, not merely by years or decades, but by centuries and multiplied centuries, in which the Greeks were not only supreme in the literary world but were sending forth produc- tions which were to be masterpieces for all the ages yet to come. We have, assuredly, reason enough for admiration for Greek literature when we think with how much mind we come in contact when we open this storehouse of thought. And nowhere are the Greeks better interpreted and understood than in the poetry which is the natural breathing forth of their own active and artistic thought. ELEGIAC POETS CALLINUS Callinus, who has the credit of being the earliest composer of elegiac poetry from whom we have any ( remains, was an Ephesian, and employed his poetry to arouse the spirit of his fellow-citizens in the wars in which they were engaged. He represents an age of conflict. Asia Minor was afflicted for a long period by inroads of the Cimmerians, a wild and barba- rous people supposed to issue from the regions north of the Euxine sea (cf. Herod, i. 6, 15 ; iv. 11-13). The Greeks, more- over, were not harmonious among themselves. There was war between Ephesus and Magnesia on the Maearider, and there is even a suspicion that the Ephesians called in the help of the barbarians against the Greeks. At all events the seventh cen- tury B.C. was a period of great disorder in Asia Minor, and Magnesia was destroyed by tribes which were associated with these Cimmerians. Callinus belongs to the early part of the century and is a prominent actor in these struggles, though we have nothing to tell us what particular crisis gave rise to the appeal which has been preserved to us. We have another frag- ment consisting of a line and a half in which the poet beseeches Zeus to pity his countrymen. The ancients had apparently a considerable body of poetry belonging to him, but, apart from this selection, we have only a few brief fragments. These writers of elegiac poetry, as also the composers of iambics who follow, were products of the rich development of Ionian civilization and use the Ionic dialect of their times, 1 2 ELEGIAC POETS though their language shows plainly in form and phraseology their familiarity with the epic, by which they were consider- ably affected. The Elegiac Distich, the form used by the elegiac poets, is composed of a heroic hexameter followed by a so-called pen- tameter. This latter is made up of two dactylic tripodies, of which the third foot is syncopated or catalectic ; a single syl- lable, that is, filling the time of a foot. The complete feet of the second tripody are always dactyls. So the scheme of the alternate lines would be -t-^j _^-ww i_L _^^w _^-ww -. A. G. 1670 ; HA. 1101. rev KaraKCLcrOe ; /coV aXKi^ov e^ere OV/JLOV, a> veoij ouS' atSetcr#' d^nrepiKriova^^ cSSe \lr)v fMeOievTes, eV elpTJvr) Se So/cetTe rjcrOai, drdp TrdXejUos ya2av anacrav /cat re? oLTrodvyjcrKcov ucrrar' a re yap ecrrt /cat ay\aov av /cat TratSw^ /covptSt^? r' Odvaros Se TOT' ecrcreTat, OTTTTOTe /cez^ 877 Mot/oat eVt/cXftJcroKT 5 , dXXa Tt? t^ug ?TW 10 ey^o? ai/acr^d/xe^os /cat UTT' acrTTtSos OL\KI^OV yrop eXcra?, TO irpS)Tov ^Liyvv^evov TTO\JJLOV. ov yap /ceo? Odvarov yt vyeiv et/xap/xeVo^ ICTTLV av8p*, ouS' et 7rpoy6va)v 77 yeVo? 7roXXct/ct SrjtoT^Ta fyvyvv /cat SOVTTO^ a/ 15 ep^eTat, 1 ez^ 8' ot/ca) p,olpa Ki^ev Oavdrov aXX' 6 jLte^ ou/c e/A?ra9 S^/xft) <^)tXog ovSe TOV 8' oXtyos o-Te^a^et /cat /xeyas, T^V Tt 1 B. e/>7ercu. TYKTAEUS w yap crv^Travn Tr69o<$ Kparepofypovos d dvrjCTKovTos - a>ct)v 8' afto? rjfjuOeajv 20 ajcnrep yap /JLLV irvpyov iv ofyOakpoio'iv opaxrw ejoSei yap TroXXo)^ afta /JLOVVOS twv. TYRTAEUS Ancient tradition said that when the Spartans were hard pressed in the second Messenian war they were commanded by the oracle to seek a leader from Athens, and that Tyrtaeus came from Attica in obedience to their call. The story was embellished until it described him as a lame schoolmaster whom the Athenians sent in order to give formal obedience to the request without furnishing any substantial aid. He proved, however, so inspiring by his gift of song that he led the Spartans to a speedy triumph. These accounts are doubt- less inventions, and suggest that we have little which is relia- ble history with regard to Tyrtaeus. That he may have been called from abroad, and that too under the suggestion of the Delphic oracle, does not seem improbable from what we know of Spartan custom. His Ionic dialect might be taken to sug- gest that he came from Asia Minor, and there was a tradi- tion in ancient times that he originated in Miletus, the city which was the center of Greek culture in his age. The tone of his poetry, however, assures us that whatever may have been his origin he had become closely identified with the Spartans, and the general character of the poems attributed to him sug- gests that he had a much broader influence than merely to stir the people to martial ardor. We may be confident that he was in Sparta not as a temporary visitor but as entirely devoted to his adopted home, and allowed even by the con- servative Spartans to speak as one of their own number. The influence of his poems was so highly estimated that it was 4 ELEGIAC POETS customary to sing them at table and in camp, especially before battle. The date of Tyrtaeus is the latter part of the seventh cen- tury B.C. His dialect in the c/x^ar^pta, march-songs, or songs of attack, uses Doric forms, but his elegiacs are Ionic. For the meter of the e/x^ar^/otov, which is anapaestic, see G. 1676. 3; HA. 1104. e. TnOQHKAI I (10) i yap Ka\bv eirl Trpojud^oicn, TrecroVra dv8p* ayaOov irepl fj TrarpiSi 8' avTOv TTyooXiTroWa TToKiv Kal TTiovas aypovs TTO)eveiV TTOLVTtoV . p.v yap TOICTI jnereVcreTai, ov? KZV T* .LKO)v KOI (TTvyeprj Trevir) re yevos., Kara 8' ayXaoz' eTSo? eXe 10 Tracra 8' dri/Jiia Kal KaK orrjs errerai. et 8' OUTOJ? d^Spd? rot dXw/xe^ov ovSe/it* aj yiyverai, our' atSais ovr' 6Vt9 ovr eXeos, Trepl rrjo-Se fjia^fjieda Kal irepl 7rai8a)v 15 c5 veoi, dXXa fjid^ecrde Trap" dXX^Xotcrt jLtTjSe vyrj<; atcr^pa? dp^ere fJLTjSe <})6/3ov, dXXa p,yav Trotetcr^e ACCU dX/ct/xo^ ez^ p, 77877 XtvKov fyovTa Kapr) TTO\IOV re yeveiov, Ovpov aTTOTTveiovT OL\KHJLOV ev Kovirj, 25 at/xaroe^r' atSota c^Xais eV yepcrlv e\ovra alcr^pa rccy 3 o^^aX/xotg /cat vefjLecrrjTov tSeu> /cat XP^ a yv^vtoOevTCL - veoicri 8e Tra^r' eVeot/cez/, o'c^o' eparTJs 77/3779 ayXaoi^ aV^os e^Tj- d^Spacrt /xei^ ^7777x09 tSet^ eparos 8e yvvai^iv, 30 ^0)65 ecoj> ? /caXo? 8' e^ Trpojuta^otcrt dXXa rt? ev Sta^Sag /xe^eraj Trocrti/ et? 7rt yrjs? ^etXo? oSoCcrt II (11) 'AXX' 'Hpa/cXT^o? yap aviKujrov yevos ecrre, 0apo-LT\ OVTTOJ Zevs av^eVa \oov J/JV P*5 > / S /O> tc/ug o t? Trpo/xa^ov? acTTTto 5 iyOpav peis \fjv^rjv 0ep.vo<;, Oavdrov Se Krjpas 6)it(Sg avyat? ^eXtoto (^>tXa9- tore yap ^Apvjos 7ro\v8aKpvov iipy di ev 8' opyyv eSctT^r' dpyaXeov TroXe/xov, /cat 0ap,d 8' et? Kopov T^Xacrare. ot jnez^ yap roX/xaicrt Trap' dXXT^Xotcrt jiteVo^re? e? r' avroo")($fyv Kal TrpOjLta^ov? teVat, Travporepot OvrjcrKovcri, craoCcrt 8e Xao^ OTTLCTCTO) 8' ai/8pai^ Tracr 6 ELEGIAC POETS 15 ouSels av TTore ravra Xeyuv dWcreie^ e/cacrra, ocrcr', yv alor^pa nady, yiyvtrai dv8pl /ca/ca. piyaXeov yap omcrOe iLerdfypevov ecrrt dVSjOos cucr^oos 8' ecrrt i^e/cu? 20 VWTOV OTncrO' al^fjirj Sovpbs e aXXa rt9 eS Sia/3as /xe^erw Trocrlv d re /c/xa? re fcarw KCU crrepva KCU acrTriSo? evpetTjs yacrrpl KaXin//a/xe^o5 25 Se^irepy 8' e^ X L P^ L TwacrcreTa} o^pi^ov 8e Xocfrov Set^o^ VTre S' ofipifJia epya StSacrKecr^ca 5 ^/ r >\ / e ^ ' /C>> v efcro? peAea>i/ ecrrara) OLCTTTIO e aXXa Tt? eyyvs tai^ avrocr^eSo^ c so 07 f t(^et ovra^wz/ S^i'oi/ ai^S feat TroSa Trap TroSt ^el? /cat CTr'acrTriSo? dcrTTiS' epei e^ Se \6o 5 d^Spt 17 ^ic^eo? Ko>7rr)v rj Sopv paKpov e\d>v. 35 u/xet9 8' ? co yv^vriTts, VTT' dcTTTtSo? a\\o0ev aXXo? TTTcocrcroz'Tes /xeyctXot? ^SdXXere Sovpacrt re ^ecrrotcrt^ dKovTi^ovT rcucri Tra^oTrXotcn TrXTjcrto^ icrrct/xe^ot Ill (12) Our' oV /JLvrjcroLLiJLTjv our' ei^ Xdya; a^Spa ovre TToSco^ dptrfjs oure TraXatcr/xocrw'y;?, ouS' ei Ku/cXcoTTw^ jiter ^OL jLteye^o? re /StT?^ re, 1 B. 7T\fJLifal>. TYRTAEUS Se Oecov pr)iKiov BopeVji', 5 ouS' et Tidajvolo $vriv ^apte TrXr)^ Oovpi&os d 10 ov yap az^r)p aya^o? yty^erat eV 7roXe/xw ? et /xr) rerXatT; /xeV opaii/ $QVOV at/xaroe^ra /cat Srjtojv opeyoiT* iyyvOtv tcrra/jte^o?. C/ C>> / /O> V /)\ 3 5 /) / V 170 aptTT), TOO aeuKov tv avtrpojTroia'Li' apicrTov /caXXtcrro^ re (^epet^ yty^erat a^Spt 15 vvov S' IcrdXbv TOVTO TrdXr^t re TTOLVTI re ocrrt? a^r)p Sta/3as ez^ Trpo/xa^otcrt /^e^rj crxpas 3e (^vyr]? eVt Tray^u Xa^rjrat, KOI 9vjJiov rXijfJLOva Trapdefjitvos, 6apo"6vr) 8' eVecrt^ TOI^ TrX^crto^ a^Spa Trapecrrw? 20 OUTOS dz^ r)p aya^o? ytyz/rat eV atr//a 8e SvcrjLte^eco^ aVSpaii; erpei//e rprj^eta?, o-TrouSr^ r' ecr-^eOe Kvp 05 8' avr' eV Trpo/xa^otcrt Trecra)^ 7rois aptcrry/jtot 30 /cat TratScoz/ TratSeg /cat yeVog efoTTtcrw. ovSe TTOTC /cXeo? cr9\ov aTrdXXurat ovS' ovop? GLVTOV, VTTO yr^9 Trep eciz^ yty^erat dXX' 8 ELEGIAC POETS OVTLV dpuTTevovra ptvovrd re p.apva^.vov re yij? Trepi Kal 7rai8a)v Oovpos *Apr)s oXecry. 35 ei Se <^>vy]7 {Lev Krjpa ra^Xeyeo? 9avdroio, 8' at^/xT}? dyXao^ v^O9 cXg, TI^CTLV ofjLa>$ veoi TjSe TraXatot, TroXXa 8e repTTva 7ra0a)v ep^erat et? 'A 1*817 1/ ' yypdcrKtov dcrrotcrt jneTaTrpeVet, ou8e rt? avrov 40 ft\d7TTLV OVT atSoC? OVT6 8^9 C^cXct, 8* e*> 9a)KoicTiv opS)*; veoi OL re fear' avrov * IK xtopvjs ol re TraXatdrepot. vvv Tt? d^p aperrjs et? aKpov Treipdo'dco OvfJicp, fJLrj EMBATHPION IV (15) *A *? ^ / '''^ Ayer , w STrapra? evavopov Kovpoi TTarepaj Xata JLLC^ trv^ Sopu 8' eurdXjLtcos Trd 5 ou yap Trdrpiov ra 1 B. jSdXXere. MIMNERMUS 9 MIMNERMUS Mimnermus is associated particularly with Smyrna, and was a native either of that city or of Colophon. The facts of his life are little known to us. His date is to a certain degree fixed by the fact that Solon addresses him as a contemporary. He belongs, we conclude, to the latter part of the seventh century B.C. It was a time when the Greek colonists of Asia Minor were reaping the fruit of their rapid advance in wealth and prosperity. There had been a notable loss of energy and public spirit, and the prevailing luxury was leading men to give preeminent thought to personal comfort. These influ- ences were weakening the Greek cities, and illustrating the fact that such emphasis upon the individual must inevitably give prominence to his disappointments and furnish soil for the seeds of pessimism to spring up and flourish. Mimnermus gives expression to this tendency. He employs the elegiac verse for plaintive, mournful compositions, though his mourn- ing does not impress us as of the most serious character. He gained the credit thus of giving a new character to elegiac verse, while at the same time he brought it back nearer to what seems to have been its original tone of mournful feeling. A maiden named Xanno was immortalized by his elegies ad- dressed to her, or associated with her name. NANNfl Se ^8109, TL Se repirvov drep ^pva"fj<; "edvaiirjV) ore jnoi /x^/ceri ravra /LteXot, nXor^? /cat /xeiXt^a 8a>pa /cat ot' TI^TI^ dvOea yiyverai dpnaXea 5 dv8pdcrw TjSe yvvai^iv eirel S' oSvvrjpov 10 ELEGIAC POETS o T alcr^pov 6/xcos Kal KaXov dVSjoa rt#ei, atet piv ^ Kara y?;? ep^erat etg 'A'fST]^ 15 dXXos ^ovcro^ e)(ct QvpocfrOopov - ovSe' rt9 ec dv9p ^poti)^ peet acrTrero? tSpco?, TTTOtco/xat S* ecropaii/ av9o<$ optijXucirjS Ttpirvov OjLta)? /cat KaXdi^, evret TrXeW c3(^eXe^ et^at dXX 5 6XtyoxpoVtoz> ytyi/erat cocrTrep 6Vap SOLON 11 5 77/3?? TifJiTJecro'a' TO 8' dpyaXeW /cat yrjpas vrrep Ka\ f f)s aur iy9 pov o/jiws Kal art/AOi^ o T ayvaxTTOv TiOel aVSpa, 8' 6<#aX/,ovg /cat IV (12) 'He'Xto? /,(,> yap TroVoz' eXXa^ei^ TI^OJTCL TTOT' a/^Travcrt? yiyverai ovSe/xta t^ re /cat avTco, evrei yooSoSajcnAos ' o^ Tr/ooXtTrovcr' ovpavov icrava/3fj - 5 ror jLtei^ yap Sia /cvjita epL TroXvyparos evvtj j, e H(^atcrTov yepcriv e Tl[JiTJVTOS, yalav e? AI^IOTTW^, tVa 87) ^ooz^ ap/xa /cat tTTTrot 10 eoTacr', o(^p' 'Hw? T^ptyeVeta ^0X77 v /1 s ' ^o e x ' e x * ' ei^c/ 776/577 erepajv oyttov TTrepto^os vto?. SOLON Solon was an Athenian citizen of noble birth, tracing his lineage back to Codms, the last king of Athens. His mother, according to a statement quoted by Plutarch, was cousin to the mother of Pisistratus. His naturally meditative mind was ren- dered more thoughtful by observation at home and extended travel abroad, so that he became known as one of the seven sages of Greece. His age was one of peculiar interest in the history of his fatherland. Born about 638 B.C., he grew up to find the state suffering from widely extended discontent, and in 594 he was elected archon with unlimited power to introduce the needed reforms, 12 ELEGIAC POETS He is a character of supreme interest in the ancient world. He succeeded in relieving the keenness of public distress. He introduced reforms out of which were slowly developed the democratic institutions of Athens. By his prudence and mod- eration joined with firmness and vigor, all employed in a spirit of lofty patriotism, he gained for himself a personal esteem such as has been accorded to few men in the history of the world. What we have left of his poetry was preserved espe- cially through interest in the author, and 'cannot fail to be always prized as the great lawgiver's representation of himself and of his times. The little oratory and philosophy of that age was almost entirely poetic, and Solon in his work as a statesman made large use of this same instrumentality ; he addressed the peo- ple in poetry. Athens had for many years been troubled with an old dispute with the Megarians over the possession of the island of Salamis. Megara had gained the superiority in the contest, and the Athenians in despair had given up their under- taking and were unwilling to think of any attempt to reopen the conflict. Solon, however, was indignant at such a result, so that he finally came into the market-place and delivered a poetic address, bidding the people retrieve their disgrace and repossess the lovely Salamis. The appeal was sustained by the ardor of the younger citizens, war was recommenced, and Salamis was recovered. As the name of Pisistratus is promi- nently connected with this conflict, authorities are inclined to attribute the speech of which our first two selections are frag- ments to the latter part of the life of Solon. In these, as in all of his lines, the earnestness of his feeling, the intensity of his devotion to the public interest, can still be felt, while they also present suggestive pictures of the state of Athens and his work for its welfare. For the trochaic tetrameter in fragments VIII and IX, cf, G. 1651 ; HA. 1083, SOLON 13 1(1) Avros Kijpvt; rj\6ov a eTTecov co8r)v dvr* dyoprjs ^e/ II (2, 3) ST) TOT' eyaj oXyaz>Spios 17 y *KOir)vaiov, Trar/otS' a//,eu//a/j alifja yap aiv ^HXTIS ^Se jLter' avdptoTroicri yevoiro 'Arrt/co? ovro? a^/> rail/ Sa 5 io/Jiv et5 SaXa/xti/a, /xa^crdjLt r atcr^os THOeHKAI EIS A0HNAIOT2 III (4) epa Se TroXts Kara /xez^ Ato? OUTTOT' oXetrat alcrav KCLI [AaKoipcov QZMV fyptvas dOavdrajv TOL7] yap peydOviJios eVtcr/coTro? IlaXXa? 9 A07)vai7) ^etpa 5 avrot 8e tfrOeipeiv /xeyaXTji/ TrdXti/ d(^pa8t7j acrrot ^SovXo^rat ^p^/Aacrt Trei^d/xe^ot, 8y]fjiov 0* rjyefjiovajv aStfco? vdo? ? oicriv er v/3pios K jneyaX^js aXyea TroXXa Traveiv ov yap tTTicTTavTai KCLTe^iv Kopov ovSe Tra/ooucra? 10 euc^pocrwas Kocr^lv Satro? eV ^C S' dSt/cot? cpyficurt 14 ELEGIAC POETS OVT TL v\dcr(Tovroii cre/xj>a #e/xe#Xa At/ajs, 15 77 oriyaxra crwotSe ra ytyi'd/xez'a Trpo r' eoWa, rw Se ^pww Tra^ra;? 7)X^' aTrortcro/Ae^T/. TOVT* 17817 Traorij TroXet ep^erai eXfco? OL^VKTOV t? 8e KaKrjv ra^ewg TjXvde SovXocrwTjz/j 17 crrdcriv e/x^vXo^ TrdXe/xoz/ ^' euSo^r' eVeyeiyoei, 20 OS 7ToXX(S^ .pOLTJ)V c3XeCT^ r)\LKL7]V ' K yoip Svcr/xez'ea^ ra^ews TTO\VTJ parov dcrrv eV o"vz^dSot9 rs aStfc' ecrrt raSra jote^ ei/ Sif/xw crrpe^erat /ca/ca raiz/ Se iKvovvrai TroXXot yata^ es a 25 Trpa^eVres Secr/xoto'L r' aetfceXiotcrt /cat /ca/ca SouXoo~u^i79 arvyvd (frepovcn ^Sta. OUTW SrjjJLOcriov KOLKOV ep^erat ot/caS' e/cacrroj, auXetoi 8' eV e^t^ ou/c lOeXovcn 0vpai, v\fjr)\bv S' u?rep ep/cos vfrepffopev, evpe Se Tra so et fcai rts <])vya)v zv ^XV Tl ^^Xa/xov. raura StSa^at Ovfjibs 'A^i/aiovs /xe /ceXevet, oiJr* tnopet; ctjuez/os ot 8' el^oi; Swa/up Kal xpTjpacrLv y(rav Ka rot? eaa-jirjv Tjei/ det/ce? 8' djjufiifiaXtov Kparepov cra/co? av 8' ov/c etacr* ouSerepou? aSwcws. Et 8e TreTTovOare \vypa 8t' v/jLTpr)v /AT; rt ^eot? rovrwi^ [Jioipav aurot yap rovrov? TyvcraTe pv^ara t 8ta ravra Ka/a}^ ecr^ere SovXocrwTjz/ 5 v[jLa)v 8' el? /xez> efcacrTog aXcoTre/co? lyytvi ySaiVei, o'v/JiTrao'iv 8' v/xi^ ^auz/o? tvtcm voos - 19 yap y\)cr7ro)v atet Sd^ai^ exeti> dyaOijv 5 etz/at Se y\vKvv (5Se c^tXots, eyOpoicn, Se 7Tt/cpdi/ ? rotcrt /xei^ at8oto^ ? rotcrt 8e 8eti/6^ tSeti^. 8' i/Jieipo) ^tv e^eti/ ? dSt/ccw? 81 16 ELEGIAC POETS OVK e#eXw TrdVrajs vcrrepov y\0e 81/07. TT\OVTOV 8' 6V /Jiv Soicn, #eo 10 e///7reSos e/c vedrov TTvO^tvos eis 6V 8' aVSpes fJLTLO)o-Lv vfi vftpios, ov Kara px Ta ^ ^^ dSueot? epy/otacrt OUK t0\a)v 7TTai - Ta^ew? 8* OLva^icryerai arr) dpX*) & * oXiyou yiyverai wcrre irvpos, 15 \avpr) fJiV TO TTpS)TOV, OLVLTJpr} 8e TeXcT/TOL ' ou yap 8171^ OvTjrols vftpios epya TreXet. ^ dXXa Zev? Travroov tyopa reXog, e'^aTTtV^s Se alar* az/e/xo? z/(^eXa9 ali/;a StecrfceSacre^ r/pwos, 05 TTO^TOU TTO\VKV^OVO<; drpvyeroto 20 TTV0[Jiva KivTJcras., yrjv Kara 7TVpocras Ka\a tpya, Oewv e8o? anrvv IKOLVZI ovpavov, aiOpiiqv 8' auris eOrjKev ISelv - XctjLL7Tt 8' ^eXtOlO fJLVO<$ KOLTOL TTLOVOL yalav \ / 9 V I / 5 O \ y 9 5 \ SO ^ KaKov, arap vefyeajv ovotv er ecrrt^ toeti/- 25 roiavTrj Zyvos TreXerat rtcrt^ ovS' e^>' e/cacrrw^ wcrirep OVTJTOS dz^p, ytyi/erat ofv^oXo? atel 8' ov e XeXrjOe Sta/iTrepe?, ocms aXirpov Ovjjibv XV> Travrtos 8' e? reXo? efe^ct^ V\\9 \ >/5V OSV >^N aAA o //,ei/ avnK ericrev^ o o vcrrepov et oe 30 avTOi, jicTje ewz/ jLtocp eTTtoucra TJXvOe irdvTO)*; avns avaunoi epya rivovcnv rj TratSeg rovrcoi^ 17 ye^o? e i 8' c58e voevfjiev OJJLWS dyaOos re /cafcds re avro? ai^ efcacrro? 35 TrptV rt TraOelv rare ' avTtV oSuperac TOVTOV 17 KOVtpCLLS IXTTLCTL tv vovcroi&iv VTT dpya\r)cn o5s vyir/s eoreu, TOVTO Kare^pdcraro aXXos SeiXos eoi^ dyaffos 8oKel 40 KCU KaXo9 ? fJLOp(j)7)v ov et 8e TIS d^pyj[ji(t)v 7 irevLris 8e />tt^ epya iroivTa)*; ^prjfJLara TroXXa So/cet. ' aXXo^ez/ aXXog 6 jitez/ /cara TTO^TO^ dXarat VY]vcriv xpy&v oucaSe /cepSo? ayew aXXo? yTy^ Tp,y(x)V TToXuSeVSpeoi/ ets iviavrov \arpevei, Toicriv KajjLTTvX' dporpa cxXXo? ' AOrjvairjs re Kal e H(cucrToi; 50 epya Saetg yeipoiv ^uXXeyerat /Si aXXo? 'OXvju/TTiaSa^ MovcrecL)^ Trdpa 8copa o~o(j)L7]^ [terpov e 8' d^Spt KCLKOV rir)\60.v ep^d 55 w crvvo/jLapTTJcrajo'L OeoL- rd 8e fjio ovre rt? oiw^o9 yovcrerai 01!^' tepct- aXXot IIai(S^o9 TToXv^apfjidKov epyov LTjrpOL' KOL rot? ovSez/ en-eon reXo? 7roXXa/ct 8' e oXtyr/? oSwij? />teya yiyverai aXyos, GO /cov/c ai^ rt? Xvcratr' T^TTta (^dp^aKa Sou? TOI> 8e fca/cat? ^oucrotcri Aca/cou/xe^o^ dpyaXeat? re Molpa 8e roi OVTJTOLO'L KCLKOV (f>epL ^8e /cat ecr#XoV Saipa 8' avKTa Qt&v yiyverai, ddavdrow, 18 ELEGIAC POETS 65 Tracrt Se TOL KivSvvos 77* epyjuacrii', ouSe ns oT 77 fji\\L o-xqo-tLV, xpT/jnaro dXX' 6 //,e> eS epSeu' Treipco/x/ez/os ov eis fjLeyaXrjv OLTT^V KCU ^a\7rrji f TO) 8e KdKO)s epSo^rt ^eo? vrepl Trdvra StS 70 crvvrvyl^v ayaOriv, K\VCTLV dw ^jLtea)^ TrXeicrro^ e^ovcrt /3iW ? StTrXacrtco? CTTreuSovcrt rt? aV Kopecrete^ /cepSed rot 9vr)Toi<$ ajiracrav aOdvaroi 75 drT7 8' ef avratv dvatfraiveTOLL, r)v OTTOTOLV Zeus VII (15) IIoXXol yap TrXoureScrt KaKoi^ dyaOoi Se dXX' Txets auroL9 ou dperrjs ro^ 7rXovro^ ? evret TO a 8' dv9 toTruv dXXore dXXo? ^ TETPAMETPA HPOS VIII (33) SoXco^ /3a0vdai XENOPHANES 19 IX (34) Xawa pels TOT" e KaOapov /cat /cat /cuXt/ces TrXe/crous 8* a/>t /xecrro? eu'^poorwTjs 8' ou>os erot/xos, 05 OVTTOT c^rjcrt 7T/ooSwcretz> ? *v /cepa/xots, avdtos oc 20 ELEGIAC POETS eV Se fjitcrois dyvrjv oS/XT^ Xt/3ara)TO5 \ljv^pov S' Sa>p /cat yXvKV /cat KaOapov - 7rap/cetz>rat S' aprot ^avOoi yepaptj re 10 rvpov /cat /zeXtros TTLOVOS 8' avdto'iv av TO ptcrov p,o\7rr) 8' d/jiTov fjiv Oeov v evc^^jLLot? jjivOois /cat KaOapoicri Aoyots. 15 (TTretcra^ra? 8e /cat evfa/xo>ous ra 8t/cata 8vvaa0on, ravra yap c3^ eVrt Trpo^etporepo^ TTLVtLV OTTOCTOV KV e%0)V dv Se Trpo^O^i^v ate^ e^eti/ dyadov. 11(2) et /xei^ Ta^vrrt Troc^ VIK^V rt? apotro 17 TrevTaOXevtov, evOa Ato? re/xe^o? Trap Ilt'crao POTJ? eV 'OXv/xTTt^ etre TI /cat TTVKToa"uvr)v dXyLvoecnTa 5 etre TO Setz/oz> deOXov, o TrayKpanov /caXeovcrtz/ ? aoTotcrtz/ /c' etTj /cvSporepo? 7rpocropa^ ? /cat /ce TrpoeSptT^^ (fraveprjv iv dywcriv apotro^ /cat /ce^ crtr' etr; Srj/Jiocriajv KTedvwv K TroXecos /cat SaJpoz;, o ot /cet/x^Xto^ etTj THEOGNIS 21 10 eire Ka TTTTOKTLV, ravr iravra OVK ta>v a^ios, a!' pco/jiT)? yap dvp)v 778' linTtov r^fjiereprj o//,ierai ovSe Si/caioz> 15 ovre yap et TTVKTT?? aya^og Xaotcrt oiJr' et Tre^ra^Xet^, ovre ovSe /xez> et ra^vrrJTL 7roSai^ ? TO Trep ecrrt ocrcr' aVSpa)*' epy' ez^ dy)vi av ST) juaXXoi/ e^ evvo/jiLr) 770X15 117 20 (TfJUKpov 8' ai^ n TroXet ^dp/jia yivwf irl ei TIS deOXevojv VLKCO ITtcrao Trap' o^^a? ou yap TTtatVet raura /xv^ov? TroXeco?. THEOGNIS For the life of Theognis we are dependent upon what we can glean of statement and suggestion about himself from his own works. As his poems, however, are not handed down to us in any complete form, our information is to an unfortunate degree based upon conjecture. We can feel nevertheless that the main points in his history are fairly certain. He was a native, we conclude, of Megara, across the bay and the island of Salamis from Athens. He flourished during the latter half of the sixth century B.C., and there is some reason to believe that he lived through the years at the beginning of the cen- tury following. For a long time previous to the birth of Theognis his native city had suffered from a series of revolutions which threw the control of the state back and forth between the oligarchs and the commons, or tyrants who usurped the power in the commons' 22 ELEGIAC POETS name. Theognis belonged by birth and by sympathy to the nobles, and his poems naturally reflect his feeling of indignation over the misfortunes of his friends, and his thorough hatred of their political opponents. His sentiments were greatly intensi- fied by his personal losses, as his property was confiscated and he was sent forth an exile, homeless and almost friendless. He found at last a resting-place in Megara in Sicily. It was the natural result of his experiences that all his thoughts were colored by his political feeling. In his writings the nobles are always the ayaOoi and co-0A.oi, and the common people are KO,KOI and 8etAo6, so that these words, as they occur in his poems, are always to be taken as having much of this political signification. His poems were regarded as especially valuable for their shrewd judgment upon human life and for the wise maxims which were the outgrowth of his many-sided experience. Such reflections as were counted especially valuable were apparently culled from his works and brought together because they reflected so well the judgment of the average Greek gentle- man of culture. The collection was naturally enlarged by attracting to itself similar suggestions from other authors, so that we have under his name an anthology in which the Greek spirit utters itself in most suggestive language, but it is not always easy to conclude who was originally responsible for each sentiment. The collection is supposed to have been used as a text-book for the school training of the Greek children. If we would attempt to select the poems which really belong to Theog- nis, we can only use our best judgment in attributing to him those portions which are not referred to as belonging to other poets, and which are tolerably consistent with one another in their testimony about their author. We are helped in this because his experience was not of a commonplace character, and his feelings are intense and expressed with a vigor which could not fail to give them a certain distinction. Many of his poems were addressed to one Cyrnus, the son of Polypais, a THEOGNTS 23 young friend of whom we know only what he tells us. The name, however, identifies the poems where it occurs as belong- ing to Theognis. Even where we cannot be certain who com- posed the lines, they are interesting because the Greeks gave them a place among their rules of life. The edition of Bergk gives some fourteen hundred lines of the elegies of Theognis, of which selected portions are given here. 'fl ava, Ar/roCs vie, Atos re/cos, owirore creto X^crojitat dp^o/xe^os ^8' diroTravofievos, aXX' ate! Trpwrov ere /cat vcrraTov eV re /xecrotcriz/ a'etcra crv 4 poi K\v6i /cat eV#Xa StSov. 5 ot^8e aVaf, ore /xeV ere ^ea re x /ce Trdr^ta ATJTOJ, 5 l aStz^s ^epalv l ? <$>i\ov ecrrt- TO S' ov KaXov ov a. 20 ovSe rts aXXa^et KOLKLOV TovcrffXov irapeovTos - cSSe Se Tra? rts e'pet- euyi'tSds eVrt^ 7717 rov Meyapea)? Tra^ra? Se /car' dvOpaiTrovs o^o/Aacrrd? aoTots rotcrS' ou TTW TTOLCTIV aSew> Su^a/xat 25 ovSei^ #au/xa\ ^ /l^ ^V> ? a?ro raw aac/a>z/ Trat? er eV epyjLtacrt so rt/xas ^8' apera? eX/ceo /^TjS' ac^e^os. 30 ravra /xei/ ourco? tcr^t /ca/cotcn Se /x^ Trpocro/xtXet >o/ >\\> SN ^ > /3^ v avopauiV) aAA atet ra>z/ ayac/co^ e^eo /cat jnera roicriv Trlve /cat ecr^te, /cat //,era rotcrt^ t^e, /cat aVSaz'e rot9 ? wi^ /xeyaXr; Swa/xt5. 35 IcrOXcov pel; yap air* IcrOXa /xa^creat 17^ Se /ca- KOLCTLV 35 crv/AjLttcryy?, avroXet? /cat TCW edi^ra z/doi/. ravra ^a9a)v dyaOoicnv 6/xtXee ? /cat Trore eS crvjJiflovXeveLv rotcrt c^tXotcrt^ e//,e. e, /cuet TrdXtg ^Se ? SeSot/ca Se JLLT) re/co^ a^Spa 40 evOwTrjpa KaKrjs v^Sptos ^/xerep^s. 40 acrrot /xez^ yap e^' otSe crad^po^e?, T^ye/Ao^es Se x rerpa^arat TroXXyv e's /ca/cdr^ra Trecretz/. 7TO), Kvpz/' ? dyaOol TrdXtz^ alXecra^ aVSpes aXX' orai/ vSt^eti/ rotcrt /ca/cotcrtz/ aS^, THEOGKCS 25 45 8r)fji6v re <#etpo>crt ? St/cas r' aSt/cotcrt StSaicru> 45 oiKeitov Kp8ea)v etVe/ca /cat /cpareos, \7To [Jir} 817^0^ KIVY)V TToXi jLtr^S' et z/w TroXXij /cetrat eV ^ eSr' az> roicrt KaKolcri <^>iX' az^Spctcrt ravra 50 KepSea S^/xocria) crw KOLKCO ep^ofJieva. 50 yap crracrte? re /cat e/xc^iAoi <^>oi/oi ai^ '- a TrdXet fjLTJTTore r^Se aSot. e, TrdXt? /xe^ e^' iJSe 770X19, Xaot 8e 8^ aXXot ot TrpocrO' ovre Si/ca? y8ecra^ ? oure VOJJLOVS, 55 aXX' ajH(t 7T\vpfjcrL Sopas alytov KaTtrpifiov, 55 efw 8' wcrr' eXa^ot r^S' eVe/xo^ro TroXeo?, /cat z^C^ etcr' ayaOoi, Ho\v7ra'i8r) ot Se Trpti^ icrO\oL vvv SetXot. rt9 /cei/ raCr' a^e^otr' ecropav ; aXX^Xou? 8' avraraia't^ evr' aXX^Xotcrt yeXcSi/re?, 60 ovre KCLKtov y^ci/xa? etSore? our' dyadwv. 60 eW rali/Se i\ov TroteO, IToXvTratS^, dcrrcov K OvfJiov, ^petTjg etVe/ca aXXa 8o/cet /xe^ Tracriv dirb ^p^/xa Se crujLt/xt^? /x^S 65 cTTrouSato^ * yvaxrri yap oityptov (^peVa? a^Spai^ 65 wg o- eV epyoto-t^ TTICTTI? err' ouSe/xta, cxXXa SoXov? r' aTrara? re TroXuvrXo/cta? r' (t ?, a5? ai/Spe? /x^/cert crw^o/ O5 aVTjp ^pvcrov re /cat dpyvpov dvrepvo'ao'Oai 70 aftos eV ^aXe7r^ ? Kvpve, St^oa-rao-tTj. 78 26 ELEGIAC POETS Havpovs evptjcreLS, HoXwrraiSr), dv8pas erai/oous 79 eV a Icrov TWV dyadtov TMV re KCLKWV 75 OU TOCTCTOV5 ' VOL<$ l 8tX^O5 OvS' 67U TTCt^Ta? 83 dv0pd>7TOvs, 7Tt yXaxrcrrj re /cai o9a\iLo1tX7yo-at, 101 pj/e rt 8' eo"r' oc^eXos SetXo? a^p c^tXo? c2i/ ; 1 B. r6Spo9 yvvvai ^aXencoTepov ouSeV, 117 ? ouS' euXa^StTj? ea^rt Trept XpucroS /ctySS^Xoto /cat apyvpov a^cr^ero? ari7 ? no Kvpi/e ? /cat efeupetz/ paSto^ ai/Spt cro(^w. et 8e TreLprjOeirjs ajo-nep viro^vyiov 115 ouSe /cei^ t/cacro"at5 wcrirep TTOT' es al^to^ 2 \0d>v 7roXXa/ct yap yvcj^v efaTrarwcr' tSeat. ei/ v ptoTTOicri Trarpog /cat /x^rpo? ptwov 131 6Vot9 B. otfSe 7ap. 2 B. a>'/ 28 ELEGIAC POETS is, K.vpv\ a,T7]$ KOLL /cepSeos amos avrds ? 133 120 dXXa Oeol TOVTCDV Sairoyoes dfjiTro)v epyderai, eV (frpecrlv eiSok 5 re'Xos eir* dyaOov yiverau etre KOLKOV. 7ro\XaKL yap So/cewi/ Qr^cr^iv KOLKOV, ecrOXov /cat re So/coii/ OrfO'tiv ecrdXov, edyKe KOLKOV. 125 ovSe TO) av9pd)TTO)v TrapayiveroLi, ocrcr' yap xaXeTT^s ^eipar' d/x^^a^ Se /xdrata vo^i^o^ev^ etSdre? ov 8e Kara (Tereov TrdVra reXoScrt TTOJ feu/oi> ? IIoXvTrai'S^, e^aTrar^cra? 143 130 ovS' t/cen7^ 6vif]TS)v dOavdrovs BovXeo 8' eucre^Seaji/ oXtyot? crv^ ^p^/xacrt^ ot/cet^ 145 17 TrXoirret^ aSucws '%P y lt JiaTa TrctcrajLcez^og. eV 8e 8t/catocrw]7 crv\\7J Pfyv Tracr' apery * Tra? Se r' a^p dyados, Kvpi/e^ Si/cato? 135 XjOT^ara />te^ Sat/xw^ /cat irayKaKco dv8pl StSwcrt^ 149 Tj? 8' oXtyois d^Spdcrt [Jiolp* rot ireviriv dv[Jio e\ MTJTTOTC, Kvpv', dyopdcrOai eVos /^eya- oTSe yap 159 dv8pl THEOGNIS 29 *AXX' aXXo; /ca/coV ecrrt, TO 8' drpe/ces oX^Stos ovSets 167 s KaBopa. 145 tX O^ Se #eot Tt/xwcr', 6 1 /cat /JL(t)fjLVfJievoSpos Se crTrouSir) ytVerat ov ? ^eot? e'crrii^ em Kpdros- ov rot arep 171 yiverai dvOpa*7roL$ ovr* dyad 9 ovre KdKa. ' dyaOov Trevir) Travrw Sdjit^crt jLtdXtcrra 173 150 /cat yrfpo)*; TToXtoC, Kvpve, /cat ^TrtaXou, ^ ap Trei/t^ eju/yy/xeVos ovre rt etTret^ oi!^' epfat Svi^arat, yXalcrcra Se ot SeSerat. 155 Xp^ ya/o o/xaig eVt y^i/ re /cat evpea VMTOL 179 ? Kvp^e, Xvcrti^ Kptov? /xo> /cat oVou? St^/^e^a, Kvpve, /cat tWous 183 evyei/ea?, /cat rts ^SovXerat e'f dyaOwv flyer ecrdai - yrj/Jicu Se /ca/c^ /ca/coG ou /LteXeSat^et 160 ecr^Xo? dvyp, r)v ot xP 7 Jf JLara ^o\\d StSw. /^ /ca/coG di/Spo? dvoLiverai et^at a/cotrt? -tov, aXX' dtfrveov ySouXerat dz/r' aya^ou. yap TL/JLOJCTL' /cat e/c /ca/cov ecr^Xo? feat /ca/cos ef dya9ov TrXovros 1 B. 3v. 30 ELEGIAC POETS 165OVTO) /XT avfjiae yevos, cruz/ yap /xtcryerat tcrdXa /ca/cots. AVTOS rot ravrrjv etScis /ca/coTrarpti' lover av 193 ets OIKOVS dyerat, ^pyjfJLac euSo^o? Ka/coSofo^ eTret Kparepy JJLLV 170 eWuei ? 77 r' d^Spos rX^oz/ 8', o jncz' Atd^e^ /cat crw 8607 dz/Spt rat 197 /cat KaOapws, atet TTap^ovi^ov reXe^et. et 8* a8t/ca)5 irapa Kaipov dvrjp <^)tXo/Cp8et t, et^' op/cw Trap TO 8t/cato^ eXw^ ? 175 aurt/ca ieV rt eyevro KCLKOV, Ot&v 8' vTrepecr^e z^dos. dXXa rd8' dv6pd*7ra)v aVara ^001^ ov yap en*' avroC rivovrai /xd/cape? Trprfyparos a/xTrXa/ctas dXX' 6 /Ltei^ avrog encre 1 /ca/coz^ X/ e/os ^8e <^>tXotcrti> 180 drTjz^ efoTTtcrw vratcrt^ vTrep/cpe/xacre^ a\\ov 8' ov /car/zapi// St/cr] Odvaros yap d irpocrOev eVt ^SXec^dpots e^ero /crjpa fyep Kvpve, rrj& Itfrenov, Tore 8' dXXotos Kpecrcrcov TOL crcK^iTj yiverai drpoTTirjs. 4P f/ Ocrri9 TOL So/ceei rov TrXrjcrioz' tS/xe^at ouSeV, 221 190 dXX' auras /AOWOS TTOt/ctXa S^i/e' e^et^, y' d^pajv ecrri, i/dou ^Se^SXajn/xe^o? ecr^Xov. yap 7raz>res vrotfctX' eTTtcrTa^e^a^ dXX' 6 jne^ OVAC e'^eXet KaKOKepSeirjcnv tneo-ffcu,, TO) 8e SoXoTrXo/ctat /xaXXo^ aVioroi aSoi/. 195 Sol /u/ez/ eya) Trrep' eSwfca, cru^ of? CTT' ^TO^ 237 KCU yr\v Trdcrav deipdfjLevos oivris Se /cal etXa7rtV>jTJ[Jivos - dXXd ere 7re/>ti//et dyXad Moucrdcoz^ Saipa ioo-Ttfydvcav - Tracn, yctp, otcrt /xe/x^Xe, /cat eVcro/^eVotcriz/ d 210 ecrcTT; 6/^0)5, oV TrdvTuv 8e KOLKLCTTOV tv avdptoTroiS) Oavdrov re KCU Tracretov vovcratv ecrrt TrovTjporepov, TrcuSas 67ret Opeifjaio Kal dp/jieva irdvTa Trapacr^oi^ 220 ^pTJ/JLara S' et KaTaOfjs, TrdXX' dvirjpd Tradtov, TOV Trarep' eyOaipovcri, Ka.rapS)vrai ' a,7roXecr#ai, /cat crrvyeovo-' ojcnrep Tot KOLKoi ov TrdvTajs KCLKOI K yacTxpog yeyd^ao"t^ ? 305 aAX' dvSpeo'crL /ca/cots (jvvde^evoi <^i\Lif]v 225 e/)ya re SetX' epaOov Kal eirr) Svo-^jita Kal vftpiv, /cet^ovg Trdvra Xeyetz/ 319 ia 8' ei' re Ka/cotg Kei^evo^ %v T dya9oi<$. el 8e #eos fca/caJ a^Spt ySio^ /cat TrXoCroz^ oTrdc 230^ d(f)paiva)v KOLKI^V ov Swarat T^ TTOT' eTTt cr/JUKpa 7rpo<^acrt $i\ov a^Sp' aTroXecr- 323 e ? StatySoXtT/. et rt? dfjLapTO)\rjcri i\v errl TTCLVTI ov TTOT' a^ aXX^Xots dpO/jaoL ovSe 235 ti/ dfjiapTcoXdi ydp eV dvOpuTroicnv errovrai s ? Kvpz/e ^eot S' ov/c eWXovcrt THEOGNIS 33 / ? 331 * TpOlCTl StSoU, Kupz/e, TO, TMV TpO)V. eV ayav cnreveiv - Trvrwv /xecr picrra /cat OUTW9, 335 240 Kupz/' ? e^eis dpeTirjv, Tjvre Xa/3elv Zeus /^ot TOJI/ re (^iXaji^ 80117 rtow, ot /AC (^iXeScrt^ 337 r /xer' dvOpa>7ra>v Oebs et /A' aTroTicrdptvov jjiolpa KL^OL Oavdrov. 245 'AAAa ZeS reXecrdi/ /xot 'OXu/xTrte Kaipiov evxrfv ' 341 Sos 8e /xot dz^Tt KOLKCOV KaL TL TraOeiv dyaOov. reOvauYjv S' ? et ^ rt KCLKCOV a/x7rau/xa evpOL/jLTjv, SotTy^ 8' aW' az^taiz/ az^ta? atcra yap ovra>9 e'crrt- rtcrt? 8' ou c^at^erat ^/ 250 d^Spai^, ot rd/xa ^p^ar' e^oucrt ^ eyco 8e /cuw^ eVep^cra TOTa/xa) irdvr a7roa*etcrdjLtei/o9 et^ jJL\av at/xa Trtet^ eVt r' eV#Xog opoiro 09 /car' e'/xoz^ z-'ou^ reXecrete rdSe. 255 TdXjLta ? Kvpi/e, /ca/cotcrtz^, eVet Kacr^Xotcrt^ e^atpes, 355 cog Se ?rep e'f dyaO&v eXa/3e? KOLKOV, c5? 8e /cat e'/cSuz/at Tretpai, Qtoi&iv e OuSeVa Orjcravpov Tratcrtz/ KaraOyjcrrj a/xetz^oj 409 260 atSoCs, 77 r' dyaOots d^Spdcrt, Kvpv\ eVerat. 34 ELEGIAC POETS dv6 pa)TTO)v KCLKLMV So/ct eti/ai eratpos, 411 co yva>p,7) 9* 7TTai, Kvpve, /cat a! S OuSeV bjjioiov ejnot Swajnat St^/xe^o? evpelv 415 TTLCTTOV eTOLlpOV, OT(D fJLTfj TIS ^ avyas o^eos 'JjeXiov 8' OTTO;? aJfcta'Ta TruXa? 'At'Sao TrepfjcraL, KCU KelcrOai 275 4>ucrai /cat peijai paov /poTo^ ? 17 pea? eo"as 429 V0jJLV ' OvSet? 7TCO TOUTO y* e7T<^)jOacraTO^ W TIS CTtofypOV 07)K TOV d KaKov az^Sp' d B. & TT(TTl THEOGNIS 35 285 M.TJ TTOT* eV' oVpT/KTOlCTl VQQV e^ ? jU/^Se jlte^Ol^a, 461 Ty/xacrt, r<3^ adverts yiverai ovSe/jiia. 'A/x' dperrj rpt/Sou, /cat eroc ra Si/caia os ^apiecrrar 300 ovr' ert vrja)v &v, oure Xirp peOvcov. 09 8' az^ V7rp/3d\\r) TTOCTIO? jLterpo^ ? ov/cert 7775 avrou y\a>cro"r)s /caprepo^ ou8e z/oov fjivOeiroLL 8' aTraXa/x^a, ra vrj^ocri yiverai alcr^pd- J^\/-s ^>VO. >' ^ /)/ atoetrat o epocov ovoev, orav ^Ov^ 305 TO Titr e'a)^ crwwi/, rare Kmos dXXa cru ravra ' )i>, JLCT TTI^ * dXX* 17 Trpt^ fjieveiv vTrava-racro JUT^ ere yacrrrjp, cocrre KaKov \drpiv e^/xeptoi/ ? 17 Trapeatv /jirj TTive * crv 8' ey^ee rovro /Jidraiop 310 KO)TL\\L<; aiti' rovveKa rot jue^uei?- 17 jite^ yap c^epercu (^tXor^crto?, 17 8e Trpd/cetrat, 36 ELEGIAC POETS TJ)v Se 06OL5 te^ xpvarov re /cat apyvpov tSptes az^- Spe? 499 yivto&Kovcr \ dv8pos 8' ol^o? eSet^e z^oo^ t jjidXa wep TTLVVTOV, TOP virep ^erpov rjparo 0)(TT KaTOLLO"XyVCLl KOL TTplv OVTa alreiv e/cXucrtz^ dOavdrw. K.K\rjcrOai 8* e? Satra, Trape^ecr^ai Se Trap' ecr- ^Xoz^ 563 aVSpa xptwv, cro(j)Lriv irdcrav eTrtcrTa/xe^o^ 325 rov cruz^tetz^^ ovrora^ rt Xey^ cro^d^ o. 594 IloXXaj rot TrXeoz/a? XLJJLOV /copos alXecre^ ^817 605 dz^Sa?, ocrot jLoirs ir\eiov THEOGNIS 37 * 7rL t/'euSous juu/cpi!) X^P L<; ' ^ ^ reXevrrjv GOT aicrxpov ST) /cepSos /cat KOLKOV, a'/x^dr 335 yu/erat - ovS' em /caXdj', 6Va> i/je aVSpl /cat l^eXdri Trpwrov dirb crrojLcaro?. Ovri /xaX' dv9pd)Troi<$ KaraOvfjaa Trdvra reXetrat- 617 yap QvrfTMv Kpe&aoves dddvaroi. Has TIS TrXovcrtoz/ dvSpa rtet, artet 8e TTtvi^pov 621 340 TrdcrLv S' dv0a>7roLS auras eWcrri vov 815 feat 77)19, o rot K' CTTI roz^ i/doi^ e\0r)' 633 drrjpbs yap rot Xd^Spos d^ 'EX7US /cat /cti/Sv^o? e^ dvOpdmoicriv Ojnotot 637 OVTOL yap ^aXeTrot 8atjLto^9 d^or 345 IloXXa/ct Trap So^az/ re /cat eXvrtSa yt^erat t! pe epy' dv8pa>v, /SouXats 8' ov/c eTreye^ro reXo?. 640 IloXXot Trap Kprjrrjpi (J>L\OL yivovTai eratpot, 643 e^ Se 7ra)v /cat /caX' e 38 ELEGIAC POETS 355 MTiSei' ayav yaXeiroicriv dcr< pew dyaOov. Ei /xei^ xpyjfjiaT 9 e^ot/xt, Si/AaWST?, ota 77/011; ^S^7/ 667 ov/c ai> dvicofjirjv rot? dyadolcn v vvv Se /xe yivoKTKovroL Trapep^erat, et/xl S' ac 360 xpypoo-uvri, 7ro\\a)v yvovs irep aptivov ert, owe/ca i/Bz/ (^epo^ecrda K.vff Icrria XCVKCL MTjXtov C'AC Trd^rou zwcra Sta ^o^eprjv - avr\tiv S' ou/c i9e\ovcTiv - vvreyo^SaXXet Se OdXacrcra 365 OT(uTcu ? ol' 2 o rt? 8' dpTrd^ovcri ^8177, /COCTJLLOS 8' a,7roX, Log 8' ovKT* urog yiverai e? TO /xecro^, opTr)yol 8' dp-%ovo-i, KaKol 8' dya9S>v KaOvi 370 SetjLLatz/w ? /X7y Tras ^av^ Kara Aci)/>ta 77117. ravrd /xot rfviyQu KeKpv/JL/Jieva rot? dya9oi(Tiv 8' ai^ ns Kat /caicd?, 771^ 0*0^)09 77- TloXXot TrXoSro^ e^ovcrtz^ dt'Spte? ot Se ra KaXd 683 ttfTovaiv ^aXeTTTj ret/od/xei/ot Treviy. 375 epSew 8 s d^orepOLO-iv d^^av ipyei ydp rov? /A^ ^p^/xara, rov? Se Ov/c ecrrt 0vr}Tol e^oi'Tos e/xoO TroXXot c^tXot 77^ Se rt Set- 697 iravpoi TTLCTTOV e^ovcrt i^do^. rfdei 8' dv0pa>7ra)v aperr) /xta ytVerat 7786, 699 TrXovrei^ rai^ 8' aXXcov ovSe^ ap' ^z/ o^eXog, 385 ouS' et crcD^pocrwrji' pkv e^ot? e PaSa//,a*>#vos avrov, TrXeto^a 8' etSei/ry? Sicrv^ou AcoXtSew, ocrre /cat ef 'At'Sew TroXviSpetTjcrt^ dvrjXOev, Tretcra? Hepcre^ovrjv cu/zuXtoicn, Xoyot?, ^re ^Sporot? Trape^et \.rf0r)i>, ^SXaTrroucra i^doto 390 aXXo? 8' OVUM rt9 TOVTo y' 7re\js()v ravrrjv 1 KaraOecrOcu,,, a5? TrXoGrog TrXetcrrT/i/ 1 B. 40 ELEGIAC POETS dv0pa>7Ta)v ii\ayov Trrepa Trot/ctX' crat, 729 /cat 405 Zev irdrep, eWe yevoiro Oeols rouro yevoiro <^>tXo^ ? OVJJLCO (T^eVXta epya jutera fyptcriv 6* ocrrt? a CLVTOV eTretra 7rd\iv rtcrat /ca/ca ? /XT^S' er 410 Trarpos aracr^aXtat Tratcrt yeVoti^ro 1 TratSe? S' ? otr' aSt/cov Trarpos ra 8t/cata 7rotaicrt^ ? Kyoo^tSTj, cro^ ^0X0^ cf^d ' avriTiveiv irarepajv. 415 ravr' etr; /x a/cap ecrcrt #eots <^>tXa i^v^ 8' 6 /ze*> Ki)C croupe, St/catws ^p^/xara Trotov, 753 adxfipova dvfMO^ e^oiv e/cro? atet Taii/S' eneajv xexz^xeVos e? Se 430 e^ TTjcrSe 770X1705 VTripe\oi, aiOtpi VCLI^V^ 757 cuet a\\OL T affdvaroi /xctKape? #eot- avrap ' opOaxraL y\)(Tcrav Kal voov ^/xerepo^. I / / O> S* I /) / /P N /\ 5^N V 5 435 Sd repTTOjiLeVov?, rrjXov re /cafcag aVo Krjpas d yr}pd<; r' ovXo/xe^o^ /cat Oavdroio reXos. dva, avros ^tv eTrvpycocra? TroXti/ a/cpTp, 773 ow Ile^XoTTog TratSt ^aptojw,ez'os 445 avro? 8e o-Tparov vfipio-T^v MijSajv aVepv/ce TroXeus, tVa crot Xaot ei/ ev^pocrwy eTrep^o/xeVou /cXetrag Tre/xTrwo-' e/caro/x^8as ? eVw KiOdpr) T a/x^>' e'par^ re ^opa>v ta^ycrt re croz^ Trept 450 77 yap eywye Se^ot/c* d06pov - cfXXa crv ? otySe, tXao? ^ 42 ELEGIAC POETS pep yap eywye KCU Is SiKeX^V irore yaiav, 783 fl\9ov 8' Evftoirjs dfjiTreXoev 455 S'TrapTTjz' T* Ev/ocora So^a/corpdc^ou dyXabv acrru Kai jn' (f)i\w 7rpo ^ IIv^(S^t ^O5, XP 7 l cra ^ ' L P e fy op,(j)TJv, crrjiJiTJvr) TTLOVOS l dSvrov ovre TL yap TrpocrOels ovSeV /c' ert (^ap/xa/co^ evpoi?, r' de6(,XoSe(T7roToi> cSSe OTTOCTOVS T^eXios Kaffopa. Zeus oVSp' eoXe'criei> 'OXu/zTTios, 05 TOV iraipov 851 480 Tew 8e (friXwv el /xeV rtg opa /xe rt SetXo^ e^o^ra, 857 av^eV' a7rocrTpei//a5 ouS' tcropav 0\i 8e rt />LOI TTodev cr0\6v, a 7ravpaKL yiverai a aCTTTaCT^OV? 485 XIoXXoi? d^pyjCTTOLO'L OtOS StSoi OLVpd(JLV O\/3oV 865 3 /3\ x <* v ^ o /\ >O\/ ecrt/Ao^ ? o? OUT avrw peArepo? ovoe^ ea>^ oure 7ra)v Set/xa xa/xaiye^eW, 870 ei jn^ eycu roicriv ^kv eTrapKeaoj 01 /^e <^i\evcriv^ rot? 8' fyOpols dviv) Kai /uteya TT^/X' ecro/xat. c/ H/3a /xot, <^t\c 0vfJL- rd^ dv nvts aXXot ecrovrai 877 ?, eyco Se 9ava>v ycua fi\aiv* eLOt KOpV^TJS V7TO Tr)VyTOLO 879 d/jL7T\oL TjveyKav, rag e^vrevcr' 6 yepwv ovpeos eV ^cra-Tjcrt, deolcn a//,at 7TO\fJLOV. *E 6 fjiev x^ptov? 6 8' dutivtov epyov eKacrrov 901 ouSets 8' dv0pd>7TO)v avro? aTravTa erodes. 505 MT; TTor 3 eTraivTJcrris, irplv av eiSfjs ai/Spa cra^)7j- P6), 963 opyjjv KCU pvO^ov /cat rpoirov OVTIV TroXXot rot KL/38rj\oi iiriKkoTTov 77^05 KpvTTrovcr ', ivOejjLtvoi dvfjiov er)/jipLov. TOVTtoV 8' K(j)aLVL TTOLVTCOS ^pOVOS r}0O<$ Kd(TTOV. 510 feat yap eyci yvu>iwc]^ TroXXo^ ap' e/cro? cr' at^cra? TT/OI^ crov /cara Trai/ra w 8' OvSels p' eV e youz/ara /cat Ka\r)v arpe/xeaj? 7rpopeVa ^eXyot? ? >\\ > /)/ aAA epowv (paivoi y t rt ovvai , ayauov. e H/x,et? 8' ez^ OaXirjcn L\ov Karado^/Jieda OvfJiov, 983 en reprro)\rj^ epy* e'paretz/a THEOGNIS 45 525 cui//a yap oJcrre vorjfjia Trapepytrai ayXaog 97/317 * ovS' ITTWV opjjLrj yivercu, ojKvrepTj^ cure dvaKra (frepovcn Sopvcrcroov es Tro Bwoz> 8' dv9 PMTTOLS VTro^cro/xat, ocfrpa rt9 v)/3a 1007 530 dy\aov dv9o<$ e^ayv Kal <; 1029 rot Kpa8i7] yiverai o^vreprj - crv y' dTrprJKTOionv eTr' epy^acriv aXyo? aefa)^ 540 o^Oei^ /xTjS' d^dovy urjSe (^t /XTjS' e^dpoij^ evfypaive. 0ea>v 8' et OVK dp pTj'iSiajs OVTJTOS dvrjp our' az^ nopvper)S /caraSu? e's T ou^ 5 ora^ avrov 6^17 Taprapo? 176/30615. 545 v Ai/Spa rot ecrr' dyaOov w? eV e'/^ot yi/aj/xi7, Kvpve, TraXat KtKpirai 1038 dvOpcoTTOL Kal vuJTrioi, omz'es olz^o^ 1039 aCTTpOV Kal KVVOS J B, icaX6i', 46 ELEGIAC POETS iev Trivovrts rep7rco/iie#a ? /caXa Xeyoi/rcs 1047 550 acrcra 8' eTretr' ecrrat, ravra Oeolcn /xe'Xet. Sot 8' eyci ota re TratSt 770,777/0 vTro^cro^at avrd? 1049 ecr#Xa- crv 8' ev OvfJLO* KCU pecrl ravra /SaXev ^77 TTOT' eVetyd/xei/05 TT/OT^TJ? KaKov, 1 dXXa /3a0ir) o"fj fypevi ySovXevcrat era) dyaOco re ^da>. 555 rai^ yap /xat^o/xe^aj^ Trerereu OV/JLOS re 1^005 re ; /3ov\r) 8' et? dyaObv KOL voov ecrOXov ayzi. Tt/xayd/oa ? TroXXai^ opyrjv drrdrepffev opwi/rt 1059 yLVOHTKZLV ^aXcTTO^ KOLLTTep ZOVTL CTOC^O). ot /xep yap KaKorrjra KaTaKpvifjavTes 560 TrXovra), rot 8' aperr)^ ov\o[Jivr) KOL VTTTLOl, OLT OLvvTa$ 1069 fcXatovcr', ovS' 77/6175 r iyOpwv /uaj/xT^cro/Ltat IcrOXov ed^ra ? 1079 sO\ \ >/ ^\^ ' > J r \ ovoe /xez^ at^crca OZLA.OV eo^ra (pi 565 Ovrco ^PT) rdz^ y' IcrdXov e7rttXw. Kacrrop /cat IIoXvSevKes ot ei/ Aa/ceSat/xo^t StTy 1087 i^ater' CTT' Evpcwra /caXXtpda) 7rora/Aa) ? et TTOTC /SovXeucrat/LLt <^tXw /ca/cd^ auro? 570 t Se Tt Kt^09 e'/LlOt, St? TOCTO^ aVTO9 1 B. THEOGKLS 47 c/ T/3/ois Kal Mayz^ras a/TrcoAecre Kal KoXoe //}'/) N ^ T / e O \ u/o*> , ot TTpocrv ayauoi vvv av fca/cot, ot oe Trpiv 1109 dyaOoi- re? Kei^ raCr' a^e^oir' eVo/xS^ 575 rov? dyaOovs /JLCV dn^orepov^^ KOLKLOVS 8e ; fJivrjCTTevei 8' e/c fcaicoG ecrOXbs dvijp. 8' dTrarw^re? evr' aXX^Xotcrt ovr* dya0a)v JJLVTI jjirjv etSdre? oure IlXovre, ^ewz/ fcaXXtcrre Kat i/xepoecrrare 7rai/Ta)^ ? 1117 580 crw crot /cat /ca/cos c3i^ yt^erat ecr^Xo? dvrjp. t 8e tSr;? ACCU Zeu?, dOavdruv ySacriXei;?, 1120 pa /3iOV ^COOLfJii KOLKtoV T]/3r) Kal TrXoura) Ovpov tai^d/ 585 MT^ jLt KaKO)V jLtt/X^TJCT/Ce ' 7T7TOl>0d TOL Old T 'O8u(T- CT6V9? 1123 ocrr' 'At'Seco jjieya Sai/x' yjXvffev e^az/aSv?, 09 8-^ feat p,VT)(TTfj pas dveiXero vr)\4i OV/JLCO nT/^eXoTrr;? efjitfypajv 77 /Xtl^ 8^' V7TfJLLVe 7TOis jJiovvr) ^eos IcrdXr) evecmv, 1135 aXXoc 8' 48 ELEGIAC POETS 8' a yr\v 595 O/0/COt 8' OVKTL TTtCTTOt eV avO ov8e Oeovs ovSets a^erat a evcrefieajv 8' dvSpwv yez/o? ei^^rat, ou8e ovKTL yivaxTKovcr' ovSe /xe^ e dXX' 6ao5 600 evaeftecuv irepl Oeovs, 'EXTTtSa ev^d/x^o9 re ^eotcrt ? /cat ayXaa fjirjpia 'EXirtSt re 7rpd>Ty /cat TrvfJidrr) Overa). dvSpwv cr/coXto^ Xoyo^ atet, ot ^eai^ dOavdratv ouSe^ OTTI^O^VOL 605 ateV CTT' aXXorptot? /crea^ot? eireyovcn ^OT atcr^pa x /ca/cot? epyots o"UfJi/3o\a ^ TTore roz> Trapeo^ra /xe^et? tfriXov aXXo^ epewa, SetXaii/ dv9 ptoTTMv pij^acn Tret^djuei/os. 1152 Ov/c epa/Adi TrXovret^ ovS' et^ojuat, aXXa jitot 6tT7 1155 610 7^ 0,770 rai^ 6Xtyw^ ? jJLrjSev e^ovn KCLKOV. uSeVa Orjcravpov /cara^cret^ iraicrlv d^ivov 1161 8' aya^ot? d^Spacrt, Kvpz^e, StSov. , Kvpve, deol OvrjrolcrL StSocrtz> dpia-rov - 1171 Tretpara THEOGNIS 49 615 a) judjcap, OOTIS 877 piv e^ei Sei*> /LL^TC Xeyeii^ d<;, dXXa rt /^ot ^ai^rt yivoir dyaOov. dcTTraXa^ot Se raTTTjcrt^ O/JLOLOV crrpai/xa OOLVOVTL - TO v\ov rj cTK\r)pov yivtrai, rj rt Oeovs eniopKov eTro^vvdi - ov yap OLVVCTTOV 1195 Kpinfjai 635 Opvios <)a)vit]v, TIovTrar), ov ^ococn^g 1197 r 5 , 77x6 Pporols ayyeXos T^X^' dpdrov 50 ELEGIAC POETS upaiov - /ecu jnoi Kpabfyv eVaraf e fJL\awav, OTTL /xot evavOels aXXot e^ovo-iv dypovs, ovSe jitot yfjilovoi Kv^an? H\KOV(TIV dporpov, 640 1223 ti/et ? OV/JLCO SetXa OvSeV, Kv/oi/', dyaOrjs y\vKpa>Tp6v eVri 644 pap*; lya>, o-v S' e'/xot ytVov d\j)6ovaXioio aVa/cros, Kal M overeat Iparbv S 7ricrTa/xej>o9. 11(2) 'E*> 8opl fjLv /AOL fJiSi^a fjLp,ayjJLvr), eV Sopt S' oli/o? O9 ? TTIVO) 8' Ill (4) aye, &VV KwOuvi Oorjs 8ta creX/xara ^7705 , a) x sv e Hoe o wcrr o^ov ou yap rt /caXog ^(Spo? ouS' e^i/ ou8' epard?, olog djuc^t Stptog podg 54 IAMBIC POETS IX (25) Ov jjioi TCL Tvyeoj rov TroXv^pvcrov /xeXet, vS' elXe' TTCO pe 77X09, ouS' dyato/xat ,, /xey 01X77$ 8' ou/c epe yap eanv o0a\fJLa>v e TETPAMETPA X(56) Tots Oeols TiOei ra Trdvra - TroXXcuas fjiev K KOLKMV az/Spas opOovcriv nzkaivri Kip,vovs ITTI TToXXajas 8' avarp^TTovcri Kal jLtaX' e5 / V7TTIOV9 K\iVOVOr >> 7TLTa TToXXct yiyV.TOil KOiKOL, 5 /cat ^8tou XP^P'V ^^ a ^Srat /cat ^dou Traprjopos. XI (58) v eyOp&v TT\ricriov KaracrraOeL dcrc^aXecys /cat /r^re VLKMV a/JL ayaXXeo, 5 jtx^re viKyOtls eV ot/cw /caraTrecra)^ dXXa yaproioriv re X a ^P e Ka JLL^ XtTji^ yiyvwcrKe 8' ofos pvcr/Ltos dvOpuTrovs e^et. 1 B. *w5eu. SIMONIDES OF AMOKGOS 55 XIII (74) de\7rrov ouSeV icrnv ovS' aTrco uSe Oav/Jido'LOv, eTretSr) Zev5 Trarr/p ' VVKT r/Xiov Xajit7roz>TO5 \vypov 8' 77X0* CTT' dv0pa>7rov<$ Seo?. 5 CK Se roi) feat TTtcrra Trdvra KaTueXTrra yiyverai dv^pdcriv - fJLTjSels eO* vpuv etcropaii/ ' oraz^ SeX^tcrt Ofjpes d^ra/Aea//a)i/Tat KOLI 7roio-iv dXX' 56 IAMBIC POETS *C^/">' 9 s\y^ ' ^ > > ^ ' a orj por cuei 4wju,ez> ? ouoe^ eioores, 5 OTTCOS eKacrTov e 3 KreXevT7?crei #eoV eXTTis Se TrdWas KaTTLTreiOeir] rpec^et airprjKTOv op^aivovrcL^ ol fjiev r)/JLpr}v IJLZVOVCTLV eXOeiv, ol 8' ereo)^ irepirp 077019- Decora 8' ovSetg oVrts ov So/ceet f$por ot 8' cty^o^^ afyavro 8vcrTTJvq) popco, KavrdypeTOL XetTroucrt^ rjXiov te^ ? ov8' 77* a e^oi/res 9v^ov alKLJ^OL 11(7) tg yvvaiKos Oeos enoirjcrev voov ra irpcoTOL' rrjv p.ev ef vo? rfj Trdvr av OLKOV /Sopflopw Tr oLKoo-^a /cetrai, feat /cuXiVSerat 5 avr^ 8' aXouros aTrXvrot? r' eV ev KOTrpirjo-Lv r)jjivrj SIMONIDES OF AMORGOS 57 TJZ/ 8' e'f dXiTprjs Oeos lKa, Trdvrcov ISpiv - ouSe piv 10 TO jnez> yap auT etTre 7roXXa/ci9 TO 8' ecrOXov opyyv 8' aXXoT* a TT)^ 8' e/c fcvi/09 \irapyov, av ACoOo-at, Trdvra 8' eiSeWi Se 7ra/7rTau>ovcra /cat 15 XeX^fce^ 77 1> feat /xTjSez/' dvOpcoTrwv opa. Travo-ae 8' ai/ /xti/ OUT' aTretX^cras aviijp, ovS' et ^oXaj^et? efapa^ete^ Xt^w ov8' et Trapd 20 dXX' e/^TreSai? dTTprjKTOv avovrjv T^ 8e TrXacra^Te? yrjftyyfp ' eSwtfaz' dz/8pt Tnqpov - ovre yap KCLKOV, OUT' ecrOXbv ovSez/ oTSe roiavrrj epyov Se povvov 25 ACOv 1^ KOLKOV piya)(ra Sipov acrcroi/ eX/ceTat T^i/ 8' e/c 0a\dcro"Y]s, 17 Su' ei/ (frpecrlv voel* ez/ yeXa TC fcal yeyrjdev CIZ/ f eu>os eV 80/^015 i so a Ou/c HCTTIV d\\rj ez^ Tracriv dv0pa>7roicrLv, ovSe /c V ^'5 N TT)Z/ o OVK az^eACTo OUT dcrcrov eX^etz^, dXXa paiverai Tore a7r\r)Tov, tocnrep d/jLCJH reKvoiviv KVO 35 dxtXto5 8e Tracn, 58 IAMBIC POETS tcra /cat py, TroXXd/as Se /zatz'erat 40 /SapVKTVTTOLO'L KVfJLaCTlV (f^OpeV/Jiei'T] ' ravrr) /maXtcrr' eotfce ToiavTrj yvvrj opyrfv - vrjv 8e TTOVTOS dXXotTj^ e^ei. T^ 8' oc re crTroSetTjs x /cat TraXt^rptjSeo? 6Vov ? cru^ r avyKfi crvv r vLTrcrLv 45 0-T;V 3)V OLTTaVTOL dpecrrd' TO(j>pa 8' ecrOUi p^v iv irpovv^ TTporjfJiap, icrOiti 8' CTT' e o/iai? 8e /cat TT/OOS epyov s\ /) / /p e ^ e ^ sO /75 ? SvcrTrjvov ol^vpov ye Ktivr) yap ov rt /caXo^ ov8' eTTt/xepo^ TrpocreoTtz', ouSe repTrvov, ouS' epdcr/juov - tvvrjs 8' d\7)VTjs ecrrtz^ d(^po8tcr 4/179? TOI> 8' av8pa TOV Trapovra vavcrir) 8t8ot 55 /cXerrrovcra 8' e/oSet TroXXa yeiro^a? /ca/cd ? dOvcrra 8' tpa TroXXd/ct? /carecr^tet. TT)^ 8' 1/777705 a'^Sp^ ^atreecrcr' e'yetVaro? 7y SovXt' epya /cat SUTJZ^ Treptr/oeTret /cour* dz^ /JLvXrjs ifjavcreiev, ovre KOCTKIVOV 60 dpte^ ? oi/re Koirpov e^ ot/cou ovre Trpog iirvov, dcr/So Vv > / ^> V O. /> J /\ t^otr avayKr) o avopa vrotetrat opel Ka\bv pkv ctiz> derma, TOLavT?) yvvij aXXouri* TO) ' e^o^rt yiyverai KOLKOV, rjv fjiTj Tt? 17 rvpavvos, rj (TK^TTTOV^O^ 70 ocrrt? rotovrois Ov^ov dyXai^erat. TT)^ 8' e/c TnOiJKov TOVTO r) us avSpdcriv ^eyicrTov co7racrez> Trpocrcona - roLavrr] yvv el(TLv 8t' acrreo? Traariv dv ' 75 CTT avyeva /pa^ea^ Kiverai aTrvyo?, avTOKa)\o<; - at raXas avrfp, ocrrt? KOLKOV TOIOVTOV dy/caXt^erai. Se Trai/ra feat rpOTrovs eTTtcrrarat, e ol 80 ovS' az> rtz^' e5 epf ete^ dXXa rovO* opa, KOLL TOVTO TTacTav ^ 8' e/c jiieXtcrcrrj? 707^ ri? euru^et Xaftcov - rj yap oirj />ta)/xo9 ou TTpocri^dvei^ 85 Od\\L 8' VTT' avTrjs /caTraeferat ^8tos (^tX^ 8e crv^ Zeus yap /xeytcrroi/ TOUT' CTOITJCTCI/ KOLKOV, yu*>ai/cas r\v n /cat jfypvTi rot /xaXtcrra yiyverai KCLKOV. ov yap AC or' evtfrpuv 100 avracra^ ocrrt? cru^ ovS' at\//a XL/JLOV crvvoLKrjTfjpa, Svcr/^ez^ea S' orai^ /xaXtcrra ^v/x^Set^ /car' OIKOV rj Oeov poipav rj av0pa>7rov 105 evpovcra /x,(//,oj> e? fjLd^rjv Kopvacrerai. OKOV yvvr) yap ecrrt^ ? ovS' es oiKirjv tivov /xoXd^r' az^ a irpofypovtos Se^oiaro. 17x19 8e rot juaXicrra crwcfrpoveiv So/cet, avjTj /xeytcrra rvyyavti \a)(3a)p,V7) - no /ce^Tj^dros yayo arSyoo? ot Se yaipow* op)VT<$ /cat rd^ ? r^ TjV 8 s l/cacTTOs atz/eicret yvvalKa, rrjv Se rovrepov tcr^i/ 8' e^ovre? fjiolpav ov us Zevs yap peyicrTov TOUT' eTrotTjaw /cat 8ea*//,o^ a/x^e^/ce^ apprjKTov T te/c 1 B. fjjoKbvra wpo|-C w -L w i_l J- A 5-8 = 1-4 _Aw -Ad -Aw -LZ -Aw -Aw _ w \j w w w w -Aw -Aw Tt? crtoiz/ rt 6 S' oX^Sto?, ocrrt? ev(f)pa)v 3 \ O 5 / g. eycui/ o aet > A O\ VJ^ ' ^ 1 Aytoa)? TO (pcog. opco r' cor' aXto^ ? ovTrep 2 s\v fji o ovr OVT jjLtojjLTjcrOaL viv a K\.vva 10 ouSe Xcicr' ey SoKcet yap 1 B. dpw- 2 B. p>* q>T &\ios. 8 B. ALCMAN 63 /X77/D77^9 TCt>5 ? t7777Ol/ 'ayov a.6\o(^6pov Kava^c V77O77Tpt8ta)^ OVtipOJV. 15 'H OVV 6 o5 ? of Se ^at ret? 20 TO r' apyvpiov rt rot Xeyco ; xeV avra a Se Sevrepa TreS* 'AyiSco^ TO eTSo? 1777709 elftrfvco KoXafaio? 8/)a/>te(Tat ? 25 Tal 77eXeiaSe9 yap a e /xiV 'Op0ia cfrdpos fyepoicrais VVKTOL 8t' duPpocriav are crijpiov aarpov yap TI 30 TOCTCTO? KOpOS, OVTC 77Ot/CtXo9 AvSta iavoyXe^dpcov ayaX/xa ? 35 ovSe Tal Naz>z>(5s Ko//,at ? dXX' ovS' 'EpdYa a"tetS7^9 ? ovSe SvXa/ct? T /cat K\er)criiXvXXa ? Aa/xayd/>a r' e'para re /ue rrjpel. SAPPHO, Sappho, or as she was called in her native dialect Psappho, was born on the island of Lesbos, in Mytilene or Eresos, and began her poetic work not far from 600 B.C. She was married, according to tradition, to one Cercolas or Cercylas, of Andros, said to have been a man of wealth and position ; but if there is any truth in the story, his wife was all that saved him from oblivion. Very little is known of the particulars of her life ; she lived principally in her native island, though there is tes- timony that she was exiled in connection with other aristo- crats of Mytilene, and spent some time in Sicily. The life of the Aeolian women seems to have been peculiarly free. Sappho became the center and leader of a society of her countrywomen, who, like herself, were devoted to the Muses. She was ardent in temperament, intense and impulsive in her affections, and this characteristic has given her the reputation of being immoral in her private life. It is, however, fair to record that there does not exist a particle of well-sustained evidence that her character was impure, and the existing frag- ments of her poetry are thought by many critics entirely to contradict the charge. (See Historical Introduction.) Her expressions of love are full of marvelous intensity and ardor. According to ancient tradition she was enamored of a youth named Phaon, and in her passionate feeling even threw herself from the Leucadian cliff ; but the name does not appear in her poems, and the whole story seems to be utterly without 65 foundation. For gracefulness of diction and impetuosity and unrestraint of feeling she has never had an equal. We have only fragments of her poetry left, but they are marvelous exhi- bitions of her power in the use of words, and of her unparalleled intensity of emotion. Her poems were distributed in nine books, comprising ele- gies, epigrams, iambi, and songs of various forms. The dialect is the Aeolic of the island of Lesbos. The meter of I, II, III, IV, and V is the easily-recognized Sapphic verse (Sapphics and Adonics): G. 1682. 6 and 1 ; HA. 1111. r and a ; S. p. 104. VI is Alcaic : G. 1682. 5 ; S. pp. 72, 102. VII and VIII are Asclepiadean, i.e. made up of two catalectic Pherecratics, second followed by first: G. 1682. 3, 2 ; HA. 1115. a ; S. p. 97. IX is hexameter. 1(1) HoiKiXoO pov , aOdvar* 'Ac^pdStra, TTCU A 109, SoXoTrXofce, Xicrcro/xai ere, p,i] /A acraicrt /x^V oviauri 5 dXXa rvtS' eX#' ? OLITTOTOL Kare ras ejnas avSw? dioicra 7T7?Xvi eicXve?, Trarpos Se So/xoi> XtTroicra, dpfi vTTO^ev^aicra - /caXot Se or' ayov 10 0)^665 crrpovOoi irepl ya? /xeXati'a? TTVKva Sti/eG^re? Trre/o' an* wpdva) aWe- pos Sia jji^crcra). f i c* j '/' ^ ^* *? * CUI/KX, o eqiKOvro TV o , a) /xa/cat/oa, 15 rjpt, OTTL Srjvre TreirovOa KOJTTL 66 MELIC POETS KOJTTL /AOL juaXtcrra 0\a) yeVecr#at oXa OvfJLcp- riva Satire oiyr)v e? crav (^tXoYaTa, rts cr' ? a> 20 ^OLTT, a'St/CTjet; /cat yap at c^evyet, ra^eiw? Stcofet, spk\o^ ^Q'^ ' 'xx^Q 1 / at oe oa)pa /JLTJ oe/cer ? aAAa owcret, at 8e 25 eX0e /xot /cat i/S^ ? ^aXeTraz/ Se ocrcra 8e )not reXecrcrat ip,eppi, reXecro^ oru 8' aura ecrcro. 11(2) /xot Krjvos tcro? Oloicriv ocrrt? ivavrios rot t ? /cat TrXacrtoi/ aSu a)vev- cra? vTTOLKoveL 5 KOI yeXatcras tjLtepoe^ TO /xot /xai/ KapSiav iv CTTrjfftcrLv eTTToacrev ws ya/o evtSoi> ySpo^ew? ere, a>vas aXXa /ca/x /xe^ yXaicrcra eaye, XeVro^ ' 10 CLVTLKOL XP<*> irvp V7ra8e8/od/xa/cei/, OTTTrarecrcrt S' ovSeV opyj/ji*, 7npp6fJi- ySetcrt S' aKovai. a Se )Lt' iSpus l /ca/c^eerat, rpd/xog 8e x Trcucrav aypet, ^XcopoTepa Se Trotas 1 B. SAPPHO 67 is efJLfJu, TeOvaKiqv S' oXtyoj (fxtLvofjiaL (aXXa). aXXa irav ToXfjLaTov, [eTret KOL # * * III (3) 7T\.rjOoi 8e <>v Karappel. V(5) eV KvXi/cecrcriz/ a/S/oa)? iaicn vKTap olvo^oevcra. VI (28) At S' ^X S ^Xojv Lfjiepov rj ' /cat fjiifj rt /retTTTp yXaicrcr' e/cv/ca /ca/coz> ? atStos /ce cr ov KfyoLvtv aXX' eXeyeg 7re/>t r<3 1 B. 68 MELIC POETS VII (136) 'AXX' ov yap de/u? tv plover OTroXw 86/jLco l Oprjvov p,p,vaL OVK dp,fju Trpenei raSe. VIII (137) To 0VOLCTKe.IV KCLKOV OVTU KeKpiKaCTL 0OL' yap av elwep KOL\OV rjv roSe. IX (95) Trdvra (eets 2 ocra a eV/ceSacr' alya crv olv re c^epetg, crv c^epet? /cat jiarei TraiSa. 3 ALCAEUS Alcaeus of Mytilene was a contemporary of Sappho ; that is, his literary activity belongs to the early part of the sixth cen- tury B.C. The dates which are given in connection w r ith his life are confused and confusing, and as the few facts which seem to connect him with definite points in history have a tan- talizing way of increasing difficulties quite as much as they give light, we must be satisfied with general statements. He was by birth a noble, by sympathy an aristocrat, and by taste and dis- position both a warrior and a poet. He lost his arms in the battle between his countrymen and the Athenians for the pos- session of Sigeum, yet in spite of this misfortune he evidently retained his reputation as a valiant soldier. His valor and his 1 B. /xoutyuv. 3 B. 0^>ets olv, vi A tpet Se /xe'yas Sd/xos ^aX/cw- Tratcra 1 S' crreya iaLicri, Karrav \VKOI KarvTrepOev ITTTTIOL ., KajiuSes ? ap/co? T VOL IVO) KoloLL T KOLT Trap Se XaX/ctSt/cai cnrdOai, Trap Se ^co/iara TroXXa /cat ov/c ecrrt XdOecrff', eVetS^ Trpwrtcrr' VTTO pepyov rdSe. II (18) raw avepuv crrcnv TO [Jiv yap zvQev Kv/Jia /cvXti^Serat^ \0>9V/J V. O'S-^ \ / TO o evutv - a/ji^es o av TO pec vai BVK^IJ divov e 8' a VIII (36) 'AXX' avtJTO) fjiv Trepi rat? Sep TrepOeTO) TrXe/crais vTro^v/xtSag rtg, KaS Se xevareo pvpov a8v /car rai IX (37) Toi^ /ca/coTrarptSa IltTTa/coz/ 770X105 ra? a^dXa) 2 KCU ecrracra^ro rvpavvov pey eTrai^eo^re? adXXee?. X(41) Hiva)fJiV' TL TO \vyyov pevofjiev ; OOLKTV\OS d/xepa. /caS 8' aeipe Kv\i^yai^ /xeyaXat?, aira, TrotKiXat? 3 * ol^oz/ yap Se/xeXa9 /cat Ato? vlos Xa0iKaSea av0pa>7roi rjfjilv 77877 Kpora^oi Kapj] re Xapiecrcra 8' ov/ce'#' 77/377 Trapa, yyipaXeoi 8' oSoz/res. yXvitepov 8' OVKTL TroXXos fiiOTov ^pdz/o? XeXetTTTat * 8ta ravr' a^acrraXv^w dapa Tdprapov SeSot/cco?. 5 'At'Seci) yap ecrrt Setz/og juv^os, apyaXeij 8' e? avrov yap SMEPAIHN) VII (48) MeyaXtw S^Sre /x' *Epcos efcoi//ez/ wcrre /cei, xei//,ept/r? 8' eXovcre^ eV VIII (63) V A /!// 'J ^ Aye O7^ ? (pep TJ/JUV, co iron, TLO), ra jite^ 8eV ey^e V / OJ V 9 ; ra vre^re o oivov 5 Kvd0OV$, //p VOL' 10 TL nXetaSaj^ jiieXet p,oi ; TL yap Ka\ov Bowrov ; TTOiTjaov djUTreXov? /JLOL, Kal /Sor/ouas /car' avraiz/, .feat Maiz^aSas rpvycocras. 15 Trotet 8e XT^W olvov 78 MELIC POETS TOV<; /ecu x/oucros rows /ecu 20 Oicou /caXco 11(6) EIS EATTON at ojv, yepcov el, e^ ovAcer' ovcrag, 5 \fji\bv 8e crev jLLercoTro^. e'yco Se rag /cd/xa? /xeV, V5S/ ^ ' > ^\ /) eir eicru', etr a7r^AC/o^ ? ov/c olSa TOVTO 8' oTSa, cog rep yepovn 10 TTp7TL TO Tp7TVa ocrco TreXa? ra Ill (7) EIS TO A*@ONflS ZHN Ov /xot fji\L TOL Fvyeco, roG SapStcoi^ oVaACTO?* ovS' etXe TTW /xe 77X05, ovSe oicriv Kara(TT(f)eLv Kaprjva. TO cnj/Jiepov jixeXet /zot, \ o> v / ?<> 10 TO o avpiov rts oidev; -S* y> s^'' > o>5 ow er evoia /cat 7ru>e /cat /c /cat cTTrei/Se rw /x^ ^oucro5 ? 17^ rt? is Xeyy/, ere /XT) Set Trt IV (8) EI2 EATTON MEME0TSMENON crot ? TTtetl/ TTtetZ^ OLfJLVCTTL' 0\a) OeXa) fjLavrjvaL. e/otatVer' 'AX/c/xeW re 5 ^o5 Xeu/coTTov? 'Oec ra? jit^ 3 \ O \ O> / / eyaj oe /Jirjoeva /eras, TTtwz/ 8' epvOpov olvov OeXo) 0e\a) 10 e s /x,atj>e#' /ri/ K\OV)V /cat ' e'/xatVero Trptz/ Ata? dcrTrtSo? 15 TT?I e'cu ' e 80 MELIC POETS KOL OT/x,/xa TOVTO ov TOOV, ov V(9) EIS XEAIAONA Tt crot ^e rt crot ? XaX^ ra Tapcrd crev ra Kova 5 17 rrjv yXwcrcra^ wg 6 TL [JLV viTop9 10 a^pTracra? Ba#uXXoi>; VI (12) EPHTA eya> ' aftovXov OVK Tri 5 6 8* ev$v rot;ov apa? Kayo) Xaflw e ANACKEONTEA 81 10 Kal Soupa Kal ' ? e'ya) 8' e e 0,5 > ^ > -y j j.. / cu5 o OVAC er et^ otcrrov?, T^cr^aXXez^ eW tavrov 15 d(f>rJK / Se /capStTj? feat S' e rt yap ^SaXa> 20 xaT? eVa) /, VII (13) EIS TOTS EATTOT Et ()v eTrtcrracrat et fcv/xar' oTSa? evpelv ra r^5 0X175 5 ere TO>V e/xaiz/ ef ' Ka 10 eTretra 8' e/c g epcorcov yap OTTOU /caXat 82 MELIC POETS TL0L Se AeO^StOVS /JLOL 15 /Cat ^XP 1 T ^ V 'itoVMV /cat Kapirjs 'PdSou re r ]7 OVTTCO 20 OVTTO) 7TO0OVS ov Tr)s oLTravr* OTTOV rt croc #eXeis apiOpS) 25 /cat rous Ya&eLpan> e/crd?, rev? Bafcrta)^ re j VIII (14) EIS HEPISTEPAN tTj TreXeta, Treracrcrat ; TOCTOVTUV re /cat rtg ecrrt crot 77/009 TratSa, 7rpo9 Ba TOZ^ a/ort TWI/ dirdvTtov 10 KparovvTa /cat rvpavvov TTeVpa/ce /LI' ANACKEONTEA 83 \a/3ovcra ea) 8' ' rocravra 15 KOL vvvj opas, CTTtCTToXa? KOfJii^O). KCLL e'ya) Se, Krjv d(f)y ^ 20 8ov\7] jice^ai Trap' avra> ri yap /x Set ire 0/317 re Kat /car KO,V aypiov 25 auro 8e /xot T^OI/, 6V 30 TTtoucr' Kal e^TJ 8' 77* aV TO) /3cLp/3iTq> 35 e^t? aVa^r'* \a\icrrepav JLL' e 84 MELIC POETS IX (15) EIS KOPHN ptore, M dptore, KOipave , cog av 5 ypd(f> TJ) ypde KCU 10 ypd(f> 8' ef 0X079 VTTO fJLTO)7TOV. TO [Jieo-ocfrpvov Se ^77 /xot Sia/coTrre, jutT^re fjiiaye- 15 e'^erco S' ? OTTW? e'/ceiVi;, TO XeXrjOoTcos (rvvo(fipv, {$\e ^etXog, ota 25 7TpOKa\OV/JiPOV TO Xot7rOJ> CLVTTJV 30 V7rOTTOpopfjs uSwp 0\a) 10 O7TO)5 CT jjivpov, yvvai, O7TW5 eyci cr /cat TaiviT) Se /cat /Jidpyapov 15 /cat crdVSaXoj> TTOcrlv Traret XIII (23) KIAPAN \4ytiv 'ArpetSa?, a y8a/)^8tro5 Se Epce>ra JJLOVVOV '^ 5 7j/xeti|/a vtvpa /cat r^ \vp7]v a ANACKEONTEA 87 Kayo) fjiev ySov dOXovs Xvpr) Se 10 ^atyootre XOLTTOV rjfjilv, - TI Xvpv] yap XIV (24) EPOTIKON Kepara ovrXa? Xeovcri X a(T ^ o8oura>^ 5 rot? iyOvcriv TO VYJKTOV, rot? rots i/ yvvai^lv OVK er' Tt oSz/ ; SiSaxri Ka 10 avr dcrTriStoZ' OLTTOLcrav* a 8e feat (Ti /cat Tru /caXiy ri9 oucra. XV (25) EIS XEAIAONA irj fjioXovcra 88 MELIC POETS Oepei 8' el? d(f)avTO<; 5 rj NeZXoi/ rj Vt Me "EOWS 8' del e Ild^os 8' 6 /x,e 6 8' 6JOl> \ / / T) oe ywer atet Se ot jiLt^oz/ is ot Se rpa^e^re? ev^u? KVOVCTLV aXXov?. * ^ v ytvyrai ; ov yap cr0va) rocrourov? rt XVI (26 A) EPOTIKON mAAPION Sv /xei^ Xeyeis ra 77/81795 6 8* av 3>pvyS>v dvras e'ya> 8' e'/xa? aXcocrei?. ov^ ITTTTO? aiXeereV JLLC, 5 ov 7re^d? ? oi/^ ^ e ? ' og 8e KCLIVOS aXXo? 0,77' ojLLjLLarw^ /xe ANACKEONTEA 89 XVII (26 B) tcr^toi? jneV LTTTTOL KOI HapOuovs rt? cu/Spas lyvcopicrev Tiapais. 5 e'yco Se TOUS ep)vra<$ t' evdvs yap TL XVIII (27 A) EIS TA TOT EPHTOS BEAH C O dvrjp 6 T7J9 Kv0ijpr) S V A ' >/* ' " ^ o o Apys TTOT eg avrr)<; 10 / C O5 V-i-^ /O5 3 O O Epa>9 ? TOO e /3apv Tretpacra? \a(3ev 15 90 MELIC POETS /3apv, (frrjcriv * apov avro C 09 VT-, V 9 9 / o o XIX (27 B) TO jir oz/ 8e /cat 8e Trd XX (31) EIS EPHTA Mecroi/vfcrtot? Kara jjieponajv 8e a 8' aXXerat so ^Ve ? 8' elvr a^SXa^Se? /xer ^ crv 8e XXI (32) EIS TETTIFA ore ez^ewi/ evr* o\iyr)v /SacrtXev? 5 era yap ecrrt Ktivai TTOLVTOL, OTrdcra /3\TrL<$ tv a OTTOCTa crv Se ( OL7TO /X^Sera? Tt 10 crv Se rtjLito? ^8p 92 MELIC POETS eV ere MoGcrcu,, dr] TOV 5 ra? aW 8e /cat 10 IAAPrTPON e O TrXovTos et ye TO Iflv Trapeze tV, aV Oaveiv eire 5 A-ct^Sy rt /cat 9 &9 ? \ \ / f\ et o ovz^ TO /Jir) 7rptacrc/at TO {^i/ eVeo-Tt 6vY)Toi<$, Tt ^pua-05 co^eXet jne ; Oavtiv yap et 10 Tt /cat poiTriv Tt feat yoov? e/jiol yeVotTO / OS ? < ^ / TTtO^Tt O OLVOV r)OVV e/xot? c^tXots crv^et^at, 15 ez/ 8' ctTraXata't /coi/rats TeXeti/ XXIV (37) EI2 EATTON H ElS ETAIPON HPESBTTHN yepoi/Ta Tepirvov, rw 8e 10 euSovcrt^ at SIMONIDES OF CEOS Siinonides of Ceos excelled in various branches of lyric poetry, but has become especially well known from having his name associated with a multitude of epigrams of peculiar beauty and expressiveness. He was born 556 B.C. He was perhaps a musician by inheritance, and is referred to by tradi- tion as holding an official position as choir-leader in his native island. He gained such proficiency and reputation as to win a place among the distinguished poets who graced the court' of Hipparchus at Athens. After the death of his patron and the expulsion of the Pisistratidae he seems to have spent some time in Thessaly, though he was afterward prominent once more at Athens. In his old age he was also at the court of Hiero at Syracuse. He died 467 B.C. It was in connection with the stirring events of the Persian wars that he did the work which has won for him the highest admiration. To find the words which shall best express the SIMON1DES OF CEOS 95 commendation of the people for the men whom they wish to honor is always one of the highest services of genius. As among the Greeks the monument was the chief instrument of publi- cation, the inscription which it bore must be suited to describe the highest character which the age could produce ; and as this was to be read by all, it must express the mind of all. The vir- tues of the heroic dead received appropriate recognition in the epigrams of Simonides, which are models of grace and suggest- iveness, worthy to be cut in marble to be read by successive generations. 1(4) ^i/ / / \ / / / *> \ v_x W w W - 2* w \J \j W -L- \j ^Ow^Ow^-wL/.^-w 5 _Aw-<,w^-w-A>-Aw^-A >|-<^w^Ow.Jl-w-Aw-A>JLw-AA O w C w -L \j -L. \j -L \j w ' A w w w w -i- w iv BepjuoTTuXais Oavovroiv ei/ a ru^a ? /caXo5 8' 6 o9 S' 6 rac^os, irpb yours Se ^^acrrt9 ? 6 8* ol/cro? 8e roiovrov 5 ovO* 6 TravSa/xarcop d/xaupcocret 50,^ ^> J /) * C/0, N J / avopwv o ayauwv ooe crTy/co? otAce 'EXXaSo? etXero /Jiaprvpel Se /cat )8acrtXV5 ? a/oera? /xe aevaov /cXeo? re. 96 MELIC POETS EHINIKOS SKOHAI TOI KPEONT02 11(5) -Cw -Cw JLv -L^j iL -L/\ vyirjs dvijp- ovSe ^77 5 /xco/xacro/xat rw^ yap aTTtipcov yeveOXa. TrdvTOi rot /caXa ? rotcrt r' atcr^pa /XT) ytpcrv re ACCU TTOCTI /cat \fjoyov TTvy/jivov 05 ai/ 77 /cafcos ^178' ayai^ aTraXa/^^os^ etSws y ' e^/xeXew? TO i/e/xerat, KOLITOI crcxfrov Trapa Xe7ro^ ^>ar 5 ecr9\ov 10 #eos ai/ jitd^os rovr' e^ot yepas a^Spa 8' ov/c ecrrt ov KOLKOV SIMONIDES OF CEOS 97 6V d/xct^a^o? crv/Jicfropd yap ev Trag dvr^p KOLKOS 8', el Aca/c<5s (n) /cat TO TrXeurroj' apiaroi, rovs Oeol i\ea)VTi. 15 TovveKev OVTTOT* ea) TO jir Svvarov 8t^/>ie^o9 ? Ktveav e'? oVpaKroz/ e' at(3^o9 ^SaXeco, avOpamov, eupveSov? ocrot Kapnbv alvv- 7Tt r' TrdWas 8' eTrat^jLtt /cat e \ -C w Jl A 5 . -^. A 98 MELIC POETS EPODE 10 w^-^-> -^U w -Cw i_l -C w -L f\ J-> -C w -^ A 15 w w | ^ > -Cw ^w ^-w J- Ore \dpvaKi fcetr' ei/ 8at8aXea ? T* <)6l JilV TTVU>V KLVrLCr T 8et/>ta Trpoo-elpire TOT" OVK a/A(^)t T Ilepcret ^SaXXe ^Xa^t8 O/ ^N / et oe roi oet^o^ TO ye /cat K^ e/xaii/ pr^Lajr^v \ZHTQV SIMONIDES OF CEOS 99 is /ce'Xo/xcu S' ? euSe /3/oe'^os, euSerw Se TTOJ/TOS, evSerot) 8' ap,orov KOLKOV ' juterai/SoXia Se ris (fraveij], Zeu Trarep, e/c crzOtv - orn Se 9apcra\eov eVo? vovfyiv St/ca? ? crvyyvwOi JJLOL. IV (58) v E(7Tt ri9 Xoyos Trore rai^ d/oerai/ iet^ Svdpoi<; Ovar&v 5 a! wajrcu r' e'? ETIirPAMMATA V (89) vno TTTV^ (rrjia S' e'> 5 7^1 SrjjLtocrta Ace parr)v yap TroXejicov Sefa/xe^ot 100 MELIC POETS VI (90) 'AOrfvaloi ecrropecrai' VII (91) Mvpidcriv TTOTC TySt rpiaKocriais e^d IK He^OTTOvvdcrov ^tXtaSe? rerope? VIII (92) 'fl fetz/', dyyeXXet^ Aa/ce8at/xo^totg ? on IX (94) roSe AcXetvoto MeytcrTta ? w TTOTC ora/xo^ Krelvav d/xi\|;ctjLCz/ot ? ? 09 rare Krjpas eTrep^o/xei^a? crcu^a et OUK X(95) Ev/cXea? ala KKev0, Aeaj^tSa, ot /xera creto * e9avov, ^ndpTrjs evpv^opov ySacrtXeC, ^ ro^cov re Kal cofcvTroSw^ cr^eVo? tco^ r' dvSpcov Se^a/xe^ot TroXe/xo). XI (96) 'fl ^tlv*, evvSpov TTOT' ivaio^ev dcrrv KopivOov, vvv 1 B. 4/i f . SIMONIDES OF CEOS 101 eV0aSe 3>OLvi iTtiyQwitov epyov tv r/7Tipa) Kal Kara TTOVTOV OJJLOV 5 otSe yap o> yatTy M^Sw^ TroXXov? oXec QoiviKtov ZKOLTOV vows eXov eV dv8pa)v TrXrjffovcras /xeya 8* ecrrevtv 'Acrt? XVIII (110) e'yw^ 0var)v 8 5 ^ 6V e'yoi vv XaiVos e'/xy8ey8ac5s aXX' t /ZT) OV/JLOV ye Aecov e^ov ovvofjid T ou/c ai^ eya) rv/M/Sco raJS' 7r0r)Ka Trd XIX (119) aXXoSaTT^ KevOei /co^tg, eV Se ere TTOJTW, , Eufet^o; poip KL^^ davdrov y\vKpov Se jneXu^yooz'o? ot/caSe i/dcrrov ovS* t/ceu Keiw^ irdkiv d XX (121) Taw avroC rt? e/cacrro? aTroXXv/AeVa)^ az^tarat, Nt/coSt/cov 8e dpL TTLTVOV OLVpOLL Scart TroXe/xcuyiSos *A0dvat/3ota 15 0d>pcu Se ( /\ O> e i / p.kav o VTT ocppvcov 8ivao'v OIA/AOL, /capSta^ re ot 20 ea> re- Ato? vie OCTLOV OVKTL TtOLV ecrco tcr^e /xeyaou^o^ Tjpa)<;, ort )Lie^ e/c ea^ /jLopa 25 ajit/xt /careVevcre /cat 8i/ca9 /oeVet ra- alcrav e/ eX^y crv Se ^ fJLTJTlV. L KOLl CT 30 refce^ Xe^ei Ato? VTTO KpoTafyov v lSa? epa- /3pOTO)V 5/ ^ / ra o eTTto^ra oat/xco^ rdcr' dfyov 8e vavftdrai so Odpo-os - *A\iov re yap/Spu ^oXaJcrar' re tlneis re- u TTrep, OLKOVCTOV - einep evfcwXe^d? crot 55 z>w 7rpo7TjLL7r s ciTr' ovpavov dodv dpiywTov el Se feat ere T poitflvia cretcrt (frvrevcrev Kl9pa Ilocret- 60 Saw ? rd^Se ^pvid Trarpos e? Sd/x/ov?, eVeyfce fcdcr/xoi/ ^Sa^eta? a'Xd?. y Ci> y s 5 \ / etcreat o at K e/xa? /cAvrj 65 6 108 MELIC POETS K\ve 8' aperpov tvyav /x Zevs, vnepo^ov re Miixw 70 TraiSl Trav8epKa Oe e 0*. o Se K\vrav es elpev re " ("hjcreC, cru raSe 75 jote^ ySXevreis cra s /% oa)pa- (TV o opvv 9 pa- Se rot Trarrjp ava reXet IlocretSa^ virepraTOv 80 AcXeo? y96va /car' T^vSo' c\ -? ^ O s /\ CO? (,7T* TO) O OU TTaAl^ r', dXX ' eV opovcre, TTOVTIOV re 85 Sefaro OeXrjjjiGv aXcros. ra^ev 8e Ato? vto? evSoffev Ktap, fceXevcre T /car' oS- [Jiolpa 8' erepa^ eTropcrviS 680^. 90 tTO 8' (OKV 85 ^ -n N '/* / 7)^ Bopeas ego 8* ' BACCHYLIDES 109 TTOLV yez'os, 66peV TTOl'TOZ'Se, KOr 95 TO, \LpiO)V T 6/XjLtaTO)^ Sa- Kpv yt v fioLpelav eViSeyjiiez'oi (frepov 8e SeXc^t^e? aXt- LTTTTI- 100 ou Sd/xo^, jiceyapd^ re /xdXe^. rd^t KXvras iSan> ISetcre N^p^og 6X- yStou fcopas ' aTTO yap ayXa- <3i> XdfjiTre yvitov creXa? 105 aJare irvpoSj dfji(j)l ^atV Se raivai, XPV TTOV Keap vypolcn irocrcriv. re no (re^vav /3oa>7nv eparol- (TIV a ^t^ x(eae^ dtd^a 'E7T. t r' eneOrjKev ou a TT\OKOI>, 115 rd^ TTOTC 01 eV 80X105 'Ac^poStra pdSot? OTL Sat/xo^e? \S)crw ovSe^ c^pe^oapat? ^ pact Trapa XeTrroTTpvfJivov dvr]. 110 MELIC POETS 120 olaicnv eV (ipo^rtcrt Kz/6jcrioi> dX' dSia^rog ef aXdg, dav/Jia Trdvreo'a'L. Xctji 7T 8' d/j, I C \j -L ^> -L \j ' 5 ^^ > -^ w _/_ w _/. A ^-d-<^w-^w-^w d -^. w -A w -^ A ^i> -<>w _^. w ^.A -L\j ~^^j -Lv -Lv 10 >\-^^> J-^j .LA -A^-Cw^lw-^w ^|-Cw JL.w -i-.w Xw ^A -^-d-<^w-^w^LA _^LW _^w ^LW .LA 15 JL > -^ v _/. v _L v _/. v BACCHYLIDES 111 XOP. A. BacriXeC rdv iepdv * KOavdv, r)v dfipoftitov dvaf; *\vpav efe/ Trras, apeiovos 30 (frajTOS. ravra SeSot^' OTTO, Srp. y' XOP. A@. Tiva 8' /x/xei> iroOev dv8pa TOVTOV Xeyet ; riVa re crroXaz/ c^o^ra ; Trdrepa cru^ TroXe/A^ifoi? o- TrXotcrt (jrpariav ayovra TroXXaz/, 35 17 [JLOVVOV (TVV OTT\OI(TIV o")(vpv re KOL <5Se Kat Opacrvv, ocrre 40 av$p)v Kparepov ecr^e^ ; ^ ^09 avrov Sucas dSt/cotcrt^ o^p s \ e /O> 9 \ y ov yap paoiov aiev ep- So^ra /IT) 45 TTCl^T 5 eV TO) Air. Auo ot < aVo AafAviav ^>Xdya TratSa S* e/ , 'ApTjicov 8' a , 7TO\/JiOV T KOLL 60 itflcr6ai Se Ill (13) ^ A -A A _|ulw -A_ LL w Jl__ r^-yv -L LW JL_ iZw '-._ ulw -^7\ 10 i ^ ' i / ^ ^ ^ 8e re Ovaroicriv eiprfva Acat jneXiyXakrcra)^ dotSaz^ a w^ r' evrt ^o)S)v Ozoicriv aWecrOai re itov re reot? av\S>v re /cat cp 8e crtSapoSerot? iropTra^iv aWav 114 MELIC POETS Icrrol re Xoy^wra f u^ea r' a^a av S' OUAC eon craXTTtyya)^ ACTVTTO? 10 ovSe crvXarat /JLtXtyuv VTTVOS 0,770 Kap. ta)^ 8' eparwv ftpiOovr dyvtat, TratSiKot IV (22) AvSta /xei^ yap Xt^o? ^avv.i dvSptov 8' dperdv crovyeTv. et: epic and lyric (and in some cases dramatic) poetry may use d with the subjunctive where Attic prose has tdi> or yv. There are even a few instances in Attic prose.. 15. pxeTcu : Bergk reads epyerai and compares Dem. de Corona 97. On the whole I am better satisfied to keep epxerai. Cf . Od. iii. 165 avrdp ey& fftiv vrjv, eird yiyvwffKov, o drj Kaicd wdero Sai/Awv. Then comes the account of the return of many of the heroes, and finally how irdvras d' 'Ido/Jievetis Kptfryv efotfyay eraipovs ot tiyov CK TroX^uou, Tr6i>Tos de oi OVTLV airyvpa. 'Arpeidyv d Kai avrol d/cotfere, vbafyiv tovres, us r 7}\6', ws r Atyi.iTpofJLu Kai Sei'Sia, ^ TL irdOycriv. Page 3, 1. 19. o|ios : dvrd^Los is more accurately used with this signifi- cance ; cf. however II. viii. 234 vvv 5' otfS 5 evbs d&oi eifjLev. Comparisons of this sort are suggestive. In the old Greek days the value of the war- rior was assessed by the poet in terms of the worth of a divine hero. Our modern poet says of Roderick Dhu (Lady of the Lake, vi. 481) "One blast upon his bugle horn were worth a thousand men." So the old English ballad, Slain is Robert of Leycester That was mine own courteous maister Ilk limb of him was worth a knight. See Ellis's Early English Metrical Romances, p. 336. 20. irvp-yov : so, Od. xi. 556, Ajax is called by Odysseus a irtpyos for the'Achaeans. TYRTAEUS I Page 4, 1. 1. Tc6vd|ivai : this is made emphatic by its position at the beginning of the poem, and by its contrast to TTT^X^^V : to be dead as a fallen hero is glorious in comparison with being a beggar. -yap : helps TYRTAEUS 117 the emphasis, suggesting at the beginning that this is urged as a motive for supreme valor, while it points forward to the exhortation ^axw/xefla /cat Bvrjo-KUfjLev, lines 13 and 14. 3. avrov : eavrov. 7. I'KTVTCU: cf. L. and S. II. 3. 8. CLKWV : constrained by. Cf. Od. xiv. 157 irevlri efauv. 9. atvrov ov KareXeyx^- 11. el . . . TOI : if, as / say. 13. 0v(jtw: with spirit, 14. \|/vxa)v : = farjs. 15. dXXd: this conjunction is used frequently with the imperative to give force and liveliness to the exhortation. Cf. L. and S. II. 2. 16. (jwyTJs: genitive with dpxere : be not the beginners of disgraceful flight and panic fear. iX.ox|/vxiT : be not regardful of life. 19. wv/crX.: whose limbs are no longer nimble. Page 5, 1. 20. KaTaXciirovrcs : abandoning ; observe the emphasis of /card. -ycpcuovs ; the penult is here shortened. The expression is one of honor, repeating the idea of TraXaiorfyous, but emphasizing the claim of the aged to respect. 21. alo-xpov : peculiarly emphatic. Shameful surely is this. TOVTO anticipates KeTo-Bat. JJLCTCX : among, used with the dative in poetry only; mostly confined to epic poetry. 25. With his hands upon his bleeding wounds. 0Xos, as we notice so frequently in Homer, was used as a stronger possessive pronoun, some- what as the modern German uses the adjective lieb. 26. rd-y': ye resumes and emphasizes; the sight is disgraceful, you know it, and it rouses indignation to see it. vcjAeo-qrov : though singular, is used with rd, as the singular makes the picture more distinct. Some editors read z/e^eo-^rd, which may have been changed to avoid the apparent hiatus when the digamma of IMv had been forgotten. I8ctv : limits vepe- (T7)T6i> like an accusative of specification. 27. XP a "yvjivwO^vra : with body stripped ; the participle agrees with &vpa like the others. vcoio-t 8c /crX. : but all is seemly for the young. Cf. II. xxii. 71 vty 5t re TTOLVT eireoLKev. 118 NOTES Page 5, 1. 28. 6<|>p': while. xtl : understand ns from vtouri. 29. dvSpdo-i KT\. : for men to behold with admiration and women with love. 31. 6v Siapds : with legs well braced. II 1. 'A\X' . . . -yap: as illustrated in the previous selection, these parti- cles are conventional associates of the imperative. They are joined also as implying a preceding exhortation in the mind of the speaker : Never yield, but be brave; for . . . 'Hpo.KX.fios : the Spartans were Dorians, but the Dorians associated themselves closely in thought with the mythical sons of Heracles. Their invasion of the Peloponnesus was the Return of the Heraclidae, and their kings were specifically descendants of the great hero. These families of heroic lineage showed an expansive tendency. 2. oviro) KT\. : Zeus has not yet turned away his face', i.e. withdrawn his favor. 3. <|>o|3uree: cf. i. 16. 5. x9pdv KT\. : notice the chiastic arrangement with emphatic posi- tion of the adjectives; with hate for your life and with death's dark fate even as the sunbeams beloved. Cf. John xii. 25 6 /AUTWJ/ TTJV ^vx^- 7. aC8t]Xa: destroying. 8. ISaivT : aorist passive from 5iry6vTo>v . . . SUDKOVTWV : G. 1102; HA. 742. You have had fre- quent experience of flight and pursuit. Cf. II. xx. 257 dXX' &ye, dda-aov yev- ao/JLeB' a\\r)\wv xaX/c^peo'tJ' eyxetrjffiv. 10. els Kopov KT\. : you have been in them both to your fill See L. and S. , who translate " to push matters till disgust ensued." Cf. Od. v. 290 ddyv eXdav /CCIK^TTJTOS. Cf. also II. xiii. 315 and xix. 423. 1 1 . -yap : refers back to the exhortation at the beginning. 13. iravporcpoi : notice the comparative contrasted with iracra : fewer die, while they save from death the people behind them. Cf. II. v. 531 aldo- fj.vwv d' dvdp&v TrXeWes croot, yt ire^avrai (pevyovrwv 5' OVT &p /cX^os 6pvvTai ovre rts aXicf). Xen. Anab. F i. 43 birbffoi. fjitv /uourretfovvyrj T&V 7roXe/xwj>, elra evQbs ovre yevvaiov cure 'EXXrjj/i/coi' i)yoiJ/j.evoL Kbirreiv Kal 20. VWTOV: G. 1058. 1; HA. 718. 23. (x-qpovs /crX. : the shield, as used in the earliest times, was large enough to cover the whole man. Cf. Diet. Ant., art. Clipeus. 24. -yaoTTpC: the hollow of the shield. 25. SeJiTcpfj: the employment of the left hand has been pointed out in line 24. 4v X 1 P^ : tne use ^ tne preposition, rather than a mere dative of instrument, strengthens the idea of grasping. 26. X6<)>ov: the crest of the helmet was formed commonly of horse- hair, arranged so as to look imposing and terrible. Cf . Horn. II. vi. 467 : a\l/ 5' 6 TTCti's Trpbs K&Xirov evfavoi %a\/c6v r 7)d \6(f>ov iTnrioxa-lTijv, air d.KpoTdr'rjs Kbpv6os vetiovra vo^(ras. See also in. 337. 30. ovTao>v : fighting hand to hand. 31. The significance of the common soldier disciplined and fighting in well-ordered ranks was long in gaining appreciation. Even in the Homeric poems it received some expression. Spartan history was a con- tinuous exposition of this theme. There are in fact few subjects more suggestive in connection with the progress of mankind than the develop- ment of the common soldier. The exhortation to individual valor joined with mutual cooperation and support points to the great secret of Greek superiority and Greek progress. Cf. II. xiii. 131 do-rrls dp' dffirid' e/>ei5e, K&pvs Kbpvv, dvtpa 8' dvrjp \pavov 5' i7T7r6ico/xot KbpvOes \a/jLirpoTd\OL(nv vev6v- TUV ws irvKvol (f)^vt|v: properly growth. In Homer always of the human form. 6. MtSa/xcu KuTTptaj/, rbv 6 xpuffoxaTra 7rpop6v ey& irapaivfow. 12. ope'-yoiT': attack. The verb signifies to strike with the spear-thrust. Cf . II. iv. 306 : os d K OLPTJP dwo (Sv 6^wv ^rep appaB' t/cT/rcu, ) ?roXi> (frtprepov ourws. 13. ae0Xov: the estimate placed on the prize at the Greek games is well known. 14. 4> / P lv : tne infinitive with an adjective is quite common in Greek, and is used ordinarily in the active or middle. Cf. GMT. 763. 16. oo-Tts dv^jp : = avr}p TIS os. Siapds : braces himself, and. JJ,VT| : &v is omitted according to the usage which prevails in Homer in general rela- tive conditions, and is continued to some extent in later poets. GMT. 540. 17. ir: join with Xd^rat. 18. irapOc'iwvos : hazarding. Cf. Horn. Od. ii. 237; ix. 255. 20. -yC-yveTai : from its radical meaning of becoming, gains with adjec- tives like dya66s, AcaX6s, *rX., the signification of proving one's self, yiyvo- fj.cu is largely thus used in Herodotus. Cf. Herod, vii. 226 erai dvrjp &pLi86|jLvoi : cf. Soph. El. 98 i/^x??s d0ei5?7vXXa : the comparison is at least as old as Homer, even among the Greeks. Cf . II. vi. 146 : oif] Trep 0tfXXo;j> yevetf, Torfde KCLI av$p&v. 2. avyfjs: dative. av^erat : subject refers to < 3. irfaviov e-irl \povov : for a span (cf. Matthew vi. 27). avOeo-iv ijpTjs : cf . II. xiii. 484 v : they dwelt at the western extreme of the world, but the locality was otherwise quite indefinite. 9. AlOtoirwv : according to Homer they dwelt partly in the extreme East and partly in the extreme West (Od. i. 23). 10. 6<|>p': until 11. OX&DV: the chariot in which he drives his daily course. SOLON I. SAL A MIS Page 13, 1. 1. Solon is said to have feigned himself mad, and recited this poem, representing himself as a herald from Salamis summoning the people to recover the island. Plutarch says that the original poem con- sisted of a hundred very beautiful lines. AVTOS : is used in manifest reference to his boldness in undertaking the work, and venturing to appear before the people. 2. Fashioning with arrangement of words a song, instead of a speech. Cf. II. ii. 370 dyopy VIK$S. II The bitterness of the conflict through which the people had passed, and the disorganized condition of Athens, can be well imagined from the intensity of his expression. 1. r6r: if Salamis were relinquished. ^oXc-yavSpos and SCiavos were two small islands in the southern part of the Aegean, north of Crete. 5. topcv : the mode-vowel is shortened, and the stem-vowel lengthened by a sort of transfer of quantity, to form a dactyl. SOLON 127 III. ADMONITIONS TO THE ATHENIANS An address to the Athenians, apparently belonging to the early years of Solon's political activity, lamenting the peril of the state through the selfishness and injustice of the citizens. 1. Kara . . . atcrav : the afpa8CTjo-iv : the dative plural is Homeric, as he employs only that case, except that he once introduces the dative singular, and once also we have 5t f d^padifjs Od. xix. 523. 6- XP < HH La' dp-ircvyTJ: even to robbery. CTTL expresses the extent to which it is carried. 16. TW XP V< P : in time] at last. ^\0': gnomic aorist. G. 1292; HA. 840. 20. TjXiKiTjv : the civil war was especially sad as destructive to the youth. Cf. rara juventus, Horace, Car. i. 2. 24. 21. IK Suo-|Avv : by these hostile parties, e/c, as usual, marks the source. 5vo-/j.vtuv refers to the individuals whose selfish ambition was threatening the safety of the state. 128 NOTES 22. o-vvoSois : societies formed for social and political purposes, such as were, at least in later times, quite abundant at Athens. They were often abused for unjust purposes. 23. o-Tp^4>Tcu : are rife. 8: moreover. 24. The severity of the law, before Solon's reformation of the code, was so great as to give the creditor unlimited power. The poor citizens were being sold and driven into foreign lands. In a later fragment (Bergk 36) Solon claims that he has earned the gratitude of Mother Earth for removing from her the pillars which marked the mortgaged fields, so that she, formerly in slavery, was now free. He had brought back to Athens many of the people who had been sold into foreign parts, or who were wan- dering over the earth even forgetting their native tongue ; and to many who were at home, oppressed by debts, he had given freedom. 28. av'Xeioi Gvpai: the outer door which opens from the av\^ to the street. So Athena journeys to Ithaca and (TTTJ ti'IOaKys evl S^/uy eirl TrpoBti- POLS 'Odvo-rjos ovdov eir av\eiov Od. i. 103. 0\ovo-i : with the negative e0Aw gains sometimes nearly the meaning of dtvafjLai. See L. and. S. 30. d : G. 1406 ; HA. 898. b. 32. Cf. Soph. Ant. 672 dvapxias dt nelfrv OVK ecmv KCLKOV. 33. vvo(ita: appears even in Homer contrasted with the hated vj3pi.s. In Hesiod (Th. 902) she appears as one of the "tyocu, which in the Iliad were personified as goddesses of the seasons and keepers of the gates of Olympus, but in Hesiod' s thought had a wider and more spiritual domain, being daughters of Themis, while the two sisters of Ewo/xta were Justice and Peace. So also Pindar 0. xiii. 6. Pindar also speaks of Themis and her daughter all-glorious Eunomia 0. ix. 26. Compare also Bacchylides xv. 54-59. So the word had lofty associations in Greek thought. 36. cu>cuvi KT\. : causes the buds of mischief to wither in their growth. The benefits of evvopla, here referred to, will be better appreciated as we remember how often the Greek cities had to call in the priest or bard to allay excitement and disorder. 37. o-KoXuxs : Homer speaks of the anger of Zeus against men o? piy dv dyopy (TKo\ias KpivwVTa deivoTs dvTafj.d(3e<|>' v(3pios : v-n-6 is thus used with active verbs where a passive is to be supplied, i.e. " which men pursue because led by riotous feeling." 12. d\V KT\. : the figure is a striking one. Wealth gained by unjust deeds is like an unwilling slave always ready to break away and dis- appear. TTi06|jLvos : under the sway of. 13. avajjLicr-yeTcu : governs T< TrXotfry understood. a,rr\ : evil. This word is really incapable of translation, as its personified use among the Greeks gave it a vast variety of associated ideas. "ATT; became the god- dess of mischief, hurled from heaven for injuries done to Zeus himself, and making herself the author or aggravator of all the blind and rash actions, and largely even of the sufferings, of mankind. Cf. Horn. II. xix. 91 and ix. 505. 14. dpx^j: supply dVrjs. 15. <|>\cupT] : insignificant. 16. Srjv: adverb in predicate instead of adjective. 17. But Zeus looks to the end of each life, and suddenly scatters the evil- doers as the wind of spring quickly scatters the clouds. 5' KT\. : not in each case does he prove, like a mortal, quick to anger. We have here the evidence of thought on the old problem of the delay of punishment for the wicked. 27. Stajj/n-epe's : strengthens ate/: forever and aye. Cf. L. and S. s.v. 28. irdvTtos KT\. : he is surely exposed in the end. 32. If the father should escape, the curse remained for the children and children's children. This doctrine was very prominent in Greek theology, being brought out with still greater distinctness in the tragedies. 34. ST)VViv: to be cunning, from the same root as d^vea, drjw. 35. axpt TOVTOV: up to this point; till then. Page 17, 1. 37. x" * 1 " 1 ?: Ka * 6Wts. 39. SeiXos . . . d/yaMs: the words are frequently placed in contrast, as expressing that character appropriate the latter to the higher class and the former to the common people whom they despised. 42. KT^jo-co-Oat: the following passage illustrates very strikingly the eagerness for wealth already existing in Athens, a fact which is proved SOLON 131 even more fully by the troubles which led to the establishment of Solon's government and constitution. We have still another suggestion of the estimate placed upon wealth in the. fact that Solon based the privi- leges of the different classes upon their wealth according to divisions which had apparently been recognized before his time. Cf. Aristotle Pol. Ath. ch. 4. 43. KCLTOL TTOVTOV: some idea of the naval condition of Athens at this time maybe gathered from the fact that Solon obliged each naucrary (old divisions, probably local, forty-eight in number) to provide one ship of war. 45. IxOvoevT*: connect with irbvrov. 46. <))ei8wXT)v : this word, or rather 0ei5c6 its original, is used especially of property; he spares not his life that he may have wealth to spare. faidwXtfv with dtfjievos is a simple periphrasis for faido/jLevos. 47. aXXos KT\. : here, as in the following clauses, 5^ correlative with ptv (1. 43) is omitted. 48. XarpVi : the Xdrpts was the servant for hire, having a peculiarly unenviable lot while society was trying to organize itself on the basis of individual ownership of property. TOUTIV : = ol/>a r&v Mover Qv /cat ' ATr6\\(}vos Leg. 796 E. 52. Understanding fullness of wisdom with charming expression. Three favorite qualities of the Greeks are suggested, wisdom, proportion, and grace. 53. 0T]Kv: makes or appoints. 55. to KT\. : the gods work with him to fulfill his words. 56. oUovds : omen. 57. Ilaiwvos: it is characteristic of the fluid condition of the Greek myths that HO.LUV, or in epic form Ilai^w^, appears in Homer and Hesiod, as' here also, as if an independent divinity of healing, while later the 132 NOTES name is used especially as an epithet of Apollo, though associated also with Asclepius and some other gods. Probably the average Greek could not have told whether he thought. of Hau&v as a separate god or not. rroXv(j>ap}xdKou : in Od. x. 276 used as an epithet of Circe, but in II. xvi. 28 of physicians in general. 58. These reach no sure result. 61. But another, who is afflicted with grievous and troublesome disease, he, by a touch of the hands, restores at once to health. Cf. Pindar, P. iv. 481: HCLLCLP T (TOL TlfJLq. 0aOS. Page 18, 1. 66. -rf : = TTOI. Nor does any one know in the beginning of his undertaking how it will end. 67. v: the proper meaning of eft 'epfteiv is that of efl iroieTv rather than of eft irpaffffew: trying to do well, as we say "to do his best." ov irpovo-fjo-as : without anticipating it falls, etc. The sentiment is one to which the Greek mind, was peculiarly sensitive, the thought of the falli- bility of the intellect which was counted of such supreme power. Cf. Soph. Ant. 615. 7 1 . irccfxxo-fxe'vov : manifest. The danger lies in the success itself, never gaining satisfaction, but leading to wantonness (vppis). 72. pCov : wealth, abundance of living. 75. avrwv: sc. KepS&v. ' Compare the familiar New Testament maxim, 1 Tim. vi. 10. 76. aXXoT aXXos Xi : i.e. it wanders from one to another. VII It illustrates the manner in which the lines of these gnomic poets were confused as to their authorship, in their extended use in the schools, that these lines also appear in the elegiacs of Theognis. 3. dpcrfjs: genitive of price with 5ia / uen/'6 / ue0a, verb of exchanging. VIII The tetrameters are fragments of a poem quoted by Plutarch in his life of Solon, addressed, as is stated, to a friend named Phocus. His words are most suggestive as to the influence which he held in Athens, and still more as to the character by which he had gained it. They are not less interesting as illustrating the talk of the day and the manner in which XENOPBANES 133 his conduct was regarded by practical politicians of his time. The oppor- tunity of seizing the supreme power they could not fail to see had been placed within his reach, and he had rejected it. Such a course of action was to them a ground for ridicule rather than praise. Obviously he had to introduce reforms which were largely unappreciated, to contend against a public sentiment which offered more discouragements than did the actual condition of the state. Remark of the critic who knows what he would have done in Solon's place. 3 . When the prey was already caught he lost his head and failed to draw the net. 7. do-Kos: the nominative came naturally into use in changing dfyecv do-Kov to the passive. The construction in the active would be dtpeiv n or nvd or 5tpii> dcrK6v or the two accusatives together. In changing to the passive we may have dfyeraL ns or deris dtperai. Here 5eddp0ai, while it has the same subject as ^eXov, takes also do-/c6$ in the nominative ; so the nomi- native is used here as a sort of appositive to the subject of ?}0eXoj>. Some read d&Kbv here. XENOPHANES I. THE SYMPOSIUM Page 19, 1.1. It was after the dinner that the Greeks were in the habit of enjoying their wine. See Diet. Ant., art. Symposium. The poet introduces us to the scene just at the time when the drinking is about to begin. The selection is of especial interest as illustrating how Greek taste was being cultivated to the higher standard where improving con- versation was especially valued in connection with the symposium. dire8ov : = ddiredov. Cf. tv TVKT$ Sairtdv Od. iv. 627. 2. djx<()iTi96i : for d/A0tr/0i?dvovs : the garlands and ointments were an essential element in the ancient feast. 4. v'4>po8o>p: the wine was universally mixed with water before drinking, and . even to take half wine was considered injurious ; to drink it without mixing was regarded as barbarous. The water was commonly, though not univer- sally, cold ; and sometimes the wine was artificially cooled in the IJ/VKT^P. 9. -ycpapT] Tpdira : the words apparently mean a table appropriate for the occasion. 11. pwfids : an altar decked with flowers for the libations. av: for dvd. Cf . TotiTwv SLV rb /J,ls 'xi: to fill, lit., to encompass. fj.o\ir^ is dancing and sing- ing, and therefore signifies joy and merriment. 14. [ivGois . . . Xo-yois: i^dos is applied to poetic thought and expres- sion ; \67os to historic statement. 16. TcivTa: used with predicate adjective in the singular, as the pro- noun represents the previous specifications. These are something more appropriate. 17. irCveiv: depends upon xp'n-, 1- 13; so also alveiv. 18. irpoiroXov : the attendant servant. JAT] irdvu yr|pa\os : if not too far advanced in age. 19. os 6^os, the foot-race ; 3, SUTKOS, throwing the discus; 4, djc6iTum, throwing the spear; 5, TrdXr;, wrestling. The pentathlon became thus the center of special interest in the festivals, and the ir^vra0\oL were considered the best developed of all the athletes. Aids Tjivos : the sacred field of Zeus. 3. II(v KT\. : possessed of the boxer's gifts. 5. a0X.ov : contest, connects with vLKrjv tfpoiro. ira/yxpaTiov : combina- tion of wrestling and boxing, a contest which was an especially severe tax upon the physical strength and endurance, hence deiv6v. 6-9. KvSporepos . . . irpoeSpC-qv . . .