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 <f>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 <TT aVirjpOTOLTOV,
<rvv fJLTjrpl <^i^ KCU Trarpl yepovrt,
Tratcrt re crvv piKpois Kovpi&ir) r' dXo^a>.
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 <f>vyrj<; atcr^pa? dp^ere fJLTjSe <})6/3ov,
dXXa p,yav Trotetcr^e ACCU dX/ct/xo^ ez^ <f>p<rl
jLi/y/Se (f)iXo\jjv^lT 9 dvSpdo-L jjLapvdfjievoL -
rovs 8e TraXatorepov?, wz^ OVKCTL yovvar e
1 The figures in parentheses give the numbering of Bergk's edition.
TYRTAEUS
20 JUT) /caraXetTTOZ'Tes <evyere, rovs yepatous
alo'^pov yap 877 TOVTO /xera Trpop^d^oicn TrecrcWa
/cetcr#at irpocrOe veoov aVSpa 7raXatoTepoj>,
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 <f)vyovTO)v re Stco/co^rw^ re yeyevcr^e,
10 ci i/eot ? d[ji<j)OTpa)i> 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 <f)vyovTO<; 817 to; ei>
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 \6<f)ov re \6(j)O) KCU Kvver)v
KCU crrepvov (rrepva) 77677X17 /za>o 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<rrepo5 etrj,
7T\ovTOL7) Se MtSeo) /cat Ktz/vpea) pakiov,
' et Taz'TaXtSea) IleXoTros /SacrtXevrepos 177,
yXaicrcraz' 8' 'ASpr^crrou /xetXt^
et iracrav e^ot So^cu> TrXr)^ Oovpi&os d
10 ov yap az^r)p aya^o? yty^erat eV 7roXe/xw ?
et /xr) rerXatT; /xeV opaii/ $QVOV at/xaroe^ra
/cat Srjtojv opeyoiT* iyyvOtv tcrra/jte^o?.
C/ C>> / /O> V /)\ 3 5 /) / V
170 aptTT), TOO aeuKov tv avtrpojTroia'Li' apicrTov
/caXXtcrro^ re (^epet^ yty^erat a^Spt
15 vvov S' IcrdXbv TOVTO TrdXr^t re TTOLVTI re
ocrrt? a^r)p Sta/3as ez^ Trpo/xa^otcrt /^e^rj
crxpas 3e (^vyr]? eVt Tray^u Xa^rjrat,
KOI 9vjJiov rXijfJLOva Trapdefjitvos,
6apo"6vr) 8' eVecrt^ TOI^ TrX^crto^ a^Spa Trapecrrw?
20 OUTOS dz^ r)p aya^o? ytyz/rat eV
atr//a 8e SvcrjLte^eco^ aVSpaii; erpei//e
rprj^eta?, o-TrouSr^ r' ecr-^eOe Kvp
05 8' avr' eV Trpo/xa^otcrt Trecra)^ <f)i\ov aiXecre
ao'Tv re /cat Xaous /cat Trarep' eu/cXetcrag,
25 TroXXa 8ta crrep^oto /cat acrTTtSos Oj
/cat 8ta datprjKos TrpoaOev e'Xr^Xa
roz^ 8* 6Xo^)vpo^rat /xeV o/xai? z^eot r)Se
apyaXew re TTO^O) iracra /ce/crjSe TrdXtg
/cat rv/ji/Sos /cat TratSes ez/ dv0pa>7rois aptcrry/jtot
30 /cat TratScoz/ TratSeg /cat yeVog efoTTtcrw.
ovSe TTOTC /cXeo? cr9\ov aTrdXXurat ovS' ovop? GLVTOV,
VTTO yr^9 Trep eciz^ yty^erat
dXX'
8 ELEGIAC POETS
OVTLV dpuTTevovra ptvovrd re p.apva^.vov re
yij? Trepi Kal 7rai8a)v Oovpos *Apr)s oXecry.
35 ei Se <^>vy]7 {Lev Krjpa ra^Xeyeo? 9avdroio,
8' at^/xT}? dyXao^ v^O9 cXg,
TI^CTLV ofjLa>$ 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 <peVas d/ji<f)l KOLKCLI retpoucrt /xeptjuz'at,
ouS' avyds irpocroptov repTrerat TjeXtov,
dXX' e'x^pos [lev Traio-iv, dri/xacrTO? Se yvvai^Lv
10 ourco? dpyaXeoi/ yfjpas 0r]K
11(2)
'Hjneig 8' old re c^vXXa (jtvet iroXvavOeos copy
eapos, or' all/;' avyy? av^ercu ^eXtov,
rots tAceXot Tnj^yiov evrt ^povov dvOecriv 77^17
TepnofJieOa., Trpos ^ecoz/ etSdres ovre KCLKOV
5 ovr' ayaOov Krjpes Se Trapecrr^Kacri jite
77 /xez^ eyovcra reXo? yrjpaos dpyaXeov ?
77 8' erepj] davdroio iiivvvOa Se yiyverai
AcapTrd?, ocroi^ r' eVt y^z/ KiSvaTai T^eXto
avrdp CTTT)^ 877 rouro re'Xos 7rapa/ J Lti//erat
10 avruca re^d/xe^at fteXnov rj ftioros
TroXXd yap e^ 9v^ KaKa yiyverai - dXXore OIACO?
rpv^ovrai^ ireviri^ 8' epy' oSwypa Tre'Xet*
aXXos S' au TraiSwv eTTtSeverat, aWe /xaXtcrra
t/itpa>^ Kara y?;? ep^erat etg 'A'fST]^
15 dXXos ^ovcro^ e)(ct QvpocfrOopov - ovSe' rt9 ec
dv9p<i)7rct)v, cS Zevs /XT) Acafcd TroXXd StSot.
Ill (5)
Avruca /xot /card jne> ^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 K<f>a\ 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 <j>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 <l>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
<fS dpnayrj a\\o0ev aXXos
ovSe ^>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,
<is /caKa, TrXetcrra TrdXet Svcn/o/xia
evvojjiia S' evKocr^a /cat aprta Tra^r' a
/cat Oap^d rots dSt/cots d^LTidrjcrL vreSas
35 rpa^e'a XetatVet, Travet Kopov, vftpiv a/xavpot,
avaivei S' aTTjs aV^ea <vd/xe*/a ?
evOvvei Se St/cas cr/coXtas VTreprj<f)avd r' epya
Trpavvti, Travel S' epya St^ocrracrtTys^
vet S' apyaXe7?s eptSos ^o^ ^? e/o " Tt ' ^' VTT' av
Tra^ra /car' dvdpcoirovs dpna Kal mrvra.
SOLON 15
IV (5)
iev yap eSw/ca rocrov Kpdros, ocrcrov e
ovr' d<eXaH> 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\)cr<TOLV opdre /cat et? eVos atoXoi^ a^8po
ts <=pyov 8' ouSe
TnO@HKAI EIS EATTON
VI (13)
v^g /cat ZTJ 1/05 'OXv/iTTtov dyXaa T / /c^a,
MoScrat IlteptSe?, /cXvre /xot ev^o/^eVa)-
6\/3ov fjiOi TT/OOS ^eai^ {AaKapuv Sore /cat 77/069
dv0pa>7ro)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 <f>\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 7TVpo<f)6pov
r)a>cras 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' a<f>vKTa 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 d<j)poo"uvr)<;.
TT\OVTOV 8' ovSei/ repjica Tre^acr/xeVo^ dz/Syoctcrt /cetrat
ot yap z>w ^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^ /3a0v<j)pa)v ovSe /SovXrfeiS dvrjp -
d yap ^eou SiSoWos avro? ou/c eSefaro
7TpL/3a\a)v 8* dypav^ dyacr^et? OUAC CTrecrTracre^
SIKTVOV, Ov/Jiov 0* d/jLaprf) KOL tfrpevuv d
5 TjOeXov yap Kz/ K parrf eras, TT\OVTOV d^Oovov
KOLL rvpavvtvcras 'Aftijv&v povvov 7]^ep
vvrtpov SeSdp^ac KdmrTpl<f>dai
XENOPHANES 19
IX (34)
Xawa pels TOT" e<f)pdcravTo, vvv Se JJLOL
\oov 6<#aX/jtots opSxriv TrdvTts cScrre S^tot.
XENOPHANES
Xenophanes was even more celebrated as the reputed founder
of the Eleatic school of philosophy than as a poet. He was born
at Colophon, but was exiled from his native city, and evidently
lived for many years in Italy. With regard to his date we only
know that he flourished in the latter half of the sixth cen-
tury B.C. He was the author of a number of poems, of which
his elegies are those best known to us. His spirit of criticism
placed him in revolt against the stories of Homer and Hesiod,
who were the chief teachers of theology for the Greek public.
He upholds the dignity of philosophy and intellectual worth
against the excessive admiration of the Greeks for glory won
in the public games and for athletic superiority, while he
chides his countrymen for their growing luxury and effemi-
nacy. He recommends that at the banquets the praises of
virtue rather than the conflicts of Titans and Giants should
be sung.
EAEFEIA
w yap 877 a7reSoi> KaOapov /cat
/cat /cuXt/ces TrXe/crous 8* a/>t<tTt#et
XXos 8' evaiSes pvpov iv (fridXr) iropcrvvei,
KpaTrjp 8' ecrT77/cej> /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' <TTLV L>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/ji<f)l<; e^et Sahara /cat
8e 7rp>Tov 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 d<f)LKOLO
ot/caS' aVev irpOTroXov, /XT) 7rai/u yrj paXeos -
dv8pa)v 8' at^et^ rovro^, 05 IcrOXa TTL^V
20 a)? ot iLv^^Qcrvv r), KOI TOTS, o?
ovrt /xa^as Steyret TtTT^^a)^ ovSe
ouS' av Ke^ravpa)^, TrXacr/xara rai^
rj crracrta? cr^eSa^a? rot?
6e>v 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!<T7rep lyd>' pco/jiT)? yap
dvp)v 778' linTtov r^fjiereprj <ro<j)Lr).
aXX' eiKrj /xaXa TOVTO i>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 <l>ot^8e aVaf, ore /xeV ere ^ea re x /ce Trdr^ta ATJTOJ, 5 l
aStz^s ^epalv l<f)a\f)aiJLV7),
/caXXtcrro^, eVt rpo^oetSet \i[jivr),
Tracra /xe^ 7r\rjcrOrj A^Xo? aVetpeertT;
oSjLtTj? d^Ppoo-fys, e'ye'Xaercre Se yata TreXwp^,
10 yrjOiqcrzv Se /3a0v$ TTO^TO? aXo? TroXt^s. 10
v Aprejitt 0r)po<l)6vr), dvyarep Aids,
icraO\ or' es Tpotry^ eVXee vyvcrl Goals,
ev^o/xeVa) juiot K\v9i, /ca/ca? 8* aVo Krjpas aXaX/ce
crot jiteV rovro, ^ea ? (TfJUKpov, e'/xot Se /xeya.
15 Movcrat /cat Xaptres, Kovpai Atd? ? at Trore KaS/^ov
e'? yd^ov eX^ovcrat KaXov aetcrar' eVo? 16
orrt /caXcu> ? <$>i\ov ecrrt- TO S' ov KaXov ov <f)i\ov
e'crrtV.
roCr' eVo? dOavdrw rj\9e Sta
1 The figures on the right give the numbering of Bergk' s edition.
24 ELEGIAC POETS
e/xot
20 rotcrS' eTrecrti', XTjcret 8' ouTrore /cXe7rrd/x,ej>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<TToz' ? TIoXvTratS^ ovSe yap 6 Zeus 25
our'
Sot 8' eyai eu (frpovew vTroOTJcro/Aai, old 7Tp avrd?,
>\ ^ /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 <j>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-<t*> 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 o<j>9a\iLo1<jiv eTr
t8w5 ? ouS' aio-^pov XPtfp ^ 7TL /cepSog ayet.
MT; //,' en-ecri^ jite^ crrepye,, 1^00^ 8' e^e /cat
aXXa?, 87
80 et jne <^tXet9 /cat crot Trtcrro? &crrt 1^005,
aXXa <f)i\i KaOapov Oe/jievos voov, rj p a
05 Se jut^ yXakro-7? St^' e^et z/oo^ ? ouro? eratpos
SetXos, Kvpv*, e^Opos ^SeXrepo? rj (^1X05 w^.
85 Et Ti? eVat^crTj o-e roo-o^ yjpwvv o&o-ov opcorjs, 93
vocrfacrOels S' d\\rj yXoHTfrav ifjai KaKijv,
rotovro? rot eratpo? 011/7)^ (^1X05 ourt /xaX' ec
05 K' etTT^ yXaKro^ Xwa^ tfrpovf} 8' erepa.
AXX' 117 rotovro? ejicot ^)tXog ? 05 roz^ eralpov 97
90 ywaxTKtov opyrjv KCU ftapvv ovra c^epei
az/rl KOLcriyviJTov - CTV Se /xot ? <j)i\, raur' ez^t OV/JLCO
KOLI TTOT' ejLtov /jLvrjcreai
et? cr* dvOpMTTtov Treiory KOLKOV dvSpa </>tX7yo-at, 101
pj/e rt 8' eo"r' oc^eXos SetXo? a^p c^tXo? c2i/ ;
1 B. r6<T(Tovs 5' ou 57;eiS.
THEOGNIS 27
95 our' oV <j IK ^aXenolo TTOVOV pucratro /cat
oure KCV lo"9\ov ea)v TOV
105
Icroi/ /cat crTreipet^ TTO^TO^ aX6s TroXtTj?.
oi/re yap az/ TTO^TO^ crTreipoj^ /3a0v Xrjiov
100 oure KOLKOVS ev Spuv ev ird\iv avrikdfi
yap e^ovcri KOLKOI voov - rjv 8' eV
TTOLVTOIV KK^VT
01 8' aya#ot TO juceytcrro^ iTravpicrKovcri
8' clover ayaOtov /cat yapiv e
105 Kift8yjKov 8' a*>Spo9 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 <f)i\ov 1/009 ai/8po? e^t cmjOecrcri
no i//u8po5 e'oji/, SdXto^ S' eV ^pecrtz/ ^rop
TOUTO ^09 /ct^SS^Xoraro^ TrotTjcre
/cat yv)vai TTOLVTCDV rovr'
ov yap dv l etSefys ai/Spo^ ^oo^ ovSe
7rpu> 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 dfji<f)OTpa)v -
ouSe Ti? dv9pa>Tro)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<f)06pov dv8pl ^oXw^et?, 155
/OTy/xocrwTj^ ovXo/xeV^z/ 7rp6(f)p -
us yap rot TO rd\avrov eTrtppeVet aXXore
140 dXXore /x-ez/ TrXovrei^, aXXore /A7?Se> 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)fjLVfJievo<s aivel- 169
aj>Spos 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,
^ <f)6vyovTa /cat e? /3aOvKTJTea TTOVTOV
', /cat Trerpeajv, Kvpve, /car' ^
/cat ya/> 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, <j)L\ov$ Kara irdvras eTTtcrrpe^e
77^09, 213
opyrjv crvjOL/xtcrycoz^ r^vnv e/cacrro?
185 IIouXuTTov 6pyr)i^ ^X e ^roXiwrXokcw, os Trort Trerprj^ 215
roto? tSeti^
1 B. rare.
THEOGNIS 31
vvv //,ez> 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>j<Tt Tra/oecrcry
e^ Trdcrat?, TroXXai^ /cet/^e^o? ez/ crrd/Lcacrt^
feat ere crv^ avXtcr/cotcrt Xtyuc^^dyyot? z^eot
200 eV KcofjiOL^ eparoi? /caXd re Acat Xtyeia
acro^rat /cat orai^ Sz/oc^ep^s VTTO KevOccri
/3^5 TToXu/cco/curov? et? 'AtSao SdjLiovg^
ouSc TOT' ouSe 9ava)v dTroXetg fcXco?, aXXa,
d<f)0LTOV dvOpCOTTOLS altv fytoV OVO^OL^
205 Kvjoz^e, /ca^' e EXXdSa y^ crrpco^wjULez^os 7)8' dz/a z
CTOU9,
Trepuv TTOVTOV err* drpvyero^
ITTTTOI? 6vr)Toicriv <f>TJ[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, o<p' az^ ^ y^ re feat ^eXto?
avrap tyw oXtyTjs Trapd crev ov rvy^dz/a)
dXX 5 wcTTrep jjiiKpbv TratSa Xoyois /
32 ELEGIAC POETS
KaXXtoroz' TO St/catdraToz' XCOCTTOV 8' vyiaiiviv 255
irprjyfjia Se TtpTrvoraTov, rov rts pd, TO
215 v lcrct)9 rot ra /xei^ dXXa #eot OvrjTols dvdpatTrois 271
yrjpds T ov\6ptvov KCU veoTrjT* eSocrav -
TO>V 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 $i\ov a^Sp' aTroXecr-
323
e ? StatySoXtT/.
et rt? dfjLapTO)\rjcri <j>i\<x>v errl TTCLVTI
ov TTOT' a^ aXX^Xots dpO/jaoL ovSe
235 ti/ dfjiapTcoXdi ydp eV dvOpuTroicnv errovrai
s ? Kvpz/e ^eot S' ov/c eWXovcrt
THEOGNIS 33
/ ? 331
* TpOlCTl StSoU, Kupz/e, TO, TMV TpO)V.
eV ayav cnreveiv - Trvrwv /xecr picrra /cat
OUTW9, 335
240 Kupz/' ? e^eis dpeTirjv, Tjvre Xa/3elv
Zeus /^ot TOJI/ re (^iXaji^ 80117 rtow, ot /AC (^iXeScrt^ 337
r
/xer' dvOpa>7ra>v Oebs
et /A' aTroTicrdptvov jjiolpa KL^OL Oavdrov.
245 'AAAa ZeS reXecrdi/ /xot 'OXu/xTrte Kaipiov evxrfv ' 341
Sos 8e /xot dz^Tt KOLKCOV KaL TL TraOeiv dyaOov.
reOvauYjv S' ? et ^ rt KCLKCOV a/x7rau/xa
evpOL/jLTjv, SotTy^ 8' aW' az^taiz/ az^ta?
atcra yap ovra>9 e'crrt- rtcrt? 8' ou c^at^erat ^/
250 d^Spai^, ot rd/xa ^p^ar' e^oucrt ^
eyco 8e /cuw^ eVep^cra
TOTa/xa) irdvr a7roa*etcrdjLtei/o9
et^ jJL\av at/xa Trtet^ eVt r' eV#Xog opoiro
09 /car' e'/xoz^ z-'ou^ reXecrete rdSe.
255 TdXjLta ? Kvpi/e, /ca/cotcrtz^, eVet Kacr^Xotcrt^ e^atpes, 355
cog Se ?rep e'f dyaO&v eXa/3e? KOLKOV, c5? 8e /cat
e'/cSuz/at Tretpai, Qtoi&iv e
OuSeVa Orjcravpov Tratcrtz/ KaraOyjcrrj a/xetz^oj 409
260 atSoCs, 77 r' dyaOots d^Spdcrt, Kvpv\ eVerat.
34 ELEGIAC POETS
dv6 pa)TTO)v KCLKLMV So/ct eti/ai eratpos, 411
co yva>p,7) 9* 7TTai, Kvpve, /cat a! S
OuSeV bjjioiov ejnot Swajnat St^/xe^o? evpelv 415
TTLCTTOV eTOLlpOV, OT(D fJLTfj TIS ^<TTl SdXoS '
265 es fidcravov 8' iKOwv 7rapaTpi/3o[Jiai cocrre /JioXv/38a)
8' a^fjav evecm Xdyo?. 1
IloXXot? dvOpa*ira)v yXaxrcrr) ffvpcu OVK eTTt/cet^rat 421
t feat cr)t
yap TO KOLKOV KaTaKijJievov .v
270 IcrOXov 8' l^eXOov Xwto^ 17 TO KOLKOV.
j) <f)VVOLL iTTL^OoViOLCTLP dpiCTTOV) 425
' ecriSeij> avyas o^eos 'JjeXiov
8' OTTO;? aJfcta'Ta TruXa? 'At'Sao TrepfjcraL,
KCU KelcrOai
275 4>ucrai /cat peijai paov /poTo^ ? 17 pea? eo"as 429
V0jJLV ' OvSet? 7TCO TOUTO y* e7T<^)jOacraTO^
W TIS CTtofypOV 07)K TOV d<j)pOVa, KOLK KOLKOV l(T0X6v '
el 8' 'Acr/cXTjTriaSats TOVTO y' ISco/ce
iacrOaL KaKorrjra /cat aTr)pd$ fypevas
280 TroXXoi;? a^ picrOovs /cat jiteyaXov?
et 8* ^^ TTOLTJTOV re /cat HvOerov di^8pt vor
ov TTOT av % dyaffov TraTpo? eyevro /ca/co? ?
vOoiCTL (Tao^pocTLv - aXXa StSdcr/ccoi/
7TOT TrotT/crets TOJ> 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 <i'X' carco, 465
e ere votara) /cepSos, o r' alo'^pov r).
aids' atK *
rad atKovra ^eveiv KarepvKe trap TULIV^ 467
290 /x^Se Ovpal^e KieXeu' OVAC e'^eXo^r' teVat,
e7reyetpe ? St/xco^tS^, ovnv av rjfjiwv
evr' oivut [Aa\0aKos VTTVOS eX^,
dypvTrveovra /ceXev' ae/corra fca^evSet^ 471
yap dvayKaiov XP^It^ dvi/rfpw e<f)v
295 rw TTivtiv S' tOe\ovTi TrapacrTaSo^ ot
ov Tracra? VVKTOLS yiverai aySpa
avrap lya* perpov yap e^co /xeXt^Seo? olvov
VTTVQV Xvo-iKaKov jLc^cro/xat otKiaS'
Set^w 8' W9 oh>os ^apiecrrar
300 ovr' ert vrj<f>a)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 <T7reVSets ? TT)^ 8' eVt
dpvelcrOcn, 8' ov/c otSas aviKrjros Se rot ou
65 TToXXdg irivtov ^ n ^draiov epei.
315 'Ez; TTupt />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 <TO(f)6v.
KOLKOV ' TjV 8e Tt<? CLVTOV 509
320 ^^17 7Tt(TTa/xe^a;9 ? ov KCLKOV dXX' a
r) roX/xaz/ ^aXeTTOLcrtz/ eV aXyecri /cet/xez'OZ' dz^-
a ? 555
? re #eaiz> 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<f)pa 8i
/cat roOr' et? OLKOV
?? T( ^ 8tSo9crt eot vrjTOLcn oroccrt^ ? 591
8e (frepeiv d/x^orepcov TO Xd
e XtT^z^ ^aXeTrotcrt^ aVai c^oeVa ^8' dyaOoicriv
330 rep<f)0f}s e^aTTivrjs, Trplv reXo? d/cpoz/ t8etz>. 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 <T7rovSatoj TTp^yjitart Traupdrepot.
ITavpovg /CT/Se/xd^a? Trtarous eupot? /cer eratpov? 645
350 /cet/xei'og ei/ /xeyaXo^ OV^JLOV a
'A 8etX^ Trevirj, rt ejnots eTrt/cetjULeVT] aSjaot? 649
craijita /caratcr^u^et? /cat ^do^ ^/xerepo^ ;
atcr^pa 8e jtx' ov/c e6e\ovra /Sir) /ca/ca vroXXa 8t8a-
ecr#Xa )Lter' dvOpd>7ra)v /cat /caX' e
38 ELEGIAC POETS
355 MTiSei' ayav yaXeiroicriv dcr< <peVa /X7j8' dyaOol-
(TIV 657
" T ' dz/Spos TTOLVTOL <f>pew dyaOov.
Ei /xei^ xpyjfjiaT 9 e^ot/xt, Si/AaWST?, ota 77/011; ^S^7/ 667
ov/c ai> dvicofjirjv rot? dyadolcn <j\)vu>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<wXej>,
Log 8' ovKT* urog yiverai e? TO /xecro^,
<f>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<TL 77/309 dOavdrovs /Aa^ecrao-^at 687
ovSe 8iKr)v eiTreiv ovSevl TOVTO de/jus.
1 B. -gfo;. 2 B. o2 5'.
THEOGNIS 39
IIoXXous rot /cdpos oVSpas aTrwXecre^
ra?
380 yvtovai yap yaktTTOv /xerpoi/, or' ecr#Xa
Ev /x,ei> 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<f)poicraTo,
ovTiva 817 Oavdroio /xeXa^ ^(^09 d
\0rj 8' 5 CTKltpOV
eas re TrvXas 7rapa/xeu//rat ? atre
^pyovcnv Kaiirep a^at^o/xeV
395 aXX' apa fcai KtWev irdKiv jjXvde SICTL
5 c^aos r)\iov cr^Tjcrt TroXv^pocrwat?
ovS' et i//u8ea /xe^ Trototg irv^oicriv 6/xota,
yXaicrcra^ e^w^ dyaOrjv Necrropo? a
w/cvrepo? 8' eiTjcrffa TrdSa? ra^ea)^ '
400 /cat TratSwz/ Bopeiw, rwi/ a<^ap etcrt TrdSe?.
aXXa ^PT) Tra^ra? yv<j>\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 <tXa rots ptv aXt-
rpots 731
v/Spiv aSet^ /cat cr<tj> 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*>
K<f)Vyi, TO KOLKOV 8' aXXo? 7TLTa (f)tpL.
Kat TOVT' ? dOavdrw ^8acrtXev ? Trais ecrrt 8t/cato^ ? 743
epycov oorrt? aV^p e'/cro?
/XT7 rtz/ vTrepfioLcririv KaTe\<i)v ^178' opKov aXtrpoV,
420 aXXa St/cato? ecu^ /AT) ra 8t/cata TrdOr) ;
rtg 877 /cei/ /3poro<? aXXos, 6p(w Trpo? rovroi/, eTretra
a^otr' dOavdrovs, /cat rti^a OVJJLOV e^w^,
OTTTToV a^r)p aSt/co? /cat arcxcr^aXo?, oure rev d
ovre rev dOavdrw \ir\viv aXevd/xez^os,
425 vftpi^ri TrXovrco /ce/cop^jLtez/o?, ot 8e 8t/catot
ry retpdjite^ot
1 B. ytvoiro.
THEOGNIS 41
Tavra paOcov, (f>i)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 <pop/uyg o au <pc7eyyotC7 izpov jLteAo? ^oe /cat av-
Xds *
T7/xet5 8e cr7roz>Sd<? Oeoicnv a'pecro-a/xei/ot
^apievra /xer' aXX^Xotcrt Xe
roi/ M^Swz/ SetStore? Tro
440 vocrfyi fjLepifJivdcov ev^pocrwwg Stayetz>
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* d<f)paSi'r)v ecropaii/
/cat crracrt^ 'EXX^Veoj/ \ao(f>06pov - cfXXa crv ? <J>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<f)p6va)<; Trd
aXX' ourt? /xoi repi//t<? evrt
v8ev dp*
* d\\o
OuSet? dv9pa)TT<t)v our' ecrcrerat ovre TrefyvKev, soi
460 OCTT19 TTaCTLV CtSci^ SvCTCTat 19 'AtScw
ouSe yap 05 dvrjTOLcn KCU dOavdroLcriv dvdcrcrei,
TTOLCTLP ctSeti/ Swarat.
Topz/ou feat a-rdO^r]^ Kal yv^ovo^ aVSpa
tvOvrepov /xe XP 7 ?? Kupz/e, ^uXacrcre/xe^at^ 806
465 OTT6 K6l> ^ 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' d<j)\a)v Trpbs Otvv df
Kvpv', 7x77179 o rt fjiolpa TraOelv, OVK O"0*
470 OTTI 8e jjiolpa TraOeiv, ovri Se'SotKa
817
Ot 8' aTTO y^pacr/coKTas aVt/xct^oucrt TOKTJOLS, 821
rot X^P 7 ?? Kup^' ? o\iyri
' ovrora^ KaffvirepOev ewv vrrevepdt yeV^rai, 843
roura/ct9 oucaS' t/xei^ Travcrct/xe^ot Trocrto?.
475 Aaf 7TL/3a Sljf/KW Kl>e6<j)pOVL, TV7TT 8e KVTp<& 847
ofetj /cat
THEOGNIS 43
ov yap & evpricrtis SrjjJiov </>(,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 <f)L\oi<; - dperrjs 8e fieya K:Xeo9 OVTTOT' oXetrat
yap a^7)p y^ r /cat acrru craot.
7TLTa 7T(TOL
490 ^aX/ceos, dv0pa>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* e<ro/x,ai.
495 TIl^' OIVOV, TOV e/>LOt KOpV^TJS V7TO Tr)VyTOLO 879
d/jL7T\oL TjveyKav, rag e^vrevcr' 6 yepwv
ovpeos eV ^cra-Tjcrt, deolcn <iXos
e/c TrXara^tcTToC^rog \\fv^pov vSwp eird
TOV TTLVCOV a7ro /xe^ ^aXeTra? (TfceSacret?
500 (JajT-Oels 8' ecreat TroXXo^ e
44 ELEGIAC POETS
KOL TrXovros ^X OL TroKiv, ocfrpa juter' a\\a)v 885
KOLKOV 8' OVK C/>a//,at 7TO\fJLOV.
*E<TTtz> 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 e<f>r)/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 <iv9p(j)Tr(i)v, 6V TTorz/ 5 7Tt yaia KaXwprj 973
e? r' ^Epe^Sog KaTa/3fj, Sw/xara Tleyocr etfrovrj 5,
sis Tepnerai ovre \vprjs ovr' avXTjTTJpos d.Kova)v,
ovre Aiw^vcroi; Saipo^ aetpo/xe^os.
ravr' ecropwv /cpaStTj eu 7Ttcro/xat ? o'^>p' eV e
youz/ara /cat K<f>a\r)v arpe/xeaj? 7rpo<f)pa).
TJ /JiOL dvrjp 117 yXaxrcrrj <^tXo9 ? aXXa /cat py(p-
520 ^epo'Lv re crTrevSetz' xpjjfjiacrL r \ d^orepa - 980
jUTjSe 7ra/oa Kprjrfjpi Xoyotcrt^ e'/x^z/ </>peVa ^eXyot? ?
>\\</o j/ s y o./ > > /)/
aAA epowv (paivoi y t rt ovvai , ayauov.
e H/x,et? 8' ez^ OaXirjcn <j>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 <f)pecrlv ecrdXd vofj,
avrov KTevo)v ev TTOLO'^e^ev ' ov yap
819 TreXerat vrpo? 9e)v ouSe Xvcrt? Oavdrov
0V7JTOLS dvOptoTTOLO'L. KaKOV 1 8' 6771
8'
535 'Pi; 18117 TOt W/^fts J/ dvOptOTTOLS KaKOTTJTOS ' 1027
roG 8' dyaOov ^aXeTTT^, Kupi/ ? vreXet Tr
ToX/xa ? 6v/Ji, KaKoicriv SUMS arX^ra irtTrovO <!><; 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^ nop<f>vper)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 <f>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<Si> 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 e7rt<Trpei//a^ra ^OTj/Lta 1083
^ atez/ e^eti/ e's reXo? a^Spt ^>tXw.
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 KoXo<j&a)i/a 1103
. Travrajs, Kvpve, Kal U/XJLL' aTroXei.
/>e //}'/) 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 <f)L\(p
590 o(^pa re y^9 eirc/Sr) SetjitaXebv? re
'EXTTts ez^ dv0pa>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' 6<f)pa rtg ^wet /cat opa <^>ao5
600 evaeftecuv irepl Oeovs, 'EXTTtSa
ev^d/x^o9 re ^eotcrt ? /cat ayXaa fjirjpia
'EXirtSt re 7rpd>Ty /cat TrvfJidrr) Overa).
<f)pa^ecrOa} 8' aSt/cwz> 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 <peo-iV 77 TroXu /cpewr-
ios ouXo//,eVy?s XevyaXeov re Kopov
KaKov Se /SpoTolcri Kopos, r)v OVTL KCLKLOV
Tracra yap e/c rovrwv, Kvpve, TreXei
Et /c' etij9 epya)^ atcr^pai^ a7ra07)<; /cat aepyd?, 1177
620 K.vpve, fjieyicrT^v Kev Trelpav
pve, Oeovs atSov /cat SetSt^t rovro yap aVSpa 1179
etpyet JLL^^' />Sei*> /LL^TC Xeyeii^ d<refir).
Se rvpavvov, OTTW? e^eXet?,
ov ^e/xecrt? Trpos ^eaii/ yiverai ovSe/xta. 1182
625 Ourt? OLTTOIVCL StSou? OdvaTov <j)vyoi ovSe jSapetaz^ 1187
SvcrTu^t^^, et ^LLT) palp* lirl reppa /SaXot.
ouS' a^ Svcrc^pocrwas, ore 8^ ^eo? aXyea Trej
7rpo<f)vyoi.
OVK epa/xat fcXtcr/xo; ^SacrtX^'ia) eyKara/cetcr#ai 1191
630 T0vea><;, 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)6o<Tvvris. 1226
B.
IAMBIC POETS
ARCHILOCHUS
Archilochus of Paros flourished apparently in the earlier
part of the seventh century B.C. He enjoys the distinction
of being the inventor of iambic verse, which means, prob-
ably, that he introduced definite principles into this style
of writing, and first gave it its standing in literature. The
ancients lavish upon him their praises from every side, com-
paring him with all the immortal leaders of Greek song, and
sometimes giving him the supremacy among them all. He
was descended from a priestly family of noble standing, but
connected himself prominently with a colony which emigrated
from Paros to Thasos. The expedition ended, however, in
disappointment ; and he returned, after many wanderings, to
his native island. He lost his life in an engagement between
the Parians and the people of the island of Naxos. It is
said that a curse was pronounced by the Delphic oracle upon
the man who killed him, as having " slain the servant of the
Muses."
The history of Archilochus is manifestly incomplete with-
out the story of Lycambes and his daughters, not because we
can vouch for the details of the narrative, but because it illus-
trates the Greek feeling with regard to the poet's power. The
poet was betrothed, according to the popular tradition, to one
of the daughters, Neobule ; but suddenly the father turned
against him, and rejected his alliance with scorn. The indig-
nation of the poet found utterance in his verses, and he turned
51
52 IAMBIC POETS
his satires without mercy against the offending family until
they sought refuge in voluntary death.-
The chief distinction of Archilochus, as we have suggested,
was the invention or development of iambic verse. Such are
the iambics which follow in VIII and IX, and closely allied to
them are the trochaic tetrameters X-XIII. For the so-called
iambic trimeter, see S. p. 84; G. 1658; HA. 1091. For the tro-
chaic tetrameter, see S. p. 84 ; GL 1651 ; HA. 1083. See further
on iambus and trochee, S. pp. 24, 26, 30. Archilochus wrote also
elegies as well as other forms of poetry.
EAEFEIA
1(1)
Ei/u 8' lya) OepaTrajv p,v 'Ez>vaXioio aVa/cros,
Kal M overeat Iparbv S<Spoi> 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
<j)OLra /cat KoiXwv Trci/xar' a^eXjce /caSco^
aypet S' olvov epvOpbv anb rpvyos ouSe yap ^et?
IV (6)
p,v Sat'cui; rts ayaXXerat, r^v Trapa
d/xco/xTjro^ fcaXXtTTO^ OVK 0\a)v -
avro? S' e^e^vyov OOLVOLTOV reXos* acTTrl? t
ef avrt? fcrTycro/xat ov KOLKLO).
AKCHILOCHUS 53
HPOS HEPIKAEA
V(9)
els a-Tovotvra, Ilepi/cXees, ovSe TLS d
o9 Oakiys Tepi^erai ouSe 770X19 *
roiovs yap Kara KV/JLOL TroXv^XoLcrftoio ^aXac
e/cXucre^, otSaXeou? 8' aju,<* oSwr;? e^o^v
5 Tr^ev/xoz/a? dXXa ^eot yap 01^77 /cecrroicn, KaKol(TLi>,
a) <j)iX\ 7Tt Kpareprjv rX^jiiocrw'rjz/ effecrav
aXXore 8' aXXo? e^et raSe
IT paired', at/xaroe^S 5 eX/co? az
e'faurt? 8' eYepovs eVa/xa//erat dXXa ra^tcrra
10 rX^re yvvaiKtiov Trtv
VI (10)
8' aviripa IlocretSaaj^o? a
SaJpa.
VII (13)
Oure rt yap K\aia)v i^crojuai oure KOLKLOV
drfcro) repiTcoXds Kal OaXias e'c^eVcoz/.
IAMBOI
VIII (21)
-/ TT 0> 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 o<f>0a\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 <j)i\(x) peyav (TTparriyov ouSe
ftoaTpvyoio'i yavpov ou8' v
dXXa /lot (TfJiLKpos rt? eiTj /cat Trept /c^jotas tSetz/
pot/cos, dcr^aXecos ySe^/cais 7rocrcrt ?
XII (66)
az/a Se, 1 Svcr/xe^aiz/ 8' aXefeu TrpocrySaXa)^ tvavriov
crrepvov, e^ So/cotcrtz> eyOp&v TT\ricriov KaracrraOeL
dcrc^aXecys /cat /r^re VLKMV a/JL<j)ai87)i> 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 <T$LV Oa\do-(77]^ if)(4evr
* r/Treipov yevrjrai, rotcri 8' ^Sv 17^ 0/005.
SIMONIDES OF AMORGOS
Simonides of Amorgos was a native of Samos, but, like
Archilochus, left his native island with, a colony, which,
settling in the island of Amorgos, gave to the poet his desig-
nation. His life belongs to the seventh century B.C., but more
definite dates cannot be verified.
In their poetry also Simonides and Archilochus were much
alike. The former is, however, more fond of moralizing and
dealing in maxims, performing in spirit something of the office
of the gnomic poets. The poem upon the origin of the differ-
ent classes of women has always been justly regarded as an
interesting curiosity. The dialect of Simonides, like that of
Archilochus, is Ionic. In the arrangement of his measures
synizesis is very frequent.
The meter is the common iambic trimeter.
I
^O TTCU, reXo? /xei/ Zevs e^et /3apvKTwrro<;
TrdvTw 6V ecm, /cat TiOrjcr' 07717 #eXei
1/005 8' OVK eV dv0d>7roio-iv dXX'
56 IAMBIC POETS
*C^/">' 9 s\y^ ' ^ > > ^ '
a orj por cuei 4wju,ez> ? ouoe^ eioores,
5 OTTCOS eKacrTov e 3 KreXevT7?crei #eoV
eXTTis Se TrdWas KaTTLTreiOeir] rpec^et
airprjKTOv op^aivovrcL^ ol fjiev r)/JLpr}v
IJLZVOVCTLV eXOeiv, ol 8' ereo)^ irepirp 077019-
Decora 8' ovSetg oVrts ov So/ceet f$por<t)v
10 TrXoura) r Kayddoicriv t^ecr^at TT\.OV.
Se ro^ /xi/ yrjpas atfl\ov Xaftov,
KrjTOLL ' TOU9 8e SuCTT^^Ot VO&Ol
<f)0eipovorL QvrfTMv ' rou? 8' v Ap
UTTO
15 ot 8' ez^ daXdo'O'rj XatXaTTt
KOL KVfJiao-Lv TroXXotcrt 7rop<j)vprj<; d\6s
OvrjO-Kovo-iv, CUT' ai^ ev Sv^crw^rat oeii>
ot 8' cty^o^^ afyavro 8vcrTTJvq) popco,
KavrdypeTOL XetTroucrt^ rjXiov <f)do<;.
20 OUTO) KCLKtoV OLTT OVOV ' CtXXa fJiVpiai
fipOTolo-i Krjpes KdvcTTicfrpao'TOi OVOLL
/cat Tnfjuar' ecrri^ et 8' ejnot mOoiaTO,
OVK av KOLKMV epa5/>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<z> 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 Si<f>pov 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 <tXotcrt ylyverai.
OdXacrcra TroXXd/as
oLTnfJicov,
Oepeos iv o>py, TroXXd/as Se /zatz'erat
40 /SapVKTVTTOLO'L KVfJLaCTlV (f^OpeV/Jiei'T] '
ravrr) /maXtcrr' eotfce ToiavTrj yvvrj
opyrfv - <f>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 /<v
eXuovu eraipov QVTIVUV eoe^aro.
so T^i/ 8' e'/c yaX>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 <piXov.
Xourat Se Trdcrrjs rjfjieprjs dno pv
1 B.
SIMONIDES OF AMOEGOS 59
815, aXXore r/n's, Kal /xv
65 alel Se ^aiT^v IKT^VKT^VY^V (f>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^ <f)L\evvTi yr)pd(TKi Trdcret,
re/coucra fcaXo^ Kovvop,dK\vTov yeVo?-
KdpiTTptTTrjs [lev tv yvvai^l yiyverai
Trdcrrjo'L, Oeinr) 8* aj
90 ouS* e^ yvvai^lv ^Serat
OKOV Xeyovcrtz/ d(f)po8icrLOvs Xdyov?.
Tota? yui/ac/cas dv^opdijiv
60 IAMBIC POETS
Zeus ras aptcrras /cat TroXu^paSeoTaYas
ra 8' aXXa <vXa raura
95 eon*' re Trrjfjia, /cat Trap 9 aVSpacrij>
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<pp6v<as,
MELIC POETS
ALCMAN
Alcman, according to a popular tradition which is based
upon a fragment of his poetry, was a Lydian who came from
Sardis to Sparta. The lines which are supposed to refer to
him are, however, so few that it is difficult to feel assured
that he is giving definite personal history. The other stories
which have been associated with his name are of even more
doubtful origin. So we are forced in any account of his history
to depend largely upon conjecture. He is quite likely to have
come from abroad, as the prominent leaders in poetry and song
at Sparta had previously been foreigners. It would be natural
to suggest that he came from Asia Minor, as it was thither
that the early Greeks were continually looking for inspiration
and light. We can hardly question that his lineage was Greek,
and so closely had he identified himself with the Spartans
that he counts himself, and was apparently counted by them,
as one of them. From the style and tone of his poetry, and
from the position accorded to him, we cannot fail to draw the
conclusion that, if not a native of Laconia, he must have been
long at home there.
He is of particular interest in the history of literature
because of his influence upon the development of choral song.
As a Greek art and an expression of Greek life it must have
the Greek combination of orderliness and freedom. We find
in him the beginning, as far as we can trace it, of the division
into strophe, antistrophe, and epode. He is an important figure
61
62 MELIC POETS
also in the history of Sparta, as giving us pictures which sug-
gest that in the city of his day Aphrodite and the graces were
not disdained, however much supremacy may have been claimed
for the god of war. One can hardly read his poems and think
of the pictures which they present without wondering whether
this can be Sparta, the city of the laws of Lycurgus.
_A w _A w -A w -A A
WWW
d |-O w -L w iL J- A
_A w -A w ^ w -A A
>|-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 ? <W77y9 at Tt
eV /3oTOt5 O"TaO"tJ> 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)cri<rTJpa,
64 MELIC POETS
ouS' es Aivrjcnps/Sporas IvOolcra, c^acreis *
'ACTTCU^IS re /xot yevoiro
40 /cat 7rorr)V7roL <I>iXvXXa ?
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<f>, 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 <f>a)vev-
cra? vTTOLKoveL
5 KOI yeXatcras tjLtepoe^ TO /xot /xai/
KapSiav iv CTTrjfftcrLv eTTToacrev
ws ya/o evtSoi> ySpo^ew? ere, <f>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<Ta jLtaXtcrra Xd/jLTrr/
yav * * *
* * * dpyvpia.
IV (4)
'Afjitfrl 8e \fyv\pov /ceXaSet St' v
u(Tcro/AeVcoz> 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. /xou<ro7r6Xy oliclq..
2 B. <j>tyuv.
3 B. 0^>ets olv, <j)tpes cuy
ALCAEUS 69
genius were alike made tributary to his political party, and he
fought in behalf of the nobles against successive tyrants, as also
against the excellent government of Pittacus, who by his right-
eous rule was restoring peace to the suffering Lesbians. Alcaeus
was indeed contending for what he had professed to abhor, to
establish a despotism, because he thus hoped to confirm the
supremacy of himself and his friends. Pittacus, as of low birth,
was the object of his enmity and scorn, and all the more be-
cause he favored the common people. But the popular party
triumphed, and after a lengthy period of banishment Alcaeus
was glad to accept pardon from his opponent, who, whatever
may have been his ancestry, was high-minded enough to recog-
nize that mercy is better than revenge
There were ten books of the songs which were known to the
ancients, representing a great variety of themes and reflecting
the changes and contrasts of his checkered career. As we
have only fragments, we gain but a faint impression of what
his poetry really was. The patriotic and martial odes were the
most celebrated of his productions. His full-souled vitality
was a most important element in forming the character of his
life, as also of his poems. He betrayed his love of activity,
his admiration for forceful energy, in all that he did or said.
He lacks the highest type of poetic imagination, but he com-
mands interest and carries his readers with him by the strength
of his feeling. His poems, unfortunately, have almost entirely
disappeared, lost perhaps the sooner because written in the
Aeolic dialect so that they could not be thoroughly known and
universally appreciated by the Greek public.
The meter of II, III, VI, and VII is the Alcaic stanza
which we have so frequently in Horace, see G-. 1682. 5; HA.
1111. s. VIII is Sarpphic and Adonic : G. 1682. 6 ; HA. 1111.
r and a. IV, IX, X, and XI are Asclepiadean : HA. 1115.
a and b.
70 MELIC POETS
1(15)
-Aw JL -L^> vi A
tpet Se /xe'yas Sd/xos ^aX/cw- Tratcra 1 S'
crreya
iaLicri, Karrav \VKOI KarvTrepOev ITTTTIOL
., K<f)d\aiO"iv avpo)v dyaXjotara ^aX/ctat Se
TracrcraXot?
Xa/xTrpat Ki>ajiuSes ? 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 <j)dpifjfji0a crvv /xeXatm,
5 ^et/xali/t jnox#ewres /xeyaXw /xaXa
yap ai^rXos tcrroTreSaz^ e^et ?
Se Tra^ ^aS^Xo^ ^807
/cat Xa/aSes /xeyaXat /car' avro
^dXatcrt S' ay/cotz/at.
1 B. 7ra(ra.
ALCAEUS 71
III (20)
crOif]^ KCLI rivoi 77/209 fiiav
i KOLT0av Mv
IV (33)
ANTIMENIAAN
'HX069 IK Trepdrajv ya? e
TCO
dOXov
pvcrao T 6/c
5 KTevvais ai/Spa /xa^aira^ /3ao-i\r]ia)v
01770X66770^x0, LQV
OL7TV
V(55)
EPHTIKON
'1077X0^' ayva
^eXw rt /ret77i7^ dXXct /xe
SKOAIA
VI (34)
6 Zeus, 6 J /c 8' opdva) ^te
8* uSarw^ /5oat.
TOV LJLO)V 6771
72 MELIC POETS
vp', ev Se Kipvais olvov d^etSee
avrap d/x<t Kopcra
VII (35)
Ov XP*1 /cd/court Ovp,ov c
7r/30/cdi//o/x^ yap ovSev acra
a> 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<rLv eSco/c' ey^ee Kipvais ei/a /cat Suo
5 TrXe'ats /ca/c /cec^aXas, a 8' dre/oa ra^ arepav /cv
XI (44)
ez/ aXXo c^vrevcrTj? rrporepov 8evSpiov d/xTreX
B. d/x0t .... 2 B. 5tx^Xw. 3 B. afr 6rt OT/ci Xa?s.
ANACREON 73
ANACREON
Anacreon was a native of Teos, an Ionian city, on the coast
of Asia Minor. When, however, this city was taken by Harpa-
gus, the general of Cyrus, a large portion of the inhabitants
removed to Abdera in Thrace; and Anacreon may have been
among them. The date of this migration is commonly given as
545 B.C. Somewhat later in life he was prominent at the court
of Poly crates at Samos. After the death of his patron he was
brought, in a galley of fifty oars sent especially for his convey-
ance, to Athens, to join the coterie of poets whom Hipparchus,
the son of Pisistratus, had gathered about himself. He died at
the age of eighty-five, choked, as tradition says, by a grape-
stone. His death took place, apparently, about 478 B.C.
Anacreon lived a voluptuary, in the midst of the greatest
luxury which his age could boast. Polycrates and the sons of
Pisistratus labored alike to make their capitals the envy of the
surrounding world for their prosperity and magnificence, while
their courts were celebrated for the brilliant pleasures with
which they encompassed themselves. Here he lived to enjoy
all that was enjoyable, and to sing the delights of wine and
love. He does not give in his writings an impression of great
strength or depth of feeling. He means to take life as it
comes and get the full enjoyment of every day as it passes.
He is a devotee of Dionysus and Eros, but does not mean to
follow these divinities in courses which would be shocking to
the Greek sense of propriety. He was sufficiently a disciple
of the Graces to abhor excess. The last selection in our list of
his fragments is his witness that he wished for larger portions
of the quickening water than of the fiery wine. The tradition
that he lived to extreme old age is an indication that he did
not greatly abuse himself. In his life and in his poetry he is
devoted to pleasure and grace and beauty, and as an exponent
of that type of life he has obtained lasting fame and perhaps
74 MELIC POETS
deserves higher esteem than the modern world has been in-
clined to give him.
Five books of songs were known as attributed to him among
the ancients ; but only a few fragments have been preserved
for us to read. The dialect in which he writes is Ionic.
The meter is Glyconic, with Pherecratic verses inserted (S.
p. 70 ; G. 1682 ; H. 1111). This is the meter of the first five
fragments. The sixth, seventh, and eighth are ionic. The ionic
a minore is two short followed by two long. For the long syl-
lables of one foot, taken with the two short of the next, two
trochees may be substituted (anaclasis) (G. 1688. 2; H. 1121. a).
The scheme is, therefore, w w _;- w _ w -i- __ In VII there is*
anacrusis, and in the second foot syncope followed by anaclasis
in the close of the lines.
EIS APTEMIN
1(1)
Fowou/xcu cr' ? eXac^r^oXe,
^av6j] TTOLL Aios, dypitov
KOV vvv eTTt \rj0aiov
ecr/caropas 770X1^
- ov yap
EI2 AIONT2ON
11(2)
/cat
ANACREON 75
i 8'
5 v^ri\S)v Kopvfias opecov,
yovvovfiai ere <rv 8' ev/xei^s
8'
K\ev/3ov\q) 8' dya^o? ye
10 o"UfJi/3ov\o<; TOP efjiov 8'
(3 Aewvcre, Se
Ill (3)
/xe
8' e
e^ eyary'
z' 8e
IV (4)
^H TTCU irapOtviov ^8Xe7rcui/ ?
St^jLtai ere, cru 8' ov /coet?
ou/c etScig, on
V(14)
5 ^ 8' ? ecrrl^ yap avr' ZVKTLTOV
Aecr^Sov, r
\evKr) yap,
76 MELIC POETS
VI (44)
IToXiol jne> 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$, <WS aVvfipKTTl
ava Sr/vre /Sacrcrapyjcra).
* * * * *
V <?> //p </
Aye orjvre /jirjKeu ovra)
re
TTOCTLV Trap OLVO)
10 /jteXerai/xe^ aXXa /caXot?
ANACREONTEA 77
ANACREONTEA
These songs have long borne the name of Anacreon, being
written with much of his spirit ; but by the best critics they
are regarded as spurious. They receive little recognition from
the ancients, and represent different ideas from those found in
the undoubted poems of Anacreon. They differ also in their
meter, which is usually iambic dimeter catalectic (G-. 1665. 3 ;
HA. 1096. e). The ionic a minore with anaclasis will be recog-
nized in IX and others. For fuller accounts of these meters, see
S. pp. 107-111.
1(3)
EIS riOTHPION APFTPOTN
TLOV apyvpov
'YL<f)aiCTT,
TL yap /Ji^aLCTL KOL/JLOL;
5 TTOTijpLov Se
ocrov 8w]7 ?
7TOiL Se Jioi fear' avrov
acrTpa \LT\T
fJiTj CTTVyVOV 'lpia>VOL'
10 TL nXetaSaj^ jiieXet p,oi ;
TL yap Ka\ov Bowrov ;
TTOiTjaov djUTreXov? /JLOL,
Kal /Sor/ouas /car' avraiz/,
.feat Maiz^aSas rpvycocras.
15 Trotet 8e XT^W olvov
78 MELIC POETS
TOV<;
/ecu x/oucros rows
/ecu
20 Oicou /caXco
11(6)
EIS EATTON
at
ojv, yepcov el,
e^ ovAcer' ovcrag,
5 \fji\bv 8e crev jLLercoTro^.
e'yco Se rag /cd/xa? /xeV,
V5S/ ^ ' > ^\ /)
eir eicru', etr a7r^AC/o^ ?
ov/c olSa TOVTO 8' oTSa,
cog rep yepovn
10 TTp7TL TO Tp7TVa
ocrco TreXa? ra
Ill (7)
EIS TO A*@ONflS ZHN
Ov /xot fji\L TOL Fvyeco,
roG SapStcoi^ oVaACTO?*
ovS' etXe TTW /xe 77X05,
ovSe <j)0ova)
5 Ifjiol jLteXei
ANACREONTEA 79
e/jiol /xeXet p6$>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 Kov<f>a
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$v rot;ov apa?
Kayo) Xaflw e
ANACKEONTEA 81
10 Kal Soupa Kal
' ? e'ya) 8' e
e 0,5 > ^ > -y j j.. /
cu5 o OVAC er et^ otcrrov?,
T^cr^aXXez^ eW tavrov
15 d(f>rJK /
Se /capStTj?
feat
S' e
rt yap ^SaXa>
20 xaT? eVa) /,
VII (13)
EIS TOTS EATTOT
Et ()v
eTrtcrracrat
et fcv/xar' oTSa? evpelv
ra r^5 0X175
5 ere TO>V e/xaiz/
ef '
Ka
10 eTretra 8' e/c
g epcorcov
yap
OTTOU /caXat
82 MELIC POETS
TL0L Se AeO^StOVS /JLOL
15 /Cat ^XP 1 T ^ V 'itoVMV
/cat Kapirjs 'PdSou re
r <j>]7
OVTTCO
20 OVTTO) 7TO0OVS
ov Tr)s oLTravr*
OTTOV
rt croc #eXeis apiOpS)
25 /cat rous Ya&eLpan> e/crd?,
rev? Bafcrta)^ re j
VIII (14)
EIS HEPISTEPAN
tTj TreXeta,
Treracrcrat ;
TOCTOVTUV
re /cat
rtg ecrrt crot
77/009 TratSa, 7rpo9 Ba
TOZ^ a/ort TWI/ dirdvTtov
10 KparovvTa /cat rvpavvov
TTeVpa/ce /LI'
ANACKEONTEA 83
\a/3ovcra
ea) 8' '
rocravra
15 KOL vvvj opas,
CTTtCTToXa? KOfJii^O).
KCLL
e'ya) Se, Krjv d(f)y ^
20 8ov\7] jice^ai Trap' avra>
ri yap /x Set ire
0/317 re Kat /car
KO,V
aypiov
25
auro
8e /xot
T^OI/, 6V
30 TTtoucr'
Kal
e^TJ 8' 77* aV
TO) /3cLp/3iTq>
35 e^t? aVa^r'*
\a\icrrepav JLL' e
84 MELIC POETS
IX (15)
EIS KOPHN
ptore,
M dptore,
KOipave
, cog av
5 ypd(f> TJ)
ypd<f) jiLOt Tpiyas TO
ciTraXas re /cat
6 Se KTjpo? ai/
ypd<j>e KCU
10 ypd(f> 8' ef 0X079
VTTO
fJLTO)7TOV.
TO [Jieo-ocfrpvov Se ^77 /xot
Sia/coTrre, jutT^re fjiiaye-
15 e'^erco S' ? OTTW? e'/ceiVi;,
TO XeXrjOoTcos (rvvo(fipv,
{$\<f)dp(OV ITVV
TO Se
iro TOV irvpos
20 djua yXav/coV, cog '
djita S' vypov, cJ?
ypd(f) piva /cat
/5dSa TO) yaXa/CTt
ypd(f>e ^etXog, ota
25 7TpOKa\OV/JiPOV <j)L
rpv(f)pov S' ecrco yeveiov
ANACKEONTEA 85
Trept XvyStW
TTTOWTO TTaCTat.
OToXtCTOZ> TO Xot7rOJ> CLVTTJV
30 V7rOTTOp<f)VpOL<Tl
Se
TO
yap
X(19)
EIS EPHTA
At Mover at roz/ v Eyocora
STjcracrat
roJ KaXXet
/cat z^Sr 07 Kv0pia
5 ^ret \vrpa
XvcracrOai rov
/caz/ Xvcr]7 Se rt? OLVTOV,
OVK efetcrt, /xe^et Se-
SeStSa/crat.
XI (21)
atz/a
Se Sei^Spe' av
TTtet
6 S' TjXto? 0d\a(T<rav,
5 TOI^ S*
rt /xot fJixto-, eratpot,
0\OVTL TTIVZIV ;
86 MELIC POETS
XII (22)
EIS KOPHN
e H Tai/raXov TTOT' eonj
Xiffos <&pvy)v eV
/cat 77cus TTOT'
5 eyai S' ecroTrrpo^
OTTCO? act
eyai ^tra)
OTTO)? del <j>opfjs
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> <TTI
10 6 8' ^juuXeTTTos 17817.
\e>\ / /
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
Trap a Kit] Avians
ra SeXT ra rwi/
eVdet
o dfciSa? 8' /3a7rre KvT
jLteXt TO y\vKv
o S' v Epco
< C> 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 <f)v
5 Kearat KOTTO) 8a/xeVra ?
roV
ri5, (^17^, ffvpas dpdcrcrei;
Kara pev cr^t^ei? oveipovs.
10 6 S JV Epcd<? ? ai/otye, ^(riv
8e KOLcre
Kara VVKTOL
raur'
15 ai^a 8' v#u Xv^^o^ ai//a?
dz/0)fa ? /cat ftptyos /xeV
ecropco <])povTa roi;ov
TTTepvyds re KOL <f)apTp f r)v.
ANACKEONTEA 91
Trap a 8' IOTITJI/ /ca#tcra,
20 TraXa/xats re ^etpag aurou
K Se ^
vypov v
7Tt
25 ToSe TO^OV, L TL fJLOL VVV
vevpyj.
vei 8e
ravvei e /cai
rjirap, ojcnrep olcrr/oos
di>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,,
<f)L\L Se
Xiyvprjv 8'
15 TO Se yrjpas ov ere reipei,
o^ el #eots o
XXII (33)
EIS EPflTA
TTOT' e
OVK et8e^ a XX' Tpa>dr]
TOV
5 ra?
aW 8e /cat
10 <is JL
ot yewpyo.
a 8' elTre^ et TO
TO Tag
15 7700*0^ SoAcei?
*Eoa;5, oVovs
ANACKEONTEA 93
XXIII (34)
3>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,
<j)L\a) veov yopevrdv
aV S' 6 yepwv
Tpi^a^ yeptov /xeV
5 Ta? 8e
94 MELIC POETS
XXV (43)
EIS OINON
TTLO) TOV
at
TL JJLOL yocov, TL IAOL TTOVMV,
TL fJLOL /JL\L p,pLjJLVO)V \
5 Oavelv fJi Set, KOLV JLCT) #e'Xar
TL rov fiiov TrXa^al/xai ;
TTtw/xei/ oS^ ro^ olvov
TOV TOV Ka\ov Avatov
CTUJ> 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 <j>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 / C^
20 K:CO^ ooTis ^pO]7
ej/ alcr^pov - avdyKa 8' ovSe ^eot /xa
III (37)
STROPHE
| -O w JL > -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 <j)
5 ofo^ ea) TTOVOV crv S' d
Sovpan
re
8' vnepOev rea^ KOfJidv /Sa
'E7ra)8o5
10 TTapicWos Kv/xaro? OUK dXeyet?, ouS' dve
fyOoyyov, 7TOp<f)vp
fct/x^o9 ei> ^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^ Sv<ra/^/3aTois errl Trerpat?,
dyvov
ovS' aTTOLvrav /3\<f>dpoi<; 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<TO-a<$ vrjas Kal
KOL MTJ8ovs iepav 'EXXaSa pvcrd
XII (97)
'Atf/zas <TTCLKvlav errl vpov 'EXXaSa irdcrav
rat? CLVTCOV i^v^cus Ktifjieda pvcrd^evoi
SouXocrwa? Ilepcrais Se Trepl c^pecrt Tnf/xara Traj/ra
^a/^ei/, dpya\r)<; pvij/jiaTa ^av/^a^tag-
5 ocrrea 8' a//,t^ e^et SaXa/us Trarpt? Se Ko
OLVT evepyecrt^? /JLVYJIA eVe^/ce rdSe.
XIII (98)
OUTO? 'ASetjLta^rou KZIVOV ra<os ? ov Sta
XIV (99)
og otSe <^)tXy Trept TrarptSi ^e
Oavdrov d/x(^e/3aXo^ro z/et^os
vSe reOvdcn Oavovrz^ evret <r<^' dperrj K
Lvovo' 9 dvdyti Sco/xaros ef 'AtSeco.
XV (100)
Et TO /caXai? 0vr)crKLv dperrjs /iteyoo? ecrrl /xe
^juti/ e'/c iravTcov rovr aTreVet/xe
'EXXaSi yap crTreuSo^re? \ev0epir]v
dyrjpdvTq*
XVI (101)
'AOrjvaiwv Ilepcrai^ crrparov
dpyaXeyv TrarptSt
102 MELIC POETS
XVII (142)
'Ef ov 7 Evpwirrjv 'Aortas St'^a TroVros e
/cat TrdXtas QV^T^V Oovpos *Apr)<; ec^e-Tret,
ovSevi 7TO) /caXXtoz> 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 <j)i\oi Kal 770X19 ^
XXI (169)
IloXXa <j)aya)v /cat TroXXa TTtaV /cat TroXXa /ccx/c'
/ct)itat Tt/^o/cpecoz/ 'PdSto?.
BACCHYLIDES 103
BACCHYLIDES
Bacchylides was a, nephew of Simonides, and, like him, was
from the island of Ceos. The date of his birth cannot be
determined. We learn that he was with his uncle at the court
of Hiero at Syracuse, that he lived in the Peloponnesus as an
exile from his native land ; but that is about all that is told us.
His date is probably a half -century later than that of Simoni-
des, and he is younger than Pindar, who was born before 520 B.C.
We had only a few brief fragments of his poetry until in
1897 there were published by Kenyon under the auspices of
the British Museum twenty of his poems, in various degrees of
completeness, which had been recovered from a papyrus roll
recently found in Egypt. These impress us with the graceful-
ness and expressiveness of his poetry, and even if he lacks
somewhat of the grandeur of Pindar he is no unworthy asso-
ciate of the Theban singer. Two of the selections which follow
have been taken from these poems. The first, because of the
address to Apollo (1. 130), has been considered a paean, but
we have very slight data from which to determine how the
Greeks would have classified it. The second is of peculiar
interest as an example of the dithyramb.
The meter of the first selection is cretic or paeonic. For the
variations which are permitted cf . G-. 1689 ; HA.. 1119. There
should be added the forms _ w w and w w _ as also allow-
able. II is logaoedic. Ill is dactylo-epitritic : G. 1684 ; HA.
1117. Schemes for the division of the feet are given though
there are a few inconsistencies in the text as it has been pre-
served which are hard to account for ; but our poet may have
allowed himself considerable liberty in the correspondence of
his lines.
104
MELIC POETS
I (Kenyon 17)
HI6EOI H H2ET2
STROPHE
. w ^w_
W W W W
-L _ w _L w _
-^- W \J \J \J
10 _
^\-LL^ -1-^-
15 ^._w 2-_J~^^
WWW W
w w w w w
W -^- W W
EPODE
W-^-WWW \J
-^ w A
BACCHYLIDES 105
5 w | -- w w w w _
w _ _- w w w _- w _
_^- w w w w _ w _
_|^-w_ -^-w_ -^-wM
-- w w w w -^- V
10
15 J_
Kvavoirpwpa pei; vavs
a 815 enrd r dyXaov? ayovcra
ov rd/jive TreXayo?
5 TTjXavyet yap eV <j>dpL
TTLTVOV OLVpOLL
Scart TroXe/xcuyiSos *A0dva<s.
Kvi&ev re Mti^cot
l/jLepafjiTrvKos Oeas
10
drepd* epdrvev, Qiyzv
8e
106 MELIC POETS
/Jdacre r' 'E/>t/3ota
15 0d>pcu<a UavSiovos
CKJOVOV. tSe*> 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
<f)pTarov, dXXa Acdjue
IltT^eo? dvydryp d
35 TT\aOelcra TTOVTLCO Tt
re ot Socrai^ toTrXo/cot
TW (7e
40 /ceXo/xat TroKvcrrovov
BACCHYLIDES 107
v/3piv ov yap av O\OL-
ju,' dfji/Sporov ipavvov 'AoG?
eVei
(TV
45 ra. TTpocrffe yeip&v /3iav
\O>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 ^pv<Tov
^eipo? ayXadi',
SLKCOV Opdcrei TO cral/>id 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<f)rj Ato?
c* ^ \ Ci v > 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 <j>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,<f)l yviois 9e5)v
125 Opovoi re Kovpai crvv ev-
e
K\aytv 8e TTO^TO? yjOeoi 8' i
veoi iraidvi^av epara OTU.
130 AaXte, ^opolcn
Iav9ei<$
OeoTTO/JLTTOv e
II (Kenyan 18)
> 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; *\<i)
ri viov e/cXa/ye ^
craXTTiyf TroXejUT/iai' doiSdV ;
5 TI rt9 a/xerepas
err paray eras dvrfp;
rj XTjcrral
10 creuo^r' dyeXa? ^Sta ;
77 ri rot Kpa&iav d^v
- SOACCCO d et
/cat rti^ e/x,/x^ai
15 c3 Ila^Sto^og vie /cat Kpeoucra?.
Air.
ac^ara 8' epya Xeyei Kparaiov
T
20 StVtz/ ? 09 icr^vi (^ep
, Kpo^tSa Avratov
TCACO?.
r' aVSpoKToVoz' e^ vdirais
Kpe/xjLtuai^o?, drdcr0a\6v re
25 ^Kipca
rdv re
112 MELIC POETS
re /caprepdV
a<f>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 <<re /xd^ovs O
Xeyetj Trepl t^aiSt/ioicn, 8' a!
f eo-rov? 8e 8u' eV ytptcrcT
50 KVJVTVKOV KVVZCLV ActfCat-
Kparos Trept 7rvpcro^atrov ?
BACCHYLIDES 113
T' OLfJi^l KOL OV\LOV
cro"a\av ^XajUvS'- ofjip^drajv Se
55 crriX/3eij> 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 cro<f)Lav re Tray/c/oar^s e'Xey^ei
NOTES
CALLINUS
The poem is an exhortation to the Ephesians to rouse themselves from
their indolence and fight for life and safety.
Page 2, 1. 1. Me'xpis rtv KaraKcicrOe : how long do you continue to lie pros-
trate? The Kara adds emphasis to the reproach and exhortation. Ka07j-
ffdaL appears often with a similar significance. Cf . Dem. Phil. A 9 iravraxri
(jL^XXovras i]/j,ds /ecu Kaffrj/uL^vovs Tre/OKTrotxt^ercu. Tv : = TIVOS. KOT': = 7r6re.
K is used in the Ionic of the elegiacs and iambics in pronouns and inter-
rogative and indefinite adverbs where the original palatal has in Attic
been displaced by the labial ?r. Oupdv : cf. etV6/cei/ aVris Ovpbv tvi <rT7j0e<7<ri
Xdfirjre, Od. x. 261.
2. djA^nrcpiKTCovas : the neighboring people of Asia Minor who must
be always made to respect Greek energy and valor, who had learned to
look to the Greeks for leadership and to a certain extent for defense.
The word is apparently the same in derivation and meaning which appears
in the shorter forms d/x0i/cr loves and irepiKrioves, and which is even more
prominent in the form dfjupucrtioves (amphiktyons).
3. |i0UvTs : cf. Tyrtaeus iii (12). 44.
4. drdp : and yet ; introduces with emphasis the contrasted idea.
5. Even when dying let a man make a last hurl of the javelin. TIS as if
&CCKTTOS, cf. II. ii. 382.
6. dv8p: G. 1174; HA. 767.
8. Suo-|iV<riv : G. 1175 and 1177; HA. 772. Svo-pevto-iv is a strong
word of personal feeling. In early times dva-fjLcv/is and fyOpfa indicate the
enemy; later TTO\^/XIOS marks the movement toward that condition of
mind where a man can be an enemy without being personally hated.
oTTiroTe : the form is epic. The Ionic 6/c6re does not double the K.
9. Motpcu: fj.o?pa means first one's share or allotment in life, and then,
as personified, is referred to the being who makes the allotment. Homer
refers to but one, except in the single passage II. xxiv. 49 where the
plural is used. As early as Hesiod, however, their number is given as
three, and this conception of them gradually prevailed.
115
116 NOTES
10. W do-irtSos KT\. : with valiant heart made tense beneath the shield
when first the battle is joining. e'Xo-as from efXw (cf. L. and S. Ill), mean-
ing first to roll or pack together, is used of the warrior as crouching
beneath his shield and also of a lion gathering for a spring ; cf . II. xiii.
408 and xx. 168.
13. avSp': subject of <J>vyeTv. 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<riv doXX^iv, at juoi 'eirovro, 0eiryoj>, 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 <j>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.<rdos ^^ffaro \vypbv 6\e6pov.
Cf. also Simonides of Ceos 65 6 d' aft OOLPCLTOS Ki%e /cat rbv (
17. TJV TI irdOi] : a euphemistic expression for death, cf. Od. iv. 820
TOV d' d/j,(j>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. at<rxvvi: cf. II. vi. 209 where Glaucus tells how his father sent
him to Troy with the charge wde yevos irarepuv ai^xwe^ev. Kara : belongs
with A<?7x, strengthening it, brings dishonor upon. Cf. Pindar, who in
O. viii. 25 says of the young aristocrat, the object of his praise, 6/07^ r
ov Kara /reoJos eKeyx^v also I. iii (iv). 22 dper&v <rv/j.<t>vrov 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. <f)6(3os is the fear which shows itself in act, and in
Homer in flight.
17. Get to yourselves a stout and valiant courage.
18. jxT)8 4>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 5<w.
9. <j>iry6vTo>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 /uourretfov<rt ffiv e/c iravrbs rpb-
TTOV v roTs TToXe/xi/cots, ourot ^v KCLK&S re Kal atV%pa)s cJs tirl rb TroXi) airoOvfi-
(TKOVO-IV, KT\. See 1. 31.
14. Tp<ro-dvTwv : the verb rptu means primarily to tremble with fear,
then to take flight. Among the Spartans 6 rpfoas was the distinctive title
of reproach for the runaway. See Herodotus vii. 231 6vei56s re ef%f o
rpeVas'Apur^Tj/xos Ka\e6fj.evos. That is, Aristodemus, having returned to
Sparta from Thermopylae the sole survivor of the three hundred, was
scoffed at as " the coward." Cf. Soph. Oed. Col. 1419.
TYRTAEUS 119
Page 6, 1. 15. No one trying to rehearse these could ever complete the list
of all the evils which come to a man if he suffers disgrace.
17. oirio-Oe: used as adverb; as preposition it governs the genitive.
Satgciv : connect with piyaXtov, a horrible thing this is, this piercing a man
in the back. The soldierly mind shrinks from even dealing such a blow ;
how much more from receiving it. Bergk calls attention to the fact that
the Spartans were accustomed to spare their enemies when in flight. See
Plutarch's Life of Lycurgus, ch. xxii : Tpe\f/diJ.evoi dt Kal viKrio-avres ediuKov
offov eKpepcuuo-ao-Bai rb viKrj/jia rrj <f>vyrj 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/jLirpoT<ri <f>d\OL(nv vev6v-
TUV ws irvKvol (f)^<TTa(Tav d\\rj\oi(riv. The description is repeated xiv. 215
of the Myrmidons, as if the author felt very strongly the soldierly ideal ;
but it was very slow in gaining much effectiveness. There is a difference
here in the conceptions. Homer pictured the Greeks standing waiting for
the onset. Tyrtaeus seems to have the actual conflict in mind as the
120 NOTES
soldiers press each other in fighting, but it is the valor in the ranks that is
expected to win. In the classical period it was the Spartan who espe-
cially emphasized the value of the hoplite, the soldier fighting in the
line. Their estimate is illustrated in the speech of Brasidas to his troops
as given by Thucydides iv. 126, where he says of the barbarians ovre yap
rd^iv cxovres ala-xwOe'tev av \nreiv TLVCL x^P av jSio^wriw /cr\. He adds also
the argument of 1. 13 above, o VTrofMelvavres ^TTL<pp6fj,evov /cat, ftrav Kaipbs 77,
/c6<r/xy Kal rd&L a$6is vTrayaybvTes e<rre rb d<70aXs O&ffffov d(f)ieade KT\. If
you abide the onset, when opportunity comes, you can withdraw in orderly
array and more quickly secure safety.
32. 4v 8e : adverbial, moreover. This adverbial use of prepositions is
common in Homer, but grows more rare as we approach the Attic stand-
ard. They are very commonly joined with 5
33. irir\T]fj^vos : cf. II. viii. 62:
drcip do-Trid
, 7roXi)s 5' 6pv/
35. yunvf]Ts : light-armed troops. At Sparta they were made up from
the Helots, who furnished servants, attendants, and light-armed soldiers.
Their protection seems to have been made merely from skins, or leather,
or even cloth ; they fought with darts, stones, bows and arrows, or slings.
The hoplites, on the contrary, were drawn up in the form of a phalanx,
with swords and long spears.
36. irrwcr<r6vTs : compare how Teucer shoots his arrows and then
slips back under the protection of the shield of his big brother Ajax like
a child under the protection of its mother. II. viii. 271.
37. avrovs: the enemy.
38. iravoirX.ouri : ir\ri<yiov is more commonly joined with the genitive.
The dative seems to be used as emphasizing the idea of approach.
Ill
Theme : Only bravery deserves honor.
1. \ivv\a-aL\Lr\v : the conditional clause appears in verse 11. v X6-y<p
Ti06<r0ai : = tircLLveiv.
2. d P Tf\s: G. 1126; HA. 744.
3. KvKXwirwv: ancient mythology gives various accounts of the
Cyclops ; but whether treated as the Titans, sons of Ovpav6s and Tata, or
as the giant shepherds of the Odyssey, sprung from Poseidon, they are
always recognized as monsters of great power.
TYKTAEUS 121
Page 7, 1. 4. 0&ov : to be swift of foot was a heroic accomplishment
among the Greeks. Bp-qiKiov BopT]v: Boreas was said to dwell in a
cave on Mount Haemus, in Thrace.
5. TiOcovoio: Tithonus was the beautiful lover of 'H<s, at whose
prayer he was endowed by Zeus with immortality. <j>vt|v: properly
growth. In Homer always of the human form.
6. MtS<o : the fabled king of Phrygia, whose wealth was proverbial
through all antiquity. Kivvpew : Cinyras was, according to tradition,
king of Paphos, in Cyprus, credited with being the possessor of vast
wealth by the favor of the gods, believed to be the originator of the copper-
mining and other forms of industrial development in that island and
the founder of the far-famed worship of Aphrodite which gave to Paphos
its chief celebrity, while he was also a favorite of Apollo. He was, in
fact, the personification of all which made Cyprus celebrated. Pindar
says of him, Pyth. ii. 26 :
i Kivtipav TroXXci/cts
</>a/xcu KuTTptaj/, rbv 6 xpuffoxaTra 7rpo<j>p6v<t)S
iepta Krl\ov '
There resound for Cinyras in manifold ways the praises of the Cyprians,
him to whom Apollo showed kindly favor, the cherished priest of Aphrodite.
fxdXiov: = (j.a\\ov.
7. Pelops could be regarded as excelling in all the chief attributes of
royalty, an origin on both sides traced immediately from the gods;
vast wealth, which he was supposed to have brought with him from the
East ; extensive dominion, which resulted in his giving a name to the
Peloponnesus.
8. 'ASpVjo-Tov (the 17 is Ionic) : the adventures of the heroes who
fought against Thebes were only less famous in Greek poetry than the
struggles before the walls of Troy. Among the Seven who first under-
took this far-famed expedition, and again among their sons, the 'Eirtyovot,
who retrieved the disaster of their fathers, Adrastus was the leading
spirit, at once the Agamemnon and the Nestor of the invaders. It was
through his persuasion that the sons of the unfortunate heroes who per-
ished in the first war undertook the second expedition.
9. BovpiSos: the masculine form of the adjective Bovpos is especially an
epithet of Ares (cf. 1. 34) ; the feminine form, as here, is especially fre-
quent with dX*^, intensifying the idea of energetic physical force.
10. Introduced as anticipating 1. 20, q. v.
1 1 . TT\aT] . . . opwv : rXdw is followed generally by an infinitive.
This use of the participle is poetic. As is usual in such cases, where a
122 NOTES
double construction is admissible, there is a difference in the meaning.
The infinitive presents a conception, the participle a fact. With the
latter the two verbal ideas remain more distinct. Cf. Soph. El. 943
T\rjval (re dpuxrav aj> 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 &pL<Tr
21. rp\|/6: gnomic aorist. G. 1292; HA. 840.
22. <rx0 : checks, an aorist form (v. L. and S., sub (
25-26. The good soldier has his armor where it belongs, and is smit-
ten through his mail and through his breast. iroXXd . . . IXrjXane'vos :
struck with many blows.
26. irp6o-0v : in front. Token of bravery, as the wound in the back
was always the sign of the coward.
28. KKT]$ : perfect with present signification; is distressed.
29-30. As attention to the rites of burial was one of the most sacred
duties among the Greeks, so honors to the heroic dead were paid with
double carefulness. The mounds and sepulchers, the funeral orations,
and the representations of art, were all employed to call attention to the
glory of a patriotic death. The honor of the brave man descended to his
heirs ; so the rtf/xjSos and 7ra?5es represent the two elements of the Greek
conception of enduring fame and influence. Cf . II. xvi. 674 :
fvOa e Tapxfoov<n Ka<riyvr)Toi re ercu re
re 0-7-77X77 re TO yap ytpas tvrl davovruv.
MIMNEEMUS 123
32. irp: in Attic appended only to relatives and particles. Used
largely in Homer, as here, for Kaiirep. In Homer may also be used with
/ecu separated from it by other words. In Od. vii. 224 /ccuVep without
separation.
Page 8, 1. 35. rav^Xc-ycos: long-lamented (v. Autenrieth's Homeric Diet.
s.v.); cf. Horn. II. viii. 70 5to Krjpe ravrj\ey^os davdroio. So Od. ii. 100.
It is always an epithet of ddvaros.
36. alxH'fjs v\os : glory in battle.
38. iraOwv: having enjoyed. ird<rxu, to get this meaning, must be
joined as here with another word suggesting it.
40. pXdirrciv: to defraud. Cf. Od. i. 195 dXXd vv r6v ye 6eol fiXdirrovvi
K\ev6ov.
41. ol Kar* avrov : his equals, /card suggesting similarity.
42. ci'Kovcr' IK x^PIs : d 6 place. To give place to the aged was one
of the most prominent moral laws at Sparta, as it was in fact a recog-
nized Greek principle that the younger should yield precedence to the
older. Cf. Xen. Mem. B iii. 16 ov yap /cat 65ou Trapaxwpyo-ai rbv veure-
pov irpeffpvrtpy avvTvyxdvovTL iravrax^ po/u'ercu, /ecu Kad^/JLevov VTravaffTTjvat ;
There was therefore especial honor in receiving respect from one's elders.
IV
2. TToXiardv : genitive plural Doric form. The warrior class that is,
men of pure Dorian descent made up the citizens at Sparta.
4. The mind readily supplies 8cia, it is so plainly suggested in 56pv
5. 4>i86|jLvoi : cf. Soph. El. 98 i/^x??s d0ei5?7<ra*'Te.
6. irarpiov : so the Corinthian orator exhorting the Spartans and Pelo-
ponnesians to war against Athens, according to Thucydides, urges, wdrpiov
yap V/JLIV K rdv irovuv rds dperds Kracrdai, Thuc. i. 123.
MIMNERMUS
I
Page 9. Ndvvo) : though the name does not appear in the poems of
Mimnermus, a collection of his verses was, according to tradition, known
under her name. The fragment characterizes a life without love as
utterly gloomy, and ending in a burdensome old age.
1. XP VO "*1S : tne epithet is Homeric. Cf. II. iii. 64; Od. viii. 337. It is
probably used as suggesting the general idea of splendor associated with
the goddess, as Ares is x^A/ceos.
124 NOTES
2. T9variv: optative of wish. G. 1507; HA. 870. |X\oi: the mood is
assimilated to the previous optative. G. 1439 ; HA. 919.
4. Youth-time is the only joy.
Page 10, 1. 6. aUrxpov ical KCIKOV : ugly and worthless. No trial was
greater to a Greek than the loss of beauty.
7. djw|)C: connect with reipovo-i.
10. 06s: used frequently in Greek without the article to express the
general conception of the divine rule.
II. THE THREATENING SHORTNESS or LIFE
1 . 4>vXXa : 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 <f x tPv &vdos.
4. lS6rs KT\. : by the will of the gods knowing neither evil nor good.
irpbs joined with the genitive has an extensive use with personal nouns to
denote authorship, or to signify those from whom or at whose hands we
receive anything.
5. Kfjpcs : the Fates presiding over man's destiny, differing from Mo?pa
as being always associated with evil ; so generally referring to death,
and especially associated with violent death. Thus Achilles speaks of his
two Kijpes II. ix. 411. For the general significance of the term see Jane
Harrison, Prolegomena to the Study of Greek Religion, ch. v.
7. fuvwOa : adverb used for predicate adjective.
8. Brief proves the enjoyment of youth everywhere over the earth as far
as the sun sheds its light.
9. irapajj,h|fT(u : for jrapa/j.ei^'rjrai. rc'Xos wprjs : the period of youth-
time. wprjs : a season, and so a season or period in life ; thus it came to
be used for youth as the spring or prime of life.
10. redvdfjLevai is used as expressing completed action, to denote the
state of death ; to be dead.
12. ircvC-qs : not properly extreme poverty, which is evdeia or Trrwxeta,
but, like Latin paupertas, narrow means.
13. oXXos 8* : refers back to 1. 11, #XXore, with which p&v is omitted.
14. 'AtS-i^v : the word was originally a personal name used for the god
of the lower world. So throughout by Homer, except as in II. xxiii. 244
. MIMNERMUS 125
we have els 6' KCV avrbs ey&v "Ai'Si KevOufjLai. About this passage editors
do not agree whether it is a later addition, or the reading is incorrect, or
whether here is really the beginning of its use to denote a place. This
was its later significance, while in Homer the place was denoted by the
genitive of the proper name with the required case of of/cos understood.
Cf. Od. vii. 132 ev 'A\KLVOOLO.
16. JJLT] 81801: GMT. 536.
III. THE SHORTNESS OF THE SEASON OF YOUTH
1. pi cunrcTOs : cf. II. xviii. 402 :
irepl 5 p6os 'fi/ceavoto
jv pev ftonreros.
2. irroi|uu: I am dismayed. The word expresses both excitement
and fear.
3. eircC KT\. : but would that it continued longer.
4. oXt-yoxpoviov : G. 925; HA. 617. The proximity of 6vap helps to
attract it into the neuter. 6'vap: cf. Theocr. xxvii. 8 Traptpxerat cJs 6vap
$fy<
Page 11, 1. 7. ri0t: renders-, for form, G. 630; HA. 419 D.
8. cijjKJHxvOcv : agrees with yrjpas.
IV. SYMPATHY OF THE POET FOR THE TOILING SUN, BECAUSE OF HIS
UNCEASING LABORS
In this, in connection with the other fragments, the reader will notice x
at once the characteristics and tendency of Mimnermus: pensiveness; \
sadness; a sort of moral indolence, shrinking from present evils and
future fears, these are his prominent traits.
4. 'Oiccavov : cf . Hes. Op. 566 TrpoXnr&v iepbv p6ov 'fi/ceawKO.
5. evvt\ : cf. Hes. Th. 404 $0/1897 5' a5 Kotou iroKv^parov ?)\8ev es evv^v. This
passage from Mimnermus is one of a number of fragments of early poetry
illustrating what a stimulus to gorgeous imagery in the mind of early
man was the daily movement of the sun. We have suggested here the
theory of the early Greeks that after his journey through the skies he
was conveyed back behind the horizon to recommence in the morning
the work of the new day. This journey was performed in a vessel which
is generally represented as a cup (dtiras or 0^X77). Athenaeus (Deip. xi. 38)
has gathered quite a number of these poetic accounts, and, as Heracles
is represented as having borrowed the cup of "HXtos, suggests that the
126 NOTES
poets may be making fun of the size of the goblets which the hero was
accustomed to use. Stesichorus (8) refers to the sun as getting into his
golden cup that crossing the ocean he might come to the dark depths of
sacred night, to his mother and wedded wife and dear children ; that is,
he transports him in the cup to the west. Mimnermus had in mind the
chariot, er^/owi/ OX^WP, for the journey by day, but has tried to make the
cup more appropriate and comfortable for the night by enlarging it into
a winged couch.
6. KOU\T| : = Acot\77, as 6/jioios has a kindred form, 6/xouos.
7. XP VO "S : genitive of material. G. 1085. 4; HA. 729. f. viroirrepos :
with wings. aicpov v'Scop : the surface of the water.
8. 'E<nrpi8a>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 af<ra or /jLocpa of the ancient Greeks, as repre-
sented in the Homeric poems, was a destiny which controlled every
man's life, and from which there was no escape. Sometimes it seemed
to hold a sovereign power even over the gods. As, however, the supremacy
of Zeus became more completely recognized, alcra was not allowed to come
into conflict with his will, and was at length generally presented as
dependent upon him. In Od. ix. 32 and II. xvii. 321 we have At6s aTo-a, and
here it is simply the fixed determination of the god.
3. roCt] : intensifies the meaning of the adjective. Cf. Horn. II. v. 828 ;
Od. ii. 286. errCo-Koiros : guardian.
5 . |X-yd\T]v : the city was great, had marked elements of success and
power, even in Solon's time. d<(>pa8CTjo-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<ri iraOofuvoi : prevailed upon by gain. The expansion of com-
merce and the extension of industry, aided by the fact that coined money
was a new institution at this time, were bringing changes and even con-
vulsions to nearly all of the Greek states. The accumulation of wealth
in new hands was accompanied by a universal thirst for riches, and
brought special hardship to the small landed proprietors. Athens was
thus suffering from an industrial revolution.
7. ol<riv KT\. : for whom it surely remains to suffer many woes for their
great wantonness.
10. SCUTOS: connect with Tjo-vxiv- The banquet was the symbol of
peaceful social life. In later times Athens was famous for its festivals,
and the feasts were always potent social and political influences in
Greek life. See Diet. Ant., arts. Hestiasis and Erani.
Page 14, 1. 13. 4<|>' 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-|Av<i>v : 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 Kpivw<ri ^/xtcrras II. xvi. 387. Hesiod has repeated refer-
ences to the evil of <r/coXicu SiVcu Op. 219 and 250; on the contrary, ovdt
iror l6v8iKr)(ri ^uer dvdpd<ri \ifj,6s OTTTjSei 230.
IV. DEFENSE OF THE AUTHOR'S LAWS
Page 15, 1.1. ATIJAW: the commons, the mass of the people, in con-
tradistinction from the dyrjToi, referred to afterward. 4irapKi: is suffi-
cient, = OLTrapKei.
129
2. OVT Trop|dfjLvos : nor adding anythin
3. XP^OWIV: G. 1182; HA. 780.
4. deuces 'xiv : that they should suffer nothing unseemly.
5. djjKfxmpouriv : Solon seems to have felt that his vindication as a
reformer was found in the fact that he relieved both the opposing par-
ties and satisfied neither. His work was that of a mediator.
V. WRITTEN TO THE ATHENIANS AFTER PISISTRATUS HAD USURPED
THE GOVERNMENT
1 . KaKOTTjTa : baseness.
2. Do not ascribe any part in these to the gods.
3. TOVTOVS: i.e. tyrants. pvpara: the body-guard given to Pisistratus
by the citizens ; or perhaps generally, protection and support.
5. VJJLCWV KT\. : each one of you by himself walks as cautiously as a /ox,
and yet in your common action your understanding is of little worth.
dXwircKos : the fox was, if possible, more thoroughly the symbol of cun-
ning among the ancients than in our times. He gets into literature. In
Archilochus he, or rather she (the noun is always feminine in Greek), is
/cep5aX&7 89. 5. And Plato quotes from Archilochus a proverb of the fox's
cunning Rep. 365 c. Pindar in his peculiar preaching in the second
Pythian Ode puts the fox in bad company, and alludes to slanderers as
dpyats aXu-rreKuv f/ceXot (I. 141). The fox was indeed a sort of Odysseus
among the beasts, occasionally maligned but withal a good deal admired.
7. 6 pare ; contrasted with pxtirciv : you are looking at . . . you never see.
VI. ADMONITIONS ADDRESSED TO HIMSELF
1. MvqpLo<rvvT)s : according to Greek imagination the goddess of mem-
ory was the mother of the Muses.
2. fxoi : the use of the dative gives to the verb the idea of compliance ;
hear and yield to.
5. ctvai -yXvicvv KT\. : depends upon 56re. This sentiment reappears
frequently in Greek authors as representing the received standard of
righteousness. Cf. Matt. v. 43: '"Ye have heard that it hath been said,
Thou shalt love thy neighbor and hate thine enemy." The Greeks rather
assume its correctness as recognized and express their desire to live up
to it. Archilochus with his usual frankness seems to indicate which part
of the law he considers more important : f r. 65,
*E? 5' eTTiVra/xcu ju^ya,
rbv KCLKUIS /ae 5pu>VTa deivoTs dvTafj.d(3e<r6ai /ca/co?$.
130 NOTES
6. To these an object of reverence, to those of terror.
Page 16, 1. 8. 8(10] : righteous penalty.
9. irXovrov: inverted assimilation or attraction. G. 1035; HA. 1003.
10. IK veciTou KT\. i from lowest depth to highest summit.
11. v><|>' 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<f, as often, intro-
duces an explanatory clause. Sico-KeSao-ev : belongs in translating to
both clauses.
22. cOrjKcv: like Scea-^daa-ev, gnomic aorist.
25. roiavTT] : refers back to w<rre. ov8' !<)>' 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<nv. Ka|xirvX' aporpa: the
combination appears in the Homeric Hymn to Demeter (1. 309) TroXXd, 5
Ka/j.irv\ dporpct fj.dTr)v /36es \KOV dpovpais.
49. Athena and Hephaestus were from Homer's time associated as
guardians of the arts, the latter of course especially of those connected
with the use of fire, and Athena gives 6/0701 T <?7r/<rTa<r0cu TrepucaXXta /cai
Od. ii. 117. Cf. Od. vi. 232 and xxiii. 159:
w's 5' tire TIS xpv<r6/ Tre/otxetfercu dpyvpy dv/jp
ov"H<j)aicrTos dtSaev /ecu IlaXXas 'AB^vitj.
51. 'OXvp.ma.Swv Movo-ewv : cf. Hes. Th. 52 Mouo-ai 'OXu/X7r/a5es, Kovpai
Ai6s alyi6xoto. Swpa : G. 1239 ; HA. 724. a. So Plato speaks of 5u>/>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?<n, as if from ndtw. Supply subject tfXXos
/A^, correlative with #XXos 5 o-T<|>dvovs : the garlands and ointments
were an essential element in the ancient feast.
4. v'4>po<rvvqs : good cheer.
5. aAXos: aside from that which is in the Kpar^p. os OVITOTC KT\.:
which promises not to fail.
6. avOcos: G. 1107 ; HA. 742. It thus represents the part which causes
the odor. The &vdos is the bead or crust of the wine. oo-Sojuvos : for
&jfytcvos. Cf. dvdeos 8<rdovTa Alcman 117.
Page 20, 1. 7. d-yv/jv: sacred; so called because the Xi/3aj/wr6s was so
generally employed for incense-burning in religious service.
134 NOTES
8. t>8o>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,<TOV (rr^ux^crojuai Theognis 839.
12. d|x<|>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 <r0\6i ACT A. : who talks of excellent things over the wine. Moral
and political topics, rather than ancient fables, should be the subject of
conversation.
21. Tirrfjvwv , . . lYydvTtov . . . Kvravpo)v: these are the wonder-
stories which especially charmed the Greeks, and which they used with
peculiar delight as symbols of the struggle of man with nature, of Greek
culture with barbarism, of law and order with rebellion and confusion.
The philosopher appears here in our author branding these myths as a
meaningless creation of antiquity. Even as symbols they are too rude
and degrading. He wishes the pure language of reason.
23. rots: demonstrative, neuter. It is not until we reach the Attic
that the use of the article becomes fully established.
24. 0v irpojxT]0iT]v : respect for the gods.
II
The poem is a warning against the danger of overestimating physical
qualities at the expense of more noble traits.
1. TaxvTfjTi iroSwv : the Greek stadium was originally arranged simply
for the foot-race, and this always continued to be the prominent feature
of the games.
2. ircvTaOXevwv : the pentathlon gained its name as consisting of five
distinct games in one. There is not perfect agreement among authorities
XENOPHAKES 135
as to the combination, but the following has been accepted by prominent
scholars : 1, #A/xa, leaping ; 2, 5/>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(<rao : Pisa was the name of a fountain near Olympia. This seems
to refer to a stream flowing from it. If so, the nominative would prop-
erly be masculine ILVrjs. 'OXv^-rrCTj: there was no town there; it was a
sacred grove, within and around which were the temples, and near by
was the stadium where the great games were celebrated.
4. 'x<>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 . . . <TT' . . . Scopov : the victor in any
of the great games was rewarded with an accumulation of honors : he
was publicly crowned ; his statue was in many cases erected in an hon-
orable position among those of the great men of the state ; he entered his
native ,city in triumph ; they even broke down their walls to give him
entrance, in token that his prowess was better than fortifications ; he was
awarded a front seat (irpoedpia) in all the public games and spectacles,
and received a seat at the public table in the Prytaneum, being still fur-
ther rewarded by Solon's laws with a gift of five hundred -drachmae,
which, it will be remembered, is the same sum which was required as in-
come that one might be enrolled in the wealthiest class in the state. It
is a significant fact that Greek invention was hardly more severely taxed
for any other purpose than to invent adequate honors for the winner in
the Greek games.
Page 21, 1. 10. iirirownv : the allusion to this method of gaining the
victory is placed last, both because it was esteemed honorable, a con-
test in which only princes and nobles could engage, and still more
because it emphasizes the contrast which he wishes to present to the
mind. Winning with horses one might receive these honors, but is not as
worthy as I. Cf . Plato Apol. of Soc. ch. xxvi.
13. dXV licfj KT\.: but it is very inconsiderately that the judgment is
formed, i.e. giving such honor to the physical.
15. TTVKTTJS ircvTdOXeiv . . . TraXcucr[j.ocrvvT|v . . . TaxvrfjTi : the con-
struction changes with poetic freedom and license ; all depend upon
17. TO : neuter, referring to the thought in the preceding clause.
136 NOTES
18. pwjx-qs : connect with dy&vi.
22. fxvxovs : the secret hidden apartments, so treasure-chambers.
THEOGNIS
Page 23, 1. 1. ava: vocative for &va%. This form is exceptional, used
only as here in phrase w ava (contracted wva) and ZeO &va, and only as an
address to the gods.
2. &px6fivos: the final syllable receives the ictus of the verse as if
long.
5. <$>oi|3 : Apollo, as preeminently the central divinity of Dorian wor-
ship, and apparently standing in a peculiar relation to Megara, is first
and especially invoked.
6. <f>oiviKos: G. 1099; HA. 738. It was under a palm-tree, beside the
circular lake (\i/jLvrj) of Delos, that Apollo and Diana were born; the
sacred palm-tree was therefore carefully protected and cherished at
Delos, cf . Horn. Od. vi. 163. The palm-tree had male and female forms,
hence paSivfjs, feminine. Cf. Horn. Hymn els 'A7r6XXw^a 117 :
d(j.<t>l 5 (potviKL /3dXe T
7. Cf. Call, et's A^Xov:
XpV(T& 5 rpox^a-ffa TravrjfJLepos eppee \ifJLvy.
8. diripc<riTi : literally, boundless. Cf . Aristoph. fr. 248 Sct/cri/Xto? x a ^~
KOVV Qtpwv dirdpova, wearing, that is, a ring which was an unbroken circle.
The scholiast explains that if it were broken by a <r<f>v56vrj, a setting for
a stone or seal, it would not be dirdpuv. So direLpeo-iy seems to refer to
'the circular form of the island.
9. oStnjs: G. 1112; HA. 743. eye'Xacnre 8c -yata : the same expression
appears in Homer in connection with the description of the marshaling
of the Greeks (II. xix. 362):
ytXaffffe d Trd<ra irepl %6&v
%aXKoO virb (TTepoTTTJs.
The figure is also not unfamiliar to the Homeric Hymns. Cf . Dem. 14 ;
Apoll. 118.
11. OrjpocfwvT] : compound adjectives are generally declined with two
terminations ; here by exception we have a regular feminine form. -qv
. . . eura0* : refers to the setting up of the statue of the goddess, and the
establishment of her worship in Megara. This was done by Agamemnon
on his way to Troy. According to one form of the story he took Calchas,
the seer, from Megara.
THEOGNIS 137
13. pal: cf. Solon 6. 2, note.
15. XdpiTcs: goddesses originally givers of fraitfulness, and invoked
as presiding over festive joy and lending beauty to all social and moral
life. So Theocritus refers to them as the givers of all that is lovely in
life: rL yap Xapi'rwj/ dya-rr^rbv dvdpdirois dirdvevdev ; dd XapireffffLV a// dt]v.
They were regarded as intimately associated with the Muses. KdSjxou :
after the series of trials which befell Cadmus, Harmonia was given to
him by Zeus as his wife, and the Olympian deities honored the marriage
with their presence.
16. dcbrar : for -go-are.
17. OTTI KaXov, (JnXov lo-rC: this was apparently a proverbial maxim
of considerable popularity. We find it again in Euripides : 6'n Ka\dv <pL\ov
del. Bacchae 881. So Plato Lysis 13 Kara rrjv dpxa-iav Trapowtav rb KaXbv
ipi\ov eivai.
Page 24, 1. 19. <ro<|H|;o|iva> : speaking wisely. o-^p-rj-yCs : the danger
of suffering from plagiarism was even greater among the ancients than
now. The seal is apparently the form of address, the name Ki/pj/e appear-
ing in the verses ; this was to be the standing proof of the authorship.
The present collection of verses attributed to Theognis is sufficient illus-
tration of the fact that the public was not greatly interested in preserv-
ing a man's claim to his ideas.
21. Toio-eXoO: G. 1133; HA. 746.
22. 0<ryvi.8os : Ionic for 8667^505. This is the regular Ionic contrac-
tion of eo.
25. noXviraiSTj : son ofPolypdiS] patronymic referring to Cyrnus.
27. cv <|>pov(0v : with good purpose. The adverb refers both to the
prudence of the thought and to its good intent, and the phrase empha-
sizes the one idea or the other according to the connection.
29. irirvvo : for ireirvvvo, imperative from TT&TJ/V/ACU. aurxpouriv eir
ep-yp-cto-t : by disgraceful deeds. The preposition introduces the condition.
30. \Ko: gather for yourself .
32. TWV d-yaOwv : the good in the eyes of Theognis are, generally speak-
ing, only the noble ; his political prejudice against the multitude is very
strong. It is still further to be noticed that in this early age these adjec-
tives had only partially obtained their later moral meaning, exeo, cling
to, governs the genitive ; see G. 1099 ; HA. 738.
34. Svvajus : efficiency, i.e. that kind of power which he felt belonged
to the higher class.
35. <r0\wv : depends on &TTO following.
39. The personal feeling of Theognis comes out plainly in his remarks
upon the state. In the strife of factions he had been unfortunate.
138 NOTES
41. o-a6(j)povs : an epic form for
42. TTpd<|>aTai : from rp^Trw.
Page 25, 1.45. Sheas dSCicouri SiSwanv: they surrender the law into the
hands of the unjust.
49. evrr'av: whenever.
50. Kp8ea KT\. : gains which can be acquired only in connection with
public misfortune.
52. jAovvapxoi : the word appears also in Solon 9. 3 :
els 5 /uLovdpxov
dy/JLOS di'dpiy dovXofftivrjv eireffev
These are the first appearances of the term in our extant Greek litera-
ture. Both passages suggest how the tyrant was recognized as the inev-
itable outcome of political dissensions.
53. The thought is that the city remains a state in form, but demoral-
ized, if not ruined, by the elements which have been put in control. Only
a short time before, the condition of the Megarian peasantry had been
very low. They were little better than slaves, of no consideration in the
administration of public affairs. They had at length, however, in con-
nection with the convulsions of which Theognis complains, made them-
selves of account in the state. This was quite unendurable to the
aristocratic notions of our poet.
55. Sopds at-ywv : so when Odysseus is disguised under the appearance
of a rustic he has over his ragged garments the skin of a stag (Od. xiii.
436). Hesiod Op. 543 recommends as clothing for the peasant
v 5' epi<f>wv, 6ir6Tav Kptios wpiov
ra <rvppairTt.v vetipy /3o6s, 6(f>p tirl v
verov
So the 5i004oa, a garment of leather, was a common article of dress for
the country people.
56. \a<(>oi : suggesting not only uncouthness but cowardice. .
57. d-yaOoi: i.e. because they govern the state.
58. 4<ropv: GMT. 903. 2.
62. IK 0v|AOv : contrasted with dt7r6 y\6<r<rris.
66. ir : = eVeo-ri.
68. |n]KTt o-o>6nvoi : past hope of recovery.
69. XP V "S T KC ^ KT ^- : t b e valued as highly as gold and silver.
Page 26, 1. 72. -yivo^vovs : proving themselves ; a frequent meaning of
with an adjective.
THEOG-NIS 139
76. ovs . . . a-yot : not so many that one ship would not carry them all.
ayot : the optative is analagous to the use of optative without &v after
fort* 6s etc., GMT. 241. Cf. Soph. Oed. Col. 1172 xai ris TTOT t<rrii>, fo y
e7<l> i/'^at/xt TL ;
78. Notice that Ke'pSos is the subject.
79. 8' <i\e : read as if <E%UV : while you have.
81. 6fxvos: offering.
83. 8>x': used like an indeclinable adjective, doubtful. Similarly the
scolion of Solon 42 warns of the man who
i ffe Trpoffevv^Trr) irpoff&irij),
de oi 5i%6,ui>0os e/c fJL\aivr)s <f>pevbs yeywvy.
85. opw-qs : the natural sequence of tenses would call for the subjunc-
tive, but the optative is somewhat more indefinite.
87. craipos avTjp <|>\os : companion and friend.
90. op-y^v : accusative of specification with j3apiji>, unpleasant in char-
acter.
92. KCU TTOT KT\.I and some time in the future you will remember me,
i.e. have good cause to think of me. Cf. Sappho 32 fivda-ea-Oat nvd 0a/u
Kai varepov cL/jL/jLeuv.
94. TI 6<j>\os : of what use? This is the ordinary construction of the
earlier Greek, with 60eXos as an indeclinable adjective ; later it is gen-
erally used as a noun with the genitive.
Page 27, 1. 96. co-OXdv : good luck. TOV : = ai/rov. jxcraSovv : for ^e-
radovvai, neither would he be willing to share it.
97. It is an idle favor for one to do good to the base. fe'pSeiv: con-
strued as usual with accusative of person, though sometimes it has a dative.
98. to-ov : like, the same as. Cf. Soph. Oed. Tyr. 1187 ws u/xas iVa /ecu
TO fjiydtv ^cras ej>a/H0/xw. TTOVTOV KT\. : the waters of the hoary sea.
102. KK'x\mu : has gone for nothing. Cf. Plato Crito 49 A 77 7ra<rcu TJ/J,IV
KeTvai ai irptxrdev 6fjio\oyiai iv raicrde rats 6\iyais ri/jLepais e/c/cex^J'ai etVtV;
103. iravpo-Kov<ri : the active is unusual.
104. |xvf]|j.a : = jjLvf)iuriir, memory.
106. cvXapiTis : = v\d(3eias : nothing else is of more consequence than
caution. ircpi : see L. and S. s.v., A. iv. Cf. Evenus 3 :
jjyovfjicu cro0tas eivai /JL^pos OVK eXctxio-ro^
6p9&s yiyvucrKeiv olos eKaaros dv^p.
113. ov -yap av elScC-qs : for you cannot tell.
114. irplv impT]0Tis : vplv is used with the subjunctive and optative
only after negative expressions, G. 1471. 2; HA. 924,
140 NOTES
115. dxnrep KT\. : just as when you go to market. You cannot judge of
men as of salable wares.
116. IS&u: outward appearance.
118. OTOIS : who care for holy right.
Page 28, 1. 121. Cf. Soph. Ant. 619:
<ro(J>la yap e/c rov K\eivbi> iros Trtyavrai,
rb KdKbv doKeTv TTOT eo"0\6v
6ebs ayet. irpbs arav.
122. yiverai: is coming to.
125. oo-o-' 0\T|<riv : conditional relative, with av omitted.
126. x a ^ <n "ns KT ^- : hard helplessness sets bounds which hold him in.
Observe that ireLpara is the subject.
130. OVTJTWV: depends on ovdeis. \a0v: aorist to deny a single
instance, no mortal ever escaped notice.
131. BovXeo : choose rather.
132. 7ra<rd|Xvos : from Trdojucu, to acquire.
133. a-uXX^jpSriv : in brief. This maxim is also attributed to Phocyli-
des (Phoc. 17).
134. o/yaOos: we can thus trace how a larger moral significance was
finding its way into this word.
138. irpo<|>p: reproach with. Cf. Hes. Op. 717:
TTOT' ov\ofJL^vrjv Trevirjv 6v/jLO<f)66poj> dvdpi
rtrXaO' oveiftlfciv, /JiCLKdpwv dbjiv alv e&vrwv.
139. rdXavTov: the scale with which Zeus weighed out the fates of
men : for Zeus causes the balance to fall now in one way and again in
another. This is a sentiment which constantly recurs. The Greeks, from
the violence of their political changes, and their peculiar sensitiveness,
suffered intensely from these sudden changes of fortune.
141. MfyiroTi . . . d-yopao-Oai KT\. : never speak boastingly. Cf. Plato
Phaedo 95 B (ch. xliv) where Socrates says T fi 'yade, w ptya Xefye, ^
TIS rjfjL&v (3a<TKCLvla Trepirptyr) rbv \byov.
Page 29, 1. 143. TO 8' drpKs : exactly, completely. Cf. Herod, i. 86 ws
01 dt\ ffbv 0ef ipr)fjL4i>ov, rb wdtva elvai r&v fabvrwv 8\f3i.oi>. It is a very widely
extended reflection upon human life.
146. ovScfAia: of no account.
150. Kal -y-qpws : even more than hoary age. The genitive depends on
the comparison suggested in /xdXurra. Cf. John i. 15 7r/owr6; [MOV ^v,
152. piirmv : understand eavrdv,
THEOGNIS 141
156. SOfto-Odi: we can notice how strongly the mercantile idea was
getting hold of the Greeks. The fortune was not to be retrieved at home,
but in trade and commerce abroad. This new sentiment partly causes,
and is partly caused by, the influx of wealth.
158. KdC TIS KT\. : and each one wishes these should come of excellent
breeds.
159. KdKTjv KdicoO: base-born daughter of a base-born man. KaKfy, as
also ecr0\6s, is used with reference to the social rank of the parties.
160. 8i8 : refers for its subject to KaK^v.
163. IK Kdicov KT\. : the noble takes a wife from a base-born family.
Page 30, 1. 167. AVTOS: the multiplied nominatives emphasize the
enormity of his offense. Of his own free will, with full knowledge of
what he is doing, in spite of his standing, he yields to the temptation,
the pressure of need.
170. vrvi fuv: urges him on.
171 ff. We have here a revelation of the hope of the old nobles of '
these times that the suddenly-accumulated wealth of the plebeians would
vanish as rapidly as it had been gained. The doctrine seems to have been
familiar to Greek thought. So Hesiod (Op. 325) speaks of the transitori-
ness of unjust gains :
p?a 84 fJLLV fJLOLVpOVffL 0ol, fJLLvtiQoVff I 5 fOLKOV
dvepi T$, iravpov 5^ T M xp^vov 6X/3os
172. KdOdpcos: without guilt.
173. irdpd Kdipov : violating right, irapd, from its signification of pass-
ing by, gains also the meaning of going beyond, and so of violating. Cf .
Find. 0. viii. 32 'OpBq. diaKpiveut (fipevl IJLTJ irapa Kaipfo.
176. cycvro : syncopated form for 4yvero, gnomic aorist. G. 1292;
HA. 840. vTrep&rx* : keeps the control.
177. Td8': refers forward to the idea suggested in the following lines.
G. 1005; HA. 696. eir dvrov . . . irp^-y(j,dTos : in immediate connection
with the deed itself.
179. One pays the penalty himself; another dies too soon, but leaves
the curse upon his children.
181. dvdiSVjs: shameless; so, ruthless.
183. TTOIK(\OV -q0os : it is to be remembered that the elegiacs of Theog-
nis were a prominent subject of study in the Greek schools. The marked
variety of moral precepts contained in them is certainly noticeable,
especially as we are reminded how versatile were the talents which the
Greeks thus developed. In this connection it is not uninteresting to
142 NOTES
compare Juvenal's description of the Greek at Rome, Sat. iii. 75 ff. Cf.
1. 506 below.
185. IlovXvirou : the polypus or octopus was a sea animal of changeable
color. It became so well recognized as a symbol of inconstancy that we
find in the nolr^a. vovdririKdv, which is ascribed to Phocylides but comes
really from a date after the Christian era, the line firjd\ cJs 7rerpo<j>vr)s
TTO\VTTOVS, Kara x&pov dfjietpov. Pseudo-Phocylides, 1. 49.
186. ISctv: connect with TOIOS.
Page 31, 1. 189. 8oKi: has an opinion. Cf. Soph. Ant. 707 :
6Vris yap atrros r) <j>poveiv /x6j/os o/c,
TI y\u>(T(rav yv OVK <5tXXos TJ ^vxyv e^ei?,
OVTOL SiaTTTi'x flares ux^drjffoLv Kevot.
195. The poet enters here upon a prophecy of the fame which he will
give to Cyrnus by his poetry. It reminds one very forcibly of similar
verses by Horace.
199. avXurKouri : the natural accompaniment of the elegies was the
pipe.
204. a<|>0iTOv: connect with ovofia.
208. loo-T6(|>dva>v : in Homer an epithet of Aphrodite.
209. doiSt) : predicate with ^cnrr?, and may also be taken as furnishing
the subject for yu^Xe.
210. 6<|>p av: as long as.
211. Theognis was unfortunate and complaining, and evidently felt
wronged by a lack of attention and respect on the part of Cyrnus.
Page 32, 1. 213. This is a passage to which Theognis can hardly lay
valid claim. In Aristotle (Eud. Eth. at beginning) there is given as an
inscription from the Letoum in Delos the passage
KdXXi(TTOj> rb 5i/cat6raro^, XUKTTOV 5' vyiaivew
dicrrov 5* ov rts epy rb rvx^iv.
The Nicomachean Ethics (Book I, ch. viii) gives it as rb A^Xta/cdv c-rri-
7pa/x/xa, with the last line reading ySio-TOv 5 TT^VK ov TLS tpg. rb rvx.eiv.
There is also a fragment of Sophocles (Creusa 329 Nauck) which reads
v <rn rovvducov 7re0u/c^at,
Trdpcffn X^t/as <3v tpq, Kad 7)/j,pav.
We find also among a number of scolia which are given by Athenaeus,
Deip. xv. 50, one which is somewhat similar to this passage ;
THEOGNIS 143
(JLV &PL<TTOV dvdpl 0rar<,
detirepov de Ka\bi> <j>vav yev<rdai)
TO rpirov 5t ir\ovTeiv d56\ws,
Kal rb r^raprov i)(3av /xerd TU>V <frl\<j)v.
Plato in the Gorgias (ch. vii) makes Socrates allude to this scolion as
one that he had heard sung at the symposia. There are other passages,
especially in Plato, which show that it represented a favorite type of
Greek thought.
215. The rest gods give with equal hand to men.
220. KaraOfjs : the subjunctive following thus in close connection with
the optative is unusual, but it enlivens the expression by importing a
suggestion of probability, and so of reality ; nay, even ; you may amass
wealth.
222. irra>x6v: we mark the change from an ancient, perhaps tradi-
tional, state of society when strangers and beggars were from Zeus ; cf.
Od. vi. 207.
223. IK yaorrpos : from birth.
226. Kivovs : SC. tivdpas KCLKOVS.
228. ToXjAa: keeps his courage.
230. KCIKT|V . . . Kare'xciv : get the better of his baseness, /ca/a'a is the
cowardice and baseness considered appropriate to an ignoble life.
231. airoX&rom : do not be mortally offended or do not spurn.
235. &TTOVTCU cv : belong naturally to.
236. The gods punish transgressions; men must endure them.
Page 33, 1. 238. We have here an evident reference, with some bitter-
ness, to the democratic leaders, at whose hands Theognis and his friends
had suffered. There was a constant redistribution of property in connec-
tion with these political conflicts of the Greeks.
24 1 . Ticriv : ability to reward. ot pc <|uX.v<riv : simply epexegetical of
<j>i\0)v.
242. 8wT|o-6|ivov : for infinitive, and to be more powerful than my
enemies. The sentiment is veiy common in Greek thought. It is in fact
pretty deeply rooted in human nature. Cf . Soph. Ant. 643 :
cJs /cat rbv t"x.6pbv dvTajJiiJvwvTai /ca/co?s,
Kai rbv <j>i\ov TIJJLUHTIV . . .
Also Eur. Medea 809.
244. diroTurdpcvov : when I had fully repaid all.
245. KaCpiov: here an adjective of two terminations.
246. dvrl KCIKWV; in return for my misfortunes,
144 NOTES
248. SOITJV KT\. : give trouble in return for my troubles.
249. ato-a: seems to be used like KCLT alaav, fitting. T<TIS . . . dvSpwv:
vengeance upon the men.
251. KVWV : the simile is evidently used as well known in popular lan-
guage for an emphatic expression of destitution.
253. TWV : i.e. T&V o-vXrjffdvrwv. l'rj : would it were possible! 6'poiro :
see L. and S. fy>o/xcu.
255. KdKouriv: the construction of roX/xai' with the simple dative is
unusual, but appears twice in Theognis. In 321 below, however, we.
have ev.
256. roirrwv: G. 1097. 2; HA. 737.
257. 4jj: out of, and so denoting transition, instead of.
258. licSvvai: intransitive. Second aorist infinitive from ti<8va} or
cKdtivb), to come out, to escape. Literally, to emerge as from the sea.
Page 34, 1. 261. OvScvos dvOpwircov KO.KUOV: inferior to no man, i.e.
better than any other.
265. wo-Te fio\v(3Sa> xpwds : as 9 old by the side of lead. Gold was thus
tried by rubbing it upon the Lydian stone (so called because found in
Lydia), which was known as fidvavos. The color of the streak would thus
indicate the quality of the metal. Cf. Theognis 449 (B.) wWe/> &Tre<j>6ov
Xpvv&v^ epvOpbv IdeTv rpLpofjievov (3a(rav$. Cf. also Bacchylides 22 (Bergk).
266. v-rrepTepujs . . Xo-yos = vTreprepirj : preeminence.
267. Ovpai . . . dpfioSuu : the doors in Greek houses were made com-
monly in the folding form, so that the words referring to them are gen-
erally plural. Cf . the adjective &6vp(>y\uTTo<i Eur. Or. 903.
268. d[Ae\r)Ta : for which they ought not to care.
269. TO KCIKOV Ka,Ta,Kijxvov : used instead of the infinitive and imper-
sonal construction : for often it is better that evil should be left lying within,
but that which is good it is better should come forth than that which is evil.
271. eirixOovioio-iv : G. 1165; HA. 767. The sentiment is often re-
peated among the Greeks : cf . Bacchylides v. 160 (Kenyon) ffvaroTo-i /XT;
<f>vvai <j>tpi<rTov wd' de\iov irpo<ride'iv <j>tyyos. It finds its way also into the
Latin: Cic. Tusc. Dis. i. 48, "Affertur etiam de Sileno fabella quaedam,
qiri, quum a Mida captus esset, hoc ei muneris pro sua missione dedisse
scribitur : docuisse regem, non nasci homini longe optimum esse ; proxi-
mum autem, quam primum mori," etc.
274. ira)iT]crdfivov KT\.: having gained for oneself a goodly covering of
earth. It is the word used in the Odyssey of the hero heaping about him
the leaves when he is cast on the island of Scheria : euvrjv eTra/x^a-aro x 6 / 30 "^
iXriffLV.
275. Cf. Plato Rep. 518 c.
THEOGNIS 145
277. w: the antecedent is TOUTO.
278. * A<rK\Tjirux8cus : the term is used loosely for the physicians, who
loved to associate themselves with Asclepius as the mythical head of
their class. The mystery of the healing art was generally transmitted
from father to son.
281. TTOITJTOV . . . cvOcrov: the verbal in ros denotes possibility; if
understanding could be manufactured, and placed within a man.
284. The passage reaches a conclusion which was the subject of long
and careful discussion in the schools of ancient philosophy. This passage
is referred to by L. and S. (s. v. dya66s) as perhaps the earliest use of dya66s
with its moral significance. The word referred originally to the nobles,
and then to the qualities which theoretically belonged to them ; so it
gained gradually the moral sense. For an excellent note on the use of
the word see Grote's Hist, part II ch. ix (p. 45 of vol. iii, New Edition,
John Murray, 1869.)
Page 35, 1. 285. dirp-fJKToun : agrees with x/"7A*<n : impossible gains or
schemes.
287. Exercise yourself in virtue.
288. o . . . eg : conditional relative, &v omitted.
289. The following passage is in a different style of thought, and
manifestly does not belong to Theognis. The first eight lines are also
attributed to Evenus, as line 294 is quoted as his.
292. Owptjxfo'vT* : the word is used repeatedly by Theognis for drunk-
enness, and appears also in other authors. It is one of the euphemisms
such as men are fond of using for human frailty, and sounds as if it
belonged to popular speech.
295. olvoxoiTG>: subject unexpressed to give an indefinite force. Sup-
ply oivoxoos.
296. ov irdo-as VVKTO.S -yCvT<u : does not happen every night. dppd
iraOctv : to indulge in pleasure.
299. otvos \api<rT(XTOS ir < ir6<r0ai : = xapiecrTarov oivov irlveLv.
300 . oT . . . fi0va>v : excessive drinking was repulsive to Greek taste.
302. KapTp6s: master.
303. dird\a|i,va: impracticable, foolish.
304. He is ashamed at nothing when he is drunk.
308. COO-TC: like. Xdrpiv <()T]fjLpiov : day-laborer.
309. o-v 8' KT\. : you always repeat carelessly that "Fill up."
311. T) fiv: sc. /ctfXi: one cup is to friendship. This illustration of the
Greek method of drinking and conducting the symposium is very sug-
gestive. irpoKciTcu : is agreed upon before, i.e. as part of an appointment
or a wager. Toasts and challenges to drink were a popular part of the
146 NOTES
Greek after-dinner enjoyment, 'though the danger of their leading to
excess was well recognized. Sparta was cited as the leading upholder of
temperance. Cf . Athenaeus Deip. x. 41, where he quotes Critias :
TTLVCLV TTJV CLVTTJV olvoQbpOV KV\IKO,
r}5 cLTrodupeio'Oai 7rpOTr6<Tis ovojULaarl \cyovra,
This is the custom and practice established at Sparta, to drink from the same
wine-cup, and not to drink the health calling one by name nor to pass the
cup to the right through the company. The text is somewhat doubtful, but
seems, after thus characterizing the custom, to say that the habit of
challenging in the drinking was brought in from Asia.
Page 36, 1. 316. So Aeschylus in a fragment says Kdroirrpov etdovs
Xa\K6s <TT, olvos 5 vov. (Nauck 393.)
317. TOV: i.e. olvov.
319. KCXKOV: G. 925; HA. 617.
323. KeK\T]cr0cu . . . irapc^co-Oai : connect with xpe&v. We find here
again a suggestion of the later Greek ideal, that the highest attraction
of the symposium should be quiet intellectual conversation. Compare
Xenophanes (p. 20).
325. TOV: refers to &vdpa ciriffrd^evov. <rvvtiv : old form of present
infinitive from o-wtrj^L.
327. ToXjxav KT\. -. one ought to meet with endurance what the gods im-
pose upon men, to bear with ease the lot of either fortune.
328. Cf. Antiphanes fr. Meineke Ixvi:
<f>tpeiv dei yvycrius TOV evyevrj.
TO fJL^v CLTWx.7)<rai TTCLVTOS eival IULOL doKel,
dvSpbs 5' eveyKctv dTVxlav op6$
The noble must bear his lot nobly. To fall into misfortune seems to be the
part of all, but it is a man's part to bear his misfortune in the right way.
329. d<rw : imperative from do-do^cn.
331. \4iov: =% Xt^6s. ic6pos denotes satiety, and, in its derived sig-
nificance, the insolence which springs from wealth ; it carries its double
signification here.
Page 37, 1. 335. OTO> dvSpi: in that man with whom falsehood is joined.
340. avrds for 6 avr6s : an epic use. Cf . Od. xvi. 138.
343. aTT|p6$ KT\. : for the hasty man becomes the victim of Ate.
THEOGNIS 147
343. 'EXirCs : cf . Menander NaikXrjpos iv. fr. 4 Meineke :
Kai (fifod TTWS evdy&ydv cm TTCLS dvrjp ep&v.
w Zeu 7roXvT//u,r;0', olbv for' ATTIS KOLK^V.
KivSwos: hazard, or apprehension. Hope and fear are singled out as
the two elements which disquiet the life.
345. irdp S6|av T ical \ir(8a : beyond hope and expectation.
346. povXais 8': while for good plans there fails fulfillment. We are
constantly reminded that Theognis lived in an age of disappointments,
and he cannot refrain from being cynical.
350. Gvfxov : accusative of specification.
354. JICT* dvOpw-irwv: among men, i.e. in my contact with men.
Page 38, 1. 356. dvSpos: G. 1094. 1; HA. 732. c.
357. In the following lines, the condition of the state is described
under the figure of a ship in distress. It was a favorite illustration in
ancient as in modern times ; we find it in Alcaeus, and again in Horace.
This selection again (fifteen lines) is also attributed to Evenus.
359. irappxT<u : it passes unheeded, i.e. I let it pass in spite of my
knowledge. Cf. Theog. 419 (B.) TroXXci ^e trvv^vra Traptpxerai.
361. Ko.0' lo-Hci . . . pa\6vTs: this is an unusual use of /carajSdXXw, to
denote the lowering of the sail, which is generally expressed by KadeXe'iv
or O-T AXe<r0cu. /carajSdXXo; is employed here to suggest haste and sud-
denness.
362. MrjXiov IK irdvTov : the Aegean sea, or rather that part of it
above the island of Melos.
363. dvrXetv: to bale. The ancient ships were so small that it was
difficult to keep them from filling in rough weather.
364. d|i<|>oTlpa>v TOIXV : both the sides of the ship.
365. ot f p8ov<ri: as they act, i.e. acting as they do. Kvp6pv^Tt|v:
refers to the oligarchical party collectively, or some representative of
the aristocrats, whom, though a tyrant, the author would esteem as the
salvation of the state.
368. Sao-jjios : the division of spoils ; referring to the property which
was gained in these revolutions by confiscation, and which belonged to
the public, though it was apt to be of especial benefit to a few favored
ones. s TO n&rov : originally the spoil in war was placed in the midst of
the army to be fairly divided ; so these words get the meaning of " im-
partially." The simile controls the expression in general though it is
apparently forgotten in particulars : there is no fair division of profits ;
the deck-hands are in control ; the whole situation forebodes wreck.
148 NOTES
369. ^oprrj-yoC : the word is very suggestive of aristocratic feeling;
the <J>opTr)yoi are /ca/co/.
370. Kara . . . irCrj : engulf.
371. TJvtxOw: perfect imperative, third person, from alvta-a-u : let this
be spoken in a riddle. rots d-yaOouriv: for the good, i.e. the nobles.
373. ol 8c: on the other hand, some seek nobility, i.e. the aristocratic
party, who alone had culture, but were reduced to poverty.
375. Inability (to do) confronts them both. cpSeiv: depends on
376. The difficulty with the one party is money, with the other
understanding.
378. 8 1 KT] v lire tv : utter judgment.
Page 39, 1. 380. <r0\d: prosperity.
383. II\T|06t: in the estimation of the multitude. G. 1172; HA. 771.
The complaint which is uttered in this passage over the universal sway
of wealth is constantly repeated in these fragments. Theognis and his
confreres felt that all except themselves were possessed with an inordi-
nate desire for money, while they represented the elect few who ought
not to be left in poverty. '
384. TWV 8' oXXov KT\. : so then nothing else is of any avail The imper-
fect ^v is used to call attention to the lesson as learned by experience.
The tense is thus employed, especially with &pa, to suggest that a previous
misconception is corrected. GMT. 39.
385. crw(|>poo-vvT)v : discretion. The word describes both the wisdom
and the moderation which belong to the perfect judge. Rhadamanthus,
for his unswerving justice, was made a judge in the lower regions.
386. Sisyphus is the personification of cunning, and is thus representa-
tive of a character peculiarly fascinating to the Greeks. The name is
probably but a reduplication of cro06s. He was said to have requested his
wife not to bury him. Then, after reaching the lower world, he com-
plained to Pluto or Persephone of his wife's neglect, and obtained permis-
sion to return in order to punish her. Having regained his liberty, he
refused to return to Hades until he was forcibly carried back by Hermes.
389. Who (Persephone) brings for getfulness to mortals, robbing them
of their senses.
391. dfx<|HKaXv\|/T| : the expression is Homeric. Cf. Od. iv. 180 6avd-
TOIO (jitXav vtyos dfj.(j>Kd\v\f/eif. Also II. xvi. 350. So Bacch. xiii. 31 (Ken-
yon) 6rav Oavdroio Kvdveov vtfios KaXfaj/r).
393. TrapafA\|/Tcu: subjunctive with shortened mode-vowel. And shall
pass the dark gates which restrain the smils of the dead even against their will.
396. <r<f>fj<ri : dative plural feminine from <r06s.
THEOGNIS 149
398. With regard to the persuasiveness of Nestor the Homeric lines
would occur to the mind of every Greek : II. i. 249 rov Kal airb y\u<r(n)s
/xAiros y\vKiwv pdev aidy, and the words of Agamemnon ii. 370 ^ /JLO.V
aftr ayopy w/ccis, ytpov, vlas'Axa-i&v. See also II. vii. 325.
399. 'ApTTviwv: the name is derived from the root of dpirdfa. The
Harpies are the snatchers. They are daughters of Thaumas and Electra,
both of whom are sea divinities, the former the son of Pontus and the
latter the daughter of Oceanus. They are a personification of the storm-
winds and the expression of Greek wonder at the sea. They thus became
naturally the symbol of swiftness and power.- Iris, the messenger, is
their sister. They are closely connected with the Kijpes. Cf. J. Harri-^
son, Prolegomena to Study of Gk. Relig., p. 176.
400. ircuSwv Bopo> : Zetes and Calais. Cf. Find. P. iv. 325 :
Z^rav KdXcuV re ... tivdpas Trrepoiffiv
In the Argonautic expedition they were more than a match for the Harpies
who were persecuting Phineus. cujxip : sudden, quick. The use of ei>t with
an adverb is unusual, but more common in Homeric than in later Greek.
Page 40, I. 403. dvOpwirwv c'Xaxov : won possession of men. The idea
of representing cares as winged (Theognis is imitated in this by Horace),
and as having various hues, is a suggestive one.
405. <(>CXa: the plural is used for the singular with the impersonal
subject, a construction of which we have repeated examples in Greek,
especially when there are different thoughts in the mind of the writer.
The thought is marked as twofold. Let wicked men go on in their sin,
but do not let their punishment descend upon their innocent children.
407. <x0ip^s : the reading is doubtful, and this word is a conjecture of
Bergk. It is from the same root as d0eplfa, to slight, and hence may be
rendered with haughtiness.
411. ircuSes: attracted into the relative clause, though it is to be read
as also subject of avTiTlvew.
415. 6 . . . p8wv: the transgressor.
418. OO-TIS: the relative is indefinite, and the sentence is therefore
regarded as conditional, putting its verb in the subjunctive.
419. Ka,T'x<0v: compassing, being guilty of.
426. Tpvxovrai: note the indicative, to represent an actual fact.
Page 41, 1. 429. 4s B TcXcvrrfjv KT\.: in the end you will be well content
that you obey.
431,432. (nreipc'xoi \ V : ^^ M S hand over in protection. al0pi
vcUcov: epic.
150 NOTES
432. err: denotes purpose.
433. Apollo was not merely the especial protector of Megara and the
Dorian states, but was universally worshiped as the helping god, to ward
off evils.
436. <rirov8ds Oeouriv dp<rcrdp.voi: making satisfactory offerings to the
gods. aptffKw is more usually construed with an accusative of person and
dative of thing.
438. MrjSwv: there are no data by which we can connect this refer-
ence, or that in 1. 445, with any particular threatening of the Medes. It
would seem necessary to refer it to a date not earlier than the first part
of the fifth century, and so to conjecture that Theognis lived until that
period, though it may be the echo of the terror produced by the Medes
in their advance to the west during the latter half of the sixth century.
443. Alcathous, the son of Pelops, restored the walls of Megara, and was
assisted, according to tradition, by Apollo. iroXiv atcprjv : = dKp6-jro\Lv.
445. avros: correlative with avrbs ptv above: you yourself fortified
the city ; do you yourself keep off the foe.
446. iro\vs: Ionic for 7r6Xeos = 7r6\ews. iva <rot KT\.: a common
idea of religion in its developing form is illustrated here : the gods are
regarded as very dependent upon men for means of enjoyment, which
gives greater opportunity to purchase their favor.
451. o-rdo-tv: the dissensions of the Greeks at this time, as later, ren-
dered them liable to be overwhelmed by foreign invaders.
Page 42, 1. 454. Ev|3oiT]s: the soil of Euboea was in many places rich, and
especially adapted to vine-culture ; cf . Tro\v<TTd<t>v\ov & 'lo-rlaiav (II. ii. 537).
455. Evpwra: Doric = Euptorou.
456. <|>i\6vv : = t<}>l\ovv : entertained with hospitality.
457. Kivcov : genitive of source.
460. order iv d8v : having satisfied everybody. 'AtSeco : sc. OIKOV.
463. Cf. Theog. 543 (B.):
wapd ffrdO/Jirji' Kal yv&nova r^vde
, dtKrjv, iffbv r d/JL^or^poidi d6/j,ev.
465. IIvGwvi : = IlvOoi: dative of place.
466. irCovos ej dSvrov : cf . Soph. Oed. Tyr. 151 ras 7ro\vxpfoov Ilv6uvos.
471. diro: emphasizes an/jidfrvo-t.
473. -y^vTiTat : supply rls as subject.
474. TovTdKis: poetic = r6rc.
475. These lines are attributed by Hartung to Solon. 4irCf3a: = tiri-
Pil6t. 8-rfjfAcp : common people. The emphasis is on the noun, as well as
on the adjective. Kvc6(|>povi : empty-headed.
THEOGNIS 151
Page 43, 1. 477. (juXoSco-irorov : slavish. The irritation of Theognis
against the commons for asserting their rights is thus constantly reap-
pearing. He is probably a fair representative of the aristocratic feeling
of the age.
480. fj.aX0a.Ktt KcoriXXcov: coaxing with soft promises.
481. Cf. Soph. (inc. fab.) fr. 667 Nauck dvdpbs KCLK&S irpdwovros ticiro-
d&v 0t\oi. <|>iXwv : connect with TLS. 8eiX6v : misfortune.
486. os: sc. 6X/3os. ovScv 4wv : worthless in itself. The principle is
that for worthless men, that is the low-born, wealth is worthless.
487. cipcTfjs : virtue and valor were synonymous according to the con-
ception of the ancients.
488. oraoi: = ffc^ffet, f rom <ra6a;.
490. \a\Ktos : this adjective appears also in Homer as an epithet of
ovpav6s, in connection with the ancient idea of the strength and firmness
of the heavens. dv0p<oiro>v x a H LCU Y V ' <ov : the combination appears in
Hes. Th. 879. Hesiod gives a little earlier, 1. 702, an account of the
terrible convulsions at the coming together of Ovpavds and Tata, but
whether the representation was in the mind of Theognis we have no
means of judging.
493. "Hpa : be joyous ; literally, be youthful. av: G. 1303; HA. 845.
495. TTjirycToio : Taygetus, between Laconia and Messenia. The region
was wild and woody, being considered a favorite haunt of Artemis.
497. 0OTi|j.os : it is not known whether the fragment really belongs
to Theognis, so that we can make nothing out of the name. The use of
the nominative in place of the vocative is not uncommon.
498. eircrywv : i.e. for the vines.
500. 0pT)x0is : cf. 1. 292; being filled with wine you will be far more
cheerful.
Page 44, 1. 502. Kwji.d^oip,i : is used to express purpose, adapting its
mood to the previous optative.
503. 6 ji^v ... 6 8': one man . . . another.
506. op-yt^v Kal pu9[x6v K<xl rpdirov : temperament and disposition and
habits.
508. v6ji,voi 0u^6v <|>T|(xpiov : having adopted a mind for the occasion.
510. For in fact I myself in many cases failed in understanding; I
praised you before I thoroughly understood your nature.
511. alv^o-as: G. 1586; H. 984.
512. vvv 8* rftt\ KT\. : now forthwith like a ship I hold off. The ship is
selected for the figure because of the impression of swiftness and power
which its movement gives.
513. TTOTV': see L. and S. s.v. Tr6rvia ii. lirl : join with verb.
152 NOTES
514. KdTapfj : 6s supplied from tiv.
516. &ip6|jLvos : receiving, i.e. drinking.
517. KpaSu] v 7Ticrofjtat : I will enjoy myself. o<|>p*: as long as.
520. dn4>6Tpcu: strengthens the re ... re.
521. irapd Kpr\rr\pi : over the wine.
523. KaTa6cojjL0a Oupov: Je us occupy the mind, i.e. give ourselves to.
524. 4>pfl: sc. 0vfj.6s.
Page 45, 1. 527. Sopvo-q-oov: join with tivaKra. irovov : the toil of
battle. This meaning is especially common in its use in Homer.
528. Tpir6|ivai : rejoicing to hasten over.
529. HUVOV viroOTJcrofxai : I will give common advice, make a general
exhortation. From its origin the verb has nearly the significance of Eng-
lish suggest. The meaning is shown in the noun vTro0ijKai.
531. TWV avrov KrX. : to get the good of his possessions. dvrjpdv 815 : to
gain a second youth-time.
532. ov -ir\Tai : it is not possible. Xvo-is Oavdrov : cf . Solon 24. 9 ou5'
&v aTTOLva didotis Bdvarov (fujyot.
533. eirC : connect with the verb ; eVeXe^xei = brings to dishonor.
534. aiTTTai: i.e. in whitening the hair.
536. TOV d/yaOov iraXdpTj : objective genitive. The accomplishment of
good is difficult.
537. Kcucouriv: cf. 1. 255 above.
538. SeiXwv: base-born. 6|uT'pi] : more passionate.
543. irop<j>vpTis : the adjective is Homeric as referring to the sea, and
in this connection has a less distinct notion of color than in later use.
545. d-yaOov: connect with tivdpa, referring to the noble again as
being brave and strong. x a ^ <ir " TaTOV : mos ^ grievous.
548. ourrpou KO! KVVOS : = KTLHJV the star 2et/nos.
Page 46, 1. 549. KaXd Xfyovrcs : cf . 1. 323, note.
550. iriT : hereafter, by and by.
553. Do not by your haste get into evil. Trpd<r<Tu naturally has this
meaning of passing through a certain condition. It is apparently con-
nected with the root ?re/o- from which comes Trepdw.
555. irereTeu : is excitable, volatile. Cf. Aristoph. Av. 1430 ai/eTrre/ow-
(T0CU KCLi TTeTTOTTJO'dai TCLS <f>pvCLS.
557. op-yVjv: character.
559. KaraKpvtf/avTcs e'xovo-iv : keep concealed.
560. rolS*: = ol W.
561. This couplet is entirely in the spirit of Mimnermus, and is
attributed to him by Hartung.
562. xXaCovo-*: transitive, lament.
THEOGKLS 153
567. Kdo-rop Kal IIoXvScxjKes : the Dioscuri were appealed to as the
helping gods, and also as presiding over laws of hospitality and friend-
ship. See Grote's Hist. Part I ch. viii; also Eur. Elec. 991 :
$\oyepav aWep ev Acrrpois
valovffi, fipor&v ev a'Xds podiois
Tl/JLCiS ffWTTJpCiS XOVTS.
So Terp. 4 ? 2 Zavbs /ecu A^Sas /ctiXXitrroi (TWTrjpes.
Page 47, 11. 571, 572. Md-yv-qras, KoXo<(>wva, E^vpvqv : Magnesia was
destroyed by the Cimmerians about the beginning of the seventh century.
Herodotus (i. 14, 16) mentions Gyges as capturing Colophon and Alyattes
as conquering Smyrna. The site of this last town is said to have remained
unoccupied for about four centuries. The history of these towns is
however not very clear. The rebuke against vppu is forever appearing
in Greek thought, as the Greek is also forever preaching moderation and
proportion. Cf . Bacch. xv. 59 (Kenyon) :
vfipLS, a irXovrov dtva/Jitv re Sous
a\\6rpLOV wTTacre^, aftris
5* es fiadbv Tr^UTra <f>66pov.
576. K KO.KOV: from a base-born family.
577. eir' aXXVjXouri : this is the usual construction with 7eXdw, though
sometimes that verb is transitive.
579. IIXovT : the god of wealth, said to have been rendered blind by
Zeus, so as to distribute his gifts without regard to merit.
581. iierpov : full measure, prime.
583. oi|u: cf. 1. 502.
586. t]Xv0v IJavaSvs : went down and returned.
588. n-rjveXoirris |jL<))pwv : the two words are brought together as im-
plying that his prudence and trustiness were especially proved in con-
nection with Penelope.
590. -y^s . . . JJLVX.OVS: e-rripaivw is properly used both with the genitive
and accusative. The case seems to be changed to suggest the power with
which he seized upon the dread apartments of his house. The adjective
ScifxaXcovs is appropriate, because they were in possession of his enemies.
591. 'EXiris: personified goddess of hope. Compare the myth of Pan-
dora and her box.
Page 48, 11. 593, 594. Ilio-ris . . . Sa><f>po<rvvT] : these are of course
human qualities personified as divinities, nto-ris is used in the subjective
sense of reliability, honesty, good faith. 0-w0/>o<rtfi>?7 is the combination of
154 NOTES
those qualities which make a trustworthy man, including moderation
and prudence, literally sound-mindedness.
594. Xdpircs: the Graces are the goddesses who lend to life the
charms of gentleness and culture, with especial reference to social life.
600. vo-po)v ircpC : with reverence toward. irpoo-fAvTw : wait upon.
603. <j>pa'ar0co : let him mark. O-KO\IOV : crooked, unrighteous.
606. Establishing base covenants for disgraceful deeds.
611. KaTa6-/j<riv : to lay up. For tense cf. G. 1277.
612. Giving to good men lays up the best treasure.
614. yvwH-l TOipaTd travros exet : understanding holds all issues.
Page 49, 1. 617. TCOV: possessive genitive ; the antecedent is pporoiffLi
for whom there is nothing worse.
620. n-ycrrqv irctpav e'xois : you would give the highest proof .
622. fyryi jx^0': ^ is usually added to 6/070? in the sense of to prevent,
before an infinitive.
623. circus lO&cis: the conception of the rtpavvos among the Greeks is
that as he violates all law for his personal advantage, all ordinary laws of
fair dealing can be ignored in getting rid of him. Compare the expres-
sion of popular sentiment in the Harmodius and Aristogiton song : these
heroes are extolled and even supposed to be translated to the Islands of
the Blessed because they hid their swords in the festival wreaths and
thus slew the tyrant (cf. Bergk Scolia 9-12). The sentiment leads to re-
volting consequences in modern days when under constitutional govern-
ments it gets possession of hare-brained fanatics.
624. ov ve'jA<ris . . . -yiverat : it is ni cause for blame. This phrase is
regularly joined with an infinitive (/cara/cXtVat) .
626. el jxt] jjiotp' KT\. : unless fate shall place a limit to the misfortune.
628. poxj\6|ivos : at will.
631. do-irdXaOoi : a prickly shrub used sometimes even for torturing.
632. The idea is that it makes no difference whether the couch is hard
or soft.
634. Kpvt|/cu : should conceal. The subject is ddavdrovs. We are not to
call upon the gods to help us hide and escape our obligations. Compare
the story of Glaucus (Herodotus vi. 86), who under oath attempted to steal
a deposit, but when he consulted the oracle was told that to tempt the god
was as bad as the original fraud. The oath was necessarily made very
prominent in ancient times in matters of trust.
Page 50, 1. 637. KO. jxoi Kpa8r]v KT\. : and it smote my sad heart.
640. The readings here are very variable. After considerable hesita-
tion I have adopted that of Hertzberg.
644. dXt]9o(rvvTf]s ': connect with /jidprvs.
AKCHILOCHUS 155
ARCHILOCHUS
I
Page 52, 1. 1. Ocpd-rrwv: so the Greeks are called Oepajrovres "Aprjos II.
ii. 110. 'EvvaXioio : the word appears in the Iliad as an epithet of Ares,
but was employed further as an independent title of a distinct person-
ality, generally emphasizing the wilder qualities of war, though at times,
as here, substantially identified with Ares.
2. Kal : used as correlative with ^v. Movo-cwv S&pov : cf . Solon vi.
51, Theog. 208, supra.
II
1. sc. eo-ri. 'Ev 8op: the spear provides all. jjidta: a cheap barley-
cake, a common form of food for the lower classes. ji|i,a-y(i,VT] : Aris-
tophanes plays (Eq. 55) upon the similarity of this word to /xe/xax^/xews :
there is apparently the same thought here.
2. 'LrpapiKos : it will be remembered that the wine with which Odys-
seus tempted and overcame the Cyclops was from Ismarus, Od. ix. 198.
Ill
1. The Kw9wv seems to have been a broad-bottomed earthen mug or
cup, especially popular with soldiers and sailors. o-^Xjiara: benches.
3. d-ypi : take, draw.
IV
In a conflict with the Sail, a Thracian people, the poet confesses that
he abandoned his shield, and fled to save his life. The frankness of the
confession is especially characteristic of Archilochus (see Historical
Introduction). We might conclude that this sort of conduct, or the pro-
fession of it, became fashionable among poets, as Alcaeus, Anacreon,
and Horace each make a similar confession.
2. vros : see L. and S. sub ei/rea. OVK 49&a>v: against my will, i.e. as
being hard pressed.
3. Gavdrou rc'Xos : poetic for Bdvarov.
4. ppTa> : let it go. This verb is often thus used in the imperative in
expressions of impatience.
The Pericles who is addressed in the poem, of which we have here
only three short fragments, seems to have been a citizen of Paros. The
156 NOTES
poem is a lamentation over fellow-citizens and friends who had perished
at sea, and an exhortation to patience as the only solace.
Page 53, 1. 2. jicp.4>6fAvos : bewailing. OaXujs : in feasts. iroXis:
the city at large, the state, in contradistinction to (rls OLVT&V) any indi-
vidual citizen.
3. roCovs KT\. : for the wave of the loud-resounding sea has rolled over
those so bound to us, and our breasts are swollen with grief.
6. errC : join with verb.
7. aXXore KT\. : sometimes one, sometimes another, meets with such sor-
row. Ta8: sc. Kaicd, supplied from KaKoTo-w.
10. a7r<r<x}xvoi . the participle with rX^re may be considered as
closely connected with the imperative, or as emphasizing its own inde-
pendent meaning. The latter is more expressive here. Put away your
grief and be strong.
VI
Kpvirra>}j,v : exhortation to bury the dead who are washed ashore
(IIo(riS<x(ovos . . . Swpa).
VII
2. <)>irv: attending.
VIII
Archilochus goes as a colonist to the island of Thasos, but gives vigor-
ous expression to his discontent over the outlook. His comparison with
the regions of the Siris is taken as a proof that, he was acquainted with
southern Italy. The name appears, however, in connection with Thrace
(Herod, viii. 115 and v. 15), and is hardly sufficient to fix the locality
referred to.
1 . pdxis : properly the ridge along the backbone of a beast.
2. vXrjs : genitive ; depends upon ^rurre^s, from the idea of fullness.
IX
This fragment is alluded to by Aristotle (Rhet. iii. 17) as containing
words put into the mouth of Charon, a mechanic of Thasos. Nothing
more is known of its connection. Charon seems to have been taken as a
type of contentment.
Page 54, 1. 1. Tv-yew: Gyges dethroned Candaules, and succeeded
him as king of Lydia (see Herod, i. 8-14). His wealth became proverbial.
2. f]Xos: still refers to rityew: desire to emulate him. It is distin-
guished from <j>06vos as denoting a more noble passion.
AliCHiLOCHUS 157
3. In the scanning of this line, ew in both Oewv and po> are drawn
together by synizesis. The second foot in the verse is a tribrach.
TupawCSos : this is referred to as the earliest known usage of the word.
These were the times in which it originated.
X
1 . r(0i KT\. : leave all to the gods.
3. Kal jxdX' v KT\. : and lay men flat though very securely planted.
5. irXavdrcu: subject is general. One wanders in beggary, bewildered
in mind.
XI
With this description of a military leader one may compare that of
Henry II given by R. H. Green (Short History of English People, Sec.
viii) : "There was something in his build and look, in the square stout
frame, the fiery face, the close-cropped hair, the prominent eyes, the
bull neck, the coarse strong hands, the bowed legs, that marked out the
keen, stirring, coarse-fibered man of business."
2. yavpov : exulting in. vircfjvpTjuevov : f rom vTro^vpdu.
3,4. arcpl KVTJfias . . . poiKos : bow-legged.
XII
2. 8vcrjjivwv : connect with evavriov : presenting a bold front against
the enemy. dXeu : = dXeou.
3. 80 K our iv : spears.
6. xapTourtv . . . Kaxouriv : G. 1181 ; H. 776.
7. yC-yva>(TK KT\. : recognize the conditions in which men are placed.
XIII
The fragment is referred to by Aristotle (Rhet. iii. 17) as giving the
words attributed to Lycambes, spoken to his daughter.
Page 55, 1. 1. Nothing can be unexpected nor be declared impossible.
4. XdjA-irovTos : this verse uses irregularly a spondee in the third foot.
5. IK TOV : sc. xp6j/ou.
6. VJJLWV : partitive genitive with wdels, let no one of you ever wonder at
the sight when. For the contrasting of life by land and sea cf. Find.
Pyth. iv. 30 :
avrl
158 NOTES
SIMONIDES OF AMORGOS
.The subject is the vast variety of dangers which threaten men. We
can find here something of that same phase of thought which led to
those grand portrayals of fate which we meet in the later tragedy. It is
a part of the Greek expression of disappointment that individual free-
dom is so hampered by despotic nature.
1. T\OS: destiny.
2. OUT] 0\i : as he will ; the indicative points to the existing condi-
tion in which he has actually arranged them.
Page 56, 1. 4. a 8-tfj : equivalent to ola. dy. This meaning for the rela-
tive is not unusual.
5. Oeos: as often in Greek, this noun is used without the article to
express the general idea of divine agency.
6. irnrei0iT] : confidence.
7. It is always the hope that the future will bring what is desired.
9. ovScls OO-TIS ov KT\. : there is no mortal who does not think.
12. IKT]T<U: the rule requiring a negative before irpiv with subjunctive
is not violated, as the idea suggested is old age does not let him escape.
14. 'AtSrjs: the god of the lower world; later the euphemistic name
IlXovTup (wealth-giver) was popularly preferred.
17. When prosperous, men are smitten with sudden death ; when un-
happy, they seek death at their own hands. The text here is uncertain.
18. SvcrHjvw: the human mind revolts from such an end, and it is
universally regarded as accursed.
20. ovrw KT\. : no lot is free from evil
21. Kfjps: fates. Always as evil, generally as bringing violent death.
Cf . Mimnermus ii. 5, note.
22. <TTV : takes singular from neuter Tn^tara, its nearest subject.
23. OVK civ ... ipu>jAv: we should not be absorbed in (in love with) our
misfortunes, nor be tormented by having our minds upon our woes.
24. 6'xovTs : the compound verb ^TT^W is more common in this sense,
being used with didvoiav, ypu/j.r)i>, vovv, or alone.
II
This piece is to be particularly valued for the glimpses of ancient life
which are given in it, especially as it evidently refers to people of the
middle class, of whom it is most interesting to know, and most difficult
SIMONIDES OF AMOEGOS 159
to obtain information. It is a somewhat comical composition, arranging
women in various classes according to their alleged origin. Thus Zeus is
supposed to have formed them from swine, from foxes, from dogs, and
from other sources, according to the character which is to be found in
each. The piece is composed with considerable humor, and we must
beware of interpreting into it a bitterness which is foreign to it, as well
as of mixing modern associations with the types which are used.
1. Xwpis : of a variable nature. The adverb is used as an indeclinable
adjective.
2. TO, irpwTd : in the beginning.
3. TTJ : the dative depends on /cetrcu : about whose house all things lie
disordered, covered with filth.
6. KOTTptflortv : the use of the plural intensifies the expression ; as we
say, quantities of dirt. iriaCvcrou : fattens herself. The word carries
with it important moral associations ; she grows coarse and wanton.
Page 57, 1. 7. dXiTpfjs: knavish. It combines the ideas both of cun-
ning and of wickedness. 20T)K': = tirol^e or ^Troofa-aro.
8. KCIKWV . . . TWV d|iiv6v<ov : depend upon ovdtv.
10. The one of these (i.e. the good) she calls evil, and the other she calls
good dTO: gnomic aorist (G. 1292; HA. 840).
11. op-y^v 8' KT\. : at one time she has one humor; at another, another.
12. TTJV 8': sc. Oebs etfrj/ce. avTOfjufJTopa : the very mother over again
(her mother's own child). The dog was the symbol of shameless med-
dlesomeness.
15. \e\TjKev: gnomic perfect with present signification (G. 1295). -jjv
Kal |j,T]Sv' KT\. : even though she sees not a single soul.
18. ovS av |ii\ix<os |Av0i|Avos : nor by soft words would he check her.
The verb iratfrcte is to be supplied.
20. But without cessation she keeps up an uncontrollable screaming. It
will be noticed here, as throughout the whole piece, that women are not
represented as kept in strict seclusion, but they take part with consider-
able freedom in social life.
22. ir-qpov : stupid. The earthy origin suggests mental heaviness.
24. The only work she understands is how to eat.
25, 26. She does not know enough even to come to the fire when it is
cold.
27. TTJV 8* IK KT\. : and one God made from the sea; she thinks two ways
in her mind.
32. T^V : sc. TjfjitpcLv. OVK OLVCKTOS KT\. i she is unendurable to look at or
approach. The infinitives depend upon dvcKrds.
160 NOTES
35, 36. She becomes rude and hateful to all alike, both friends and foes.
Page 58, 1. 38. dirtfjiuov: unharmful.
42. dXXoi-qv : sometimes one, sometimes another ; variable.
43. o-n-oSei-qs : ash-colored. ovov: the ass is the subject of as many
proverbs in Greek as in other languages. It symbolized stupidity, clum-
siness, and obstinacy ; sometimes brutality.
44-46. Reluctantly under compulsion and threats she completely acqui-
esces and works to give pleasure (i.e. to her husband).
45. v: for o$v . iroWjcraTo : the omission of the augment is unusual
in Ionic poetry. KaTrovrjo-aro has been suggested as a better reading.
46. T6<j>pa: meanwhile.
47. irpovvg, irpofjftap : by night and by day ; always.
49. OVTIVWV: = ovTtvaodv: any whatsoever.
51. lirfyiepov: Ionic for e^i/jiepov.
53. dX-qv^s: passionately eager.
56. a0v<rra : unconsecrated, as the sacrifice preceded the feast.
57. finros : suggestive of pride and display.
58. fj SovXi' KT\. : she turns her back upon servile work and toil.
59. (xvX-qs : j^he hand-mill was an indispensable article of furniture in
the ancient household, and it fell to the women to work it, though in the
more wealthy establishments the duty was transferred to slaves ; cf . Od.
vii. 104, xx. 105-109 ; Matt. xxiv. 41. It is evidently a simple state of
society which Simonides presents to us.
62. dvd-yKTj KT\. : she makes her husband show her favor even against
his will.
63. diro : join with XoOrcu.
Page 59, 1. 64. 8s, aXXorc rpCs : again and again. Usually the Greeks
bathed before the principal meal of the day. For her the ordinary wash-
ings were not enough.
66. paOciav : thick. The lonians, both men and women, seem to have
worn their hair long, and the latter decked it with elaborate head-
dresses. Flowers were for special festal occasions.
68. TO) . . . \OVTI : her husband.
69. rvpavvos : a sovereign. Ttpawos was the title of the rulers who
gained absolute power in the Greek states through the dissensions among
the nobles, or between the nobles and the people, often by alliance with
the democratic elements. The /Sao-iXefo had hereditary power.
70. ocrris/crX. : who delights in such attractions.
71. m0VJKov : noted both for its ugliness and trickery. TOVTO : refers
to r-t)v, but takes the gender of the predicate Kai<6v. It is naturally some-
what contemptuous.
SIMONIDES OF AMOBGOS 161
74. a<rTos : scanned as two syllables.
76. a-mryos, avroKwXos: with no figure, mere skin and bones.
79. ovSe ol -ycXtos jic'Xei: nor does she care for laughter.
80. ovS' av KT\. : nor would be of advantage to any one. dXXd rov0'
opa: but she looks out for this.
81. TOVTO : refers to what follows, as is not infrequent where it stands
with no other pronoun in contrast with it ; so rovd' in the preceding line.
83. T^JV TIS KT\. : any one is fortunate who gets this one.
85. 0d\\t AcrX. : the means of life abound and grow larger through her
diligence. 0aXXei carries with it the idea of rich and flourishing abundance.
86. (JuX/q : loving.
89. dji<|>i8e8po(xv : gnomic perfect, as if .pointing to a recognized in-
stance. The poem might well have closed at this point, as these last eleven
lines (83-93) both in their sentiments and in their general style and ex-
pression are far superior to all the rest. It has indeed been suggested that
the remainder really belongs to another composition. See Mure, Litera-
ture of Ancient Greece, vol. iii, p. 182.
Page 60, 1. 95. They are intended for evil, and will continue to be
for evil.
99. ov -yap KT\.: for never does one pass wiih good cheer through the
whole day, whoever is united with a woman.
101. ov8' at\|/a: with difficulty, scarcely.
102. Svcrfxcvca: the last two vowels are drawn together by synizesis.
104. (xoipav . . . x&piv: adverbial accusative. x<V " was originally used
in this way, or in apposition to the sentence, and so gradually assumed
nearly the province of a preposition, ^oipav imitates the construction of
xdpiv. Translate, by the gift of God or the favor of man.
105 . cvpovcra : finding some cause for blame she equips herself for strife.
110. KCX^VOTOS: from x a ^ w: as sign of freedom from suspicion.
When the man suspects nothing. The sentence is unfinished, the aposio-
pesis allowing imagination to suggest the evil. The neighbors exult seeing
how he also is deceived.
112. TTJV TJV : his own.
117. c OVTC: sc. x/o6j/oi;: from the time when. Cf. II. i. 6 <? ov S-fy ra-
TrpGJTCL diCLO'T^T'rjV epi<TCLVT.
118. ywaiKos: i.e. Helen, referring to the Trojan war.
162 NOTES
ALCMAN
The fragment belongs to the class of poems known as Parthenia, which
were especially cultivated at Sparta. It is upon a papyrus found in
Egypt in 1855, but is unfortunately in a condition so marred and muti-
lated as to be in large portions quite illegible. It is so unique, however,
that it seems improper to ignore it. " We present a portion which is suffi-
ciently restored to make connected reading.
The poem seems to have been a song in honor of Artemis Orthia, to
whom the maidens were bringing a gift as an expression of their thanks
(see 1. 26). The previous part, which it is impossible to decipher so as to
make connection, had sung apparently of the conflict of Heracles and
the Dioscuri against Hippocoon, king of Sparta. Then, in the portion of
which we have the text, the thought of the poet reverts to his personal
interest in the chorus which he leads, to the maidens who are before him.
Page 62, 1. 1. There comes in some form retribution from the gods.
But the happy man is he who with contented spirit completes the day free
from grief. <riwv : = deuv. A Laconian form.
3. 8iair\Ki : the first syllable is obliterated in the manuscript.
4. aKXavcrTos : the word is conjectural.
5. 'A-yiScos: genitive for -oOs.
6. f*: = e, i.e. CLVTTIV. ovircp KT\.: of whose shining Agido bears wit-
ness. Cf. Romeo's speech in Shakespeare, Romeo and Juliet, act ii, the
passage beginning " It is the east, and Juliet is the sun."
8. -n-cuvfjv . . . fA(D|AT|<r0cu (for fjLwuao-Oai) : to utter any sentiment, for or
against.
9. K\vvd: Doric for /cXet^. This glorious chorus-leader is Hagesi-
chora, mentioned by name below, whose beauty, even without her choice,
forbids him to speak farther of Agido.
10. ovSc XcSo-': though against her will
Page 63, 1. 13. KavaxairoSa : with sounding hoofs.
14. TWV viroTTCTpiSCwv 6vipwv : a descriptive genitive. Such as belong to
winged dreams.
15. 'H ov\ : drawn together by synizesis.
16. 'EveTiKos: the Enetoi (Latin Veneti) are connected with Paphla-
gonia and with the Illyrian tribes, the latter being counted as descend-
ants of the former. Some of them had evidently made themselves so
famous as breeders of horses that their name was associated with the
ALCMAN 163
most famous steeds; cf. (Bergk) Frag. Adesp. 43s 'Evertdas 7rc6Xws (rre0a-
>o06/ows. The imagined steed is of the best.
17. dv\|uds: this would seem to betoken that the members of the
chorus are of one family or clan. So this merry banter may be counted
as the familiar jesting, not of the poet, but of girls who have always
known each other.
21. There is an aposiopesis: words fail, but this is what Hagesichora
is, i.e. what has been suggested and what she in person shows. Hage-
sichora, wait, there she is.
23. ircS': = fjierd. Next to Agido.
24. Ko\o|atos: Colaxais was one of the mythical ancestors of the
Scythians (Herod, iv. 5). So his name is associated with the race-horse,
as the Scythians were famous horsemen, elpfyy was formerly supposed
to refer to a famous breed of dogs, but later authorities tend to refer it
also to some people known for their horses. This seems perhaps the
more appropriate, though the exact rendering is uncertain. The maidens
will vie with each other as steed with steed.
25. iT\id8s: i.e. Agido and Hagesichora. We have here apparently
a play upon the word, as it may mean doves or Pleiads. The thought is
carried on with the latter meaning in mind. They were the daughters
of Atlas, pursued by Orion, and transferred to the heavens in their flight
(see Class. Diet.). Even the myth was a little uncertain whether they
should be doves or stars. The comparison is with the o-^piov ( = <retpiov)
do-rpov, as the dog-star was very prominent in Greek thought as associated
with the heat of summer. It was conceived of as rather typical than
individual. So these maidens vie with one another rising before us as a
bright star as we bring our offering to Artemis Orthia.
26. <(>dpos : the meaning is uncertain, but the word is given as mean-
ing a plow.
29. For here there is not at all such abundance of purple as to be our
defense. The meaning is not very clear, but we may perhaps conclude
that the chorus thus expresses its dependence on simple beauty rather
than extravagant adornment.
31. Spdiccov : a bracelet or necklace in form of a serpent.
32. fjtirpa : head-band.
34. tavo-yX.(|>dp(ov : = eavo(3\(j)dpwv, with soft eyelids, or better, with
delicate eyelashes. Bergk is so uncertain about the reading that he omits
the word. In scanning, the first two syllables are united by synizesis.
35. Navvws ' = Navvovs.
36. <rii8^s: = 0eoei5ifc.
37. SvXaias . . . K\ii<runrjpa : Doric forms = Qv\ads and
164 NOTES
Page 64, 1. 38. Alvrjo-ifAppdras : sc. OIKOV. She is apparently in charge
of the maidens, perhaps as musical teacher. ivOoto-a: = e\6ov<ra.
4>ao-is : = 0?7<ms. The meaning seems to be that the fair-haired Nanno
and the othe"r maidens named could not win the triumph, but in Hage-
sichora is security. The object of 0acre?s is what follows. You will have
no occasion to say would that I might have Astaphis and that Philylla
might speak.
SAPPHO
I. ODE TO APHRODITE
Page 65, 1. 1. UoiKiXoOpov': suggested, probably, by her throne in
the temple at Mytilene. 'A<f>p6Sira : = 'AQpodlrvi.
2. ACos : notice accent. The Aeolic dialect throws the accent back in
words of two or more syllables as far as the quantity will allow. In
prepositions and conjunctions, however, it agrees with the other dialects.
SoX6irXoK : weaving wiles.
5. TviS* (for rJSe): here = devpo. atirora: = efaoTe. Karepcora (for
/cat ertpwOc) : at any other time.
6. avScos: genitive (for atdovs) from a vda> = avdr). dtoura : = ai'ovo-a.
irtfjXvi: = Tf}\60v.
7. K\vs : you attended to my call. Xbroura : = \Lwovcra.
8. xpvcriov: = xP V(ro ^ v '
9. apji': = dpfjLa. The Lesbian dialect avoids universally the rough
breathing. viro^vgcuo-a : = viroeva(ra.
10. o-rpovOoi: sparrows were sacred to Aphrodite. irepC: equivalent
to virtp.
11. copdvo) : = ovpavov.
12. |X(r<ro> : ==. /jifoov.
13. TV: = o-t.
14. |JLiSidcr(U(r' : from /xetSidw, for /xetddw.
15. TJp*: for Tjpeo ypov. S-qurc : = 5ij a^re. KWTTI : and why.
16. KaXT]|u: Aeolic for fcaX^w.
Page 66, 1. 18. rCva . . . IleCOo) : whom do you wish Peitho to bring?
19. |i,ais : iota not subscribed, for ^ts. Notice the sudden change from
first to second person, and the air of ease and flexibility thus imparted
to the style.
20. tya,ir$: for tydir<j>oL or >Pci7r0a, Aeolic for Za7r0o?. dSiK^jei: = AdiKci.
21. Kal -yap at KT\. : and I will bring aid, for if she flees thee, she shall
soon pursue.
23. <|>CXi : notice Aeolic recessive accent.
SAPPHO 165
24. KWVK lOe'Xoura: even though against her will.
26. jxpijjivav: Aeolic genitive plural.
27. t|ippi: Aeolic for l/xe/pet, as Aeolic verbs in v and />, instead of
lengthening the stem-vowel in compensation for the omitted i-sound,
assimilate it to the liquid.
28. ccro-o : = fo0i.
II. ADDRESS TO A BELOVED MAIDEN
This poem is translated by Catullus.
1 . KTJVOS : = /ce?i/os : it is to be taken in a general, rather than a partic-
ular, sense. Any one, yet it is used as if with a definite application, as
the relative clause has the indicative. fcros 0ouriv: happy as the gods.
2. |xp,v : = elvcu. wvt|p : = 6 avrip.
3. irXcuriov: = irXrja-iov. o8u : = 7)8ti. That is, the Aeolic keeps the
long a where the Ionic and Attic have y which has originated from an
a-sound. <J>covvo-as and -ycXcuo-as: genitive singular for <t>wvofoi)s and
5. TO: demonstrative. This causes my heart to flutter. jidv: = ^v.
7. eviSov: = eldov : v arises from the digamma (i'd = Lat. vid, in
video). The aorist form is used with a gnomic sense, to represent a
general truth by a particular instance. ppox&*>s = /Spax&K. Translate,
Forthwith when I look upon thee, not a sound any longer escapes me.
<J>wvas : = (fxavijs.
8. ctKCi : = rfKi.
9. Kajj, . . . 2ayc : from Kardyw/ju : was silenced.
1 1 . ofnrdrc<r<ri : = 6fjLfMffi. opt]}! 1 : = 6/odw. irtpp6|jiptcri : third plu-
ral Aeolic.
12. CLKOUCU : ears.
13. jx': = jitoi. i8ps: feminine in Aeolic.
14. irato-av: = irda-av. \\upoTtpa. : the meaning of the adjective is
yellow-green. It is used as an epithet of the grass and foliage, but also
of honey, and by Sophocles of the yellow sand. It became also the sym-
bol of paleness. The impression made by colors among the ancients is
quite apt to differ from ours, and the terms which they employ are less
definitely and accurately used .
Page 67, 1. 15. ^1x1 : = elfiL T0vo,KT]v : = i
= 6\Lyov eirt.der)s : little short of dead.
16. aXXa: i.e. ^Xe^ : distracted. ^^^^^^S^
17. ToX^arov: = roK^rbv. ff * OF THE *
UNIVERSITY
OF
166 NOTES
III
1. <T\dvvav: = <
2. diruKpv'irTouri : = diroKpfaTovo'i. 4>devvov: = <t>aiv6v : L assimilates,
cf. I. 27, note.
3. oTTTTora: = 07r6re. i
IV
1. i|n)xpov: = rb ^O^os : coolness. v<rS<ov: from a form &r5os for
1. Kvirpi: a popular name for Aphrodite, because the island was so
prominently connected with traditions of her early worship, and was
considered her favorite abode.
3. o-v(jL|Xfjii'y|J>vov : joined with.
VI
This is the reply of Sappho to the address of Alcaeus (Alcaeus V).
1. flx s : = e<X. Aeolic contracts ee to rj. So in the infinitive active,
cf.
2. IKVKO, : if your tongue were not stirring you up to speak some evil.
4. dXV cXeycs : but you would speak out your honorable thought.
IX
Page 68, 1. 1. <f>lpcis : thou bringest.
2. av<os : = ?7ws.
This selection is imitated by Byron (Don Juan, iii. 107).
ALCAEUS
I
Description of his hall ornamented with armor.
Page 70, 1. 1. iraura: Aeolic for Trao-a : all the house is adorned in
honor of Ares.
2. Kvvtauri: = KVVCUS. Karrav : = Ka6' <Sv. tiririoi X6<j)oi: the an-
cient helmet was surmounted by a crest, formed usually of horsehair,
which added greatly to the imposing appearance of the warrior. Cf . II.
iii. 337 deiv&v 8t \60os Kadt-rrepOev evevev.
ALCAEUS 167
3. vvouriv: = vetovvLv. ircur<rdXois : Aeolic accusative plural.
4. KpvTTToio-iv : = Kpijirrovo-iv. And shining greaves of bronze, hanging
over pegs, conceal them frqm sight. Kvdpi&s: shortens its penult con-
trary to its usual quantity. l<r\yp<>> : = iffx^pov. f&'Xcvs : = pt\eos.
5. Xvo>: = \lvov. KOuXcu : = /cotXcu. icar: connect with /3e/3\77/xevcu.
6. irdp Sc: adverb, moreover. XaXi<8iK<u : Chalcis, in Euboea, re-
ceived its name from the copper mines in its vicinity. According to a
very old tradition among the Greeks, copper was first discovered there.
tnrdOai: swords.
7 . ^'p-yov : war.
The perils of the state depicted under the figure of a storm-tossed ship.
1. 'Ao-vvc'rrjju : = dtruj/er^w. / do not understand. O-TCUTIV: the com-
motion, violence.
2. TO p,v . . . TO 8': now from this side, . . . now from that.
3. a|A(AS : = ^/xets.
4. <j>opT)p.0a : '= 0opotf//,e0a.
5. jiox0\)vTs . . . jidXa: sore distressed.
6. irp . . . \i : tmesis, irepi is here nearly equivalent to virtp, cf .
Sappho i. 10. Already the water rises above the mast-stay.
7. \au|>os: sail. irdv : Aeolic for wav. ^dS^Xov: = diddvjKov: rent.
8. XaKiSes : supply eialv.
9. \<>^ aicrt: xaXwo-i: are yielding. a-yicoivai : the text is doubtful;
this is Bergk's conjecture, meaning the ropes attaching the sail-yard to the
mast.
Ill
Page 71, 1. 1. |A0vo-9T]v : = fj.6vo-0ijvai. nva: subject. irpos pCav :
with force, i.e. with a will.
2. irwvTjv: = irlvcw. MvponXos : Alcaeus was a vigorous partisan.
Myrsilus has gained immortality because Alcaeus disapproved of him,
but he and his fellow leaders of the people of Mytilene are not able to
speak for themselves.
IV
Antimenidas, to whom this poem is written, was the brother of
Alcaeus, who, after being expelled from his native land, entered the
service of the king of Babylon. In recognition of his valor Antimenidas
there received the sword with ivory hilt inlaid with gold alluded to in
this fragment. According to the received dates, it would seem that the
Babylonian king must have been the distinguished Nebuchadrezzar.
168 NOTES
1. \<(>avT(vav KT\. : works of art in gold and ivory became afterward
exceedingly popular among the Greeks. This sword would, of course, be
taken as a special prize from the wealth of the East. The passage,
therefore, illustrates the early admiration for this kind of work.
2. TW : = TOV.
4. crvfxfidxts : takes the Aeolic recessive accent. pvo-ao: sc. avrovs.
6. jiCav : sc. TraXato-rav : lacking only a single palm of five royal cubits.
The 7T?7xus /Sao-iX^ios or Persian cubit was about an eighth longer than the
Attic. Cf. L. and S. TTTJXVS V. The champion would have been eight
feet three or four inches in height. : dirv : = airb. irepircov = irtvre.
V
The address of Alcaeus to Sappho, to which Sappho VI is the reply.
VI
The fragments which follow seem to have belonged to the class of
odes known as 0-/c6Xta. They were informal banquet-songs, paroenia
(TrapoiVia), originally extemporized in succession by the feasting poets,
and deriving their name, perhaps, from the freedom and irregularities
allowed in the versification. The ode from which this fragment is taken
was imitated by Horace (Car. i. 9).
1. "Yei: we see how the more common impersonal use of this verb
arose from the omission, in later Greek, of the subject which is here
expressed. opdvco: = ovpavov.
3. KdpfJaXXc : = AcarCt/SaXXe : the figure is taken from battle. Horace
renders, dissolve frigus. lirl . . . rCOcis: heaping up.
Page 72, 1. 4. 4v Sc icpv<us: = eyKipvas d.
6. -yv64>aXXov : = yvd(f>a\\ov or Kv&<j>a\\ov .
VII
1. Ovpov (the recessive accent is Aeolic): object of tiriTptTryv. lirirpl-
irqv : Aeolic infinitive for eiriTptireiv.
2. irpoK6t|sojj.v KT\. : for we shall gain no advantage by troubling our-
selves. d<rdfi,voi : from aedw.
3.
4.
VIII
1 . dvT)Tw : genitive from &VIITOV = ftvrjOov. Sc'pauriv : from
2. ircpOerci) : = Trepi^rw. irXc'icrais : = TrXeVras.
3. KaS . . . \vdT(o: =: Karaxedra;. TW : = TOV.
ANACREON 169
IX
The weakness of the state in enduring Pittacus.
2. dxoXw : = dx6Xou.
3. doXXecs : with one accord.
X
1. Xv\ vov: it was a violation of orderly habits to drink in the middle
of the day. SoxruXos dficpa : the day is but a finger's breadth. The 5d/cru-
Xos was the shortest Greek measure of length. The figure is perhaps quite
as likely to come from looking across the finger at the horizon.
2. K<x8 . . . aeipe : = /earache, Karaipe. KvXixvais, 1*670X0,15, iroiKCXcus :
Aeolic form of accusative. aira : from dcras with shortened penult.
3. Semele, according to the Theban myth, which gained wide accept-
ance among the Greeks, was the daughter of Cadmus and mother of
Dionysus. XaOiKoLSca : banishing care.
4. Ktpvcus : Kipvds. 4'va Kal 8vo : unfortunately Alcaeus does not
state which numeral represents the water in his mixing-bowl and which
the wine. Usage among the Greeks favored the larger proportion of
water. To use two thirds wine would be to drink like a toper. Still,
usage in the formula seems to put the water first, so we cannot absolutely
conclude whether on this occasion Alcaeus meant to be temperate or
exceptionally merry.
5. irXeais: = TrX^as. KccfmXas : rim of the cup; full to the brim. a
8 s drcpa KT\. : let one cup crowd close upon another.
XI
Cf. Hor. Car. i. 18.
ANACREON
The first fragment is a prayer to Artemis, and perhaps the two fol-
lowing belong to the same hymn.
Page 74, 1. 2. <xv6^ : fair-haired. The golden or light auburn hair,
from its rarity in the South, was highly esteemed as an especial element
of beauty.
4. A-qOcuov: the penult is shortened. The Lethaeus was a river in
Asia Minor emptying into the Maeander. Near to it was the city of
Magnesia, with which was connected a famous shrine of Artemis, wor-
shiped, from the name of the locality, as Artemis Leucophryene. She
170 NOTES
was conceived under a type rather Asiatic than Greek, like that of the
still more famous Artemis of the Ephesians.
6. eo-Karopas : = etV/catfo/ops.
7. x a ^P v<r>: with favor. This is placed last in the clause as intro-
ductory to ov yap.
8. iroifiatvcis : govern, or rule over. Compare the TTOI/JLTJV \au>v of Homer ;
also Hebraistic use of voifMivcw in Matt. ii. 6; Rev. ii. 27, xii. 5, etc.
II
Prayer to Dionysus for the favor of Cleobulus.
1. T Ova: by crasis for w &va%. Sapd\T]s "Epa>s : Eros was, according
to the earlier mythology, a divinity of great power, and made very promi-
nent in creation as the uniting and organizing force in the shaping of the
world. Anacreon belongs to the transition period in the conception of
the god, holding a profound respect for his prerogatives and associating
him with the nature-gods. Cf . Theognis 1278 (Bergk) where he is spoken
of as <nr{p/jLa fapwv Kara 777$.
2. Dionysus as the god of luxuriant vegetable life has the nymphs in
his infancy as his nurses and in maturity as his appropriate attendants.
3. irop<t>\>pT) : 07 drawn together by synizesis (G. 47. 2 ; HA. 78). This
is very frequent in case of e with following vowel or diphthong, as 6ptwv
below. The word is older than the Greek use of the color which it after-
wards came to represent. Its early meaning seems to have been associ-
ated with the dark gleaming of the rolling sea. It came gradually to be
used of brighter colors, and even of the rainbow ;. we may render it
rosy, or radiant.
Page 75, 1. 4. cmorrpc^ai (lit. turn) 8': but thou art wandering.
7. KxaptcrfiVT]s : the Greek favors the use of the participle. The
English has not so much pliancy in construction and order. The adverbial
modifier is perhaps as near an equivalent as we have : with favor hearken
to my prayer.
11. 8'x<r0ai: = 5ex&r0w, but is closely connected with the previous
clause : let him accept my love.
Ill
Notice the change of cases in the proper name.
IV
1 . irap0vtov pXira>v : with maiden's glance.
2. ov KOits : thou mindest not.
ANACKEON 171
V
1. 2<()aCpT| : the playing at ball together seems to be used as symbolical
of love. The expression, therefore, " Eros challenges me to join in play,"
signifies drawing together in love. 8t]vT: = 8r) afire.
3. Wjvi: poetic Ionic for vedndi: the dative depends upon a-vpiraifav.
TroiKiXocra.[j.pd\a> : = Trot/aXoo-aj'SaXy : an Aeolic form.
5. VKT(TOV: = the Homeric evKri/jievos: well built; applied, as here, to
an island, the idea is, filled with beautiful buildings.
VI
Page 76, 1. 1. ^pCv: with final vowel shortened.
2. irdpa: = irdpeo-ri. -yirjpdXeoi : synizesis ; so in 'Atdew and dpya\^
below.
4. dvao-TaXv<0 : I weep.
6. KCU Yap eroijxov : for it is certain. |ITJ dvapfjvai : synizesis. The sen-
timent appealed to natural Greek feeling. Cf . Ibycus f r. 27 :
OVK <TTLV diro<f>0Lfjt.{vois fcuas TL ipdpfj,aKoi> evpetv.
VII
. The earlier Greek poets represented Eros as a divinity of very august
prerogatives and power. Hesiod describes him as one of the great forces
in creation, and also as relaxing the limbs and subduing the mind of
gods and men (Th. 120). Ibycus complains of his constraining power
fr. 2. Sappho, as we might anticipate, speaks of the violence of his
attacks (cf. fr. 40, 42). So we have him presented by Anacreon as stern
and overwhelming, very different from the conception of the god which
belongs to a later age, such as we find in the Anacreontea which follow
or in the picture of the Latin Cupid.
VIII
3. irpoirCo) : originally to drink before; then, "to drink to one's
health," or to challenge one in drinking, as they passed the cup from
one to another. The Germans use the word t)ortrin!en with the same
significance.
6. dvd . . . Pcur<rap^<r<o : = dvapaKxetiw : to rage.
7-10. fj.TjK'9' . . . jx\Twfiv : the imitation by Horace (Car. i. 27. 2) will
be at once remembered.
9. SKvOiicfjv: the Scythians and Thracians were proverbial for the
wildness of their revels. Cf . Herod, vi. 84.
11. viroirCvovT$ : drinking with moderation,
172 NOTES
Page 77, 1. 1. ropcvwv: in chasing.
7. KO.T' avrov : upon it.
9. cTTvyvov 'ftpicova : the constellation Orion became visible after the
summer solstice and was regarded as ominous of storms.
II
Page 78, 1. 2. 'Avoucpccov: nominative for vocative.
9. -ycpovri : Anacreon, from his long life and well-known devotion to
pleasure, became recognized as the typical aged voluptuary. fia.XX.ov:
supply To<rotfry, corresponding to fay : with &ry supply paXXov again.
11. MotpT]s: originally goddess of fate, good or evil; then of evil
lot ; so preeminently of death ; so TO, MotpTjs = 0<raroj.
' in
1. TCI Iv-ycw : cf. Archil, ii, which the composer of this may have had
in mind. Gyges was the founder of the royal line of the Mermnadae
in Lydia ; his riches were proverbial (ci. Herod, i. 14). The use of th'e
neuter article with the genitive gives a very indefinite force, -ew in Tifyew
are drawn together by synizesis.
3. fi\os: properly differs from 006i/os as representing a more worthy
and noble desire.
6. viHjvqv : properly the mustache, or rather the soft down which first
appears upon the upper lip of the youth.. Used also generally of the
beard. Salves and ointments and garlands were always, among the
Greeks and Romans, favorite accompaniments of feasting.
Page 79, 1. 11. o>s: as long as. cvSta . . . vov<ros: the words are
placed in contrast in a very broad signification.
IV
1. Ocovs: accusative after a verb implied, i.e. 6/zi/u/xt, or one of similar
meaning ; cf . Xen. Anab. " vi. 17 ofivvfu 0eoi>s /cat 0eds, also Z vi. 18 d/j.viju
vfuv 0eoi>s dTravras /cat TrdVas. <ro : ethical dative (G. 1171 ; HA. 770).
4. 'A\Kfia>v : Alcmaeon killed his mother, Eriphyle, and became mad,
being persecuted by the Erinyes.
5. \<o: = Kai 6. XCVKOTTOVS : the adjective seems to be used to sug-
gest the swift flight of Orestes from the furies.
ANACKEONTEA 173
10. |iaCv9' 'Hpa-icX/Hs : Heracles, smitten with madness by Hera, slew
with the bow of Iphitus his wife Megara and her children.
11. K\OV<OV: is to be taken as governing the accusative with a sense
similar to that of Kpadaivwv.
13. A'ias : Ajax, smitten with madness in his jealousy at losing the
armor of Achilles, finally slew himself with the sword which Hector pre-
sented to him.
14. jjLT* do-rriSos KpaScUvcov: the shield of Ajax was especially cele-
brated (cf. II. vii. 219).
V
Page 80, 1. 1. <roi: the dative of person with TiWw is much less usual
than the accusative. 0\ts : G.vl358,
3. rapo-d: wings ; properly, from' the form of the wicker crate, some-
thing broad and flat ; so the flat extended wing.
6. Tereus was a king of the Thracians. He cut out the tongue of
Philomela (who afterwards became, according to different accounts, a
nightingale or a swallow), in order that she might not be able to betray
his crime against her sister.
7. Kivos: the famous Tereus. K0pifjto : properly used of harvesting ;
here to cut out.
VI
2. <hri0': imperfect of attempted action (G. 1255; HA. 832).
4. apovXov : inconsiderate in courting such an adversary.
7. jJi^XTP irpoKaXtofjicu is used quite as naturally with an infinitive, not
unf requently also with a noun and preposition ; the simple dative, how-
ever, is not unusual in poetry. Cf. II. vii. 218 -rrpoKa^a-o-aro x&PM-
irpoKa\icr0cu : to challenge.
Page 81, 1. 10. The equipment of the Homeric hero is followed
throughout, the breastplate, the two spears, and the shield of ox-hide
(cf. the description of the shield of Ajax, II. vii. 220).
15. els: expresses purpose ; " he sent himself for a weapon."
16. Kap8iT|s : /x&ros governs the genitive from its partitive signification,
being equivalent in meaning to tv ^o-a).
17. \vo-v: undid me. The verb is in imitation of Homer.
19. pdXw: G. 1358; HA. 866. 3.
20. Why throw missiles afar when the battle is on within?
VII
2. Karcurfiv : to tell or number.
3. otSa$: Ionic
174 NOTES
6. irow : shortened form for TTOIU).
10. KopivGov : the Acrocorinthus was consecrated to Aphrodite, and
the city was universally celebrated for the attractions of love and beauty
by which it tempted strangers.
12. 'Axat-qs KT\. : for it (Corinth) belongs to Achaia where the women
are beautiful. Cf. II. iii. 75 'A'xatftta KaXXiytivaiKa. As the adjective /caXXt-
7iWt is used of various localities, it is likely that Achaia in our text
means Greece in general.
Page 82, 1. 14. rCOei: observe the continued action implied in the
present. Aeo-fSiovs: so. e/owras.
15. Kal |i'xpi : and reaching even as far as.
16. Caria and Rhodes are taken ^to represent the very frontiers of
Greece.
18. T <J>T)'s: the speaker is interrupted by the wondering Xoyia-r -^s.
KT]pieo0T|s : a word whose meaning is hardly fixed ; the idea is that of
being astonished : are you overwhelmed ?
19. Svpovs: both Syria and Canopus on the Nile were famous for
their vicious allurements.
20. iroeovs: loves.
21. airavr* \ov<TT]s : rich in all possessions.
23. en-op^io^i : revels. iroXeao-Lv would more regularly have cv.
24. e&isdpiefic5: G. 1358; HA. 866.3.
25. FaScCpwv: later Gades. Spain on the one side, and India on the
other, are taken as the limits of the known world.
26. BaKTpCcov: a people of Central Asia, north of the Hindu-Rush
mountains; modern Bokhara.
VIII
2. ireraoxrai : from Trercio/xac for T
3. [xvpwv : TT^W, to send forth an odor, is used with a genitive of the
source of the odor.
5. \|/KCL^LS: distill. Used with ntpwv, though the genitive is specially
appropriate only to irvteis.
11. Kv0T)p-q : = Ki>0<f/Deia, a name for Aphrodite, from Cythera as a site
prominently connected with her worship.
Page 83, 1. 14. Too-avra: has intensive force. Am so serviceable.
Pigeons have been messengers through all historic time, while the char-
acter of the dove has made it a peculiarly appropriate bearer of love-
tokens.
18. It was peculiarly recognized in the ancient world that the highest
and fittest reward for the faithful slave was to give him his -freedom.
ANACKEONTEA 175
21. irlrocrOai: from Tr^rajucu for TT^TO/XCU.
22. o'prj: sc. /car' 6/077. Placing the preposition between two nouns which
it governs is poetic ; cf . Od. xii. 27 77 a'Xos ?} e?rt yjjs.
28. imiv: infinitive of purpose, G. 1532 ; HA. 951.
37. KopwvTjs : genitive after the comparative XaXicrrfya*/. The crow has
always been famous for his noise, as Hesiod speaks of \aictpvfa Koptivrj,
Op. 747.
IX
The poet's charge to the painter how to represent his love.
Page 84, 1. 3. 'PoSfijs: the Rhodian artists became very distinguished,
though their fame belongs to a later age than Anacreon himself. KO-
pavc: master.
4. \:ir: G. 1434; HA. 916.
8. Kt|p6s : painting with wax belongs to the later period of Greek art.
The literary allusions to it come from the Alexandrian or Roman periods.
This passage, which is of course of uncertain date, contains perhaps the
earliest reference which we possess to this method of painting. (For
fuller information, cf. Smith's Diet. Ant., art. Pictura.) The particu-
lar method referred to here can hardly be determined with positiveness,
but is probably the encaustic.
9. jxupou : genitive of source with irvovcras (cf . viii. 3).
10. 6'X.Tjs: the picture being in profile, only one side appears in full:
this is &'X?7 irapetd.
11. irop<()vpai<ri : dark (cf. Anacreon ii. 3, note).
15. IX^TW KT\. : i.e. the picture.
16. <rvvo<|>pv: the word is an adjective used by Theocritus to charac-
terize a person in whom this is a special quality of beauty. Here it is
used substantively, but rb (jLefffypvov is still in the poet's mind. Let it
have, as she herself does, the imperceptibly mingling brows. frrvv in
the next line is an appositive.
18. vvv: next-, correlative to rb irp&rov, 1. 6.
20, 21. ajia . . . ajxa : at once . . . and, or partly . . . partly, the dt
suggests an understood tfv in the preceding line ; at once gleaming like
the glance of y\avKwiris 'AO^vrj and languishing like the tender Aphrodite.
To represent this characteristic of the goddess of love, her statues have
the lower eyelid drawn up a little over the eye.
24. Peitho is referred to by the poets as the daughter (Sappho 135
Bergk) or the companion of Aphrodite.
25. <|>(X.T]tia: 7r/oo/faXe?<r0cu takes commonly a preposition, irpbs or ets:
in vi. 7 the dative ; here, however, the accusative.
176 NOTES
Page 85, 1. 31. o-apKwv: partitive genitive. The plural of this nour
is generally used, especially by the earlier writers, as representing the
different parts or muscles of the body, and scKjame to be used indefinitely,
32. \'YXV: participle.
33. cnrc'xei KT\. : it is enough, I see her very self; soon thou wilt even speak,
X
The idea lying at the basis of the poem is peculiarly suggestive. Love
is made obedient to beauty only through the higher power of the Muses.
It is the mental and moral endowments which hold an abiding sway. .
XI
3. dvavpous : "Avavpos was originally a name of a river in Thessaly,
coming then to be used as a general term for streams.
XII
Page 86, 1. 1. C H TavrdXov: Niobe, who was turned into stone upon
Mt. Sipylus, in Lydia, originally belonging to Phrygia.
2. ox0cus : from 6xBrj. The masculine &xO* was the usual form with
this meaning.
3-4. ircus IlavSfovos: Philomela (or Procne, as the myth varied in
form) was the wife of Tereus, and was changed into a swallow.
5 . efrtjv : optative of wish.
8. <|>opfjs: (f>optu differs from 0<?/>w in having a frequentative sense, i.e.
that you might wear.
10 . xpOTo, : the construction is apposition or attraction, the word rep-
resenting the part taking the same case as the whole.
14. pdpYapov : necklace of pearls. Cf . the song in The Miller's Daughter
of Tennyson :
It is the miller's daughter,
And she is grown so dear, so dear,
That I would be the jewel
That trembles in her ear :
For hid in ringlets day and night,
I 'd touch her neck so warm and white, etc.
XIII
1. Xyiv: celebrate in poetry. 'ArpcCSas: introduced as a standard
epic subject.
3. d: Doric form for TJ. pdppiros : apparently = Xri/>a, though it had
properly a greater number of strings. The word appears repeatedly in
these songs and more frequently than
ANACKEONTEA 177
4. "Eptora: fact governs an accusative of effect. The construction
starts from a cognate. accusative ifoe? v^vov.
Page 87, 1. 9. cpcoras dvT6<|>wvi : sounded love-songs in response.
10. x a P lT KT\.: we bid you farewell for the future.
XIV
3. Xcrywots : from \ayw6s = \ay6s.
4. \a-crp oSovrwv: yawning jaws.
5. TO VTJKTOV : the power of swimming .
8. For women it had nothing more.
10. dircurdv : Doric contraction instead of -Cav.
12. And by beauty one conquers both steel andjire.
XV
2. TT]O-T] : every year. It has the force of an adverb.
Page 88, 1. 3. Oe'pei: dative of time. G. 1192 ; HA. 782.
5 . NeiXov . . . M|A<|HV : tirl goes with both nouns.
8. IIoOos : the personified desire was constantly represented as the com-
panion of Eros : the one is nearly equivalent to the other.
9. o.KfAT)v: = en: another is yet in the egg, and still another now half-
hatched.
13. 'EpwTiSets : the form is one which occurs repeatedly in terms
denoting the young of animals. Cf . XcryiSetfs, XimSetfs.
16. KVOVO-IV: bring forth.
17. ^vrvrai: G. 1359; HA. 866. 3. c.
18. 19. For I am not able, by shouting, to scare away so many loves.
This meaning for eVjSociw is peculiar, but it seems the only fitting one.
XVI
1, 2. Tjpiis . . . 4>pvywv: subjects of epic verse. The former was
prominent as the birthplace of many heroic characters, as also for the
wars of "the seven," and of the Epigoni, their descendants; the latter
is used referring to the scenes of the Trojan war. The Theban cycle of
epic poetry was only less prominent than the Trojan.
6. o-rparos: the host of the beloved.
XVII
Page 89, 1. 2. \apaw : the Greeks were in the habit of branding their
race-horses. Cf. L. and S. KOTnrarlas.
4. Tidpais: cf. Diet. Ant.; also Herod, i. 132; iii. 12; vii. 61.
178 NOTES
xvm
1. *O &vqp crX. : Hephaestus, whose favorite dwelling-place was the
island of Lemnos.
5. cpawrc: as savages poison their arrows. The custom of poisoning
arrows was evidently familiar to the Greeks, as is illustrated by the fact
that the poison was called rogucdr (^ajyuucfo), from which we get our Eng-
lish toxic, intoxicate, etc. Odysseus was not above using it (Od. L 261),
and Heracles poisoned his arrows with the bile of the Lernaean hydra ;
but such weapons were condemned by the Greeks and considered as be-
longing to barbarians. We have distinct disapproval expressed by Aelian
N. A. v. 16. Horace associates it with the Mauri, Car. L 22. 3.
8. e|: coming from. It expresses a closely connected circumstance.
&vr%s: is used often of the battle-cry , and so of the battle ; cf. IL xv.
718 ofcrcrc rip, If* aT o*roc feXX&v Jpiwr 4*r$r.
13. Ares takes the shaf\ but, tortured by its effects, begs to be
relieved. This, however, Eros refuses.
Page 90, 1. 3. RoArov : Bootes, or Arctnrns, is in immediate prox-
imity to the Great Bear. The idea then is '* as it begins its decline.
5. idttnu,: Ionic, = K&WTOJU
6. cwnfcfe: stopping.
7. x^s : the door of the ancient house was variously equipped and
ornamented; for description see Smith's Diet. Ant., art. Janua. The
knocking would be made with the metal rings upon the outside ; or might
perhaps refer to the shaking of the fastenings, to which &x.ek would
properly refer.
S. tvpos: the form was that of folding-doors.
9. mm, : connect with the verb.
IS. K&r&qmr: = i <U<^ n>r.
17. cwp: present, to make the description vivid; Lt>. +porrm
masculine as if vm*a preceded.
Page 91, L 19. UrrV : Ionic for crrim*.
80. TC: TC. . . TC would be nearly equivalent to |^. . . : by a mix-
ture of expressions, we find TC . . . SI.
2 6 Soaxdom : participle from pfty*.
28 i|vp: t*e liter, taken as the seat of feeling.
31. ic^tts: my torn. The Greek bow was made of horn (d Horn. H
SIMONIDES OF CEOS 179
XXI
2. ScvSp&ov cV oxpuv: on the tree-tops.
4. fkuri\vs oira>s : as if a king, or as happy as a king.
The cicadae were widely celebrated among the ancients, honored in
the people's customs and their songs. The sound of these insects was
always alluded to as particularly sweet; the ancient Athenians wore
golden cieadae as emblematic that they were afo^xlorcs, it being granted
that the insects were y-qycvcts.
XXII
Page 92, 1. 4. iraraxOcis : stung.
13. a: = 77.
14. The repetition of TO makes it more prominent in the mind and
emphatic. Notice that the transitive and intransitive meanings of irovtw
are brought together; the former is unusual.
XXIII
Page 93, 1. 3. ctcaprcpouv 4>v\aTTci>v : I should keep steadfast guard over
him, i.e. rbv UXovrov. The omission of Av makes the statement more actual.
4. av 6aviv cir&Or) : if death should come suddenly upon me.
11. irpoir^iira) : send forth.
16. rcXctv : to satisfy.
" XXV
The meter is iambic dimeter with some verses catalectic and some
acatalectic.
SIMOXIDES OF CEOS
I
Page 95, 1. 2. d: = rj : a Doric form, though they are very few in the
writings of Simonides.
3. Their burial-mound is an altar; in place of loud lamentation, there
is continued remembrance; while the deep grief is their public praise. The
altars of the ancients, especially when they were prepared for unusual
services in the open air, were frequently mounds of earth.
4. vrd4>iov is appropriate to whatever belongs to the burial ; it can be
translated winding-sheet, though that will not express all the ideas which
it suggests.
180 NOTES
6. olKcrav : dweller ; the idea is that they, in their sepulcher, give an
unending abiding-place for Greek glory. This sepulcher has received the
glory of Greece to dwell there.
7. jtapTvpei : the object is the previous sentence.
9. KOO-JJLOV: adornment.
II
This ode was written in honor of Scopas, the Thessalian tyrant, to
celebrate his victory in the chariot-race. It is peculiarly celebrated as
being the poem with which is associated the story of the death of Scopas
and his friends. The half of the song which, by its reference to the
Dioscuri, roused the jealousy of the tyrant, has been lost. (See Smith's
Diet, of Biog., art. Simonides.) The morals of the poem are so peculiar
that one can hardly fail to conjecture that it was arranged to fit its sub-
ject, though with something very like sarcasm in its suggestions. The
theme is the impossibility of securing and maintaining goodness.
Page 96, 1. 1. d\a0s: = d\r)8us.
2. TTpd-yvov KT\. : perfect in hand? and foot and mind. Cf. Aristotle
Rhet. iii. 11 : rbv dyaBbv avdpa <J>OLVOLL elvai rerpdywvov ^era0opd, <5tyu0a> yap
r^Xeta : to say that the good man is Terpdyuvov is metaphor, as both are perfect.
3. clScos KT\. : a man, I mean, who knows the law which helps the state.
5. TWV -yap KT\. : for the race of fools is without end.
7. TOUTIT: relative. al<rxpd : things disgracefully bad.
8. Nor is the saying of Pittacus held by me to be appropriately spoken,
vtfjiu is here used with the signification of vo^ity.
10. God alone would have this prerogative: it is impossible for a man
not to be bad when overwhelming distress comes upon him.
Page 97, 1. 11. dpdxavos is simply that which leaves no possible de-
vice open ; so inconceivable, immense, overwhelming.
12. irpdgais (= Trpdfas) ev: in prosperity.
13. cl: supply for the condition a verb from irpd&is.
14. TO irXcwrrov: "most continuously," or to the greatest extent.
15-17. Therefore, through desire for that which cannot be, I will never
devote my allotted period of life to an empty hope which can gain no
accomplishment, namely for a blameless man among all as many of us as
enjoy the fruit of the spacious earth. 5/^/xat is a word which in its origin
properly denotes a doubting state of mind (5fe, 5tfo) ; the meaning then
becomes that of expectancy or desire.
16. airpciKTov may be used in the sense of that for which nothing can
be done, which cannot be accomplished ; or it may mean that which
does nothing, and so vain or idle.
SIMOMDES OF CEOS 181
18. irC: connect with evpuv : lighting upon, discovering.
19. iraCvT]|u: Aeolic form for eTrcu^w.
Ill
Danae, with her infant child Perseus, was placed in a chest and cast
into the sea by her father Acrisius, on account of an oracle which declared
that the child would kill his grandfather. The ark floated to the island
of Seriphos, where Danae and Perseus were rescued. The poem is the
lament of Danae.
Page 98, 1. 1. Xdpvaia: a word of some indefiniteness, used even for
Deucalion's ark. It means commonly, however, a mere box. ScuSaXc'a :
highly wrought, probably suggesting precious metals, though also used of
wood.
2. XC|iva: waters.
3. OVK dSidvToia-i irapciais : litotes ; cheeks wet with tears.
4. 4>CXav : the early poetic use like a possessive.
5. <rv : contrasted with subject of exo>. domis : used of quiet, restful
slumber.
6. XdOe'i: from \GL6os = \ij0os = \^0rj.
7. Sovpari: properly a stick of timber, a beam ; used here for the whole
craft.
8. KaraXets: Kar-dXw : shut close.
10. dXc'ycis : regularly takes the genitive, but occasionally, as here, the
accusative.
12. -irpoo-coirov KXi0v irpoo-toircp: with face against face.
13. But if that which is really fearful were fearful to thee thou wouldst
lend a sensitive ear to my words.
Page 99, 1. 15. 8': corrective ; but nay, I bid thee sleep.
18. 0ap<roXov: there was danger in presumption.
EPIGRAMS
The number of epigrams left to us by Greek poets is very large, and
they come from a vast variety of authors, as this type of literature
always has a place. In large numbers of cases they were written as epi-
taphs, or monumental inscriptions in honor of the dead, in which cases
they would be especially likely to gain remembrance and widely-extended
fame. Simonides had the fortune to live in the stirring period of the
great wars of the Greeks with the Persians. His epigrams thus became
associated with the grandest efforts and sacrifices of his countrymen.
182 NOTES
We cannot always discover where each epigram was inscribed, nor be
sure that all are attributed to their real authors. In large classes of cases
they have come to us simply associated with certain names in the old
collections known as the Greek Anthology. This authority, when unsup-
ported, can hardly be relied on as better than a tradition, and beyond
the name of the author even the tradition gives little light. The epigrams
of Simonides have, however, the advantage of belonging to an age of
especial historical interest, about which we are comparatively well in-
formed. We give a few of those which are associated with his name,
especially those relating to the Persian wars.
V
1. A(p<f>uos : Dirphys was a mountain in Euboea. viro irrvxC : under
the shadow of the gorge, or within the gorge.
The circumstances under which this epigram was written are uncertain.
VI
Page 100, 1. 2. xP var <l > P b>v : in early times, almost all of the gold
of the Greeks came from the East, through the Persians. There is no
proof of a gold coinage in Greece, certainly of any extent, before the
time of Alexander the Great.
The following four belong to the Greeks who took part in the battle
of Thermopylae.
VII
2. xiXidScs T^ropes : this includes all the Peloponnesians who at first
guarded the pass, the greater part of them being afterwards dismissed by
Leonidas (cf. Herod, vii. 202, 221).
VIII
This epigram is of interest because it belongs to the heroes of Ther-
mopylae, but is even more noteworthy for its suggestiveness, in that it
emphasizes not so much their Spartan valor as their obedience to Spartan
law.
IX
1. MeyurrCa (Doric genitive) : the soothsayer, an Acarnanian by birth,
who refused to leave Leonidas. A separate monument, with* this inscrip-
tion, was erected to him.
2. 27Tpxi6v : the Sperchius is a small stream which enters the Sinus
Maliacus just north of Thermopylae.
SIMONIDES OF CEOS 183
XI
In behalf of the Corinthians who were killed and buried at Salamis.
XII
Page 101, 1. 1. 'AKjxas . . . irl upov : a sort of proverbial expression,
used repeatedly for extreme danger.
4. T|\|;a|iv : we attached to, loaded upon.
XIII
'AScijjidvTou : Adeimantus was the commander of the Corinthian fleet
in the war against Xerxes. He was charged by the Athenians with cow-
ardly conduct (cf. Herod, viii. 5, 59, 94), but seems to have sustained a
good reputation among the most of the Greeks. It is fair to say that the
Athenian accusation has rather the appearance of a hostile invention.
XIV
3. T0vd<ri : the verb is used in the perfect with the sense to be dead.
XV
Supposed to be also connected with Thermopylae.
XVI
Connected by good authorities with Plataea, where Pausanias says the
Athenians were buried separately with an epitaph prepared by Simonides
on the monument over them. See Paus. ix. ii. 4.
XVII
Associated with the battle of the Eurymedon, in which Cimon defeated
the Persians, first at sea and then on the land, on the coast of Asia
Minor. If the received dates are correct, this cannot belong to our Simoni-
des, for the battle is given as occurring the year after his death. Some
authorities, however, place the engagement earlier.
Page 102, 1. 1. 'E ov: sc. xpv-
6. IKCITOV: in the first engagement at sea, Cimon captured two hun-
dred ships ; he then followed the enemy to the land, and routed them,
and, according to Plutarch, afterwards defeated a reinforcement of
eighty Phoenician ships.
184 NOTES
XVIII
Epitaph upon a certain Leon, upon whose monument was a sculptured
lion. It has even been conjectured that this was inscribed upon the mon-
ument of Leonidas, as Herodotus (vii. 225) refers to the lion sculptured
there. There is, however, no external evidence to sustain this view.
There seems to have been a fondness among the Greeks for the figure of
a lion upon a soldier's monument.
1. ov: i.e. rbv K&PTUTTOV. and I guard the strongest of mortals.
XX
1. Twv avrov . . . a7roXXvjivo)v : at the death of his own friends.
XXI
2. Timocreon of Rhodes was a lyric poet who spent a considerable
part of his life in exile in Persia. He was indignant over his lot, was a
good hater, and was well hated in return. He was also noted for his
physical strength, and, as was customary with Greek athletes (see Ath.
Deip. x), was a prodigious eater. So this epigram sums up his qualities.
dvOpwirovs: eliribv governs two accusatives, one of the person and the other
of the thing (cf. G. 1073 ; HA. 725. a). KCIK' etirwv : to defame.
BACCHYLIDES
I. THE YOUTHS OR THESEUS
A scene connected with the taking of the memorable tribute of seven
young men and seven maidens from Athens to Crete, when Theseus ac-
companied them as a volunteer. The ship in which Minos is carrying
them is proceeding on its way when the king becomes enamored of
Eriboea, one of the maidens. Theseus expostulates with him by right of
his divine lineage, which leads to a contest in which the king appeals
successfully to Zeus to acknowledge him as his son by sending a token of
lightning, and then calls upon Theseus to leap into the sea and bring
back a ring which he throws overboard, and thus to furnish proof that
he is acknowledged by his father Poseidon. Theseus returns triumphantly
from the deep, with a robe and diadem from Amphitrite. The scene was
the subject of one of the famous paintings of Micon in the Theseium at
Athens. With regard to this and other illustrations of the story consult
Frazer's Pausanias, I. xvii. 8.
BACCHYLIDES 185
The Greek choral ode is an ornate construction with more or less defi-
nite laws of composition. These had grown up as the expression of the
Greek love of symmetry so that poets learned spontaneously to recognize
them in their songs and even the language shaped itself to the poetic duty
which it was to fulfill. German scholars have given much attention to
the fact, especially in the odes of Pindar but also in those of Bacchylides,
that there is a recurring similarity of words in corresponding lines of the
strophes. For example, we have in our first selection
Line 7 : K\vrds Line 73 : K\VTCLV
Lines 17-20: bir otyptwv Lines 83-86: eV iKpLajv
Kapdtav TC irbvribv re
Atos vi Aibs vtbs
Line 18 : dlva<rev Line 107 : divevvro
" 20: etptvre " 109: eUtv re
" 36: UoaeiSavi " 79: Uoffeidbv
and so on. The purpose of these and similar assonances is not clear, but
in any case they illustrate how much art was exhibited in the structure of
a Greek ode.
The meters also are formed with a peculiar mingling of regularity and
variety. The precise methods by which the Greeks maintained their prin-
ciples of unity and variety in their musical compositions are far from clear.
We can, however, divide the measures so as to get general correspondence
of time. In the arrangement of the schemes of scanning for these odes
I have followed almost without deviation the authority of Professor Her-
bert Weir Smyth's Greek Melic Poets, a volume which I have found
throughout most helpful and suggestive, and to which I am glad to
acknowledge my obligation.
Page 105, 1. 1. fAvKTuirov : firm in the din of battle.
3. 'laovwv: used here for Athenians.
5. 4>dpi: the sail.
7. KdTi: as in Homer, by the grace of] that is, the north wind, as fa-
vorable for the voyage to Crete, helped them on the way by the favor of
the goddess. TroX|xaC < yi8os : who bears the aegis of war.
9. l|ipd|iiruKos : as in II. xiv. 215 to the girdle of Aphrodite are attrib-
uted all charms, <t>i\t>Tt}s, t>epos, and others, so here her head-band is se-)
lected as especially characteristic.
11. irapOeviKas : = irapBtvov. The genitive depends upon ArepOe.
13. XevKav: Doric genitive for XCVK&V.
186 NOTES
Page 106, 1. 15. IlavSiovos e'lc-yovov: i.e. Theseus, who in popular
nomenclature is son of Aegeus and grandson of Pandion.
17. |j.eXav : dark or somber, so angered.
18. Sivcurcv : from dipdw, a Doric form for 5u/<?w.
20. ctpev : for el-rev.
21. A desire no longer holy thou art permitting to hold sway.
23. ju-yaXovxov pav: violence of desire; the adjective is compounded
of the stem of ^yas and 6%os from exw.
25. piri: transitive, like einppew. what the scale of justice allots.
28. papetav: oppressive.
29. iccSvd : connect with K6pa.
31. eparwwjAos : lovely. The mother of Minos was Europa, the daugh-
ter, according to the more common tradition, of Agenor, but here (as in
II. xiv. 321) of Phoenix.
33. KdjJl^ : = /Cttt fL.
34. IIiT0os OvydTTjp : Aethra.
35. irXaOcto-a : cf. Aesch. Prom. 896 w$e TrXatfetV 7 a /^ T 2- The quantity
of the first syllable does not correspond to the other strophes.
36. IIo<riSdvi: Doric, IIo<ret5wj>t.
39. Kvwcrcruov : the final syllables are drawn together by synizesis.
Knossus is the well-known Cretan town where Minos ruled.
40. The line does not seem to meet the metrical requirements.
Page 107, 1.41. 4pvKv: tpfaeiv.
43. I8tv <|>dos: i.e. to live.
44. Sanaa-Has: constrain.
45. 7Tp6o-0 KT\.I before that shall happen we will show our strength
of hand.
47. dpT<uxH">s : valiant with the spear.
49. \>irpd<|>avov : used in the good sense, extraordinary.
50. c A\(ov -yctfippw: Minos, whose wife was Pasiphae, daughter of Helios.
51. iroTatvCav : novel or bold.
54. <ovur<ra: Europa.
56. trvpi0ipav : fire-trailing.
60. xpvo-cov : connect with Kbo-pov. He throws his ring into the sea.
62. Casting thyself boldly into the element where thy father dwells.
66. dvafjippovras : ruler of the thunder.
Page 108, 1. 67. dfurpov : bold or exorbitant.
70. iravScpxe'a : sc. iraida : wishing to render him illustrious.
7 1 . Ov^dpfievov : pleasing to his heart.
73. al0pa : here feminine as in Homer. In Attic use it is predomi-
nantly but not universally masculine.
BACCHYLIDES 187
74. Cf. 1. 20.
76. 8pa: the response. <rv : emphatic. opvv': apparently for 6p-
w(<r}o : throw thyself.
80. TjvScvSpov: poetic for evdevdpov.
81. TO> 8': i.e. Theseus.
82. dvcKdji/irTCT' : yield, draw back.
85. 6eXi]|i.6v: supposed to be derived from the root of 0Aw (<?0^Xw). In
the only other place where it appears, Aesch. Supp. 1026, it is used of
water. Kenyon suggests to translate it yielding. The form efleX^of is
used in Hesiod Op. 118 in close connection with rftruxot, and it is perhaps
better taken as equivalent to that word, i.e. quiet. a\<ros : we have this
same expression irbvrLov &\<ros for the sea in Aesch. Pers. 111. Cf . dXippvrov
dXo-os Aesch. Supp. 868.
86. Ta|v : from r^/cw : the meaning is not clear, but perhaps the most
satisfactory rendering is the son of Zeus (i.e. Minos) stilled his heart, that
is, was satisfied at the fate of Theseus.
88. forxev: Doric infinitive.
89. 68ov : course, outcome.
90. Sopv : = vavs : subject of I'ero, which is intransitive. The swift ship
sped on. o-0vi : dative of manner, with force.
91. (njTa: = d-fjTys, a wind.
92. 'A9avaCcov: the penult is shortened before the following vowel.
Page 109, 1. 93. -gOc'wv -ye'vos : from the idea of plurality which it sug-
gests, takes a plural verb.
95. \ipiwv : from Xeiptos = Xetpi6eis : gentle. There is difficulty with
the meter. The manuscript places both syllables of ddicpv in this line.
Joining the second syllable to the following line and reading x^ v as one
syllable meets the metrical demand.
97. dXivatcrai : dwellers in the sea.
99.- linrCov : epithet of Poseidon.
100. SOJJLOV: accusative of place. G. 1065; HA. 722.
104. <rl\as : is this to be taken as literal and does the idea grow out of
the phosphorescent light seen in the sea ?
106. XRwcoT^oK 01 TeuvCai : fillets of plaited gold.
107. 8ivvvro: middle from divefa = divtu : encircled.
108. \rypouri : supple, pliant.
110. <rfxvdv: the text is doubtful, as the meter seems incorrect.
111. Sdfxois : a poetic dative of place.
112. d'iova: apparently a mantle, but the word does not appear else-
where and the reading is questionable. irop<|>uplav : the last two sylla-
bles are drawn together by synizesis.
188 NOTES
113. ovXcus: adjective with /c6,uai<ri: cf. Horn. Od. vi. 231.
115. ol: i.e. Amphitrite.
116. 86Xu>s: so Sappho calls Aphrodite 5o\67rXo/ce, i. 2. 56Xtos is appar-
ently scanned as two short syllables.
117. Nothing which the gods choose to do is incredible to sensible men.
118. <|>pvodpais : from <f>pevo<ipas = Qpevo-fipys. It is noticeable in the
account that the bringing back of the ring is not specifically mentioned.
The poet wishes to encourage our imagination.
119. XeirTO'irpvjj.vov : with slender stern.
Page 110, 1. 121. <rxcurv: broke off] with what thoughts was the
Cnossian chief occupied which he (Theseus) brought to an untimely end.
124. d-yXaoOpovoi : can hardly differ much in meaning, as here used,
from 0,7X0,01.
129. iraioLvigav : the first syllable is shortened in scanning.
130. This conclusion is proof that the poem was addressed to Apollo
and sung by a chorus of Ceians.
II
The poem is peculiar in being in the form of a dialogue, the speaker
changing with each strophe. Aegeus, the king of Athens, is questioned
by some Athenian or Athenians as to the meaning of a strange excite-
ment which has broken out in the city. The reply tells of the approach
of a valiant youth, of whom a herald has announced that he is coming
to Athens from the way of the Isthmus, slaying the giants and monsters
that oppose his course. It is a dithyrambic song in honor of Theseus,
and is an interesting illustration of the prominence of the dramatic ele-
ment in that form of poetry, and of the freedom of Greek choral song,
which rendered it capable of vast variety of expression and opened the
way for its rich development, issuing in the masterpieces of the Athenian
stage. The fullness of Greek life was expressing itself in the manifold
varieties of choral song, and so finally found voice in the drama. If we
could gain a more perfect view of the history of Greek lyric we should
doubtless be surprised by many bold experiments and charmed by many
beautiful devices. This is one of the chorals arranged by the poet that
at the Athenian festival Theseus may be appropriately celebrated.
Page 111, 1. 1. The address to the king may be regarded as coming
from a chorus of Athenians, but there is nothing to define the speakers
or speaker, so that it might have been a single person. BcuriXev: i.e.
Aegeus. 'AOavdv.: a Doric genitive.
BACCHYLIDES 189
2. dppopfwv 'Lovwv : the name is applied to the Athenians, as they
loved to consider their city the mother state of the lonians. The adjec-
tive also is to be taken as one which would be pleasing to the people.
They congratulated themselves that they knew how to live with pleasure,
in contrast to the oppressive discipline of the Dorians represented by the
Spartans.
3. rl: why. vcov: just now. x ct ^ KOK<i *S < )V : K<&8w properly meant a
bell, and then was used of the bell or swelling mouth of the trumpet,
4. doiSdv: note.
6. d|x<()ipdX\6i : beset.
10. CTCVOVT' : Doric for eretfowt : drive off.
14. TIV : Doric for croi.
16. djih|/as: having traversed.
17. 'Io-0)iav: the Isthmian pass skirts the sea-shore from Eleusis to
the Corinthian territory, where now the railroad and highway present
wild and beautiful views as they wind along the shore, clinging to the
precipitous hills, with the clear waters of the sea far below. It is only a
few years ago, however, that travelers spoke of it as an almost impass-
able path. Greek tradition loved to tell of robbers who had formerly
infested this region, so well fitted to encourage attacks upon wayfarers,
until Theseus in his coming to Athens exterminated the offenders with
triumphant valor. Theseus was to be sent by his mother Aethra from
Troezen to his father at Athens when he should be able to lift the stone
and take the sandals and sword which his father had left there. This
was his coming which is described in our poem.
20. SCviv : Sinis belongs to the border of Corinthia. He bore the name
Pityocamptes from an unfortunate fondness he was said to have for
fastening strangers on the bent pine-trees that they might be rent in pieces
as the trees sprang back.
21. KpoviSa: Doric genitive for Kpovtdov, i.e. Poseidon, who here re-
ceives the epithet Avratos, said to be connected with Thessaly, where
Poseidon was especially revered as having let loose the waters which
formerly covered the land.
24. KpfA[Avwvos : Crommyon, to follow the usual spelling of the word,
was a place on the borders of Corinthia. Here the wild sow Phaea, rav-
aging the country so that Theseus came to the rescue, gained immor-
tality for herself and helped to secure it for the hero.
25. Sciron, dwelling in the narrow part of the pass, was said to com-
pel captured travelers to wash his feet, and then, when they were unsus-
piciously engaged in their task, to push them into the sea.
190 NOTES
26. Cercyon lived in the neighborhood of Eleusis, and forced stran-
gers to wrestle with him.
Page 112, 1. 27. rxv: checked, put an end to. IIoXvTr^ovos : the
myth is the one popularly associated with the name of Procrustes, who
fitted his captives to his bed by cutting them off or stretching them out
as the case might demand. Polypemon is given by Pausanias as identical
with Procrustes. But here Procoptes seems to be the principal character,
wielding the weapon which mutilates the unfortunate victims. The form
of the myth as here given we cannot certainly recover, but perhaps the
best interpretation suggested is to make Polypemon the father, and Pro-
coptes the son who has inherited the violent practices of his father.
Translate, and Procoptes let fall the mighty hammer of Polypemon, having
found a man superior to himself.
31. Ttva . . . u60v : a double question in a single sentence, according
to a usage not uncommon in Greek, from Homer down. Cf. Od. i. 170
rts irbOev els dvdpun> ]
35. There is apparently something wrong in the text, as there is a syl-
lable lacking at the end to make the meter correspond to the other
strophes. The second syllable in the line should also regularly be short.
Kenyon reads ?} popov r &voir\bv r viv. Smyth reads <rvv dirdoa-iv. So Weil
and Blass, comparing Eur. Hec. 1148 yJbvov o-tiv reKvouri.
41. 0os: the glory of the coming hero is further enhanced by the
divine commission.
42. jxVjo-cTat : the future with 6$pa in final clause is rare. GMT. 324.
45. Cf. Solon vi. 8 TT&VTM 'i<rrepov ^X0e diKij.
46. Avo <J>wT : according to the myth as generally given Theseus was
alone in his journey to Athens, but these popular stories had naturally
many variations. opapTctv : the manuscript has dpaprelv, which is here
manifestly another form for b^aprelv.
48. The verse is incomplete, lacking one or more words apparently
defining 0os.
49. Two spears belong to the equipment of the hero from the time of
Homer down. The vase-paintings largely represent the warrior as so
armed.
50. KI]{JTVKOV : by crasis for /ecu CVTVKOV = CVTVKTOV.
Page 113, 1. 53. ovXiov : woolly.
54. x^o-K-vS': the chlamys was a short cloak, said to belong especially
to Thessaly, but worn largely by horsemen everywhere, and a favorite
garment of the Athenian ephebi.
BACCHYLIDES 191
55. Aafxvtav : Lemnos was always associated in Greek thought with
volcanic fires. The island was sacred to Hephaestus ; cf . Soph. Phil. 800 :
rf Ay/Jivli}) rq>d' dvcLKaXovfJitvtt) irvpl.
56. <|>oCvr<rav $\6ya,: cf. Pind. P. i. 45.
57. dOvpfxaTcov : defined by its appositives, iroXtfjuv and Acd%as.
59. x a ^ KOK ' < n-ov : with brazen clang.
Ill
1. The selection is a fragment apparently of a paean in honor of peace.
ctpVjva: peace is personified, but the poet shows here no consciousness
of the mythology connected with her as a divine being. Hesiod presents
Eirene as one of the Horae who preside over the order of nature and
especially the seasons. She had, at least in a later age, an altar and stat-
ues at Athens. One by Cephisodotus, representing Eirene with the infant
Plutus in her arms, is known to us by a replica in Munich which has
become very famous in modern times. How natural it was to personify
Peace, is illustrated again by Aristophanes in the play which he has named
after her. |i-ydXa : neuter plural accusative. G. 1054; HA. 716. b.
2. fieXi-yXwo-orcov : cf . Aesch. Prom. 172 yueXi7\c6(rcrots IlettfoOs e7raoidcu<rtj>.
doiSdv : Doric genitive plural.
3. al'0<r0cu : depends upon rt/crei.
5. jw'Xciv: construed with genitive and dative, as is customary. G.
1105; HA. 742.
6. 7r6pira|iv: "porpax " is used here apparently as a general term for
the fastenings on the inner side of the shield. More specifically it was
probably a thong running in loops a little inside of the circumference, to
be grasped by the hand while the forearm was under the 6%ai/os, a strip
(usually of metal) which went across the diameter of the shield. al0dv :
dusky or dark brown. The root is connected with a?0w and signifies the
various colors of the murky flame. The case, like that of dpaxvdv, is geni-
tive as above.
IV
1. AvSta X(0os: cf. Theog. 265, note.
OF THE
UNIVERSITY
OF
"
MIHAL FIM OF OHM
OtrtBlig"