Select epigrams from the Greek anthology. Edited with a rev. text, introd., translation and notes by J.S. Mackail

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SELECT EPIGRAMS FROM

PEO GRE RK CON Tino OGY

ΞΕ ee lr ERIGRAMS FROM THE GREEK
ANTHOLOGY EDITED WITH A REVISED
Pent fr INTRODUCTION: TRANSLATION
Ne: NOLES: BY i WoOMACK ATE; EE LLOW
OF BALLIOL COLEEGE OXFORD

LONDON

LONGMANS, GREEN, AND CO.
NEW YORK: 15 EAST 16TH STREET

1890

ν͵ fee Jee
ἔτι που πρωΐμα λευχοΐα.

MELEAGER in Anth. Pal. iv. 1.

Dim now and soil’d,
Like the soil'd tissue of white violets
Left, freshly gather'd, on their native bank.

M. Arnon, Sohrab and Rustum-

>) «ππαεθμως

PREFACE

THE purpose of this book is to present a complete
collection, subject to certain definitions and exceptions
which will be mentioned later, of all the best extant
Greek Epigrams. Although many epigrams not given
here have in different ways a special interest of their
own, none, it is hoped, have been excluded which are
of the first excellence in any style. But, while it
would be easy to agree on three-fourths of the matter
to be included in such a scope, perhaps hardly any
two persons would be in exact accordance with regard
to the rest ; with many pieces which lie on the border
line of excellence, the decision must be made on a

. balance of very slight considerations, and becomes in

the end one rather of personal taste than of any fixed
principle.

For the Greek Anthology proper, use has chiefly
been made of the two great works of Jacobs,
which have not yet been superseded by any more
definitive edition: Anthologia Giraeca sive Poetarum
raeccorum lusus ex recensione Brunckii; indices et
commentarium adiecit Friedericus Iacobs (Leipzig,
1794-1814: four volumes of text and nine of indices,
prolegomena, commentary and appendices), and An-
thologia Graeca ad fidem codicis olim Palatini nune
Parisini ex apographo Gothano edita; curavit epigram-

Vill PREFACE

mata in Codice Palatino desiderata et annotationem
criticam adiecit Fridericus Jacobs (Leipzig, 1813-
1817: two volumes of text and two of critical notes).
An appendix to the latter contains Paulssen’s fresh
collation of the Palatine MS. The small Tauchnitz
text is a very careless and inaccurate reprint of this
edition. The most convenient edition of the Antho-
logy for ordinary reference is that of F. Diibner in
Didot’s Bibliotheque Girecque (Paris, 1864), in two
volumes, with a revised text, a Latin translation, and
additional notes by various hands. The epigrams
recovered from inscriptions have been collected and
edited by G. Kaibel in his Hpigrammata Graeca ex
lapidibus conlecta (Berlin, 1878). As this book was
going through the press, a third volume of the Didot
Anthology has appeared, edited by M. Ed. Cougny,
under the title of Appendix nova epigrammatum
veterum ex libris et marmoribus ductorum, containing
what purports to be a complete collection, now made
for the first time, of all extant epigrams not in the
Anthology.

In the notes, I have not thought it necessary to
acknowledge, except here once for all, my continual
obligations to that superb monument of scholarship,
the commentary of Jacobs; but where a note or a
reading is borrowed from a later critic, his name is
mentioned. All important deviations from the re-
ceived text of the Anthology are noted, and referred
to their author in each case; but, as this is not a
critical edition, the received text, when retained, is as
arule printed without comment where it differs from
that of the mss. or other originals.

ον ἣν υνυὶ

PREFACE ΙΧ

The references in the notes to Bergk’s Lyrici Graeci
give the pages of the fourth edition. Epigrams from
the Anthology are quoted by the sections of the
Palatine collection (Ath. Pal.) and the appendices to
it (sections xili-xv). After these appendices follows
in modern editions a collection (App. Plan.) of all the
epigrams in the Planudean Anthology which are not
found in the Palatine MS.

I have to thank Mr. P. E. Matheson, Fellow of New
College, for his kindness in looking over the proof-
sheets of this book.

—— π ωΝ

“a

CONTENES

PAGE
INTRODUCTION, 5 : : : : 5 Ἴ 1
SELECT EPIGRAMS—

᾿ if Love, -: : : : 5 : Ξ 91

: II. Prayers and Dedications, ; : : : : 122

IL. Epitaphs, : : : ς : : : 140

IV. Literature and Art, . : : 5 ᾿ ᾿ 162

V. Religion, : ; : 5 : Ξ 180

5 VI. Nature, - ᾿ ᾿ . : 22188
' VII. The Family, . - 900
VIII. Beauty, 3 : 2 : ξ : 209

IX. Fate and Change, : : F : ‘ ; 214

X. The Human Comedy, . : : F : : 227

XI. Death, . P : : : : ; : 245

χὴν Life, : bz nian . 265

Ε΄ ᾿ς ΒΙΟΘΒΑΡΗΙΟΘΑΙ, INDEX OF EPIGRAMMATISTS, . ; ὃ : 285
Ε- Notes, . ; : : : : ; ᾿ .. BIS
. INDICES, : 5 : : : é Ξ F Ε 393

ay wo

a | ae

INTRODUCTION

ΙΕ

THE Greek word ‘epigram’ in its original meaning is precisely
equivalent to the Latin word ‘inscription’; and it probably came
into use in this sense at a very early period of Greek history,
anterior even to the invention of prose. Inscriptions at that
time, if they went beyond a mere name or set of names, or
perhaps the bare statement of a simple fact, were necessarily
in verse, then the single vehicle of organised expression. Even
after prose was in use, an obvious propriety remained in the
metrical form as being at once more striking and more easily
retained in the memory; while in the case of epitaphs and
dedications—for the earlier epigram falls almost entirely under
these two heads—religious feeling and a sense of what was due
to ancient custom aided the continuance of the old tradition.
Herodotus in the course of his History quotes epigrams of both
kinds ; and with him the word ἐπίγραμμα is just on the point
of acquiring its literary sense, though this is not yet fixed defi-
nitely. In his account of the three ancient tripods dedicated
in the temple of Apollo at Thebes,’ he says of one of them,
6 μὲν δὴ εἷς τῶν τριπόδων ἐπίγραμμα ἔχει, and then quotes the
single hexameter line engraved upon it. Of the other two he
says simply, ‘they say in hexameter, λέγει ἐν ἑξαμέτρῳ τόνῳ.
Again, where he describes the funeral monuments at Ther-
mopylae,” he uses the words γράμμα and ἐπίγραμμα almost in
the sense of sepulchral epigrams ; ἐπιγέγραπται γράμματα λέγοντα
τάδε, and a little further on, ἐπικοσμήσαντες ἐπιγράμμασι χαὶ
στήλῃσι, ‘epitaphs and monuments’. Among these epitaphs is
the celebrated couplet of Simonides* which has found a place
in all subsequent Anthologies.

1 Hadt. v. 59. 2 Hdt. vii. 228. ° i. 4 in this collection.
1

bo

GREEK ANTHOLOGY

In the Anthology itself the word does not however in fact
occur till a late period. The proem of Meleager to his collection
uses the words cody, ὕμνος, μέλισμα, ἔλεγος, all vaguely, but has
no term which corresponds in any degree to our epigram. That
of Philippus has one word which describes the epigram by a
single quality ; he calls his work an ὀλιγοστιχία or collection of
poems not exceeding a few lines in length. In an epitaph by
Diodorus, a poet of the Augustan age, occurs the phrase γράμμα
λέγει, in imitation of the phrase of Herodotus just quoted. This
is, no doubt, an intentional archaism; but the word ἐπίγραμμα
itself does not occur in the collection until the Roman period.
Two epigrams on the epigram,? one Roman, the other Roman
or Byzantine, are preserved, both dealing with the question
of the proper length. The former, by Parmenio, merely says
that an epigram of many lines is bad—oyyi πολυστιχίην ἐπι-
γράμματος οὐ κατὰ Μούσας εἶναι. The other is more definite,
but unfortunately ambiguous in expression. It runs thus:

Παγχαλόν ἐστ᾽ ἐπίγραμμα τὸ δίστιχον᾽ ἣν δὲ παρέλϑης
τοὺς τρεέϊς, ῥαψῳδεέίς κοὐχ ἐπίγραμμα λέγεις.

The meaning of the first part is plain; an epigram may be
complete within the limits of a single couplet. But do ‘the
three’ mean three lines or three couplets? ‘Exceeding three’
would, in the one case, mean an epigram of four lines, in the
other of eight. As there cannot properly be an epigram of
three lines, it would seem rather to mean the latter. Even so
the statement is an exaggeration; many of the best epigrams
are in six and eight lines. But it is true that the epigram
may ‘have its nature’, in the phrase of Aristotle,’ in a single
couplet; and we shall generally find that in those of eight
lines, as always without exception in those of more than eight,
there is either some repetition of idea not necessary to the
full expression of the thought, or some redundance of epithet
or detail too florid for the best taste, or, as in most of the
Byzantine epigrams, a natural verbosity which affects the
style throughout and weakens the force and directness of the
epigram.

The notorious difficulty of giving any satisfactory definition

1 Anth. Pal. vi. 348. 5 Thid. ix. 342, 369. 3 Poet, 1449 a, 14.

INTRODUCTION 3

of poetry is almost equalled by the difficulty of defining with
precision any one of its kinds; and the epigram in Greek,
while it always remained conditioned by being in its essence
and origin an inscriptional poem, took in the later periods so
wide a range of subject and treatment that it can perhaps
only be limited by certain abstract conventions of length and
metre. Sometimes it becomes in all but metrical form a
lyric ; sometimes it hardly rises beyond the versified statement
of a fact or an idea; sometimes it is barely distinguishable
from a snatch of pastoral. The shorter pieces of the elegiac
poets might very often well be classed as epigrams but for
the uncertainty, due to the form in which their text has come
down to us, whether they are not in all cases, as they un-
doubtedly are in some, portions of longer poems. Many
couplets and quatrains of Theognis fall under this head; and
an excellent instance on a larger scale is the fragment of
fourteen lines by Simonides of Amorgos,! which is the exact
type on which many of the later epigrams of life are moulded.
In such eases respice auctoris aninum is a safe rule; what was
not written as an epigram is not an epigram. Yet it has
seemed worth while to illustrate this rule by its exceptions ;
and there will be found in this collection fragments of Mimner-
mus and Theognis? which in everything but the actual cir-
cumstance of their origin satisfy any requirement which can
be made. In the Palatine Anthology itself, indeed, there are a
few instances® where this very thing is done. As a rule,
however, these short passages belong to the class of γνῶμαι or
moral sentences, which, even when expressed in elegiac verse,
is sufficiently distinct from the true epigram. One instance
will suffice. In the Anthology there occurs this couplet :4
Πᾶν τὸ περιττὸν axatpov’ ἐπεὶ λόγος ἐστὶ παλαιός
ὡς χαὶ τοῦ μέλιτος τὸ πλέον ἐστὶ χολή.
This is a sentence merely; an abstract moral idea, with an
illustration attached to it. Compare with it another couplet ὃ
in the Anthology:
Αἰὼν πάντα φέρει" δολιχὸς χρόνος oidev ἀμείβειν
οὔνομα χαὶ μορφὴν καὶ φύσιν ἠδὲ τύχην.

τ Simon. fr. 85 Bergk.
2 Infra, παι. Ὁ, 17, 37. Sv Anth, Fal. ix. 50, 118, x. 113.
4 App. Plan. 16. 5 Anth. Pal. ix. 51.

4 GREEK ANTHOLOGY

Here too there is a moral idea; but in the expression, abstract
as it is, there is just that high note, that imaginative touch,
which gives it at once the gravity of an inscription and the
quality of a poem.

Again, many of the so-called epideictic epigrams are little
more than stories told shortly in elegiac verse, much like the
stories in Ovid’s Fasti. Here the inscriptional quality is the
surest test. It is this quality, perhaps in many instances due
to the verses having been actually written for paintings or
sculptures, that just makes an epigram of the sea-story told by
Antipater of Thessalonica, and of the legend of Eunomus the
harp-player!; while other stories, such as those told of Pittacus,
of Euctemon, of Serapis and the murderer,” both tend to exceed
the reasonable limit of length, and have in no degree either the
lapidary precision or the half lyrical passion which would be
necessary to make them more than tales in verse. Once more,
the fragments of idyllic poetry which by chance have come
down to us incorporated in the Anthology,’ beautiful as they
are, are In no sense epigrams any more than the lyrics ascribed
to Anacreon which form an appendix to the Palatine collection,
or the quotations from the dramatists, Euripides, Menander,
or Diphilus,* which have also at one time or another become
incorporated with it.

In brief then, the epigram in its first intention may be
described as a very short poem summing up as though in a
memorial inscription what it is desired to make permanently
memorable in any action or situation. It must have the com-
pression and conciseness of a real inscription, and in proportion
to the smallness of its bulk must be highly finished, evenly
balanced, simple, and lucid. In literature it holds something
of the same place as is held in art by an engraved gem. But
if the definition of the epigram is only fixed thus, it is difficult
to exclude almost any very short poem that conforms externally
to this standard; while on the other hand the chance of
laneuage has restricted the word in its modern use to a sense
which it never bore in Greek at all, defined in the line of
Boileau, wn bon mot de deux vines orné. This sense was made

1 Infra, tx. 14, τι. 14. 2 Anth. Pal. vii. 89, 1x. 367, 378.
3 Anth. Pal. ix. 136, 362, 363. 4 Ibid. x. 107, xi. 4388, 439.

INTRODUCTION 5

current more especially by the epigrams of Martial, which as
a rule lead up to a pointed end, sometimes a witticism, some-
times a verbal fancy, and are quite apart from the higher
imaginative qualities. From looking too exclusively at the
Latin epigrammatists, who all belonged to a debased period in
literature, some persons have been led to speak of the Latin as
distinct from the Greek sense of the word ‘epigram’. But in
the Greek Anthology the epigrams of contemporary writers
have the same quality. The fault was that of the age, not of
the language. No good epigram sacrifices its finer poetical
qualities to the desire of making a point; and none of the best
depend on having a point at all.

I]

While the epigram is thus somewhat incapable of strict
formal definition, for all practical purposes it may be confined
in Greek poetry to pieces written in a single metre, the elegiac
couplet, the metre appropriated to inscriptions from the earliest
recorded period! Traditionally ascribed to the invention of
Archilochus or Callinus, this form of verse, like the epic
hexameter itself, first meets us full grown.? The date. of
Archilochus of Paros may be fixed pretty nearly at 700 B.c.
That of Callinus of Ephesus is perhaps earlier. It may be
assumed with probability that elegy was an invention of the
same early civilisation among the Greek colonists of the eastern
coast of the Aegean in which the Homeric poems flowered out
into their splendid perfection. From the first the elegiac metre
was instinctively recognised as the one best suited for inscrip-
tional poems. Originally indeed it had a much wider area, as it
afterwards had again with the Alexandrian poets; it seems to
have been the common metre for every kind of poetry which
was neither purely lyrical on the one hand, nor on the other

‘ The first inscriptions of all were probably in hexameter : cf. Hat. v. 59.

2 Horace, A. P. ll. 75-8, leaves the origin of elegiac verse in obscurity.
When he says it was first used for laments, he probably follows the Alex-
andrian derivation of the word ἔλεγος from ὃ λέγειν. The voti sententia compos
to which he says it became extended is interpreted by the commentators as
meaning amatory poetry. If this was Horace’s meaning he chose a most
singular way of expressing it,

6 GREEK ANTHOLOGY

included in the definite scope of the heroic hexameter. The
name ἔλεγος, ‘wailing’, is probably as late as Simonides, when
from the frequency of its use for funeral inscriptions the
metre had acquired a mournful connotation, and become the
tristis elegeia of the Latin poets. But the war-chants of
Callinus and Tyrtaeus, and the political poems of the latter, are
at least fifty years earlier in date than the elegies of Mimner-
mus, the first of which we have certain knowledge: and in
Theognis, a hundred years later than Mimnermus, elegiac verse
becomes a vehicle for the utmost diversity of subject, and a
vehicle so facile and flexible that it never seems unsuitable or
inadequate. For at least eighteen hundred years it remained
a living metre, through all that time never undergoing any
serious modification! Almost up to the end of the Greek
Empire of the East it continued to be written, in imitation it is
true of the old poets, but still with the freedom of a language
in common and uninterrupted use. As in the heroic hexa-
meter the Asiatic colonies of Greece invented the most fluent,
stately, and harmonious metre for continuous narrative poetry
which has yet been invented by man, so in the elegiac couplet
they solved the problem, hardly a less difficult one, of a metre
which would refuse nothing, which could rise to the occasion
and sink with it, and be equally suited to the epitaph of a hero
or the verses accompanying a birthday present, a light jest or
a great moral idea, the sigh of a lover or the lament over a
perished Empire.?

The Palatine Anthology as it has come down to us includes
a small proportion, less than one in ten, of poems in other
metres than the elegiac. Some do not properly belong to the
collection, as for instance the three lines of iambics heading
the Erotic section and the two hendecasyllabics at the end of
it, or the two hexameters at the beginning of the Dedicatory
section. These are hardly so much insertions as accretions.
Apart from them there are only four non-elegiac pieces among
the three hundred and eight amatory epigrams. The three

' Mr. F. D. Allen’s treatise On Greek Versijication in Inscriptions (Boston,
1888) gives an account of the slight changes in structure (caesura, etc.)
between earlier and later periods.

“Ci. infra, Tr. 2) vir. 4, x. 45, xi 18, 1. 30, τὸ. 23.

INTRODUCTION 7

hundred and fifty-eight dedicatory epigrams include sixteen
in hexameter and iambic, and one in hendecasyllabic; and
among the seven hundred and fifty sepulchral epigrams are forty-
two in hexameter, iambic, and other mixed metres. The
Epideictic section, as one would expect from the more mis-
cellaneous nature of its contents, has a larger proportion of non-
elegiac pieces. Of the eight hundred and twenty-seven epigrams
no less than a hundred and twenty-nine are in hexameter
(they include a large number of single lines), twenty-seven in
iambic, and six others in various unusual metres, besides one
(No. 703) which comes in strangely enough: it is in prose: and
is the inscription in commendation of the water of the Thracian
river Tearos, engraved on a pillar by Darius, transcribed from
Herodotus, iv. 91. The odd thing is that the collector of the
Anthology appears to have thought it was in verse. The
Hortatory section includes a score of hexameter and iambic
fragments, some of them proverbial lines, others extracts from
the tragedians. The Convivial section has five-and-twenty in
hexameter, iambic, and hemiambic, out of four hundred and
forty-two. The Musa Stratonis, in which the hand of the
Byzantine editor has had a less free play, is entirely in elegiac.
But the short appendix next following it in the Palatine Ms.
consists entirely of epigrams in various metres, chiefly com-
posite. Of the two thousand eight hundred and thirteen
epigrams which constitute the Palatine Anthology proper,
(sections V., VI, VIL, IX., X., and XI.), there are in all a hundred
and seventy-five in hexameter, seventy-seven in iambic, and
twenty-two in various other metres. In practice, when one
comes to make a selection, the exclusion of all non-elegiac
pieces leads to no difficulty.

Nothing illustrates more vividly the essential unity and con-
tinuous life of Greek literature than this line of poetry, reaching
from the period of the earliest certain historical records down
to a time when modern poetry in the West of Europe had
already established itself; nothing could supply a better and
simpler corrective to the fallacy, still too common, that Greek
history ends with the conquests of Alexander. It is on some
such golden bridge that we must cross the profound gulf which
separates, to the popular view, the sunset of the Western
Empire of Rome from the dawn of the Italian republics and

8 GREEK ANTHOLOGY

the kingdoms of France and England. That gulf to most
persons seems impassable, and it is another world which hes
across it. But here one sees how that distant and strange
world stretches out its hands to touch our own. The great
burst of epigrammatic poetry under Justinian took place when
the Consulate of Rome, after more than a thousand years’
currency, at last ceased to mark the Western year. While
Constantinus Cephalas was compiling his Anthology, adding to
the treasures of past times much recent aud even contemporary
work, Athelstan of England inflicted the great defeat on the
Danes at Brunanburh, the song of which is one of the noblest
records of our own early literature; and before Planudes made
the last additions the Divine Comedy was written, and our
English poetry had broken out into the full sweetness of its
flower :
Bytuene Mershe ant Averil
When spray biginneth to springe,
The lutel foul hath hire wyl
On hyre lud to synge.!

It is startling to think that so far as the date goes this might
have been included in the Planudean Anthology.

Yet this must not be pressed too far. Greek literature at
the later Byzantine Court, like the polity and religion of the
Empire, was a matter of rigid formalism; and so an epigram
by Cometas Chartularius differs no more in style and spirit
from an epigram by Agathias than two mosaics of the same
dates. The later is a copy of the earlier, executed in a
somewhat inferior manner. Even in the revival of poetry
under Justinian it is difficult to be sure how far the poetry
was in any real sense original, and how far it is parallel to
the Latin verses of Renaissance scholars. The vocabulary of
these poets is practically the same as that of Callimachus,;
but the vocabulary of Callimachus too is practically the same
as that of Simonides.

ITI

The material out of which this selection has been made is
principally that immense mass of epigrams known as the Greek

' From the Leominster ms. cire. a.p. 1307 (Perey Society, 1842).

ENTRODUCTION 9

Anthology. An account of this celebrated collection and the
way in which it was formed will be given presently; here it
will be sufficient to say that, in addition to about four hundred
Christian epigrams of the Byzantine period, it contains some
three thousand seven hundred epigrams of all dates from 700
B.C. to 1000 or even 1200 A.D., preserved in two Byzantine
collections, the one probably of the tenth, the other of the
fourteenth century, named respectively the Palatine and
Planudean Anthologies. The great mass of the contents of
both is the same; but the former contains a large amount of
material not found in the latter, and the latter a small amount
not found in the former.

For much the greatest number of these epigrams the Antho-
logy is the only source. But many are also found cited by
various authors or contained among their other works. It
is not necessary to pursue this subject into detail. A few
typical instances are the citations of the epitaph by Simonides
on the three hundred Spartans who fell at Thermopylae, not
only by Herodotus! but by Diodorus Siculus and Strabo, the
former in a historical, the latter in a geographical, work : of the
epigram by Plato on the Eretrian exiles? by Philostratus in his
Life of Apollonius: of many epigrams purporting to be written
by philosophers, or actually written upon them and their
works, by Diogenes Laértius in his Lives of the Philosophers.
Plutarch among the vast mass of his historical and ethical
writings quotes incidentally a considerable number of epigrams.
A very large number are quoted by Athenaeus in that treasury
of odds and ends, the Deipnosophistae. A great many too are
cited in the lexicon which goes under the name of Suidas,
and which, beginning at an unknown date, continued to receive
additional entries certainly up to the eleventh century.

These same sources supply us with a considerable gleaning
of epigrams which either were omitted by the collectors of the
Anthology or have disappeared from our copies. The present
selection for example includes epigrams found in an anonymous
Life of Aeschylus: in the Onomasticon of Julius Pollux, a
grammarian of the early part of the third century, who cites
from many lost writings for peculiar words or constructions :

1 Anth. Pal. vii. 249; Hdt. vii. 228. 2 Ibid. vii. 256.

10 GREEK ANTHOLOGY

and from the works of Athenaeus, Diogenes Laértius, Plutarch,
and Suidas mentioned above. The more famous the author of
an epigram was, the more likely does it become that his work
should be preserved in more than one way. Thus, of the thirty-
one epigrams ascribed to Plato, while all but one are found in
the Anthology, only seventeen are found in the Anthology alone.
Eleven are quoted by Diogenes Laértius; and thirteen wholly
or partially by Athenaeus, Suidas, Apuleius, Philostratus,
Gellius, Macrobius, Olympiodorus, Apostolius, and Thomas
Magister. On the other hand the one hundred and thirty-four
epigrams of Meleager, representing a peculiar side of Greek
poetry in a perfection not elsewhere attainable, exist in the
Anthology alone.

Beyond these sources, which may be called literary, there is
another class of great importance: the monumental. An
epigram purports to be an inscription actually carved or
written upon some monument or memorial. Since archaeology
became systematically studied, original inscriptions, chiefly on
marble, are from time to time brought to light, many of which
are in elegiac verse. The admirable work of Kaibel! has made
it superfluous to traverse the vast folios of the Corpus Inscrip-
tionum in search of what may still be hidden there. It supplies
us with several epigrams of real literary value ; while the best
of those discovered before this century are included in appen-
dices to the great works of Brunck and Jacobs. Most of these
monumental inscriptions are naturally sepulchral. They are of
all ages and countries within the compass of Graeco-Roman
civilisation, from the epitaph, magnificent in its simplicity,
sculptured on the grave of Cleoetes the Athenian when Athens
was still a small and insignificant town, to the last outpourings
of the ancient spirit on the tombs reared, among strange gods
and barbarous faces, over Paulina of Ravenna or Vibius Licini-
anus of Nimes.”

It has already been pointed out by how slight a boundary
the epigram is kept distinct from other forms of poetry, and
how in extreme cases its essence may remain undefinable.
The two fragments of Theognis and one of Mimnermus included

1 Kpigrammata Graeca ex lapidibus conlecta. Berlin, 1878.
2 injrd, ἘΠῚ: 55, As sexi 48:

ἘΝ DUC ΕΟΝ Ll

here! illustrate this. They are examples of a large number
like them, which are not, strictly speaking, epigrams; being
probably passages from continuous poems, selected, at least
in the case of Theognis, for an Anthology of his works.

The epigrams extant in literature which are not in the
Anthology are, with a few exceptions, collected in the appendix
to the edition of Jacobs, and are reprinted from it in modern
texts. They are about four hundred in number, and raise the
total number of epigrams in the Anthology to about four
thousand five hundred; to these must be added at least a
thousand inscriptional epigrams, which increase year by year
as new explorations are carried on. It is, of course, but seldom
that these last have distinct value as poetry. Those of the best
period indeed, and here the best period is the sixth century
B.C., have always a certain accent, even when simplest and
most matter of fact, which reminds us of the palace whence
they came. Their simplicity is more thrilling than any elo-
quence. From the exotic and elaborate word-embroidery of
the poets of the decadence, we turn with relief and delight to
work like this, by a father over his son:

Σῆμα πατὴρ Κλεόβουλος ἀποφϑιμένῳ Ξενοφάντῳ
ϑῆχε τόδ᾽ ἀντ᾽ ἀρετῆς ἠδὲ σαοφροσύνης."
(fhis monument to dead Xenophantus his father Cleobulus
set up, for his valour and wisdom) ;
or this, on an unmarried girl:
Σῆμα Φρασιχλείας" κούρη χεχλήσομαι ated
ἀντὶ γάμου παρὰ Dewy τοῦτο λαγοῦσ᾽ ὄνομα."
(The monument of Phrasicleia; I shall for ever be called
maiden, having got this name from the gods instead of mar-
riage. )

So touching in their stately reserve, so piercing in their deli-
cate austerity, these epitaphs are in a sense the perfection of
literature, and yet in another sense almost lie outside its limits.
For the workmanship here, we feel, is unconscious ; and with-
out conscious workmanship there is not art. In Homer, in
Sophocles, in all the best Greek work, there is this divine sim-
plicity ; but beyond it, or rather beneath it and sustaining it,
there is purpose.

κα, eX) Op lig 91: 2 Corp. Inscr. Att. 477 B. 3 Thid. 469.

12 GREEK ANTHOLOGY

IV

From the invention of -writing onwards, the inscriptions on
monuments and dedicated offerings supplied one of the chief
materials of historical record. Their testimony was used by
the earliest historians to supplement and reinforce the oral
traditions which they embodied in their works. Herodotus
and Thucydides quote early epigrams as authority for the his-
tory of past times;! and when in the latter part of the fourth
century B.C. history became a serious study throughout Greece,
collections of inscribed records, whether in prose or verse, began
to be formed as historical material. The earliest collection of
which anything is certainly known was a work by Philochorus,?
a distinguished Athenian antiquary who flourished about 300
B.C., entitled Epigrammata Attica. It appears to have been a
transcript of all the ancient Attic inscriptions dealing with
Athenian history, and would include the verses engraved on
the tombs of celebrated citizens, or on objects dedicated in the
temples on public occasions. A century later, we hear of a
work by Polemo, called Periegetes, or the ‘ Guidebook-maker,’
entitled περὶ τῶν κατὰ πόλεις ἐπιγραμμάτων. This was an at-
tempt to make a similar collection of inscriptions throughout
the cities of Greece. Athenaeus also speaks of authors other-
wise unknown, Alcetas and Menetor,t as having written
treatises περὶ ἀναϑημάτων, which would be collections of the
same nature confined to dedicatory inscriptions; and, these
being as a rule in verse, the books in question were perhaps
the earliest collections of monumental poetry. Even less is
known with regard to a book ‘on epigrams’ by Neoptolemus
of Paros.° The history of Anthologies proper begins for us
with Meleager of Gadara.

The collection called the Garland of Meleager, which is the
basis of the Greek Anthology as we possess it, was formed by
him in the early part of the first century B.c. The scholiast on

1 Cf. especially Hdt. v. 59, 60, 77; Thuc. i. 132, vi. 54, 59.

* Suid. 5.0. Φιλόγορος. * Athen. x. 436 p, 442 x.

4 Athen. xiii. 59] c, 594 pb.

δ᾽ Ibid. x. 454". The date of Neoptolemus is uncertain; he probably
lived in the second century B.¢.

ΠΟ TLON 18

the Palatine Ms. says that Meleager flourished in the reign of
the last Seleucus (qzy.xcev ἐπὶ Σελεύκου τοῦ ἐσχάτου). This is
Seleucus vi. Epiphanes, the last king of the name, who reigned
B.C. 95-93; for it is not probable that the reference is to the
last Seleucid, Antiochus x1., who acceded B.c. 69, and was
deposed by Pompey when he made Syria a Roman province in
B.c. 65. The date thus fixed is confirmed by the fact that the
collection included an epigram on the tomb of Antipater of
Sidon,' who, from the terms in which Cicero alludes to him,
must have lived till 110 or even 100 B.c., and that it did not
include any of the epigrams of Meleager’s townsman Philo-
demus of Gadara, the friend of L. Calpurnius Piso, consul
in B.C. 58.

This Garland or Anthology has only come down to us as form-
ing the basis of later collections. But the prefatory poem which
Meleager wrote for it has fortunately been preserved, and gives
us valuable information as to the contents of the Garland. This
poem,” in which he dedicates his work to his friend or patron
Diocles, gives the names of forty-seven poets included by him
besides many others of recent times whom he does not specifi-
cally enumerate. It runs as follows:

“ Dear Muse, for whom bringest thou this gardenful of sone,
or who is he that fashioned the garland of poets? Meleager
made it, and wrought out this gift as a remembrance for noble
Diocles, inweaving many lilies of Anyte, and many martagons
of Moero, and of Sappho little, but all roses, and the narcissus
of Melanippides budding into clear hymns, and the fresh
shoot of the vine-blossom of Simonides; twining to mingle
therewith the spice-scented flowering iris of Nossis, on whose
tablets love melted the wax, and with her, margerain from
sweet-breathed Rhianus, and the delicious maiden-fleshed
crocus of Erinna, and the hyacinth of Alcaeus, vocal among the
poets, and the dark-leaved laurel-spray of Samius, and withal
the rich ivy-clusters of Leonidas, and the tresses of Mnasalcas’
sharp pine; and he plucked the spreading plane of the song of
Pamphilus, woven together with the walnut shoots of Pancrates
and the fair-foliaged white poplar of Tymnes, and the green
mint of Nicias, and the horn-poppy of Euphemus growing on

1 Anth Pal. vii. 428; Cic. Or. iii. 194, Pis. 68-70. 2 Ibid. iv. 1.

14 GREEK ANTHOLOGY

the sands; and with these Damagetas, a dark violet, and the
sweet myrtle-berry of Callimachus, ever full of pungent honey,
and the rose-campion of Euphorion, and the cyclamen of the
Muses, him who had his surname from the Dioscori. And
with them he inwove Hegesippus, a riotous grape-cluster, and
mowed down the scented rush of Perses; and withal the
quince from the branches of Diotimus, and the first pome-
eranate flowers of Menecrates, and the myrrh-twigs of Nicae-
netus, and the terebinth of Phaennus, and the tall wild pear of
Simmias, and among them also a few flowers of Parthenis,
plucked from the blameless parsley-meadow, and fruitful
remnants from the honey-dropping Muses, yellow ears from the
corn-blade of Bacchylides; and withal Anacreon, both that
sweet song of his and his nectarous elegies, unsown honey-
suckle; and withal the thorn-blossom of Archilochus from a
tangled brake, little drops from the ocean; and with them the
young olive-shoots of Alexander, and the dark-blue cornflower
of Polycleitus; and among them he laid amaracus, Polystratus
the flower of songs, and the young Phoenician cypress of
Antipater, and also set therein spiked Syrian nard, the poet
who sang of himself as Hermes’ gift; and withal Posidippus
and Hedylus together, wild blossoms of the country, and the
blowing windflowers of the son of Sicelides; yea, and set
therein the golden bough of the ever divine Plato, shining
everywhere in excellence, and beside him Aratus the knower
of the stars, cutting the first-born spires of that heaven-high
palm, and the fair-tressed lotus of Chaeremon mixed with the
gilliflower of Phaedimus, and the round ox-eye of Antagoras,
and the wine-loving fresh-blown wild thyme of Theodorides,
and the bean-blossoms of Phanias, and many newly-scriptured
shoots of others; and with them also even from his own Muse
some early white violets. But to my friends I give thanks;
and the sweet-languaged garland of the Muses is common to
all initiate.”

In this list three poets are not spoken of directly by name,
but, from metrical or other reasons, are alluded to paraphrasti-
cally. ‘He who had his surname from the Dioscori’ is
Dioscorides ; ‘the poet who sang of himself as Hermes’ gift’
is Hermodorus; and ‘the son of Sicelides’ is Asclepiades,
referred to under the same name by his great pupil Theocritus.

ΝΕ ΘΕ CELLO N 15

The names of these forty-eight poets (including Meleager him-
self) show that the collection embraced epigrams of all periods
from the earliest times up to his own day. Six belong to the
early period of the lyric poets, ending with the Persian wars ;
Archilochus, who flourished about 700 B.c., Sappho and Erinna
a century afterwards, Simonides and Anacreon about 500 B.c.,
and a little later, Bacchylides. Five more belong to the fourth
century B.c., the period which begins with the destruction of
the Athenian empire and ends with the establishment of the
Macedonian kingdoms of the Diadochi. Of these, Plato is still
within the Athenian period; Hegesippus, Simmias, Anyte,
and Phaedimus, all towards the end of the century, mark the
beginning of the Alexandrian period. Four have completely
disappeared out of the Anthology as we possess it; Melanip-
pides, a celebrated writer of dithyrambic poetry in the latter
half of the fifth century B.c., of which a few fragments survive,
and Euphemus, Parthenis, and Polycleitus, of whom nothing
whatever is known. The remaining thirty-three poets in
Meleager’s list all belong to the Alexandrian period, and bring
the series down continuously to Meleager himself.

One of the epigrams in the Anthology of Strato! professes to
be the colophon (zogwvis) to Meleager’s collection; but it is a
stupid and clumsy forgery of an obviously later date, probably
by Strato himself, or some contemporary, and is not worth
quoting. The proem to the Garland is a work of great in-
genuity, and contains in single words and phrases many
exquisite criticisms. The phrase used of Sappho has become
proverbial; hardly less true and pointed are those on Erinna,
Callimachus, and Plato. All the flowers are carefully and
appropriately chosen with reference to their poets, and the
whole is done with the light and sure touch of a critic who is
also a poet himself.

* A scholiast on the Palatine Ms. says that Meleager’s An-
thology was arranged in alphabetical order (κατὰ στοιχεῖον).
This seems to mean alphabetical order of epigrams, not of
authors; and the statement is borne out by some parts of the
Palatine and even of the Planudean Anthologies, where, in
spite of the rearrangement under subjects, traces of alpha-

1 Anth. Pal. xii. 257.

10 GREEK ANTHOLOGY

betical arrangement among the older epigrams are still visible.
The words of the scholiast? imply that there was no further
arrangement by subject. It seems most reasonable to suppose
that the epigrams of each author were placed together; but
of this there is no direct evidence, nor can any such arrange-
ment be certainly inferred from the state of the existing
Anthologies.

The Scholiast, in this same passage, speaks of Meleager’s
collection as an ἐπιγραμμοατων στέφανος, and obviously it con-
sisted in the main of epigrams according to the ordinary
definition. But it is curious that Meleager himself nowhere
uses the word; and from some phrases in the proem it is
difficult to avoid the inference that he included other kinds of
minor poetry as well. Too much stress need not be laid on
the words ὕμνος and ἀοιδύ, which in one form or another are
repeatedly used by him; though it is difficult to suppose that
‘the hymns of Melanippides’, who is known to have been a
dithyrambic poet, can mean not hymns but epigrams. But
where Anacreon is mentioned, his μέλισμα and his elegiac
pieces are unmistakably distinguished from each other, and are
said to be both included; and this μέλισμια must mean lyric
poetry of some kind, probably the very hemiambics under the
name of Anacreon which are extant as an appendix to the
Palatine Ms. Meleager’s Anthology also pretty certainly in-
cluded his own Song of Spring,? which is a hexameter poem,
though but for the form of verse it might just come within a
loose definition of an epigram. Whether it included idyllic
poems like the Amor Fugitivus of Moschus* it is not possible
to determine.

Besides his great Anthology, another, of the same class of
contents as that subsequently made by Strato, is often ascribed
to Meleager, an epigram in Strato’s Anthology ὅ being regarded
as the proem to this supposed collection. But there is no
external authority whatever for this hypothesis; nor is it

1 See infra, p. 20.

* Melanippides, however, also wrote epigrams according to Suidas, s.v.,
and the phrase of Meleager may mean ‘the epigrams of this poet who was
celebrated as a hymn-writer ’.

9 Anth. Pal. ix. 368. 4 Ibid. ix. 440. 5 Ibid. xii. 256.

INTRODUCTION 17

necessary to regard that epigram as anything more than a
poem commemorating the boys mentioned in it. Eros, not
Meleager, is in this case the weaver of the garland.

The next compiler of an Anthology, more than a century
after Meleager, was Philippus of Thessalonica. Of this also
the proem is preserved.t It purports to be a collection of the
epigrammatists since Meleager, and is dedicated to the Roman
patron of the author, one Camillus. The proem runs thus :

“Having plucked for thee Heliconian flowers, and cut the
first-blown blossoms of famous-forested Pieria, and reaped the
ears from modern pages, I wove a rival garland, to be like
those of Meleager ; but do thou, noble Camillus, who knowest
the fame of the older poets, know likewise the short pieces of
the younger. Antipater’s corn-ear shall grace our garland,
and Crinagoras like an ivy-cluster; Antiphilus shall glow like
a grape-bunch, Tullius like melilote, Philodemus like marjoram :
and Parmenio myrtle-berries: Antiphanes as a rose: Auto-
medon ivy, Zonas lilies, Bianor oak, Antigonus olive, and
Diodorus violet. Liken thou Euenus to laurel, and the
multitude woven in with these to what fresh-blown flowers
thou wilt.”

One sees here the decline of the art from its first exquisite-
ness. There is no selection or appropriateness in the names of
the flowers chosen, and the verse is managed baldly and
clumsily. Philippus’ own epigrams, of which over seventy
are extant, are generally rather dull, chiefly school exercises,
and, in the phrase of Jacobs, imitatione magis quam inventione
conspicua. But we owe to him the preservation of a large
mass of work belonging to the Roman period. The date of
Philippus cannot be fixed very precisely. His own epigrams
contain no certain allusion to any date later than the reign of
Augustus. Of the poets named in his proem, Antiphanes,
Kuenus, Parmenio, and Tullius have no date determinable
from internal evidence. Antigonus has been sometimes iden-
tified with Antigonus of Carystus, the author of the ἸΠαραδόξων
Συναγωγή, who lived in the third century B.c. under Ptolemy
Philadelphus or Ptolemy Euergetes; but as this Anthology
distinctly professes to be of poets since Meleager, he must be

DAnth. Pat) iv. 2!

18 . GREEK ANTHOLOGY

another author of the same name. Antipater of Thessalonica,
Bianor, and Diodorus are of the Augustan period ; Philodemus,
Zonas, and probably Automedon, of the period immediately
preceding it. The latest certain allusion in the poems of
Antiphilus is to the enfranchisement of Rhodes by Nero in
A.D. 53.1. One of the epigrams under the name of Automedon
in the Anthology” is on the rhetorician Nicetas, the teacher
of the younger Pliny. But there are at least two poets of the
name, Automedon of Aetolia and Automedon of Cyzicus, and
the former, who is pre-Roman, may be the one included by
Philippus. If so, we need not, with Jacobs, date this collec-
tion in the reign of Trajan, at the beginning of the second
century, but may place it with greater probability half a cen-
tury earlier, under Nero.

In the reign of Hadrian the grammarian Diogenianus of
Heraclea edited an Anthology of epigrams,? but nothing is
known of it beyond the name. The Anthology contains a
good deal of work which may be referred to this period.

The first of the appendices to the Palatine Anthology is the
Παιδικὴ Μοῦσα of Strato of Sardis. The compiler apologises
in a prefatory note for including it, excusing himself with the
line of Euripides,t ἥ ye σώφρων οὐ διαφϑαρήσεται. It was a
new Anthology of epigrams dealing with this special subject
from the earliest period downwards. As we possess it, Strato’s
collection includes thirteen of the poets named in the Garland
of Meleager (including Meleager himself), two of those named
in the Garland of Philippus, and ten other poets, none of them
of much mark, and most of unknown date; the most interesting
being Alpheus of Mitylene, who from the style and contents of
his epigrams seems to have lived about the time of Hadrian,
but may possibly be an Augustan poet. Strato is mentioned
by Diogenes Laértius,? who wrote at the beginning of the third
century; and his own epigram on the physician Artemidorus
Capito,® who was a contemporary of Hadrian, fixes his approxi-
mate date.

How far we possess Strato’s collection in its original form

' Anth. Pal. ix. 178. Sieh, Σ᾿ 28.
* Suidas s.v. Διογενίανος. 4 Bacch. 318.
᾽ν ΟἿ. 5 Anth. Pal: xi. 1117:

EN TRODUCLLON 19

it is impossible to decide. Jacobs says he cannot attempt to
determine whether Cephalas took it in a lump or made a
selection from it, or whether he kept the order of the epigrams.
As they stand they have no ascertainable principle of arrange-
ment, alphabetical or of author or of subject. The collection
consists of two hundred and fifty-nine epigrams, of which
ninety-four are by Strato himself, and sixty by Meleager. It
has either been carelessly formed, or suffered from interpolation
afterwards. Some of the epigrams are foreign to the subject
of the collection. Six are on women;! and four of these are
on women whose names end in the diminutive form, Phanion,
Callistion, etc., which suggests the inference that they were
inserted at a late date and by an ignorant transcriber who
confused these with masculine forms. For all the epigrams of
Strato’s collection the Anthology is the only source.

In the three hundred years between Strato and Agathias no
new Anthology is known to have been made.

The celebrated Byzantine poet and historian Agathias, son
of Mamnonius of Myrina, came to Constantinople as a young
man to study law in the year 554. In the preface to his
History he tells us that he formed a new collection of recent and
contemporary epigrams previously unpublished,” in seven books,
entitled Κύχλος. His proem to the Cyclus is extant.’ It con-
sists of forty-six iambics followed by eighty-seven hexameters,
and describes the collection under the symbolism no longer of
a flower-garden, but of a feast to which different persons bring
contributions (οὐ στέφανος ἀλλὰ συναγωγή), a metaphor which is
followed out with unrelenting tediousness. The piece is not
worth transcription here. He says he includes his own epi-
grams. After a panegyric on the greatness of the empire of
Justinian, and the foreign and domestic peace of his reign, he
ends by describing the contents of the collection. Book 1.
contains dedications in the ancient manner, ὡς προτέροις μαχα-
ρεσσιν ἀνειμένα : for Agathias was himself a Christian, and in-
deed the old religion had completely died out even before
Justinian closed the schools of Athens. Book 11. contains

1 Anth. Pal. xvi. 53, 82, 114, 131, 147, 173.

3. Agathias, Hist. i. 1: τῶν ἐπιγραμμάτων τὰ ἀρτιγενῆ χαὶ νεώτερα διαλαν-
ϑάνοντι ἔτι χαὶ χύδην οὑτωσί παρ᾽ ἐνίοις ὑποψιϑυριζόμενα. Cf. also Suidas,
ϑιυ, ᾿Αγαϑίας. + Anth. Pal. iv. 3.

90 GREEK ANTHOLOGY

epigrams on statues, pictures, and other works of art; Book UL,
sepulchral epigrams ; Book tIv., epigrams “on the manifold paths
of life, and the unstable scales of fortune,” corresponding to
the section of Π]ροτρεπτικά in the Palatine Anthology; Book v.,
irrisory epigrams ; Book vI. amatory epigrams; and Book VIL,
convivial epigrams. Agathias, so far as we know, was the first
who made this sort of arrangement under subjects, which, with
modifications, has generally been followed afterwards. His
Anthology is lost; and probably perished soon after that of
Cephalas was made.

Constantinus Cephalas, a grammarian unknown except from
the Palatine Ms., began again from the beginning. The
scholiast to the Garland of Meleager in that Ms., after saying
that Meleager’s Anthology was arranged in alphabetical order,
goes on as follows:—‘but Constantinus, called Cephalas,
broke it up, and distributed it under different heads, viz., the
love-poems separately, and the dedications and epitaphs, and
epideictic pieces, as they are now arranged below in this book.’!
We must assume that with this rearranged Anthology he in-
corporated those of Philippus and Agathias, unless, which is
not probable, we suppose that the Palatine Anthology is one
enlarged from that of Cephalas by some one else completely
unknown.

As to the date of Cephalas there is no certain indication.
Suidas apparently quotes from his Anthology; but even were
we certain that these quotations are not made from original
sources, his lexicon contains entries made at different times
over a space of several centuries. A scholium to one of the
epigrams 2 of Alcaeus of Messene speaks of a discussion on it by
Cephalas which took place in the School of the New Church at
Constantinople. This New Church was built by the Emperor
Basil 1. (reigned 867-876). Probably Cephalas lived in the
reign of Constantine vil. Porphyrogenitus (911-959), who had
a passion for art and literature, and is known to have ordered
the compilation of books of excerpts. Gibbon gives an account
of the revival of learning which took place under his influence,
and of the relations of his Court with that of the Western
Empire of Otto the Great.

1 Schol. on Anth. Pal. iv. 1. 2 Anth. Pal. vii. 429.

INTRODUCTION 21

The arrangement in the Anthology of Cephalas is founded
on that of Agathias. But alongside of the arrangement under
subjects we frequently find strings of epigrams by the same
author with no particular connection in subject, which are
obviously transcribed directly from a collected edition of his
poems.

Maximus Planudes, theologian, grammarian, and rhetorician,
lived in the early part of the fourteenth century; in 1327 he
was appointed ambassador to the Venetian Republic by
Andronicus 1. Among his works were translations into Greek
of Augustine’s City of God and Caesar’s Gallic War. The
restored Greek Empire of the Palaeologi was then fast dropping
to pieces. The Genoese colony of Pera usurped the trade of
Constantinople and acted as an independent state; and it
brings us very near the modern world to remember that while
Planudes was the contemporary of Petrarch and Doria,
Andronicus I1., the grandson and successor of Andronicus IL,
was married, as a suitable match, to Agnes of Brunswick, and
again after her death to Anne of Savoy.

Planudes made a new Anthology in seven books, founded on
that of Cephalas, but with many alterations and omissions.
Each book is divided into chapters which are arranged
alphabetically by subject, with the exception of the seventh
book, consisting of amatory epigrams, which is not subdivided.
In a prefatory note to this book he says he has omitted all
indecent or unseemly epigrams, πολλὰ ἐν τῷ ἀντιγράφῳ ὄντα.
This ἀντίγραφον was the Anthology of Cephalas. The contents
of the different books are as follows :

Book 1.--- Ἐπιδεικτικοα, in ninety-one chapters; from the
᾿Ἐπιδεικτικα of Cephalas, with additions from his ᾿Αναϑηματιχά
and ΤΠροτρεπτικά, and twelve new epigrams on statues.

Book II.—Sxwx7x«, in fifty-three chapters; from the Συμ-
ποτικὰ χαὶ Σχωπτιχαά and the Μοῦσα Στράτωνος of Cephalas,
with six new epigrams.

Book Π1Ι.--Ἐπιτύμβια, in thirty-two chapters ; from the ’Ex-
τύμβια of Cephalas, which are often transcribed in the original
order, with thirteen new epigrams.

Book IV.—Epigrams on monuments, statues, animals, and
places, in thirty-three chapters; some from the Ἐπιδειχτικά of
Cephalas, but for the greater part new.

22 GREEK ANTHOLOGY

Book V.—Christodorus’ description of the statues in the
cymnasium called Zeuxippus, and a collection of epigrams in
the Hippodrome at Constantinople; from appendices to the
Anthology of Cephalas.

Book ΥἹ.---Αναϑηματικα, in twenty-seven chapters; from
the ᾿Αναϑηματικά of Cephalas, with four new epigrams.

Book VIIl.—’Epwrx%%; from the ᾿Ερωτιχα of Cephalas, with
twenty-six new epigrams.

Obviously then the Anthology of Planudes was almost
wholly taken from that of Cephalas, with the exception of
epigrams on works of art, which are conspicuously absent from
the earlier collection as we possess it. As to these there is only
one conclusion. It is impossible to account for Cephalas having
deliberately omitted this class of epigrams; it is impossible to
account for their re-appearance in Planudes, except on the sup-
position that we have lost a section of the earlier Anthology
which included them. The Planudean Anthology contains
in all three hundred and ninety-seven epigrams, which are not
in the Palatine Ms. of Cephalas. Itis in these that its principal
value lies. The vitiated taste of the period selected later and
worse in preference to earlier and better epigrams; the com-
pilation was made carelessly and, it would seem, hurriedly, the
earlier part of the sections of Cephalas being largely transcribed
and the latter part much less fully, as though the editor had
been pressed for time or lost interest in the work as he went
on. Not only so, but he mutilated the text freely, and made
sweeping conjectural restorations where it was imperfect. The
discrepancies too in the authorship assigned to epigrams are so
frequent and so striking that they can only be explained by
great carelessness in transcription; especially as internal
evidence where it can be applied almost uniformly supports the
headings of the Palatine Anthology.

Such as it was, however, the Anthology of Planudes displaced
that of Cephalas almost at once, and remained the only ΜΒ.
source of the Anthology until the seventeenth century. The
other entirely disappeared, unless a copy of it was the manu-
script belonging to Angelo Colloti, seen and mentioned by the
Roman scholar and antiquarian Fulvio Orsini (ὦ. 1529, d. 1600)
about the middle of the sixteenth century, and then again lost
to view. The Planudean Anthology was first printed at

INTRODUCTION 23

Florence in 1484 by the Greek scholar, Janus Lascaris, from a
good Ms. It continued to be reprinted from time to time, the
last edition being the five sumptuous quarto volumes issued
from the press of Wild and Altheer at Utrecht, 1795-1822

In the winter of 1606-7, Salmasius, then a boy of eighteen
but already an accomplished scholar, discovered a manuscript
of the Anthology of Cephalas in the library of the Counts
Palatine at Heidelberg. He copied from it the epigrams
hitherto unknown, and these began to be circulated in manu-
script under the name of the Anthologia Inedita. The intention
he repeatedly expressed of editing the whole work was never
carried into effect. In 1623, on the capture of Heidelberg by
the Archduke Maximilian of Bavaria in the Thirty Years’ War,
this with many other Mss. and books was sent by him to Rome
as a present to Pope Gregory xv., and was placed in the
Vatican Library. It remained there till it was taken to Paris
by order of the French Directory in 1797, and was restored to
the Palatine Library after the end of the war.

The description of this celebrated manuscript, the Codex
Palatinus or Vaticanus, as it has been named from the different
places of its abode, is as follows: it is a long quarto, on parch-
ment, of 710 pages, together with a page of contents and three
other pages glued on at the beginning. There are three hands
init. The table of contents and pages 1-452 and 645-704 in
the body of the Ms. are in a hand of the eleventh century ; the
middle of the Ms., pages 453-644, is in a later hand; and a
third, later than both, has written the last six pages and the
three odd pages at the beginning, has added a few epigrams in
blank spaces, and has made corrections throughout the MS.

The index, which is of great importance towards the history
not only of the Ms. but of the Anthology generally, runs as
follows :-—

Tade ἔνεστιν ἐν τῇδε τῇ βίβλῳ τῶν ἐπιγραμμιάτῶν.

Α. Νόννου π ποιητοῦ Πανοπολίτου ἔχφρασις τοῦ χατὰ Ἰωάννην ἁγίου
εὐαγγελίου.

Β. ΤΙαὐλου ποιητοῦ σελαντιαρίου (10) υἱοῦ Κύρου ἔχφρασις εἰς τὴν
μεγάλην ἐκχλησίαν ἥτε τὴν ἁγίαν Σοφίαν.

1. Συλλογαὶ ἐπιγραμμάτων Χριστιανικῶν εἴς τε ναοὺς χαὶ εἰχόνας
χαὶ εἰς διάφορα ἀναϑήυματα.

24 GREEK ANTHOLOGY

=~

Z.

E.

Χριστοδώρου ποιητοῦ Θηβαίου ἔκφρασις τῶν ἀγαλμοστων τῶν εἰς
τὸ δημόσιον γυμνάσιον τοῦ ἐπικαλουμένου Zevtinrov.

Μελεάγρου ποιητοῦ Παλαιστίνου στέφανος διαφόρων ἐπιγραμ.-
μάτων.

. Φιλίππου ποιητοῦ Θεσσαλονιχέως στέφανος ὁμοίως διαφόρων
ἐπιγραμμάτων.

᾿Αγαϑίου σχολαστικοῦ ᾿Ασιανοῦ Μυρηναίου συλλογὴ νέων ἐπι-
γραμμάτων ἐκτεϑέντων ἐν Κωνσταντινουπόλει πρὸς Oso-
δῶρον Δεχουρίωνα. ἔστι δὲ ἡ τάξις τῶν ἐπιγραμμάτων

ἤγουν διαίρεσις οὕτως.

α΄. πρώτη μὲν ἡ τῶν Χριστιανῶν.

δευτέρα δὲ ἡ τὰ Χριστοδώρου περιέχουσα τοῦ Θηβαίου.

γ΄. τρήτη (sic) δὲ ἀρχὴν μὲν ἔχουσα 77

τῶν ὑπόϑεσιν.

\

ν TOY ἐρωτιχῶν ἐπιγραμμια-

ἡ τῶν ἀναϑεματικῶν.

ε΄. πέμπτη ἣ τῶν ἐπιτυμβίων.

ἡ τῶν ἐπιδεικτικῶν.

ἑβδόμη ἣ τῶν προτρεπτικῶν.

ἡ τῶν σχωπτικῶν.

ἡ τῶν Στράτωνος τοῦ Σαρδιανοῦ.

διχφώρων μέτρων διάφορα ἐπιγράμματα.

ια΄. ἀριϑμιητικὰ χαὶ γρήφα σύμμικτα.

ιβ΄. ᾿Ιωάννου γραμματικοῦ Γαζης ἔχφρασις τοῦ χοσμικοῦ πίναχος
τοῦ ἐν χειμερίῳ λουτρῷ.

᾿ , - , \
ty’. Σύριγξ Θεοχρίτου χαὶ πτέρυγες Σιμμίου Δοσιάδα βωμὸς By-
Ἂ
σαντίνου ὠὸν χαὶ πέλεχυς.
δ, ν « , '
ιδ΄, ᾿Αναχρέοντος Tylon Συμποσιαχὰ ἡμιάμβια καὶ ᾿Αναχρεόντια

καὶ τρίμετραι.
~ « ~ ~ / ᾽ ~ ? ~ Φ Ww
1c. Tod ἁγιοῦ Γρηγορίου τοῦ ϑεολόγου ἐκ τῶν ἐπὼν ἐκλογαὶ OtoL-
> = A A. 79. / αν , Ay? /
φοραι ἐν οἷς χαὶ TH Αρέϑου χαὶ Αναστασίου χαὶ ᾿Ιγνατίου
, ἐς ᾿ ,
xa. Κωνσταντίνου καὶ Θεοφανους χεῖνται ἐπιγράμματα.

This index must have been transcribed from the index of an

earlier MS. It differs from the actual contents of the Ms. in
the following respects :—

The hexameter paraphrase of S. John’s Gospel by Nonnus

is not in the Ms., having perhaps been torn off from the begin-
ning of it.

After the description of 5S. Sophia by Paulus Silentiarius,

follow in the Ms. select poems of S. Gregorius.

INTRODUCTION 25

After the description by Christodorus of the statues in the
gymnasium of Zeuxippus follows a collection of nineteen
epigrams inscribed below carved reliefs in the temple of
Apollonis, mother of Attalus and Eumenes kings of Pergamus,
at Cyzicus.

After the proem to the Anthology of Agathias follows
another epigram of his, apparently the colophon to his col-
lection.

The book of Christian epigrams and that of poems by
Christodorus of Thebes are wanting in the MS.

Between the Sepulceralia and Epideictica is inserted a collec-
tion of 254 epigrams by S. Gregorius.

John of Gaza’s description of the Mappa Mundi in the
winter baths is wanting in the Ms.

After the miscellaneous Byzantine epigrams, which form the
last entry in the index, is a collection of epigrams in the
Hippodrome at Constantinople.

The Palatine Ms. then is a copy from another lost Ms. And
the lost Ms. itself was not the archetype of Cephalas. From a
prefatory note to the Dedicatoria, taken in connection with the
three iambic lines: prefixed to the Amatoria, it is obvious that
the Amatoria formed the first section of the Anthology ot
Cephalas, preceded, no doubt, by the three proems of Meleager,
Philippus, and Agathias as prefatory matter. The first four
headings in the index, therefore, represent matter subsequently
added. Whether all the small appendices at the end of the
MS. were added to the Anthology by Cephalas or by a later
hand it is not possible to determine. With or without these
appendices, the work of Cephalas consisted of the six sections
of ᾿Ερωτικά, ᾿Αναϑηματικα, ᾿Εἰπιτύμβια, ᾿Επιδεικτικα, Προτρετ-
ume and Συμποτικὰ καὶ Σχωπτικα, with the Μοῦσα Στράτωνος,
and probably, as we have already seen, a lost section con-
taining epigrams on works of art. At the beginning of the
sepulchral epigrams there is a marginal note in the MS., in the
corrector’s hand, speaking of Cephalas as then dead.!_ Another
note, added by the same hand on the margin of vil. 432, says
that our Ms. had been collated with another belonging to one

= a . ~~ ΄ ' . , ΝΣ
1 Κωνσταντῖνος ὁ Κεφαλᾶς ὁ μαχάριος χαὶ ἀείμνηστος χαὶ τριποῦτητος av-

ϑοωπος.

26 GREEK ANTHOLOGY

Michael Magister, which was copied by him with his own
hand from the book of Cephalas.

The extracts made by Salmasius remained for long the only
source accessible to scholars for the contents of the Palatine
Anthology. Jacobs, when re-editing Brunck’s Analecta, ob-
tained a copy of the MSs., then in the Vatican library, from
Uhden, the Prussian ambassador at Rome; and from another
copy, afterwards made at his instance by Spaletti, he at last
edited the Anthology in its complete form.

\

When any selection of minor poetry is made, the principle
of arrangement is one of the first difficulties. In dealing with
the Greek epigram, the matter before us, as has been said
already, consists of between five and six thousand pieces, all in
the same metre, and varying in length from two to twenty-
eight lines, but rarely exceeding twelve. No principle of
arrangement can therefore be based on the form of the poems.
There are three other plans possible; a simply arbitrary order,
an arrangement by authorship, or an arrangement by subject.
The first, if we believe the note in the Palatine ms. already
quoted,” was adopted by Meleager in the alphabetical arrange-
ment of his Garland; but beyond the uncommon variety it
must give to the reader, it seems to have little to recommend
it. The Anthologies of Cephalas and Planudes are both
arranged by subject, but with considerable differences. The
former, if we omit the unimportant sections and the Christian
epigrams, consists of seven large sections in the following
order :

(1) ᾿Ερωτιχα, amatory pieces. This heading requires no
comment.

(2) ᾿Αναϑηματικα, dedicatory pieces, consisting of votive
prayers and of dedications proper.

(3) ᾿Επιτύμβια, sepulchral pieces: consisting partly of epitaphs
real or imaginary, partly of epigrams on death or on dead per-

' Single lines are excluded by the definition ; Anth. Pal. ix. 482 appears to
be the longest piece in the Anthology which can properly be called an epigram.
* Supra, p. 15.

ΚΣ -

ee ὦ ᾿

[INERODUCTION 27

sons in a larger scope. Thus it includes the epigram on the
Lacedaemonian mother who killed her son for returning alive
from an unsuccessful battle ;! that celebrating the magnificence
of the tomb of Semiramis ;? that questioning the story as to
the leap of Empedocles into Etna ;* and a large number which
might equally well come under the next head, being eulogies
on celebrated authors and artists.

(4) ᾿Επιδεικτικά, epigrams written as ἐπιδείξεις, poetical exer-
cises or show-pieces. This section is naturally the longest and
much the most miscellaneous. There is indeed hardly any
epigram which could not be included in it. Remarkable
objects in nature or art, striking events, actual or imaginary,
of present and past times, moral sentences, and criticisms on
particular persons and things or on life generally ; descriptive
pieces ; stories told in verse; imaginary speeches of celebrated
persons on different occasions, with such titles as ‘what Philo-
mela would say to Procne, ‘what Ulysses would say when he
landed in Ithaca’; inscriptions for houses, baths, gardens,
temples, pictures, statues, gems, clocks, cups: such are among
the contents, though not exhausting them.

(5) Προτρεπτικαά, hortatory pieces; the ‘criticism of life’ in
the direct sense.

(6) Συμποτικὰ καὶ Σχκωπτικαά, convivial and humorous epi-
grams.

(7) The Μοῦσα παιδικὴ Στράτωνος already spoken of. Along
with these, as we have seen, there was in all probability an
eighth section now lost, containing epigrams on works of art.

Within each of these sections, the principle of arrangement,
where it exists at all, is very loose; and either the compilation
was carelessly made at first, or it has been considerably dis-
ordered in transcription. Sometimes a number of epigrams by
the same author succeed one another, as though copied directly
from a collection where each author's work was placed separ-
ately ; sometimes, on the other hand, a number on the same
subject by authors of different periods come together.t Epi-
grams occasionally are put under wrong headings. For example,
a dedication by Leonidas of Alexandria is followed in the

ι Anth, Pal. vii. 433. 2 Ibid. vii. 748. 5. [bid, vii. 124.
4 Cf. especially Anth. Pal. vi. 179-187 ; 1x. 713-742.

28 GREEK ANTHOLOGY

Dedicatoria by another epigram of his on Oedipus ;! an ima-
ginary epitaph on Hesiod in the Sepuleralia, by one on the
legendary contest between Hesiod and Homer ;? and the lovely
fragment of pastoral on Love keeping Thyrsis’ sheep * comes
oddly in among epitaphs. The epideictic section contains a
number of epigrams which would be more properly placed in
one or another of all the rest of the sections; and the Afusa
Stratonis has several* which happily in no way belong to it.
There is no doubt a certain charm in the very confusion of the
order, which gives great variety and unexpectedness; but for
practical purposes a more accurate classification is desirable.

The Anthology of Planudes attempts, in a somewhat crude
form, to supply this. Each of the six books, with the exception
of the ᾿ρωτιχα, which remain as in the Palatine Anthology, is
subdivided into chapters according to subject, the chapters
being arranged alphabetically by headings. Thus the list of
chapters in Book I. begins, εἰς ἀγῶνας, εἰς ἄμπελον, εἰς ἀναϑήμοαιτα,
εἰς ἀναπήρους, and ends εἰς φρόνησιν, εἰς φροντίδας, εἰς χρόνον, εἰς
ὡρᾶς.

On the other hand, Brunck, in his Analecta, the arrange-
ment of which is followed by Jacobs in the earlier of his two
great works, recast the whole scheme, placing all epigrams by
the same author together, with those of unknown authorship
at the end. This method presents definite advantages when
the matter in hand is a complete collection of the works of the
epigrammatists. With these smaller, as with the more im-
portant works of literature, it is still true that a poet is his
own best commentator, and that by a complete single view of
all his pieces we are able to understand each one of them
better. A counter-argument is the large mass of ἀδέσποτα
thus left in a heap at the end. In Jacobs there are upwards
of 750 of these, most of them not assignable to any certain
date ; and they have to be arranged roughly by subject. An-
other is the fact that a difficulty still remains as to the arrange-
ment of the authors. Of many of the minor epigrammatists
we know absolutely nothing from external sources; and it is
often impossible to determine from internal evidence the period,

1 Anth. Pal. vi. 322, 323. 5 Ibid. vii. 52, 53.
ἡ Lhd. vii. 703. “ΟΣ supra; Ὁ 19.

"ὦ ΔΩ͂Σ. oe i ER ΩΝ ne ee μεν:

᾿Ξ

Ἂν. Ἕ

INTRODUCTION 29

even within several centuries, at which an epigram was written,
so little did the style and diction alter between the early Alex-
andrian and the late Byzantine period. Still the advantages
are too great to be outweighed by these considerations.

But in a selection, an Anthology of the Anthology, the
reasons for such an arrangement no longer exist, and some sort
of arrangement by subject is plainly demanded. It would be
possible to follow the old divisions of the Palatine Anthology
with little change but for the epideictic section. This is not a
natural division, and is not satisfactory in its results. It did
not therefore seem worth while to adhere in other respects to
the old classification except where it was convenient ; and by
a new and somewhat more detailed division, it has been at-
tempted to give a closer unity to each section, and to make the
whole of them illustrate progressively the aspect of the ancient
world. Sections L, 11., and vi. of the Palatine arrangement
just given are retained, under the headings of Love, Prayers
and Dedications, and the Human Comedy. It proved con-
venient to break up Section UL, that of sepulchral epigrams,
which would otherwise have been much the largest of the
divisions, Into two sections, one of epitaphs proper, the other
dealing with death more generally. A limited selection from
Section vil. has been retained under a separate heading, Beauty.
Section v., with additions from many other sources, was the
basis of a division dealing with the Criticism of Life; while
Section Iv., together with what was not already classed, fell
conveniently under five heads: Nature, and in antithesis to it,
Art and Literature ; Family Life ; and the ethical view of things
under the double aspect of Religion on the one hand, and on
the other, the blind and vast forces of Fate and Change.

VI

The literary treatment of the passion of love is one of the
matters in which the ancient stands furthest apart from the
modern world. Perhaps the result of love in human lives differs
but little from one age to another; but the form in which it is
expressed {which is all that literature has to do with) was
altered in Western Europe in the middle ages, and ever since
then we have spoken a different language. And the subject is

90 GREEK ANTHOLOGY

one in which the feeling is so inextricably mixed up with the
expression that a new language practically means a new actual
world of things. Of nothing is it so true that emotion is
created by expression. The enormous volume of expression
developed in modern times by a few great poets and a count-
less number of prose writers has reacted upon men and women;
so certain is it that thought follows language, and life copies
art. And so here more than elsewhere, though the rule applies
to the whole sphere of human thought and action, we have to
expect in Greek literature to find much latent and implicit
which since then has become patent and prominent; much
intricate psychology not yet evolved ; much—as is the truth of
everything Greek—stated so simply and directly, that we,
accustomed as we are to more complex and highly organised
methods of expression, cannot without some difficulty connect
it with actual life, or see its permanent truth. Yet to do so is
just the value of studying Greek; for the more simple the
forms or ideas of life are, the better are we able to put them in
relation with one another, and so to unify life. And this
unity is the end which all human thought pursues.

Greek literature itself however may in this matter be his-
torically subdivided. In its course we can fix landmarks, and
trace the entrance and working of one and another fresh
element. The Homeric world, the noblest and the simplest
ever conceived on earth; the period of the great lyric poets;
that of the dramatists, philosophers and historians, which may
be called the Athenian period; the hardly less extraordinary
ages that followed, when Greek life and language overspread
and absorbed the whole Mediterranean world, mingling with
East and West alike, making a common meeting-place for the
Jew and the Celt, the Arab and the Roman ; these four periods,
though they have a unity in the fact that they all are Greek,
are yet separated in other ways by intervals as great as those
which divide Virgil from Dante, or Chaucer from Milton.

In the Iliad and Odyssey little is said about love directly; and
yet it is not to be forgotten that the moving force of the Trojan
war was the beauty of Helen, and the central interest of the
return of Odysseus is the passionate fidelity of Penelope! Yet

1 Of. I. iii. 156; Anth. Pal. ix, 166.

Pe LS ee ee ae eee ee Oe

INTRODUCTION 31

more than this; when the poet has to speak of the matter, he
never fails to rise to the occasion in a way that even now we
ean see to be unsurpassable. The Achilles of the Hiad may
speak scornfully of Briseis, as insufficient cause to quarrel on ;'
the silver-footed goddess, set above all human longings, re-
gards the love of men and women from her icy heights with a
light passionless contempt.? But in the very culminating point
of the death-struggle between Achilles and Hector, it is from the
whispered talk of lovers that the poet fetches the utmost touch
of beauty and terror;* and it is in speaking to the sweetest
and noblest of all the women of poetry that Odysseus says the
final word that has yet been said of married happiness.

In this heroic period love is only spoken of incidentally
and allusively. The direct poetry of passion belongs to the
next period, only known to us now by scanty fragments, ‘the
spring-time of song,’ the period of the great lyric poets of the
sixth and seventh centuries B.c. There human passion and
emotion had direct expression, and that, we can judge from
what is left to us, the fullest and most delicate possible. Greek
life then must have been more beautiful than at any other
time ; and the Greek language, much as it afterwards gained
in depth and capacity of expressing abstract thought, has never
again the same freshness, as though steeped in dew and morn-
ing sunlight. Sappho alone, that unique instance in literature
where from a few hundred fragmentary lines we know certainly
that we are in face of one of the great poets of the world, ex-
pressed the passion of love in a way which makes the language
of all other poets grow pallid: ad quod cum tungerent purpuras
suas, cineris specie decolorart videbantur ceterae divini com-
paratione fulgoris.®

Ἦραμαν μὲν ἔγω σέϑεν, "ATO, πάλαι nota—?
such simple words that have all sadness in their lingering
cadences ;
Οἷον τὸ γλυκύμαλον ἐρεύϑεται--
Ηρ’ ἔτι παρϑενίας ἐπιβάλλομαι :
Οὐ γὰρ Fy ἀτέρα παϊς, ὦ γάμβρε, τοιαύτα---ὃ

the poetry of pure passion has never reached further than this.

1 Tl, i. 298. 2 Tl. xxiv. 130. 3 7]. xxii. 126-8. 4 Od. vi. 185.
5 Zao ὕμνων, Anth, Pal. vii. 12. 6 Vopisc. Aurel. c. 29.
? Frag. 33 Bergk. ® Fragg. 93, 102, 106 Bergk.

32 GREEK ANTHOLOGY

But with the vast development of Greek thought and art
in the fifth century B.c., there seems to have come somehow a
stiffening of Greek life; the one overwhelming interest of the
City absorbing individual passion and emotion, as the interest
of logic and metaphysics absorbed history and poetry. The
age of Thucydides and Antipho is not one in which the emotions
have a chance; and at Athens especially—of other cities we
can only speak from exceedingly imperfect knowledge, but just
at this period Athens means Greece—the relations between
men and women are even under Pericles beginning to be vul-
garised. In the great dramatic poets love enters either as a
subsidiary motive somewhat severely and conventionally
treated, as in the Antigone of Sophocles, or, as in the Phaedra
and Medea of Euripides, as part of a general study of psy-
chology. It would be foolish to attempt to defend the address
of the chorus in the Antigone to Eros,’ if regarded as the
language of passion; and even if regarded as the language of
criticism, it is undeniably frigid. Contrasted with the great
chorus in the same play,? where Sophocles is dealing with
a subject that he really cares about, it sounds almost arti-
ficial. And in Euripides, psychology occupies the whole of
the interest that is not already preoccupied by logic and
rhetoric; these were the arts of life, and with these serious
writing dealt; with the heroism of Macaria, even with the
devotion of Alcestis, personal passion has but little to do.

With the immense expansion of the Greek world that
followed the political extinction of Greece Proper, there came
a relaxation of this tension. Feeling grew humaner; social
and family life reassumed their real importance ; and gradually
there grew up a thing till then unknown in the world, and one
the history of which yet remains to be written, the romantic
spirit. Pastoral poetry, with its passionate sense of beauty
in nature, reacted on the sense of beauty in simple human life.
The Idyls of Theocritus are full of a new freshness of feeling :
ἐπεί x ἐσορῇς τὰς παρϑένος οἷα. γελᾶντιϑ-- 15. is as alien from
the Athenian spirit as it approaches the feeling of a medieval
romance-writer: and in the Pharmaceutriae pure passion, but
passion softened into exquisite forms, is once more predomi-

1 71, 781, foll. 2 11. 332, foll. * Theocr. i. &5.

if

eek ROR ce, 3 Re ee

INTRODUCTION 33

nant.! It is in this age then that we naturally find the
most perfect examples of the epigram of love. In the lyric
period the epigram was still mainly confined to its stricter
sphere, that of inscriptions for tombs and dedicated offerings :
in the great Athenian age the direct treatment of love was
almost in abeyance. Just on the edge of this last period, as is
usual in a time of transition, there are exquisite premonitions
of the new art. The lovely hexameter fragment? preserved in
the Anthology under the name of Plato, and not unworthy of
so great a parentage, anticipates the manner and the cadences
of Theocritus; and one or two of the amatory epigrams that
are probably Plato’s might be Meleager’s, but for the severe
perfection of language that died with Greek freedom. But
it is in the Alexandrian period that the epigram of love
flowers out; and it is at the end of that period, where the
Greek spirit was touched by Oriental passion, that it culmi-
nates in Meleager.

- We possess about a hundred amatory epigrams by this poet.
Inferior perhaps in clearness of outline and depth of insight to
those of the Alexandrian poet Asclepiades, they are unequalled
in the width of range, the profusion of imagination, the sub-
tlety of emotion with which they sound the whole lyre of
passion. Meleager was born in a Syrian town and educated
at Tyre in the last age of the Seleucid empire ; and though he
writes Greek with a perfect mastery, it becomes in his hands
almost a new language, full of dreams, at once more languid
and more passionate. It was the fashion among Alexandrian
poets to experiment in language; and Callimachus had in this
way brought the epigram to the most elaborate jewel-finish ;
but in the work of Callimachus and his contemporaries the pure
Greek tradition still survives. In Meleager, the touch of
Asiatic blood creates a new type, delicate, exotic, fantastic.
Art is no longer restrained and severe. The exquisite
austerity of Greek poetry did not outlive the greatness
of Athens; its perfect clearness of outline still survived in
Theocritus; here both are gone. The atmosphere is loaded

1 Ui, 105-110 of this poem set beside Sappho, 77. ii. //. 9-16, Bergk, are a
perfect example of the pastoral in contrast with the lyrical treatment.
2 App. Plan. 210.
3

94 GREEK ANTHOLOGY

with a steam of perfumes, and with still unimpaired ease and
perfection of hand there has come in a strain of the quality
which of all qualities is the most remote from the Greek spirit,
mysticism. Some of Meleager’s epigrams are direct and simple,
even to coarseness; but in all the best and most characteristic
there is this vital difference from purely Greek art, that love
has become a religion; the spirit of the East has touched them.
It is this that makes Meleager so curiously akin to the
medieval poets. Many of his turns of thought, many even of
his actual expressions, have the closest parallel in poets of the
fourteenth century who had never read a line of his work nor
heard of his name. As in them, the religion of love is reduced
to a theology ; no subtlety, no fluctuation of fancy or passion 15
left unregistered, alike in their lighter and their graver moods.
Sometimes the feeling is buried in masses of conceits, sometimes
it is eagerly passionate, but even then always with an imagina-
tive and florid passion, never directly as Sappho or Catullus.is
direct. Love appears in a hundred shapes amidst a shower of
fantastic titles and attributes. Out of all the epithets that
Meleager coins for him, one, set in a line of hauntingly liquid
and languid rhythm, ‘delicate-sandalled,! gives the key-note
to the rest. Or again, he often calls him γλυχύπιχκρος, ‘ bitter-
sweet’;? at first he is like wine mingled with honey for
sweetness, but as he grows and becomes more tyrannous, his
honey scorches and stings; and the lover, ‘set on the fire and
drenched to swooning with his ointments, drinks from a deeper
cup and mingles his wine with burning tears.? Love the
reveller goes masking with the lover through stormy winter
nights ;* Love the Ball-player tosses hearts for balls in his
hands ;° Love the Runaway les hidden in a lady’s eyes ;® Love
the Healer soothes with a touch the wound that his own dart
has made;* Love the Artist sets his signature beneath the
soul which he has created;® Love the Helmsman steers the
soul, like a winged boat, over the perilous seas of desire ;?
Love the Child, Sele si with his dice at sundawn, throws

1 Anth. Pal. xii. 158, σοί με, Θεόχλεις, ἁβροπέδιλος Ἔρως γυμνὸν ὑπεστόρς σεν.

2 Ibid. xii. 109; cf. v. 109. 172; xii. 154. 3 Ibid. xii. 132, 164.
4 Thid. xii. 167. 5 Ibid. v. 214.
6 Ibid. v. 177. 7 Ibid. v., 225.

8 [bid. v. 155. 9 Ibid. xii. 157.

ὄν υγενν

ic, “ι΄,

INTRODUCTION 35

lightly for human lives.1 Now he is a winged boy with childish
bow and quiver, swift of laughter and speech and tears ;? now
a fierce god with flaming arrows, before whom life wastes away
like wax in the fire, Love the terrible, Love the slayer of men.*
ει The air all round him is heavy with the scent of flowers and
ointments ; violets and myrtle, narcissus and lilies, are woven
into his garlands, and the rose, ‘lover-loving’ as Meleager '
repeatedly calls it in one of his curious new compound epithets,
is perpetually about him, and rains its petals over the banquet-
ing-table and the myrrh-drenched doorway. For a moment
Meleager can be piercingly simple ; and then the fantastic mood
comes over him again, and emotion dissolves in a mist of meta-
phors. But even when he is most fantastic the unfailing
beauty of his rhythms and grace of his language remind us that
we are still in the presence of a real art.

The pattern set by Meleager was followed by later poets;
and little more would remain to say were it not necessary to
notice the brief renascence of amatory poetry in the sixth
century. The poets of that period take a high place in the
second rank; and one, Paulus Silentiarius, has a special interest
among them as being at once the most antique in his work-
manship and the most modern in his sentiment. One of his
epigrams is like an early poem of Shakespeare’s ;® another has
in a singular degree the manner and movement of a sonnet by
Rossetti.’ This group of epigrammatists brought back a phantom
of freshness into the old forms; once more the epigram becomes
full of pretty rhythms and fancies, but they are now more
artificial; set beside work of the best period they come out
clumsy and heavy. Language is no longer vivid and natural ;
the colour is a little dimmed, the tone a little forced. As the
painter’s art had disappeared into that of the worker in mosaic,
so the language of poetry was no longer a living stream, but a
treasury of glittering words. Verse-writers studied it carefully
and used it cleverly, but never could make up for the want of
free movement of hand by any laborious minuteness of tessella-
tion. Yet if removed from the side of their great models they

1 Anth, Pal. xii. 47. 2 Noid ν, Wide

3 Ibid. v. 176, 180; xu. 72. 4 Tbid. v. 136, 147.
Ibid. ν. 147, 198.
Ibid. v. 241; cf. Passionate Pilgrim, xiv., xv. 7 App. Plan. 278.

36 GREEK ANTHOLOGY

are graceful enough, with a prettiness that recalls and probably
in many cases is copied from the novelists of the fourth century ;
and sometimes it is only a touch of the diffuseness inseparable
from all Byzantine writing that separates their work in quality
from that of an earlier period.

After Justinian the art practically died out. The pedantic
rigour of Byzantine scholarship was little favourable to the
poetry of emotion, and the spoken language had now fallen so
far apart from the literary idiom that only scholars were
capable of writing in the old classical forms. The popular
love-poetry, if it existed, has perished and left no traces ; hence-
forth, for the five centuries that elapsed till the birth of
Provencal and Italian poetry, love lay voiceless, as though
entranced and entombed.

WILL

Closely connected with the passion of love as conceived by
Greek writers is a subject which continually meets us in Greek
literature, and which fills so large a part of the Anthology that
it can hardly be passed over without notice. The few epigrams
selected from the Anthology of Strato and included in this
collection under the heading of Beauty are not of course a
representative selection. Of the great mass of those epigrams
no selection is possible or desirable. They belong to that side
of Greek life which is akin to the Oriental world, and remote
and even revolting to the western mind. And on this subject
the common moral sense of civilised mankind has pronounced
a judgment which requires no justification as it allows of no
appeal.

But indeed the whole conception of Eros the boy, familiar as
it sounds to us from the long continued convention of literature,
is, if we think of its origin or meaning, quite alien from our own
habit of life and thought. Even in the middle ages it cohered
but ill with the literary view of the relations between men and
women in poetry and romance ; hardly, except where it is raised
into a higher sphere by the associations of religion, as in the
friezes of Donatello, is it quite natural, and now, apart from
what remains of these same associations, the natural basis of
the conception is wholly obsolete. Since the fashion οἵ squires

Pare, a Ge ee

ΠΝ ROW UC ELON 37

and pages, inherited from the feudal system, ceased with the
decay of the Renaissance, there has been nothing in modern
life which even remotely suggests it. We still—such is the
strength of tradition in art—speak of Love under the old types,
and represent him under the image of a winged boy; but the
whole condition of society in which this type grew up has
disappeared and left the symbolism all but meaningless to the
ordinary mind. In Greece it was otherwise. Side by side with
the unchanging passions and affections of all mankind there was
then a feeling, half conventional, and yet none the less of vital
importance to thought and conduct, which elevated the mere
physical charm of human youth into an object of almost divine
worship. Beauty was the special gift of the gods, perhaps their
choicest one; and not only so, but it was a passport to their
favour. Common life in the open air, and above all the
importance of the gymnasia, developed great perfection of
bodily form and kept it constantly before all men’s eyes. Art
lavished all it knew on the reproduction of the forms of
youthful beauty. Apart from the real feeling, the worship of
this beauty became an overpowering fashion. To all this
there must be added a fact of no less importance in historical
Greece, the seclusion of women. Not that this ever existed in
the Oriental sense; but, with much freedom and simplicity of
relations inside the family, the share which women had in the
public and external life of the city, at a time when the city
meant so much, was comparatively slight. The greater freedom
of women in Homer makes the world of the Iliad and Odyssey
really more modern, more akin to our own, than that of the
later poets. The girl in Theocritus, ‘with spring in her eyes,’
comes upon us as we read the Idyls almost like a modernism.
It is in the fair shepherd boy, Daphnis or Thyrsis, that Greek
pastoral finds its most obvious, one might almost say its most
natural inspiration.

Much of what is most perplexing in the difference in this
respect between Greek and western art has light thrown on
it, if we think of the importance which angels have in medi-
eval painting. Their invention, if one may call it so, was one
of the very highest moment in art. Those lovely creations,

| 2x0 ὁρόωσα Nuyeta, Theocer. xiii. 42.

98 GREEK ANTHOLOGY

so precisely drawn up to a certain point, so elusive beyond it,
raised the feeling for pure beauty into a wholly ideal plane.
The deepest longings of men were satisfied by the contempla-
tion of a paradise in which we should be even as they. In
that mystical portraiture of the invisible world an answer—
perhaps the only answer—was found to the demand for an
ideal of beauty. . That remarkable saying preserved by S.
Clement, of a kingdom in which ‘the two shall be one, and
the male with the female neither male nor female,? might
form the text for a chapter of no small importance in human
history. The Greek lucidity, which made all mysticism im-
possible in their art as it was alien from their life, did not do
away with this imperious demand; and their cult of beauty
was the issue of their attempt, imperfect indeed at best and at
worst disastrous, to reunite the fragments of the human ideal.”

In much of this poetry too we are in the conventional world
of pastoral ; and pastoral, it must be repeated, does not concern
itself with real life. The amount of latitude in literary ex-
pression varies no doubt with the prevalent popular morality
of the period. But it would lead to infinite confusion to think
of the poetry as a translation of conduct. A truer picture of
Greek life is happily given us in those epigrams which deal
with the material that history passes over and ideal poetry,
at least in Greek literature, barely touches upon, the life of
simple human relations from day to day within the circle of
the family.

VITl

Scattered over the sections of the Anthology are a number of
epigrams touching on this life, which are the more valuable
to us, because it is just this side of the ancient world of which
the mass of Greek literature affords a very imperfect view.
In Homer indeed this is not the case; but in the Athenian
period the dramatists and historians give little information,

1 Clem. Rom. 11.12: ἐπερωτηϑεὶς αὐτὸς ὁ Κύριος ὑπό τινος mote ἥξει αὐτοῦ ἡ
βασιλεία, εἶπεν, ὅταν ἔσται τὰ δύο ἕν καὶ τὸ ἔξω ὡς τὸ ἔσω χαὶ τὸ ἄρσεν μετὰ τῆς
ϑηλείας οὔτε ἄρσεν οὔτε ϑῆλυ. It is also quoted in almost the same words by
Clem. Alex., Strom. xiii. 92, as from ‘‘ the Gospel according to the Egyptians.”

° Cf. Plato, Sympos. 191, 192.

Sia ee)

INTRODUCTION 39

if we except the highly idealised burlesque of the Aristophanic
Comedy. Of the New Comedy too little is preserved to be of
much use, and even in it the whole atmosphere was very
conventional. The Greek novel did not come into existence
till too late; and, when it came, it took the form of romance,
concerning itself more with the elaboration of sentiment and
the excitement of adventure than with the portraiture of real
manners and actual surroundings. For any detailed picture
of common life, like that which would be given of our own
day to future periods by the domestic novel, we look to ancient
literature in vain. Thus, when we are admitted by a fortunate
chance into the intimacy of private life, as we are by some of
the works of Xenophon and Plutarch or by the letters of the
younger Pliny, the charm of the picture is all the greater:
and so it is with the epigrams that record birthdays and bridals,
the toys of children, the concord of quiet homes. We see the
house of the good man,! an abiding rest from the labours of a
busy life, bountiful to all, masters and servants, who dwell
under its shelter, and extending a large hospitality to the
friend and the stranger. One generation after another grows up
in it under all good and gracious influences; a special pro-
vidence, under the symbolic forms of Cypris Urania or Artemis
the Giver of Light, holds the house in keeping, and each new
year brings increased blessing from the gods of the household
in recompence of piety and duty. Many dedications bring
vividly before us the humbler life of the country cottager, no
man’s servant or master, happy in the daily labour over his
little plot of land, his corn-field and vineyard and coppice;
of the fowler with his boys in the woods, the forester and the
beekeeper, and the fisherman in his thatched hut on the
beach.2 And in these contrasted pictures the ‘wealth that
makes men kind’ seems not to jar with the ‘poverty that
lives with freedom.’* Modern poetry dwells with more
elaboration, but not with a truer or more delicate feeling than
those ancient epigrams, on the pretty ways of children, the
freshness of school-days, the infinite beauty of the girl as she

1 Anth. Pal. rx. 649. 2 Ibid. vi. 267. 280, 340.

3 Ibid. vi. 226, vil. 156.
4 Δύναται τὸ πλουτεῖν χαὶ φιλανϑρώπους ποιεῖν, Menand., “Adtéis fr. 7 ; Anth.

Palix, 72:

40 GREEK ANTHOLOGY

passes into the woman; or even such slight things as the
school-prize for the best copy-book, and the child’s doll in the
well! A shadow passes over the picture in the complaint of a
girl sitting indoors, full of dim thoughts, while the boys go out
to their games and enjoy unhindered the colour and movement
of the streets.2 But this is the melancholy of youth, the
shadow of the brightness that passes before the maiden’s eyes
as she sits, sunk in day-dreams, over her loom ;* it passes away
again in the portrait of the girl growing up with the sweet
eyes of her mother, the budding rose that will soon unfold its
heart of flame; and once more the bride renders thanks for
perfect felicity to the gods who have given her ‘a stainless
youth and the lover whom she desired.’® Many of the most
beautiful of the dedicatory epigrams are thanksgivings after the
birth of children ; in one a wife says that she is satisfied with
the harmonious life that she and her husband live together,
and asks no further good.6 Even death coming at the end
of such a life is disarmed of terror. In one of the most
graceful epitaphs of the Roman period’ the dead man sums
up the happiness of his long life by saying that he never had
to weep for any of his children, and that their tears over him
had no bitterness. The inscription placed by Androtion over
the yet empty tomb, which he has built for himself and his
wife and children, expresses that placid acceptance which finds
no cause of complaint with life® Family affection in an
unbroken home; long and happy life of the individual, and
still longer, that of the race which remains; the calm acqui-
escence in the law of life which is also the law of death, and
the desire that life and death alike may have their ordinary
place and period, not breaking use and wont; all this is implied
here rather than expressed, in words so simple and straight-
forward that they seem to have fallen by accident, as it were,
into verse. Thus too in another epigram the dying wife's
last words are praise to the gods of marriage that she has had
even such a husband, and to the gods of death that he and

1 Anth. Pal. vi. 308, ix. 326. 5 Ibid. v. 297.
Ὁ [bid. vi. 266. 4 Ibid. vi. 858, v. 124.
5 [bid. vi. 59. δ Ibid. vi. 209.

7 [bid. vii. 260. 8 Ibid. vii. 228.

ee ee ee eee aes

ΠΝ CLO N 4]

their children survive μου. Or again, where there is a cry
of pain over severance, it is the sweetness of the past life that
makes parting so bitter; ‘what is there but sorrow,’ says
Marathonis over the tomb of Nicopolis,” ‘for a man alone
upon earth when his wife is gone ?’

IX

‘Even this stranger, I suppose, prays to the immortals’, says
Nestor in the Odyssey,* ‘since all men have need of gods.’
When the Homeric poems were written the Greek temper had
already formed and ripened; and so long as it survived, this
recognition of religious duty remained part of it. The deeper
and more violent forms of religious feeling were indeed always
alien, and even to a certain degree repugnant, to the Greek
peoples. Mysticism, as has been already observed, had no place
with them; demons and monsters were rejected from their
humane and rationalised mythology, and πὸ superstitious
terrors forced them into elaboration of ritual. There was no
priestly caste; each city and each citizen approached the gods
directly at any time and place. The religious life, as a life
distinct from that of the ordinary citizen, was unknown in
Greece. Even at Rome the perpetual maidenhood of the
Vestals was a unique observance; and they were the keepers
of the hearth-fire of the city, not the intermediaries between it
and its gods. But the Vestals have no parallel in Greek life.
Asiatic rites and devotions, it is true, from an early period
obtained a foothold among the populace ; but they were either
discountenanced, or by being made part of the civic ritual
were disarmed of their mystic or monastic elements. An
epitaph in the Anthology commemorates two aged priestesses
as having been happy in their love for their husbands and
children ;* nothing could be further from the Eastern or the
medieval sentiment of a consecrated life. Thus, if Greek
religion did not strike deep, it spread wide ; and any one, as
he thought fit, might treat his whole life, or any part of it, as
a religious act. And there was a strong feeling that the

1 Anth. Pal. vii. 555. 2 Ibid. vii. 340. > Od. 111. 47.
4 Anth. Pal. vii. 733; cf. also v. 14 in this selection.

42 GREEK ANTHOLOGY

observance of such duties in a reasonable manner was proper
in itself, besides being probably useful in its results; no
gentleman, if we may so translate the idea into modern terms,
would fail in due courtesy to the gods. That piety sometimes
met with strange returns was an undoubted fact, but that it
should be so was inexplicable and indeed shocking even to the
least superstitious and most dispassionate minds.!

With the diffusion of a popularised philosophy religious
feeling became fainter among the educated classes, and cor-
respondingly more uncontrolled in the lower orders. The
immense mass of dedicatory epigrams written in the Alex-
andrian and Roman periods are in the main literary exercises,
though they were also the supply of a real and living demand.
The fashion outlived the belief; even after the suppression of
pagan worship scholars continued to turn out imitations of
the old models. One book of the Anthology of Agathias”
consisted entirely of contemporary epigrams of this sort, ‘as
though dedicated to the former gods’. But of epigrams deal-
ing with religion in its more intimate sense there are, as one
would expect, very few in the Anthology until we come to
collections of Christian poetry. This light form of verse was
not suited to the treatment of the deepest subjects. For
the religious poetry of Greece one must go to Pindar and
Sophocles.

But the small selection given here throws some interesting
light on Greek thought with regard to sacred matters. Each
business of life, each change of circumstance, calls for worship
and offering. The sailor, putting to sea with spring, is to pay
his sacrifice to the harbour-god, a simple offering of cakes or
fish. The seafarer should not pass near a great shrine without
turning aside to pay it reverence. The traveller, as he crosses
a hill-pass or rests by the wayside fountain, is to give the
accustomed honour to the god of the ground, Pan or Hermes,
or whoever holds the spot in special protection. Each shaded
well in the forest, each jut of cliff on the shore, has its tutelar
deity, if only under the form of the rudely-carved stake set in

1 Cf. Thue. vii. 86.

2 Anth. Pal. iv. 3, ll. 113-116. 3 Ibid. vi. 105; x. 14.
4 [bid. vi. 251; cf. v. 3 in this selection.

5 App. Plan. 227; Anth. Pal. x. 12.

Ὶ

Ἑ
i
7
i
5

eR Pint

INTRODUCTION 43

a little garden or on a lonely beach where the sea-gulls hover ;
and with their more sumptuous worship the houses of great
gods, all marble and gold, stand overlooking the broad valley
or the shining spaces of sea. Even the wild thicket has its
rustic Pan, to whom the hunter and fowler pray for success in
their day’s work, and the image of Demeter stands by the
farmer’s threshing-floor.2— And yet close as the gods come in
their daily dealings with men, scorning no offering, however
small, that is made with clean hands, finding no occasion too
trifling for their aid, there is a yet more homely worship of
‘little gods’? who take the most insignificant matters in their
charge. These are not mere abstractions, like the lesser deities
of the Latin religion, Bonus Eventus, Tutilina, Iterduca and
Domiduea, but they occupy much the same place in worship.
By their side are the heroes, the saints of the ancient world,
who from their graves have some power of hearing and
answering. Like the saints, they belong to all times, from
the most remote to the most recent. The mythical Philo-
pregmon, a shadowy being dating back to times of primitive
worship, gives luck from his monument on the roadside by the
gate of Potidaea.t But the traveller who had prayed to him
in the morning as he left the town might pay the same duty
next evening by the tomb of Brasidas in the market-place of
Arphipolis.®

But alongside of the traditional worship of these multi-
tudinous and multiform deities, a grave and deep religious
sense laid stress on the single quality of goodness as being
essentially akin to divinity, and spoke with aversion of com-
plicated ritual and extravagant sacrifice. A little water purifies
the good man; the whole ocean is not sufficient to wash away
the guilt of the sinner. ‘Holiness is a pure mind’, said the
inscription over the doorway of a great Greek temple.’ The
sanctions of religion were not indeed independent of rewards
and punishments, in this or in a future state. But the highest
Greek teaching never laid great stress on these; and even
where they are adduced as a motive for good living, they are

1 App. Plan. 291; Anth. Pal. vi. 22, 119, ix. 144, x. 8, 10.
2 Anth. Pal. x. 11, vi. 98. 2 Totd. 1X, 998.
4 Thid, vii. 694. > Thue. v. 11; Arist. Hth. v. 7.

6 Anth. Pal. xiv. 71. 7 y. 15 in this selection.

44 GREEK ANTHOLOGY

always made secondary to the excellence of piety here and
in itself. Through the whole course of Greek thought the
belief in a future state runs in an undercurrent. A striking
fragment of Sophocles! speaks of the initiated alone as being
happy, since their state after death is secure. Plato, while he
reprobates the teaching which would make men good in view
of the other world, and insists on the natural excellence of
goodness for its own sake, himself falls back on the life after
death, as affected for good or evil by our acts here, in the
visions, ‘ no fairy-tales’,? which seem to collect and reinforce
the arguments of the Phaedo and the Republic. But the
ordinary thought and practice ignored what might happen
after death. Life was what concerned men and absorbed
them; it seemed sufficient for them to think about what
they knew of. The revolution which Christianity brought
into men’s way of thinking as regards life and death was that
it made them know more certainly, or so it seemed, about the
latter than about the former. Who knows, Euripides had long
ago asked, if 1116 be not death, and death life? and the new
religion answered his question with an emphatic affirmation
that it was so; that this life was momentary and shadowy, was
but a death, in comparison of the life unchangeable and eternal.

The dedicatory epigram was one of the earliest forms of
Greek poetry. Herodotus quotes verses inscribed on offerings
at Thebes, written in ‘Cadmean letters’, and dating back to a
mythical antiquity ;* and actual dedications are extant which
are at least as early as 600 B.c.® In this earlier period the
verses generally contained nothing more than a bare record of
the act. Even at a later date, the anathematic epigrams of
Simonides are for the most part rather stiff and formal when
set beside his epitaphs. His nephew Bacchylides brought the
art to perfection, if it is safe to judge from a single flawless
specimen.® But it is hardly till the Alexandrian period that

1 Fr, anon. 719.
2 οὐ μέντοι σοι ᾿Αλχίνου γε ἀπόλογον ἐρῶ, Plato, Rep. 614 "».
2 Τὸ ζῆν γὰρ ἴσμεν" τοῦ ϑανεῖν δ᾽ ἀπειρία
Πᾶς τις φοβέϊται φῶς λιπέϊν τόδ᾽ ἡλίου,
Eurip. Phoenia, fr. 9.
Ὁ Hat. v. 60, 61.
° See Kaibel, Hpigr. Gr. 738-742. 6 Anth. Pal. vi. 53.

ἘΝ UC TION 45

the dedication has elaborate pains bestowed upon it simply for
the feeling and expression as a form of poetry; and it is to
this period that the mass of the best prayers and dedications
belong.

Ranging as they do over the whole variety of human action,
these epigrams show us the ancient world in its simplest and
most pleasant aspect. Family life has its offerings for the
birth of a child, for return from travel, for recovery from sick-
ness. The eager and curious spirit of youth, and old age to
which nothing but rest seems good, each offer prayer to the
guardians of the traveller or of the home.t_ The most numerous
and the most beautiful are those where, towards the end of life,
dedications are made with thanksgiving for the past and prayer
for what remains. The Mediterranean merchantman retires to
his native town and offers prayer to the protector of the city
to grant him a quiet age there, or dedicates his ship, to dance
no more ‘like a feather on the sea’, now that its master has
set his weary feet on land.2 The fisherman, ceasing his labours,
hangs up his fish-spear to Poseidon, saying, ‘Thou knowest I
am tired.’ The old hunter, whose hand has lost its suppleness,
dedicates his nets to the Nymphs, as all that he has to give.
The market-gardener, when he has saved a competence, lays
his worn tools before Priapus the Garden-Keeper. Heracles
and Artemis receive the aged soldier’s shield into their temples,
that it may grow old there amid the sound of hymns and the
dances of maidens.? Quiet peace, as of the greyness of a
summer evening, is the desired end.

The diffusion of Greece under Alexander and his successors,
as at a later period the diffusion of Rome under the Empire,
brought with the decay of civic spirit a great increase of
humanity. The dedication written by Theocritus for his friend
Nicias of Miletus? gives a vivid picture of the gracious at-
mosphere of a rich and cultured Greek home, of the happy
union of science and art with harmonious family life and
kindly helpfulness and hospitality. Care for others was a
more controlling motive in life than before. The feeling grew
that we all are one family, and owe each other the service and

1 Anth. Pal. x. 6, vi. 70. 2" Ibid. 1x. 7, vi. 70.
3 Ibid. vi. 30, 25, 21, 178, 127. 4 Ibid. vi. 337; cf. Theocr. Zdyl xxii.

46 GREEK ANTHOLOGY

thoughtfulness due to kinsfolk, till Menander could say that
true life was living for others. In this spirit the sailor, come
safe ashore, offers prayer to Poseidon that others who cross the
sea may be as fortunate; so too, from the other side of the
matter, Pan of the sea-cliff promises a favourable wind to all
strangers who sail by him, in remembrance of the pious fisher-
men who set his statue there, as guardian of their trawling-
nets and eel-baskets.”

In revulsion from the immense accumulation of material
wealth in this period, a certain refined simplicity was then the
ideal of the best minds, as it was afterwards in the early
Roman Empire, as it is in our own day. The charm of the
country was, perhaps for the first time, fully realised; the life
of gardens became a passion, and hardly less so the life of the
opener air, of the hill and meadow, of the shepherd and hunter,
the farmer and fisherman. The rules of art, like the demands
of heaven, were best satisfied with small and simple offerings.
‘The least of a little’* was sufficient to lay before gods who
had no need of riches; and as the art of the epigrammatist
erew more refined, the poet took pride in working with the
slightest materials. The husbandman lays a handful of corn-
ears before Demeter, the gardener a basket of ripe fruit at the
feet of Priapus; the implements of their craft are dedicated by
the carpenter and the goldsmith; the young girl and the aged
woman offer their even slighter gift, the spindle and distaff, the
reel of wool, and the rush-woven basket.t A staff of wild-olive
cut in the coppice is accepted by the lord of the myriad-
boughed forest; the Muses are pleased with their bunch of
roses wet with morning dew.’ The boy Daphnis offers his
fawnskin and scrip of apples to the great divinity of Pan ;6 the
young herdsman and his newly-married wife, still with the
rose-garland on her hair, make prayer and thanksgiving with
a cream cheese and a piece of honeycomb to the mistress of a
hundred cities, Aphrodite with her house of gold.” The hard
and laborious life of the small farmer was touched with some-

. ~ wv ‘ ~ ν᾽ ΄ ~ ~ ,
1 Frag. incert. 257, τοῦτ᾽ ἔστι to ζῆν οὐχ ἑαυτῷ ζῆν μονον.

2 Anth. Pal. x. 10, 24. 3 Ibid. vi. 98, ἐχ μιχρῶν ὀλίγιστα.
4 Ibid. vi. 98, 102 ;-103, 92 ; 174, 247. δ᾽ Ibid. vi. 3, 336.
6 JTbid. vi. 177. 7 Ibid, vi. 55; cf. vi. 119, xii. 131.

ΠΝ CETON " 47

thing of the natural magic that saturates the Georgics; ‘rich
with fair fleeces, and fair wine, and fair fruit of corn,’ and
blessed by the gracious Seasons whose feet pass over the fur-
rows.! On the green slope Pan himself makes solitary music
to the shepherd in the divine silence of the hills.2 The fancy
of three brothers, a hunter, a fowler, and a fisherman, meeting
to make dedication of the spoils of their crafts to the country-
god, was one which had a special charm for epigrammatists ;
it is treated by no less than nine poets, whose dates stretch
over as many centuries.? Sick of cities, the imagination turned
to an Arcadia that thenceforth was to fill all poetry with the
music of its names and the fresh chill of its pastoral air; the
lied banks of Ladon, the Erymanthian water, the deep wood-
land of Pholoé and the grey steep of Cyllene+ Nature grew
full of a fresh and lovely divinity. A spirit dwells under the
sea, and looks with kind eyes on the creatures that go up and
down in its depths; Artemis flashes by in the rustle of the
windswept oakwood, and the sombre shade of the pines makes
a roof for Pan; the wild hill becomes a sanctuary, for ever
unsown and unmown, where the Spirit of Nature, remote
and invisible, feeds his immortal flock and fulfils his desire.®

Χ

Though the section of the Palatine Anthology dealing with
works of art, if it ever existed, is now completely lost, we have
still left a considerable number of epigrams which come under
this head. Many are preserved in the Planudean Anthology.
Many more, on account of the cross-division of subjects that
cannot be avoided in arranging any collection of poetry, are
found in other sections of the Palatine Anthology. It was a
favourite device, for example, to cast a eriticism or eulogy of
an author or artist into the form of an imaginary epitaph; and

1 Anth. Pal. vi. 31, 98. 2 App. Plan. 17; cf. Lucret. v. 1387.

* Anth. Pal. vi. 11-16, and 179-187. , The poets are Leonidas of Tarentum,
Aicaeus of Messene, Antipater of Sidon, Alexander, Julius Diocles, Satyrus,
Archias, Zosimus and Julianus Aegyptius.

4 Anth. Pal. vi. 111, App. Plan. 188: compare Song iii. in Milton’s
Arcades.

5 Anth. Pal. x. 8; vi. 253, 268; vi. 79.

48 GREEK ANTHOLOGY

this was often actually inscribed on a monument, or beneath
a bust, in the galleries or gardens of a wealthy virtuoso. Thus
the sepulchral epigrams include inscriptions of this sort on
many of the most distinguished names of Greek literature.
They are mainly on poets and philosophers ; Homer and Hesiod,
the great tragedians and comedians, the long roll of the lyric
poets, most frequently among them Sappho, Aleman, Erinna,
Archilochus, Pindar, and the whole line of philosophers from
Thales and Anaxagoras down to the latest teachers in the
schools of Athens. Often in those epigrams some vivid epithet
or fine touch of criticism gives a real value to them even now;
the ‘frowning towers’ of the Aeschylean tragedy, the trumpet-
note of Pindar, the wealth of lovely flower and leaf, crisp
Acharnian ivy, rose and vine, that clusters round the tomb of
Sophocles! Those on the philosophers are, as one would
expect, generally of inferior quality.

Many again are to be found among the miscellaneous section
of epideictic epigrams. Instances which deal with literature
directly are the noble lines of Alpheus on Homer, the interesting
epigram on the authorship of the Phaedo, the lovely couplet on
the bucolic poets.2, Some are inscriptions for libraries or collec-
tions ;* others are on particular works of art. Among these
last, epigrams on statues or pictures dealing with the power of
music are specially notable; the conjunction, in this way, of
the three arts seems to have given peculiar pleasure to the
refined and eclectic culture of the Graeco-Roman _ period.
The contest of Apollo and Marsyas, the piping of Pan to Echo,
aud the celebrated subject of the Faun listening for the sound
of his own flute,* are among the most favourite and the most
gracefully treated of this class. Even more beautiful, however,
than these, and worthy to take rank with the finest ‘sonnets
on pictures’ of modern poets, is the epigram ascribed to Theo-
critus, and almost certainly written for a picture,? which seems
to place the whole world of ancient pastoral before our eyes.

1 Anth. Pal. vii. 39, 34, 21, 22. * Ibid. ix. 97, 358, 205.

3 Gf. iv. 1 in this selection.

4 Anth. Pal. vii. 696, App. Plan. 8, 225, 226, 244.

> Anth. Pal. ix. 4383. On this epigram Jacobs says, Frigide hoc carmen
interpretantur qui illud tabulae pictae adscriptum fuisse existimant. But the
art of poems on pictures, which flourished to an immense dejsree in the

INTRODUCTION 49

The grouping of the figures is like that in the famous Venetian
Pastoral of Giorgione; in both alike are the shadowed grass,
the slim pipes, the hand trailing upon the viol-string. But
the execution has the matchless simplicity, the incredible
purity of outline, that distinguishes Greek work from that of
all other races.

A different view of art and literature, and one which adds
considerably to our knowledge of the ancient feeling about
them, is given by another class of pieces, the irrisory epigrams
of the Anthology. Then, as now, people were amused by bad
and bored by successful artists, and delighted to laugh at both;
then, as now, the life of the scholar or the artist had its meaner
side, and lent itself easily to ridicule from without, to jealousy
and discontent from within. The air rang with jeers at the
portrait-painter who never got a likeness, the too facile com-
poser whose body was to be burned on a pile of five-and-twenty
chests all filled with his own scores, the bad grammar of the
grammarian, the supersubtle logic and the cumbrous technical
language of the metaphysician, the disastrous fertility of the
authors of machine-made epics.'. The poor scholar had become
proverbial; living in a garret where the very mice were starved,
teaching the children of the middle classes for an uncertain
pittance, glad to buy a dinner with a dedication, and gradually
_ petrifying in the monotony of a thousand repetitions of stock
passages and lectures to empty benches.2 Land and sea
swarmed with penniless grammarians.2 The epigrams of
Palladas of Alexandria bring before us vividly the miseries
of a schoolmaster. Those of Callimachus shew with as painful
clearness how the hatred of what was bad in literature might end
in embittering the whole nature.* Many epigrams are extant
which indicate that much of a scholar’s life, even when he had
not to earn bitter bread on the stairs of patrons, was wasted in
laborious pedantry or in personal jealousies and recriminations.°

Alexandrian and later periods, had not then been revived. One can fancy
the same note being made hundreds of years hence on some of Rossetti’s
sonnets.

1 Anth. Pal. xi. 215, 133, 143, 354, 136.

3 Tbid. vi. 303, ix. 174, vi. 310; cf. also x. 35 in this selection.

3 Ibid. xi. 400. 4 Compare Anth. Pal. xii. 43 with ix. 565.

5 Ibid. xi. 140, 142, 275.

1

δ0 GREEK ANTHOLOGY

Of epigrams on individual works of art it is not necessary
to say much. Their numbers must have been enormous. The
painted halls and colonnades, common in all Greek towns, had
their stories told in verse below; there was hardly a statue or
picture of any note that was not the subject of a short poem.
A collected series of works of art had its corresponding series
of epigrams. The Anthology includes, among other lists, a
description of nineteen subjects carved in relief on the pedestals
of the columns In a temple at Cyzicus, and another of seventy-
three bronze statues which stood in the great hall of a gym-
nasium at Constantinople.1 Any celebrated work like the
Niobe of Praxiteles, or the bronze heifer of Myron, was the
practising-ground for every tried or untried poet, seeking new
praise for some cleverer conceit or neater turn of language than
had yet been invented. Especially was this so with the trifling
art of the decadence and its perpetual round of childish Loves :
Love ploughing, Love holding a fish and a flower as symbols of
his sovereignty over sea and land, Love asleep on a pepper-
castor, Love blowing a torch, Love grasping or breaking the
thunderbolt, Love with a helmet, a shield, a quiver, a trident,
a club, a drum.? Enough of this class of epigrams are extant
to be perfectly wearisome, were it not that, like the engraved
gems from which their subjects are principally taken, they
are all, however trite in subject or commonplace in workman-
ship, wrought in the same beautiful material, in that language
which is to all other languages as a gem to an ordinary pebble.

From these sources we are able to collect a body of epigrams
which in a way cover the field of ancient art and literature.
Sometimes they preserve fragments of direct criticism, verbal or
real. We have epigrams on fashions in prose style, on con-
ventional graces of rhetoric, on the final disappearance of ancient
music in the sixth century. Of art-criticism in the modern
sense there is but little. The striking epigram of Parrhasius,
on the perfection attainable in painting,* is almost a solitary
instance. Pictures and statues are generally praised for their
actual or imagined realism. Silly stories like those of the
birds pecking at the grapes of Zeuxis, or the calf who went up

1 Anth. Pal. ii., 111. 2 App. Plan. 200, 207, 208, 209, 214, 215, 250.
3 Anth. Pal. xi. 141, 142, 144, 157; vii. 571. 4 iv. 46 in tnis selection.

ENTRODUCTION 51

to suck the bronze cow of Myron, represent the general level
of the critical faculty. Even Aristotle, it must be remem-
bered, who represents the most finished Greek criticism, places
the pleasure given by works of art in the recognition by the
spectator of things which he has already seen. ‘The reason
why people enjoy seeing pictures is that the spectators learn
and infer what each object is; this, they say, 7s so and so;
while if one has not seen the thing before, the pleasure is pro-
duced not by the imitation, —or by the art, for he uses the two
terms convertibly— but by the execution, the colour, or some
such cause.+ And Plato (though on this subject one can
never be quite sure that Plato is serious) talks of the graphic
arts as three times removed from realities, being only employed
to make copies or semblances of the external objects which are
themselves the copies or shadows of the ideal truth of things.’
So far does Greek thought seem to have been from the concep-
tion of an ideal art which is nearer truth than nature is, which
nature itself indeed tries with perpetual striving, and ever in-
complete success, to copy, which, as Aristotle does in one often
quoted passage admit with regard to poetry, has a higher truth
and a deeper seriousness than that of actual things.

But this must not be pressed too far. The critical faculty,
even where fully present, may be overpowered by the rhetorical
impulse; and of all forms of poetry the epigram has the
greatest right to be fanciful. ‘This is the Satyr of Diodorus;
if you touch it, it will awake; the silver is asleep,’ *—obviously
this play of fancy has nothing to do with serious criticism,
And of a really serious feeling about art there is sufficient
evidence, as in the pathos of the sculptured Ariadne, happy in
sleeping and being stone, and even more strongly in the lines
on the picture of the Faun, which have the very tone and spirit
of the Ode on a Grecian Uris

Two epigrams above all deserve special notice ; one almost
universally known, that written by Callimachus on his dead
friend, the poet Heraclitus of Halicarnassus ; the other, no less
noble, though it has not the piercing tenderness of the first, by
Claudius Ptolemaeus, the great astronomer, upon his own

1 Poet. 1448 ὃ. 15-20. 2 Republic, x. 597.
3 App. Plan. 248. 4 App, Plan, 146, 244.

52 GREEK ANTHOLOGY

science, a science then not yet divorced from art and letters.
The picture touched by Callimachus of that ancient and
brilliant life, where two friends, each an accomplished scholar,
each a poet, saw the summer sun set in their eager talk, and
listened through the dusk to the singing nightingales, is a
more exquisite tribute than all other ancient writings have
given to the imperishable delight of literature, the mingled
charm of youth and friendship, and the first stirring of the
blood by poetry, and the first lifting of the soul by philosophy.
And on yet a further height, above the nightingales, under the
solitary stars alone, Ptolemy as he traces the celestial orbits is
lifted above the touch of earth, and recognises in man’s mortal
and ephemeral substance a kinship with the eternal. Man
did eat angels’ food: he opened the doors of heaven.”

XI

That the feeling for Nature is one of the new developments
of the modern spirit, is one of those commonplaces of criticism
which express vaguely and loosely a general impression
gathered from the comparison of ancient with modern poetry.
Like most of such generalisations it is not of much value
unless defined more closely; and as the definition of the rule
becomes more accurate, the exceptions and limitations to be
made grow correspondingly numerous. The section which is
here placed under this heading is obviously different from any
collection which could be made of modern poems, professing to
deal with Nature and not imitated from the Greek. But
when we try to analyse the difference, we find that the word
Nature is one of the most ambiguous possible. Man’s relation
to Nature is variable not only from age to age, and from race
to race, but from individual to individual, and from moment to
moment. And the feeling for Nature, as expressed in literature,
varies not only with all these variations but with other factors
as well, notably with the prevalent mode of poetical expression,
and with the condition of the other arts. The outer world lies
before us all alike, with its visible facts, its demonstrable laws,

1 Anth. Pal. vii. 80. Cf. In Memoriam, xxiii.
* Anth. Pal. ix. 577; notice especially θείης πίμπλαμαι ἀμβροσίης.

INTRODUCTION 53

Natura daedala rerum ; but with each of us the species ratioque
naturae, the picture presented by the outer world and the
meaning that underlies it, are created in our own minds, the
one by the apprehensions of our senses (and the eye sees what
it brings the power to see), the other by our emations, our
imagination, our intellectual and moral qualities, as all these
are affected by the pageant of things, and affect it in turn.
And in no case can we express in words the total impression
made upon us, but only that amount of it for which we possess
a language of sufficient range and power and flexibility. For
an impression has permanence and value—indeed one may go
further and say has reality—only in so far as it is fixed and
recorded in language, whether in the language of words or that
of colours, forms, and sounds.

First in the natural order comes that simply sensuous view
of the outer world, where combination and selection have as yet
little or no part. Objects are distinct from one another, each
creates a single impression, and the effect of each is summed up
in a single phrase. The ‘constant epithet’ of early poetry is a
survival of this stage of thought; nature is a series of things,
every one of which has its special note; ‘green grass,’ ‘ wet
water.’ -Here the feeling for Nature likewise is simple and
sensuous; the pleasure of shade and cool water in summer, of
soft grass to lie on, of the flowers and warm sunshine of spring.

Then out of this infancy of feeling rises the curiosity of
childhood ; no longer content with noting and recording the
obvious aspects of Nature, man observes and inquires and pays
attention. The more attention is paid, the more is seen: and
an immense growth follows in the language of poetry. To ex-
press the feeling for nature description becomes necessary, and
this again involves, in order that the work may not be endless,
selection and composition.

Again, upon this comes the sentimental feeling for Nature,
a sort of sympathy created by interest and imagination. Among
early races this, like other feelings, expresses itself in the forms
of mythology, and half personifies the outer world, giving the
tree her Dryad and the fountain her Nymph, making Pan and
Echo meet in the forest glade. When the mythological instinct
has ceased to be active, it results in sentimental description,
sometimes realistic in detail, sometimes largely or even wholly

54 GREEK ANTHOLOGY

conventional. It has always in it something of a reaction,
real or affected, from crowds and the life of cities, an attempt
to regain simplicity by isolation from the complex fabric of
society.

Once more, the feeling for Nature may go deeper than the
senses and the imagination, and become moral. The outer
world is then no more a spectacle only, but the symbol of
a meaning, the embodiment of a soul. Earth, the mother and
fostress, receives our sympathy and gives us her own. The
human spirit turns away from itself to seek sustenance from
the mountains and the stars. The whole outer universe
becomes the visible and sensible language of an ideal essence ;
and dawn or sunset, winter or summer, is of the nature of
a sacrament. —

There is over and above all these another sense in which we
may speak of the feeling for Nature; and in regard to poetry it
is perhaps the most important of all. But it no longer follows,
like the rest, a sort of law of development in human nature gener-
ally; it is confined to art, and among the arts is eminent in
poetry beyond the rest. This is the romantic or magical note.
It cannot be analysed, perhaps it cannot be defined; the in-
sufficiency of all attempted definitions of poetry is in great
part due to the impossibility of their including this final quality,
which, like some volatile essence, escapes the moment the phial
is touched. In the poetry of all ages, even in the periods
where it has been most intellectual and least imaginative,
come sudden lines like the Cette obscwre clarté qui tombe des étoiles
of Corneille, like the Placed far amid the melancholy main of
Thomson, where the feeling for Nature cannot be called moral,
and yet stirs us like the deepest moral criticism upon life,
rising as far beyond the mere idealism of sentiment as it does
beyond the utmost refinement of realistic art.

In all these different forms the feeling for Nature may be
illustrated from Greek poetry; but the broad fact remains
that Nature on the whole has a smaller part than it has with
modern poets. Descriptive pieces are executed in a slighter
manner, and on the whole with a more conventional treatment.
Landscapes, for example, are always a background, never
(or hardly ever) the picture itself. The influence of mytho-
logy on art was so overwhelming that, down to tke last, it

INTRODUCTION δ

determined the treatment of many subjects where we should
now go more directly to the things themselves. Especially is
this so with what has been described as the moral feeling for
nature. Among ‘the unenlightened swains of Pagan Greece,
as Wordsworth says, the deep effect of natural beauty on the
mind was expressed under the forms of a concrete symbolism,
a language to which literature had grown so accustomed that
they had neither the power nor the wish to break free from
it. The appeal indeed from man to Nature, and especially the
appeal to Nature as knowing more about man’s destiny than he
knows himself, was unknown to the Greek poets. But this
feeling is sentimental, not moral; and with them too ‘some-
thing far more deeply interfused’ stirred the deepest sources of
emotion. The music of Pan, at which the rustle of the oak-
wood ceases and the waterfall from the cliff is silent and the
faint bleating of the sheep dies away,! is the expression in an
ancient language of the spirit of Nature, fixed and embodied
by the enchanting touch of art.

Of the epigrams which deal primarily with the sensuous
feeling for Nature, the most common are those on the delight
of summer, rustling breezes and cold springs and rest under
the shadow of trees. In the ardours of midday the traveller is
guided from the road over a grassy brow to an ice-cold spring
that gushes out of the rock under a pine; or lying idly on the
soft meadow in the cool shade of the plane, is lulled by the
whispering west wind through the branches, the monotone of
the cicalas, the faint sound of a far-off shepherd’s pipe floating
down from the hills; or looking up into the heart of the oak,
sees the dim green roof, layer upon layer, mount and spread
and shut out the sky.2 Or the citizen, leaving the glare of
town, spends a country holiday on strewn willow-boughs with
wine and music,’ as in that most perfect example of the poetry
of a summer day, the Zhalysia of Theocritus. Down to a late
Byzantine period this form of poetry, the nearest approach to
pure description of nature in the old world, remained alive ;
as in the picture drawn by Arabius of the view from a villa
on the shore of the Propontis, with its gardens set between

1 Anth. Pal. ix. 823. 2 App. Plan. 230, 227; Anth. Pal. ix. 71.
5 yi. 28 in this selection.

δ6 GRREK ANTHOLOGY

wood and sea, where the warbling of birds mingled with the
distant songs of the ferrymen.! Other landscape poems, as
they may be called, remarkable for their clear and vivid
portraiture, are that of Mnasalcas,? the low shore with its bright
surf, and the temple with its poplars round which the sea-fowl
hover and cry, and that of Anyte,? the windy orchard-close
near the grey colourless coast, with the well and the Hermes
standing over it at the crossways. But such epigrams always
stop short of the description of natural objects for their own
sake, for the mere delight in observing and speaking about
them. Perhaps the nearest approach that Greek poetry makes
to this is in a remarkable fragment of Sophocles,* describing
the shiver that runs through the leaves of a poplar when all
the other trees stand silent and motionless.

The descriptions of Nature too are, as a rule, not only slightly
sketched, but kept subordinate to a human relation. The
brilliance and loveliness of spring is the background for the
picture of the sailor again putting to sea, or the husbandman
setting his plough at work in the furrow; the summer woods
are a resting-place for the hot and thirsty traveller; the
golden leaves of autumn thinning in the frosty night, making
haste to be gone before the storms of rough November, are
a frame for the boy beneath them.® The life of earth is rarely
thought of as distinct from the life of man. It is so in a few
late epigrams. The complaint of the cicala, torn away by
shepherds from its harmless green life of song and dew among
the leaves, and the poem bidding the blackbird leave the
dangerous oak, where, with its breast against a spray, it pours
out its clear music,® are probably of Roman date; another of
uncertain period but of great beauty, an epitaph on an old
bee-keeper who lived alone on the hills with the high woods
and pastures for his only neighbours, contrasts with a strangely
modern feeling the perpetuity of nature and the return of the
works of spring with the brief life of man that ends once for
all on a cold winter night.”

Between the simply sensuous and the deep moral feeling

1 Anth. Pal. ix. 667. "bid. 1X. ooo. 3 Ibid. ix. 314.

4 Aegeus, fr. 24; οἵ. the celebrated simile in Hyperion, beginning, As
when upon a tranced summer night.

5. Anth. Pal. xii. 138. 6 Ibid. ix. 373. 87. ΤΟ. Vita dae

INTRODUCTION 57

for nature lies the broad field of pastoral. This is not the
place to enter into the discussion of pastoral poetry; but it
must be noted in passing that it does not imply of necessity
any deep love, and still less any close observation, of nature.
It looks on nature, as it looks on human life, through a medium
of art and sentiment; and its treatment of nature depends less
on the actual world around it than on the prevalent art of the
time. Greek art concentrated its efforts on the representation
of the human figure, and even there preferred the abstract
form and the rigid limitations of sculpture ; and the poetry that
saw, as it were, through the eyes of art sought above all things
simplicity of composition and clearness of outline. The scanty
vocabulary of colour in Greek poetry, so often noticed, is a
special and patent example of this difference in the spirit with
which Nature was regarded. As the poetry of Chaucer cor-
responds, in its wealth and intricacy of decoration, to the
illuminations and tapestries of the middle ages, so the epigrams
given under this section constantly recall the sculptured reliefs
and the engraved gems of Greek art.

But any such general rules must be taken with their excep-
tions. As there is a risk of reading modern sentiment into
ancient work, and even of fixing on the startling modernisms
that occur in Greek poetry,! and dwelling on them till they
assume an exaggerated importance, so there is a risk perhaps
as great of slurring over the inmost quality, the poetry of the
poetry, where it has that touch of romance or magic that sets
it beyond all our generalisations. The magical charm is just
what cannot be brought under any rules; it is the result less
of art than of instinct, and is almost independent of time
and place. The lament of the swallow in an Alexandrian
poet 2 touches the same note of beauty and longing that Keats
drew from the song of the nightingale; the couplet of Satyrus,
where echo repeats the lonely cry of the birds? is, however
different in tone, as purely romantic as the opening lines of
Christabel.

2 A curious instance is in an epigram by Mnasalcas (Anth. Pal. vii. 194),
where he speaks of the evening hymn (πανέσπερον ὕμνον) of the grasshopper.
This, it must be remembered, was written in the third century B.c.

2 Pamphilus in Anth. Pal. ix. 57. 3 App. Plan, 153.

58 GREEK ANTHOLOGY

XII

Though fate and death make a dark background against
which the brilliant colouring of Greek life glitters out with
heightened magnificence, the comedy of men and manners
occupies an important part of their literature, and Aristophanes
and Menander are as intimately Greek as Sophocles. It is
needless to speak of what we gain in our knowledge of Greece
from the preserved comedies of Aristophanes; and if we follow
the best ancient criticism, we must conclude that in Menander
we have lost a treasury of Greek life that cannot be replaced.
Quintilian, speaking at a distance from any national or con-
temporary prejudice, uses terms of him such as we should not
think unworthy of Shakespeare! These Attic comedians were
the field out of which epigrammatists, from that time down to
the final decay of literature, drew some of their graver and
very many of their lighter epigrams. Of the convivial epi-
grams in the Anthology a number are imitated from extant
fragments of the New Comedy; one at least? transfers a line of
Menander’s unaltered ; and short fragments of both Menander
and Diphilus are included in the Anthology as though not
materially differing from epigrams themselves.*

Part of this section might be classed with the criticism of
life from the Epicurean point of view. Some of the convivial
epigrams are purely unreflective; they speak only of the
pleasure of the moment, the frank joy in songs and wine and
roses, at a vintage-revel, or in the chartered licence of a public
festival, or simply without any excuse but the fire in the blood,
and without any conclusion but the emptied jar.t Some bring
in a flash of more vivid colour where Eros mingles with
Bromius, and, on a bright spring day, Rose-flower crosses the
path, carrying her fresh-blown roses.° Others, through their
light surface, show a deeper feeling, a claim half jestingly but
half seriously made for dances and lyres and garlands as
things deeply ordained in the system of nature, a call on the
disconsolate lover to be up and drink, and rear his drooping

1 Omnem vitae imaginem expressit . . . omnibus rebus, personis, adfectibus
accommodatus: see the whole passage, Inst. Rhet. x. i. 69-72.

2 Anth. Pal. xi. 286. 3 Ibid. xi. 438, 439.

“WGA, 194. looRexiels 5 Ibid. v. 81; xi. 64.

+3 ΠῚ ΨΎΨ = =. —— eo νι aie
ee τὸ ees ὙΠ et

ra

+> te
a3

nt a ae

PN TREODUCTIGN 59

head, and not lie down in the dust while he is yet alive.!
Some in complete seriousness put the argument for happiness
with the full force of logic and sarcasm. ‘All the ways of life
are pleasant’, cries Julianus in reply to the weariness ex-
pressed by an earlier poet;? ‘in country or town, alone or
among fellow-men, dowered with the graciousness of wife and
children, or living on in the free and careless life of youth ; all
is well, live!’ And the answer to melancholy has never been
put in a concrete form with finer and more penetrating wit
than in the couplet of Lucian on the man who must needs be
sober when all were drinking, and so appeared in respect of his
company to be the one drunk man there.*

It is here that the epigrams of comedy reach their high-
water mark; in contrast to them is another class in which the
lightness is a little forced and the humour touches cynicism.
In these the natural brutality of the Roman mind makes the
Latin epigram heavier and keener-pointed ; the greater number
indeed of the Greek epigrams of this complexion are of the
Roman period; and many of them appear to be directly imitated
from Martial and Juvenal, though possibly in some cases it is
the Latin poet who is the copyist.

Though they are not actually kept separate—nor indeed
would a complete separation be possible—the heading of this
section of the Palatine Anthology distinguishes the συμποτιχκα, the
epigrams of youth and pleasure, from the σχωπτιχά, the witty
or humorous verses which have accidentally in modern English
come almost to absorb the full signification of the word epi-
gram. The latter come principally under two heads: one, where
the point of the epigram depends on an unexpected verbal
turn, the other, where the humour lies in some gross exaggera-
tion of statement. Or these may be combined ; in some of the
best there is an accumulation of wit, a second and a third
point coming suddenly on the top of the first.‘

Perhaps the saying, so often repeated, that ancient humour
was simpler than modern, rests on a more sufficient basis than
most similar generalisations; and indeed there is no single
criterion of the difference between one age and another more

LWAnth: Pal. 1x. 270\s “xii.00. 2 Ibid. ix. 446.
5 Ibid. xi, 429. 4 Cf. ibid. xi. 85, 143.

60 GREEK ANTHOLOGY

easy and certain of application, where the materials for apply-
ing it exist, than to compare the things that seem amusing to
them. A certain foundation of humour seems to be the com-
mon inheritance of mankind, but on it different periods build
differently. The structure of a Greek joke is generally very
simple; more obvious and less highly elliptical in thought
than the modern type, but, on the other hand, considerably
more subtle than the wit of the middle ages. There was a
store of traditional jests on the learned professions, law, astro-
logy, medicine—the last especially ; and the schools of rhetoric
and philosophy were, from their first beginning, the subject of
much pleasantry. Any popular reputation, in painting, music,
literature, gave material for facetious attack; and so did any
bodily defect, even those, it must be added, which we think of
now as exciting pity or as to be passed over in silence Many
of these jokes, which even then may have been of immemorial
antiquity, are still current. The serpent that bit a Cappadocian
and died of it, the fashionable lady whose hair is all her own,
and paid for,? are instances of this simple form of humour that
has no beginning nor end. Some Greek jests have an Irish
inconsequence, some the grave and logical monstrosity of
American humour.

Naive, crude, often vulgar; such is the general impression
produced by the mass of these lighter epigrams. The bulk
of them are of late date; and the culture of the ancient world
was running low when its vers de société reached no higher
level than this. Of course they can only be called poetry by
a large stretch of courtesy. In a few instances the work is
raised to the level of art by a curious Dutch fidelity and min-
ute detail. In one given in this selection a great poet has
bent to this light and trivial style. The high note of Simon-
ides is as clear and certain here as in his lines on the Spartans
at Thermopylae or in the ery of grief over the young man dead
in the snow-clogged surf of the Saronic sea. With such ex-
ceptions, the only touch of poetry is where a graver note
underlies their light insolence. ‘Drink with me,’ runs the
Greek song, ‘be young with me; love with me, wear garlands
with me; be mad with me in my madness; I will be serious

1 Cf, Anth. Pal. xi, 342, 404. δ. xi. 68, 237% 3 Infra, x. 5.

ΤΥ RODUCTION 61

with you in your seriousness.’ And so behind the flutes and
flowers change comes and the shadow of fate stands waiting,
and through the tinkling of the rose-hung river is heard in
undertone the grave murmur of the sea.

XIII

For over all Greek life there lay a shadow. Man, a weak
and pitiable creature, lay exposed to the shafts of a grim
and ironic power that went its own way careless of him, or
only interfered to avenge its own slighted majesty. ‘God is
always jealous and troublesome’; such is the reflection which
Herodotus, the pious historian of a pious age, puts in the
mouth of the wisest of the Greeks.2 Punishment will sooner
or later follow sin; that is certain; but it is by no means so
certain that the innocent will not be involved with the guilty,
or that offence will not be taken where none was meant. The
law of laesa majestas was executed by the ruling powers of the
universe with unrelenting and undiscriminating severity. Fate
seemed to take a sardonic pleasure in confounding expectation,
making destruction spring out of apparent safety, and filling
life with dramatic and memorable reversals of fortune.

And besides the bolts launched by fate, life was as surely
if more slowly weighed down by the silent and ceaseless tide
of change against which nothing stood fixed or permanent, and
which swept the finest and most beautiful things away the
soonest. The garland that blooms at night withers by morn-
ing; and the strength of man and the beauty of woman are no
longer-lived than the frail anemone, the lily and violet that
flower and fall. Sweetness is changed to bitterness ; where
the rose has spread her cup, one goes by and the brief beauty
passes ; returning, the seeker finds no rose, but a thorn. Swifter
than the flight of a bird through the air the light-footed Hours
pass by, leaving nothing but scattered petals and the remem-
brance of youth and spring.* ‘The exhortation to use the brief

1 Athenaeus, 695, d.
2 τὸ ϑέϊον πᾶν φϑονερόν τε χαὶ ταραχῶδες, Hdt. i. 32.
3 Anth, Pal. v. 74, 118. 4 Ibid. xi. 53; xii. 32, 294,

02 GREEK ANTHOLOGY

space of life, to realise and, so far as that may be, to perpetuate
in action the whole of the overwhelming possibilities crowded
into a minute’s space’ comes with a passion like that of
Shakespeare’s sonnets. ‘On this short day of frost and sun to
sleep before evening’ is the one intolerable misuse of life.*
Sometimes the feeling is expressed with the vivid passion of a
lyric :—‘ To what profit? for thou wilt not find a lover among
the dead, O girl’; sometimes with the curiously impersonal
and incomparably direct touch that is peculiar to Greek, as in
the verses by Antipater of Sidon,‘ that by some delicate magic
crowd into a few words the fugitive splendour of the waning
year, the warm lingering days and sharp nights of autumn, and
the brooding pause before the rigours of winter, and make the
whole masque of the seasons a pageant and metaphor of the
lapse of life itself. Or a later art finds in the harsh moralis-
ation of ancient legends the substance of sermons on the
emptiness of pleasure and the fragility of loveliness; and the
bitter laugh over the empty casket of Pandora® comes from a
heart wrung with the sorrow that beauty is less strong than
time. Nor is the burden of these poems only that pleasant
things decay ; rather that in nothing good or bad, rich or mean,
is there permanence or certitude, but everywhere and without
selection Time feeds oblivion with decay of things. All things
flow and nothing abides; shape and name, nature and fortune
yield to the dissolving touch of time.®

Even then the world was old. The lamentations over de-
cayed towns and perished empires remind us that the distance
which separates the age of the Caesars from our own is in relation
to human history merely a chapter somewhere in the middle
of a great volume. Then, no less than now, men trod daily over
the ruins of old civilisations and the monuments of lost races.
One of the most striking groups of poems in the Anthology is
the long roll of the burdens of dead cities; Troy, Delos, My-
cenae, Argos, Amphipolis, Corinth, Sparta.’ The depopulation
of Greece brought with it a foreshadowing of the wreck of the
whole ancient world. With the very framework of human life

1 Anth. Pal. vii. 472. 2. Ibid. xi. 255 x11 0!

3 Ibid. v. 85. 4 Ibid. xi. 37.
SLO a πὶ 1}. 6 Tbid. ix. 51.

7 Ibid. vii. 705, 728 ; ix. 28, 101-4, 151-6, 408.

INTRODUCTION 63

giving way daily before their eyes, men grew apt to give up
the game. The very instability of all things, once established
as a law, brought a sort of rest and permanence with it ; ‘ there
is nothing strictly immutable’, they might have said, ‘but
mutability.” Thus the law of change became a permanent
thread in mortal affairs, and, with the knowledge that all the
old round would be gone over again by others, grew the
sense that in the acceptance of this law of nature there
was involved a conquest of nature, an overcoming of the
world.

For the strength of Fate was not otherwise to be contended
with, and its grim irony went deeper than human reach.
Nemesis was merciless; an error was punished like a crime,
and the more confident you had been that you were right, the
more severe was the probable penalty. But it was part of
Fate’s malignity that, though the offender was punished, though
Justice took care that her own interests were not neglected nor
her own majesty slighted, even where a humane judge would
have shrunk from inflicting a disproportionate penalty,’ yet
for the wronged one himself she provided no remedy; he
suffered at his own risk. For falseness in friendship, for scorn
of poverty, for wanton cruelty and torture, the wheel of for-
tune brought round some form of retribution, but the suf-
᾿ ferers were like pieces swept off the board, once and for all.

And Fate seemed to take a positive pleasure in eluding
anticipation and constructing dramatic surprises. Through
all Greek literature this feeling shows itself; and later epi-
grams are full of incidents of this sort, recounted and moralised
over with the wearisomeness of a tract, stories sometimes ob-
viously invented with an eye to the moral, sometimes merely
silly, sometimes, though rarely, becoming imaginative. The
contrast of a youth without means to indulge its appetites and
an age without appetites to exhaust its means; the story of
the poor man who found treasure and the rich man who hanged
himself; the fable of the vine’s revenge upon the goat, are
typical instances of the prosaic epigram.? The noble lines in-
scribed upon the statue of Memnon at Thebes? are an example
of the vivid imaginative touch lighting up a sufficiently obvious

1 Anth. Pal. ix. 269. 2 Ibid. ix. 138, 44, 75. 3 ix. 19 in this selection.

θ4 GREEK ANTHOLOGY

theme for the rhetorician. Under the walls of Troy, long ages
past, the son of the Dawn had fallen under Achilles’ terrible
spear ; yet now morning by morning the goddess salutes her son
and he makes answer, while Thetis is childless in her sea-halls,
and the dust of Achilles moulders silently in the Trojan plain.
The Horatian maxim of null satis cautwm recurs in the story
of the ship, that had survived its sea-perils, burnt at last as it
lay on shore near its native forest, and finding the ocean less
faithless than the land.!' In a different vein is the sarcastic
praise of Fortune for her exaltation of a worthless man to high
honour, ‘that she might shew her omnipotence’. At the
root of all there is the sense, born of considering the flux of
things and the tyranny of time, that man plays a losing game,
and that his only success is in refusing to play. For the busy
and idle, for the fortunate and unhappy alike, the sun rises one
morning for the last time ;* he only is to be congratulated who
is done with hope and fear ;* how short-lived soever he be in
comparison with the world through which he passes, yet no
less through time Fate dries up the holy springs, and the
mighty cities of old days are undecipherable under the green
turf ;° it is the only wisdom to acquiesce in the forces, however
ignorant or malign in their working, that listen to no protest
and admit no appeal, that no force can affect, no subtlety elude,
no calculation predetermine.

ΘΙ

Of these prodigious natural forces the strongest and the
most imposing is Death. Here, if anywhere, the Greek genius
had its fullest scope and most decisive triumph; and here it
is that we come upon the epigram in its inmost essence and
utmost perfection. ‘ Waiting to see the end’ as it always did,
the Greek spirit pronounced upon the end when it came with
a swiftness, a tact, a certitude that leave all other language
behind. For although Latin and not Greek is pre-eminently
and without rival the proper and, one might almost say, the
native language of monumental inscription, yet the little differ-

1 Anth. Pal. ix. 106. 5 Ibid. ix. 530. 3 Tbid. ix. 8.
4 Ibid. ix. 172; xi. 282. 5 Ibid. ix. 101, 257.

INTRODUCTION 65

ence that fills inscriptions with imagination and beauty, and
will not be content short of poetry, is in the Greek temper
alone. The Roman sarcophagus, square hewn of rock, and
bearing on it, incised for immortality, the haughty lines of
rolling Republican names, represents to us with unequalled
power the abstract majesty of human States and the glory of
law and government; and the momentary pause in the steady
current of the life of Rome, when one citizen dropped out of
rank and another succeeded him, brings home to us with
crushing effect, like some great sentence of Tacitus, the brief
and transitory worth of a single life. Qui apicem gessisti, mors
perfecit tua ut essent omnia brevia, honos fama virtusque, gloria
atque ingenium 1—words like these have a melancholy majesty
that no other human speech has known; nor can any greater
depth of pathos be reached than is in the two simple words
Bene merenti on a hundred Roman tombs. But the Greek
mind here as elsewhere came more directly than any other
face to face with the truth of things, and the Greek genius
kindled before the vision of life and death into a clearer flame.
The sepulchral reliefs show us many aspects of death; in all of
the best period there is a common note, mingled of a grave
tenderness, simplicity, and reserve. The quiet figures there
take leave of one another with the same grace that their life
_had shown. There is none of the horror of darkness, none of
the ugliness of dying; with calm faces and undisordered rai-
ment they rise from their seats and take the last farewell. But
the sepulchral verses show us more clearly how deep the grief
was that lay beneath the quiet lines of the marble and the
smooth cadence of the couplets. They cover and fill the whole
range of emotion: household grief, and pain for the dead baby
or the drowned lover, and the bitter parting of wife and hus-
band, and the chill of distance and the doubt of the unknown
nether world ; and the thoughts of the bright and brief space
of life, and the merciless continuity of nature, and the resolution
of body and soul into the elements from which they came; and
the uselessness of Death’s impatience, and the bitter cry of a
life gone like spilt water; and again, comfort out of the grave,

? From the inscription on the tomb of Publius Cornelius Scipio Africanus,
Augur and Flamen Dialis, son of the conqueror of Hannibal.

9

66 GREEK ANTHOLOGY

perpetual placidity, ‘holy sleep’, and earth’s gratitude to her
children, and beyond all, dimly and lightly drawn, the flowery
meadows of Persephone, the great simplicity and rest of the
other world, and far away a shadowy and beautiful country to
which later men were to give the name of Heaven.

The famous sepulchral epigrams of Simonides deserve a word
to themselves; for in them, among the most finished achieve-
ments of the greatest period of Greece, the art not only touches
its highest recorded point, but a point beyond which it seems
inconceivable that art should go. They stand with the odes of
Pindar and the tragedies of Sophocles as the symbols of per-
fection in literature; not only from the faultlessness of their
form, but from their greatness of spirit, the noble and simple
thought that had then newly found itself so perfect a language
to commemorate the great deeds which it inspired. Foremost
among them are those on the men whose fame they can hardly
exalt beyond the place given them by history; on the three
hundred of Thermopylae, the Athenian dead at Marathon, the
Athenian and Lacedaemonian dead at Plataea.’ ‘O stranger,
tell the Lacedaemonians that we lie here obeying their orders’
—the words have grown so famous that it is only by sudden
flashes we can appreciate their greatness. No less noble are
others somewhat less widely known: on the monument erected
by the city of Corinth to the men who, when all Greece stood
as near destruction as a knife’s edge, helped to win her freedom
at Salamis; on the Athenians, slain under the skirts of the
Euboean hills, who lavished their young and beautiful lives for
Athens; on the soldiers who fell, in the full tide of Greek
glory, at the great victory on the Eurymedon.? In all the
epitaphs of this class the thought of the city swallows up
individual feeling ; for the city’s sake, that she may be free
and great, men offer their death as freely as their life; and the
noblest end for a life spent in her service is to die in the
moment of her victory. The funeral speech of Pericles dwells
with all the amplitude of rhetoric on the glory of such a death ;
‘having died they are not dead’ are the simpler words of
Simonides.*

1 Anth. Pal. vii. 249, 251, 253; Aristides, ii. 511.
2 Aristides, ii. 512; App. Plan. 26; Anth. Pal. vii. 258.
3 Anth. Pal. vii. 251; Thue. ii. 41-43.

INTRODUCTION 67

Not less striking than these in their high simplicity are
his epitaphs on private persons: that which preserves the
fame of the great lady who was not lifted up to pride, Arche-
dice daughter of Hippias; that on Theognis of Sinope, so
piercing and yet so consoling in its quiet pathos, or that on
Brotachus of Gortyn, the trader who came after merchandise
and found death; the dying words of Timomachus and the
eternal memory left to his father day by day of the goodness
and wisdom of his dead child; the noble apostrophe to mount
Geraneia, where the drowned and nameless sailor met his
doom, the first and one of the most magnificent of the long
roll of poems on seafarers lost at sea.1 In all of them the
foremost quality is their simplicity of statement. There are
no superlatives. The emotion is kept strictly in the back-
ground, neither expressed nor denied. Great minds of later
ages sought a justification of the ways of death in denying
that it brought any reasonable grief. To the cold and pro-
found thought of Marcus Aurelius death is ‘a natural thing,
like roses in spring or harvest in autumn’? But these are
the words of a strange language. The feeling of Simonides
is not, like theirs, abstract and remote; he offers no justifica-
tion, because none is felt to be needed where the pain of death
is absorbed in the ardour of life.

That great period passed away; and in those which follow
it, the sepulchral inscription, while it retains the old simplicity,
descends from those heights into more common feelings, lets
loose emotion, even dallies with the ornaments of grief. The
sorrow of death is spoken of freely; nor is there any poetry
more pathetic than those epitaphs which, lovely in their
sadness, commemorate the lost child, the sundered lovers, the
disunited life. Among the most beautiful are those on children :
on the baby that just lived, and, liking it not, went away
again before it had known good or evil;* on the children of
a house all struck down in one day and buried in one grave; 4
on the boy whom his parents could not keep, though they held
both his little hands in theirs, led downward by the Angel of
Death to the unsmiling land. Then follows the keener sad-

1 Thue. vi. 59; Anth. Pal. vii. 509, 254, 513, 496. 2 Mare. Aur. iv, 44.
3 Kaibel, 576. 4 Anth. Pal. vii. 474. 5. iii. 33 in this selection,

68 GREEK ANTHOLOGY

ness of the young life, spared till it opened into flower only to
be cut down before noon; the girl who, sickening for her baby-
brother, lost care for her playmates, and found no peace till
she went to rejoin him;* the boy of twelve, with whom his
father, adding no words of lamentation, lays his whole hope in
the grave;? the cry of the mourning mother over her son,
Bianor or Anticles, an only child laid on the funeral pyre
before an only parent’s eyes, leaving dawn thenceforth dis-
adorned of her sweetness, and no comfort in the sun.’ More
piercing still in their sad sweetness are the epitaphs on young
wives: on Anastasia, dead at sixteen, in the first year of her
marriage, over whom the ferryman of the dead must needs
mingle his own with her father’s and her husband’s tears; on
Atthis of Cnidos, the wife who had never left her husband
till this the first and last sundering came; on Paulina of
Ravenna, holy of life and blameless, the young bride of the
physician whose skill could not save her, but whose last
testimony to her virtues has survived the wreck of the centuries
that have made the city crumble and the very sea retire.
The tender feeling for children mingles with the bitter grief
at their loss, a touch of fancy, as though they were flowers
plucked by Persephone to be worn by her and light up the
ereyness of the underworld. Cleodicus, dead before the
festival of his third birthday, when the child’s hair was cut
and he became a boy, lies in his little coffin; but somewhere
by unknown Acheron a shadow of him grows fair and strong
in youth, though he never may return to earth again.®

With the grief for loss comes the piercing cry over crushed
beauty. One of the early epitaphs, written before the period
of the Persian wars, is nothing but this ery: ‘pity him who
was so beautiful and is dead.’® In the same spirit is the
fruitless appeal so often made over the haste of Death; mais
que te nuysoit elle en vie, mort? Was he not thine, even had
he died an old man? says the mourner over Attalus.’ A
subject whose strange fascination drew artist after artist to
repeat it, and covered the dreariness of death as with a glimmer -
of white blossoms, was Death the Bridegroom, the maiden

1 Anth. Pal. vii. 662. 2 Thid. vii. 453.
® Tbid. vii. 261, 466. 4 Ibid. vii. 600; Kaibel, 204 B, 596.
5 Anth. Pal. vii. 482, 483. ὁ Kaibel, 1 A. 7 Anth. Pal. vii. 671.

INTRODUCTION 69

taken away from life just as it was about to be made complete.
Again and again the motive is treated with delicate profusion
of detail, and lingering fancy draws out the sad likeness
between the two torches that should hold such a space of
lovely life between them,! now crushed violently together and
mingling their fires. Already the bride-bed was spread with
saffron in the gilded chamber; already the flutes were shrill
by the doorway and the bridal torches were lit, when Death
entered, masked as a reveller, and the hymeneal song suddenly
changed into the death-dirge; and while the kinsfolk were
busy about another fire, Persephone lighted her own torch out
of their hands; with hardly an outward change—as in ἃ pyro-
Gessional relief on a sarcophagus—the bridal train turns and
moves to the grave with funeral lights flaring through the
darkness and sobbing voices and wailing flutes.”

As tender in their fancy and with a higher note of sincerity
in their grief are the epitaphs on young mothers, dead in child-
birth: Athenais of Lesbos, the swift-fated, whose cry Artemis
was too busy with her woodland hounds to hear; Polyxena,
wife of Archelaus, not a year’s wife nor a month’s mother, so
short was all her time; Prexo, wife of Theocritus, who takes
her baby with her, content with this, and gives blessings from
her grave to all who will pray with her that the boy she leaves
on earth may live into a great old age.? Here tenderness out-
weighs sorrow; in others a bitterer grief is uttered, the grief
of one left alone, forsaken and cast off by all that had made
life sweet; where the mother left childless among women has
but the one prayer left, that she too may quickly go whence
she came, or where the morbid imagination of a mourner over
many deaths invents new self-torture in the idea that her
very touch is mortal to those whom she loves, and that fate
has made her the instrument of its cruelty; or where Theano,
dying alone in Phocaea, sends a last ery over the great gulfs of
sea that divide her from her husband, and goes down into the
night with the one passionate wish that she might have but
died with her hand clasped in his hand.*

Into darkness, into silence: the magnificent brilliance of

1 Propertius, Iv. xii. 46. Anth. Pal. vii. 182, 185, 711, 712.
3 Ibid. vi. 348, vii. 167, 163. 4 hid, vii. 466, ix. 254, vii. 735.

70 GREEK ANTHOLOGY

that ancient world, its fulness of speech and action, its
copiousness of life, made the contrast more sudden and ap-
palling; and it seems to be only at a later period, when the
brightness was a little dimmed and the tide of life did not run
so full, that the feeling grew up which regarded death as the
giver of rest. With a last word of greeting to the bright earth
the dying man departs, as into a mist.!_ In the cold shadows
underground the ghost will not be comforted by ointments and
garlands lavished on the tomb; though the clay covering be
drenched with wine, the dead man will not drink.2 On an
island of the Aegean, set like a gem in the splendid sea, the
boy lying under earth, far away from the sweet sun, asks a
word of pity from those who go up and down, busy in the
daylight, past his grave. Paula of Tarentum, the brief-fated,
erles out passionately of the stone chambers of her night, the
night that has hidden her. Samian girls set up a monument
over their playfellow Crethis, the chatterer, the story-teller,
whose lips will never open in speech again. Musa, the singing-
girl, blue-eyed and sweet-voiced, suddenly lies voiceless, like a
stone.2 With a jarring shock, as of closed gates, the grave
closes over sound and colour; moved round in Earth’s diurnal
course with rocks, and stones, and trees.

Even thus there is some little comfort in lying under known
earth ; and the strangeness of a foreign grave adds a last touch
to the pathos of exile. The Eretrians, captured by the Persian
general Datis, and sent from their island home by endless
marches into the heart of Asia, pine in the hot Cissian plains,
and with their last voice from the tomb send out a greeting to
the dear and distant seat The Athenian laid in earth by the
far reaches of Nile, and the Egyptian whose tomb stands by a
village of Crete, though from all places the descent to the
house of Hades is one, yet grieve and fret at their strange
resting-places.® No bitterer pang can be added to death than
for the white bones of the dead to lie far away, washed by
chill rains, or mouldering on a strange beach with the scream-
ing seagulls above them.°

1 Anth. Pal. vii. 566. 5 Idaik, Σὶ. tsp

3 Kaibel, 190; Anth. Pal. vii. 700, 459; C. I. G., 6261.
4 Anth. Pal. vii. 256, 259. 5 Ibid. vii. 477, x. 3.

6 Ibid. vii. 225, 285.

INTEOCDUCTION 71

This last aspect of death was the one upon which the art of
the epigrammatist lavished its utmost resources. From first to
last the Greeks were a seafaring people, and death at sea was
always present to them as a common occurrence. The Medi-
terranean was the great highway of the world’s journeying and
traffic. All winter through, travel almost ceased on it except
for those who could not avoid it, and whom desire of gain or
urgence of business drove forth across stormy and perilous
waters; with spring there came, year by year, a sort of
breaking-up of the frost, and the seas were all at once covered
with a swarm of shipping. From Egypt and Syria fleets bore
the produce of the East westward; from the pillars of Hercules
galleys came laden with the precious ores of Spain and Britain;
through the Propontis streamed the long convoys of corn-ships
from the Euxine with their loads of wheat. Across the Aegean
from island to island, along its shores from port to port, ran
continually the tide of local commerce, the crowds of tourists
and emigrants, the masses of people and merchandise drawn
hither and thither in the track of armies, or bound to and from
shows and festivals and markets. The fishing industry, at
least in the later Greek period, employed the whole population
of small islands and seaside towns. Among those thousands of
vessels many must, every year, have come to harm in those
᾿ difficult channels and treacherous seas. And death at sea had
a great horror and anguish attached to it; the engulfing in
darkness, the vain struggles for life, the loss of burial rites
and all the last offices that can be paid to death, made it none
the less terrible that it was so common. From the Odyssey
downward tales of sea-peril and shipwreck had the most power-
ful fascination. Yet to that race of sailors the sea always
remained in a manner hateful; ‘as much as a mother is
sweeter than a stepmother’, says Antipater,! ‘so much is earth
dearer than the grey sea’. The fisherman tossing on the waves
looked back with envy to the shepherd, who, though his
life was no less hard, could sit in quiet piping to his flock on
the green hillside; the great merchantman who crossed the
whole length of the Mediterranean on his traffic, or even ven-
tured out beyond Calpe into the unknown ocean, hungered for

ἘΝ, Veal. ix. 20.

72 GREEK ANTHOLOGY

the peace of broad lands and the lowing of herds.’ Cedet et
ipse mari vector, nec nautica pinus mutabit merces: all dreams
of a golden age, or of an ideal life.in the actual world, included
in them the release from this weary and faithless element.
Even in death it would not allow its victims rest; the cry of
the drowned man is that though kind hands have given him
burial on the beach, even there the ceaseless thunder of the
surge is in his ears, and the roar of the surf under the broken
reef will not let him be quiet; ‘keep back but twelve feet from
me’, is his last prayer, ‘and there billow and roar as much as
thou wilt’.2 But even the grace of a tomb was often denied.
In the desolation of unknown distances the sailor sank into
the gulfs or was flung on a desert beach. Erasippus, perished
with his ship, has all the ocean for his grave; somewhere far
away his white bones moulder on a spot that the seagulls alone
can tell. Thymodes rears a cenotaph to his son, who on some
Bithynian beach or island of the Pontic les a naked corpse on
an inhospitable shore. Young Seleucus, wrecked in the distant
Atlantic, has long been dead on the trackless Spanish coasts,
while yet at home in Lesbos they praise him and look forward
to his return. On the thirsty uplands of Dryopia the empty
earth is heaped up that does not cover Polymedes, tossed up
and down far from stony Trachis on the surge of the Icarian
sea. ‘Also thee, O Cleanoridas’, one abruptly opens, the
thought of all those many others whom the sea had swallowed
down overwhelming him as he tells the fate of the drowned
man.’ The ocean never forgot its cruelty. Πᾶσα ϑάλασσα
ϑάλασσα, ‘everywhere the sea is the sea’, wails Aristagoras,*
past the perilous Cyclades and the foaming narrows of the
Hellespont only to be drowned in a little Locrian harbour; the
very sound of the words echoes the heavy wash of blind waves
and the hissing of eternal foam. Already in sight of home, like
Odysseus on his voyage from Aeolia, the sailor says to himself,
‘to-morrow the long battle against contrary winds will be
over’, when the storm gathers as the words leave his lips, and
he is swept back to death.® The rash mariner who trusts the
gales of winter draws fate on himself with his own hands;

1 Anth. Pal. vii. 636, ix. 7; οἵ, Virgil, Georg. ii. 468-70.
2 [bid. vii. 284. 3 Tbid. vii. 285, 497, 376, 651, 263.
4 Thid. vii. 639. 5 Thid. vii. 630.

INTRODUCTION 73

Cleonicus, hastening home to Thasos with his merchandise
from Hollow Syria at the setting of the Pleiad, sinks with the
sinking start But even in the days of the halcyons, when the
sea should stand like a sheet of molten glass, the terrible
straits swallow Aristomenes, with ship and crew; and Nico-
phemus perishes, not in wintry waves, but of thirst in a calm
on the smooth and merciless Libyan sea.2 By harbours and
headlands stood the graves of drowned men with pathetic
words of warning or counsel. ‘I am the tomb of one ship-
wrecked’; in these words again and again the verses begin.
What follows is sometimes an appeal to others to take ex-
ample: ‘let him have only his own hardihood to blame, who
looses moorings from my grave’; sometimes it is a call to
courage : ‘I perished; yet even then other ships sailed safely
on’. Another, in words incomparable for their perfect pathos
and utter simplicity, neither counsels nor warns: ‘O mariners,
well be with you at sea and on land; but know that you pass
the tomb of a shipwrecked man. And in the same spirit
another sends a blessing out of his nameless tomb: ‘O sailor,
ask not whose grave I am, but be thine own fortune a kinder
sea.’ ?

Beyond this simplicity and pathos cannot reach. But there
is a group of three epigrams yet unmentioned * which, in their
union of these qualities with the most severe magnificence of
language and with the poignant and vivid emotion of a tragical
Border balJad, reach an even more amazing height: that where
Ariston of Cyrene, lying dead by the Icarian rocks, cries out in
passionate urgency on mariners who go sailing by to tell Meno
how his son perished; that where the tomb of Biton in the
morning sun, under the walls of Torone, sends a lke message
by the traveller to the childless father, Nicagoras of Amphi-
polis; and most piercing of all in their sorrow and most
splendid in their cadences, the stately lines that tell the passer-
by of Polyanthus, sunk off Sciathus in the stormy Aegean, and
laid in his grave by the young wife to whom only a dead body
was brought home by the fishermen as they sailed into harbour
under a flaring and windy dawn.

1 Anth, Pal, vii. 263, 534. 2 Ibid. ix. 271, vii. 293.
3 Ibid. vii. 264, 282, 675; 269, 350. 4 Thid. vii. 499, 502, 739.

74 GREEK ANTHOLOGY

Less numerous than these poems of sea-sorrow, but with the
same trouble of darkness, the same haunting chill, are others
where death comes through the gloom of wet nights, in the
snowstorm or the thunderstorm or the autumn rains that
drown the meadow and swell the ford. The contrast of long
golden summer days may perhaps make the tidings of death
more pathetic, and wake a more delicate pity; but the physical
horror, as in the sea-pieces, is keener at the thought of lonely
darkness, and storm in the night. Few pictures can be more
vivid than that of the oxen coming unherded down the hill
through the heavy snow at dusk, while high on the mountain
side their master lies dead, struck by lightning; or of Ion, who
slipped overboard, unnoticed in the darkness, while the sailors
drank late into night at their anchorage; or of the strayed
revellers, Orthon and Polyxenus, who, bewildered in the rainy
night, with the lights of the banquet still flaring in their eyes,
stumbled on the slippery hill-path and lay dead at the foot of
the cliff.

O Charidas, what is there beneath ? cries a passer-by over the
grave of one who had in life nursed his hopes on the doctrine
of Pythagoras ; and out of the grave comes the sombre answer,
Great darkness? It is in this feeling that the brooding over death
in later Greek literature issues; under the Roman empire we
feel that we have left the ancient world and are on the brink
of the Middle Ages with their half hysterical feeling about
death, the piteous and ineffectual revolt against it, and the
malign fascination with which it preys on men’s minds and
paralyses their action. To the sombre imagination of an ex-
hausted race the generations of mankind were like bands of
victims dragged one after another to the slaughter-house ; in
Palladas and his contemporaries the medieval dance of death
is begun. The great and simple view of death is wholly
broken up, with the usual loss and gain that comes of analysis.
On the one hand is developed this tremulous and cowardly
shrinking from the law of nature. But on the other there
arises in compensation the view of death as final peace, the
release from trouble, the end of wandering, the resolution of

1 Anth. Pal. vii. 173, ix. 82, vii. 398, 660.
2 Ibid. vii. 524. 5 Cf. Ibid. x. 78, 85, 88, xi 300.

INTRODUCTION 75

the feverous life of man into the placid and continuous life of
nature. With a great loss of strength and directness comes an
increased measure of gentleness and humanity. Poetry loves
to linger over the thought of peaceful graves. The dead boy’s
resting-place by the spring under the poplars bids the weary
wayfarer turn aside and drink in the shade, and remember the
quiet place when he is far away.1 The aged gardener lies at
peace under the land that he had laboured for many a year,
and in recompence of his fruitful toil over vine and olive, corn-
field and orchard-plot, grateful earth lies lightly over his grey
temples, and the earliest flowers of spring blossom above his
dust.2 The lovely lines of Leonidas, in which Clitagoras asks
that when he is dead the sheep may bleat above him, and the
shepherd pipe from the rock as they graze softly along the
valley, and that the countryman in spring may pluck a posy of
meadow flowers and lay it on his grave, have all the tender-
ness of an English pastoral in a land of soft outlines and
silvery tones. An intenser feeling for nature and a more
consoling peace is in the nameless poem that bids the hill-
brooks and the cool upland pastures tell the bees, when they
go forth anew on their flowery way, that their old keeper fell
asleep on a winter night, and will not come back with spring.*
The lines call to mind that magnificent passage of the Adonais
where the thought of earth’s annual resurrection calms by its
glory and beauty the very sorrow which it rekindles; as those
others, where, since the Malian fowler is gone, the sweet plane
again offers her branches ‘for the holy bird to rest his swift
wing ’,? are echoed in the famous Ode where the note of the
immortal bird sets the listener in the darkness at peace with
Death. The dying man leaves earth with a last kind word.
At rest from long wanderings, the woman, whose early memory
went back to the storming of Athens by Roman legionaries,
and whose later life had passed from Italy to Asia, unites the
lands of her birth and adoption and decease in her farewell.®
For all ranks and ages—the baby gone to be a flower in
Persephone’s crowned hair, the young scholar, dear to men and

1 Anth. Pai. ix. 315. 2 Tbid. vii. 321.

3 Ibid. vii. 657, The spirit, and much of the language, of these epigrams
is very like that of Gray’s Hlegy.

4 Ibid. vii. 717. 5 Ibid. vii. 171. 5 Ibid. vii. 368.

76 GREEK ANTHOLOGY

dearer to the Muses, the great sage who, from the seclusion of
his Alexandrian library, has seen three kings succeed to the
throne !—the recompence of life is peace. Peace is on the
graves of the good servant, the faithful nurse, the slave who
does not even in the tomb forget his master’s kindness or cease
to help him at need.2 Even the pets of the household, the dog
or the singing-bird, or the caged cricket shouting through the
warm day, have their reward in death, their slight memorial
and their lasting rest. The shrill cicala, silent and no more
looked on by the sun, finds a place on the meadows whose
flowers the Queen of the Dead herself keeps bright with dew.®
The sweet-throated song-bird, the faithful watch-dog who kept
the house from harm, the speckled partridge in the coppice,*
go at the appointed time upon their silent way—ipsas angusti
terminus aevi excipit—and come into human sympathy because
their bright life is taken to its rest like man’s own in so brief
a term.

Before this gentler view of death grief itself becomes soft-
ened. ‘Fare thou well even in the house of Hades’, says the
friend over the grave of the friend: the words are the same as
those of Achilles over Patroclus, but all the wild anguish has
gone out of them.’ Over the ashes of Theoenis of Sinope,
without a word of sorrow, with hardly a pang of pain, Glaucus
sets a stone in memory of the companionship of many years.
And in the tenderest and most placid of epitaphs on dead
friends doubt vanishes with grief and acquiescence passes into
hope, as the survivor of that union ‘which conquers Time
indeed, and is eternal, separate from fears’, prays Sabinus, if it
be permitted, not even among the dead to let the severing
water of Lethe pass his lips.®

Out of peace comes the fruit of blessing. The drowned
sailor rests the easier in his grave that the lines written over
it bid better fortune to others who adventure the sea. ‘Go
thou upon thy business and obtain thy desire’,” says the dead
man to the passer-by, and the kind word makes the weight of
his own darkness less to bear. Amazonia of Thessalonica from

1 Anth. Pal. 78, 483; Diog. Laert. iv.’ 25.

* [bid, vii. 178, 179; Kaibel, 47. 3 Tbid. vii. 189.

4 Ibid. vii. 199, 211, 208. 5 Tl, xxiii. 19; Anth. Pal. vii. 41.
ὁ Tbid. vii. 509, 346. 7 Kaibel, 190,

ἘΝ ΘΕΟΟΨΟΝ 77

her tomb bids husband and children cease their lamentations
and be only glad while they remember her.t. Such recompence
is in death that the dead sailor or shepherd becomes thenceforth
the genius of the shore or the hillside.2 The sacred sleep
under earth sends forth a vague and dim effluence; in a sort
of trance between life and death the good still are good and do
not wholly cease out of being.’

For the doctrine of immortality did not dawn upon the
world at any single time or from any single quarter. We are
accustomed, perhaps, to think of it as though it came like
sunrise out of the dark, lux sedentibus in tenebris, giving a new
sense to mankind and throwing over the whole breadth of life
a vivid severance of light from shadow, putting colour and
sharp form into what had till then all lain dim in the dusk,
like Virgil’s woodland path under the glimpses of a fitful
moon. Rather it may be compared to those scattered lights
that watchers from Mount Ida were said to discern moving
hither and thither in the darkness, and at last slowly gathering
and kindling into the clear pallor of dawn. So it is that
those half-formed beliefs, those hints and longings, still touch
us with the freshness of our own experience. For the ages of
faith, if such there be, have not yet come; still in the myste-
rious glimmer of a doubtful light men wait for the coming
of the unrisen sun. During a brief and brilliant period
the splendour of corporate life had absorbed the life of the
citizen; an Athenian of the age of Pericles may have, for
the moment, found Athens all-sufficient to his needs. With
the decay of that glory it became plain that this single life
was insufficient, that it failed in permanence and simplicity.
We all dwell in a single native country, the universe, said
Meleager,® expressing ἃ feeling that had become the common
heritage of his race. But that country, as men saw it, was but
ill governed; and in nothing more so than in the rewards and
punishments it gave its citizens. To regard it as the vestibule
only of another country where life should have its intricacies
simplified, its injustices remedied, its evanescent beauty fixed,
and its brief joy made full, became an imperious instinct that

1 Anth. Pal. vii. 667. 2 Ibid. vii. 269, 657. 9. Thid. vii. 451.
4 Lucr. v. 663. 5 Anth. Pal. vii. 417.

78 GREEK ANTHOLOGY

claimed satisfaction, through definite religious teaching or the
dreams of philosophy or the visions of poetry. And so the
last words of Greek sepulchral poetry express, through ques-
tions and doubts, in metaphor and allegory, the final belief in
some blessedness beyond death. Who knows whether to live
be not death, and to be dead life? so the haunting hope
begins. The Master of the Portico died young; does he sleep
in the quiet embrace of earth, or live in the joy of the other
world?! ‘Even in life what makes each one of us to be what
we are is only the soul; and when we are dead, the bodies of
the dead are rightly said to be our shades or images; for the
true and immortal being of each one of us, which is called the
soul, goes on her way to other gods, that before them she may
give an account.’ These are the final words left to men by
that superb and profound genius the dream of whose youth
had ended in the flawless lines* whose music Shelley’s own
could scarcely render :

Thou wert the Morning Star among the living
Ere thy fair light was fled ;

Now, having died, thou art as Hesperus, giving
New splendour to the dead.

And at last, not from the pen of Plato nor written in lines of
gold, but set by a half-forgotten friend over an obscure grave,
comes the certitude of that long hope. Heliodorus and Dio-
geneia died on the same day and are buried under the same
stone: but love admits no such bar to its continuance, and the
tomb is as a bridal chamber for their triumphant life.

XV

Criticism, to be made effectively, must be made from beyond
and outside the thing criticised. But as regards life itself,
such an effort of abstraction is more than human. For the
most part poetry looks on life from a point inside it, and the
total view differs, or may even be reversed, with the position
of the observer. The shifting of perspective makes things

1 Infra, xi. 7. * Plato, Laws, 959. 3 Anth. Pail. vii. 670.
4 Ibid. vii. 378, ἀγαλλόμενοι zor τάφον ὡς ϑάλαμον.

INTRODUCTION 79

appear variously both in themselves and in their proportion to
other things. What lies behind one person is before another ;
the less object, if nearer, may eclipse the greater; where there
is no fixed standard of reference, how can it be determined what
is real and what apparent, or whether there be any absolute
fact at all? To some few among men it has been granted to
look on life as it were from without, with vision unaffected
by the limit of view and the rapid shifting of place. These,
the poets who see life steadily and whole, in Matthew Arnold’s
celebrated phrase, are for the rest of mankind almost divine.
We recognise them as such through a sort of instinct awakened
by theirs and responding to it, through the inarticulate divinity
of which we are all in some degree partakers.

These are the great poets; and we do not look, in any
Anthology of slight and fugitive pieces, for so broad and
sustained a view of life. But what we do find in the Antho-
logy is the reflection in many epigrams of many partial
criticisms from within; the expression, in the most brief and
pointed form, of the total effect that life had on one man or
another at certain moments, whether in the heat of blood, or
the first melancholy of youth, or the graver regard of mature
years. In nearly all the same sad note recurs, of the shortness
of life, of the imevitableness of death. Now death is the
shadow at the feast, bidding men make haste to drink before
the cup is snatched from their lips with its sweetness yet
undrained ; again it is the bitterness within the cup itself, the
lump of salt dissolving in the honeyed wine and spoiling the
drink. Then comes the revolt against the cruel law of Nature
in the crude thought of undisciplined minds. Sometimes this
results in hard cynicism, sometimes in the relaxation of all
effort; now and then the bitterness grows so deep that it
almost takes the quality of a real philosophy, a nihilism, to
use the barbarous term of our own day, that declares itself as
a positive solution of the whole problem. ‘Little is the life
of our rejoicing’, cries Rufinus, in the very words of an Eng-
lish ballad of the fifteenth century; ‘old age comes quickly,
and death ends all’ In many epigrams this burden is re-

1 Anth. Pal. v. 12; ef. the beautiful lyric with the refrain Lytyll ioye is son
done (Percy Society, 1847).

80 GREEK ANTHOLOGY

peated. The philosophy is that of Ecclesiastes : ‘Go thy way,
eat thy bread with joy, and drink thy wine with a merry heart,
let thy garments be always white, and let thy head lack no
ointment ; see life with the wife whom thou lovest all the days
of the life of thy vanity ; for that is thy portion in life, and in
thy labour which thou takest under the sun.’ If the irony here
is unintentional it is all the bitterer; such consolation leads
surely toa more profound gloom. With a selfish nature this
view of life becomes degraded into cynical effrontery ; under
the Roman empire the lowest corruption of ‘good manners’
took for its motto the famous words, repeated in an anonymous
epigram,! Let us eat and drink, for to-morrow we die. In finer
tempers it issues in a mood strangely mingled of weakness of
will and lucidity of intelligence, like that of Omar Khayyam.
Many of the stanzas of the Persian poet have a close parallel,
not only in thought but in actual turn of phrase, in verses of
the later epigrammatists.2 The briefness of life when first
realised makes youth feverish and self-absorbed. ‘Other men
perhaps will be, but Z shall be dead and turned into black
earth ’—as though that were the one thing of importance? Or
again, the beauty of returning spring is felt in the blood as an
imperious call to renew the delight in the simplest physical
pleasures, food and scent of flowers and walks in the fresh
country air, and to thrust away the wintry thought of dead
friends who cannot share those delights now.t The earliest
form taken by the instinct of self-preservation and the revolt
against death can hardly be called by a milder name than
swaggering. ‘I don’t care’, the young man cries,’ with a sort
of faltering bravado. Snatch the pleasure of the moment, such
is the selfish instinct of man before his first imagination of life,
and then, and then let fate do its will upon you.® Thereafter,
as the first turbulence of youth passes, its first sadness succeeds,
with the thought of all who have gone before and all who are
to follow, and of the long night of silence under the ground.
Touches of tenderness break in upon the reveller; thoughts

1 Anth. Pal. xi. 56. 2 Cf. Ibid. xi. 25, 43; xii, 50.
Ὁ Theognis, 877, Bergk. 4 Anth. Pal. ix, 412.
5 Ibid. xi. 23.

-" , “
" Archestr. ap. Athenaeum, vii. 280 ἃ ; χἂν ἀποθϑνήσχειν μέλλῃς, ἀρπασον,
- “ ” oo, ' >
. χᾶτα vatepov ἤδη macy’ ὃ τί σοι πεπρωμένον ἐστίν.

INTRODUCTION 81

of the kinship of earth, as the drinker lifts the sweet cup
wrought of the same clay as he; submission to the lot of
mortality ; counsels to be generous while life lasts, ‘to give
and to share’; the renunciation of gross ambitions such as
wealth and power, with some likeness or shadow in it of the
crowning virtue of humility.!

It is here that the change begins. To renounce something
for the first time wittingly and spontaneously is an action of
supreme importance, and its consequences reach over the whole
of life. Not only is it that he who has renounced one thing
has shown himself implicitly capable of renouncing all things:
he has shown much more; reflection, choice, will. Thenceforth
he is able to see part of life at all events from outside, the part
which he has put away from himself; for the first time his
criticism of life begins to be real. He has no longer a mere
feeling with regard to the laws of nature, whether eager haste
or sullen submission or blind revolt ; behind the feeling there
is now thought, the power which makes and unmakes all
things.

And so in mature age Greek thought began to make criti-
cisms on life; and of these the Anthology preserves and crys-
tallises many brilliant fragments. Perhaps there is no thought
among them which was even then original; certainly there is
none which is not now more or less familiar. But the per-
fected expression without which thought remains obscure and
ineffectual gives some of them a value as enduring as their
charm. A few of them are here set side by side without com-
ment, for no comment is needed to make their sense clear, nor
to give weight to their grave and penetrating reality.”

‘Those who have left the sweet light I mourn no longer, but
those who live in perpetual expectation of death.’

‘What belongs to mortals is mortal, and all things pass by
us; and if not, yet we pass by them.’

‘Now we flourish, as others did before, and others will
presently, whose children we shall not see.’

‘{ weep not for thee, dearest friend: for thou knewest
much good; and likewise God dealt thee thy share of ill.’

These epigrams in their clear and unimpassioned brevity are

1 Anth. Pal. xi. 3, 43, 56. 2 Infra, xii. 19, 31, 24, 21.
6

82 GREEK ANTHOLOGY

a type of the Greek temper in the age of reflection. Many
others, less simple in their language, less crystalline in their
structure, have the same quiet sadness in their tone. As it is
said in the solemn and monumental line of Menander, sorrow
and life are too surely akin. The vanity of earthly labour;
the deep sorrow over the passing of youth; the utter loss and
annihilation of past time with all that it held of action and
suffering ; the bitterness of the fear of death, and the weariness
of the clutch at life; such are among the thoughts of most
frequent recurrence. In one view these are the commonplaces
of literature; yet they are none the less the expression of the
profoundest thought of mankind.

In Greek literature from first to last the view of life taken
by the most serious thinkers was grave and sad. Not in one
age or in one form of poetry alone, but in most that are of great
import, the feeling that death was better than life is no mere
caprice of melancholy, but a settled conviction. The terrible
words of Zeus in the Iliad to the horses of Achilles,? ‘for there ©
is nothing more pitiable than man, of all things that breathe
and move on earth’, represent the Greek criticism of life already
mature and consummate. ‘ Best of all is it for men not to be
born, says Theognis in lines whose calm perfection has no
trace of passion or resentment,’ ‘and if born, to pass inside
Hades-gates as quickly as may be.’ Echoing these lines of the
Megarian poet, Sophocles at eighty, the most fortunate in his
long and brilliant life of all his contemporaries in an age
the most splendid that the world has ever witnessed, utters
with the weight of a testamentary declaration the words that
thrill us even now by their faultless cadence and majestic
music ;* ‘Not to be born excels on the whole account; and for
him who has seen the light to go whence he came as soon as
may be is next best by far. And in another line,’ whose
rhythm is the sighing of all the world made audible, ‘For
there is no such pain, he says, ‘as length of life.’ So too the
humane and accomplished Menander, in the most striking of all
the fragments preserved from his world of comedies,° weighs

1 Citharist. Fr. 1, ap’ ἐστὶ συγγενές τι λύπη χαὶ βίος ;
2.11. xvii. 443-447. 3 Theognis, 425-8, Bergk. 4 Qed. Col. 1225-8.
° Fr. Scyr. 500. ὁ Hypobolimaeus, Fr. 2.

INTRODUCTION 83

and puts aside all the attractions that life can offer: ‘Him I
call most happy who, having gazed without grief on these
august things, the common sun, the stars, water, clouds, fire,
goes quickly back whence he came.’ With so clear-sighted
and so sombre a view of this life and with no certainty of
another, it was only the inspiration of great thought and action,
and the gladness of yet unexhausted youth, that sustained the
ancient world so long. And this gladness of youth faded away.
Throughout all the writing of the later classical period we feel
one thing constantly; that life was without joy. Alike in
history and poetry, alike in the Eastern and Western worlds, a
settled gloom deepens into night. The one desire left is for
rest. Life is brief, as men of old time said; but now there is
scarcely a wish that it should be longer. ‘Little is thy life
and afflicted,’ says Leonidas,! ‘and not even so is it sweet, but
more bitter than loathed death.’ ‘Weeping I was born, and
when I have done my weeping I die, another poet wails,? ‘and
all my life is among many tears.’ Aesopus is in a strait be-
twixt two; if one might but escape from life without the
horror of dying! for now it is only the revolt from death that
keeps him in the anguish of life. To Palladas of Alexandria
the world is but a slaughter-house, and death is its blind and
irresponsible lord.4

From the name of Palladas is inseparable the name of the
famous Hypatia, and the strange history of the Neo-Platonic
school. The last glimmer of light in the ancient world was
from the embers of their philosophy. A few late epigrams
preserve a record of their mystical doctrines, and speak in
half-unintelligible language of ‘the one hope’ that went among
them, a veiled and crowned phantom, under the name of
Wisdom. But, apart from those lingering relics of a faith
among men half dreamers and half charlatans, patience and
silence were the only two counsels left for the dying ancient
world; patience, in which we imitate God himself; silence, in
which all our words must soon end.® The Roman empire
perished, it has been said, for want of men; Greek literature
perished for want of anything to say; or rather, because it

1 Anth. Pal. vii. 472. 2 Ibid. x. 84. 3 Ibid. x. 128.
4 Ibid. x. 80. 5 Ibid. x. 94, xi. 300.

84 GREEK ANTHOLOGY

found nothing in the end worth saying. Its end was like that
recorded of the noblest of the Roman emperors ;! the last word
uttered with its dying breath was the counsel of equanimity.
Men had once been comforted for their own life and death in
the thought of deathless memorials; now they had lost hope,
and declared that no words and no gods could give immor-
tality.2 Resignation was the one lesson left to ancient litera-
ture, and, this lesson once fully learned, it naturally and
silently died. All know how the ages that followed were too
preoccupied to think of writing its epitaph. For century after
century Goth and Hun, Lombard and Frank, Bulgarian and
Avar, Norman and Saracen, Catalan and Turk rolled on in a
ceaseless storm of slaughter and rapine without; for century
after century within raged no less fiercely the unending fury
of the new theology. Filtered down through Byzantine epi-
tomes, through Arabic translations, through every sort of
strange and tortuous channel, a vague and distorted tradition
of this great literature just survived long enough to kindle the
imagination of the fifteenth century. The chance of history,
fortunate perhaps for the world, swept the last Greek scholars
away from Constantinople to the living soil of Italy, carrying
with them the priceless relics of forgotten splendours. To
some broken stones, and to the chance which saved a few
hundred manuscripts from destruction, is due such knowledge
as we have to-day of that Greek thought and life which still
remains to us in many ways an unapproached ideal.

XVI

That ancient world perished ; and all the while, side by side
with it, a new world was growing up with which it had so little
in common that hitherto it would only have been confusing
to take the latter much into account. This review of the older
civilisation has, so far as may be, been kept apart from all that
is implied by the introduction of Christianity; it has even
spoken of the decay and death of literature, though literature
and thought in another field were never more active than in

1 Signum Aequanimitatis dedit atque ita conversus quasi dormiret spiritum
reddidit. Jul. Capitol., Antoninus Pius, ο. xii.
2 Anth. Pal. vii. 300, 362. 5 “Ησυχίην ἀγαπᾶν, Ibid. x. 77.

INTRODUCTION 85

the early centuries of the Church. Of the immense gain that
came then to the world it is not necessary to speak; we all
know it. For the latter half of the period of human history
over which the Greek Anthology stretches, this new world was
in truth the more important of the two. While to the ageing
Greek mind life had already lost its joy, and thought begun to
sicken, we hear the first notes of a new glory and passion ;

“Ἔγειρε ὁ χαϑεύδων

Καὶ ἀνάστα ἐχ τῶν νεχρῶν

Καὶ ἐπιφαύσει σοι ὁ Χριστός 1---

in this broken fragment of shapeless and barbaric verse, not
in the smooth and delicate couplets of contemporary poets,
Polyaenus or Antiphilus, lay the germ of the music which was
to charm the centuries that followed. Even through the long
swoon of art which is usually thought of as following the
darkness of the third century, the truth was that art was
transforming itself into new shapes and learning a new lan-
guage. The last words of the Neo-Platonic philosophy with
its mystical wisdom were barely said when the Church of the
Holy Wisdom rose in Constantinople, the most perfect work of
art that has yet been known in organic beauty of design and
splendour of ornament; and when Justinian by his closure of
the schools of Athens marked off, as by a precise line, the end
of the ancient world, in the Greek monasteries of Athos new
types of beauty were being slowly wrought out which passed
outward from land to land, transfiguring the face of the world
as they went, kindling new life wherever they fell, miracu-
lously transformed by the separate genius of every country
from Norway to India, creating in Italy the whole of the great
medieval art that stretches from Duccio and Giotto to Signo-
relli, and leaving to us here, as our most precious inheritances,
such mere blurred and broken fragments of their glories as the
cathedral churches of Salisbury and Winchester.

It is only in the growth and life of that new world that the
decay and death of the old can be regarded with equanimity,
or can in a certain sense be historically justified: for Greek
civilisation was and still is so incomparable and so precious

1 Quoted by S. Paul, Hph. v. 14.

86 GREEK ANTHOLOGY

that its loss might otherwise fill the mind with despair, and
seem to be the last irony cast by fate against the idea of
human progress. But it is the law of all Nature, from her
highest works to her lowest, that life only comes by death;
‘she replenishes one thing out of another’, in the words of the
Roman poet, ‘and does not suffer anything to be begotten before
she has been recruited by the death of something else.’ To all
things born she comes one day with her imperious message:
matertes opus est ut crescant postera secla+ With the infinite
patience of one who has inexhaustible time and imperishable
material at her absolute command, slowly, vacillatingly, not
hesitating at any waste or any cruelty, Nature works out some
form till it approaches perfection ; then finds it flawed, finds it
is not the thing she meant, and with the same strong, un-
scrupulous and passionless action breaks it up and begins
anew. As in our own lives we sometimes feel that the slow
progress of years, the structure built up cell by cell through
pain and patience and weariness at lavish cost seems one day,
when some great new force enters our life, to begin to crumble
and fall away from us, and leave us strangers in a new world,
so it is with the greater types of life, with peoples and civilisa-
tions; some secret inherent flaw was in their structure; they
meet a trial for which they were not prepared, and fail; once
more they must be passed into the crucible and melted down
to their primitive matter. Yet Nature does not repeat herself ;
in some way the experience of all past generations enters into
those which succeed them, and of a million of her works that
have perished not one has perished wholly without account.
That Greece and Rome, though they passed away, still influence
us daily is indeed obvious ; but it is as certain that the great races
before them, of which Babylonia, Phoenicia, Egypt are only a
few out of many, still live in the gradual evolution of the
purpose of history. They live in us indeed as blind inherited
forces, apart from our knowledge of them; yet if we can at
all realise any of them to ourselves, at all enter into their
spirit, our gain is great; for through time and distance they
have become simple and almost abstract ; only what was most
living in them survives.; and the loss of the vivid multiplicity

Ὁ ὙΠΙΟΥ, 1. 263; 111: 90}.

ΩΝ ΨΟ (Ι

[INTRODUCTION 87

and colour of a fuller knowledge makes it easier to discriminate
what was important in them. Lapse of time has done for us
with some portions of the past what it is so difficult or even
impossible for us to do for ourselves with the life actually
round us, projected them upon an ideal plane: how ideal,
in the case of Greek history, is obvious if‘ we consider for a
moment how nearly Homer and Herodotus are read alike
by us. For Homer’s world was from the first imagined, not
actual; yet the actual world of the fifth century B.c. has
become for us now no less an ideal, perhaps one which is
even more stimulating and more fascinating. How far this
may be due to any inherent excellence of its own, how far to
the subtle enchantment of association, does not affect this
argument. Of histories no less than of poems it is true that
the best are but shadows, and that, for the highest purposes
which history serves, the idea is the fact; the impression
produced on us, the heightening and ennobling influence of
a life, ideal or actual, akin to and yet different from ours, is
the one thing which primarily matters. And so it may be
questioned whether so far as this, the vital part of human
culture, is concerned, modern scholarship has helped men
beyond the point already reached by the more imperfect
knowledge and more vivid intuitions of the fifteenth and
sixteenth centuries; for if the effect produced on them, in the
way of heightening and ennobling life, was more than the
effect now and here produced on us, we have, so far as the
Greek world is concerned, lost and not gained. Compensations
indeed there are; a vast experience has enlarged our horizon
and deepened our emotion, and it would be absurd to say now,
as was once truly or plausibly said, that Greek means culture.
Yet even now we could ill do without it; nor does there seem
any reason beyond the dulness of our imagination and the
imperfection of our teaching why it should not be as true and
as living a help as ever in our lives.

At the present day the risk is not of Greek art and literature
being too little studied, but of their being studied in too con-
tracted and formal a spirit. Less time is spent on the cor-
ruptions of medieval texts, and on the imbecilities of the
decadence; but all the more is labour wasted and insight
obscured by the new pedantry; the research into unimportant

88 GREEK ANTHOLOGY

origins which the Greeks themselves wisely left covered in a
mist of mythology. The destruction dealt on the Athenian
acropolis, under the name of scholarship, is a type of modern
practice. The history of two thousand years has so far as
possible been swept carelessly away in the futile attempt to
lay bare an isolated picture of the age of Pericles ; now archaeo-
logists find that they cannot stop there, and fix their interest
on the shapeless fragments of barbaric art beneath. But the
Greek spirit and temper is perhaps less known than it once
was; there appears to be a real danger that the influence upon
men, the surprise of joy once given them by the work of
Sophocles or Pheidias or Plato, dwindles with the accumula-
tion of importance given to the barbarous antecedents and
surroundings from which that great art sprang. The highest
office of history is to preserve ideals; and where the ideal is
saved its substructure may well be allowed to perish, as perish
in the main it must, in spite of all that we can recover from
the slight and ambiguous records which it leaves. The value
of this selection of minor poetry—if one can speak of a value
in poetry beyond itself—is that, however imperfectly, it draws
for us in little a picture of the Greek ideal with all its virtues
and its failings: it may be taken as an epitome, slightly
sketched with a facile hand, of the book of Greek life. How
slight the material is in which this picture is drawn
becomes plain the moment we turn from these epigrams,
however delicate and graceful, to the great writers. Yet the
very study of the lesser and the appreciation that comes of
study may quicken our understanding of the greater; and
there is something more moving and pathetic in their survival,
as of flowers from a strange land : white violets gathered in the
morning, to recur to Meleager’s exquisite metaphor, yielding
still a faint and fugitive fragrance here in the never-ending
afternoon.

---
“""
᾿

|, ANTHOLOGY

& TEXT AND TRANSLATIONS

7
4
é 7
᾿ «ἢ
ξ
= Ν
εἰ
δι
i
bee
,
ee
ΠΣ
ie:
*
pee:
ΓΞ.

᾿»
- Ὁ Σ πὶ Ma i.

LOVE

I
PRELUDE
POSIDIPPUS
Kexoomi dave λάγυνε πολύδροοσον ἰχμάδα Baxyou
t t fi ρ ἧ ἐξ .
¢ w /
give, δροοσιζέσϑω συμβολικὴ πρόποσις᾽
a 2 / A : , 1 P /
id e
Σιγάσϑω Ζήνων ὁ σοφὸς χύχνος, ἅ τε ζλεάνϑους
υοῦσα᾽ μέλοι δ᾽ ἡμῖν ὃ γλυχύπιχρος "ἔρως.

II
LAUS VENERIS
ASCLEPIADES
iN’ ~ / ¢ ‘
“HOD ϑέρους διψῶντι χιὼν ποτόν, ἡδὺ δὲ ναύταις
~ δ ὦ >

ἐχ χειμῶνος ἰδεῖν siaorvov στέφανον"
Ἥδιοτον δ᾽ ὁπόταν χρύψῃ μία τοὺς φίλέοντας

χλαῖνα χαὶ αἰνῆται Κύποις ὑπ᾽ ἀμφοτέρων.

1

Jar of Athens, drip the dewy juice of wine, drip, let the feast

_to which all bring their share be wetted as with dew; be

silenced the swan, sage Zeno, and the Muse of Cleanthes, and let
bitter-sweet Love be our concern.

2

Sweet is snow in summer for the thirsty to drink, and sweet for
sailors after winter to see the garland of spring; but most sweet
when one cloak shelters two lovers, and the tale of love is told
by both.

91

92 GREEK ANTHOLOGY [SECT. I

Ill
LOVE’S SWEETNESS
NOSSIS
ἽΑδιον οὐδὲν ἔρωτος, ἃ δ᾽ ὄλβια, δεύτερα πάντα
ἐστίν. ἀπὸ στόματος δ᾽ ἔπτυσα χαὶ τὸ pear"
Τοῦτο λέγει Noootc τίνα δ᾽ & Κύπρις οὐχ ἐφίλασεν,
οὐχ οἷδεν κήνας τἄνϑεα ποῖα ῥόδα.
IV
LOVE AND THE SCHOLAR
MARCUS ARGENTARIUS
᾿Ησιόδου ποτὲ βίβλον ἐμαῖς ὑπὸ χερσὶν ἑλίσσων
Πύρρην ἐξαπίνης εἶδον ἐπερχομένην"
Βίβλον δὲ ῥίψας ἐπὶ γῆν χερί, ταῦτ᾽ ἐβόησα"
ἔργα τί μοι παρέχεις, ὦ γέρον ᾿Ησίοδε :
V
LOVERS’ LIPS
PLATO
Τὴν ψυχήν, ᾿Αγάϑωνα φιλῶν, ἐπὶ χείλεσιν ἔσχον᾽
ἦλθε γὰρ ἡ τλήμων ὡς διαβησομένη.
VI
THE FIRST KISS
STRATO
‘Eozeptny Μοῖρίς με, xx ἣν ὑγιαίνομεν ὥρην,
οὐχ οἷδ᾽ εἴτε σαφῶς εἴτ᾽ ὄναρ, ἠσπάσατο"

3
Nothing is sweeter than love, and all delicious things are second
to it; yes, even honey I spit out of my mouth. Thus saith
Nossis; but he whom the Cyprian loves not, knows not what
roses her flowers are.
4
Once when turning over the Book of Hesiod in my hands,
suddenly I saw Pyrrha coming in; and casting the book to the
ground from my hand, I cried out, Why bring your works to me,
old Hesiod 1

5
Kissing Agathon, I had my soul upon my lips; for it rose,
poor wretch, as though to cross over.

6

At evening, at the hour when we say good-night, Moeris kissed
me, I know not whether really or in a dream; for very clearly I

3-8] LOVE 93

« , ΄ Ths
χώχοσα μοι προσέφη, χώχοόσ

Ei δέ we χαὶ πεφίληχξε τεχμιαίρομαι εἰ “ὰο ὀληϑές
ων τ Πὰν τυ cco a as Mere 3)
~ >

/ ,
πῶς ἀποϑειωϑεὶς πλάζομ» ἐπιχϑόνιος :

VII
THE REVELLER
MELEAGER

r ee /
Βεβλήσϑω κύβος: ante πορεύσομαι ἠνίδε τόλμα.
> Q ᾽ ες 1S ae ,
οἰνοβαρές, τίν᾽ ἔχεις φροντίδα ; χωμάσομαι.

/ ~ A / , v Ul
Κωμάσομαι; πῇ ϑυμὲ τρέπῃ; τί δ᾽ ἔρωτι λογισμός 5
cr , κα ISS γ' , , ,

ante τάχος. ποῦ δ᾽ ἡ πρόσϑε λόγων μελέτη ;
᾿Ἐρρίφϑω σοφίας ὁ πολὺς πόνος ἕν μόνον οἷδα
ry T > Ξ '

τοῦϑ᾽, ὅτι καὶ Ζηνὸς λῆμα. καϑεῖλεν "Ερως.

VIII

LOVE AND WINE
RUFINUS
\ 7 Ν , U
Ὥπλισμαι πρὸς “Kowta περὶ στέρνοισι λογισμόν,
, ~ ‘ \ e
οὐδέ UE VIXNGEL, μοῦνος ἐὼν πρὸς ἕνα,
ἤ , a Χ A
Θνατὸς δ᾽ ἀϑανάτῳ συστησομιαι Ἣν δὲ βοηϑὸν
, v , \ / ? 1,
Baxyov ἔχῃ, τί μόνος πρὸς δύ᾽ ἐγὼ δύναμαι:

now have the rest in mind, all she said to me, and all that she asked
me of ; but whether she kissed me too, I doubt and guess ; for
if it is true, how, after being set in heaven, do I go to and fro
upon earth ?

7

Let the die be thrown; light up! I will on my way ; see,
courage !—Heavy with wine, what is thy purpose ?—I will revel.
—TI will revel? whither wanderest, O heart ?—And what is Reason
to Love? light up, quick!—And where is thy old study of
philosophy ?—Away with the long toil of wisdom ; this one thing
only I know, that Love took captive even the mind of Zeus.

8

I am armed against Love with a breastplate of Reason, neither
shall he conquer me, one against one; yes, I a mortal will contend
with him the immortal: but if he have Bacchus to second him,
what can I do alone against the two ?

94 GREEK ANTHOLOGY [SECT. I

IX
LOVE IN THE STORM
ASCLEPIADES

Nios, χαλαζοβόλει, ποίει σχότος, aide, κεραύνου,
᾿ πάντα, τὰ πορφύροντ᾽ ἐν χϑονὶ σεῖς νέφη, ἈΠῸ)
Hy γάρ με χτείνῃς, τότε παύσομαι ἣν δέ μ᾽ ἀφῇς ζῇν,

χαὶ διαϑεὶς τούτων χείρονα, κωμιαάσομιαι:
Ἕλχει γάρ μ᾽ ὁ χρατῶν χαὶ σοῦ ϑεός, ᾧ ποτε πεισϑείς,

Ζεῦ, διὰ χαλχείων χρυσὸς ἔδυς ϑαλάμιων.

Χ
A KISS WITHIN THE CUP
AGATHIAS
> Ὁ ‘ > , act Δ, 2qZ wae ee “ὦ
Hip μὲν οὐ φιλόοινος᾽ ὅταν δ᾽ ἐθέλῃς He US0UGGHL
~ \ / , /
πρῶτα GU γευομένη πρόσφερε χαὶ OEyop.c"
ἵ i ‘ ἵ ἔν Pa \
> \ > ’ “ῷ > , a
Εἰ γὰρ ἐπιψαύσεις τοῖς χείλεσιν, οὐκέτι νηφειν
εὐμαρές, οὐδὲ φυγεῖν τὸν γλυχὺν οἰνοχόον"

, \ -, I cr ἣ ~ \ I~
Πορϑμεύει γὰρ ἔμοιγε κυλιξς παρα σοῦ TO φίλημα,
ἘΠ ΕΣ ἘΣ aa oe ER oe i ΛΒ:
AHL μοι ATAYYEAASL THY χάριν Ἣν ἔλαβεν.

XI
LOVE’S MARTYR
MELEAGER
Αἰεί μοι δινεῖ μὲν ἐν οὔασιν ἦχος "ἔρωτος,
ὄυμα δὲ οἷγα Πόϑοις τὸ γλυχὺ δάχρυ φέρει
5

Snow, hail, darken, blaze, thunder, shake forth all thy glooming
clouds upon the earth ; for if thou slay me, then will I cease, but
while thou lettest me live, though thou handle me worse than this,
I will revel. For the god draws me who is thy master too, at
whose persuasion, Zeus, thou didst once pierce in gold to that

brazen bridal-chamber.
IO

I am no wine-bibber ; but if thou wilt make me drunk, taste Ὁ

thou first and bring it me, and I take it. For if thou wilt touch
it with thy lips, no longer is it easy to keep sober or to escape the
sweet cup-bearer ; for the cup ferries me cver a kiss from thee,
and tells me of the grace that it had.

II

Evermore in my ears eddies the sound of Love, and my eye
silently carries sweet tears for the Desires; nor does nigat nor

4

ΞΕ

Le

9-13] LOVE 95

Οὐδ᾽ ἡ νύξ, οὐ φέγγος ἐκοίμισεν, ἀλλ᾽ ὑπὸ φίλτρων
ἤδη Tov χραδίᾳ γνωστὸς ἔνεστι τύπος.

Ὦ πτανοί, μὴ καί ποτ᾽ ἐφίπτασϑαι μέν, "Ἔρωτες,
vv ) > ~ INS) aW "εἴ
οἴδατ᾽, ἀποπτῆναι δ᾽ οὐδ᾽ ὅσον ἰσχύετε.

ΧΙΙ
LOVE’S DRINK
MELEAGER
To σχύφος ἡδὺ γέγηϑε, λέγει δ᾽ ὅτι τᾶς φιλέρωτος
Ζηνοφίλας ψαύει τοῦ λαλιοῦ στόματος,
ὍὌλβιον᾽ εἴϑ᾽ ὑπ᾽ ἐμοῖς νῦν χείλεσι χείλεα ϑεῖσα
ἀπνευστὶ ψυχὰν τὰν ἐν ἐμοὶ προπίοι.

XIII
LOVE THE RUNAWAY
MELEAGER

, \ y \ 7 Ξ BA \ "
Κηρύσσω τὸν "ἔρωτα τὸν ἄγριον᾽ ἄρτι γὰρ ἄρτι

ὀρϑρινὸς ἐκ χοίτας WYET ἀποπταάμιενος.
ϑι ~ / ,
Ἔστι δ᾽ ὁ παῖς γλυχύδαχρυς, ἀείλαλος, RUS, ἀϑαυβής,

σιμὰ γε ὧν, πτερόεις ποι φαρετροφόρος,
Πατρὸς δ᾽ οὐχέτ᾽ ἔχω φράζειν τίνος" οὔτε γὰρ αἰϑήρ,

οὐ χϑών φησι τεχεῖν τὸν ϑροασύν, οὐ πολ

light let me rest, but already my enchanted heart bears the well-
known imprint. Ah winged Loves, surely you know how to fly
towards me, but have no whit of strength to fly away.

12

The cup is glad for sweetness, and says that it touches the
sweet-voiced mouth of love’s darling, Zenophile. Happy! would
that now, bringing up her lips to my lips, she would drink at one
draught the very soul in me.

13
I make hue and ery after wild Love; for now, even now in the
morning dusk, he flew away from his bed and was gone. This boy
is full of sweet tears, ever talking, swift, fearless, sly-laughing,
winged on the back, and carries a quiver. But whose son he is
I may not say, for Heaven denies having borne this ruffler, and

96 GREEK ANTHOLOGY [SECT. 1

Tlavry γὰρ καὶ πᾶσιν ἀπέχϑεται' ἀλλ’ ἐσορᾶτ
υή mou νῦν ψυχαῖς ἄλλα ea λίνα.
~ PANS » ΄,
Καίτοι κεῖνος, ἰδού, περὶ φωλεόν' οὔ ps λέληϑας,
τοξότα, Ζηνοφίλας ὄμμασι χρυπτόμινος.

©

XIV
LOVE’S SYMPATHY
CALLIMACHUS

ἝΔκος ἔχων ὁ ξεῖνος ἐλάνϑανεν᾽ ὡς ἀνιηρὸν

πνεῦμα διὰ στηϑέων, εἶδες, ἀνηγάγετο.
Τὸ τρίτον ἤνίδ᾽ ἔπινε, τὰ δὲ ῥόδα φυλλοβολεῦντα

τὠνδρὸς ὁ ἀπὸ στεφάνων πάντ᾽ ἐχέοντο γαμιαί"
᾿Ὥπτηται μέγα δή τι μὰ δαίμονας οὐχ ἀπὸ ῥυσμοῦ

εἰκάζω, φωρὸς δ᾽ ἴχνια φὼρ ἔμαϑον.

XV

THE MAD LOVER
PAULUS SILENTIARIUS

᾿Ανέρα λυσσητῆρι κυνὸς βεβολημένον ἰῷ
πος ϑηρείην εἰκόνα φασὶ βλέ TEL"

Λυσσώων τάχα πιχρὸν "Hows ἐ ἐνέπηξεν ae
εἰς ἐμέ, καὶ μανίαις ϑυμὸν ἐληΐσατο

Σὴν γὰρ ἐμοὶ καὶ πόντος ἐπήρατον cixova φαίνει,
χαὶ ποταμῶν δῖναι, καὶ δέπας ς οἰνοχόον.

so Earth and so Sea. Everywhere and by all is he hated ; but
look you to it lest haply even now he is laying more springes for
souls. Yet—there he is, see! about his lurking-place ; I see thee
well, my archer, ambushed in Zenophile’s eyes.

14
Our friend was wounded and we knew it not; how bitter a
sigh, mark you? he drew all up his breast. Lo, he was drinking
the third time, and shedding their petals from the fellow’s garlands
the roses all poured to the ground. He is well in the fire, surely ;
no, by the gods, I guess not at random; a thief myself, I know a
thief’s footprints.
15
A man wounded by a rabid dog’s venom sees, they say, the
beast’s image in all water. Surely mad Love has fixed his bitter
tooth in me, and made my soul the prey of his frenzies ; for both
the sea and the eddies of rivers and the wine-carrying cup show
me thy image, beloved.

14-17] LOVE 97

XVI
LOVE AT THE VINTAGE
AGATHIAS
Ἡμεῖς μὲν πατέοντες ἀπείρονα καρπὸν ᾿Ἰάχχου
ἄμμιγα βαχχευτὴν ῥυϑμιὸν ἀνεπλέχομεν,
Ἤδη δ᾽ ἄσπετον οἷδμα κατέρρεεν, οἷα δε λέμβοι
χισσύβια γλυχερῶν νήχεϑ᾽ ὑπὲρ dodioy,
Οἷσιν ἀουσσάμενοι σχέδιον ποτὸν ἤνομεν ἤδη,
ϑερμῶν Νηϊάδων οὐ μάλα δευόμενοι.
Ἢ δὲ καλὴ ποτὶ ληνὸν ὑπερχύπτουσα ἱῬοδάνϑη
μαρμαρυγῇς κάλλους νᾶμα κατηγλάϊσεν,
Πάντων δ᾽ ἐχδεδόνηντο Soak φρένες, οὐδέ τις ἡμέων
ἦεν ὃς οὐ Βάκχῳ δάμνατο καὶ Παφίῃ,
Τλήμονες" ἀλλ᾽ ὁ μὲν εἷρπε παραὶ ποσὶν ἄφϑονος ἡμῖν,
τῆς δ᾽ ao’ un’ ἔλπωρῇ μοῦνον ἐπαιζόμεϑα.
XVII
LOVE’S GARLAND
MELEAGER
Πλέξω λευκόϊον πλέξω δ᾽ ἁπαλὴν ἅμα μύρτοις
νάρχισσον, πλέξω καὶ τὰ γελῶντα χρίνα,
Πλέξω καὶ χρόχον ἡδύν, ἐπιπλέξω δ᾽ ὑάκινθον
πορφυρέην, πλέξω καὶ φιλέραστα ῥόδα,
“Ὡς ἂν ἐπὶ χροτάφοις μυροβοστρύχου “Ηλιοδώρας
εὐπλόκαμον χαίτην ἀνθοβολῇ στέφανος.
τό
We, as we trod the infinite fruit of Iacchus, mingled and
wound in the rhythm of the revel, and now the fathomless flood
flowed down, and like boats our cups of ivy-wood swam on the
sweet surges ; dipping wherewith, we drank just as it lay at our
hand, nor missed the warm water-nymphs overmuch. But
beautiful Rhodanthe leant over the winepress, and with the
splendours of her beauty lit up the welling stream ; and swiftly all
our hearts were fluttered, nor was there one of us but was overcome
by Bacchus and the Paphian. Alas for us! he ran plenteous
at our feet, but for her, hope played with us, and no more.

17

I will twine the white violet and I will twine the delicate
narcissus with myrtle buds, and I will twine laughing lilies, and
I will twine the sweet crocus, and I will twine therewithal the
crimson hyacinth, and 1 will twine lovers’ roses, that on balsam-
curled Heliodora’s temples my garland may shed its petals over
the lovelocks of her hair.

‘

98 GREEK ANTHOLOGY [SECT. I

XVIII
LOVER’S FRIGHT
MELEAGER
ag v8. re , a we , ” v x
ρπασται τίς τόσσον ἂν αἰχμάσαι ἄγριος εἴη;
~ ‘\ ,
τίς τόσος ἀντᾶραι καὶ πρὸς ᾿Ἔρωτα μάχην ;
og ’ , ,ὔ , ΟΣ , 5
Απτε τάχος πεύκας" χαΐτοι XTUTOS Ἡλιοδώρας
βαῖνε πάλιν στέρνων ἐντὸς ἐμῶν, κραδίη.

Dre De
LOVE IN SPRING
MELEAGER
Ἤδη λευχόϊον ϑάλλει, ϑάλλει δὲ φίλομβρος
} ? μ ἵ
/ >
νάρχισσος, ϑάλλει δ᾽ οὐρεσίφοιτα κρίνα"
Ἤδη δ᾽ ἡ φιλέραστος, ἐν ἄνϑεσιν ὥριμον ἄνϑος
ὃ ) ᾿ one ?
Ζηνοφίλα Πειϑοῦς ἡδὺ τέϑηλε ὁόδον.
Λειμῶνες, τί μάταια κόμαις ἔπι φαιδρὰ γελᾶτε;
μ ᾿ μ ἰ pay ?
(2 δ ~ / Ὁ ,
a γὰρ παῖς κρέσσων ἁδυπνόων στεφάνων.

ΧΧ

SUMMER NIGHT
MELEAGER

ren eo ~~
Ὀξυβόαι κώνωπες ἀναιδέες αἵματος ἀνδρῶν
σίφωνες, νυχτὸς κνώδαλα διπτέρυγα,

18

She is carried off! What savage could do so cruel a deed ?
Who so high as to raise battle against very Love? Light torches,
quick! and yet—a footfall; Heliodora’s; go back into my
breast, O my heart.

19
Now the white violet blooms, and blooms the moist narcissus,
and bloom the mountain-wandering lilies; and now, dear to her
lovers, spring flower among the flowers, Zenophile, the sweet rose
of Persuasion, has burst into bloom. Meadows, why idly laugh in
the brightness of your tresses ? for my girl is better than garlands
sweet to smell.

20

Shrill-erying gnats, shameless suckers of the blood of men, two-
winged monsters of the night, for a little, I beseech you, leave

18-22] LOVE

Βαιὸν Ζηνοφίλαν λίτομαι mage} ἥσυχον ὕπνον
εὕδειν, τἀμὰ δ᾽ ἰδοὺ σαρκοφαγεῖτε μέλη.
Καίτοι πρὸς τί μάτην αὐδῷ : χαὶ ϑῆοες ἄτεγχτοι
ρὸς τί μάτην αὐδῶ ; καὶ ϑῆρες ἄτογ
/ ~
τέρπονται τρυφερῷ χρωτὶ χλιαινόμινοι" :
vv ~ , \ , /
"AAW ἔτι νῦν προλέγω, καχὰ ϑρέμματα, λήγετε TOAUNS.
Ἢ : M p> : r anes? iY ed το.
ἢ γνώσεσϑε χερῶν ζηλοτύπων δύναμιν.

XXI
PARTING AT DAWN
MELEAGER
"Hots ἀγγελε yatos Φαεσφόρε χαὶ ταγὺς ἔλϑοις
ς ΑΥῚ XA Ls χὺ
gv al > , , > Ἢ ”
Εϊσπερος Ἣν ἀπαάγεις Andoros αὖὐϑις ἀγων.

XXII
DEARER THAN DAY
PAULUS SILENTIARIUS

Σώζεό, cor μέλλων ἐνέπειν, παλίνορσον ἰωὴν

a > iy, Ἀ UZ oy ,

ἂψ ἀνασειράζω χαὶ πάλιν ἄγχι μένω,
Shy γὰρ ἐγὼ δασπλῆτα διάστασιν οἷά τε πικρὲν

νύχτα χκαταπτήσσω τὴν ᾿Αχεροντιάδα"
wv Ἁ , / ε iPS > x \ ’
Ηματι γὰρ GEO φέγγος O-.oltov’ ἄλλα τὸ μὲν TOU

A \ , A S) μ /

ἄφϑογγον, σὺ δέ μοι καὶ τὸ λάλημα φέρεις
Κεῖνο τὸ Σειρήνων γλυκερώτερον, ᾧ ἔπι πᾶσαι

ῃ
2

εἰσὶν ἐμῆς ψυχῆς ἐλπίδες ἐχχρεμέες.

99

Zenophile to sleep a quiet sleep, and see, make your feast of flesh
from my limbs. Yet to what end do I talk in vain ? even relentless

wild beasts take delight in nestling on her delicate skin.

But

once more now I proclaim it, O evil brood, cease your boldness or

you shall know the force of jealous hands.

21

Farewell, Morning Star, herald of dawn, and quickly come
again as the Evening Star, bringing secretly her whom thou takest

away.

22

‘Fare thou well,’ I would say to thee; and again I check my
voice and rein it backward, and again I stay beside thee; for I
shrink from the terrible separation from thee as from the bitter
night of Acheron; for the light of thee is like the day. Yet
that, I think, is voiceiess, but thou bringest me also that mur-
muring talk of thine, sweeter than the Sirens’, whereon all my

soul’s hopes are hung.

100 GREEK ANTHOLOGY [SECT. 1

XXIII
THE MORNING STAR
MACEDONIUS

Φωσφόρε, μὴ τὸν [Ἔρωτα βιάζεο, ν"ηδὲ διδάσχου

"Αρεῖ γειτονέων νηλεὲς nop ἔχειν,
‘Og δὲ πάρος Κλυμένης ὁρόων Φαέϑοντα μελάϑρῳ

οὐ δρόμον ὠχυπ τόδην εἶχες ἀπ᾽ ἀντολίης,
Οὕτω μοι περὶ νύκτα μόγις 7 ποϑέοντι φανεῖσαν

ἔρχεο δηϑύνων, ὡς 1 παρὰ Κιμμερίοις.

XXIV
AT COCKCROWING
ANTIPATER OF THESSALONICA

Ὄρϑρος ἔβη, Χρύσιλλα, πάλαι δ᾽ ἠῷος ἀλέκτωρ

κηρύσσων φϑονερὴν ᾿Ἠριγένειαν ὁ ἄγει
Ὀρνίϑων ἔρροις φϑονερώτατος, ὅς με διώχεις

οἴχοϑεν εἰς πολλοὺς ἠϊϑέων ὀάρους.
Γηράσχεις Τιϑωνέ". τί γὰρ σὴν εὐνέτιν Hod

οὕτως ὀρϑριδίην ἤλασας ἐκ λεχέων ;

XXV
DAWN’S HASTE
MELEAGER
Μ , \ A ~ > 2
Ορϑρε τί μοι δυσέραστε ταχὺς περὶ κοῖτον ἐπέστης
ἄρτι φίλας Δημοῦς χρωτὶ χλιαινομένῳ :

23
Morning Star, do not Love violence, neither learn, neighbour as
thou art to Mars, to have a heart that pities not; but as once
before, seeing Phaethon in Clymene’s chamber, thou heldest not
on thy fleet-foot course from the east, even so on the skirts of
night, the night that so hardly has lightened on my desire, come
lingering as though among the Cimmerians.

24
Grey dawn is over, Chrysilla, and ere now the morning cock
clarioning leads on the envious Lady of Morn. Be thou accursed,
most envious of birds, who drivest me from my home to the
endless chattering of the young men. Thou growest old, Tithonus ;
else why dost thou chase Dawn thy bedfellow out of her couch
while yet morning is so young ?

25
Grey dawn, why, O unloving, risest thou so swift round my
bed, where but now I nestled close to dear Demo? Would God

,
4
a

23-27] LOVE 101

Hive πάλιν στρέψας ταχινὸν δρόμον ἽἝσπερος εἴης,
ὦ γλυχὺ φῶς βάλλων εἰς ἐμὲ πικρότατον"

Ἤδη γὰρ καὶ πρόσϑεν ἐπ᾽ ᾿Αλχμήνην Διὸς ἦλϑες
ἄντιος" οὐκ ἀδαὴς ἐσσὶ παλινδρομίης.

XXVI
DAWN’S DELAY
MELEAGER

ΕΣ , ~ ΄ \ mt ‘ ΓΟ
Ορϑρε τί νῦν δυσέραστε βραδὺς περὶ κόσμον ἑλίσσῃ

» > ~ Us «

ἄλλος ἐπεὶ Δημοῦς ϑαλπεϑ’ ὑπὸ χλανίδι ;
) SIGs \ G \ / ye 3 Ν ay 4
AMM ote τὰν ὁαδινὰν χόλποις ἔχον ὠκὺς ἐπέστης,

ὡς βάλλων ἐπ᾽ ἐμοὶ φῶς ἐπιχαιρέκακον.

XXVII

WAITING
PAULUS SILENTIARIUS
An Suver Κλεοφάντις" ὁ δὲ τρίτος ἄρχεται ἤδη
λύχνος ὑποχλάζειν ἦχα ναραινόμιενος"
Αἶϑε δὲ καὶ χραδίης πυρσὸς συναπέσβετο λύχνῳ,
υηδέ μ᾽ ὑπ’ ἀγρύπνοις δηρὸν Exons πόϑοις.
ἾΑ πόσα τὴν Κυϑέρειαν ἐπώμοσεν ἕσπερος ἥξειν᾽
ἀλλ᾽ οὔτ᾽ ἀνθρώπων φείδεται οὔτε ϑεῶν.

thou wouldst turn thy fleet course backward and be evening, thou
shedder of the sweet light that is so bitter to me. For once
before, for Zeus and his Alemena, thou wentest contrary; thou
art not unlessoned in running backward.

26

Grey dawn, why, O unloving, rollest thou now so slow round
the world, since another is shrouded and warm by Demo? but

- when 1 held her delicate form to my breast, swift thou wert upon

us, shedding on me a light that seemed to rejoice in my grief.

27
Cleophantis lingers long ; and the third lamp now begins to give a
broken glimmer as it silently wastes away. And would that the
firebrand in my heart too were quenched with the lamp, and did
not burn me long in wakeful desires. Ah how often she swore by
the Cytherean that she would be here at evenfall ; but she recks
not of either men or gods,

102 GREEK ANTHOLOGY [SECT. I

XXVIII
WAITING IN VAIN
ASCLEPIADES
“Ὡμολόγησ᾽ ἥξειν εἰς νύχτα μοι ἡ ᾿᾽πιβόητος
ot C/I Ὁ οι ἢ πιροὴ

Νικώ, καὶ σεμνὴν ὦμοσε Θεσμοφόρον,
Κοὐχ ἥκει, φυλακὴ δὲ παροίχετα:" ap’ ἐπιορχεῖν

ἤϑελε; τὸν λύχνον, παῖδες, ἀποσβέσατε.

ΧΧΙΧ
THE SCORNED LOVER
ASCLEPIADES
Νύξ, σὲ γὰρ οὐκ ἄλλην μαρτύρομαι, οἷά μ᾽ ὑβρίζει
Πυϑιὰς ἡ Νικοῦς οὖσα φιλεξαπάτης,
Κληϑεὶς οὐκ ἄχλητος ἐλήλυϑα' ταὐτὰ παϑοῦσα
σοὶ μέμψαιτ᾽ ἐπ᾽ ἐμοῖς στᾶσα ποτε προϑύροις.

ΧΧΧ
SLEEPLESS NIGHT
AGATHIAS

Πᾶσαν ἐγὼ τὴν νύχτα κινύρομαι: εὖτε δ᾽ ἐπέλϑῃ

ὄρϑρος ἐλινῦσαι μικρὰ χαριζόμενος,
I f / > , ,
Αμφιπεριτρύζουσι χελιδόνες, ἐς δέ με δάκρυ

βάλλουσιν γλυχερὸν χῶμα παρωσάμ. εναι,
Ὄμματα 2 οὐ μύοντα φυλάσσεται, ἡ δὲ "ἢ ΒΟ νυ, ἧς

αὖϑις ἐμοῖς στέρνοις φροντὶς ἀναστρέφεται.

28

Nico the renowned consented to come to me at nightfall and
swore by the holy Lady of Laws; and she is not come, and the
watch is gone by; did she mean to forswear herself? Servants,
put out the lamp.

29

O Night, thee and none other I take to witness, how Nico’s
Pythias flouts me, traitress as she is ; asked, not unasked am I come;
may she yet blame thee in the selfsame plight standing by my doors!

BO" τς

All night long I sob ; and when grey dawn rises and grants me
a little grace of rest, the swallows cry around and about me, and
bring me back to tears, thrusting sweet slumber away: and my

28-32] ; LOVE 103

Ὁ φϑονεραὶ παύσασϑε λαλητρίδες, οὐ γὰρ ἔγωγε
τὴν Φιλομηλείην nS eos ἀπεϑρισάμην'
"AAW Ἴτυλον χλαίοιτε κατ᾽ ἀπε χαὶ γοάοιτε
εἰς ἔποπος χραναὴν αὖλιν ἐφε ζόμεναι,
Βαιὸν ἵνα χνώσσοιμιεν" ἴσως δέ τις ἥξει ὄνειρος
ὅς με ἱῬοδανϑείοις πήχεσιν ἀμφιβάλοι.

XXXI
THE LOVE LETTER
RUFINUS
“Pougtvos τῇ ᾿μῇ γλυκερωτάτῃ ᾿Ελπίδι πολλὰ
χαίρειν, εἰ χαίρειν χωρὶς ἐμοῦ δύναται"
Οὐχέτι βαστάζω, μὰ τὰ σ᾽ ὄμματα, τὴν φιλέρημον
χαὶ τὴν! μουνολεχὴ σεῖο διαζυγίην,

"AAW αἰεὶ δακρύοισι πεφυρμένος ἣ ᾽πι Κορησσὸν
ἔρχομαι ἢ μεγάλης νηὸν ἐς ᾿Αρτέμ wos
Αὔριον ἀλλὰ πάτρη μι δεδέξεται, ἐς δὲ σὸν ὄψι
πτήσομαι, ἐρρῶσϑαι μυρία σ᾽ εὐχόμενος.

XXXII
LOVE AND REASON
PHILODEMUS

Ψυχή μοι προλέγει φεύγειν πόϑον ᾿Ηλιοδώρας,
δάκρυα καὶ ζήλους τοὺς πρὶν ἐπισταμένη:

unclosing eyes keep vigil, and the thought οἵ Rhodanthe returns
again in my bosom. O envious chatterers, be still; it was not I
who shore away Philomela’s tongue ; but weep for Itylus on the
mountains, and sit wailing by the hoopoe’s court, that we may
sleep a little ; and perchance a dream will come and clasp me
round with Rhodanthe’s arms.

31

Rufinus to Elpis, my most sweet: well and very well be with
her, if she can be well away from me. No longer can I bear, no,
by thine eyes, my solitary and unmated severance from thee, but
evermore blotted with tears I go to Coressus or to the temple of
the great Artemis ; but tomorrow my home shall receive me, and
I will fly to thy face and bid thee a thousand greetings.

32
My soul forewarns me to flee the desire of Heliodora, knowing
well the tears and jealousies of old. She talks; but I have no

104 GREEK ANTHOLOGY [SECT. 1

Ξ 4 , > \ ~ "Μ Ζ ot. A > δ
Φησὶ ἵν ἄλλοι φυγεῖν οὐ μοι σϑένος, ἡ γὰρ ἀναιδὴς
,’ ~
αὐτὴ καὶ προλέγει χαὶ προλέγουσα φιλεῖ.

XXXIII
ODI ET AMO
MELEAGER
Αγγεῖλον τάδε, Δορχάς" ἰδοὺ πάλι δεύτερον αὐτῇ
καὶ τρίτον ἄγγειλον, Δορχάς, ἅπαντα" τρέχε᾽
Myxer μέλλε' πέτου. βραχύ μοι βραχύ, Δορχάς, ἐπίσχες"
Δορχάς, ποῖ σπεύδεις πρίν σε τὰ πάντα μαϑεῖν ;
Πρόσϑες δ᾽ οἷς εἴρηκα πάλαι---μιᾶλλον δ᾽ ἔτι noo"
pndév ὅλως εἴπῃς ---ἀλλ᾽ ὅτι---πάντα λέγε᾽
Μὴ φείδου σὺ τὰ πάντα λέγειν. χαίτοι τί σέ, Δορχάς,
ἐχπέμπω, σὺν σοὶ καὐτός, ἰδού, προάγων ;

XXXIV
LOOKING AND LIKING
PAULUS SILENTIARIUS
᾿Οφϑαλμοί, τέο μέχρις ἀφύσσετε νέχταρ ᾿Ερώτων
χάλλεος ἀχρήτου ζωροπόται ϑρασέες;
Τῆλε διαϑρέξωμεν ὅπη σϑένος, ἐν δὲ γαλήνῃ
γηφάλια. σπείσω Κύπριδι Μειλιχίῃ.
Ei δ᾽ ἄρα που χαὶ χεῖϑι κατάσχετος ἔσσομαι οἴστρῳ
γίνεσϑε χρυεροῖς δάκρυσι μυδαλέοι,

strength to flee, for, shameless that she is, she forewarns, and
while she forewarns, she loves.
33

Take this message, Dorcas ; lo again a second and a third time,
Dorcas, take her all my message; run; delay no longer; fly.
Wait a little, Dorcas, prithee a little; Dorcas, whither so fast
before learning all I would say ? And add to what I have just
said—but no, I go on like a fool; say nothing at all—only that—
say everything ; spare not to say everything. Yet why do I send
thee out, Dorcas, when myself, see, I go forth with thee ?

34
Eyes, how long are you draining the nectar of the Loves, rash
drinkers of the strong unmixed wine of beauty? let us run far
away, as far as we have strength to go, and in calm I will pour
sober offerings to Cypris the Placable. But if haply there likewise
I be caught by the sting, be you wet with chill tears and doomed

33-36] LOVE 105

«

" i) 37 ,
Evouxov ὀτλήσοντες ἀεὶ πόνον᾽ ἐξ ὑμέων γάρ,

φεῦ, πυρὸς ἐς τόσσην ἤλϑομεν ἐργασίην.

ΧΧΧν
FORGET-ME-NOT
AGATHIAS

Ἦ ῥά ye καὶ σύ, Φίλιννα, φέρεις πόϑον, ἦ ῥα καὶ αὐτὴ
4 κάμνεις αὐαλέοις ὄμμασι τηχομένη: ' ;
H ou μὲν ὕπνον ἔχεις γλυχερώτατον, ἡμετέρης δὲ

φροντίδος οὔτε λόγος γίνεται οὔτ᾽ ἀριϑμός :
Εϑρήσεις τὰ ὅμοια, τεὴν δ᾽, ἀμέγαρτε, παρειὴν

ἀϑρήσω ϑαμινοὶς δάκρυσι τεγγομένην᾽
Κύπρις γὰρ τὰ μὲν ἄλλα παλίγκοτος, ἕν δέ τι καλὸν

ἔλλαχεν, ἐχϑαίρειν τὰς σοβαρευομένας.

XXXVI

AMANTIUM IRAE
PAULUS SILENTIARIUS
Διχλίδας ἀμφετίναξεν ἐμοῖς Γαλάτεια προσώποις
ἕσπερος, ὑβριστὴν μῦϑον ἐπευξαμένη.
ὝΡρρις ἔρωτας ἔλυσε μάτην ὅδε μῦϑος ἀλᾶται:
ὕβρις ἐμὴν ἐρέϑε: μᾶλλον ἐρωμιανίην᾽

" \ ἢ F a, ΚΣ
L0Gx γὰρ AuxaBavTa μέ (πάνευϑεν ἐχείνης,
’

ὦ πόποι, ἀλλ᾽ ἱκέτης πρώϊος εὐϑὺς ἔβην.

for ever to bear deserved pain; since from you, alas! it was that
we fell into all this labour of fire.

35

Dost thou then also, Philinna, carry longing in thee, dost thou
thyself also sicken and waste away with tearless eyes ? or is thy
sleep most sweet to thee, while of our care thou makest neither
count nor reckoning? Thou wilt find thy fate likewise, and thy
haughty cheek 1 shall see wetted with fast-falling tears. For the
Cyprian in all else is malign, but one virtue is in her lot, hatred of
proud beauties,

36

At evening Galatea slammed-to the doors in my face, flinging at
me a speech of scorn. ‘Scorn breaks love’; idly wanders this
proverb; her scorn inflames my love-madness the more. For I
swore I would stay a year away from her; out and alas! but with
break of day 1 went to make supplication.

106 GREEK ANTHOLOGY [SECT. I

ΧΗΣ
INCONSTANCY
MACEDONIUS
Ile a + pe 2 = \ A Μ ᾿ \ oS , ΡΣ,
ομενὶς οὐκ ἔργῳ τὸ μὲν οὔνομα καλὸν ἀκούσας
ὠϊσάμιην᾽ σὺ δέ μοι πικροτέρη ϑανάτου"
A , , A > , /
Καὶ φεύγεις φίλέοντα καὶ οὐ φίλεοντα διώχεις
ὄφρα πάλιν χεῖνον χαὶ φιίλέοντα φύγῃς.

XXXVIII

TIMES REVENGE
CALLIMACHUS

Οὔ e , , € > A ~
ὕτως ὑπνώσαις, Κ ὠνώπιον, ὡς ἐμὲ ποιεῖς
χοιμᾶσϑαι ψυχροῖς τοϊσὸς παρὰ προϑύροις"
Οὕτως ὑπνώσαις, ἀδικωτάτη, ὡς τὸν ἐραστὴν
/ > 72 >] > > »Μ a ,
χοιμίζεις" ἐλέου δ᾽ οὐδ᾽ ὄναρ ἠντίασας"
Τείτονες οἰκτείρουσι, σὺ δ᾽ οὐδ᾽ ὄναρ’ ἡ πολιὴ δὲ
αὐτίκ᾽ ἀναμνήσει ταῦτά σε πάντα κόμη.

ΧΧΧΙΧ

FLOWN LOVE
MARCUS ARGENTARIUS

Μένη χρυσόχερως δέρκῃ τάδε καὶ πυριλαμπεῖς
ἀστέρες ous χόλποις Ωχεανὸς δέχεται,

37
Constantia, nay verily! I heard the name and thought it
beautiful, but thou art to me more bitter than death. And thou
fliest him who loves thee, and him who loves thee not thou
pursuest, that he may love thee and thou mayest fly him once
again.
38

So mayest thou slumber, Conopion, as thou makest me sleep
here in the chill doorway ; so mayest thou slumber, most cruel, as
thou lullest thy lover asleep; but not even in a dream hast thou
known compassion. The neighbours pity me, but thou not even
in a dream; but the silver hair will remind thee of all this by
and by.

39

Golden-horned Moon, thou seest this, and you fiery-shining Stars
whom Ocean takes into his breast, how perfume-breathing Ariste

37-42] . LOVE 107

Ὥς με μόνον προλιποῦσα μυρόπνοος ᾧχετ᾽ ᾿Αρίστη,
éxtatyy δ᾽ εὑρεῖν τὴν μάγον οὐ δύναμαι:

"AN ἔμπης αὐτὴν ζητήσομεν" ἡ ῥ᾽ ἐπιπέμψω
Κύπριδος ἰχνευτὰς ἀργυρέους σκύλακας.

ΧΙ,
MOONLIGHT
PHILODEMUS
Νυχτερινή, δίκερως, φιλοπάννυχε φαῖνε Σελήνη»,
φαῖνε, δι’ εὐτρήτων βαλλομένη ϑυρίδων᾽
Αὔγαζε χρυσέην Καλλίστιον' ἐς τὰ φιλεύντων
ἔργα κατοπτεύειν οὐ φϑόνος ἀϑανάτγ.
Ὀλβίζεις καὶ τήνδε καὶ ἡμέας, οἶδα, Σελήνη,
χαὶ γὰρ σὴν ψυχὴν ἔφλεγεν ᾿Ενδυμιών.

ee T
LOVE AND THE STARS
PLATO
᾿Αστέρας εἰσαϑρεῖς ᾿Αστὴρ ἐμός" εἴϑε γενοίμην
οὐρανός, ὡς πολλοῖς ὄμμασιν εἰς σὲ βλέπω.

XLII
ROSE
AUTHOR UNKNOWN
We ὁόδ' 6 ὑποπό 0 σὶ
ἴϑε ῥόδον γενόμην ὑποπόρφυρον, ὀφρα Ue χερσὶν
ἀρσαμένη χαρίσῃ στήϑεσι χιονέοις.

has gone and left me alone, and this is the sixth day I cannot find
the witch. But we will seek her notwithstanding ; surely I will
send the silver sleuth-hounds of the Cyprian on her track.

40

Lady of Night, twy-horned, lover of nightlong revels, shine, O
Moon, shine, darting through the latticed windows; shed thy
splendour on golden Callistion ; thine immortality may look down
unchidden on the deeds of lovers; thou dost bless both her and
me, I know, O Moon; for thy soul too was fired by Endymion.

41
On the stars thou gazest, my Star; would I were heaven, that I
might look on thee with many eyes.

42
Would I were a pink rose, that fastening me with thine hands
thou mightest grant me grace of thy snowy breast,

108 GREEK ANTHOLOGY [SECT. 1
XLIII
LIEV ΣΝ
THEOPHANES

ἴϑε κρίνον γενόμην ἀργεννάον, ὄφρα we χεροὶν
ἀρσαμένη μᾶλλον σῆς χροτιῆς xopeans.

XLIV
LOVE AND SLEEP
MELEAGER

Εὕδεις Ζηνοφίλα, τρυφερὸν ϑάλος" εἴϑ᾽ ἐπὶ σοὶ viv

LA > Uy a 8' τις ,

ἄπτερος ELONELY ὕπνος ἐπὶ βλεφαροι
« ΓΑ Eee τος Ἐπὶ Ee ,
Ὡς ἐπὶ σοὶ und οὗτος, ὁ χαὶ Διὸς ὄμματα ϑέλγων,

φοιτύσαι, κάτεχον δ᾽ αὐτὸς ἐγώ σε μόνος.

XLV
SLAYER AND HEALER
MACEDONIUS
“Enxos ἔχω τὸν ἔρωτα, ῥέει δέ μοι ἕλκεος ἰχὼρ
δάχρυον ὠτεϑλιῆς οὔποτε τερσομένης"
| eee 9 \ > ͵ > ‘ > A ,
Εἰμὶ γὰρ ἐκ xaxorytos ἀμήχανος, οὐδὲ Μαχάων
TUS μοι πάσσει φάρμαχο: δευομένῳ.
Τήλεφός εἰμι, κόρη, σὺ δὲ γίνεο πιστὸς ᾿Αχυλλεύς"
iz on ~ ~ Rs / c yv
χαλλεὶ σῷ παῦσον τὸν πόϑον ὡς ἔβαλες.

43

Would I were a white lily, that fastening me with thine hands
thou mightest satisfy me with the nearness of thy body.

44

Thou sleepest, Zenophile, dainty girl; would that I had come to
thee now, a wingless sleep, upon thine eyelids, that not even he,
even he who charms the eyes of Zeus, might come nigh thee, but
myself had held thee, I thee alone.

45

I have a wound of love, and from my wound flows ichor of tears,
and the gash is never stanched; for I am at my wits’ end for
misery, and no Machaon sprinkles soothing drugs on me in my
need. Iam Telephus, Ὁ maiden, but be thou my true Achilles ;
with thy beauty allay the longing as thoa didst kindle it.

43-48] LOVE 109

XLVI
LOVE THE GAMBLER
MELEAGER
Ματρὸς ἔτ᾽ ἐν κόλποισιν ὁ νήπιος ὀρϑρινὰ παίζων
ἀστραγάλοις τοὐμὸν πνεῦμ ἐκύβευσεν "Ἔρως.

XLVII
DRIFTING

MELEAGER
Κῦμα τὸ πικρὸν "ἔρωτος ἀκοίμιητοί τε πνέοντες

Ζῆλοι καὶ κώμων γειμέριον πέλαγος

i ᾿ U: Noe e ?

δὰ \ πὸ ἘΣ τς
Ποῖ φέρομαι; πάντη δὲ φρενῶν οἴαχες ἀφεῖνται:
ει ᾽ 4 ρ

ΕΥ̓ , ‘ \ f > ,
τάλι THY τουφερὴν Σκύλλαν ἐποψόμεϑα ;
ἡ πάλι τὴν τρυφερὴν Σκύλλαν ἐποψόμεϑα ;

MOVIL
LOVE’S RELAPSES

MELEAGER

Ψυχὴ δυσδάχρυτε, τί σοι τὸ πεπανϑὲν "Kowrtos
[η Sepa Ξ ὃ
~ 7 > Ls
τραῦμα διὰ σπλαγχνων αὖϑις ἀναφλέγεται ;
Mr, pen πρός σε Διός, μὴ πρὸς Διός, ὦ φιλάβουλε,
χινήσῃς τέφρῃ πῦρ ὑπολαμπόμενον᾽
Αὐτίκα γάρ, λήϑαργε κακῶν, πάλιν εἴ σε φυγοῦσαν
, κῶς: « \ , oe
λήψετ᾽ "Hows, εὑρὼν δραπέτιν αἰκίσεται.

46
Still in his mother’s lap, a child playing with dice in the morn-
ing, Love played my life away.

47

Bitter wave of Love, and restless gusty Jealousies and wintry sea
of revellings, whither am I borne? and the rudders of my spirit
are quite cast loose ; shall we sight delicate Scylla once again 4

48
Soul that weepest sore, how is Love’s wound that was allayed in
thee inflaming through thy heart again! nay, nay, for God’s sake,
nay for God’s sake, O infatuate, stir not the fire that flickers low
among the ashes. For soon, O oblivious of thy pains, so sure as
Love catches thee in flight, again he will torture his found runaway.

110 GREEK ANTHOLOGY [SECT. 1

XLIX:
LOVE THE BALL-PLAYER
MELEAGER
Σφαιριστὰν τὸν [Ἔρωτα τρέφω, σοὶ δ᾽, ᾿Ηλιοδώρα,
/ Ἁ > ? QA / /

βαλλει τὰν ἐν ἐμοὶ παλλομέναν χραδίαν.
᾿Αλλ᾽ ἄγε συμπαίκταν δέξαι Tlodov εἰ δ᾽ ἀπὸ σεῦ με

ῥίψαις, οὐκ οἴσω τὰν ἀπάλαιστρον ὕβριν.

1:
LOVE’S ARROWS
MELEAGER

Οὐ πλόκαμον Δημοῦς, οὐ σάνδαλον ᾿ Ἡλιοδώρας,

οὐ τὸ μυρόρραντον Τιμαρίου πρόϑυρον,
Οὐ τρυφερὸν μείδημα βοώπιδος ᾿Αντικλείας,

> \ 2 ~ la /

οὐ τοὺς 'ἀρτιϑαλεῖς Δωροϑέας στεφάνους
Οὐκέτι σοὶ φαρέτρη πικροὺς πτερόεντας ὀϊστούς

χρύπτει, "Hows ἐν ἐμοὶ πάντα γάρ ἐστι βέλ:

κρύπτει, "Ἔρως" ἐν ἐμοὶ πάντα γάρ ἐστι βέλη.

ΠῚ
LOVE’S EXCESS
AUTHOR UNKNOWN
« 7 > ¢
Οπλίζευ, Κύπρι, τόξα, καὶ εἰς σκόπον ἥσυχος ἐλϑὲ
ἄχλον" ἐγὼ γὰρ ἔχω τραύματος οὐδὲ τόπον.

49

Love who feeds on me is a ball-player, and throws to thee,
Heliodora, the heart that throbs in me. Come then, take thou Love-
longing for his playmate; but if thou cast me away from thee, I
will not bear such wanton false play.

50
Nay by Demo’s tresses, nay by Heliodora’s sandal, nay by
Timarion’s scent-dripping doorway, nay by great-eyed Anticleia’s
dainty smile, nay by Dorothea’s fresh-blossomed garlands, no
longer, Love, does thy quiver hide its bitter winged arrows, for
thy shafts are all fixed in me.

51
Arm thyself, Cypris, with thy bow, and go at thy leisure to
some other mark ; for I have not even room left for a wound.

49-54] LOVE 111]

111
MOTH AND CANDLE
MELEAGER
Tr la pe ! ps \ a Lon x ὔ
hy περινηχομένην ψυχὴν ἄν πολλάχι καίῃς
φεύξετ᾽, "Ἔρως: καὐτή, σχέτλι᾽, ἔχει πτέρυγας.

LIII
LOVE AT AUCTION
MELEAGER
Πωλείσϑω καὶ ματρὸς ἔτ᾽ ἐν χόλποισι χαϑεύδων,
πωλείσϑω᾽ τί δέ μοι τὸ ϑρασὺ τοῦτο τρέφειν ;
Καὶ γὰρ σιμὸν ἔφυ καὶ ὑπόπτερον, ἄκρα δ᾽ ὄνυξιν
xviler, καὶ κλαῖον πολλὰ μεταξὺ γελᾷ
Πρὸς δ᾽ ἔτι λοιπὸν ἄτρεπτον, ἀείλαλον, ὀξὺ δεδορχκός,
ἄγριον οὐδ᾽ αὐτῇ μητρὶ φίλῃ τιϑασόν,
Πᾳαντα τέρας" τοίγαρ πεπράσεται εἴ τις ἀπόπλους
ἔμπορος ὠνεῖσϑαι maida ϑέλει προσίτω.
Καίτοι λίσσετ᾽ ἰδοὺ δεδακρυμένος" οὔ σ᾽ ἔτι πωλῶ"
ϑάρσει Ζηνοφίλᾳ σύντροφος ὧδε μένε.

LIV
INTER MINORA SIDERA
MARCUS ARGENTARIUS
Ἔγχει Λυσιδίκης κυάϑους δέκα, τῆς δὲ ποϑεινῆς
Εὐφράντης ἕνα μοι, λάτρι, δίδου κύαϑον.

ἘΖ
If thou scorch so often the soul that flutters round thee, O
Love, she will flee away from thee; she too, O cruel, has wings.

53

Let him be sold, even while he is yet asleep on his mother’s
bosom, let him be sold; why should I have the rearing of this
impudent thing? For it is snub-nosed and winged, and scratches
with its nail-tips, and weeping laughs often between ; and further-
more is unabashed, ever-talking, sharp-glancing, wild and not
gentle even to its very own mother, every way a monster; so it
shall be sold ; if any outward-bound merchant will buy a boy, let
him come hither. And yet he beseeches, see, all in tears. I sell
thee no more ; be comforted; stayhere and live with Zenophile.

54
Pour ten cups for Lysidice, and for beloved Euphrante, slave,
give me one cup. Thou wilt say I love Lysidice more? No, by

112 GREEK ANTHOLOGY [SECT. I

Φήσεις Λυσιδίκην με φιλεῖν πλέον" οὐ μὰ τὸν ἡδὺν
Baxyov, ὃν ἐν ταύτῃ λαβροποτῶ χύλικι"

"ADAG μοι Εὐφράντη μία πρὸς δέχα: χαὶ γὰρ ἀπείρους
ἀστέρας ἕν μήνης φέγγος ὑπερτίϑεται.

LV

ROSA TRIPLEX

MELEAGER

Ἔγχει τᾶς Πειϑοῦς καὶ Κύπριδος ᾿Ηλιοδώρας
χαὶ πάλι τᾶς αὐτᾶς ἁδυλόγου Χαριτος"
Αὐτὰ γὰρ μί᾽ ἐμοὶ γράφεται ϑεός, ἃς τὸ ποϑεινὸν

οὔνομ᾽ ἐν ἀχρήτῳ συγχεράσας πίομαι.

LVI

LOVE IN ABSENCE

MELEAGER

Byyet καὶ πάλιν εἰπέ, πάλιν πάλιν, ᾿Ηλιοδώρας,
εἰπέ, σὺν ἀκρήτῳ τὸ γλυχὺ μίσγ᾽ ὄνομα,
Καί μοι τὸν βρεχϑέντα μύροις καὶ χϑιζὸν ἐόντα
υναμιόσυνον χείνας ἀμφιτίϑει στέφανον.
/ / > Δ a? oe ,
Δαχρύει φιλέραστον ἰδοὺ ῥόδον, οὕνεκα. κείναν
3. > ΄ « la > ~
ἄλλοϑι χκοὺ κόλποις ἡμετέροις ἐσορᾷ.

sweet Bacchus, whom I drink deep in this bowl; Euphrante for
me, one against ten; for the one splendour of the moon also
outshines the innumerable stars.

55

Pour for Heliodora as Persuasion, and as the Cyprian, and once
more for her again as the sweet-speeched Grace ; for she is enrolled
as my one goddess, whose beloved name I will mix and drink
in unmixed wine.

56

Pour, and again say, again, again, ‘Heliodora’; say it and
mingle the sweet name with the unmixed wine; and wreathe me
with that garland of yesterday drenched with ointments, for
remembrance of her. Lo, the lovers’ rose sheds tears to see her
away, and not on my bosom.

55-59] LOVE 118

LVII

LOVE’S PORTRAITURE

MELEAGER

Τίς μοι Ζηνοφίλαν λαλίαν παρέδειξεν ἑταίρων ;
, / 2. ~ ee / / = ὄ
, τίς μίαν ἐχ τρισσῶν ἡγαγέ μιοι Χαριτα:
Φ ΄ > / » v
Η ῥ᾽ ἐτύμως ὡνὴρ χεχαρισμένον ἄνυσεν ἔργον
~ , > Ἢ \ \ , > Ul
δῶρα διδούς, καὐτὰν τὰν Χάριν ἐν χάριτι.

LVIII

THE SEA’S WOOING

MELEAGER

“A φίλερως χαροποῖς ᾿Ασχληπιὰς ola Γαλήνης
ὄμμασι συμπείϑει πάντας ἐρωτοπλοεῖν.

LIX

THE LIGHT OF TROY

DIOSCORIDES

Ἵππον ᾿Αϑήνιον ἧἦσεν ἐμοὶ κακόν" ἐν πυρὶ πᾶσα
Ἴλιος yy, κἀγὼ κείνῃ ἅμ᾽ ἐφλεγόμαν,
> ~ > if
Οὐ δείσας Δαναῶν δεκέτη πόνον ἐν δ᾽ ἑνὶ φέγγει
τῷ τότε καὶ Τοῶες χἀγὼ ἀπωλόμεϑα.

57

Who of my friends has imaged me sweet-voiced Zenophile ?
who has brought me one Grace of the three? Surely the man
did a gracious deed who gave this gift, and in his grace gave
Grace herself to me.

58

Fond Asclepias with her sparkling eyes as of Calm woos all to
make the voyage of love.

59
Athenion sang of that fatal horse to me ; all Troy was in fire,
and I kindled along with it, not fearing the ten years’ toil of
Greece ; and in that single blaze Trojans and I perished together
then.

8

114 GREEK ANTHOLOGY [SECT. I

LX
LOVE AND MUSIC
MELEAGER

ASD μέλος ναὶ Πᾶνα τὸν ᾿Αρκάδα πηχτίδι μέλπεις,

Ζηνοφίλα, λίαν ἁδὺ κρέχεις τι μέλος"
Ποῖ σε φύγω ; πόντη μὲ περιστείχουσιν "ἔρωτες,

οὐ δ᾽ ὅσον ἀμπνεῦσαι βαιὸν ἐῶσι χρόνον"
Ἢ γάρ μοι μορφὰ βάλλει πόϑον ἢ πάλι μοῦσα

ἢ χάρις ἢ --- τί λέγω ; πάντα᾽ πυρὶ φλέγομαι.

LXI
HONEY AND STING
MELEAGER

᾿Ανϑοδίαιτε μέλισσα, τί μοι χροὸς Ηλιοδώρας

ψαύεις ἐχπρολιποῦσ᾽ εἰαρινὰς κάλυχας ;
Ἦ ov γε μηνύεις ὅτι χαὶ γλυχὺ καὶ τὸ δύσοιστον

πικρὸν ἀεὶ κραδίᾳ κέντρον [Ἔρωτος Eyer;
Ναὶ δοχέω, τοῦτ᾽ εἶπας" ἰὼ φιλέραστε παλίμπους

στεῖχε πάλαι τὴν σὴν οἴδαμεν ἀγγελίην.

ex
LOVE'S MESSENGER
MELEAGER -

Πταίης por κώνωψ ταχὺς ἄγγελος, οὔασι δ᾽ ἄχροις
Ζηνοφίλας ψαύσας προσψιϑύριζε τάδε:

60

Sweet is the tune, by Pan of Arcady, that thou playest on the
harp, Zenophile, oversweet are the notes of the tune. Whither
shall I fly from thee ? on all hands the Loves encompass me, and
let me not take breath for ever so little space ; for either thy form
shoots longing into me, or again thy music or thy graciousness, or
—what shall I say ? all of thee ; I kindle in the fire.

61
Flower-fed bee, why touchest thou my Heliodora’s skin, leaving
outright the flower-bells of spring? Meanest thou that even the
unendurable sting of Love, ever bitter to the heart, has a sweetness
toot Yes, I think, this thou sayest ; ah, fond one, go back again ;
we knew thy news long ago.
62
Fly for me, O gnat, a swift messenger, and touch Zenophile,
and whisper lightly into her ears: ‘one awaits thee waking; and

60-64] LOVE 115

ἔλγρυπνος μίμνει σε, σὺ δ᾽ ὦ λήϑαργε φιλούντων
εὕδεις" εἶα, πέτευ, ναὶ φιλόμουσε πέτευ"

Ἥουχα δὲ φϑέγξαι, μὴ καὶ σύγκοιτον ἐγείρας
χινήσης ἐπ᾽ ἐμοὶ ζηλοτύπους ὀδύνας"

ἪΝν δ᾽ ἀγάγῃς τὴν παῖδα, δορᾷ στέψω σε λέοντος,
χώνωψ, χαὶ δώσω χειρὶ φέρειν ῥόποϊον.

LXIII
LOVE THE SLAYER
MELEAGER

Atecop.’, "ἔρως, τὸν ἄγρυπνον ἐμοὶ πόϑον ᾿Ηλιοδώρας

χοίμισον αἰδεσϑεὶς Μοῦσαν ἐμιὴν inet"
Ναὶ γὰρ δὴ τὰ σὰ τόξα, τὰ μὴ δεδιδαγμένα βάλλειν

ἄλλον, ἀεὶ δ᾽ ἐπ᾽ ἐμοὶ πτηνὰ χέοντα βέλη,
Εἰ xat με χτείναις λείψω φωνὴν προϊέντα

γράμματ᾽: "ἔρωτος ὅρα, ξεῖνε, μιαιφονίην.

LXIV

FORSAKEN
MAECIUS

Tt στυγνή; τί δὲ ταῦτα κόμης εἰκαῖα, Φιλαινί,
x t < Α΄ = ~ / > / S
σχύλμιατα, χαὶ νοτερῶν σύγχυσις ὀμματίων ;
\ Ν » \ τι ” id I ys
Μὴ τὸν ἐραστὴν εἶδες ἔχονθ᾽ ὑποχόλπιον ἄλλην ;
εἰπὸν ἐμοὶ λύπης φάρμακ’ ἐπιστάμεϑα.
ζ , > \ ἢ τας > ἘΞ δον I z
Δαχρύεις, οὐ O76 δέ μάτην ἀρνεῖσϑ' ἐπιβαλλῃ
>
ὀφθαλμοὶ γλώσσης ἀξιοπιστότεροι.

thou sleepest, Ὁ oblivious of thy lovers.’ Up, fly, yes fly, O
musical one; but speak qnietly, lest arousing her bedfellow too
thou stir pangs of jealousy against me; and if thou bring my
girl, I will adorn thee with a lion-skin, O gnat, and give thee a
club to carry in thine hand.
63

I beseech thee, Love, charm asleep the wakeful longing in me
for Heliodora, pitying my suppliant verse ; for, by thy bow that
never has learned to strike another, but alway upon me pours its
winged shafts, even though thou slay me 1 will leave letters
uttering this voice, ‘Look, stranger, on Love’s murdered man.’

64
Why so woe-begone ? and why, Philaenis, these reckless tearings
of hair, and suffusion of showerful eyes? hast thou seen thy
lover with another on his bosom ? tell me; we know charms for
grief. Thou weepest and sayest no: vainly dost thou essay to
deny ; the eyes are more trustworthy than the tongue.

110 GREEK ANTHOLOGY [SECT. I

LXV
THE SLEEPLESS LOVER

MELEAGER

᾿Αχρίς, ἐμῶν ἀπάτημα πόϑων, παραμύϑιον ὕπνου,
ἀκρίς, ἀοουραίη Μοῦσα λιγυπτέουγε
Β oF eat : i hy Υ :
> A /
Αὐτοφυὲς μίμημα λύρας, χρέχε μοί TL TODELVOY
ap Ki ’ μ ?
> /
ἐγχρούουσα φίλοις ποσσὶ λάλους πτέρυγας
Ξ i ἵν A ᾿ ρ i 3)
Ὡς με πόνων ῥύσαιο παναγρύπνοιο μερίμνης,
ἀχρί, μυτωσαμένη φϑόγγον ἐρωτοπλαᾶνον᾽
ὃ.) ORC XY , eke
Δῷρα δέ σοι γήτειον ἀειϑαλὲς ὀρϑοινὰ δώσω
ah τον ἷ
χαὶ δροσερὰς στόμασι σγιζομένας ψακάδας.
Poort ἰ χίξοῦ

LXVI
REST AT NOON

MELEAGER

᾿Αχήεις τέττιξ δροσεραῖς σταγόνεσσι μεϑυσϑεὶς
ἀγρονόμοιν μέλπεις μοῦσαν ἐρημολάλον,

ἔΑχρα δ᾽ ἐφεζόμενος πετάλοις πριονώδεσι χώλοις
αἰϑίοπι χλάζεις χρωτὶ μέλισμια λύρας"

᾿Αλλὰ φίλος φϑέγγου τι νέον δενδρώδεσι Νύμφαις
παίγνιον, ἀντῳδὸν Πανὶ χρέκων κέλαδον,

Ὄφρα φυγὼν τὸν Ἔρωτα μεσημβρινὸν ὕπνον ἀγρεύσω
ἐνθάδ᾽ ὑπὸ σχιερῇ χεχλιμένος πλατάνῳ.

65

Grasshopper, beguilement of my longings, luller asleep, grass-
hopper, muse of the cornfield, shrill-winged, natural mimic of the
lyre, harp to me some tune of longing, striking thy vocal wings
with thy dear feet, that so thou mayest rescue me from the all-
wakeful trouble of my pains, grasshopper, as thou makest thy love-
luring voice tremble on the string; and I will give thee gifts at
dawn, ever-fresh groundsel and dewy drops sprayed from the
mouths of the watering-can.

66

Voiceful cricket, drunken with drops of dew thou playest thy
rustic music that murmurs in the solitude, and perched on the
leaf-edges shrillest thy lyre-tune with serrated legs and swart skin.
But my dear, utter a new song for the tree-nymphs’ delight, and
make thy harp-notes echo to Pan’s, that escaping Love I may seek
out sleep at noon here lying under the shady plane.

a ee eee

65-69] LOVE 117

LXVII
THE BURDEN OF YOUTH
ASCLEPIADES
Οὐχ ely’ οὐδ᾽ ἐτέων δύο χεἴκοσι, καὶ κοπιῶ Cov
ὦρωτες, τί κακὸν τοῦτο; τί με φλέγετε ;
*Hy γὰρ ἐγώ τι πάϑω, τί ποιήσετε ; δῆλον, ΓἜρωτες,
ὡς τὸ πάρος παίξεσϑ᾽ ἄφρονες ἀστραγάλοις.

LXVIII
BROKEN VOWS
MELEAGER
Νὺξ ἱερὴ καὶ λύχνε, συνίστορας οὔτινας ἄλλους
oe > ae , «7 5 22 ,
ὅρχοις, ἀλλ᾽ ὑμέας εἵλομεῦ" ἀμφότεροι,
Χὼ μὲν ἐμὲ στέρξειν, κεῖνον δ᾽ ἐγὼ οὔ ποτε λείψειν
ὠμόσαμεν, κοινὴν δ᾽ εἴχετε μαρτυρίην᾽
Νῦν δ᾽ ὁ μὲν ὅρχια φησὶν ἐν ὕδατι χεῖνα φέρεσϑαι,
λύχνε, σὺ δ᾽ ἐν κόλποις αὐτὸν ὁρᾷς ἑτέρων.

LXIX
DOUBTFUL DAWN
MELEAGER

Ὦ νύξ, ὦ φιλάγρυπνος ἐμοὶ πόϑος ᾿ Ηλιοδώρας,

ἐξ Ν 5 “ὝἭ " = 4 ~
: χαὶ GLOMOY goo Ἀνίσματα δαχρυχαρῆ,
ἼΑρα μένει στοργῆς ἐμὰ λείψανα, καὶ τὸ φίλημα

υνημιόσυνον ψυχρᾷ ϑαλπετ᾽ ἐν εἰκασίᾳ :

67
Iam not two and twenty yet, and I am aweary of living; Ὁ.
Loves, why misuse me so? why set me on fire; for when I am
gone, what will you do? Doubtless, O Loves, as before you will
play with your dice, unheeding.

68
Holy night, and thou, O lamp, you and none other we took to
witness of our vows; and we swore, he that he would love me,
and 1 that I would never leave him, and you kept witness between
us. And now he says that these vows are written in running
water, O lamp, and thou seest him on the bosom of another.

69
O night, O wakeful longing in me for Heliodora, and eyes that
sting with tears in the creeping grey of dawn, do some remnants
of affection yet remain mine, and is her memorial kiss warm upon

118 GREEK ANTHOLOGY [SECT. I

τ , Iv ne \ ac ap " "» 2.
Apa γ᾽ ἔχει σύγκοιτα τὰ δάχρυα, χἀμὸν ὄνειρον
, , > ~ ~
ψυχαπαάτην στέρνοις ἀμφιβαλοῖσα φιλεῖ;
Η νέος ἄλλος ἔρως, νέα παίγνια ; μήποτε λύχνε
ταῦτ᾽ ἐσίδης, εἴης δ᾽ ἧς παρέδωχα φύλαξ.

x

LXX
THE DEW OF TEARS

ASCLEPIADES

Αὐτοῦ μοι στέφανοι παρὰ διχλίσι ταῖσδε χρεμαστοὶ
μίμνετε μὴ προπετῶς φύλλα τινασσόμενοι
a ε / A Lf ἐς “ΓΞ A »” , / ;
Οὗς δακρύοις κατέβρεξα (κάτομβρα γὰρ ὄμματ᾽ ἐρώντων)
> 9 ea fe >? \ ἴδ), , ν:
_ ἀλλ᾽ ὅτ᾽ ἀνοιγομένης αὐτὸν ἴδητε ϑύρης
> nea 9 e A - > \ c , c “ἡ »
TACKY ὑπὲρ κεφαλῆς ἐμὸν ὑετόν, ὡς AV ἄμεινον
Ce / / > \ ΄ lds
Ἢ ζανϑη γε κόμη τάμα πίῃ δάκρυα.

ΠΧ
LOVE'S GRAVE

MELEAGER

A

"Hy τι πάϑω, Κλεόβουλε (τί γὰρ πλέον ; ἐν πυρὶ παίδων
βαλλόμενος κεῖμαι λείψανον ἐν σποδιῇ),

Λίσσομαι, ἀχρήτῳ μέϑυσον, πρὶν ὑπὸ χϑόνα ϑέσϑαι
κάλπιν, ἐπιγράψας" Δῶρον "Ἔρως ᾿Αἴδη.

my cold picture ? has she tears for bedfellows, and does she clasp
to her bosom and kiss a deluding dream of me? or has she some
other new love, a new plaything? Never, O lamp, look thou on
that, but be guardian of her whom I gave to thy keeping.

70

Stay there, my garlands, hanging by these doors, nor hastily
scattering your petals, you whom I have wetted with tears (for
lovers’ eyes are rainy); but when you see him as the door opens,
drip my rain over his head, that so at least that golden hair may
drink my tears.

71

When I am gone, Cleobulus—for what avails ? cast among the
fire of young loves, I lie a brand in the ashes—I pray thee make
the burial-urn drunk with wine ere thou lay it under earth, and
write thereon, ‘ Love’s gift to Death.’

=. a eee eee eer eS eS OT

70-74] LOVE 119

LXXII
LOVE'S MASTERDOM
MELEAGER
‘ “a ,
Δεινὸς Ἔρως, δεινός: τί δὲ τὸ πλέον, ἣν πάλιν εἴπω
ς; ς 7

χαὶ πάλιν, οἰμιώζων πολλάκι, δεινὸς "Hows ;
Ἦ γὰρ ὁ παῖς τούτοισι γελᾷ, καὶ πυχνὰ κακισϑεὶς

“ὸ a δ᾽ ” to \ ΄ Ξ

ἥδεται, ἣν δ᾽ εἴπω λοίδορα, καὶ τρέφεται
Θαῦμα δέ por, πῶς ἄρα διὰ γλαυχοῖο φανεῖσα

χύματος, ἐξ ὑγροῦ, Κύπρι, σὺ πῦρ τέτοκας.

LXXIII
LOVE THE CONQUEROR
MELEAGER
~ - ra ΞΟ x ᾽ ΡΜ ΑΙ ΒΩ = 2
Κεῖμαι λὸς ἐπίβαινε κατ᾽ αὐχένος, ἄγρις δαῖμον
οἶδα σε, ναὶ μὰ ϑεούς, καὶ βαρὺν ὄντα φέρειν᾽
τ ἊΣ ἍΝ cag \ sh po) \ ΄ = A
Οἶδα χαὶ eee TOCK βαλὼν δ᾽ ἐπ ἐμὴν φρένα πυρσοὺς
> , 7 ~ ? /
οὐ φλέξεις ἤδη πᾶσα γάρ ἐστι τέφρη.

ΠΧ ΧῚΝ
LOVE’S PRISONER
MELEAGER
Od σοι τοῦτ᾽ ἐβόων, ψυχή, ναὶ Κύπριν, ἁλώσει,
(τ ,ὔ "2 ω
ω δύσερως, Low πυχνὰ προσιπταμένη :

72

Terrible is Love, terrible ; and what avails it if again I say and
again, with many a moan, Terrible is Love? for surely the boy
laughs at this, and is pleased with manifold reproaches ; and if
I say bitter things, they are meat and drink to him. And I
wonder how thou, O Cyprian, who didst arise through the green
waves, out of water hast borne a fire.

79

I am down: tread with thy foot on my neck, cruel divinity ;
I know thee, by the gods, heavy as thou art to bear: I know
too thy fiery arrows: but hurling thy brands at my soul thou wilt
no longer kindle it, for it is all ashes.

74

Did I not ery aloud to thee, Ὁ soul, ‘Yes, by the Cyprian,
thou wilt be caught, poor lover, if thou flutterest so often near the

120 GREEK ANTHOLOGY [SECT. I

Οὐχ ἐβόων ; εἷλέν σε πάγη τί μάτην ἐνὶ δεσμοῖς
οἷ x 4
σπαίρεις: αὐτὸς “Hows τὰ πτέρα σου δέδεχεν
Καί o’ ἐπὶ πῦρ ἔστησε μύροις δ᾽ ἔρρανε λιπόπνουν
~ 5 ΄ δ " \ oer
δῶχε δὲ διψώσῃ δάχρυα ϑερμιὰ πιεῖν.
i ‘

LXXV
FROST AND FIRE
MELEAGER
A ψυχὴ βαρύμοχϑε, σύ δ᾽ ἄρτι μὲν ἐκ πυρὸς αἴϑη
» / ~ ἢ
ἄρτι δ᾽ ἀναψύχεις πνεῦμ’ ἀνοαλεξαμένη,
,ὔ ,ὕ \ A ey: ΄ wy
Tt xraterg; τὸν ἄτεγκτον ὅτ᾽ ἐν χόλποισιν [Ἔρωτα
μ > A « ay τὰς A /
ἔτρεφες, οὐκ ἤδεις ὡς ἐπὶ σοὶ τρέφετο:
»Μ ~ ~ ~ »
Οὐχ ἤδεις ; νῦν γνῶϑι χαλῶν ἄλλαγμα τροφείων
πῦρ ἅμα καὶ ψυχρὰν δεξαμένη χιόνα.
ΠΝ Sey ἜΑ \ , Shad ,
Αὐτὴ ταῦϑ' εἵλου" QECE τὸν πονον᾽ ALA πάσχεις
ὧν ἔδρας, ὀπτῷ χαιομένη μέλιτι.

LXXVI
THE SCULPTOR OF SOULS

MELEAGER

᾿Εντὸς ἐμῆς χραδίης τὴν εὔλαλον ᾿Ηλιοδώραν
ψυχὴν τῆς ψυχῆς αὐτὸς ἔπλασσεν “Howe.

lime-twigs 1 did I not cry aloud? and the snare has taken thee.
Why dost thou gasp vainly in the toils? Love himself has bound
thy wings and set thee on the fire, and sprinklec thee to swooning
with perfumes, and given thee in thy thirst hot tears to drink.

75

Ah suffering soul, now thou burnest in the fire, and now thou
revivest, and fetchest breath again: why weepest thou ? when thou
didst feed pitiless Love in thy bosom, knewest thou not that
he was being fed for thy woe? knewest thou not? Know how his
repayment, a fair foster-hire ! take it, fire and cold snow together.
Thou wouldst have it so; bear the pain; thou sufferest the wages
of thy work, scorched with his burning honey.

76

Within my heart Love himself has moulded Heliodore with
her lovely voice, the soul of my soul.

75-77] LOVE 121

LXXVII
LOVE’S IMMORTALITY
STRATO
Τίς δύναται γνῶναι τὸν ἐρώμενον εἰ παραχμαζει,
πάντα συνὼν αὐτῷ μιηδ᾽ ἀπολειπόμενος ;
, , ) > ay ot A ale > \ ey 4 Ἢ
Τίς δύνατ οὐχ ἀρέσαι τὴν σήμερον, ἐχϑὲς ἀρέσχων 5
Ε ᾽ὔ /, 2, > > /
εἰ δ᾽ ἀρέσει, τί παϑὼν αὔριον οὐκ ἀρέσει ;

77

Who may know if a loved one passes the prime, while ever with
him and never left alone? who may not satisfy to-day who satis-
fied yesterday? and if he satisfy, what should befall him not
to satisfy to-morrow ?

ὲ
Ἕ
ψ
4

|
᾿

Π

PRAYERS AND DEDICATIONS

I
TO ZEUS OF SCHERIA

JULIUS POLYAENUS

Ki rank σευ πολύφωνος ἀεὶ πίμπι πλησιν ἀχουὰς
ἢ φόβος εὐχομένων ἢ χάρις εὐξαμένων,
~ ε \
Zed ee ἐφέπων ἱερὸν πέδον, ἀλλὰ χαὶ ἡμέων

~

χλῦϑι χαὶ ἀψευδεῖ γξυσον ὑποσχεσίῃ

4 ?

Ἤδη μοι ξενίης εἶναι πέρας, ἐν δέ με 7 eM

\
ζώειν τῶν δολιχῶν πούσάμιξνον χαμάτων.

II
TO THE GOD OF THE SEA

CRINAGORAS

\

Φρὴν ἱερὴ μεγόλου ’Evosty9ovos, ἔσσο καὶ ἄλλοις
ἠπίη Αἰγαίην of διέπουσιν ἅλα:

\

Κημοὶ γὰρ Θρήϊκι διωχομένῳ ὑπ᾽ ἀήτῃ

ὦρεξας πρηεῖς ἀσπασίῳ λιμένας.

I

Though the terror of those who pray, and the thanks of those
who have prayed, ever fill thine ears with my rriad voice, Ὁ Zeus,
who abidest in the holy plain of Scheria, yet hearken to us also,
and bow down with a promise that lies ‘not, that my exile now
may have an end, and I may live in my native land at rest from
labour of long journeys.

2

Holy Spirit of the great Shaker of Earth, be thou gracious to
others also who ply across the Aegean brine ; since even to me,
chased by the Thracian hurricane, thou didst open out the calm
haven of my desire.

122

1-5} PRAYERS AND DEDICATIONS 123

III

TO THE GODS OF HARBOUR AND HEADLAND
ANTIPHILUS
᾿Αρχέλεω, λιμενῖτα, σὺ μὲν μάχαρ ἠπίῳ avon
πέμπε κατὰ σταϑερῆς οἰχομένην ὀϑόνην
πλιΓριπῶνα: σὺ 0’ ἠόνος ἄχρα λελογχὼς
τὴν πὶ ΠΠυϑείου ῥύεο ναυστολίην᾽
εν δ᾽, εἰ Φοίβῳ μεμελήμεϑα πᾶντες ἀοιδοί,
ἐπ coun εὐαεὶ ϑαρσαλέως Ζεφύρω.

-
a &
ny

IV

TO POSEIDON OF AEGAE
ALPHEUS
Νηῶν ὠχυπόρων ὃς ἔχεις χράτος, ἵππις δαῖμον,
χαὶ μιέ Ἐβοίης, ἀμφικρεμιἢ σκόπελ
(αἱ μέγαν Εὐβοίης ἀμφικρεμιἣ σκόπελον,
Οὔριον εὐχομένοισι δίδου πλόον ἴΑρεος ἄχρις
ἐς πόλιν ἐχ Συρίης πείσματα. λυσαμιένοις.

Vv

TO THE LORD OF SEA AND LAND

MACEDONIUS
Nix cot, ὦ πόντου βασιλεῦ καὶ κοίρανε γαίης,
ἀντίϑεμαι Κράντας μηχέτι τεγγομένην,

2

ὃ
Harbour-god, do thou, O blessed one, send with a gentle breeze
the outward-bound sail of Archelaus down smooth water even to
the sea ; and thou who hast the point of the shore in ward, keep
the convoy that is bound for the Pythian shrine; and thenceforward,
if all we singers are in Phoebus’ care, I will sail cheerily on with
a fair-flowing west wind.
4
Thou who holdest sovereignty of swift-sailing ships, steed-loving
god, and the great overhanging cliff of Euboea, give to thy wor-
shippers a favourable voyage even to the City of Ares, who loosed
moorings from Syria.
5
This ship to thee, O king of sea and sovereign of land, I
Crantas dedicate, this ship wet no longer, a feather tossed by the
wandering winds, whereon many a time I deemed in my terror

124 GREEK ANTHOLOGY [SECT. 2

Nija πολυπλανέων ἀνέμων πτερόν, ἧς ἔπι δειλὸς
πολλάκις ὠϊσάμην εἰσελάφν ᾿Αἴδη)
‘ ᾽
Πάντα δ᾽ ἀπειπάμενος, φόβον, ἐλπίδα, πόντον, ἀέλλας,

sy

\ ΄ y. ae f 3
πιστον UTEP yaeys LyvLoy ἡδρασάμην.

a

VI

TO THE GODS OF SEA AND WEATHER

PHILODEMUS

~ yz \

Ἰνοῦς ὦ Μελικέρτα ov τε γλαυχὴ μεδέουσα

Λευχοϑέη πόντου, δαῖμον ἀλεξίκαχςε,

, , Ν , \ \ ,
Νηρήδων τε χοροί, χαὶ κύματα, καὶ σὺ ἸΠόσειδον

χαὶ Θοήϊξ ἀνέμιων πρηύτατε Ζέφυρε

(Οἱ NLS VEU. WONYTATE LEOvCE,
g , a \ \ ~ ,
Ιλαοί με φέροιτε διὰ πλατὺ κῦμα φυγόντα

~ > A \ Dy. /
σῶον ἐπὶ γλυχερὰν ἠόνα Teronéws.

Vil

TO POSEIDON, BY A FISHERMAN
MACEDONIUS

Δίχτυον ἀκρομόλιβδον ᾿Αμύντιχος ἀμφὶ τριαίνῃ
δῆσε γέρων ἁλίων παυσάμενος χαμαάτων,

Ἔς δὲ Ποσειδάωνα χαὶ ἁλμυρὸν οἶδμα ϑαλάσσης
εἶπεν ἀποσπένδων δάκρυον ἐκ βλεφάρων"

τ ioe Pe ae ae sake - ~ 3 δον Ae ἐς σον

Οἶσϑα, μάκαρ, κέχμιηκα κακοῦ δ᾽ ἐπὶ γήραος ἡυῖν
> δ /
ἄλλυτος ἡβάσχει yurotaxnns πενίη"

i>

that 1 drove to death ; now renouncing all, fear and hope, sea and
storms, I have planted my foot securely upon earth.

6

O Melicerta son of Ino, and thou, sea-green Leucothea, mistress
of Ocean, deity that shieldest from harm, and choirs of the
Nereids, and waves, and thou Poseidon, and Thracian Zephyrus,
gentlest of the winds, carry me propitiously, sped through the
broad wave, safe to the sweet shore of the Peiraeus.

7
Old Amyntichus tied his plummeted fishing-net round his fish-
spear, ceasing from his sea-toil, and spake towards Poseidon and
the salt surge of the sea, letting a tear fall from his eyelids; Thou
knowest, blessed one, I am weary ; and in an evil old age clinging
Poverty keeps her youth and wastes my limbs: give sustenance to

6-9] PRAYERS AND DEDICATIONS 19

Θρέψον ἔτι σπαῖρον τὸ γερόντιον, ἀλλ᾽ ἀπὸ γαίης
ὡς ἐϑέλει, μεδέων χαὶ χϑονὶ καὶ πελάγει.

VIII
TO PALAEMON AND INO
ANTIPATER OF SIDON
Λείψανον ἀμφίχλαστον ἁλιπλανέος σχολοπένδρας
~ , oe /
τοῦτο χατ᾽ εὐψαμιάϑου χείμιενον ἠϊόνος
Δισσάχι τετρόργυιον, ἅπαν πεφορυγμένον ἀφρῷ
/ A e
πολλὰ ϑαλασσαίῃ ζανϑὲν ὑπὸ σπίλαδι
“Ἑομώναξ éxtyavey, ὅτε γὙριπηΐδι τέγν:
ὁμῶνας EXLYAVEY, βρη TEXT]
π \ ’ / > U /
εἵλκε TOV ἐκ πελαγους ἰχϑυόεντα βόλον,
Εὑρὼν δ᾽ ἠέρτησς Παλαίμονι παιδὶ καὶ ᾿Ινοῖ,
> \ >
δαίμοσιν εἰναλίοις δοὺς τέρας εἰνάλιον.

IX
TO ARTEMIS OF THE FISHING-NETS
APOLLONIDES
Τρῖγλαν ἀπ᾽ ἀνϑρακιῆς χαὶ φυκίδα σοί, λιμιενῖτι
ἤΑρτεμι, δωρεῦμαι Mis ὁ δικτυβόλος,

\ \ / > ᾽ὔ QA , A
Καὶ ζωρὸν κεράσας ἰσοχεϊλέα, καὶ τρύφος ἄρτου
αὐον ἐπιϑραύσας, τὴν πενιχρὴν ϑυσίην"
᾿Ανϑ’ ἧς μοι πλησϑέντα δίδου ϑηράμασιν αἰὲν

δίκτυα" σοὶ δέδοται πάντα, υάχαιρα, λίνα.

a poor old man while he yet draws breath, but from the land as
he desires, O ruler of both earth and sea.

8

This shattered fragment of a sea-wandering scolopendra, lying
on the sandy shore, twice four fathom long, all befouled with froth,
much torn under the sea-washed rock, Hermonax chanced upon
when he was hauling a draught of fishes out of the sea as he plied
his fisher’s craft; and having found it, he hung it up to the boy
Palaemon and Ino, giving the sea-marvel to the sea-deities.

9
A red muilet and a hake from the embers to thee, Artemis of the
Haven, I Menis, the caster of nets, offer, and a brimming cup of wine
mixed strong, and a broken crust of dry bread, a poor man’s
sacrifice ; in recompence whereof give thou nets ever filled with
prey ; to thee, O blessed one, all meshes have been given.

196 ' GREEK ANTHOLOGY (SECT. 2
x
TO PRIAPUS OF THE SHORE
MAECIUS

Αἰγιαλῖτα Πρίηπε, σαγηνευτῆρες ἔϑηχαν
δῶρα παρ᾽ ἀχταίης σοὶ TH) ἐπωφελίης,
Θύννων εὐχλώστοιο λίνου βυσσώμιασι ὁόυβον
i pe δον,
/ ~
φράξαντες γλαυχαῖς ἐν παρόδοις πελάγευς"
Φηγίνεον χρητῆρα, καὶ αὐτούργητον ἐρείκης
oWo «Ὁ / > / /
βάϑρον, id? ὑαλέην οἰνοδόχον χύλιχα,
« a « 5 3 ~ 4 “, ”
Ὡς ἂν ὑπ᾽ ὀρχησμιῶν λελυγισμένον ἔγχοπον ἴχνος
᾿ ῥχῆσῃ : nest C
>
ἀμπαύσῃς ξηρὴν δίψαν ἐλαυνόμενος.

XI
TO APOLLO OF LEUCAS
PHILIPPUS
Λευχάδος αἰπὺν ἔχων ναύταις τηλέσκοπον ὄχϑον,
Φοῖβε, τὸν ᾿Ιονίῳ λουόμενον πελάγει,
Δέξαι πλωτήρων μάζης χεριφυρέα δαῖτα
χαὶ σπονδὴν ὀλίγῃ κιρναμένην χύλιχκι
Καὶ βραχυφεγγίτου λύχνου σέλας ἐκ βιοφειδοῦς
ὄλπης ἡμιμεϑεῖ πινόμενον στόματι,
"Av ὧν ἵλήκοις ἐπὶ δ᾽ ἱστία πέμψον ἀήτην
οὔριον ᾿Αχτιαχοὺς σύνδρομον εἰς λιμένας.

Io

Priapus of the seashore, the trawlers lay before thee these gifts
by the grace of thine aid from the promontory, having imprisoned a
tunny shoal in their nets of spun hemp in the green sea-entrances :
a beechen cup and a rude stool of heath and a glass cup holding
wine, that thou mayest rest thy foot weary and cramped with
dancing while thou chasest away the dry thirst.

It

Phoebus who holdest the sheer steep of Leucas, far seen of
mariners and washed by the Ionian sea, receive of sailors this
mess of hand-kneaded barley bread and a libation mingled in a
little cup, and the gleam of a brief-shining lamp that drinks with
half-saturate mouth from a sparing oil-flask ; in recompence whereof
be gracious, and send on their sails a favourable wind to run with
them to the harbours of Actium.

i i , αὶ, »..

10-14] PRAYERS AND DEDICATIONS 127

XII
TO ARTEMIS OF THE WAYS
ANTIPHILUS
, oe A [ὦ / 5 > ae ἐξ /
Εἰνοδίη, σοὶ τόνδε Puan ἀνεϑηχατο x0pans
πῖλον ὁδοιπορίης σύμβολον ᾿Αντίφιλος
λον 60 ρίης σύμβολον ᾿Α oc?
"Hoda yao εὐχωλῇσι κατήκοος, ἦσϑα χελέυϑοις
Anos’ οὐ πολλὴ δ᾽ ἡ χάρις, ἀλλ᾽ ὁσίη.
Μὴ δέ τις ἡμετέρου μάρψη χερὶ μαργὸς ὁδίτης
ἢ 1G μξτξί μαρψῇ χξρὺ μάργος τὴς
» / ~ > A > >
ἀνϑέματος" συλᾷν ἀσφαλὲς οὐδ᾽ ὀλίγα.

XIII
TO THE TWIN BRETHREN
CALLIMACHUS
Ν ea , > 7ὔ > \ yv
Φησὶν ὃ με στήσας Kvatvetos (ov γὰρ ἔγωγε
γιγνώσκω) νίκης ἀντί με τῆς ἰδίης
᾿Αγχεῖσϑαι χάλκειον ἀλέκτορα Τυνδαρίδῃσιν"
πιστεύω Φαίδρου παιδὶ Φιλοζενίδεω.

XIV
TO THE DELPHIAN APOLLO
PAULUS SILENTIARIUS
Tov χαλχοῦν τέττιγα Λυκωρέϊ Λοχρὸς ἀνάπτει
Ἐὔνομος ἀϑλοσύνας μνᾶμα φιλοστεφάνου"
Ἢν γὰρ ἀγὼν φόρμιγγος ὁ δ᾽ ἀντίος ἵστατο Πάρϑις᾽
ἄλλ᾽ ὅχα δὴ πλάχκτρῳ Λοχρὶς Exoste χέλυς,

12

Thou of the Ways, to thee Antiphilus dedicates this hat from
his own head, a voucher of his wayfaring ; for thou wast gracious
to his prayers, wast favouring to his paths; and his thank-offering
is small indeed but sacred. Let not any greedy traveller’s hand
snatch our gift; sacrilege is not safe even in little things.

13
He who set me here, Euaenetus, says (for of myself I know not)
that I am dedicated in recompence of his single-handed victory,
T the cock of brass, to the Twin Brethren; I believe the son of
Phaedrus the Philoxenid.
14
Eunomus the Locrian hangs up this brazen grasshopper to the
Lycorean god, a memorial of the contest for the crown. The strife
was of the lyre, and Parthis stood up against me: but when the
Locrian shell sounded under the plectrum, a lyre-string rang and

128 GREEK ANTHOLOGY [SECT. 2

Βραγχὸν τετριγυῖα λύρας ἀπεχόμπασς χορδα"
πρὶν δὲ μέλος σκάζειν εὔποδος ἁρμονίας
“Αβρὸν ἐπιτρύζων κιϑάρας ὕπερ ἕζετο τέττιξ,
A \ > , , « 7,
χαὶ τὸν ἀποιχομένου φϑόγγον ὑπῆλῦε μίτου
τ Pas ἣ i ταὶ ᾿ [ ᾽
4 , ~ > » > A
Τὰν δὲ πάρος λαλαγεῦσαν ἐν ἄλσεσιν ἀγοότιν ayo
Ὶ 5 i YP x!
A € , ,ὔ
πρὸς νόμον ἁμετέρας τρέψε λυροχτυπίας"
ρ ; ‘ ‘ \ Ψ \ a
~ / ~ ~ ,
Τῷ δέ, μάκαρ Λητῷε, τεῷ τέττιγι γεραίρει
χάλχεον ἱδρύσας ὠδὸν ὑπὲρ κιϑάρας.

XV

TO ARTEMIS THE HEALER
PHILIPPUS
\ ~ a
Ζηνὸς καὶ Λητοῦς ϑηροσχόπε τοζότι χούρη,
ἸΆρτεμις ἣ ϑαλάμους τοὺς ὀρέων ἔλαχες
οτεμις ἣ ϑαλάμους τοὺς ὀρέων ἔλαχες,
~ \ 2 ~
Notcov τὴν στυγερὴν αὐϑημερὸν ἐκ βασιλῆος
ἐσϑλοτάτου πέμψαις ἄχρις “Ὑπερβορέων᾽
Σοὶ γὰρ ὑπὲρ βωμῶν ἀτμὸν λιβάνοιο Φίλιππος
«» ~ ΄ > ,
ὁέζει, χαλλυϑυτῶν χάπρον OPELOVOLLOY.

XVI
TO ASCLEPIUS

THEOCRITUS

Ἦλϑε καὶ ἐς Μίλατον 6 τοῦ Παιήονος υἱὸς
ἰητῆοι νόσων ἀνδρὶ συνοισόμιενος

snapped jarringly; but ere ever the tune halted in its fair
harmonies, a delicate-trilling grasshopper seated itself on the lyre
and took up the note of the lost string, and turned the rustic
sound that till then was vocal in the groves to the strain of our
touch upon the lyre; and therefore, blessed son of Leto, he does
honour to thy grasshopper, seating the singer in brass upon his
harp.

15

Huntress and archer, maiden daughter of Zeus and Leto,

Artemis to whom are given the recesses of the mountains, this
very day send away beyond the North Wind this hateful sickness
from the best of kings; for so above thine altars will Philippus
offer vapour of frankincense, doing goodly sacrifice of a hill-
pasturing boar.

16

Even to Miletus came the son of the Healer to succour the
physician of diseases Nicias, who ever day by day draws near

15-18] PRAYERS AND DEDICATIONS 129

Νικίᾳ, ὅς μιν ἐπ᾽ ἄμαρ ἀεὶ ϑυέεσσιν ἱκνεῖται,
xa τόδ᾽ ἀπ᾽ εὐώδους γλύψατ᾽ ἄγαλμα κέδρου,
Ἠετίωνι χάριν γλαφυρᾶς χερὸς ἄχρον ὑποστὰς
μισϑόν" 6 δ᾽ εἰς ἔργον πᾶσαν ἀφῆκε τέχναν.

XVII
TO THE NYMPHS OF ANIGRUS
MOERO
Νύμφαι ᾿Ανιγριάδες, ποταμοῦ χόραι, αἱ τάδε βένϑη
ἀμβρόσια ῥοδέοις στείβετε ποσσὶν ἀεί,
Χαίρετε καὶ σώζοιτε Κλεώνυμον, ὃς τάδε χαλὰ
sion?’ ὑπαὶ πιτύων ὕμμι ϑεαὶ ξόανα.

XVIII
TO PAN PAEAN
AUTHOR UNKNOWN
> c δ ὦ»
Σοὶ τάδε συριχτὰ ὑμνηπόλς μείλιχε δαῖμον
ἁγνὲ λοετροχόων χοίρανε Ναϊχδων
- ~ v Ta a ΟῚ ,
Δῶρον ᾿ Ὑγεῖνος ἔτευζξεν, ὃν ἀργαλέης ἀπὸ νούσου
3, tad ~ ,
αὐτός, ἄναξ, ὑγιῆ ϑήκαο προσπελάσας"
Πᾶσι γὰρ ἐν τεχέεσσιν ἐμοῖς ἀναφανδὸν ἐπέστης
ΕΣ By KO , " main > \ 5 ,
οὐχ ὄναρ, ἀλλὰ μέσους ἤματος ἀμφὶ δρόμους.

him with offerings, and had this image carved of fragrant cedar,
promising high recompence to Eetion for his cunning of hand ;
and he put all his art into the work.

ΕΠ

Nymphs of Anigrus, maidens of the river, who evermore tread
with rosy feet these divine depths, hail and save Cleonymus who
set these fair images to you, goddesses, beneath the pines.

18

This for thee, O pipe-player, minstrel, gracious god, holy lord of
the Naiads who pour their urns, Hyginus made as a gift, whom
thou, O king, didst draw nigh and make whole of his hard sickness;
for among all my children thou didst stand by me visibly, not in a
dream of night, but about the mid-circle of the day.

9

130 GREEK ANTHOLOGY [SECT. 2

XIX
TO HERACLES OF OETA
DIONYSIUS

ἭἭράκλεες Τρηχῖνα πολύλλιϑον ὅς τε καὶ Οἴτην

ey 2) JN OE 5 »" ~ Φ ,

xa. βαϑὺν εὐδένδρου πρῶνα πατεῖς Φολοης,
Τοῦτό σοι ἀγροτέρης Διονύσιος αὐτὸς ἐλαίης

χλωρὸν ἀπὸ δρεπάνῳ ϑῆχε ταμὼν ῥόπαλον.

ΧΧ
TO APOLLO AND THE MUSES
THEOCRITUS
Τὰ ῥόδα τὰ δροσόεντα καὶ & κατάπυχνος ἐκείνα
ἕρπυλλος χεῖται ταῖς ᾿ Ελικωνιάσιν,
Tai δὲ μελάμφυλλοι δάφναι τίν, [vote Τ]αιάν,
Δελφὶς ἐπεὶ πέτρα τοῦτό τοι ἀγλαΐϊσεν"
Βωμὸν δ᾽ αἱμάξει κεραὸς τράγος οὗτος ὁ μᾶλος
τερμίνϑου τρώγων ἔσχατον ἀχρέμονα.

XXI
TO APHRODITE OF THE GOLDEN HOUSE
MOERO

Κεῖσαι δὲ χρυσέαν ὑπὸ παστάδα τὰν ᾿Αφροδίτας,
βότρυ, Διωνύσου πληϑόμενος σταγόνι,

Οὐδ᾽ ἔτι τοι μάτηρ ἐρατὸν περὶ κλῆμα βαλοῦσα
φύσει ὑπὲρ χρατὸς νεχτάρεον πέταλον.

19
Heracles who goest on stony Trachis and on Oeta and the
deep brow of tree-clad Pholoe, to thee Dionysius offers this green
staff of wild olive, cut off by him with his billhook.

20

These dewy roses and yonder close-curled wild thyme are laid
before the maidens of Helicon, and the dark-leaved laurels before
thee, Pythian Healer, since the Delphic rock made this thine
ornament ; and this white-horned he-goat shall stain your altar,
who nibbles the tip of the terebinth shoot.

21
Thou liest in the golden portico of Aphrodite, O grape-cluster
filled full of Dionysus’ juice, nor ever more shall thy mother twine
round thee her lovely tendril or above thine head put forth her
honeyed leaf.

19-24] PRAYERS AND DEDICATIONS 131

XXII
TO APHRODITE, BY CALLISTION
POSIDIPPUS
“A Κύπρον & te Κύϑηρα χαὶ ἃ Μίλητον ἐποιχνεῖς
χαὶ τὸ καλὸν Συρίης ἱπποχρότου δάπεδον,
Ἔλϑοις ἵλαος Καλλιστίῳ, ἣ τὸν ἐραστὴν
οὐδέ ποτ᾽ οἰχείων ὦσεν ἀπὸ προϑύρων.

XXIII

TO APHRODITE, BY LAIS
PLATO

Ἢ σοβαρὸν γελάσασα χαϑ’ Ελλάδος, ἡ τὸν ἐραστῶν
Eou.ov ἐνὶ προϑύροις Λαῖς ἔχουσα νέων,
Τῇ Παφίῃ τὸ κατοπτρον᾽ ἐπεὶ τοίη μὲν ὁρᾶσϑαι
; ᾽ “ / or δ Ὁ “ > , :
οὐχ ἐθέλω, οἴη ὃ ἣν πάρος οὐ δύναμαι.

ΧΧΙΝν
TO APHRODITE, WITH A TALISMAN
AUTHOR UNKNOWN
"Taye ἡ Νιχοῦς, ἡ καὶ διαπόντιον ἕλχειν
»Μ Le / το > 4
ἄνδρα χαὶ EX θαλάμων ποαῖδος ἐπισταμένη,
Χρυσῷ ποικιλϑεῖσα, διαυγέος ἐξ ἀμεϑύστου
γλυπτύ, σοὶ χεῖται, Κύπρι, φίλον κτέανον,
Πορφυρέης ἀμινοῦ μαλαχὴ τριχὶ μέσσα δεϑεῖσα
PPYPENS ἄμ: - ἢ βχο USS Sama?
τῆς Λαρισσαίης ζείνια φαρμακίδος.

22

Thou who inhabitest Cyprus and Cythera and Miletus and the
fair plain of horse-trampled Syria, come graciously to Callistion,
who never thrust her lover away from her house’s doors.

2.
I Lais who laughed exultant over Greece, I who held that swarm
of young lovers in my porches, give my mirror to the Paphian;
since such as Iam 1 will not see myself, and such as I was I cannot.

24

Nico’s wryneck, that knows to draw a man even from overseas,

and girls out of their wedding-chambers, chased with gold, carven

out of translucent amethyst, lies before thee, Cyprian, for thine

own possession, tied across the middle with a soft lock of purple
lamb’s wool, the gift of the sorceress of Larissa.

152 GREEK ANTHOLOGY [SECT. 2

XXV
TO APHRODITE EUPLOIA
GAETULICUS

᾿Αγχιάλου ῥηγμῖνος ἐπίσχοπε, σοὶ τάδε πέμπω

ψαιστία, χαὶ λιτῆς δῶρα ϑυηπολίης"
Αὔριον ᾿Ιονίου γὰρ ἐπὶ πλατὺ κῦμα περήσω

σπεύδων ἡμετέρης κόλπον ἐς Eidodens
Ovpros ἀλλ᾽ ἐπίλαμψον ἐμῷ καὶ ἔρωτι καὶ ἱστῷ,

ῃ

δεσπότι καὶ ϑαλάμων Κύπρι καὶ ἠϊόνων.

XXVI
TO THE GOD OF CANOPUS
CALLIMACHUS
Τῷ ps Κανωπίταᾳ Καλλίστιον εἴκοσι μύζαις
πλούσιον ἣ Κριτίου λύχνον ἔϑηχε ϑεῷ,
Εὐξαμένα περὶ παιδὸς ᾿Απελ λλίδος: ἐς δ᾽ ἐμιὰ φέγγη
ἀϑρήσας φήσεις" “Koreps, πῶς ἔπεσες.

XXVII
TO HERACLES, WITH A SHIELD
HEGESIPPUS
Δέξαι ν᾽ Ἡράχλεις “Aye τράτου ἱερὸν ὅπλον,
ὄφρα ποτὶ ζεστὰν See κεχλιμένα
΄ , ~ a. Nes
Γηραλέα τελέϑοιμι χορῶν ἀΐουσα καὶ ὕμνων"

ἀρχείτω στυγερὰ δῆοις Ἔνυαλίου.

25
Guardian of the seabeach, to thee I send these cakes, and the
gifts of a scanty sacrifice; for to-morrow I shall cross the broad
wave of the [onian sea, hastening to our Eidothea’s arms. But
shine thou favourably on my love as on my mast, O Cyprian,
mistress of the bride-chamber and the beach.

26
To the god of Canopus Callistion, wife of Critias, dedicated me, ῇ
a lamp enriched with twenty wicks, when her prayer for her child 4
Apellis was heard; and regarding my splendours thou wilt say,
How art thou fallen, O Evening Star ! a
27 é.
ΓΞ

Receive me, Ὁ Heracles, the consecrated shield of Archestratus,
that leaning against thy polished portico, I may grow old in
hearing of dances and hymns; let the War-God’s hateful strife be
satisfied.

25-30] PRAYERS AND DEDICATIONS 133

XXVIII
TO THE MILESIAN ARTEMIS
NICIAS
Μέλλον ἄρα στυγερὰν κἀγώ ποτε δῆριν “Apyos
EXTPOM TOUGH χορῶν παρϑενίων ἀΐειν
᾿Αρτέμιδος περὶ γαόν, ᾿Επίξενος ἔνϑα μ᾽ ἔϑηχεν
λευχὸν ἐπεὶ χείνου γῆρας ἔτειρε μέλη.

ΧΧΙΧ
TO ATHENE ERGANE
ANTIPATER OF SIDON
Κερχίδα τὰν ὀρϑρινὰ χελιδονίδων ἅμα φωνᾷ
μελπ a tage ἱστῶν Παλλάδος ee
Tov τε καρηβαρέοντα πολυρροίβδητον ἄτρακτον
χλωστῆρα στρεπτᾶς ἐὰν ο ον ὁ “OT τεδόνας,
Καὶ πήνας, καὶ τόνδε φιληλάχατον ποτ ἐς
στάμονος ἀσχητοῦ χαὶ τολύπας φύλαχα,
Παῖς ἀγαϑοῦ Τελέσιλα Διοχλέος ἃ φιλοεργὸς
εἰροκόμων Κούρᾳ ϑήκατο δεσπότιδι.

ΧΧΧ

TO THE ORCHARD GOD
AUTHOR UNKNOWN

ν

"Act 5 ES ὁοιᾶν τε χαὶ ἀρτίχνουν πόδευ υἦλον
χαὶ ὁ ῥυτιδόφ Lory σῦχον ἐπομφάλιον

28
So I was destined, I also, once to abandon the hateful strife of

Ares and hear the maiden choirs around Artemis’ temple, where
Epixenus placed me when white old age began to waste his limbs.

29
The shuttle that sang at morning with the earliest swallows’ cry,
kingfisher of Pallas in the loom, "and the heavy-headed twirling
spindle, light-running spinner of the twisted yarn, and the bobbins,
and this basket, friend to the distaff, keeper of the spun warp-thread
and the reel, Telesilla, the industrious daughter of good Diocles,
dedicates to the Maiden, mistress of wool-dressers.

30
This fresh-cloven pomegranate and fresh-downed quince, and
the wrinkled navel-like fig, and the purple grape-bunch spirting

134 GREEK ANTHOLOGY [SECT. 2

Πορφύρεόν τε βότρυν μεϑυπίδακα πυχνορρᾶγα
χαὶ κάρυον χλωρῆς ἀρτίδορον λεπίδος

᾿Αγροιώτῃ τῷδε μονοστόρϑυγγι Πριήπῳ
ϑῆκχεν ὁ καρποφύλαξ, δενδριακὴν ϑυσίην.

XXXI
TO DEMETER AND THE SEASONS

ZONAS

Δηοῖ λιχμαίῃ καὶ ἐναυλαχοφοίτισιν Ὥραις
Ἥ ΄ ie) ie ays 25 5 3
ρῶνας πενιχρῆς ἐξ, ὁλιγηροσίης
Μοῖραν ἀλωΐτα στόχυος παάνσπερμά τε ταῦτα
” p= © / ~W wv ,
dono’ ἐπὶ πλακίνου τοῦδ᾽ ἔϑετο τρίποδος,
Ἔκ μικρῶν ὀλίγιστα' πέπατο γὰρ οὐ μέγα τοῦτο
, 2 aA <n A 2 ΚΑ
κληρίον ἐν λυπρῇ τῇδε γεωλοφίῃ.

XXXII
TO THE CORN GODDESS

PHILIPPUS
, , , / Ἶ Ul
Δράγματά σοι χώρου μιχραύλακος, ὦ φιλόπυρε
-Ὁ ~ /
Δηοῖ, Σωσικλέης ϑῆχεν ἀρουροπόνος
5) 3, ~ / \ z
Εὔσταχυν aynoas τὸν νῦν σπόρον' ἀλλὰ χαὶ αὐτις
2 τ = TH ? fo \ , ὃ ΄
ἐκ καλαμιητομίης ἀμβλὺ φέροι ὀρεπανον.

wine, thick-clustered, and the nut fresh-stripped of its green
husk, to this rustic staked Priapus the keeper of the fruit dedicates,
an offering from his orchard trees.

21

To Demeter of the winnowing-fan and the Seasons whose feet
are in the furrows Heronax lays here from the poverty of a small
tilth their share of ears from the threshing-floor, and these mixed
seeds of pulse on a slabbed table, the least of a little ; for no great
inheritance is this he has gotten him, here on the barren hill.

32

These handfuls of corn from the furrows of a tiny field, Demeter
lover of wheat, Sosicles the tiller dedicates to thee, having reaped
now an abundant harvest ; but again likewise may he carry back
his sickle blunted from shearing of the straw.

31-35] PRAYERS AND DEDICATIONS 186

XX
TO THE GODS OF THE FARM
AUTHOR UNKNOWN
Αἰγιβάτῃ τόδε Πανὶ καὶ εὐκάρπῳ Διονύσῳ
δὲ Ἔν , \ " } , :
χαὶ Δηοῖ Χϑονίῃ ξυνὸν ἔϑηχα γέρας,
Αἰτέομαι δ᾽ αὐτοὺς καλὰ πώεα χαὶ καλὸν οἶνον
χαὶ χαλὸν ἀμῆσαι χαρπὸν ἀπ᾽ ἀσταχύων.

XXXIV
TO THE WEST WIND
BACCHYLIDES
Εὔδημος τὸν νηὸν ἐπ᾽ ἀγροῦ τόνδ᾽ ἀνέϑηχεν
τῷ πάντων ἀνέμων πιοτάτῳ Ζεφύρῳ"
Εὐξαμένῳ γάρ οἱ ἦλϑε βοαϑόος, ὄφρα τάχιστα
λιχμιήσῃ πεπόνων καρπὸν ἀπ᾽ ἀσταχύων.

ΧΧΧν
TO PAN OF THE FOUNTAIN
AUTHOR UNKNOWN
Κρημνοβάταν δίκερων Νυμφῶν ἡγήτορα Πᾶνα
ἁζόμεϑ᾽, ὃς πέτρινον τόνδε λέλογχε δόμον,
. y 7 eg 11) aT, ὃ ΄
ἵλαον ἔμμεναι ἄμμιν ὅσοι λίβα τηνὸς μολόντες
ἀενάου πόματος δίψαν ἀπωσάμιεϑα.

33

To Pan of the goats and fruitful Dionysus and Demeter Lady οἵ
Earth I dedicate a common offering, and beseech of them fair fleeces
and fair wine and fair fruit of the corn-ears in my reaping.

34

Eudemus dedicates this shrine in the fields to Zephyrus, most
bountiful of the winds, who came to aid him at his prayer, that he
might right quickly winnow the grain from the ripe ears.

35

We supplicate Pan, the goer on the cliffs, twy-horned leader of
the Nymphs, who abides in this house of rock, to be gracious to
us, whosoever come to this spring of ever-flowing drink to rid us
of our thirst.

136 GREEK ANTHOLOGY [SECT. 2

XXXVI
TO PAN AND THE NYMPHS
ANYTE
Φριξοκόμᾳ τόδε Πανὶ καὶ αὐλιάσιν ϑέτο Νύμφαις
δῶρον ὑπὸ σκοπιᾶς Θεύδοτος οἰονόμος,
Otvey’ oz’ ἀζαλέου ϑέρεος μέγα χεχμιηῶτα
παῦσαν, ὀρέξασαι yee μελιχρὸν ὕδωρ.

XXXVII
TO THE SHEPHERD-GOD
THEOCRITUS
, . Ul c ~ , ,
Δαφνις ὁ REET EOS, ὁ χαλῇ σύριγγι μελίσδων
¢i " ,
βουχολικοὺς ὕμνους ἄνϑετο Πανὶ τάδε,
Τοὺς τρητοὺς δόνακας, τὸ λαγωβόλον, ὀξὺν ἄκοντα,
νεβρίδα, τὰν πήραν ᾧ ποτ᾽ ἐμαλοφόρει.

XXXVITI

TO PAN, BY A HUNTER, A FOWLER, AND A FISHER
ARCHIAS

Σοὶ τάδε, Πὰν σχοπιῆτα, παναίολα δῶρα σύναιμο!
τρίζυγες ἐκ πτρισσῆς ϑέντο λινοστασίης"

Δίκτυα μὲν Δᾶμις ϑηρῶν, Πίγρης δὲ πετηνῶν
λαιμοπέδας, Κλείτωρ δ᾽ εἰναλίφοιτα λίνα"

Ὧν τὸν μὲν χαὶ ἐσαῦϑις ἐν ἠέρι, τὸν δ᾽ ἔτι ϑείης
εὔστοχον ἐν πόντῳ, τὸν δὲ κατὰ δρυόχους.

36
ῶ
To Pan the bristly-haired, and the Nymphs of the farm-yard,
Theodotus the shepherd laid this gift under the crag, because they
stayed him when very weary under the parching summer, stretching
out to him honey-sweet water in their hands.

37
White-skinned Daphnis, the player of pastoral hymns on his
fair pipe, offers these to Pan, the pierced reeds, the stick for
throwing at hares, a sharp javelin and a fawn-skin, and the scrip
wherein once he carried apples.
38
To thee, Pan of the cliff, three brethren dedicate these various
gifts of their threefold ensnaring ; Damis toils for wild beasts, and
Pigres springes for birds, and Cleitor nets that swim in the sea;
whereof do thou yet again make the one fortunate in the air, and
the one in the sea and the one among the oakwoods.

ἜΣ Cn

36-41] PRAYERS AND DEDICATIONS 137

ONS
TO ARTEMIS OF THE OAKWOOD
MNASALCAS
Τοῦτο cot, "Aoteus Siz, Κλεώνυμος εἴσατ᾽ ἄγαλυα
> ry ? ‘ i ‘ ’
~ 5} . δ᾽ » , -»Ν) © , ὃ ,
τοῦτο᾽ σὺ δ᾽ εὐϑήρου τοῦδ᾽ ὑπέρισχε δρίου
“Hite κατ᾽ εἰνοσίφυλλον ὄρος ποσὶ πότνια βαίνεις
δεινὸν μαιμώσαις ἐγχονέουσα χυσίν.

XL
TO THE GODS OF THE CHASE
CRINAGORAS

Σπήλυγγες Νυμφῶν εὐπίδακες, αἱ τόσον ὕδωρ

εἴβουσαι σχολιοῦ τοῦδε κατὰ πρεόνος,
Tlavog τ᾽ ἠχήεσσα πιτυστέπτοιο χαλιὴ

τὴν ὑπὸ Βασσαίης ποσσὶ λέλογχε πέτρης,
“Tepa τ᾽ ἀγρευταῖσι γερανδρύου ἀρχεύϑοιο

πρέμνα, λιϑηλογέες # ᾿Ερμέω ἱδρύσιες,
Αὐταί 9 ἵλήκοιτε χαὶ εὐϑήροιο δέχεσϑε

Σωσάνδρου ταχινῆς σχῦλ᾽ ἐλαφοσσοΐης.

ΧΙ,
TO ARCADIAN ARTEMIS
ANTIPATER OF SIDON

‘ a7 Y ε
Τὰν ἔλαφον Λάδωνα καὶ ἀμφ᾽ ᾿Ερυμαάνϑιον ὕδωρ
~ , 7 ΑἹ , /

γῶτα τε ϑηρονόμου φερβομέναν Φολόας

39
This to thee, Artemis the bright, this statue Cleonymus set up ;
do thou overshadow this oakwood rich in game, where thou goest
afoot, our lady, over the mountain tossing with foliage as thou
hastest with thy terrible and eager hounds.

40

Fountained caverns of the Nymphs that drip so much water
down this jagged headland, and echoing hut of pine-coronalled
Pan, wherein he dwells under the feet of the rock of Bassae, and
stumps of aged juniper sacred among hunters, and stone-heaped
seats of Hermes, be gracious and receive the spoils of the swift
stag-chase from Sosander prosperous in hunting.

41
This deer that fed about Ladon and the Erymanthian water
and the ridges of Pholoe haunted by wild beasts, Lycormas son of

138 GREEK ANTHOLOGY [SECT. 2

Παῖς ὁ Θεαρίδεω Λασιώνιος εἷλε Λυχόρμας
πλήξας ῥομβωτῷ δούρατος οὐριάχῳ,

Δέρμα δὲ καὶ δικέραιον ἀπὸ στόρϑυγγα μετώπων
σπασσάμενος, κούρᾳ θῆκε παρ᾽ ἀγρότιδι.

XLII

TO APOLLO, WIIH A HUNTER’S BOW
PAULUS SILENTIARIUS

ϑῆρα βαλὼν ἄγρας εὔσκοπον εἶχε τύχην"
" \ \ ~ ya é ΄
Οὐποτε γὰρ πλαγχτὸς γυρᾶς ἐζᾶλτο χεραίας
aN Cre eee / . \ ε ,
ἰὸς ἐπ pee χειρὸς ἑκηβολίᾳ.
ε Pe κι , ἌΣ , ” \
Οσσάχκι γὰρ τόξοιο παναγρέτις ἴαχε νευρὰ
> > 7 /
τοσσάχις ἦν ἀγρεὺς ἠέρος ἢ ξυλόχου᾽
"Av® ὧν σοὶ τόδε, Φοῖβε, τὸ Λύχτιον ὅπλον ἀγινεῖ
/ ͵ I ? δέ
χρυσείαις πλέξας μείλιον ἀμφιδέαις.

Ανδροχλος, ὦπολλον, τόδε σοι κέρας, ᾧ ἔπι πουλὺν

XLIII
TO PAN OF THE SHEPHERDS
AUTHOR UNKNOWN
"O, Tlav, φερβομέναις ἱερὰν φάτιν ἄπυε ποίμναις
χυρτὸν ὑπὲρ χρυσέων χεῖλος ἱεὶς δονάχων,
“Ogp’ αἱ μὲν λευκοῖο βεβριϑότα δῶρα γάλαχτος
οὔϑασιν ἐς Κλυμένου πυχνὰ φέρωσι δόμον,

Thearidas of Lasion got, striking her with the diamond-shaped
butt of his spear, and, drawing off the skin and the double-pointed
antlers on her forehead, laid them before the Maiden of the country.

42

Androclus, O Apollo, gives this bow to thee, wherewith in the
chase striking many a beast he had luck in his aim: since never
did the arrow leap wandering from the curved horn or speed
vainly from his hand; for as often as the inevitable bowstring
rang, so often he brought down his prey in air or thicket ; where-
fore to thee, O Phoebus, he brings this Lyctian weapon as an
offering, having wound it round with rings of gold.

43
O Pan, utter thy holy voice to the feeding flocks, running thy
curved lip over the golden reeds, that so they may often bring
gifts of white milk in heavy udders to Clymenus’ home, «nd for

42-44] PRAYERS AND DEDICATIONS

Σοὶ δὲ λῷεβ ~ ad ce pee ee > et
οἱ δὲ καλῶς βωμοῖσι παριστάμενος πόσις αἰγῶν

φοίνιον ἐκ λασίου στήϑεος αἷμ᾽ ἐρύγῃ.

XLIV

TO THE GOD OF ARCADY
AGATHIAS
ἤΛσπορα, Πὰν λοφιῆτα, tad Sroxtovinos ἀροτρεὺς
ἀντ᾽ εὐεργεσίης ἄνϑετό σοι τεμένη,
Βόσχς δ᾽, ἔφη, χαίρων τὰ σὰ ποίμνια καὶ σέο χώρην
ἔρχεο τὴν χαλκῷ μηκέτι τεμνομένην"
Αἴσιον εὑρήσεις τὸ ἐπαύλιον᾽ ἐνθάδε γάρ cor
Ἠχὼ τερπομένη καὶ γάμον ἐχτελέσει.

199

thee the lord of the she-goats, standing fairly by thy altars, may

spirt the red blood from his shaggy breast.

44

These unsown domains, O Pan of the hill, Stratonicus the
ploughman dedicated to thee in return of thy good deeds, saying,
Feed in joy thine own flocks and look on thine own land, never
more to be shorn with brass; thou wilt find the resting-place a
gracious one; for even here charmed Echo will fulfil her marriage

with thee.

ΠΕ

ΒΡΙΤΑΡΗΒ

I

ON THE ATHENIAN DEAD AT PLATAEA

SIMONIDES

Εἰ τὸ καλῶς ϑνήσχειν ἀρετῆς μέρος ἐστὶ μέγιστον

Ὁ ἃ , ep ye See ,
Hp EX TAVYTWY TOUT ATEVELULS Τυχη;

Ἑλλάδι γὰρ σπεύδοντες ἐλευϑερίαν περιϑεῖναι
χείμεϑ' ἀγηράντῳ χρώμενοι εὐλογίῃ.

II
ON THE LACEDAEMONIAN DEAD AT PLATAEA
SIMONIDES

ἼΑσβεστον χλέος οἵδε φίλῃ περὶ πατρίδι ϑέντες

χυάνεον ϑανάτου ἀμφεβάλοντο νέφος"
Οὐ δὲ τεϑνᾶσι ϑανόντες, ἐπεί σφ᾽ ἀρετὴ καϑύπερϑεν

ὃ , oie as) , 5 , > > id
χυδαίνουσ᾽ ἀνάγει δώματος ἐξ ᾿Αἴδεω.

I

If to die nobly is the chief part of excellence, to us out of all
men Fortune gave this lot; for hastening to set a crown of freedom
on Greece we lie possessed of praise that grows not old.

2

These men having set a crown of imperishable glory on their 3
own land were folded in the dark cloud of death; yet being dead ¥
they have not died, since from on high their excellence raises them

gloriously out of the house of Hades.
149

1-5] EPITAPHS 141

III
ON THE SPARTANS AT THERMOPYLAE

PARMENIO
Tov γαίης χαὶ πόντου ἀμειφϑείσαισι χελεύϑοις
ναύτην ἠπείρου, πεζοπόρον πελάγους,

Ev τρισσαῖς δοράτων ἑχατοντάσιν ἔστεγεν KOS

Σπάρτης αἰσχύνεσϑ' οὔρεα καὶ πελάγη.

IV
ON THE SAME
SIMONIDES

Ὦ ξεῖν᾽, ἄγγειλον Λακεδαιμονίοις ὅτι τῇδε
AS ee ,
χείμεϑα τοῖς χείνων ῥήμασι πειθόμενοι.

ν

ON THE DEAD IN AN UNKNOWN BATTLE
MNASALCAS
a ᾽ NS "

Οἵδε πάτραν, πολύδακρυν ἐπ᾽ αὐχένι δεσμὸν ἔχουσαν,
ῥυόμενοι δνοφερὰν ἀμφεβάλοντο χόνιν,

” a Ξ: > , ? , > και

Ἄρνυνται ὃ ἀρετᾶς αἶνον μέγαν. ἀλλα τις ἀστῶν

’ yr \ , , ea ,

τούσδ᾽ ἐσιδὼν ϑνάσχειν τλάτω ὑπὲρ πατρίδος.

?

3

Him, who over changed paths of earth and sea sailed on the
mainland and went afoot upon the deep, Spartan valour held back
on three hundred spears; be ashamed, O mountains and seas.

4

O passer by, tell the Lacedaemonians that we lie here obeying
their orders.

5

These men, in saving their native land that lay with tearful fetters
on her neck, clad themselves in the dust of darkness ; and they win
great praise of excellence ; but looking on them let a citizen dare
to die for his country.

143 GREEK ANTHOLOGY [SECT. 3

VI
ON THE DEAD IN A BATTLE IN BOEOTIA
AUTHOR UNKNOWN
Ὦ Χρόνε παντοίων ϑνητοῖς πανεπίσχοπε δαῖμον,
ἄγγελος ἡμετέρων πᾶσι γενοῦ παϑέων,
Ὡς ἱερὰν σώζειν πειρώμενοι Ελλάδα χώρην
Βοιωτῶν χλεινοῖς ϑνήσχομιεν ἐν δαπέδοις.

VII
ON A SLAIN WARRIOR
ANACREON
Kaoteoos ἐν πολέμοις Τιμόχκριτος οὗ τόδε σᾶμια:
ἤΑρης δ᾽ οὐκ ἀγαϑῶν φείδεται, ἀλλὰ κακῶν.

VIII

ON THE SLAIN IN A BATTLE IN THESSALY
AESCHYLUS

Κυανέη καὶ tovads μενέγχεας ὠλεσεν ἄνδρας
Μοῖρα πολύρρηνον πατρίδα ὁυομένους"
Ζωὸν δὲ φϑιμένων πέλεται χλέος, οἵ ποτε γυίοις
τλήμονες ᾽Οσσαίαν ἀμφιέσαντο χόνιν.

6

O Time, all-surveying deity of the manifold things wrought
among mortals, carry to all men the message of our fate, that
striving to save the holy soil of Greece we die on the renowned
Boeotian plains.

7

Valiant in war was Timocritus, whose monument this is; but
Ares spares the bad, not the good.

8

These men also, the steadfast among spears, dark Fate destroyed
as they defended their native land rich in sheep; but they being
dead their glory is alive, who woefully clad their limbs in the dust
of Ossa.

6-11] EPITAP Hs 148

ΙΧ
ON THE ATHENIAN DEAD AT THE BATTLE OF CHALCIS
SIMONIDES
, 2 af en NX abe ) >< ~
Δίρφυος ἐδινήϑημεν ὑπὸ πτυχί᾽ σῆμα δ᾽ ἐφ᾽ ἡμῖν
? } Daf? / ,
ἐγγύϑεν Εὐρίπου δημοσίᾳ κέχυται,
> > ,ὔ = a \ \ pias / / a
Οὐχ ἀδίκως" ἐρατὴν γὰρ ἀπωλέσαμεν νεότητα
, ,ὔ Ul I
τρηχείην πολέμου δεξάμενοι νεφέλην.

Χ
ON THE ERETRIAN EXILES IN PERSIA
PLATO
Oide ποτ᾽ Aiyatoro βαρύβρομον οἶδμα λιπόντες
Ἐκβατάνων πεδίῳ χείμεϑα μεσσατίῳ.
Χαῖρε χλυτή ποτε πατρὶς ᾿Ερέτρια, χαίρετ᾽ ᾿Αϑῆναι
γείτονες Εὐβοίης, χαῖρε ϑάλασσα φίλη.

XI
ON THE SAME
PLATO
Εὐβοίης γένος ἐσμὲν ᾿Ερετρικόν, ἄγχι δὲ Σούσων
χείμεϑα᾽ φεῦ γαίης ὅσσον ag’ ἡμετέρης.

9

We fell under the fold of Dirphys, and a memorial is reared
over us by our country near the Euripus, not unjustly ; for we lost
lovely youth facing the rough cloud of war.

Io

We who of old left the booming surge of the Aegean lie here in
the mid-plain of Ecbatana: fare thou well, renowned Eretria once
our country, farewell Athens nigh to Euboea, farewell dear sea.

iat

We are Eretrians of Euboea by blood, but we lie near Susa,
alas! how far from our own land.

144 GREEK ANTHOLOGY [SECT. 3

XII
ON AESCHYLUS
AESCHYLUS
Αἴσχυλον Εὐφορίωνος ᾿Αϑηναῖον τόδε χεύϑει
υνῆμα καταφϑίμενον πυροφόροιο Γέλας"
᾿Αλχὴν δ᾽ εὐδόκιμον Μαραϑώνιον ἄλσος ἂν εἴποι
χαὶ βαϑυχαιτήεις Μῆδος ἐπιστάμενος.

XIII
ON AN EMPTY TOMB IN TRACHIS
EUPHORION
Οὐ Τρηχίς ce λίϑειος Ex’ ὀστέα λευκὰ καλύπτει
οὐδ᾽ ἡ κυάνεον γράμμα λαχοῦσα πέτρη,
᾿Αλλὰ τὰ μὲν Δολίχης τε nat αἰπεινῆς Apaxavoro
Ἰχάριον ῥήσσει κῦμα περὶ κροκάλαις"
᾿Αντὶ δ᾽ ἐγὼ ξενίης Πολυμήδεος ἣ κενεὴ χϑὼν
ὠγκώϑην Δρυόπων διψάσιν ἐν βοτάναις.

ΕΠ Δ,
ON THE GRAVE OF AN ATHENIAN AT MEROE
AUTHOR UNKNOWN
Εἰς ᾿Αἴδην ἰϑεῖα κατήλυσις εἴτ᾽ ἀπ᾽ ᾿Αϑηνῶν
στείχοις εἴτε νέχυς νίσσεαι ἐκ Μερόης"
Μὴ σέ γ᾽ ἀνιάτω πάτρης ἄπο τῆλε ϑανόντα᾽
πάντοϑεν εἷς ὁ φέρων εἰς ᾿Αἴδην ἄνεμος.

12

Aeschylus son οἵ Euphorion the Athenian this monument hides,
who died in wheat-bearing Gela; but of his approved valour the
Marathonian grove may tell, and the deep-haired Mede who knew it.

13
Not rocky Trachis covers over thy white bones, nor this stone
with her dark-blue lettering; but them the Icarian wave dashes
about the shingle of Doliche and steep Dracanon ; and 1, this empty
earth, for old friendship with Polymedes, am heaped among the
thirsty herbage of Dryopis.
14
Straight is the descent to Hades, whether thou wert to go from
Athens or takest thy journey from Meroé; let it not vex thee
to have died so far away from home ; from all lands the wind that
blows to Hades is but one.

12-17] EPITAPHS 145

XV
ON THE GRAVE OF AN ATHENIAN WOMAN AT CYZICUS

ERYCIUS

᾿Ατϑὶς dyes’ χείνη γὰρ ἐμὴ πόλις" ἐκ δέ μ᾽ ᾿Αϑηνῶν
λοιγὸς "Ἄρης Ἰταλῶν ποίν ποτ᾽ ἐληΐσατο,

Καί ϑέτο Ῥωμαίων πολιήτιδα" νῦν δὲ ϑανούσης
ὀστέα νησαίη Κύζικος ἠμφίασεν.

Χαίροις ἡ ϑρέψασα, καὶ ἡ μετέπειτα λαχοῦσα
χϑών με, καὶ ἡ κόλποις ὕστατα δεξαμένη.

XVI
ON A SHIPWRECKED SAILOR
PLATO
Navnyod τάφος εἰμί ὁ δ᾽ ἀντίον ἐστὶ γεωργοῦ"
HY φος Sty. STL γεώργου
ε e ‘ \ ef ΜᾺ
ὡς ἁλὶ χαὶ γαίῃ ξυνὸς ὕπεστ᾽ ᾿Αἴδης.

XVII

ON THE SAME

PLATO

Πλωτῆρες σώζοισϑε χαὶ civ ἁλὶ καὶ κατὰ γαῖαν,
ἴστε δὲ ναυηγοῦ σῆμα παρερχόμενοι.

15
I am an Athenian woman; for that was my city; but from
Athens the wasting war-god of the Italians plundered me long
ago and made a Roman citizen; and now that I am dead, seagirt
Cyzicus wraps my bones. Fare thou well, O land that nurturedst
me, and thou that thereafter didst hold me, and thou that at last
-hast taken me to thy breast.

16

I am the tomb of one shipwrecked ; and that opposite me, of a
husbandman ; for a common Hades lies beneath sea and earth.

17
Well be with you, O mariners, both at sea and on land; but
know that you pass by the grave of a shipwrecked man.
10

146 GREEK ANTHOLOGY [SECT. 3

XVIII

ON THE SAME
THEODORIDES

Navy γοῦ τάφος εἰμί σὺ δὲ mage’ καὶ γὰρ ὅϑ᾽ ἡμεῖς

ὠλόμ. ef, αἱ λοιπαὶ νῆες ἐπ᾿ τοντοπόρουν.

XIX
ON THE SAME
LEONIDAS OF TARENTUM
Ein ποντοπ τόρῳ 7 πλόος οὔριος" ἦν δ᾽ ἄρ᾽ ἀήτης,
ὡς ἐμέ, τοῖς ᾿Αἴδεω moor τελάσῃ λιμέσιν,
Μεμφέσϑω μὴ λαῖτμα καχόξενον, ἀλλ᾽ ἕο τόλμαν
ὅστις ay’ ἡμετέρου πείσματ᾽ ἔλυσε τάφου.

ΧΧ
ON THE SAME
AUTHOR UNKNOWN
᾽ δ ε >
Ναυτίλε, μὴ πεύϑου τίνος ἐνθάδε τύμβος ὅδ᾽ εἰμί,
ἀλλ᾽ αὐτὸς πόντου τύγχανε χρηστοτέρου.

ΧΧΙ

ON THE SAME
CALLIMACHUS

Τίς & ξένος, ὦ γαύη γε: Λεόντιχος ἐνθαὸςε vexpov
ξύρεν ἐπ᾽ αἰγιολούς, χῶσε δὲ τῷδε τάφῳ

18

I am the tomb of one shipwrecked ; but sail thou; for when we
were perishing, the other ships sailed on over the sea.

19
May the seafarer have a prosperous voyage ; but if, like me, the
gale drive him into the harbour of Hades, let him blame not the
inhospitable sea-gulf, but his own foolhardiness that loosed moor-
ings from our tomb.
20
Mariner, ask not whose tomb I am here, but be thine own
fortune a kinder sea.
21
What stranger, O shipwrecked man? Leontichus found me here
a corpse on the shore, and heaped this tomb over me, with tears

ΔΑ

τ. ἂν δὼ Αὐτὰ ee eee

ee δ... ἐνῶ. »»»-

18-24] EPITAPHS 147

, “" » A A > ΟἿ
Δακρυσας ἐπίχκηρον ἐὸν βίον’ οὐδὲ γὰρ αὐτὸς

« > , 7 ~

ἥσυχος, αἰϑυίῃ δ᾽ ἴσα ϑαλασσοπορεῖ.

XXII
ON THE EMPTY TOMB OF ONE LOST AT SEA
GLAUCUS

Od χόνις οὐδ᾽ ὀλίγον πέτρης βάρος, ἀλλ’ ᾿Ερασίππου

ἣν ἐσορᾷς αὕτη πᾶσα ϑάλασσα τάφος"
Μ \ \ ale \ 23 ia Ud 9 2 ,
Orsto γὰρ σὺν νηΐ τὰ δ᾽ ὀστέα πού ποτ᾽ ἐκείνου

πύϑεται, αἰϑυίαις γνωστὰ μόναις ἐνέπειν.

XXIII

ON THE SAME
SIMONIDES

"Heotn Γεράνεια, κακὸν λέπας, ὠφελες Ἴστρον

vie χαὶ ἐς Σκυϑέων μακρὸν ὁρᾷν Ταναῖν
Μηδὲ πέλας ναίειν Sxerowvinoy οἴδμα ϑολάσσης

ἄγχεα. νιφομένας ἀμφὶ Μελουριάδος:"
Νῦν δ᾽ ὁ μὲν ἐν πόντῳ χρυερὸς venus’ οἱ δὲ βαρεῖαν

ναυτιλίην κενεοὶ τῇδε βοῶσι τάφοι.

XXIV

ON THE SAME
DAMAGETUS

Kat mote Θυμώδης, τὰ map’ ἐλπίδα κήδεα κλαίων,
παιδὶ Aux χενεὸν τοῦτον ἔχευε τάφον

for his own calamitous life: for neither is he at peace, but flits like
a gull over the sea.
22
Not dust nor the light weight of a stone, but all this sea that
thou beholdest is the tomb of Evasippus; for he perished with his
ship, and in some unknown place his bones moulder, and the sea-
gulls alone know them to tell.
23
Cloudcapt Geraneia, cruel steep, would thou hadst looked on
far Ister and long Scythian Tanais, and not lain nigh the surge of
the Scironian sea by the ravines of the snowy Meluriad rock: but
now he is a chill corpse in ocean, and the empty tomb here cries
aloud of his heavy voyage.
24
Thymodes also, weeping over unlooked-for woes, reared this
empty tomb to Lycus his son; for not even in a strange land did

148 GREEK ANTHOLOGY [SECT. 3

Οὐδὲ γὰρ ὀϑνείην ἔλαχεν κόνιν, ἀλλά τις ἀχτὴ
Θυνιάς, ἢ νήσων Ποντιάδων τις ἔχει,
v a. a / , la v / ,ὔ
Ev? ὅ γέ που πάντων χτερέων ἄτερ ὀστέα φαίνει
\ Te. , , : τὰ
γυμνὸς ἐπ᾽ ἀξείνου κείμενος αἰγιαλοῦ.

ΧΧν

ON A SAILOR DROWNED IN HARBOUR

ANTIPATER OF SIDON

Πᾶσα ϑάλασσα ϑάλασσα᾽ τί Κυχλάδας ἢ στενὸν “Ἕλλης
χῦμα καὶ ᾿Οξείας ἠλεὰ μεμφόμεϑα ;

“AkAws τοὔνομ᾽ ἔχουσιν᾽ ἐπεὶ τί με τὸν προφυγόντα
κεῖνα Σκαρφαιεὺς ἀμφεχαάλυψε λιμήν ;

Νόστιμον εὐπλοΐην ἀρῷτό τις" ὡς τά γε πόντου
πόντος, 6 τυμβευϑεὶς οἶδεν ᾿Αρισταγόρης.

XXVI

ON ARISTON OF CYRENE, LOST AT SEA
THEAETETUS

3: , Pa
Ναυτίλοι ὦ πλώοντες, 6 Κυρηναῖος ᾿Αρίστων
, ‘ red » ‘
πάντας ὑπὲρ Ceviov λίσσεται ὕμμε Διὸς
> a x , ΠῚ , “ ,
Εἰπεῖν πατρὶ Μένωνι, map’ "Txaptars ore πέτραις
~ > > , \ > A Ul
χεῖται, ἐν Αἰγαίῳ ϑυμὸν ἀφεὶς πελάγει.

he get a grave, but some Thynian beach or Pontic island holds
him, where, forlorn of all funeral rites, his shining bones lie naked
on an inhospitable shore.

25

Everywhere the sea is the sea; why idly blame we the Cyclades
or the narrow wave of Helle and the Needles? in vain have they
their fame ; or why when I had escaped them did the harbour of
Scarphe cover me? Pray whoso will for a fair passage home ; that
the sea’s way is the sea, Aristagoras knows who is buried here.

26

O sailing mariners, Ariston of Cyrene prays you all for the sake
of Zeus the Protector, to tell his father Meno that he lies by the
Icarian rocks, having given up the ghost in the Aegean sea.

25-29] EPITAPHS 149

XXVII
ON BITON OF AMPHIPOLIS, LOST AT SEA
NICAENETUS
Ἠρίον εἰμὶ Βίτωνος, ὁδοιπόρε" εἰ δὲ Τορώνην
λείπων εἰς αὐτὴν ἔρχεαι ᾿Αμφίπολιν,
es , er \ ' ἌΡ Ὁ
Εἰπεῖν Νικαγόρᾳ, παίδων ὅτι τὸν μόνον αὐτῷ
Σ τρυμονίης ᾿Ἐρίφων ὥλεσε πανδυσί
ρυμονίης Ἐιρῖφ τ He

XXVIII
ON POLYANTHUS OF TORONE, LOST AT SEA
PHAEDIMUS
Αἰάζω Πολύανϑον, ὃν εὐνέτις, ὦ παραμείβων,
ὩΣ ΟΣ ΕΣ ΠΩ ΦΕΡΕ -
νυμφίον ἐν τύμβῳ ϑῆκεν Δρισταγόρη
, / > la x A
Δεξαμένη σποδιήν τε χαὶ ὀστέα (τὸν δὲ δυσαὲς
ὥλεσεν Αἰγαίου κῦμα περὶ Σκίαϑον)
Δύσμιρον ὀρϑρινοί μιν ἐπεὶ νέκυν ἰχϑυβολῆες,
a , cf > τ ΄
ζεῖνε, Τορωναίων εἵλκυσαν ἐς λιμένα.

ΧΧΙΧ
ON A WAYSIDE TOMB
NICIAS
Ἵζευ ὑπ᾽ αἰγείροισιν, ἐπεὶ κάμες, évda0’, ὁδῖτα,
xa, TAY ἄσσον ἰὼν πίδαχος ἁμετέρας,
Μνᾶσαι δὲ χράναν καὶ ἀπόπροϑι, av ἐπὶ Τύλλῳ
Σῖμος ἀποφϑιμένῳ παιδὶ παριδρύεται.

27
I am the grave of Biton, O wayfarer; and if leaving Torone
thou goest even to Amphipolis, tell Nicagoras that Strymonias at
the setting of the Kids lost him his only son.

28

I bewail Polyanthus, O thou who passest by, whom Aristagore
his wife laid newly-wedded in the grave, having received dust and
bones (but him the ill-blown Aegean wave cast away off Sciathus),
when at early dawn the fishermen drew his luckless corpse, O
stranger, into the harbour of Torone.

29
Sit beneath the poplars here, traveller, when thou art weary, and
drawing nigh drink of our spring; and even far away remember
the fountain that Simus sets by the side of Gillus his dead child.

150 GREEK ANTHOLOGY

XXX
ON THE CHILDREN OF NICANDER AND LYSIDICE
AUTHOR UNKNOWN
Εἷς ὅδε Νικάνδρου τέκνων τάφος" Ev φάος ἀοῦς
ἄνυσς τὰν ἱερὰν Λυσιδίκας γενεάν.

ΧΧΧΙ
ON A BABY
AUTHOR UNKNOWN
ἤΑρτι με γευόμενον ζωᾶς βρέφος ἥρπασε δαίμων
οὐχ οἷδ᾽ εἴτ᾽ ἀγαϑῶν αἴτιος εἴτε κακῶν'
᾿Απλήρωτ᾽ ᾿Αἴδα, τί με νήπιον ἥρπασας ἐχϑρῶς;
τί σπεύδεις ; οὐ σοὶ πάντες ὀφειλόμεϑα ;

XXXII
ON A CHILD OF FIVE
LUCIAN
Παῖδα με πενταέτηρον ἀχηδέα ϑυμὸν ἔχοντα
νηλειὴς ᾿Αἴδης ἥρπασς Καλλίμαχον'
᾿Αλλά με μὴ κλαίοις" χαὶ γὰρ βιότοιο μετέσχον
παύρου, καὶ παύρων τῶν βιότοιο χακῶν.

30

This is the single tomb οἵ Nicander’s children ; the
single morning ended the sacred offspring of Lysidice.

31

Me a baby that was just tasting life heaven snatched away, I

know not whether for good or for evil; insatiable Death,

thou snatched me cruelly in infancy ? why hurriest thou? Are we

not all thine in the end 1

32
Me Callimachus, a five-years-old child whose spirit

grief, pitiless Death snatched away ; but weep thou not for me;

for little was my share in life, and little in life’s ills.

[SECT. 3

light of a

why hast’:

knew not

30-35] EPITAPHS 151

XXXIII
ON A CHILD OF SEVEN
AUTHOR UNKNOWN
Μ « ~ , ιν ,
Ayyere Φερσεφόνης ᾿ Εἱρμιῆ, τίνα τόνδε προπέμπεις
> A > / μ by af
εἰς TOV ἀμείδητον Τάρταρον Aidew ;
- , > ΄ \ > / soe 3) 2) 9 wv
Μοῖρα τίς αἰκέλιος τὸν ᾿Αρίστων᾽ ἥρπασ᾽ an’ axuens
ἑπταετῆ ; μέσσος δ᾽ ἔστιν ὁ παῖς γενετῶν.
Δαχρυχαρὴς Πλούτων, οὐ πνεύματα πάντα βρότειχ
/ ~ 7 ig ’ὔ
σοὶ νέμεται; τί τρυγᾷς ὄμφακας ἡλικίης ;

XXXIV
ON A BOY OF TWELVE
CALLIMACHUS
Δωδεχετῆ τὸν παῖδα πατὴρ ἀπέϑηκε Φίλιππος
ἐνθάδε, τὴν πολλὴν ἐλπίδα, Νικοτέλην.

ΧΧΧν
ON CLEOETES
AUTHOR UNKNOWN

Παιδὸς ἀποφϑιμένοιο Κλεοίτου τοῦ Μενεσαίχμου
υνῆμ᾽ ἐσορῶν οἴχτειρ᾽, ὡς καλὸς ὧν ἔϑανεν.

99

Hermes messenger of Persephone, whom usherest thou thus to
the laughterless abyss of Death? what hard fate snatched Ariston
from the fresh air at seven years old? and the child stands between
his parents. Pluto delighting in tears, are not all mortal spirits
-allotted to thee? why gatherest thou the unripe grapes of youth ?

34
Philip the father laid here the twelve-years-old child, his high
hope, Nicoteles.
35

Looking on the monument of a dead boy, Cleoetes son of
Menesaechmus, pity him who was beautiful and died.

152 GREEK ANTHOLOGY [SECT. 3

XXXVI
ON A BEAUTIFUL BOY

AUTHOR UNKNOWN
> A τὰ > , > κ , ~ ,
Οὐ τὸ ϑανεῖν ἄλγεινον, ἐπεὶ τὸ γε πᾶσι πέπρωται,
> \ 4 e , αἵ / ,
ἄλλα πρὶν ἡλικίης καὶ γονέων πρότερον.
Οὐ Ἢ , Ὁ. ΤΑΙ dé io / > U 1S
U γάμον, οὐχ ὑμέναιον LOWY, οὐ νύμφια λέχτρα,
~ y ~ , ,
χεῖμιαι ἔρως πολλῶν, ἐσσόμιενος πλεόνων.

XXXVII
ON A BOY OF NINETEEN

AUTHOR UNKNOWN

Χαίρειν τὸν κατὰ γᾶς elim ας, ξένς, Διογένη με
Bai’ ἐπὶ σὰν πρᾶξιν ὩΣ χανέ 8᾽ ὧν ἐϑέλεις"

᾿Εννεαχαιδεχετὴς γὰ γὰρ ὑπὸ στυγερᾶς ἐδαμάσϑην
νούσου χαὶ we τὸν γλυχὺν ἀέλιον.

XXXVIII

ON A SON, BY HIS MOTHER

DIOTIMUS

Τί πλέον εἰς ὠδῖνα πονεῖν, τί de τέχνα τεχέσϑαι:
\ , La} / \ ΄ ~ lA
pn TEXOL ἡ μέλλει παιδὸς ὁρᾷν ϑανατον.
Ἠϊϑέῳ γὰρ τὴ Βιάνορι χϑύστο υ: TNO,
ἔπρεπε δ᾽ ἐκ παιδὸς p.ntéox τοῦδε τυχεῖν.

26
Not death is bitter, since that is the fate of all, but to die ere
the time and before our parents: I having seen not marriage nor

wedding-chant nor bridal bed, lie here the love of many, and to be
the love of more.

Ὁ
Bidding hail to me, Diogenes beneath the earth, go about thy
business and obtain thy desire; for at nineteen years old I was
laid low by cruel sickness and leave the sweet sun.

38
What profits it to labour in childbirth? what to bear children ?
let not her bear who must see her child’s death: for to stripling
Bianor his mother reared the tomb; but it was fitting that the
mother should obtain this service of the son.

36-41] EPITAPHS 153

XXXIX

ON A GIRL
CALLIMACHUSs

>

Κρηϑίδα τὴν πολύμυϑον, ἐπισταμένην χαλὰ παίζειν,
δίζηνται Σαμίων πολλάκι ϑυγατέρες,

᾿Ηδίστην συνέριϑον, ἀεὶ λάλον" ἡ δ᾽ ἀποβρίζει
ἐνθάδε τὸν πάσαις ὕπνον ὀφειλόμενον.

ele
ON A BETROTHED GIRL
ERINNA
Νύμφας Βαυχίδος ἐμμί: πολυχλαύταν δὲ παρέρπων
‘ ει ‘

, ma \ ~ ~ , 7A IN
GTAAAY, τῷ κατὰ γᾶς τοῦτο λέγοις Αἰδα:
Βάσχανος tao’ Aida: τὰ δὲ ποικίλα copa ὁρῶντι
ὠμοτάταν Βαυκοῦς ἀγγελέοντι τύχαν,

Ὡς τὰν παῖδ᾽, “Ὑμέναιος ὑφ᾽ ἃς εἰσήγετο πεύχας,
7 2
τάνδ᾽ ἔπι χκαδεστὰς ἔφλεγε πυρκαϊᾶς,
Καὶ od μέν, ὦ “Ὑμέναιε, γάμων μολπαῖον ἀοιδὰν
> ~ , /
ἐς ϑρηνων γοερῶν φϑεγμα μεϑηρμόσαο.

ΧΙ,
ON THE SAME
ANTIPATER OF THESSALONICA

“- fo ,
Αὐσονίη με Λίβυσσαν ἔχει κόνις, ἄγχι δὲ ᾿Ρώμιης
~ \ ~ \ /
χεῖμιαι παρϑενικὴ τῆδε παρὰ ψαμάϑῳ,

39
The daughters of the Samians often require Crethis the teller
of tales, who knew pretty games, sweetest of workfellows, ever
talking ; but she sleeps here the sleep to which they all must come.

40
_ Lamof Baucis the bride; and passing by my oft-wept pillar thou
mayest say this to Death that dwells under ground, ‘Thou art
envious, O Death’; and the coloured monument tells to him who
sees it the most bitter fortune of Bauco, how her father-in-law
burned the girl on the funeral pyre with those torches by whose
light the marriage train was to be led home; and thou, O
iymenaeus, didst change the tuneable bridal song into a voice of
wailing dirges.
41
Ausonian earth holds me a woman of Libya, and I lie a maiden
here by the sea-sand near Rome; and Pompeia, who nurtured

154 GREEK ANTHOLOGY [SECT. 3

Ἢ δέ με ϑρεψαμένη Πομπηΐη ἀντὶ ϑυγατρὸς
χλαυσαμένη τύμβῳ ϑῆχεν ἐλευϑερίῳ
Πῦρ ἕτερον σπεύδουσα᾽ τὸ δ᾽ ἔφϑασεν, οὐδὲ κατ᾽ εὐχὴν

ἡμετέραν ἦψεν λαμπάδα Περσεφόνη.

XLII

ON A SINGING-GIRL
AUTHOR UNKNOWN

\ ~ ~ > U ~ ’ὔ
Τὴν κυανῶπιν Μοῦσαν, ἀηδόνα τῆν pedtynouy,
λιτὸς ὅδ᾽ ἐξαπίνης τύμβος ἄναυδον ἔχει,
Καὶ χεῖται λίϑος ὡς ἡ πάνσοφος, ἢ περίβωτος"
Μοῦσα καλή, κούφη σοὶ κόνις ἥδε πέλοι.

XLIII

ON CLAUDIA HOMONOEA
AUTHOR UNKNOWN
€ \ , ,ὕ tf ‘ ,
Η πολὺ Σειρήνων λιγυρωτέρη, ἡ παρὰ Βύχγῳ
2 ΩΣ
χαὶ ϑοίναις αὐτῆς χρυσοτέρη Κύπριδος,
[2 ,ὔ / s v g¢ f
H λαλίη φαιδρή τε χελιδονίς, Ev “Op.cvorx
~ / , ΄
χεῖμιαι, ᾿Ατιμήτῳ δάχρυα λειπομένη
Τῷ πέλον ἀσπασίη Baris amo τὴν δὲ τοσαύτην
ὃ , > “ἦν Δ > “ὃ /
αίμων ἀπροϊδης ἐσχέδασεν φιλίην.

me like a daughter, wept over me and laid me in a free tomb, while
hastening on that other torch-fire for me; but this one came first,
and contrary to our prayers Persephone lit the lamp.

42

Blue-eyed Musa, the sweet-voiced nightingale, suddenly this
little grave holds voiceless, and she lies like a stone who was so
accomplished and so famous; fair Musa, be this dust light over
thee.

43
I Homonoea, who was far clearer-voiced than the Sirens, I who
was more golden than the Cyprian herself at revellings and feasts,
I the chattering bright swallow lie here, leaving tears to Atimetus,
to whom I was dear from girlhood; but unforeseen fate scattered
all that great affection.

42-46) EPITAPHS 155

XLIV
ON PAULA OF TARENTUM
DIODORUS OF SARDIS

Ἴστω νυχτὸς ἐμῆς ἣ κέχρυφέ p.’ οἰκία ταῦτα

λαῖνα, Κωχυτοῦ τ᾽ ἀμφιγόητον ὕδωρ,
Oot p. ἀνήρ, ὃ λέγουσι, κατέχτανεν ἐς γάμον ἄλλης

παπταίνων" τί μάτην οὔνομα “Ῥουφίνιος;
"AAG με Κῆρες ἄγουσι μεμορμέναι᾽ οὐ μία δήπου

ΤΠαῦλα φάβανξὶνὴ αὐ γόνυ ὠχύμορος.

XLV

ON A MOTHER, DEAD IN CHILDBIRTH
DIODORUS OF SARDIS
Αἴλινον ὠχυμόρῳ με λεχωΐδι τοῦτο χεχόφϑαι
τῆς Διοδωρείου γράμμα λέγει σοφίης,
Κοῦρον ἐπεὶ τίκτουσα χατέφϑιτο᾽ παῖδα. δὲ Μηλοῦς
δεξάμενος ϑαλερὴν χλαίω ᾿Αϑηναῖδα
Λεσβιάδεσσιν ἄχος καὶ ᾿Τήσονι πατρὶ λιποῦσαν᾽
ἤΛρτεμι, σοὶ δὲ χυνῶν ϑηροφόνων ἔμελεν.

XLVI
ON A MOTHER OF EIGHTEEN, AND HER BABY
AUTHOR UNKNOWN

᾿Αρχέλεώ με δάμαρτα ΠΠολυξείνην, Θεοδέκτου
ποῖδα καὶ αἰνοπαϑοῦς ἔννεπε Δημαρέτης,

44

Bear witness this my stone house of night that has hidden me,
and the wail-circled water of Cocytus, my husband did not, as men
say, kill me, looking eagerly to marriage with another ; why should
Rufinius have an ill name idly? but my predestined Fates lead me
away; not surely is Paula of Tarentum the only one who has died
before her day.

45
These woful letters of Diodorus’ wisdom tell that I was engraven
for one early dead in child-birth, since she perished in bearing a
boy ; and I weep to hold Athenais the comely daughter of Melo,
who left grief to the women of Lesbos and her father Jason ; ; but
thou, O Artemis, wert busy with thy beast-slaying hounds.

46
Name me Polyxena wife of Archelaus, child of Theodectes and
hapless Demarete, and a mother as far as the birth-pangs; but

156 GREEK ANTHOLOGY [SECT. 3

Ὅσσον ἐπ᾽ ὠδῖσιν χαὶ μητέρα" παῖδα. δὲ δαίμων
ἔφϑασεν οὐδ᾽ αὐτῶν εἴχοσιν ἠελίων᾽

’ C. ὃ , ὃ’ > \ , » “ω

Οχτωχα!ιδεχέτις δ᾽ αὐτὴ ϑάνον, ἄρτι τεχοῦσα,
ἄρτι δὲ καὶ νύμφη, παντολιγοχρόνιος.

XLVII
ON A YOUNG WIFE

AUTHOR UNKNOWN

Τὴν σεμνῶς ζήσασαν ἀμιώμιητόν τε σύνευνον
Tlavdivay φϑιμένην ἐννεαχαιδέχ᾽ ἐτῶν

᾿Ανδρώνικος ἰητρὸς ἀνὴρ μνημήϊα τίνων
τήνδε πανυστατίην στήσατο μαρτυρίην.

XLVIII

ON ATTHIS OF CNIDOS
AUTHOR UNKNOWN

ἴΑτϑις ἐμοὶ ζήσασα χαὶ εἰς ἐμὲ πνεῦμα λιποῦσα,
ὡς πάρος εὐφροσύνης νῦν δακρύων πρόφασι,

ec , / 2) / oe > ,

Αγνα, πουλυγόητε, τί πένθιμον ὕπνον ἰαυεις
ἀνδρὸς ἀπὸ στέρνων οὔποτε ϑεῖσα κάρα

~ > / \ ? , Ἄ Ν \ ai Ὁ

Θεῖον ἐρηυώσασα τὸν οὐχέτι᾽ σοὶ γὰρ ἐς Away

ἦλθον ὁμοῦ ζωᾶς ἐλπίδες ἁμετέρας.

fate overtook the child before full twenty suns, and myself died
at eighteen years, just a mother and just a bride, so brief was all
my day.

47

To his wife Paulina, holy of life and blameless, who died at
nineteen years, Andronicus the physician paying memorial placed
this witness the last of all.

48
Atthis who didst live for me and breathe thy last toward me,
source of joyfulness formerly as now of tears, holy, much lamented,
how sleepest thou the mournful sleep, thou whose head was never
laid away from thy husband’s breast, leaving Theius alone as one
who is no more; for with thee the hopes of our life went to
darkness.

47-51] EPITAPHS 157

XLIX
ON PREXO, WIFE OF THEOCRITUS OF SAMOS
LEONIDAS OF TARENTUM
Τίς τίνος evox, γύναι, IIaptyy ὑπὸ χίονα κεῖσαι;
Πρηξὼ Καλλιτέλευς. χαὶ ποδαπή; Σαμίη.
Τίς δέ σε χαὶ χτερέ SiGe; Θεόκριτος, ᾧ με γονῆες
ἐξέδοσαν. ϑνήσ χεις δ᾽ ἐχ τίνος; ἐχ TOXETOD.

Εὐσα πόσων ἐτέων: ΤΟΣ χεΐκοσιν. ἡ ῥά γ᾽ ἄτεκνος:
οὐχ, ἀλλὰ τριετῆ Καλλιτέλην ἔλιπον.

Ζώοι σοὶ χεῖνός γε χαὶ ἐς βαϑὺ γῆρας ἵκοιτο.

καὶ σοί, Esive, πόροι πάντα Τύχη τὰ χαλα.

IU;
ON AMAZONIA OF THESSALONICA
AUTHOR UNKNOWN
Τίπτε μάτην γοόωντες ἐμῷ παραμίμνετε τύμβῳ ;
\ v , ue 2
οὐδὲν ἔχω ϑρήνων ἄξιον ἐν φϑιμένοις.
Aye γόων χαὶ παῦε πόσις, χαὶ παῖδες ἐμεῖο
4 ) t
, Ἂν , 17 γ᾽ ,ὔ
χαίρετε καὶ μνήμην σώζετ᾽ ᾿Αμαζονίης.

11

ON A LACEDAEMONIAN NURSE
AUTHOR UNKNOWN

"Ev9- x0 γἣ χαιτέχε! τίτϑην παίδων Διογείτου
ἐκ Πελοποννήσου τήνδε Ἐπ

49
Who and of whom art thou, O woman, that liest under the
Parian column? Prexo, daughter of Calliteles. And of what
country? Of Samos. And also who buried thee? Theocritus,
to whom my parents gave me in marriage. And of what diedst
thou? Of child-birth. How old? Two-and-twenty. And child-
less? Nay, but I left a three-year-old Calliteles. May he live
at least and come to great old age. And to thee, O stranger, may
Fortune give all prosperity.
50
Why idly bemoaning linger you by my tomb? nothing worthy
of lamentation is mine among the dead. Cease from plaints and
be at rest, O husband, and you my children fare well, and keep
the memory of Amazonia.
51
Here earth holds the Peloponnesian woman who was the most
faithful nurse of the children of Diogeitus.

158 GREEK ANTHOLOGY [SECT. 3

LII
ON A LYDIAN SLAVE
DIOSCORIDES
Λυδὸς ἐγώ, ναὶ Λυδός, ἐλευϑερίῳ δέ με τύμβῳ,
δέσποτα, Τιμάνϑη τὸν σὸν ἔϑευ τροφέα᾽
Seay > 2 , Qt ae. ΝᾺ ΟῚ ,
Evatwy ἀσινῆ τείνοις βίον ἣν δ᾽ ὑπὸ γήρως
, , \ ͵ ΄ ΡῈ.
πρὸς με μόλῃς, σὸς ἐγὼ, δέσποτα, χὴν Aid.

1.111
ON A PERSIAN SLAVE
AUTHOR UNKNOWN
A \ ~ « a ~ A / \ € ,
Σοὶ καὶ νῦν ὑπὸ γῆν, ναὶ δέσποτα, πιστὸς ὑπάρχω,
ὡς πάρος, εὐνοίης οὐχ ἐπιληϑόμενος
Ὥς με τότ᾽ ἐκ νούσου τρὶς ἐπ᾽ ἀσφαλὲς ἤγαγες ἴχνος,
xa νῦν ἀρχούσῃ τῇδ᾽ ὑπέϑου χκαλύβ᾽
, ᾿ρχούσῃ THO ὑπ ‘ Db
> " , , Ξ: =] / cs
Mayny ἀγγείλας, Πέρσην γένος" εὐ δέ VE ῥέξας
c > ale ~ ε /
ἕξεις ἐν χρείῃ δμῶας ἑτοιμοτέρους.

LIV

ON A FAVOURITE DOG
AUTHOR UNKNOWN

\ , « , " , = (oe
Τὴν τρίβον ος παράγεις, ἄν πὼς τόδε σῆμα νοησῆς
UN, δέομαι, γελασης εἰ κυνὸς ἐστι ταφος"

52
A Lydian am I, yes a Lydian, but in a free tomb, O my master,
thou didst lay thy fosterer Timanthes; prosperously mayest thou
lengthen out an unharmed life, and if under the hand of old age
thou shalt come to me, I am thine, O master, even in the grave.

53
Even now beneath the earth I abide faithful to thee, yes my
master, as before, forgetting not thy kindness, in that then thou
broughtest me thrice out of sickness to safe foothold, and now
didst lay me here beneath sufficient shelter, calling me by name,
Manes the Persian; and for thy good deeds to me thou shalt have
servants readier at need.

54

Thou who passest on the path, if haply thou dost mark this
monument, laugh not, I pray thee, though it is a dog’s grave;

52-56] EPITAPHS 159

"Exdarodyy’ χεῖρες δὲ χόνιν συνέϑηχαν ἄναχτος
ρος sala eos ἀλέραον Ad
ὅς μου καὶ στήηλῃ τόνδ᾽ ἐχάραξε λόγον.

LV
ON A MALTESE WATCH-DOG
TYMNES
Tide τὸν gx Μελίτης ἀργὸν χύνα φησὶν ὁ πέτρος
il 4 i

, > f , 7

ἴσχειν, Εὐμήλου πιστότατον φύλακα"
Ταῦρόν μιν καλέεσκον, ὅτ᾽ ἦν ἔτι νῦν δὲ τὸ χείνου

φϑέγμα σιωπηραὶ νυχτὸς ἔχουσιν ὁδοί.

LVI
ON A TAME PARTRIDGE

AGATHIAS

~ ΄ , +
Οὐχέτι που τλῆμον σχοπέλων μετανάστρια πέρδιξ
\ ᾽ὔ > 54 A /
TAEXTOS λεπτάλέαις οἶχος ἔχει GE λυγοις,
> py 2X, A ~ / 9 7}
Οὐδ ὑπὸ μαρμαρυγὴ ϑαλερώπιδος Horyeveins
> / /
ἄκρα παραιϑύσσεις ϑαλπομένων πτερυγων᾽
Σὴν χεφαλὴν αἴλουρος ἀπέϑρισε, τἄλλα δὲ πάντα
ἥρπασα, xa φϑονερὴν οὐκ ἐκόρεσσε γένυν.
~ , \ ~
Νῦν δέ σε μιὴ κούφη χρύπτοι κόνις, ἀλλὰ βαρεῖα,

\ \

ΕΝ paN τ En aya et 2% Ἧ ᾿
Un τὸ τεὸν χείνη λείψανον ἐξερύσῃ.

tears fell for me, and the dust was heaped above me by a master’s
hands, who likewise engraved these words on my tomb.

55
Here the stone says it holds the white dog from Melita, the most
faithful guardian of Eumelus; Bull they called him while he was

yet alive; but now his voice is prisoned in the silent pathways
of night.

56

No longer, poor partridge migrated from the rocks, does thy
woven house hold thee in its thin withies, nor under the sparkle
of fresh-faced Dawn dost thou ruffle up the edges of thy basking
wings; the cat bit off thy head, but the rest of thee I snatched
away, and she did not fill her greedy jaw; and now may the earth
cover thee not lightly but heavily, lest she drag out thy remains.

160 GREEK ANTHOLOGY. [SECT. 3

LVII
ON A THESSALIAN HOUND

SIMONIDES
Ἢ σεῦ καὶ φϑιμένας λεύχ᾽ ὀστέα τῷδ᾽ ἐνὶ τύμβῳ
“ ~ ~ ,
ἴσχω ἔτι τρομέειν θῆρας, ἀγρῶστι Avzac
Τὰν δ᾽ ἀρετὰν οἶδεν μέγα Πήλιον, ἅ τ᾽ ἀρίδηλος
Μ ~ / >? , , ,
Οσσα, Κιϑαιρῶνός τ᾽ οἰονόμοι σχοπιαί.

LVIII

ON CHARIDAS OF CYRENE
CALLIMACHUS
Ἦ ὁ’ ὑπὸ σοὶ Χαρίδας ἀναπαύεται; εἰ τὸν ᾿Αρίμμα
: ~ , ~ / « ae ὦ /
τοῦ Κυρηναίου παῖδα λέγεις, ὑπ᾽ ἐμοί.
Ὦ Χαρίδα, τί τὰ νέρϑε; πολὺς σκότος. αἱ δ᾽ ἄνοδοι τί;
ψεῦδος. ὁ δὲ Πλούτων : υῦϑος: ἀπωλόμεϑα᾽
Οὗτος ἐμὸς λόγος ὔὕμμιν ἀληϑινός" εἰ δὲ τὸν ἡδὺν
/ ~ / pee , ee fae) J
βούλει τοῦ Σαμίου, βοῦς μέγας εἴν» ᾿Αἴδη.

LIX

ON THEOGNIS OF SINOPE

SIMONIDES

Σῆμα Θεόγνιδος civ. Σινωπέος, ᾧ ν᾽ ἐπέϑηχεν
Γλαῦχος ἑταιρείης ἀντὶ πολυχρονίου.

57
Surely even as thou liest dead in this tomb I deem the wild
beasts yet fear thy white bones, huntress Lycas; and thy valour
great Pelion knows, and splendid Ossa and the lonely peaks of
Cithaeron.
58 |
Does Charidas in truth sleep beneath thee? If thou meanest
the son of Arimmas of Cyrene, beneath me. O Charidas, what of
the under world? Great darkness. And what of the resurrection ?
A lie. And Pluto? A fable; we perish utterly. This my tale
to you is true; but if thou wilt have the pleasant one of the
Samian, I am a large ox in Hades.

59
I am the monument of Theognis of Sinope, over whom Glaucus
set me in guerdon of their long fellowship.

57-63] EPITAPHS 161

LX
ON A DEAD FRIEND
AUTHOR UNKNOWN

Τοῦτό τοι ἡμετέρης μνημήϊον, ἐσθλὲ Σαβῖνε,

ὩΣ ( a: yy os SvoAnc Kt ae

ἡ λίϑος ἡ μικρὴ τῆς μεγάλης φιλιης
Αἰεὶ ζητήσω σέ" ob δ᾽, εἰ ϑέμις, ἐν φϑιμένοισιν

τοῦ Λήϑης ἐπ᾽ ἐμοὶ μή τι πίῃς ὕδατος.

I LP AU
ON AN UNHAPPY MAN
AUTHOR UNKNOWN
“Ἐξηκοντούτης Διονύσιος ἐνθάδε χεῖμαι
Ταρσεύς, μὴ γήμας αἴϑε δὲ μηδ᾽ ὁ πατήρ.

1.41
ON A CRETAN MERCHANT
SIMONIDES
’ , > > AS,
Κρὴς γενεὰν Bootayos Γορτύνιος évdade χεῖμαι
> \ ~ ) / > A Se /
οὐ χατὰ TOUT ἐλῦων, ἄλλα κατ΄ ἐμπορίαν.

IEP
ON SAON OF ACANTHUS
CALLIMACHUS
Τῇδε Σάων ὁ Δίκωνος ᾿Αχάνϑιος ἱερὸν ὕπνον
χοιμᾶται ϑνήσχειν μὴ λέγε τοὺς ἀγαϑούς.

60

This little stone, good Sabinus, is the record of our great friend-
ship; ever will I require thee; and thou, if it is permitted, drink
not among the dead of the water of Lethe for me.

61

I Dionysius of Tarsus lie here at sixty, having never married;
and would that my father had not.

62
I Brotachus of Gortyna, a Cretan, lie here, not having come
hither for this, but for traflic.
63
Here Saon, son of Dicon of Acanthus, rests in a holy sleep; say
not that the good die.
ΤΊ

LY;

LITERATURE AND ART

I
THE GROVE OF THE MUSES
AUTHOR UNKNOWN
ἤΑλσος μὲν Μούσαις ἱερὸν λέγε τοῦτ᾽ ἀνακεῖσϑαι
τὰς βίβλους δείξας τὰς παρὰ ταῖς πλατάνοις
“Ἡμᾶς δὲ φρουρεῖν᾽ κῆἣν γνύσιος ἐνθάδ᾽ ἐραστὴς
. ἔλθῃ, τῷ κισσῷ τοῦτον ἀναστέφομεν.

II
THE VOICE OF THE WORLD
ANTIPATER OF SIDON
‘H / Ul 93 ~ ae A δὲ ,
ρώων χάρυχ᾽ ἀρετᾶς μακάρων δὲ προφήταν,

“Ἑλλάνων βιοτῇ δεύτερον ἀέλιον,
Μουσῶν φέγγος Ὅμηρον, ἀγήραντον στόμα χόσμου

παντός, ἁλιρροϑία, ζεῖνε, κέκευϑε κόνις.

I

Say thou that this grave is consecrate to the Muses, pointing to
the books by the plane-trees, and that we guard it; and if a true
lover of ours come hither. we crown him with our ivy.

2

The herald of the prowess of heroes and the interpreter of the
immortals, a second sun on the life of Greece, Homer, the light of
the Muses, the ageless mouth of all the world, lies hid, O stranger,
under the sea-washed sand.

162

1-4] LITERATURE AND ART 163

111
THE TALE OF TROY
ALPHEUS

᾿Ανδρομάχης ἔτι ϑρῆνον ἀχούομεν, εἰσέτι Τροίην

δερκόμεϑ᾽ ἐχ βάϑρων πᾶσαν ἐρειπομένην
Καὶ μόϑον Αἰάντειον, ὑπὸ στεφάνη τε πόληος

ἔχδετον ἐξ ἵππων “Ἕκτορα συρόμ. LeVOV
Μαιονίδεω διὰ Μοῦσαν, ὃν οὐ μία πατρὶς ἀοιδὸν

χοσμεῖται, γαίης δ᾽ ἀμφοτέρης κλίματα.

IV

ORPHEUS
ANTIPATER OF SIDON
Οὐχέτι ϑελγομ. ένας, Oped, δρύας, οὐκέτι πέτρας
ἄξεις, οὐ ϑηρῶν αὐτονόμους ἀγέλας,
Οὐχέτι χκοιμάσεις ἀνέμων βρόμον, οὐχὶ χάλαζαν,
οὐ νιφετῶν συρμούς, οὐ παταγεῦσαν ἅλα"
"Oso γάρ’ σὲ δὲ πολλὰ χατωδύραντο ϑύγατρες
Μναμοσύνας, μάτηρ δ᾽ ἔξοχα Καλλιόπα.
Tt φϑιμένοις στοναχεῦμιεν ἐφ᾽ υἱάσιν, avin’ ἀλαλκεῖν
τῶν παίδων ᾿Αἴδην οὐδὲ ϑεοῖς δύναμις;

3

Still we hear the wail of Andromache, still we see all Troy
toppling from her foundations, and the battling of Ajax, and
Hector, bound to the horses, drag ggeed under the city’s crown of
towers, through the Muse of. Maeonides, the poet with whom no
one country ‘adorns herself as her own, but the zones of both
worlds.

4

No longer, Orpheus, wilt thou lead the charmed oaks, no longer
the rocks nor the lordless herds of the wild beasts ; no longer wilt
thou lull the roaring of the winds, nor hail and sweep of snow-
storms nor dashing sea; for thou perishedst ; and the daughters of
Mnemosyne wept sore for thee, and thy mother Calliope above all.
Why do we mourn over dead sons, when not even gods avail to
ward. off Hades from their children ?

164 GREEK ANTHOLOGY [SECT. 4

V

SAPPHO
POSIDIPPUS
Δωρίχα, ὀστέα μὲν σὰ πάλαι nove, ἠδ᾽ ἀπόδεσμος
/ 4 / v > ,
χαίτης ἥ τε μύρων ἔμπνοος ἀμπεχόνη,
= ’ i
Hi ποτε tov χαρίεντα περιστέλλουσα Χαραζον
, > ~ a , =
σύγχρους ὀρϑρινῶν ἥψαο κισσυβίων
~ A / i v
Σαπφῶαι δὲ μένουσι φίλης ἔτι καὶ μενέουσιν
Qn ca Ν ΄ /
φδῆς αἱ λευκαὶ φϑεγγόμεναι σελίδες, :
» \ , " , - ,
Οὔνομα σὸν μακαριστόν, ὃ Ναύχρατις ὧδε φυλάξει
y > n “ , ~ »“ ,
ἔστ᾽ ἂν ixy Νείλου ναῦς ἔφαλος τεναγη.

VI

ERINNA (1)
AUTHOR UNKNOWN

"Aott λογευομένην os μελισσοτόχων saxo Ut

οτι λοχευομένην GE μελισσοτόχ αρ ὕμνων,
A , Δ U

__ ἄρτι δὲ χυχνείῳ φϑεγγομένην στόματι,

3, > / A \ ~ ld
Ηλασεν εἰς Αχέροντα διὰ πλατὺ χῦμα χαμοντων
Μοῖρα λινοχλώστου δεσπότις ἡλακάτας:"

\ δ᾽ ᾽ , " \ U "» ~
Σὸς δ᾽ ἐπέων, “Howva, καλὸς πόνος οὐ σε γεγωνεῖ
ϑίσϑαι, ἔχειν δὲ γοροὺς ἄμμιγα Πιερίσ

φϑίσϑαι, ἔχειν δὲ χοροὺς au. ἱερίσιν.

5

Doricha, long ago thy bones are dust, and the ribbon of thy hair
and the raiment scented with unguents, wherein once wrapping
lovely Charaxus round thou didst cling to him carousing into dawa ;
but the white leaves of the dear ode of Sappho remain yet and
shall remain speaking thy blessed name, which Naucratis shall
keep here so long as a sea-going ship shall come to the lagoons
of Nile.

6

Thee, as thou wert just giving birth to a springtide of honeyed
songs and just finding thy swan-voice, Fate, mistress of the
threaded spindle, drove to Acheron across the wide water of the
dead ; but the fair labour of thy verses, Erinna, cries that thou
art not perished, but keepest mingled choir with the Maidens of
Pieria.

5-9] LITERATURE AND ART 165

VII
ERINNA (2)
LEONIDAS OF TARENTUM
Παρϑενικὴν γεαοιδὸν ἐν ὑμνοπόλοισι μέλισσαν
Ἤρινναν Μουσῶν ἄνϑεα δρεπτομέναν
ἽΑιδας εἰς ὑμέναιον ἀνάρπασεν᾽ ἡ ῥα τόδ᾽ ἔ ψῴρων
sim’ ἐτύμως ἁ παῖς" (ees ἔσσ᾽ ‘Atha

VIII
ANACREON’S GRAVE (1)
AUTHOR UNKNOWN
Ὦ ξένε, τόνδε τάφον τὸν ᾿Αναχρείοντος ἀμείβων
σπεῖσον μοι παριων᾽ εἰμὶ γὰρ οἰνοποτής.

ΙΧ

ANACREON’S GRAVE (2)
ANTIPATER OF SIDON

It

sive, τάφον παρὰ λιτὸν ᾿Αναχρείοντος ἀμείβων,
εἴ τί τοι éx βίβλων ἦλϑεν ἐμῶν ὄφελος,
Σ πεῖσον ἐμῇ σποδιῇ, σπεῖσον γάνος, ὄφρα κεν οἴνῳ
ὀστέα γηϑήσῃ τἀμὰ νοτιζόμενα,
Ὡς 6 Διωνύσου μεμελη μένος οἰνάσι κώμοις,
ὡς ὁ φιλαχρήτου σύντροφος ἁρμονίης,
Μηδὲ χαταφϑίμενος Βάκχου δίχα τοῦτον ὑποίσω
τὸν γενεῇ μερόπων χῶρον ὀφειλόμενον.

M

7
The young maiden singer Erinna, the bee among poets, who
sipped the flowers of the Muses, Hades snatched away to be his
bride ; truly indeed said the girl in her wisdom, ‘Thou art envious,
O Death.’
ὃ
- Ὁ stranger who passest this the tomb of Anacreon, pour libation
over me in going by; for I am a drinker of wine.

9

O stranger who passest by the humble tomb of Anacreon, if thou
hast had aught of good from my books pour libation on my ashes,
pour libation of the jocund grape, that my bones may rejoice wetted
with wine ; so I, who was ever deep in the wine-steeped revels of
Dionysus, | who was bred among drinking tunes, shall not even
when dead endure without Bacchus this place to which the genera-
tion of mortals must come.

166 GREEK ANTHOLOGY [SECT. 4

x

PINDAR
ANTIPATER OF SIDON
Anal tie Be U Ὧι ε ΔῈΒ In ὦ
Νεβρείων ὁπόσον σάλπιγξ, ὑπερίαχεν αὐλῶν
, cH Ul v ~
τόσσον ὑπὲρ πάσας ἔχραγε σεῖο χέλυς,
> 4 , id ~ \ A i‘ c A
Οὐδὲ μάτην ἁπαλοῖς ξουϑὸς περὶ χείλεσιν ἑσμος..
v / ~ /
ἔπλασε κηρόδετον, Πίνδαρε, σεῖο μέλι"
Μάρτυς ὁ Μανάλιος χερόεις ϑεός, ὕμνον ἀείσας
τὸν σέο, καὶ νομίων λησάμιενος δονάχων.

XI
THESPIS
DIOSCORIDES
Θέσπις ὅδε, τραγικὴν ὃς ἀνέπλασα πρῶτος ἀοιδὴν
: ‘ ey a

χωμήταις νεαρὰς χαινοτομῶν χάριτας,
Βάκχος ὅτε τρυγικὸν κατάγοι χόρον, ᾧ τράγος ἄϑλων

χὡττικὸς ἦν σύχων ἄρριχος ἄϑλον ἔτι
Οἱ δὲ μεταπλάσσουσι νέοι τάδε" μυρίος αἰὼν

πολλὰ προσευρήσει χἅτερα᾽ τἀμὰ δ᾽ ἐμά.

XII
SOPHOCLES
SIMMIAS

"Hoéy. ὑπὲρ τύμβοιο Σοφοχλέος, ἠρέμα, κισσέ,
ἑρπύζοις χλοεροὺς ἐκπροχέων πλοχάμους,

10
As high as the trumpet’s blast outsounds the thin flute, so high
above all others did thy lyre ring; nor idly did the tawny swarm
mould their waxen-celled honey, O Pindar, about thy tender lips:
witness the horned god of Maenalus when he sang thy hymn and
forgot his own pastoral reeds.
It
I am Thespis who first shaped the strain of tragedy, making new
partition of fresh graces among the masquers when Bacchus would
lead home the wine-stained chorus, for whom a goat and a basket
of Attic figs was as yet the prize in contests. A younger race
reshape all this ; and infinite time will make many more inventions
yet; but mine are mine.
ἢ 12
Gently over the tomb of Sophocles, gently creep, O ivy, flinging
forth thy pale tresses, and all about let the rose-petal blow, and

10-15] LITERATURE AND ART 167

Kat πεταλὸν πάντη ϑάλλοι ῥόδου, ἥ τε φιλορρὼξ
ἄμπελος ὑ ὑγρὰ πέριξ κλήμε ATH χευαμὲ évy

Εἵνεχεν εὐεπίης πινυτόφρονος ἣν ὁ με ελιχρὸς
ἤσχησ᾽ ἐκ Μουσῶν ἄμμιγα καὶ Χαρίτων.

XIII
ARISTOPHANES
PLATO
Ai Χάριτες τέμενός τι λαβεῖν ὅπερ οὐχὶ πεσεῖται
ζητοῦσαι ψυχὴν εὗρον ᾿Αριστοφάνους.

ΧΙν
RHINTHO
NOSSIS
Καὶ χαπυρὸν γελάσας παραμείβεο χαὶ φίλον εἰπὼν
θ ᾿ Pay:
cn > > , eo) Pe
oyu. ἐπ᾽ ἐμοί: “Ρίνϑων εἶμ᾽ ὁ Συραχόσιος,
Μουσάων ὀλίγη τις ἀηδονίς, ἀλλὰ φλυάκων
éx τραγικῶν ἴδιον κισσὸν ἐδρεψάμεϑα.

XV
MELEAGER (1)
MELEAGER
᾿Ατρέμας, ὦ ξένε, βαῖνε" παρ᾽ εὐσεβέσιν γὰρ ὁ πρέσβυς
εὕδει κοιμιηϑεὶς ὕπνον ὀφειλόμενον
ἘΕὐχράτεω Μελέαγρος, ὁ τὸν γλυχύδαχρυν "ἔρωτα
xa Μούσας ἵλαραῖς συστολίσας Χάρισιν"

the clustered vine shed her soft tendrils round, for the sake of the
wise-hearted eloquence mingled of the Muses and Graces that lived
on his honeyed tongue.
13
The Graces, seeking to take a sanctuary that will not fall, found
the soul of Aristophanes.

14
With a ΤΕ laugh and a friendly word over me do thou pass

by; Lam Rhintho of “Sy racuse, a small nightingale of the Muses ;
but from our tragical mirth we ‘plucked an ivy of our own.

15
Tread softly, O stranger; for here an old man sleeps among
the holy dead, lulled in ‘the slumber due to all, Meleager son of
Eucrates, who united Love of the sweet tears and the Muses with

168 GREEK ANTHOLOGY [SECT. 4

Ὃν ϑεόπαις ἤνδρωσε Τύρος τ 9’ ἱερὰ χϑών,
Κῶς δ᾽ ἐρατὴ Μερόπων πρέσβυν ἐγηροτρόφει᾽

᾿Αλλ᾽ εἰ μὲν Σύρος ἐσσί, σαλάμι, εἰ δ᾽ οὖν σύ γε Φοίνιξ,
γαιδιός, εἰ δ᾽ “Ἕλλην, χαῖρε, τὸ δ᾽ αὐτὸ φράσον.

XVI
MELEAGER (2)
MELEAGER
Νᾶσος ἐμὰ ϑρέπτειρα Τύρος, πάτρα δέ με τεκνοῖ
ἔλτϑις ἐν ᾿Ασσυρίοις ναιομένα Γαδάροις,
Εὐχράτεω δ᾽ ἔβλαστον, ὁ σὺν Μούσαις Μελέαγρος
πρῶτα Μενιπτπείαις συντροχάσας Χαρισιν.

Εἰ δὲ Σύρος, τί τὸ Satya; μίαν, ξένε, πατρίδα κόσμον
νγαίομιεν᾽ ἕν ϑνατοὺς πάντας ἔτυκτε Χαος.
Πουλυετὴς δ᾽ ἐχάραξα τάδ᾽ ἐν δέλτοισι πρὸ τύμβου"

γήρως γὰρ γείτων ἐγγύϑεν ᾿Αἴδεω.
᾿Αλλά με τὸν λαλιὸν καὶ πρεσβύτην σὺ προσειπὼν
χαίρειν, εἰς γῆρας καὐτὸς ἵκοιο λάλον.

XVII
PYLADES THE HARP-PLAYER
ALCAEUS OF MESSENE

Πᾶσα σοὶ οἰχομένῳ, Πυλάδη, κωχύεται ᾿ Ἑλλάς,
ἄπλεκτον χαίταν ἐν χροὶ κειραμένα,

the joyous Graces ; whom God-begotten Tyre brought to manhood,
and the sacred land of Gadara, but lovely Cos nursed in old age
among the Meropes. But if thou art a Syrian, say Salam, and if
a Phoenician, Nuaidios, and if a Greek, Hail ; they are the same.

16

Island Tyre was my nurse; and the Attic land that lies in
Syrian Gadara is the country of my birth; and I sprang of
Eucrates, I Meleager, the companion of the Muses, first of all
who have run side by side with the Graces of Menippus. And
if I am a Syrian, what wonder? We all dwell in one country, .
O stranger, the world; one Chaos brought all mortals to birth.
And when stricken in years, I inscribed this on my tablets before
burial, since old age is death’s near neighbour; but do thou,
bidding hail to me, the aged talker, thyself reach a talking old age.

17
All Greece bewails thee departed, Pylades, and cuts shcrt her
undone hair; even Phoebus himself laid aside the laurels from

16-19] LITERATURE AND ART 169

Αὐτὸς δ᾽ ἀτμιήτοιο κόμας ἀπεϑήκατο δάφνας
Φοῖβος ἑὸν τιμῶν ἡ ϑέμις ὑμνοπόλον,
Μοῦσαι δ᾽ ἐκλαύσαντο, ῥόον δ᾽ ἔστησεν ἀκούων

᾿Ασωπὸς γοερῶν ἦχον ἀπὸ στομάτων,
Ἔλληξεν δὲ μέλαϑρα Διωνύσοιο χορείης,
εὖτε σιδηρείην οἶμον ἔβης ᾿Αἴδεω.

XVIII
THE DEATH OF MUSIC
LEONTIUS
Ὀρφέος οἰχομένου τάχα τις τότε λείπετο Μοῦσα,
σεῦ δέ, Πλάτων, φϑιμένου παύσατο χαὶ κιϑάρη:
ἮΝν γὰρ ἔτι προτέρων μελέων ὀλίγη τις ἀπορρὼξ
ἐν oats σωζομένη χαὶ φρεσὶ χαὶ παλάμαις.

ΧΙΧ
APOLLO AND MARSYAS (1)
ALCAEUS OF MESSENE
Οὐχέτ᾽ ἀνὰ Φρυγίην πιτυοτρόφον ὡς ποτε μέλψεις
~ > > , / ,
χροῦμα δὶ εὐτρήτων φϑεγγόμιενος δονάκων
> a ἈΝ ~ la y
Οὐδ᾽ ἐνὶ σαῖς παλάμαις Τριτωνίδος ἔργον ᾿Αϑανας
ὡς πρὶν ἐπανϑήσει, νυμφογενὲς Σιάτυρε"
An γὰρ ἀλυχτοπέδαις σφίγγῃ χέρας οὕνεκα Φοίβῳ
\ go X > v
ϑνατὸς ἐὼν ϑείαν εἰς ἔριν ἡντίασας,
Δωτοὶ δ᾽ οἱ χλάζοντες ἴσον φύρμιγγι μελιχρὸν
" 45 oF > , > Sy BIA
ὦὠπασαν ἐξ ἄϑλων οὐ στέφος ἀλλ᾽ aidav.

his unshorn tresses, honouring his own minstrel as was meet, and
the Muses wept, and Asopus stayed his stream, hearing the cry
from their wailing lips; and Dionysus’ halls ceased from dancing
when thou didst pass down the iron path of Death.

18
When Orpheus was gone, a Muse was yet haply left, but when
thou didst perish, Plato, the harp likewise ceased ; for till then
there yet lived some little fragment of the old melodies, saved in
_ thy soul and hands.
Το
No more through pine-clad Phrygia, as of old, shalt thou make
melody, utterig thy notes through the pierced reeds, nor in thy
hands as before shall the workmanship of Tritonian Athena
fiower forth, nymph-born Satyr ; for thy hands are bound tight in
gyves, since being mortal thou didst join immortal strife with
Phoebus ; and the flutes, that cried as honey-sweet as his harp,
gained thee from the contest no crown but death.

170 GREEK ANTHOLOGY [SECT. 4

XX
APOLLO AND MARSYAS (2)
ARCHIAS
Αἰωρῇ ϑήρειον ἱμιασσόμιενος δέμας αὖραις
τλᾶμον, ἀορτηϑεὶς ἐκ λασίας πίτυος,
Αἰωρῇ, Φοίβῳ γὰρ ἀνάρσιον εἰς ἔριν ἔστης
πρῶνα Κελαινίτην ναιετάων Σάτυρε᾽"
Σεῦ δὲ βοὰν αὐλοῖο μελίβρομον οὐχέτι Νύμφαι
ὡς πάρος ἐν Φρυγίοις οὔρεσι πευσόμεϑα.

ΧΧῚ

GLAPHYRUS THE FLUTE-PLAYER
ANTIPATER OF THESSALONICA

Ἵμερον αὐλήσαντι πολυτρήτων διὰ λωτῶν
εἶπε λιγυφϑόγγῳ Φοῖβος ἐπὶ ᾿Πλαφύρῳ:
M , > , \ a \ \ ? ὦ ὧν ἡ a
aoouy, ἐψεύσω τεὸν εὕρεμοι,, τοὺς γὰρ ᾿Αϑήνης
αὐλοὺς ἐκ Φρυγίης οὗτος ἐληΐσατο,
> δὲ \ , 7 BT ἔν, ἢ > A ee
Εἰ δὲ σὺ τοιούτοις τότ᾽ ἐνέπνεες, οὐχ av “Taryvis
τὴν ἐπὶ Μαιάνδρῳ χλαῦσς δύσαυλον ἔριν.

XXII

VIOL AND FLUTE
THEOCRITUS

Λῆς ποτὶ τᾶν Μοισᾶν διδύμιοις αὐλοῖσιν ἀεῖσαι
ἁδύ τί μοι; κἠγὼ πακτίδ᾽ ἀειράμιενος

20

Thou hangest high where the winds lash thy wild body, O
wretched one, swinging from a shaggy pine; thou hangest high,
for thou didst stand up to strife against Phoebus, O Satyr, dweller
on the cliff of Celaenae ; and we nymphs shall no longer as before
hear the honey-sounding cry of thy flute on the Phrygian hills.

21
Phoebus said over clear-voiced Glaphyrus as he breathed desire
through the pierced lotus-pipes, ‘O Marsyas, thou didst tell false
of thy discovery, for this is he who carried off Athena’s flutes out of
Phrygia; and if thou hadst blown then in such as his, Hyagnis
would not have wept that disastrous flute-strife by Maeander.’

22

Wilt thou for the Muses’ sake play me somewhat of sweet on
thy twin flutes 1 and I lifting the harp will begin to make music

20-24] LITERATURE AND ART 171

? caw { + τὸ . - x + “ =f τ
᾿Αρξεῦμαί τι κρέκειν᾽ ὃ δὲ βωχόλος ἄμμιγα ϑελξεῖ
/ ,ὔ
Δαφνις χαροδέτῳ πνεύματι μελπομιενος"
) \ \ , , » ὃ ",
Ἐγγὺς δὲ στάντες λασιαύχενος ἔνδοϑεν ἄντρου
Πᾶνα τὸν αἰγιβάταν ὀρφανίσωμες ὕπνου.

XXIII
POPULAR SONGS
LUCILIUS
Τέϑνηχ᾽ Εὐτυχίδης ὁ μελογράφος᾽ οἱ κατὰ γαῖαν
φεύγετ᾽- ἔχων φδὰς ἔρχεται Εὐτυχίδης"
Καὶ κιϑάρας αὑτῷ διετάξατο συγχαταχκαῦσαι
δώδεχα, χαὶ κίστας εἰκοσίπεντε νόμων.
Νῦν ὑμῖν ὁ Χάρων ἐπελήλυϑε᾽ ποῖ τις ἀπέλθῃ
λοιπόν, ἐπεὶ χἄδην Εὐτυχίδης κατέχει:

XXIV

GRAMMAR, MUSIC, RHETORIC
LUCILIUS

Od δέχεται Μάρχον τὸν ῥήτορα νεχρὸν ὁ Πλούτων,
a f - > ΜΗ ᾽ὔ , A) ΠΩ͂Σ ξ [
εἰπών ἀρκείτω Κέρβερος woe κύων,
᾿ 2 , A \
Εἰ δ᾽ ἐθέλεις πάντως, ᾿Ιξίονι χαὶ Μελίτωνι
τῷ μελοποιητῇ χαὶ Τιτυῷ μελέτα"
Οὐδὲ aes ain ΜῊ 2a SS ep 4 Ζ x 27.9. \
ὑδὲν γὰρ σοῦ χεῖρον ἔχω κακόν, ἄχοις av ἐλϑὼν
τὸ NS ~ ς ΤΡ
ὡδςε σολοικίζη “Ῥοῦφος ὁ γραμματικός.

on the strings; and Daphnis the neatherd will mingle enchant-
ment with tuneable breath of the wax-bound pipe; and thus
standing nigh within the fringed cavern mouth, let us rob sleep
from Pan the lord of the goats.

23
Eutychides, the writer of songs, is dead; flee, O you under
earth! Eutychides is coming with his odes; he left instructions
to burn along with him twelve lyres and twenty-five boxes of
airs. Now Charon has come upon you; whither may one retreat
in future, since Eutychides fills Hades too ἢ

24

Pluto turns away the dead rhetorician Marcus, saying, ‘ Let the

dog Cerberus suffice us here; yet if thou needs must, declaim to

Txion and Melito the song-writer, and Tityus ; for I have no worse

evil than thee, till Rufus the critic comes to murder the language
here.’

172 GREEK ANTHOLOGY [SECT. 4

XXV
CALAMUS
AUTHOR UNKNOWN
Ἤμην ἀχρεῖον κάλαμος φυτόν, é% γὰρ ἐμεῖ
μὴν ἀχρεῖ μος φυτόν, ἐκ γὰρ ἐμεῖο
~ > /

οὐ ctx’, οὐ μῆλον φύεται, οὐ σταφυλή:
᾿Αλλά μ᾽ ἀνὴρ ἐμύησ᾽ ᾿Ελικωνίδα, λεπτὰ τορήσας

χείλεα καὶ στεινὸν ῥοῦν ὀχετευσάμενος,
) δ ον , ΄ » , “ -
Ex δὲ τοῦ εὖτε πίοιμι μέλαν ποτόν, ἔνϑεος οἷα

πᾶν ἔπος ἀφϑέγχτῳ τῷδε λαλῶ στόματι.

XXVI

IN THE CLASSROOM
CALLIMACHUS

Εὐμαϑίην ἠτεῖτο διδοὺς ἐμὲ Σίμος 6 Μίχκου

ταῖς Μούσαις: αἱ δέ, Τἱλαῦχος ὅχως, ἔδοσαν
᾿Αντ᾽ ὀλίγου μέγα δῶρον" ἐγὼ δ᾽ ἀνὰ τήνδε χεχηνὼς

χεῖμιαι τοῦ Σαμίου διπλόον ὁ τραγικὸς "
Παιδαρίων Διόνυσος ἐπήκοος" οἱ δὲ λέγουσιν

ἱερὸς ὁ πλόχαμος, τοὐμὸν ὄνειαρ ἐμοί.

XXVII

THE POOR SCHOLAR
ARISTON

Ὦ μύες, εἰ μὲν ἐπ’ ἄρτον ἐληλύϑατ᾽ ἐς μυχὸν ἄλλον
“ ) ghee 2X. a > / Η Ω
στείχετ᾽ (ἐπεὶ λυτὴν οἰκέομεν χαλυβην)

25
I the reed was a useless plant; for out of me grow not figs nor
apple nor grape-cluster ; but man consecrated me a daughter of
Helicon, piercing my delicate lips and making me the channel of
a narrow stream; and thenceforth, whenever I sip black drink,
like one inspired I speak all words with this voiceless mouth.

26
Simus son of Miccus, giving me to the Muses, asked for himself
learning, and they, like Glaucus, gave a great gift for a little one ;
and I lean gaping up against this double letter of the Samian, a
tragic Dionysus, listening to the little boys; and they repeat
Holy is the hair, telling me my own dream.

27
O mice, if you are come after bread, go to another cupboard
(for we live in a tiny cottage) where you will feed daintily on

25-28] LITERATURE AND ART 173

Οὗ καὶ πίονα τυρὸν ἀποδρέψεσϑε χαὶ auny
isyada χαὶ δεῖπνον συχνὸν ἀπὸ σχυβάλων"

Εἰ δ᾽ ἐν ἐμαῖς βίβλοισι πάλιν χαταϑήξετ᾽ ὀδόντα,
χλαύσεσϑ᾽ οὐκ ἀγαϑὸν χῶμον ἐπερχόμινοι.

XXVIII
THE HIGHER METAPHYSIC

AGATHIAS

_ "Adiov ᾿Αριστοτέλην Νικόστρατον, ἰσοπλάτωνα,
σχινδαλαυοφράστην αἰπυτάτης σοφίης,
Tota περὶ ψυχῆς τις ἀνείρετο᾽ πῶς ϑέμις εἰπεῖν

‘
a

τὴν ψυχήν, ϑνητὴν ἢ πάλιν ἀϑάνατον ;
~ ~ μὴ 2 ~
Σῶμα δὲ δεῖ καλέειν ἢ ἀσώματον : ἐν δὲ νοητοῖς
ταχτέον ἢ ληπτοῖς ἢ τὸ συναμφότερον ;
ro ~
Αὐτὰρ 6 τὰς βίβλους ἀνελέξατο τῶν μετεώρων
Ν \ \ Ld v ~ > 7
χαὶ τὸ περὶ ψυχῆς ἔργον ᾿Αριστοτέλους
\ ~ \ er > A
Καὶ παρὰ τῷ Φαίδωνι Πλατωνικὸν ὕψος ἐπιγνοὺς
πᾶσαν ἐνησχήϑη πάντοϑεν ἀτρεχίην᾽
Εἶτα περιστέλλων τὸ τριβώνιον, εἶτα γενείου
5, , 27
ἄχρα καταψήχων, τὴν λύσιν ἐξέφερεν᾽
” ef v ΩΝ , > δὴ \ mr
Εἴπερ ὅλως ἔστι ψυχῆς φύσις (οὐδὲ γὰρ οἶδα)
A , > > ΓΑ
ἢ ὕνητη παντὼς ἐστὶν ἡ ἀϑάνατος,
Sreyvoouns ἢ ἀῦλος ὅταν δ᾽ ᾿Αγέοοντα περήσ:
epee epee pees ς ο χερόντο περησὴς
~ A « « ,
κεῖθι τὸ νημερτὲς γνώσεαι ὡς ὁ Πλάτων.

rich cheese and dried raisins, and make an abundant supper off
the scraps ; but if you sharpen your teeth again on my books and
come in with your graceless rioting, you shall howl for it.

28

That second Aristotle, Nicostratus, Plato’s peer, splitter of the
straws of the sublimest philosophy, was asked about the soul as
follows : How may one rightly describe the soul, as mortal, or, on
the contrary, immortal ? and should we speak of it as a body or
incorporeal ὁ and is it to be placed among intelligible or sensible
objects, or compounded of both ? So he read through the treatises
of the transcendentalists, and Aristotle’s de Anima, and explored
the Platonic heights of the Phaedo, and wove into a single fabric
the whole exact truth on all its sides. Then wrapping his thread-
bare cloak about him, and stroking down the end of his beard,
he proffered the solution :—If there exists at all a nature of the

174 GREEK ANTHOLOGY [SECT. 4

Ei δ᾽ ἐθέλεις τὸν παῖδα Κλεόμβροτον ᾿Αμβρακιώτην
μιμοῦ καὶ τεγέων σὸν δέμας ἐχχάλασον,

Καί κεν ἐπιγνοίης δίχα σώματος αὐτίκα σαυτόν,
μοῦνον ὅπερ ζητεῖς τοῦϑ᾽ ὑπολειπόμενος.

ΧΧΙΧ
THE PHAEDO OF PLATO

AUTHOR UNKNOWN
i we Πλάτων οὐ γράψε δύω ἐγένοντο Πλάτωνες"
Σωχρατικῶν ὀάρων ἄνϑεα πάντα φέρω᾽
᾿Αλλὰ νόϑον μ᾽ ἐτέλεσσε Ilavatrios ὅς ὁ᾽ ἐτέλεσσε
Ἂν A , > αὖ / »
χαὶ ψυχὴν ϑνητήν, κἀμὲ νόϑον τελέσει.

ΧΧΧ
CLEOMBROTUS OF AMBRACIA
CALLIMACHUS
Εἰπας ἥλιε χαῖρε Κλεόμβροτος ὡμβρακιώτης
rar’ ἀφ᾽ ὑψηλοῦ τείχεος εἰς ᾿Αἴδαν,
“Aksoy οὐδὲν ἰδὼν ϑανάτου xaxdv ἢ τὸ Πλάτωνος
ἕν τὸ περὶ ψυχῆς youuu. ἀναλεξάμενος.

soul—for of this I am not sure—it is certainly either mortal or
immortal, of solid nature or immaterial; however, when you cross
Acheron, there you shall know the certainty like Plato. And if you
will, imitate young Cleombrotus of Ambracia, and let your body
drop from the roof; and you may at once recognise your self apart
from the body by merely getting rid of the subject of your inquiry.

29
If Plato did not write me, there were two Platos; I carry in
me all the flowers of Socratic talk. But Panaetius concluded me
to be spurious ; yes, he who concluded that the soul was mortal,
will conclude me spurious as well.

30

Saying, ‘ Farewell, O sun,’ Cleombrotus of Ambracia leaped off

a high wall to Hades, having seen no evil worthy of death, but
only having read that one writing of Plato’s on the soul.

29-33] LITERATURE AND. ART 175

XXXI
THE DEAD SCHOLAR
CALLIMACHUS
Εἰπέ τις, ᾿Ηράκχλειτε, τεὸν μόρον, ἐς δέ με δάκρυ
ἤγαγεν, ἐμινήσϑην δ᾽ ὁσσάκις ἀμφότεροι
Ἥλιον ἐν λέσχῃ κατεδύσαμεν" ἀλλὰ σὺ μέν που,
ξεῖν᾽ ᾿ Αλικαρνησεῦ, τετράποΐλαι σποδιή,
Αἱ δὲ teak ζώουσιν ἀηδόνες ἡ now ὁ πάντων
ἁρπαχκτὴρ ᾿Αἴδης οὐκ ἐπὶ χεῖρα βαλεῖ.

XXXII
ALEXANDRIANISM
CALLIMACHUS
᾿Εχϑαίρω τὸ ποίημα τὸ κυχλικόν, οὐδὲ κελεύϑῳ
= , , \ τὸ \ 30 / ξ
κου τίς πολλοὺς OE χαὶ WOE ὑπ:
Μισῶ χαὶ περ βίφουτον ἐρώμενον, OUT ἀπὸ χρύνης
πίνω σιχχαίνω πάντα τὰ δημόσια.

XXXIII

SPECIES AETERNITATIS
PTOLEMAEUS

Oi ὅτι ϑνατὸς ἐγὼ χαὶ ἐφάμερος GAN ὅταν ἄστρων
μαστείω πυκινὰς ἀμφιδρόμους ἕλικας

Οὐχέτ᾽ ἐπιψαύω ἘΠ: ποσίν, ἀλλὰ παρ᾽ αὐτῷ
Ζανὶ ϑεοτρεφέος πίμπλαμιαι ἀμβροσίης.

ai

One told me of thy fate, Heraclitus, and wrung me to tears,
and I remembered how often both of us let the sun sink as we
talked ; but thou, methinks, O friend from Halicarnassus, art ashes
long and long ago; yet thy nightingale-notes live, whereon Hades
the ravisher of all things shall not lay his hand.

32

I hate the cyclic poem, nor do 1 delight in a road that carries
many hither and thither; I detest, too, one who ever goes girt
with lovers, and I drink not from the fountain; I loathe everything
popular.

33

I know that I am mortal and ephemeral; but when I scan the
multitudinous circling spirals of the stars, no longer do I touch
earth with my feet, but sit with Zeus himself, and take my fill of
the ambrosial food of gods.

176 GREEK ANTHOLOGY [SECT. 4

XXXIV

THE PASTORAL POETS
ARTEMIDORUS

Βωχολιχαὶ Μοῖσαι σποράδες mona’ νῦν δ᾽ ἅμα πᾶσαι
ἐντὶ μιᾶς μάνδρας, ἐντὶ μιᾶς ἀγέλας.

XXXV
ON A RELIEF OF EROS AND ANTEROS

AUTHOR UNKNOWN

Πτανῷ πτανὸν "Ἔρωτα χαταντίον ἔπλασ᾽ "Hower
ἁ Νέμεσις, τόξῳ τόξον ἀμυνομένα,

Ὥς χε mad τά γ᾽ ἔρεξεν: ὁ δὲ ϑρασύς, ὁ πρὶν ἀταρβὴς
δαχρύει πικρῶν γευσάμενος βελέων

Ἐς δὲ βαϑὺν τρὶς κόλπον ἀπέπτυσεν᾽ ἃ μέγα ϑαῦμα"
φλέξει τις πυρὶ mp" rat’ “Ἔρωτος "Ἔρως.

OX VAT
ON A LOVE BREAKING THE THUNDERBOLT
AUTHOR UNKNOWN
Ὃ πτανὸς τὸν πτανὸν ἴδ᾽ ὡς ἄγνυσι κεραυνὸν,
δεικνὺς ὡς κρεῖσσον πῦρ πυρός ἐστιν, "Lows.

34

The pastoral Muses, once scattered, now are all a single flock in
a single fold.

35
Nemesis fashioned a winged Love contrary to winged Love,
warding off bow with bow, that he may be done by as he did ; and,
bold and fearless before, he sheds tears, having tasted of the bitter
arrows, and spits thrice into his low-girt bosom. Ah, most
wonderful! one will burn fire with fire: Love has set Love aflame.

36
Lo, how winged Love breaks the winged thunderbolt, showing
that he is a fire more potent than fire.

34-30] LITERATURE AND ART 177

XXXVII
ON A LOVE PLOUGHING
MOSCHUS
, or « Νὰ
Λαμπάδα ϑεὶς καὶ τόξα, βοηλάτιν εἵλετο ῥάβδον
at " , vee St
οὖλος "Ἔρως, πήρην δ᾽ εἶχε κατωμαδίην,
Καὶ ζεύξας ταλαεργὸν ὑπὸ ζυγὸν αὐχένα ταύρων
ἔσπειρεν Δηοῦς αὔλακα πυροφόρον,
Εἶπε δ᾽ ἄνω βλέψας αὐτῷ Διί: πλῆσον ἀρούρας,
, \ > a.» « Nye os ΟἹ
pn σε τὸν Εὐρώπης βοῦν ὑπ᾽ ἀροτρα βαλω.

XXXVIII
ON A PAN PIPING

ARABIUS

> , 17 > ΄ \ > ’
Hy τάχα συρίζοντος ἐναργέα Πανὸς ἀκούειν,
- (a ,
πνεῦμα γὰρ ὁ πλάστης ἐγκατέμιξε τύπῳ,
) 6 , ’ >? , » ) A
Αλλ ὁρόων φευγουσαᾶν ἀμηχᾶνος ἄστατον Hyo

πηχτίδος ἠρνήϑη φϑόγγον ἀνωφελέα.

ΧΧΧΙΧ
ON A STATUE OF THE ARMED VENUS
AUTHOR UNKNOWN
Παλλὰς τὰν Κυϑέρειαν ἔνοπλον ἔειπεν ἰδοῦσα,
Κύπρι, ϑέλεις οὕτως ἐς κρίσιν ἐρχόμεϑα ;
Ἢ δ᾽ ἁπαλὸν γελάσασα" τί μοι σάκος ἀντίον αἴρειν ;
εἰ γυμνὴ νικῶ, πῶς ὅταν ὅπλα λάβω ;

oF
Laying down his torch and bow, soft Love took the rod of an
ox-driver, and wore a wallet over his shoulder; and coupling
patient-necked bulls under his yoke, sowed the wheat-bearing
furrow of Demeter; and spoke, looking. up, to Zeus himself, ‘ Fill
thou the corn-lands, lest I put thee, bull of Europa, under my
plough.’
38
One might surely have clearly heard Pan piping, so did the
sculptor mingle breath with the form ; but in despair at the sight
of flying, unstaying Echo, he renounced the pipe’s unavailing
sound.
39
Pallas said, seeing Cytherea armed, ‘O Cyprian, wilt thou that
we go so to judgment ?’ and she, laughing softly, ‘why should I
lift a shield in contest ? if I conquer when naked, how will it be
when I take arms ?”

12

178 GREEK ANTHOLOGY (SECT. 4

XL
ON ‘THE CNIDIAN VENUS OF PRAXITELES
AUTHOR UNKNOWN
“A Κύπρις τὰν Κύπριν ἐνὶ Κνίδῳ εἶπεν ἰδοῦσα"
φεῦ, φεῦ, ποῦ γυμνὴν εἶδέ με ἸΠοαξιτέλης ;

XLI
ON A SLEEPING ARIADNE
AUTHOR UNKNOWN
ἘΞεῖνοι, λαϊνέας pn ψαύετε τᾶς ᾿Αριάδνας
\ a2 , , ᾿
μὴ καὶ ἀναϑρώσχῃ Θησέα διζομένη.

ΧΙ
ON A NIOBE BY PRAXITELES
AUTHOR UNKNOWN
"Ex ζωῆς με Geol τεῦξαν λίϑον" ex δὲ λίϑοιο
ζωὴν Πραξιτέλης ἔμπαλιν εἰργάσατο.

XLIII
ON A PICTURE OF A FAUN
AGATHIAS
Αὐτομάτως, Σατυρίσχε, Sovak τεὸς ἦχον ἰάλλει
ἢ τί παραχλίνας ovas ἄγεις καλάμῳ 5
Ὃς δὲ γελῶν σίγησεν᾽ ἴσως δ᾽ ἂν φϑέγξατο νῦϑον
ἀλλ᾽ ὑπὸ τερπωλῆς εἴχετο ληϑεδόνι᾽

40
The Cyprian said when she saw the Cyprian of Cnidus, ‘ Alas
where did Praxiteles see me naked 1᾽

41
Strangers, touch not the marble Ariadne, lest she even start up
on the quest of Theseus.
42
From life the gods made me a stone; and from stone again
Praxiteles wrought me into life.

43
Untouched, O young Satyr, does thy reed utter a sound, or
why leaning sideways dost thou put thine ear to the pipe? He
laughs and is silent; yet haply had he spoken a word, but was

40-46] LITERATURE AND ART 179

Οὐ γὰρ κηρὸς ἔρυχεν᾽ ἑχὼν δ᾽ non aleto σιγὴν
ϑυμὸν Alot τρέψας Sake: ἀσχολίῃ.

XLIV

ON THE HEIFER OF MYRON

AUTHOR UNKNOWN

Φεῦ σὺ Μύρων πλάσσας οὐκ ἔφϑασας, ἀλλὰ σὲ χαλκὸς
πρὶν ψυχὴν βαλέειν ἔφϑασε πηγνύμενος.

XLV
ON A SLEEPING SATYR

PLATO

Tov Σάτυρον Διόδωρος ἐκοίμισεν, οὐκ ἐτόρευσεν᾽
ἣν νύξῃς, ἐγερεῖς᾽ ἄργυρος ὕπνον ἔχει.

XLVI
THE LIMIT OF ART

PARRHASIUS

Ei χαὶ ἄπιστα χλύουσι λεγὼ THE" Ons γὰρ ἤδη
τέχνης εὑρῆσϑαι τέρματα τῆσδε Ὅτ

Χειρὸς ὑφ᾽ ἡμετέρης" ἀνυπέρβλητος δὲ πέπηγεν

οὐρος" ἀνιώμ. Ἤτον δ᾽ οὐδὲν ὁ ἔγεντο βροτοῖς.

held in forgetfulness by delight ? for the wax did not hinder, but
of his own will he welcomed silence, with his whole mind turned
intent on the pipe.

44
Ah thou wert not quick enough, Myron, in thy casting ; but
the bronze grew solid before thou hadst cast in a soul.

45
This Satyr Diodorus engraved not, but laid to rest ; your touch
will wake him ; the silver is asleep.

46

Even though incredible to the hearer, I say this; for I affirm
that the clear limits of this art have been found under my hand,
and the mark is fixed fast that cannot be exceeded. But nothing
among mortals is faultless.

Vv
RELIGION

[
WORSHIP IN SPRING (1)

THEAETETUS

Ἤδη καλλιπέτηλον ἐπ᾽ εὐχκάρποισι λοχείαις
λήϊον ἐκ ῥοδέων ἀνϑοφορεῖ καλύχων,

Ἤδη ἐπ᾽ ἀχρεμόνεσσιν ἰσοζυγέων χυπαρίσσων
μουσομανὴς τέττιξ ϑέλγει ἀμαλλοδέτην,

Καὶ φιλόπαις ὑπὸ γεῖσα δόμους τεύξασα χελιδὼν
ἔκγονα πηλοχύτοις ξεινοδοχεῖ ϑαλάμοοις,

πνώει δὲ ϑάλασσα φιλοζεφύροιο γαλήνης
νηοφόροις νώτοις εὔδια πεπταμιένης,

Οὐχ ἐπὶ πρυμναίοισι χαταιγίζουσα κορύμβοις,
οὐκ ἐπὶ ῥηγμίνων ἀφρὸν ἐρευγομένη"
Ναυτίλε, ποντομέδοντι καὶ ὁρμοδοτῆρι Πριήπῳ
τευϑίδος ἢ τρίγλης ἀνθεμόεσσαν ἴτυν,

Ἢ σχάρον αὐδήεντα παραὶ βωμοῖσι πυρώσας
ἄτρομος ᾿Ιονίου τέρμα ϑαλασσοπόρει.

1

Now at her fruitful birth-tide the fair green field flowers out in
blowing roses ; now on the boughs of the colonnaded cypresses the
cicala, mad with music, lulls the binder of sheaves ; and the careful
mother-swallow, having fashioned houses under the eaves, gives
harbourage to her brood in the mud-plastered cells: and the sea
slumbers, with zephyr-wooing calm spread clear over the broad
ship-tracks, not breaking in squalls on the stern-posts, not vomiting
foam upon the beaches. O sailor, burn by the altars the glittering
round of a mullet or a cuttle-fish, or a vocal scarus, to Priapus,
ruler of ocean and giver of anchorage ; and so go fearlessly on thy
seafaring to the bounds of the Ionian Sea.

180

1-3] RELIGION 181

Il
WORSHIP IN SPRING (2)
AGATHIAS

Εὔδια μὲν 1 πόντος πορφύρεται οὐ γὰρ ἀήτης

κύματα λευκαίνει φρικὶ χαρασσόμενα,
Οὐχέτ: δὲ σπιλάδεσσι περικλασϑεῖσα ϑάλασσα

ἔμπαλιν ἀντωπὸς πρὸς βάϑος εἰσάγεται"
Οἱ ζέφυροι πνείουσιν, ἐπιτρύζει δὲ χελιδὼν

χάρφεσι χολλητὸν πηξχμένη ϑόλαμον.
Θάρσει ναυτιλίης ἐμπείραμιε, nav παρὰ Σύρτιν

nay παρὰ Σικελικὴν ποντοπορῇς χροχάλην᾽
Μοῦνον ἐνορμίταο παραὶ βωμοῖσι Πριήπου

ἢ σκάρον ἢ βῶχας φλέξον ἐρευϑομένους.

ΠῚ

ZEUS OF THE FAIR WIND
AUTHOR UNKNOWN

,

Οὔριον ἐχ 7 πρύμνης τις ὅδη ire χαλείτω
Zi, 7a LATA προτόνων ἱστίον ἐχπετάσας"

it 3 9

ἐπὶ Κυανέας δίνας δρόμος, ἔνϑα Ποσειδῶν
κάμπυλον εἱλίσσει κῦμα παρὰ ψαμάϑοις,

Hite κατ᾽ Αἰγαίην πόντου πλάκα νόστον ἐρευνᾷ,
γείσϑω τῷδε βαλὼν ψαιστὰ παρὰ ξοάνω"

ὯΩδε τὸν εὐάντητον ἀεὶ ϑεὸν ᾿Αντιπάτρου παῖς
στῆσε Φίλων ἀγαϑῆς σύμβολον εὐπλοίης.

9

<

Ocean lies purple in calm; for no gale whitens the fretted
waves with its ruffling breath, and no longer is the sea shattered
round the rocks and sucked back again down towards the deep.
West winds breathe, and the swallow twitters over the straw-glued
chamber that she has built. Be of good cheer, O. skilled in
seafaring, whether thou sail to the Syrtis or the Sicilian shingle :
only by the altars of Priapus of the Anchorage burn a scarus or
ruddy wrasse.

Pe)

Let one call from the stern on Zeus of the Fair Wind for guide
on his road, shaking out sail against the forestays ; whether he runs
to the Dark Eddies, where Poseidon rolls his curling wave along the
sands, or whether he searches the backward passage down the
Aegean sea-plain, let him lay honey-cakes by this image, and so go
his way ; here Philon, son of Antipater, set up the ever-gracious
god for pledge of fair and fortunate vo yaging.

182 GREEK ANTHOLOGY [SECT. 5

IV
THE SACRED CITY
MACEDONIUS
Τμώλῳ ὑπ᾽ ἀνϑεμόεντι ῥοὴν πάρα Matovos “Eov.ov
Σάρδιες ἡ Λυδῶν ἔξοχός εἰμιι πόλις.
Μάρτυς ἐγὼ πρώτη γενόμην Διός, οὐ γὰρ ἐλέγχειν
λάϑριον via “Péys ἤϑελον ἡμετέρης"
Αὐτὴ καὶ Βρομίῳ γενόμην τροφός, ἐν δὲ χερχυνῷ
ἔδραχον εὐρυτέρῳ φωτὶ φαεινόμενον᾽"
Πρώταις δ᾽ ἡμετέρῃσιν ἐν ὀργάσιν ova’ ὀπώρην
οὔϑατος ἐκ βοτρύων ξανϑὸς ἄμελξε ϑεός.
Πάντα ps χοσμήσαντο, πολὺς δέ με πολλάκις αἰὼν.
ἄστεσιν ὀλβίστοις eves μεγαιρομένην.

Vv
HERMES OF THE WAYS
AUTHOR UNKNOWN
TAS ὑπὸ τὴν ἄρχευϑον ἴτ᾽ ἀμπαύοντες, ὁδῖται,
γυῖα παρ᾽ ᾿Ἑρμείᾳ σμικρὸν ὁδοῦ φύλαχι,
Μὴ φύρδαν, ὅσσοι δὲ βαρεῖ γόνυ κάμνετε μόχϑῳ
χαὶ δίψα δολιχὰν οἶμον ἀνυσσάμιενοι:
Πνοιὴ γὰρ καὶ ϑῶχος ἐὔσκιος, ἅ ϑ᾽ ὑπὸ πέτρᾳ
πίδαξ εὐνήσει γυιοβαρῇ κάματον,
"Evouoy δὲ φυγόντες ὀπωρινοῦ κυνὸς acdu.x,
ὡς ϑέμις, ᾿ Ἐρμείην εἰνόδιον τίετε.

4

Beneath flowering 'Tmolus, by the stream of Maeonian Hermus,
am I, Sardis, capital city of the Lydians. I was the first who bore
witness for Zeus ; for I would not betray the hidden child of our
Rhea. I too was nurse of Bromius, and saw him amid the
thunder-flash shining with broader radiance; and first on our
slopes the golden-haired god pressed the harvest of wine out of
the breasts of the grape. All grace has been given me, and many
a time has many an age found me envied by the happiest cities.

5

Go and rest your limbs here tor a little under the juniper, O
wayfarers, by Hermes, Guardian of the Way, not in crowds, but
those of you whose knees are tired with heavy toil and thirst after
traversing a long road; for there a breeze and a shady seat and
the fountain under the rock will lull your toil-wearied limbs ; and
having so escaped the midday breath of the autumnal dogstar, as
is right, honour Hermes of the Ways.

4-8] RELIGION 183

VI
BELOW CYLLENE
NICIAS

Εἰνοσίφυλλον ὄρος Κυλλήνιον αἰπὺ λελογχὼς

τῇδ᾽ ἕστηχ᾽ ἐρατοῦ γυμνασίου μεδέων
« note “ΠῚ τὸ > , λὸ oy?
Ἑρμῆς, ᾧ ἔπι παῖδες ἀμιάραχον ἠδ᾽ ὑάκινϑον

πολλάχι, καὶ ϑαλεροὺς ϑῆχαν ἴων GTEDIVONS.

VII
PAN OF THE SEA-CLIFF
ARCHIAS
Πᾶνά pe τόνδ᾽ ἱερῆς ἐπὶ λισσάδος, αἰγιαλίτην
Πᾶνα, τὸν εὐόρμων τῇδ᾽ ἔφορον λιμένων,
Οἱ γριπῆες ἔϑεντο᾽ μέλω δ᾽ ἐγὼ ἄλλοτε χύρτοις
ἄλλοτε δ᾽ αἰγιαλοῦ τοῦδε σαγηνοβόλοις᾽
᾿Αλλὰ παράπλει, ξεῖνε, σέϑεν δ᾽ ἐγὼ οὕνεκα ταύτης
εὐποΐης πέμψω πρηὖν ὄπισϑε νότον.

VIII

THE SPIRIT OF THE SEA
ARCHIAS

Bands ἰδεῖν ὁ Τρίηπος ἐπαιγιολίτιδα ναίω
, > , > 1 ) eos,
AP yy, αἰϑυίας ov πολὺ γ᾽ αἰπύτερος,
Φοξός, ἄπους, οἷόν χεν ἐρημαίῃσιν ἐπ’ ἀχτοαῖς
ξέσσειαν μογερῶν υἱέες ἰχϑυβόλων᾽

6

I who inherit the tossing mountain-forests of steep Cyllene,
stand here guarding the pleasant playing fields, Hermes, to whom
boys often offer marjoram and hyacinth and fresh garlands of
violets.

-

; 7

Me, Pan, the fishermen placed upon this holy cliff, Pan of the
seashore, the watcher here over the fair anchorages of the harbour;
and I take care now of the baskets and again of the trawlers off
this shore. But sail thou by, O stranger, and in requital of this
good service of theirs I will send behind thee a gentle south wind.

8
Smal! to see, I, Priapus, inhabit this spit of shore, not much
bigger than a sea-gull, sharp-headed, footless, such an one as
upon lonely beaches might be carved by the sons of toiling

184 GREEK ANTHOLOGY [SECT. 5

"ADD? ἦν τις γριπεύς με βοηϑόον 7 χαλαμευτὴς
΄ , ~ »" » ’
φωνήσῃ, πνοιῆς ἵεμαι a ὕτερος' δ
Λεύσσω χαὶ τὰ ϑέοντα χαϑ᾽ ὕδατος: ἢ γὰρ ax’ ἔργων
δαίμονες, οὐ μορφᾶς γνωστὸν ἔχουσ: τύπον.

ΙΧ
THE GUARDIAN OF THE CHASE

SATYRUS
Eize σύ γ᾽ ὀρνεόφοιτον ὑπὲρ καλαμῖδα παλύνας
ἰξῷ ὀρειβατέεις, εἴτε λαγοχτονέεις,
Πᾶνα χάλει: κυνὶ Πὰν λασίου ποδὸς ἴχνια φαίνει,
σύνϑεσιν ἀκλινέων Πὰν ἀνάγει καλάμων.

ὁ ᾧ
THE HUNTER GOD
LEONIDAS OF TARENTUM
Εὐάγρει λαγόϑηρα, καὶ εἰ πετεεινὰ διώχων
had ‘ cd ~o? κ᾿ \ ‘ yw
ἰξευτὴς ἥκεις τοῦϑ᾽ ὑπὸ δισσὸν ὄρος,
Καμὲ τὸν ὑληωρὸν ἀπὸ χρημνοῖο βόασον
ϊ | pea ; rk = ‘
~ 4 A A
Πᾶνα’ συναγρεύω χαὶ χυσὶ καὶ χαλάμιοις.

fishermen. But if any basket-fisher or angler call me to succour,
I rush fleeter than the blast: likewise I see the creatures that run
under water ; and truly the form of godhead is known from deeds,
not from shape.

9

Whether thou goest on the hill with lime smeared over thy
fowler’s reed, or whether thou killest hares, call on Pan; Pan
shows the dog the prints of the furry foot, Pan raises the stiff-
jointed lime-twigs.

Io

Fair fall thy chase, O hunter of hares, and thou fowler who
comest pursuing the winged people beneath this double hill; and
cry thou to me, Pan, the guardian of the wood from my cliff; I join
the chase with both dogs and reeds.

9-13] RELIGION 185

XI
FORTUNA PARVULORUM
PERSES

Κἀμὲ τὸν ἐν σμικροῖς ὀλίγον ϑεὸν ἦν ἐπιβώσῃς
ee , , = » f a FA i; =
εὐκαίρως, τεύξῃ μὴ νεγάλων δὲ vat χουν
« e a
Ως ἅ γε δημοτέρων δύναται ϑεὸς ἀνδρὶ πενέστῃ
δωρεῖσϑαι, τούτων χύριός εἰμι: Τύχων.

XII
THE PRAYERS OF THE SAINTS
ADDAEUS

2 , “ , ΙΝ ὍΛ τω
Hy παρίῃς ἥρωα, Φιλοπρήηγμιων δὲ καλεῖται,

, > > ΓΝ
πρόσϑε ἸΠοτιδαίης χείμενον ἐν τριόδῳ,
- = = > > » ἮΝ 5 > \ 2 was
Εἰπεῖν οἷον ἐπ᾽ ἔργον ἄγεις πόδας" εὐϑὺς ἐκεῖνος

id , ‘

17 >’ ~
εὑρήσει σὺν σοὶ πρήξιος εὐχολίην.

XIII

SAVED BY FAITH
LEONIDAS OF TARENTUM
s aan snr ’ yon ἢ. σεν σοσ- ἘΞ
Τὴν μικρὴν με λέγουσι, καὶ οὐκ ἴσα ποντοπορεύσαις
ἘΣ ΦΕΥ͂, »Μ > of
ναυσὶ Otiduvery ἄτρομον εὐπλοΐην,
Sam ὅ5. 3 5 τσ: πεῖν 56) ara x , = νῦν, x ,
Οὐχ ἀπόφημ: δ᾽ ἐγώ" βραχὺ μὲν σκάφος ἀλλὰ ϑαλάσσῃ
~ U > , e , 5." ,
πᾶν ἴσον᾽ οὐ μέτρων ἡ χρίσις ἀλλὰ τύχης.
5, « ΕΣ ‘ 5,
Εστω πηδαλίοις ἑτέρῃ πλέον ἄλλο yap ἀλλῃ
, \ ,
ϑάρσος" ἐγὼ δ᾽ εἴην δαίμοσι σωζομένη.

ΤΙ
Even me the little god of small things if thou call upon in due
season thou shalt find; but ask not for great things; since what-
soever a god of the commons can give to a labouring man, of this
I, Tycho, have control.
1 -

If thou pass by the hero (and he is called Philopregmon) who
lies by the cross-roads in front of Potidaea, tell him to what work
thou leadest thy feet ; straightway will he, being by thee, make thy
business easy.

13
They call me the little one, and say I cannot go straight and
fearless on a prosperous voyage like ships that sail out to sea; and
I deny it not ; Iam a little boat, but to the sea all is equal ; fortune,
not size, makes the difference. Let another have the advantage
in rudders ; for some put their confidence in this and some in that,
but may my salvation be of God.

180 GREEK ANTHOLOGY [SECT. 5

XIV
THE SERVICE OF GOD

AUTHOR UNKNOWN
Τὴν Διὸς ἀμφίπολόν με Χελιδόνα, τὴν ἐπὶ βωμοῖς
> , ~ ee
σπένδειν ἀϑανάτων γρῆῦν ἐπισταμένην,
» > , “ , 5 > Ἁ > ~
Εὐὔτεχνον, ἀστονάχητον, ἔχει τάφος οὐ γὰρ ἀμαυρῶς
7 ΜΩ
δαίμονες ἡμετέρην ἔβλεπον εὐσεβίην.

Χν ᾿
BEATI MUNDO CORDE
AUTHOR UNKNOWN
“Ayvoy χρὴ νηοῖο ϑυώδεος ἐντὸς ἰόντα
ἔμμεναι: ἁγνείη δ᾽ ἔστι φρονεῖν ὅσια.

XVI
THE WATER OF PURITY
AUTHOR UNKNOWN

“Ayvos χεὶς τέμενος καϑαροῦ, ξένε, δαίμονος ἔρχου
ψυχήν, νυμφαίου νάματος ἁψάμενος"

Ὡς ἀγαϑοῖς κεῖται Bown λιβάς, ἄνδρα δὲ φαῦλον
οὐδ᾽ ἂν ὁ πᾶς νίψαι νάμασιν ᾽Ωχεανός.

14

Me Chelidon, priestess of Zeus, who knew well in old age how
to make offering on the altars of the immortals, happy in my
children, free from grief, the tomb holds; for with no shadow in
their eyes the gods saw my piety.

15
He who enters the incense-filled temple must be holy; and
holiness is to have a pure mind.

16

Hallowed in soul, O stranger, come even into the precinct of a
pure god, touching thyself with the virgin water; for the good a
few drops are set; but a wicked man the whole ocean cannot wash
in its waters.

14-17] RELIGION 187

XVII
THE GREAT MYSTERIES
CRINAGORAS
Εἰ χαὶ cot ἑδραῖος ἀεὶ βίος, οὐδὲ ϑάλασσαν
ἔπλως χερσαίας τ᾽ οὐκ ἐπάτησας ὁδούς,
> a
Ἔμπης Κεχροπίης ἐπιβήμεναι, ὄφρ᾽ ἂν ἐχείνας
Δήμητρος μεγάλας νύχτας Sys ἱερῶν,
Aver
Τῶν ἄπο “ny ζωοῖσιν ἀκηδέα, χεύτ᾽ ἂν nya
ἐς πλεόνων, ἕξεις Sup.ov ἐλαφρότερον.

17
Though thy life be fixed in one seat, and thou sailest not the
sea nor treadest the roads on dry land, yet by all means go to
Attica that thou mayest see those great nights of the worship of
Demeter ; whereby thou shalt possess thy soul without care among
the living, and lighter when thou must go to the place that
awaiteth all.

VI

NATURE

I
THE GARDEN GOD
AUTHOR UNKNOWN

Μη με τὸν ἐκ Λιβάνοιο λέγε, ξένε, τὸν φιλοχώμων

τερπόμιενον νυχίοις ἠϊϑέων ὀάροις"
Βαιὸς ἐγὼ νύμφης ἀπὸ γείτονος ἀγροιώτης

μοῦνον ἐποτρύνων ἔργα φυτοσκαφίης,
"Evdev ἀπ᾽ εὐκάρπου με φίλης ἔστεψαν ἁλωῆς

τέσσαρες ἱΏράων ἐχ πισύρων στέφανοι.

II
PAN’S PIPING
ALCAEUS OF MESSENE

"Ἔμπνε: Πὰν λαροῖσιν ὀρειβάτα χείλεσι μοῦσαν,

ἔμπνει ποιμενίῳ τερπόμενος δόναχι,
Εὐχελάδῳ σύριγγι χέων μέλος, ἐκ δὲ συνῳδοῦ

χλαΐε χατιϑύνων ῥήματος ἁρμιονίην᾽
᾿Αμφὶ δὲ σοί, ῥυϑμοῖο κατὰ κρότον, ἔνϑεον ἴχνος

ῥησσέσϑω Νύμφαις ταῖσδε μεϑυδριάσιν.

1

Call me not him who comes from Libanus, O stranger, who
delights in the talk of young men love-making by night; I am
small and a rustic, born of a neighbour nymph, and all my business
is labour of the garden; whence four garlands at the hands of the
four Seasons crown me from the beloved fruitful threshing-floor.

2

Breathe music, O Pan that goest on the mountains, with thy
sweet lips, breathe delight into thy pastoral reed, pouring song
from the musical pipe, and make the melody sound in tune with
the choral words; and about thee to the pulse of the rhythm let
the inspired foot of these water-nymphs keep falling free.

188

1-4] NATURE 189

ΠῚ

THE ROADSIDE POOL

LEONIDAS OF TARENTUM

Μὴ σύ ye ποιονόμοιο περίπλεον ἰλύος ὠδε
τοῦτο χαραδραίης ϑερμόν, ὁδῖτα, πίῃς,
᾿Αλλὰ μολὼν μάλα τυτϑὸν ὑπὲρ δαμαλήβοτον ἄκραν
χεῖσέ γε πὰρ χείνᾳ ποιμενίᾳ πίτυϊ
c / , Po , A ,
Εὑρήσεις κελαρύζον ἐὔκρήνου διὰ πέτρης
νᾶμα Βορεαίης ψυχρότερον νιφάδος.

IV
THE MEADOW AT NOON
AUTHOR UNKNOWN
Taide χατὰ χλοεροῖο supels λειμῶνος, ὁδῖτα,
ἄμπαυσον μογεροῦ μαλϑαχὰ γυῖα κόπου,
“Huyt σε xat Ζεφύροιο τινασσομένη πίτυς αὔραις
ϑέλξει, τεττίγων εἰσαΐοντα μέλος,
e \ > 7 rk | > , ~
Xo ποιμὴν ἐν ὀρεσσι μεσαμβρινὸν ἀγχοῦι παγᾶς
¢ ,
συρίσδων λασίας ϑάμνῳ ὕπο πλατάνου"
Καύματ᾽ ὀπωρινοῖο φυγὼν χυνὸς αἶπος ἀμιείψεις
" > / Ν A , ~
αὐριον᾽ εὖ τόδε σοὶ Πανὶ λέγοντι πιϑοῦ.

Ὁ
Drink not here, traveller, from this warm pool in the brook, full
of mud stirred by the sheep at pasture; but go a very little way
over the ridge where the heifers are grazing; for there by yonder
pastoral stone-pine thou wilt find bubbling through the fountained
rock a spring colder than northern snow.

4

Here fling thyself down on the grassy meadow, O traveller, and
rest thy relaxed limbs from painful weariness; since here also, as
thou listenest to the cicalas’ tune, the stone-pine trembling in the
wafts of west wind will lull thee, and the shepherd on the moun-
tains piping at noon nigh the spring under a copse of leafy plane:
so escaping the ardours of the autumnal dogstar thou wilt cross
the height to-morrow ; trust this good counsel that Pan gives thee.

190 GREEK ANTHOLOGY [SECT. 6

V
BENEATH THE PINE
PLATO
᾿“Ὑψίχομον παρὰ τάνδε χαϑίζεο φωνήεσσαν
φρίσσουσαν πεύκην χλῶνας ὑπὸ Ζεφύροις,
Καί σοι καχλάζουσιν ἐμοῖς παρὰ νάμασι σύριγξ
ϑελγομένων ἄξει κῶμα κατὰ βλεφάρων.

VI

WOOD-MUSIC
AUTHOR UNKNOWN
> ay, “
"Epyso χαὶ κατ᾽ ἐμὰν ev πίτυν, ἃ τὸ μελιχρὸν
πρὸς μαλακοὺς ἠχεῖ χεχλιμένα Zequpouc’
"Hyide καὶ χρούνισμα μελισταγές, ἔνϑα μελίσδων
« \ 2 , fi τῆς Ν ,
ἡδὺν ἐρημαίοις ὕπνον ἄγω καλάμοις.

VII
THE PLANE-TREE ON HYMETTUS

HERMOCREON

“ « , \ , ts U /
Ιζευ ὑπὸ σχιερὰν πλάτανον, ξένε, τάνδε παρέρπων
= « ~ , , I ~
ἃς ἁπαλῷ Ζέφυρος πνεύματι φύλλα δονεῖ,
Ἔνϑα με Νικαγόρας χλυτὸν εἴσατο Μαιάδος ‘ Ερμᾶν
ἀγροῦ καρποτόχου ῥύτορα χαὶ χτεάνων.

5
Sit down by this high-foliaged voiceful pine that rustles her
branches beneath the western breezes, and beside my chattering
waters Pan’s pipe shall bring drowsiness down on thy enchanted
eyelids.
6

Come and sit under my stone-pine that murmurs so honey-sweet
as it bends to the soft western breeze; and lo this honey-dropping
fountain, where I bring sweet sleep playing on my lonely reeds.

7
Sit down, stranger, as thou passest by, under this shady plane,
whose leaves flutter in the soft breath of the west wind, where
Nicagoras consecrated me, the renowned Hermes son of Maia,
protector of his orchard-close and cattle.

ἢ
4q
᾿
᾿

οἰ gh) oe

5-10] NATURE 191

VIII
THE GARDEN OF PAN
PLATO
Σιγάτω λάσιον Δρυάδων λέπας, οἵ τ᾽ ἀπὸ πέτρας
,᾿ ΝΟ
χρουνοί, καὶ βληχὴ πουλυμιγὴς τοκάδων,
\ > ~ A
Αὐτὸς ἐπεὶ σύριγγι μελίσδεται εὐχελάδῳ Πὰν
ς 6] :
« νὰ « ~ « 4 ,
ὑγρὸν isle ζευκτῶν χεῖλος ὑπὲρ καλάμων,
« ‘ ~ 4 > ,
Ai δὲ πέριξ ϑαλεροῖσι χορὸν ποσὶν ἐστήσαντο

Ὑδριάδες Νύμφαι, Νύμφαι ᾿Αμαδρυάδες.

ΙΧ
THE FOUNTAIN OF LOVE
5 MARIANUS
TES ὑπὸ τὰς πλατάνους ἁπαλῷ τετρυμένος ὕπνῳ
εὖδεν "ἔρως, Νύμφαις λαμπάδα παρϑέμιενος"
; , ’ ,
Νύμφαι δ᾽ ἀλλήλῃσι: τί μέλλομεν ; αἴϑε δὲ τούτῳ
σβέσσαμεν, εἶπον, ὁμοῦ πῦρ κραδίης μερόπων.
\ c “ t , τ΄ m ~
Λαμπας δ᾽ ὡς ἔφλεξε χαὶ ὕδατα, θερμὸν éxcidev
Νύμφαι ᾿Ερωτιάδες λουτροχοεῦσιν ὕδωρ.

Χ
ON THE LAWN

COMETAS
,

\ I ΙΝ ,ὔ re DN " ,
Tlav φίλε, πηχτίδα μίμνε τεοῖς ἐπὶ χείλεσι σύρων,

Ἠχὼ γὰρ δήεις τοῖσδ᾽ ἐνὶ ϑειλοπέδοις.

ὃ
Let the shaggy cliff of the Dryads be silent, and the springs
welling from the rock, and the many-mingled bleating of the
ewes ; for Pan himself makes music on his melodious pipe, running
his supple lip over the joined reeds; and around him stand up to
dance with glad feet the waternymphs and the nymphs of the
oakwood.
9
Here beneath the plane-trees, overborne by soft sleep, Love
slumbered, giving his torch to the Nymphs’ keeping; and the
Nymphs said one to another, ‘ Why do we delay? and would that
with this we might have quenched the fire in the heart of mortals.’
But now, the torch having kindled even the waters, the amorous
Nymphs pour hot water thence into the bathing pool.

1o

Dear Pan, abide here, drawing the pipe over thy lips, for thou
wilt find Echo on these sunny greens.

192 GREEK ANTHOLOGY [SECT. 6

XI
THE SINGING STONE
AUTHOR UNKNOWN

Tov pe λίϑον μέμνησο τὸν ἠχήεντα παρέρπων

Νισαίην᾽ ὅτε γὰρ τύρσιν ἐτειχοδόμει
᾿Αλκάϑοος, τότε Φοῖβος ἐπωμαδὸν ἦρε δομιυῖον

Aaa, Λυχωρείην ἐνθέμενος κιϑάρην,
ἜΝνϑεν ἐγὼ λυράοιδος" ὑποχρούσας δέ με λεπτῇ

χερυιάδι, τοῦ κόμπου μαρτυρίην κόμισαι.

XII
THE WOODLAND WELL
AUTHOR UNKNOWN

᾿Αέναον Καϑαρήν UE παρερχομεένοισιν ὁδίταις

πηγὴν ἀμβλύζει γειτονέουσα νάπη,
Πάντη δ᾽ εὖ πλατάνοισι καὶ ἡμεροϑάλλεσι δάφναις

, ἔστεμμαι, σχιερὴν ψυχομένη χλισίην᾽ ;

Τοὔνεχα μή με ϑέρευς παραμείβεο᾽ δίψαν ἀλαλχὼν

ἀυπαυσον παρ᾽ €

\ \ ΄ € ,
μοι χαι χόοπον συ χιῇ.

XIII

ASLEEP IN THE WOOD
THEOCRITUS

Eiders φυλλοστρῶτι πέδῳ, Δάφνι, σῶμα χεχμαχὸς
3.8] ὧν,

> , “ ὃ’ > om Ῥ
AUTAVOV στάλιχες ἐ χρτιπαγεῖς AV GOH

II

Remember me the singing stone, thou who passest by Nisaea ;
for when Alcathous was building his bastions, then Phoebus lifted
on his shoulder a stone for the house, and laid down on me his
Delphic harp; thenceforth I am lyre-voiced ; strike me lightly
with a little pebble, and carry away witness of my boast.

I2

I the ever-flowing Clear Fount gush forth for by-passing way-
farers from the neighbouring dell ; and everywhere I am bordered
well with planes and soft-bloomed laurels, and make coolness and
shade to he in. Therefore pass me not by in summer ; rest by me
in quiet, ridding thee of thirst and weariness.

13
Thou sleepest on the leaf-strewn floor, Daphnis, rescuing thy
weary body; and the hunting-stakes are freshly set on the hills;

f,

11-16] NATURE 193

᾿Αγρεύει δὲ τὺ Πὰν χαὶ ὁ τὸν χροχόεντα ΠΙρίηπος
χισσὸν ἐφ᾽ ἱμερτῷ χρατὶ χαϑαπτόμιενος

ν v , « , > \ \ ~

Αντρον ἔσω aes ομορροϑοι ἄλλα τὺ φεῦγε,
φεῦγε, μεϑεὶς ὕπνου χῶμα χατειβόμενον.

XIV
THE ORCHARD-CORNER
ANYTE
ς ᾽ g x3 »
Ἑρμᾶς τᾷδ᾽ ἕ σταχα. TAO ορχατ TOV ἡνεμιόεντ TH
ἐν τριόδοις, ae ἐγγύϑεν ἀϊόνος,
᾿Ανδράσι ἘΠΕ ΊΘΟΣ ἔχων ἄμπταυσιν ὁδοῖο"

ψυχρὸν δ᾽ χραὲς χράνα ὕδωρ προγέει.

XV
PASTORAL SOLITUDE
SATYRUS
Ποιμενίαν ἄγλωσσος av’ ὀργάδα μέλπεται ᾿Αχὼ
ἀντίϑρουν πτανοῖς ὑστερόφωνον ὄπα.

XVI
TO A BLACKBIRD SINGING
MARCUS ARGENTARIUS
nye τ , ‘ fe StL One
Μηχέτι viv μινύριζε παρὰ δρυΐ, μηχέτι φώνει
\ > /, U +
χλωνὸς ἐπ᾽ ἀκροτάτου, κόσσυφε, χεχλιμένος᾽"

and Pan pursues thee, and Priapus who binds the yellow ivy on
his lovely head, passing side by side into the cave; but flee thou,
flee, shaking off the dropping drowsiness of slumber.

14

I, Hermes, stand here by the windy orchard in the cross-ways
nigh the grey sea-shore, giving rest on the way to wearied men;
and the fountain wells forth cold stainless water.

15
Tongueless Echo along this pastoral slope makes answering
music to the birds with repeating voice.

16
No longer now warble on the oak, no longer sing, O blackbird,
sitting on the topmost spray; this tree is thine enemy; hasten
where the vine rises in clustering shade of silvered leaves; on her

13

194 GREEK ANTHOLOGY [SECT. 6

Ἔχϑρόν σοι τόδε δένδρον᾽ ἐπείγεο δ᾽ ἄμπελος ἔνϑα
ἀντέλλει γλαυκῶν σύσχιος ἐκ πεταάλων᾽
, \ y » ἃ δ > a) /
Κείνης ταρσὸν ἔρεισον ἐπὶ κλάδον ἀμφί τ᾽ ἐκείνῃ
μέλπε, λιγὺν προχέων ἐκ στομάτων κέλαδον"
~ \ ιν , \ > , . ,
Δρῦς γὰρ ἐπ᾽ ὀρνίϑεσσι φέρει τὸν ἀνάρσιον ἰξόν,
ἁ δὲ βότρυν" στέργει δ᾽ ὑμνοπόλους Βρόμιος.

XVII
UNDER THE OAK
ANTIPHILUS
Κλῶνες ἀπηόριοι ταναῆς δρυός, εὔσκιον ὕψος
ἀνδράσιν ἄκρητον καῦμα φυλασσομένοις,
Εὐπέταλοι, κεράμων στεγανώτεροι, οἰκία φαττῶν,
οἰκία τεττίγων, ἔνδιοι ἀκρέμιονες,
> A A « / « f ,
Κημὲ τὸν ὑμετέραισιν ὑποχλινϑέντα κόμαισιν
ῥύσασϑ᾽ ἀχτίνων ἠελίου φυγάδα.

XVIII
THE RELEASE OF THE OX

ADDAEUS
Αὔλακι καὶ γήρᾳ τετρυμένον ἐργατίνην βοῦν
Αλχων οὐ φονίην Trays πρὸς κοπίδα
diel ν ’
>. 4 “ a ¢ , lhe ΑΝ = /
Αἰδεσϑεὶς ἔργων : ὁ δέ mou βαϑέῃ ἐνὶ ποίῃ
~ 4 9 ἐν 4
puxndy.oig ἀρότρου τέρπετ ἐλευϑερίῃ.

bough rest the sole of thy foot, around her sing and pour the
shrill music of thy mouth; for the oak carries mistletoe baleful
to birds, and she the grape-cluster; and the Wine-god cherishes
singers.

17
Lofty-hung boughs of the tall oak, a shadowy height over men
that take shelter from the fierce heat, fair-foliaged, closer-roofing
than tiles, houses of wood-pigeons, houses of crickets, O noontide
branches, protect me likewise who lie beneath your tresses, fleeing
from the sun’s rays.

18

The labouring ox, outworn with old age and labour of the
furrow, Alcon did not lead to the butchering knife, reverencing it
for its works; and astray in the deep meadow grass it rejoices
with lowings over freedom from the plough.

17-20] NATURE 195

XIX
THE SWALLOW AND THE GRASSHOPPER

EVENUS

᾿Ατϑὶ χόρα μελίϑρεπτε, λάλος λάλον ἁρπάξασα
τέττιγ᾽ ἀπτῆσιν δαῖτα φέρεις τέχεσιν
\ / id / A Μ « ,
τὸν λάλον A λαλόεσσα, TOV EVTTEPOV ἃ TTEPOEGGA,
\ ,ὔ « , \ \ ,
τὸν ξένον & Estva, τὸν ϑερινὸν ϑερινά ;
ρον , ef > \ , >. fd
Kody τάχος ῥίψεις : οὐ γὰρ ϑέμις οὐδὲ δίκαιον
oy bs f CS / Ul
ὄλλυσϑ᾽ ὑμνοπόλους ὑμνοπόλοις στόμασιν.

ΧΧ
THE COMPLAINT OF THE CICALA

AUTHOR UNKNOWN

Tints use τὸν φιλέρηυιον ἀναιδέϊ ποιμένες ἄ
ἵπτε p. φιλέρημον ἀναιδέϊ ποιμένες oven
~ ς. > >
τέττιγα δροσερῶν ἕλχετ᾽ an’ ἀχρεμόνων,
Try Νυμφέων παροδῖτιν ἀηδόνα χἤματι μέσσῳ
͵ μῳε ρ ἢ 2 SESE ΜῈ ῦ
οὔρεσι καὶ σχιεραῖς ξουϑὰ λαλεῦντα νάπαις:
Ἠνίδε καὶ κίχλην καὶ κόσσυφον, ἠνίδε τόσσους
ψᾶρας, ἀρουραίης ἅρπαγας εὐπορίης"
Καρπῶν δηλητῆρας ἑλεῖν Deus ὄλλυτ᾽ ἐχείνους"
΄ Ν ~ 7 / > Ἂν; ,
φύλλων χαὶ χλοερῆς τὶς φϑονος ἐστὶ δρόσου;

19
Attic maid, honey-fed, chatterer, snatchest thou and _bearest
the chattering cricket for feast to thy unfledged young, thou
chatterer the chatterer, thou winged the winged, thou summer
guest the summer guest, and wilt not quickly throw it away ? for
it is not right nor just that singers should perish by singers’
mouths.

20

Why in merciless chase, shepherds, do you tear me the solitude-
haunting cricket from the dewy sprays, me the roadside nightingale
of the Nymphs, who at midday talk shrilly in the hills and the
shady dells? Lo, here is the thrush and the blackbird, lo here
such flocks of starlings, plunderers of the cornfield’s riches ; it is
allowed to seize the ravagers of your fruits: destroy them: why
grudge me my leaves and fresh dew 1

196 GREEK ANTHOLOGY [SECT. 6 —

XXI

THE LAMENT OF THE SWALLOW
PAMPHILUS

Τίπτε πανημέριος, ΠΠανδιονὶ κάμμορε χούρα,
μυρομένα χκελαδεῖς τραυλὰ διὰ στομάτων ;

Ἦ τοι παρϑενίας πόϑος ἵκετο τάν τοι ἀπηύρα
Θρηΐκιος Tyoevs αἰνὰ βιησάμενος :

XXII

THE SHEPHERD OF THE NYMPHS
MYRINUS
Θύρσις ὁ κωμήτης, 6 τὰ νυμφιχὰ μῆλα νομιξύων,
Θύρσοις ὁ συρίζων Πανὸς ἴσον δόνακ!:
"» > , A « \ A , “
ἔνδιος οἰνοπότης σχκιερὰν ὑπὸ τὰν πίτυν εὕδει,
τ δ᾽ ΕῚ A 5, \ pals 2 Yee de "Rh ze
φρουρεῖ δ᾽ αὐτὸς ἕλων ποίμνια βάκτρον "Howes.

XXIII
THE SHRINE BY THE SEA (1)

MNASALCAS

τ « , A ΠῚ ΄ ,
Στῶμεν ἅλιρράντοιο παρὰ χϑαμοαλὰν χϑόνα πόντου
, / r ᾽ i ,

δερχόμενοι τέμενος Κύπριδος Εἰναλίας
Koavay τ᾽ αἰγείροισι χατάσχιον, ἧς ἄπο νᾶμα

(a Χο FN , > ,

ξουϑαὶ ἀφύσσονταῖι χείλεσιν ἀλκυόνες.

21

Why all day long, hapless maiden daughter of Pandion, soundest

thou wailingly through thy twittering mouth? has longing come

on thee for thy maidenhead, that Tereus of Thrace ravished from
thee by dreadful violence ?

22
Thyrsis the reveller, the shepherd of the Nymphs’ sheep, Thyrsis
who pipes on the reed like Pan, having drunk at noon, sleeps
under the shady pine, and Love himself has taken his crook and
watches the flocks.
23
Let us stand by the low shore of the spray-scattering deep,
looking on the precinct of Cypris of the Sea, and the fountain
overshadowed with poplars, from which the shrill kingfishers.
draw water with their bills.

21-26] NATURE 197

XXIV
THE SHRINE BY THE SEA (2)

ANYTE

Κύπριδος οὗτος ὁ χῶρος, ἐπεὶ φίλον ἔπλετο τήνχ
αἰὲν ἀπ᾽ ἠπείρου λαμπρὸν ὁρῆν πέλαγος

" " , τὰ , a9 κ᾿ Awe

Οφρα φίλον γαυτῃσι τελῇ πλόον ἀμφὶ δὲ πόντος
δειμαίνει, λιπαρὸν δερχόμενος ξόανον.

XXV
THE LIGHTHOUSE
AUTHOR UNKNOWN
Μηχέτι δειμαίνοντες ἀφεγγέα νυχτὸς ὁμίχλην
εἰς ἐμὲ ϑαρσαλέως πλώετε ποντοπόροι.
Πᾷσιν ἀλωομένοις τηλαυγέα δαλὸν ἀνάπτω,
τῶν ᾿Ασχληπιαδῶν υνημοσύνην χαματων.

XXVI

SPRING ON THE COAST (1)
LEONIDAS OF TARENTUM
Ὃ πλόος ὡραῖος" καὶ yap λαλαγεῦσα χελιδὼν
ἤδη μέυνβλωχεν γὼ χαρίεις Ζέφυρος
JON) PEE PAOKEV YO χάριξις ak ?
~ > ~ 4
Λειμῶνες δ᾽ ἀνϑεῦσι, σεσίγηκεν δὲ ϑάλασσα
κύμασι καὶ τρηχεῖ πνεύματι βρασσομένη.

24

This is the Cyprian’s ground, since it was her pleasure ever
to look from land on the shining sea, that she may give fulfilment
of their voyage to sailors; and around the deep trembles, gazing
on her bright image.

25
No longer dreading the rayless night-mist, sail towards me
confidently, O seafarers ; for all wanderers I light my far-shining
torch, memorial of the labours of the Asclepiadae.

26
Now is the season of sailing ; for already the chattering swallow
is come, and the gracious west wind; the meadows flower, and
the sea, tossed up with waves and rough blasts, has sunk to silence.
Weigh thine anchors and unloose thine hawsers, O mariner, and

198 GREEK ANTHOLOGY [SECT. 6

᾿Αγκύρας ἀνέλοιο καὶ ἐκλύσαιο γύαια,
ναυτίλε, καὶ πλώοις πᾶσαν ἐφεὶς ὀϑόνην᾽
Tadd’ 6 Πρίηπος ἐγὼν ἐπιτέλλομαι ὁ λιμενίτας,
ὠνθρωφ᾽, ὡς πλώοις πᾶσαν ἐπ᾽ ἐμπορίην.

XXVII

SPRING ON THE COAST (2)
ANTIPATER OF SIDON
᾿Αχμαῖος ῥοϑίῃ νηὶ δρόμος, οὐδὲ ϑάλασσα
πορφύρει τρομερῇ φρικὶ χαρασσομένη,
Ἤδη δὲ πλάσσει μὲν ὑπώροφα γυρὰ χελιδὼν
τὰ , . ? ἐκ \ ~ ,
οἰκία, λειμιώνων δ᾽ ἁβρὰ γελᾷ πέταλα"
Τοὔνεχα μιηρύσασϑε διάβροχα πείσματα, ναῦται
4 , XP t ’ ’
ς 3 3
ἕλχετε ὃ ἀγχυρας φωλάδας ἐχ λιμένων,
Λαίφεα δ᾽ εὐὐφέα προτονίζετε: ταῦϑ᾽ 6 Προίηπος
: θ Ὁ
» > ᾽ὔ ~ Sb. 18; ,
ὕμμιν ἐνορμίτας παῖς ἐνέπω Βρομίου.

XXVIII

GREEN SUMMER
NICAENETUS

Οὐχ ἐϑέλω, Φιλόϑηρε, κατὰ πτόλιν, ἀλλ᾽ ἐπ᾽ ἀρούρης
δαίνυσϑαι, Ζεφύρου πνεύματι τερπόμιενος᾽
᾿Αρχεῖ μοι χοίτη μὲν ὑπὸ πλευρῇσι χαμεύνα,
ἔγγυς γὰρ προμάλου δέμνιον ἐνδαπίης,

sail with all thy canvas set: this I Priapus of the harbour bid
thee, O man, that thou mayest sail forth to all thy trafficking.

27

Now is the season for a ship to run through the gurgling water,
and no longer does the sea gloom, fretted with gusty squalls, and
now the swallow plasters her round houses under the eaves, and
the soft leafage laughs in the meadows. Therefore wind up your
soaked cables, O sailors, and weigh your hidden anchors from the
harbours, and stretch the forestays to carry your well-woven sails.
This I the son of Bromius bid you, Priapus of the anchorage.

28
I do not wish to feast down in the city, Philotherus, but in the
country, delighting myself with the breath of the west wind ;
sufficient couch for me is a strewing of boughs under my side, for
at hand is a bed of native willow and osier, the ancient garland of

17)
fin:

27-20] NATURE 199

Καὶ λύγος, ἀρχαῖον Καρῶν στέφος" ἀλλὰ φερέσϑω
οἶνος καὶ Μουσέων ἡ χαρίεσσα λύρη,
Oup.Foes πίνοντες ὅπως Διὸς εὐχλέα νύμφην
iA , ’ S / cas
μέλπωμεν, νήσου δεσπότιν ἡμετέρης.

ΧΧΙΧ

PALACE GARDENS
ARABIUS

"T Sac. χαὶ χήποισι χαὶ ἄλσεσι χαὶ Διονίσῳ
i ΠῚ
χαὶ πόντου TATIW γείτονος εὐφροσύνῃ,
Τερπνὰ δέ μοι γαίης τε καὶ ἐξ ἁλὸς ἄλλοϑεν ἄλλος
\ > if. ~ Ἀ > ,
καὶ γριπεὺς ὀρέγει δῶρα xa ἀγρονόμος,
A Ne > > Ων , of 2 , > to
Τοὺς δ᾽ ἐν ἐμοὶ μίμνοντας 7 ὀρνίϑων τις ἀείδων
7 γλυχὺ πορϑυιήων φϑέγμα παρηγορέει.

the Carians ; but let wine be brought, and the delightful lyre of
the Muses, that drinking at our will we may sing the renowned
bride of Zeus, lady of our island.

29
I am filled with waters and gardens and groves and vineyards,
and the joyousness of the bordering sea; and fisherman and
farmer from different sides stretch forth to me the pleasant gifts
of sea and land: and them who abide in me either a bird singing
or the sweet cry of the ferrymen lulls to rest.

VII

THE, ΠΑ ΜΉΝ

I

THE HOUSE OF THE RIGHTEOUS
MACEDONIUS

Εὐσεβίη τὸ μέλαϑρον ἀπὸ πρώτοιο ϑεμείλου
ἄχρι καὶ ὑψηλοὺς ἤγαγεν εἰς ὀρόφους,

Οὐ γὰρ ἀπ’ ἀλλοτρίων κτεάνων ληΐστορι χαλκῷ
ὄλβον ἀολλίζων τεῦξε Μακηδόνιος,

Οὐδὲ λιπερνήτης κενεῷ καὶ ἀχερδέϊ μόχϑῳ
χλαῦσς δικαιοτάτου μισϑοῦ ἀτεμβόμινος:

‘Og δὲ πόνων ἄμπαυμα φυλάσσεται ἀνδρὶ δικαίῳ,
ὧδε χαὶ εὐσεβέων ἔργα μένοι μερόπων.

II
THE GIRL’S CUP

PAULUS SILENTIARIUS
Χεῖλος ᾿Ανικήτειχ τὸ γρύσεον εἰς ἐμὲ téeyyver
’ A ! Ἢ vA Ὁ '
ἂν
ἀλλὰ παοχσγχοίνην χαὶ πόμα νυμφίδιον.
\ \» 4 ‘ ι

I

Righteousness has raised this house from the first foundation
even to the lofty roof; for Macedonius fashioned not his wealth
by heaping up from the possessions of others with plundering
sword, nor has any poor man here wept over his vain and profitless
toil, being robbed of his most just hire; and as rest from labour
is kept inviolate by the just man, so let the works of pious mortals
endure.

2

Aniceteia wets her golden lip in me; but may I give her also
the draught of bridal.
200

1-5] THE FAMILY 201

III
THE FLOWER UNBLOWN
PHILODEMUS
Οὔπω cor χαλύχων yuuvoy ϑέρος, οὐδὲ μελαίνει
γι ρος, υ
βότρυς ὁ παρϑενίους πρωτοβολῶν χάριτας,
᾿Αλλ᾽ ἤδη ϑοὰ τόξα νέοι ϑήγουσιν "ἔρωτες,
Λυσιδίχη, καὶ πῦρ τύφεται ἐγχρύφιον.
Psy) t ὃ - er. ἕως Cran ς οὐχ ἐπὶ yon’
εύγωμεν δυσέρωτες, ἕως βέλος οὐχ ἐπὶ νευρῇ
μάντις ἐγὼ μεγάλης αὐτίκα πυρχαϊῆς.

IV
A ROSE IN WINTER
CRINAGORAS
Elxooc ἤνϑει μὲν τὸ πρὶν ῥόδα, νῦν δ᾽ ἐνὶ μέσσῳ
pos ἢ υ ον ean are
fd
χείματι πορφυρέας ἐσχάσαμεν χαλυχας
SH ἐπιμειδήσαντα γενεϑλίη ἄσμενα τῇδε
Π μ | ἢ 4 " t . i
ow
70, νυμφιδίων ἀσσοτάτῃ λεχέων"
Καλλίστης στεφϑῆναι ἐπὶ κροτάφοισι γυναικὸς
λώϊον ἢ μίμνειν ἠρινὸν ἠέλιον.

Vv

GOODBYE TO CHILDHOOD
AUTHOR UNKNOWN

A
Τιμαρέτα πρὸ γάμοιο τὰ τύμπανα τήν τ᾽ ἐρατεινὴν
Ὄ ἢ =, LY) hie eH Aa
σφαῖραν, TOV TE κόμας ῥύτορα κεχρύφαλον,

Not yet is thy summer unfolded from the bud, nor does the
purple come upon thy grape that throws out the first shoots of its
maiden graces; but already the young Loves are whetting their
fleet arrows, Lysidice, and the hidden fire is smouldering. Flee
we, wretched lovers, ere yet the shaft is on the string ; I prophesy
a mighty burning soon.

4

Roses ere now bloomed in spring, but now in midwinter we
have opened our crimson cups, smiling in delight on this thy
birthday morning, that brings thee so nigh the bridal bed: better
for us to be wreathed on the brows of so fair a woman than wait
for the spring sun.

Her tambourines and pretty ball, and the net that confined her
hair, and her dolls and dolls’ dresses, Timareta dedicates before her

202 GREEK ANTHOLOGY [SECT. 7

Τάς τε κόρας, Λιμνάτι, κόρᾳ κόρα, ὡς ἐπιεικές,
ἄνϑετο, καὶ τὰ κορᾶν ἐνδύματ᾽ ᾿Αρτέμιδι.

Λατῴα, τὺ δὲ παιδὸς ὑπὲρ χέρα Τιμαρετείας
ϑηχαμένα σώζοις τὰν ὁσίαν ὁσίως.

VI
THE WIFE’S PRAYER
ANTIPATER OF THESSALONICA

Βιϑυνὶς Κυϑέρη με τεῆς ἀνεϑήχατο, Κύπρι,
μορφῆς εἴδωλον λύγδινον εὐξαμένη:

᾿Αλλὰ σὺ τῇ μιχκῇ μεγάλην χάριν ἀντιμερίζου,
ὡς ἔϑος᾽ ἀρχεῖται δ᾽ ἀνδρὸς ὁμοφροσύνῃ.

VII
BRIDEGROOM AND BRIDE

JOANNES BARBUCALLUS
Πειϑοῖ καὶ Παφίᾳ πακτὰν χαὶ κηρία σίμβλων
τᾶς χαλυχοστεφάνου νυμφίος Εὐρυνόμιας
“Ἑρμοφίλας ἀνέϑηκεν ὁ βωχόλος" ἀλλὰ δέχεσϑε
ἀντ᾽ αὐτᾶς πακτάν, ἀντ᾽ ἐμέϑεν τὸ μέλι.

marriage to Artemis of Limnae, a maiden to a maiden, as is fit;
do thou, daughter of Leto, laying thine hand over the girl
Timareta, preserve her purely in her purity.

6

Cythera of Bithynia dedicated me, the marble image of thy
form, O Cyprian, having vowed it: but do thou impart in return
thy great grace for this little one, as is thy wont; and concord
with her husband satisfies her.

7

To Persuasion and the Paphian, Hermophilas the neatherd,
bridegroom of flower-chapleted Eurynome, dedicates a cream-cheese
and combs from his hives; but accept for her the cheese, tor me
the honey.

6-10] THE FAMILY 203

VIII
THE BRIDE'S VIGIL
AGATHIAS

Μήποτε λύχνε μύχητα φέροις und ὄμβρον ἐγείροις

un τὸν ἐμὸν παύσῃς νυμφίον ἐρχόμενον"
Αἰεὶ σὺ φϑονέεις τῇ Κύπριδι: καὶ γὰρ of “How

ἥρμοσε Λειάνδρῳ — ϑυμέ, τὸ λοιπὸν ἔα.
“Ἡφαίστου τελέϑεις, καὶ πείϑομαι ὅττι χαλέπτων

Κύπριδα ϑωπεύεις δεσποτικὴν ὀδύνην.

ΙΧ
HEAVEN ON EARTH
THEOCRITUS
"A Κύπρις οὐ πάνδαμος" ἱλάσχεο τὰν ϑεόν, εἰπὼν
> , e ~ Μ “
Οὐρανίαν, ἁγνᾶς ἄνϑεμα Xovaoyovas
ἴχῳ ἐν ᾿Αμφικλέους, w χαὶ τέκνα χαὶ βίον ἔσχε

ξυνόν" ἀεὶ δέ σφιν λωῖον εἰς ἔτος ἦν

) a 2 , ΦῚ , Ξ , \

Ex σέϑεν ἀρχομένοις, ὦ πότνια" κηδόμενοι γὰρ
ἀϑανάτων αὐτοὶ πλεῖον ἔχουσι βροτοί.

Χ

WEARY PARTING
MELEAGER

Εὔφορτοι νᾶες πελαγίτιδες, αἱ πόρον “KAAS
~ e
πλεῖτε χαλὸν κόλποις δεξάμεναι Βορέην,

ὃ

Never grow mould, O lamp, nor call up the rain, lest thou stop
my bridegroom in his coming; alway thou art jealous of the
Cyprian ; yes, and when she betrothed Hero to Leander—O my
heart, leave the rest alone. Thou art the Fire-God’s, and I believe
that by vexing the Cyprian thou flatterest thy master’s pangs.

9
This is not the common Cyprian; revere the goddess, and name
her the Heavenly, the dedication of holy Chrysogone in the house
of Amphicles, with whom she had children and life together ;
and ever it was better with them year by year, who began with
thy worship, O mistress; for mortals who serve the gods are the
better off themselves.
10
Fair-freighted sea-faring ships that sail the Strait of Helle,
taking the good north wind in your sails, if haply on the island

204 GREEK ANTHOLOGY [SECT: 7

"Hy που ἐπ᾽ ἠιόνων Κῴαν κατὰ νᾶσον ἴδητε
Φανίον εἰς χαροπὸν δερχομέναν πέλαγος,

Τοῦτ᾽ ἔπος ἀγγείλαιτε: καλὴ γυέ, σός με χομίζει
ἵμερος οὐ ναύταν πόσσι δὲ πεζοπόρον.

Εἰ γὰρ τοῦτ᾽ εἴποιτ᾽ εὐάγγελοι, αὐτίχα xa Ζεὺς
οὔριος ὑμετέρας πνεύσεται εἰς ὀθόνας.

XI

MOTHERHOOD
CALLIMACHUS

Kai πάλιν, Bian dur, Λυχαινίδος ἐλϑὲ καλεύσης
εὔλοχος, ὠδίνων ὧδε σὺν εὐτυχίῃ;

"He τόδε νῦν μέν, ἄνασσα, κόρης ὕπερ᾽ ἀντὶ δὲ παιδὸς
ὕστερον εὐώδης ἄλλο τι νηὸς ἔχοι.

XII
PAST PERIL
CALLIMACHUS
Τὸ χρέος ὡς ἀπέχεις, ᾿Ασκληπιέ, TO πρὸ γυναικὸς
Δημοδίχης ᾿Αχέσων ὥφελεν εὐξάμενος,
, δ ὰ μὴ δ». , + N A > ~
Ῥηνώσχεις Ἢ ὃ ἄρα Andy χαὶ ἐισϑὸν ATALTHS,
φησὶ παρέξεσϑαι υαρτυρίην ὁ πίναξ.

shores of Cos you see Phanion gazing on the sparkling sea, carry
this message: Fair bride, thy desire brings me, not a sailor but a
wayfarer on my feet. For if you say this, carrying good news,
straightway will Zeus of the Ratt Weather likewise breathe into
your canvas.

II

Again, O Ilithyia, come thou at Lycaenis’ call, Lady of Birth,
even thus with happy issue of travail; whose offering now this is
for a girl; but afterwards may thy fragrant temple hold another
for a boy.

12

Thou knowest, Asclepius, that thou hast received payment of
the debt that Aceson owed, having vowed it for his wife Demo-
dice; yet if it be forgotten, and thou demand thy wages, this
tablet says it will give testimony.

11-15] THE FAMILY 205

XIII
FATHER AND MOTHER

PHAEDIMUS
"Aoreut, σοὶ τὰ πέδιλα Κιχησίου εἴσατο υἱός,
καὶ πέπλων ὀλίγον πτύγμα Θεμιστοδίχη
Οὕνεχά οἱ πρηεῖα λεχοῖ δισσὰς ὑπερέσχες
χεῖρας, ἄτερ τόξου, πότνια, νισσομένη,
” , δὲ A pe τὴ, ᾿
Αρτεμι, νηπίαχον δὲ καὶ εἰσέτι παῖδα Λέοντι
νεῦσον ἰδεῖν κοῦρον yui’ ἐπαεξόμενον.

XIV
HOUSEHOLD HAPPINESS
AGATHIAS

Τῇ Παφίῃ στεφάνους, τῇ Παλλάδι τὴν πλοχαμῖδα,

᾿Αρτέμιδι ζώνην ἄνϑετο Καλλιρόη

« ni ~ ἣν ws \ Ul ef

Hupeto γὰρ μνηστῆρα τὸν ἤϑελε, καὶ ayev ἥβην

σώφρονα, καὶ τεκέων ἄρσεν ἔτικτε γένος.

XV

GRACIOUS CHILDREN
THEAETETUS

Ὄλρβια τέκνα γένοισϑε᾽ τίνος γένος ἔστε, τί δ᾽ ὑμῖν
cans cs 2 »
ode χαλοῖς χαρίεν κείμενόν ἐστ᾽ ὄνομα:

13
Artemis, to thee the son of Cichesias dedicates his shoes, and
Themistodice the strait folds of her gown, because thou didst
graciously hold thy two hands over her in childbed, coming, O
our Lady, without thy bow. And do thou, Ὁ Artemis, grant yet
to Leon to see his infant child a sturdy-limbed boy,

14

Callirhoé dedicates to the Paphian garlands, to Pallas a tress

of hair, to Artemis her girdle; for she found a wooer to her heart,
and was given a stainless prime, and bore male children,

15
Be happy, children; whose family are you? and what gracious
name is given to so pretty things as you 7—I am Nicanor, and my

ἊΝ WE

206 GREEK ANTHOLOGY [SECT: 7

Ul ‘ " Α ᾿ Ul
Νικάνωρ ἐγώ εἰμι, πατὴρ δ᾽ ἐμοὶ Αἰπιόρητος,
, ΄ "
μήτηρ δ᾽ ᾿Ηγησώ, κεἰμὰ γένος Μακεδών.
Καὶ μὲν ἐγὼ Φίλα εἰμί, καί ἐστί μοι οὗτος ἀδελφός,
Ν " 9. τῷ το . > ’
éx δ᾽ εὐχῆς τοχέων ἕσταμες ἀμφότεροι.

XVI
THE UNBROKEN HOME
AUTHOR UNKNOWN

« ~ Ν , , / y
Αὑτῷ χαὶ τεχέεσσι γυναικί te τύμβον ἔδειμεν
᾿Ανδροτίων" οὔπω δ᾽ οὐδενός εἰμι τάφος.
oe Ν , \ , > > Μ 4 ~
Οὕτω καὶ μείναιμι πολὺν χρόνον᾽ εἰ δ᾽ ἄρα καὶ δεῖ,
δεξαίμην ἐν ἐμοὶ τοὺς προτέρους προτέρους.

XVII
THE BROKEN HOME

BIANOR

Θειονόης ἔχλαιον ἐμιῆς μόρον, ἀλλ᾽ ἐπὶ παιδὸς
ἐλπίσι κουφοτέρας ἔστενον εἰς ὀδύνας:

Νῦν δέ με καὶ παιδὸς φϑονερύ τις ἐνόσφισε Μοῖρα"
φεῦ βρέφος, ἐψεύσϑην καὶ σὲ τὸ λειπόμενον.

Περσεφόνη, τόδε πατρὸς ἐπὶ ϑρήνοισιν ἄχουσον,
ϑὲς βρέφος ἐς κόλπους μητρὸς ἀποιχομένης.

father is Aepioretus, and my mother Hegeso, and I am ἃ Macedonian
born.—And I am Phila, and this is my brother; and we both stand
here fulfilling a vow of our parents.

16

Androtion built me, a burying-place for himself and his children
and wife, but as yet I am the tomb of no one; so likewise may
I remain for a long time ; and if it must be, let me take to myself
the eldest first.

17
I wept the doom of my Theionoé, but borne up by hopes of her
child I wailed in lighter grief; and now a jealous fate has bereft
me of the child also; alas, babe, I am cozened of even thee, all that
was left me, Persephone, hear thou this at a father’s lamenta-
tion ; lay the babe on the bosom of its mother who is gone.

16-20] THE FAMILY 207

XVIII
SUNDERING
ANTIPATER OF SIDON

Ἦ που σὲ χϑονίας, ᾿Δρετημιάς, ἐξ ἀκάτοιο

Κωχυτοῦ ϑεμέναν ἴχνος ἐπ᾽ ἀϊόνι
Οἰχόμενον βρέφος ἄρτι νέῳ φορέουσαν ἀγοστῷ

ᾧχτειραν ϑαλεραὶ Δωρίδες εἰν ᾿Αἴδᾳ,
ΠΕευϑόμεναι τέο κῆρα" σὺ δὲ ξαίνουσα παρειὰς

δάχρυσιν ἄγγειλας κεῖν᾽ ἀνιαρὸν ἔπος"
Δίπλοον ὠδίνασα, φίλαι, τέκος, ἄλλο μὲν ἀνδρὶ

Εὔφρονι καλλιπόμαν, ἄλλο δ᾽ ἄγω φϑιμένοις.

ΧΙΧ
NUNC DIMITTIS
JOANNES BARBUCALLUS
Ἐς πόσιν ἀϑρήσασα παρ᾽ ἐσχατίης λίνα μοίρης
ἥνεσα χαὶ χϑονίους, ἤνεσα καὶ ζυγίους,
4 μ , e \ ,ὔ 2: , ‘ Sy ad τ Ρ
Τοὺς μέν, ὅτι ζωὸν λίπον ἀνέρα, τοὺς δ᾽ ὅτι τοῖον
ἀλλὰ πατὴρ μίμινοι παισὶν ἐφ᾽ ἡμετέροις.

ΧΧ
LEFT ALONE
AUTHOR UNKNOWN

Νικόπολιν Μαράϑωνις ἐθήχκατο τῇδ᾽ ἐνὶ πέτρῃ
ὀμβρήσας δαχρύοις λάρνακα μιααρμιαρέην,

18
Surely, methinks, when thou hadst set thy footprint, Aretemias,
from the boat upon Cocytus’ shore, carrying in thy young hand thy
baby just dead, the fair Dorian women had compassion in Hades,
inquiring of thy fate; and thou, fretting thy cheeks with tears,
didst utter that woful word: O friends, having travailed of two
children, I left one for my husband Euphron, and the other I bring
to the dead.
19
Gazing upon my husband as my last thread was spun, I
praised the gods of death, and I praised the gods of marriage,
those that I left my husband alive, and these that he was even
such an one; but may he remain, a father for our children.

20
Marathonis laid Nicopolis in this stone, wetting the marble

hs --- tee =

208 GREEK ANTHOLOGY [SECT. 7

᾿Αλλ’ οὐδὲν πλέον ἔσχε" τί γὰρ πλέον ἀνέρι κήδευς
μούνῳ ὑπὲρ γαίης, οἰχομένης ἀλόχου;

νῷν 4}
EARTH’S FELICITY
CARPHYLLIDES

My μέμψη παριὼν τὰ μνήματά μου, παοοδῖτα
μεν ψνῇ παι | [ νι 7
> A yy a ΝΜ > A ,
οὐδὲν ἔχω ϑρήνων ἄξιον οὐδὲ ϑανών'
Τέκνων τέχνα λέλοιπα᾽ μιῆς ἀπέλαυσα γυναιχὸς
συγγήρου" τρισσοῖς παισὶν ἔδωχα γάμους,
"RE ὧν πολλάχι παῖδας ἐμοῖς ἐνεκοίμισα κόλποις
οὐδενὸς οἰμώξας οὐ νόσον, οὐ ϑάνατον᾽
Οἵ με κατασπείσαντες ἀπήμονα, τὸν γλυκὺν ὕπνον
χοιμᾶσϑαι χώρην πέμψαν ἐπ᾽ εὐσεβέων.

coffin with tears, but all to no avail; for what is there more than
sorrow for a man alone upon earth when his wife is gone ?

21

Find no fault as thou passest by my monument, O wayfarer ;
not even in death have I aught worthy of lamentation. I have
left children’s children ; I had joy of one wife, who grew old along
with me ; I made marriage for three sons whose sons I often lulled
asleep on my breast, and never moaned over the sickness or the
death of any: who, shedding tears without sorrow over me, sent
me to slumber the sweet sleep in the country of the holy.

ΥΠΙ

BE A TY

I
SUMMER NOON

MELEAGER

Εἰνόδιον στείχοντα μεσαμβρινὸν εἶδον “Arete
ἄοτι κόμαν καρπῶν χειρομένου ϑέρεος,
Διπλαῖ δ᾽ dxtivés με κατέφλεγον, αἱ μὲν "ἔρωτος
παιδὸς an’ ὀφθαλμῶν, αἱ δὲ παρ᾽ ἠελίου"
"AN ἃς μὲν νὺξ αὖϑις ἐκοίμισεν, ἃς δ᾽ ἐν ὀνείροις
εἴδωλον μορφῆς μᾶλλον ἀνεφλόγισεν"
Λυσίπονος δ᾽ ἑτέροις ἐπ᾽ ἐμοὶ πόνον ὕπνος ἔτευξεν,
ἔμπνουν πῦρ ψυχῇ κάλλος ἀπεικονίσας.

II
IN THE FIELD-PATH

RHIANUS
Ἦ ῥά νύ τοι, Κλεόνιχε, δι’ ἀτραπιτοῖο χίοντι
~ > / > « \ /
στεινῆς HYTASAVD αἱ λιπαραὶ Χάριτες
, ἣν τ Pe ΩΣ a / = one: -
Kat σε ποτὶ ῥοδέῃησιν ἐπηχύναντο χέρεσσιν,
- ec ᾽ “
κοῦρε, πεποίησαι δ᾽ ἡλίκος ἐσσὶ χάρις.

1

I saw Alexis at noon walking on the way, when summer was
just cutting the tresses of the cornfields; and double rays burned
me; these of Love from the boy’s eyes, and those from the sun.
But those night allayed again, while these in dreams the phantom
of a form kindled yet higher; and Sleep, the releaser of toil for
others, brought toil upon me, fashioning the image of beauty in
my soul, a breathing fire.

2

Surely, O Cleonicus, the lovely Graces met thee going along the

narrow field-path, and clasped thee close with their rose-like hands,

14 209

210 GREEK ANTHOLOGY [SECT. 8

Τηλόϑι μοι μάλα χαῖρε" πυρὸς δ᾽ οὐκ ἀσφαλὲς ἄσσον
ἕρπειν αὐηρήν, ἃ φίλος, ἀνϑέρικα.

oot
THE NEW LOVE
MELEAGER
᾿Αρνεῖται τὸν Ἔρωτα τεχεῖν ἡ Κύπρις ἰδοῦσα
ἄλλον ἐν ἠϊϑέοις Ἵμερον ᾿Αντίοχον᾽
᾿Αλλα, νέοι, στέργοιτε νέον ΠΤόϑον᾽ ἦ γὰρ ὁ κοῦρος
εὕρηται χρείσσων οὗτος "ἔρωτος "Ἔρως.

IV
CONTRA MUNDUM
CALLIMACHUS
Ἔχει καὶ πάλιν εἰπὲ Διοχλέος, οὐδ᾽ ᾿Αχελῷος
χείνου τῶν ἱερῶν αἰσϑάνεται χυάϑων"
Καλὸς ὁ παῖς, ᾿Αχελῷε, λίην καλός" εἰ δέ τις οὐχὶ
φησίν, ἐπισταίμην μοῦνος ἐγὼ τὰ καλά.

ν

THE FLOWER OF COS
MELEAGER
Εἰκόνα μὲν Taotyy ζωογλύφος ἀνυσ’ "Ἔρωτος
Πραξιτέλης, Κύπριδος παῖδα τυπωσάμενος,
Νῦν δ᾽ ὁ ϑεῶν κάλλιστος "ἔρως ἔμψυχον ἄγαλμα
αὑτὸν ἀπεικονίσας ἔπλασε Πραξιτέλην,

O boy, and thou wert made all grace. Hail to thee from afar ;
but it is not safe, O my dear, for the dry asphodel stalk to move
too near the fire.

The Cyprian denies that she bore Love, seeing Antiochus among
the youths, another Desire ; but O you who are young, cherish the
new Longing; for assuredly this boy is found a Love stronger
than Love.

Pour in and say again, ‘ Diocles’; nor does Achelotis touch the
cups consecrated to him; fair is the boy, O Acheloiis, exceeding
fair; and if any one says no, let me be alone in my judgment of
beauty.

5

Praxiteles the sculptor made a Parian image of Love, moulding

the Cyprian’s son ; but now Love, the most beautiful of the gods,

3-7] BEAUTY 3 211

yy 4 ¢ A > ~ Φ >] > / , rs /
Oop’ ὁ μὲν ἔν θνατοῖς, ὃ δ ἐν αἰϑέρι φίλτρα βραβευῃ,
γῆς 9’ ἅμα καὶ μακάρων σχηπτροφορῶσι [1ό9οι.
Ὀλβίστη Μερόπων ἱερὰ πόλις, ἃ ϑεόπαιδα
χαινὸν "Ἔρωτα νέων ϑρέψεν ὑφαγεμόνα.

VI
THE SUN OF TYRE
MELEAGER
᾿Αβρούς, vat τὸν "Ἔρωτα, τρέφει Τύρος" ἀλλὰ Μυΐσχος
ἔσβεσεν ἐκλάμψας ἀστέρας ἠέλιος.

VII

THE LOADSTAR
MELEAGER

Ἔν σοὶ τἀμά, Μυΐσχε, βίου πρυμνήσι᾽ ἀνῆπται'

ἐν σοὶ καὶ ψυχῆς πνεῦμα. τὸ λειφϑὲν ἔτι"

\ \ \ , ~ A ~ ~

Ναὶ γὰρ δὴ τὰ σά, κοῦρε, tTaexal κωφοῖσι λαλεῦντα

ὄμματα, ναὶ μιὰ τὸ σὸν φαιδρὸν ἐπισχύνιον,
” \ » , ΄ ~ δέδ
Ἦν μοι συννεφὲς ὄμμα βάλῃς ποτέ, χεῖμα δέδορκα,

ἣν δ᾽ ἱλαρὸν βλέψης, ἡδὺ τέϑηλεν ἔαρ.

imaging himself, has fashioned a breathing statue, Praxiteles, that
the one among mortals and the other in heaven may have all love-
charms in control, and at once on earth and among the immortals
they may bear the sceptres of Desire. Most happy the sacred
city of the Meropes, which nurtured as prince of her youth the
god-born new Love.

6

Delicate, so help me Love, are the fosterlings of Tyre; but
Myiscus blazes out and quenches them all as the sun the stars.

7
On thee, Myiscus, the cables of my life are fastened; in thee
is the very breath of my soui, what is left of it; for by thine eyes,
O boy, that speak even to the deaf, and by thy shining brow, if
thou ever dost cast a clouded glance on me, I gaze on winter, and
if thou lookest joyously, sweet spring bursts into bloom.

912 GREEK ANTHOLOGY [SECT, 8
VIII
LAUREL AND HYACINTH
MELEAGER

Αἰπολικαὶ σύριγγες ἐν οὔρεσ!: μηκέτι Δάφνιν
φωνεῖτ᾽, αἰγιβάτῃ Πανὶ χαριζόμεναι,
Μηδὲ σὺ τὸν στεφϑέντα, λύρη Φοίβοιο προφῆτι,
ὃ Uj 4 / .}.: U y 4
ἄφνῃ παρϑενίῃ μέλφ᾽ ‘Taxwv9ov ἔτι
"Hy γὰρ ὅτ᾽ ἦν Δάφνις μὲν Ὀρειάσι, σοὶ δ᾽ ᾿γάχκινϑος
~ A / ~ >
τερπνός" νῦν δὲ πόϑων σκῆπτρα Δίων ἐχέτω.

ΙΧ
THE QUEST OF PAN
GLAUCUS

Νύμφαι, πευϑομένῳ φράσαιτ᾽ ἀτρεχές, εἰ παροδείων

Δάφνις τὰς λευχὸς ὧδ᾽ ἀνέπαυσ᾽ ἐρίφους.
Ναὶ vat, Πὰν συρικτά, καὶ εἰς αἴγειρον éxctvav

, ‘ ~ U Ἄν id /

σοί τι χατὰ φλοιοῦ γράμμ’ ἐκόλαψε Agvet"
Παν, ἀρ πρὸς Μαλέαν, πρὸς ὄρος Ψωφίδιον ἔρχευ"

« ~ , , 8. 3: τ yc ,

ἱξοῦμαι. Νύμφαι χαίρετ᾽, ἐγὼ δ᾽ ὑπάγω.

Χ

THE AUTUMN BOWER
MNASALCAS

"AUTEAS, μήποτε φύλλα χαμοὶ σπεύδουσα βαλέσϑαι
ὃ (ὃ ε , t i
είδιας ἑσπέριον ΤΠ]λειάδα δυομέναν 3

8

O pastoral pipes, no longer sing of Daphnis on the mountains,
to pleasure Pan the lord of the goats; neither do thou, O lyre
interpretess of Phoebus, any more chant Hyacinthus chapleted with
maiden laurel ; for time was when Daphnis was delightful to the
mountain-nymphs, and Hyacinthus to thee; but now let Dion
hold the sceptre of Desire.

9
Nymphs, tell me true when I inquire if Daphnis passing by
rested his white kids here.—Yes, yes, piping Pan, and carved in
the bark of yonder poplar a letter to say to thee, ‘ Pan, Pan, come
to Malea, to the Psophidian mount; I will be there.’-—Farewell,
Nymphs, I go, .
10
Vine, that hastenest so to drop thy leaves to earth, fearest thou
then the evening setting of the Pleiad? abide for sweet sleep

8-11]

BEAUTY

Μεῖνον ἐπ᾽ ᾿Αντιλέοντι πεσεῖν ὑπὸ τὶν γλυκὺν ὕπνον,
ἐς τότε τοῖς καλοῖς πάντα χαριζομένα.

ΧΙ
AN ASH IN THE FIRE

MELEAGER

Ἤδη μὲν γλυχὺς ὄρϑρος" ὁ δ᾽ ἐν προϑύροισιν ἀῦπνος

Δᾶμις ἀποψύχει πνεῦμα τὸ λειφϑὲν ἔτι
᾽ὔ « , = > f/ ΕΣ \ «ς ᾽ > A
Σχέτλιος Ηράχλειτον ἰδών: ἔστη γὰρ ὑπ᾽ αὐγὰς
ὀφθαλμῶν βληϑεὶς κηρὸς ἐς ἀνϑραχκίην.
᾿Αλλά μοι ἔγρεο Δᾶμι, δυσαάμιμορε" καὐτὸς Ἔρωτος
ἕλκος ἔχων ἐπὶ σοῖς δάκρυσι δαχρυχέω.

213

to fall on Antileon beneath thee, giving all grace to beauty
till then.

Ἐπ

Now grey dawn is sweet; but sleepless in the doorway Damis
swoons out all that is left of his breath, unhappy, having but seen
Heraclitus ; for he stood under the beams of his eyes as wax cast
among the embers: but arise, I pray thee, luckless Damis; even
myself 1 wear Love’s wound and shed tears over thy tears.

ΙΧ

FATE AND CHANGE

I

THE FLOWER OF YOUTH
MARCUS ARGENTARIUS

al | ‘ ne , ὃς > ὃ , , «“
σιὰς ἡδύπνευστε, καὶ εἰ δεκάκις μύρον εὕδεις,
ἔγρεο καὶ δέξαι χερσὶ φίλαις στέφανον
ἊΝ »ω

Ὅν νῦν μὲν ϑάλλοντα, μαραινόμενον δὲ πρὸς ἢ
” c , , ε ,
ὄψεαι, ὑμετέρης σύμβολον ἡλικίης.

II
THE MAIDEN’S POSY

RUFINUS

Πέμπω σοί, Ροδόχλεια, τόδε στέφος, ἄνϑεσι καλοῖς
ver

αὐτὸς ὑφ᾽ ἡμετέραις πλεξάμενος παλάμαις"

Ἔστι κρίνον ὁοδέη τε χάλυξ νοτερή τ᾽ ἀνεμών
Ss ee ΘΟΕ ΚΣ ag ar gaan ol ie
A id A

xa νάρκισσος ὑγρὸς καὶ κυαναυγὲς tov"
Ταῦτα στεψαμένη λῆξον μεγάλαυχος ἐοῦσα"

ἀνϑεῖς nak λήγεις καὶ σὺ καὶ ὁ στέφανος.

I
Sweet-breathed Isias, though thy sleep be tenfold spice, awake
and take this garland in thy dear hands, which, blooming now,
thou wilt see withering at daybreak, the likeness of a maiden’s
prime.
2
I send thee, Rhodocleia, this garland, which myself have twined
of fair flowers beneath my hands; here is lily and rose-chalice
and moist anemone, and soft narcissus and dark-glowing violet ;
garlanding thyself with these, cease to be high-minded; even as

the garland thou also dost flower and fall.
214

1-5] FATE AND CHANGE 215

III
WITHERED BLOSSOMS
STRATO
Εἰ κάλλει καυχᾷ, γίγνωσχ᾽ ὅτι καὶ ῥόδον ἀνϑεῖ,
ἀλλὰ μαρανϑὲν ἄφνω σὺν χοπρίοις ἐρίφη᾽
ἼΑνϑος γὰρ καὶ κάλλος ἴσον χρόνον ἐστὶ λαχόντα,
ταῦτα δ᾽ ὁμιἢ φϑονέων ἐξεμιάρανε χρόνος.

IV
ROSE AND THORN
AUTHOR UNKNOWN
ἘΣ peek > , \ es , is oo \ ἘΞ, »
Τὸ ῥόδον ἀκμάζει βαιὸν χρόνον ἢν δὲ παρέλϑῃ
~ e Γ᾿ rw i > A 4
τῶν εὑρήσεις οὐ ῥόδον ἀλλὰ βάτον.

ν᾿
THE BIRD OF TIME

THYMOCLES

Μέμνῃ που, μέμνῃ ὅτε τοι ἔπος ἱερὸν εἶπον"
« ΄. ee > U ~
won κάλλιστον, χώρη ἐλαφρότατον
“Ὥρην οὐδ᾽ ὁ τάχιστος ἐν αἰϑέρι παρφϑάσει dove
ρὴν οὐ χιστος ἐν αἰϑέρι παρφϑάσει ὄρνις.
~ Li ~ 3, ~
viv ἴδε πάντ᾽ ἐπὶ γῆς ἄνϑεα σεῦ κέχυται.

3
If thou boast in thy beauty, know that the rose too blooms,
but quickly being withered, is cast on the dunghill; for blossom
and beauty have the same time allotted to them, and both together
envious time withers away.

4
The rose is at her prime a little while ; which once past, thou
wilt find when thou seekest no rose, but a thorn.

5
Thou rememberest haply, thou rememberest when I said to thee
that holy word, ‘Opportunity is the fairest, opportunity the lightest-
footed of things; opportunity may not be overtaken by the swiftest
bird in air.’ Now lo! all thy flowers are shed on the ground,

a ὝΥ ee re el τ πον τ τ" ἕν...

216 GREEK ANTHOLOGY [SECT. 9

VI
THE END OF DESIRE
SECUNDUS
Ἢ τὸ πάλαι Λαὶς πάντων βέλος, οὐκέτι Λαὶς
ἀλλ᾽ ἐτέων φανερὴ πᾶσιν ἐγὼ Νέμεσις.
Οὐ μὰ Κύπριν (τί δὲ Κύπρις ἐμοὶ πλέον ἢ ὅσον ὅρκος)
γνώριμον οὐδ᾽ αὐτῇ Λαίδι Λαὶς ἔτι.

VII
HOARDED BEAUTY
STRATO
> A , A [2 im 4 > / =
Εἰ μὲν cia Fe χαλον, μετάδος πρὶν ἀπελθῃ
εἰ δὲ μένει, τί φοβῇ τοῦϑ᾽ ὃ μένει διδόναι :

VIII
DUST AND ASHES
ASCLEPIADES
Deidn παρϑενίης, καὶ τί πλέον; od γὰρ ἐς “Αιδην
ἐλϑοῦσ᾽ εὑρήσεις τὸν φιλέοντα, κόρη,
Ἐν ζωοῖσι τὰ τερπνὰ τὰ Κύπριδος" ἐν δ᾽ ᾿Αχέροντι
ὀστέα καὶ σποδιή, παρϑένε, χεισόμεϑα.

6

I who once was Lais, an arrow in all men’s hearts, no longer
Lais, am plainly to all the Nemesis of years. Ay, by the Cyprian
(and what is the Cyprian now to me but an oath to swear by ?)
not Lais herself knows Lais now.

7
_If beauty grows old, impart thou of it before it be gone; and if
it abides, why fear to give away what thou dost keep ?

8

Thou hoardest thy maidenhood; and to what profit? for when
thou art gone to Hades thou wilt not find a lover, O girl.
Among the living are the Cyprian’s pleasures; but in Acieron,
O maiden, we shall lie bones and dust.

6-10] FATE AND CHANGE 1. }....

ΙΧ

TO-MORROW
MACEDONIUS
Αὐριον ἀϑρήσω σε" τὸ δ᾽ οὐ ποτε γίνεται ἡμῖν
ὀϑάδος ἀμβολίης αἰὲν ἀεξομένης"
ς ἀμβολίης αἰὲν ἀεξομένης
Ταῦτά μοι ἱμείροντι χαρίζεαι, ἄλλα δ᾽ ἐς ἄλλους
δῶρα φέρεις, ἐμέϑεν πίστιν ἀπειπαμένη.
Ὄψομα: ἑσπερίη σε. τί δ᾽ ἕσπερός ἐστι γυναίχῶν ;
~ > , y / G ,
γῆρας ἀμετρήτῳ πληϑόμινον ῥυτίδι.

Χ

THE CASKET OF PANDORA

MACEDONIUS

Πανδώρης ὁρόων γελόω πίϑον, οὐδὲ γυναῖκα
μέμφομαι, ἀλλ᾽ αὐτῶν τὰ πτερὰ τῶν Avatar’

“Ὡς γὰρ ἐπ᾽ Οὐλύμποιο μετὰ χϑονὸς ἤϑεα πάσης
πωτῶνται, πίπτειν χαὶ κατὰ γῆν ὄφελον.

Ἣ δὲ γυνὴ μετὰ πῶμα κατωχρήσασα παρειὰς
ὥλεσεν ἀγλαΐην ὧν ἔφερεν χαρίτων,

"ἊΣ on x a ε ~ ats or PA ee BY A

υφοτέρων δ᾽ ἥμαρτεν ὁ νῦν βίος, ὅττι καὶ αὐτὴν

γηράσχουσαν ἔχει, καὶ πίϑος οὐδὲν ἔχει.

9

‘To-morrow I will look on thee ’—but that never comes for us,
while the accustomed putting-off ever grows and grows. This
is all thy grace to my longing; and to others thou bearest other
gifts, despising my faithful service. ‘I will see thee at evening.’
And what is the evening of a woman’s life? old age, full of a
million wrinkles.

Io

I laugh as I look on the jar of Pandora, nor do I blame the
woman, but the wings of the Blessings themselves ; for they flutter
through the sky over the abodes of all the earth, while they
ought to have descended on the ground. But the woman behind
the lid, with cheeks grown pallid, has lost the splendour of the
beauties that she had, and now our life has missed both ways,
because she grows old in it, and the jar is empty.

218 GREEK ANTHOLOGY [SECT. 9

XI
COMING WINTER
ANTIPATER OF SIDON
Ἤδη τοι φϑινόπωρον, ᾿Επίχλεες, ἐκ δὲ Βοώτου
, ᾽ , \ » ,
ζώνης Αρχτούρου λαμπρὸν ὄρωρξ σέλας,
ἼἜΠ)η αὶ σε οοέοΨρορΕοέΨἜρΨΠΨἔἘΕἘΨἔνὌ
ἡ χαὶ σταφυλαὶ ὁρεπάνης ἐπιμιμνήησχονται
χαί τις χειμερινὴν ἀμφερέφει καλύβην'
Ν 3] Μ τ la \ εὖ wv ~
Σοὶ δ᾽ οὔτε χλαίνης Veou.n κροχὺς οὐτε χιτῶνος
Μ = Ἄς ο ae * 7 2 ,ὔ ΄ νὰ
ἔνδον ἀποσχλησῃ ὃ ἁστέρα μεμφόμενος.

ΧΙ

NEMESIS
MELEAGER

"Eg déyeo, ναὶ Κύπριν, ἃ μιὴ ϑεός, ὦ μέγα tos
\ , ͵ -- \ ΕΣ 2 U
ϑυμὲ μαϑῶν Θήρων σοὶ χαλὸς οὐχ ἐφάνη,

4 \ > > Ud a 2 ᾽ > \ «ς la a
Σοὶ καλὸς οὐκ ἐφάνη Θήρων᾽ ἀλλ’ αὐτὸς ὑπέστης
οὐδὲ Διὸς πτήξεις πῦρ τὸ χεραυνοβόλον.
Toryxo ἰδού, τὸν πρόσϑε λάλον προὔϑηκεν ἰδέσϑαι

δεῖγμα ϑρασυστομίης ἡ βαρύφρων Νέμεσις.

XIII
THE BLOODY WELL
APOLLONIDES
‘H Καϑοαρὴ (Νύμφαι γὰρ ἐπώνυμον ἔξοχον ἄλλων
/ , ~ 2 U
χρήνῃ πασάων δῶκαν ἐμοὶ λιβάδων)

ΤΊ
Now is autumn, Epicles, and out of the belt of Bootes the clear
splendour of Arcturus has risen; now the grape-clusters take
thought of the sickle, and men thatch their cottages against winter;
but thou hast neither warm fleecy cloak nor garment indoors, and
thou wilt be shrivelled up with cold and curse the star.

12

Thou saidst, by the Cyprian, what not even a god might, O

greatly-daring spirit; Theron did not appear fair to thee; to

thee Theron did not appear fair; nay, thou wouldst have it so:

and thou wilt not quake even before the flaming thunderbolt of

Zeus. Wherefore lo! indignant Nemesis hath set thee forth to see,
who wert once so voluble, for an example of rashness of tongue.

13
I the Clear Fount (for the Nymphs gave this surname to me
beyond all other springs) since a robber slew men who were resting

II-15] FATE AND CHANGE 219

Ληϊστὴς ὅτε μοι παραχλίντορας ἔκτανεν ἄνδρας
χαὶ φονίην ἱεροῖς ὕδασι λοῦσε χέρα,
Κεῖνον ἀναστρέψασα γλυκὺν ὁόον οὐχέϑ᾽ ὁδίταις
, ~ / \ 2 ~ οὶ aN y ἑ
βλύζω’ τίς γὰρ ἐρεῖ τὴν Καϑαρὴν ἔτι pe;

XIV
A STORY OF THE SEA

ANTIPATER OF THESSALONICA

Κλασϑείσης ποτὲ νηὸς ἐν ὕδατι, δῆριν ἔϑεντο
δισσοὶ ὑπὲρ μούνης μαρνάμινοι σανίδος.

Τύψε μὲν ᾿Ανταγόρης Πειοίστρατον᾽ οὐ νεμεσητόν,
ἣν γὰρ ὑπὲρ ψυχῆς" ἀλλ’ ἐμέλησε Δίκῃ.

Niye® ὁ μέν, τὸν δ᾽ εἷλε κύων ἁλός" ἡ πανοαλάστωρ
χηρῶν οὐδ᾽ ὑγρῷ παύεται ἐν πελάγει.

XV
EMPTY HANDS

CALLIMACHUS

Oid ὅτι μοι πλούτου xeveal χέρες" ἀλλά, Μένιππε,
wn λέγε, πρὸς Χαρίτων, τοὐμὸν ὄνειρον ἐμοί:

) , ὴ ὃ \ \ " ὃ \ ? pte

Αλγέω jy διὰ παντὸς ἔπος τόδε πικρὸν ἀκούω
ναί, φίλε, τῶν παρὰ σοῦ τοῦτ᾽ ἀνεραστότατον.

beside me and washed his bloodstained hand in my holy waters,
have turned that sweet flow backward, and no longer gush out for
wayfarers ; for who any more will call me the Clear ἢ

14

Once on a time when a ship was shattered at sea, two men fell
at strife fighting for one plank. Antagoras struck away Pisistratus;
one could not blame him, for it was for his life; but Justice took
cognisance. The other swam ashore; but him a dog-fish seized ;
surely the Avenger of the Fates rests not even in the watery deep.

15
I know that my hands are empty of wealth; but by the Graces,
O Menippus, tell me not my own dream; it hurts me to hear
evermore this bitter word : yes, my dear, this is the most unloving
thing of all I have borne from thee.

2) = ΟΣ ὙΦ ae aaa <223527')°": = ΝΣ =
᾿ a

220 GREEK ANTHOLOGY [SECT. 9

XVI
LIGHT LOVE
MARCUS ARGENTARIUS
᾿Ἢράσϑης πλουτῶν, Σωσίκρατες" ἀλλὰ πένης ὧν
οὐχέτ᾽ ἐρᾷ" λιμὸς φάρμαχον οἷον Eyer’
Ἢ δὲ πάρος σε χαλεῦσα υὔρον χαὶ τερπνὸν "Αδωνιν
Μηνοφίλα, νῦν σου τοὔνομα πυνϑάνεται.
Τίς πόϑεν εἷς ἀνδρῶν ; πόϑι τοι πόλις ; ἡ μόλις ἔγνως
τοῦτ᾽ ἔπος, ὡς οὐδεὶς οὐδὲν ἔχοντι φίλος.

XVII
FORTUNE'S PLAYTHING
AUTHOR UNKNOWN
ΕῚ , , , > a, id an
Οὐχ ἐθέλουσα Τύχη σε προήγαγεν, ἀλλ᾽ ἵνα δείξῃ
« ε , ~ , ον /
ὡς OTL μέχρις σοῦ πάντα ποιεῖν δύναται.

XVIII
TIME THE CONQUEROR
PLATO
Αἰὼν πάντα φέρει δολιχὸς χρόνος οἶδεν ἀμείβειν
Le μὲ \ - Ἄ \ ig ows ΜΞ
οὔνομα καὶ μορφὴν χαὶ φύσιν ἠδὲ τύχην.

τό

Thou wert loved when rich, Sosicrates, but being poor thou
art loved no longer; what magic has hunger! And she who
before called thee spice and darling Adonis, Menophila, now
inquires thy name. Who and whence of men art thou? where is
thy city? Surely thou art dull in learning this saying, that
none is friend to him who has nothing.

17
Not of good-will has Fortune advanced thee; but that she may
show her omnipotence, even down to thee.

18

Time carries all things; length of days knows how to change
name and shape and nature and fortune.

16-20] FATE AND CHANGE 221

XTX
MEMNON AND ACHILLES

ASCLEPIODOTUS

Ζώειν, εἰναλίη Θέτι, Μέμνονα καὶ μέγα φωνεῖν
μάνϑανε, μιητρῴῃ λαμπάδι ϑολπόμενον,
Αἰγύπτου Λιβυχῇσιν ὑπ᾽ ὀφρύσιν, ἔνϑ᾽ ἀποτάμνει
χαλλίπυλον Θήβην Νεῖλος ἐλαυνόμενος,

Τὸν δὲ μάχης ἀκόρητον ᾿Αχῶλέα pyr’ ἐνὶ Τρώων
φϑέγγεσϑαι πεδίῳ, μήτ᾽ ἐνὶ Θεσσαλίῃ.

ΧΧ

CORINTH
ANTIPATER OF SIDON

ΠΠοῦ τὸ περίβλεπτον χαλλος σέο, Δωρὶ Κόρινϑε ;
ποῦ στεφάναι πύργων, ποῦ τὰ πάλαι χτέανα 5
Ποῦ νηοὶ μακάρων, ποῦ δώματα, ποῦ δὲ δάμαρτες
Σισύφιαι λαῶν ϑ’ αἵ ποτε μυριάδες;
Οὐδὲ γὰρ οὐδ᾽ ἴχνος, πολυκάμμοορε, σεῖο λέλειπται,
, [2 ᾽ /
πάντα δὲ συμμιάρψας ἐξέφαγεν πόλεμος.
~ 7 ~
Μοῦναι ἀπόρϑητοι Νηρηΐδες ᾿᾽Ωχεανοῖο
χοῦραι σῶν ἀχέων μίμινομιεν ἀλχυόνες.

19
Know, O Thetis of the sea, that Memnon yet lives and cries
aloud, warmed by his mother’s torch, in Egypt beneath Libyan
brows, where the running Nile severs fair-portalled Thebes ; but
Achilles, the insatiate of battle, utters no voice either on the
-'Trojan plain or in Thessaly.

20

Where is thine admired beauty, Dorian Corinth, where thy
crown of towers? where thy treasures of old, where the temples
of the immortals, where the halls and where the wives of the
Sisyphids, and the tens of thousands of thy people that were ? for
not even a trace, O most distressful one, is left of thee, and war
has swept up together and clean devoured all; only we, the
unravaged sea-nymphs, maidens of Ocean, abide, haleyons wailing
for thy woes.

222 GREEK ANTHOLOGY [SECT. 9

XXI

DELOS
ANTIPATER OF THESSALONICA

ἴϑε με παντοίοισιν ἔτι πλάζεσϑαι ἀήταις
ἤ Λητοῖ στῆναι μαῖαν ἀλωομένῃ,
Οὐχ ἂν χητοσύνην τόσον ἔστενον. οἷ ἐμὲ δειλήν,
er « / \ a
OGGALC Ἑλλήνων νηυσὶ παραπλέομιαι
¢ , \ U Lf oem , ev
Δῆλος ἐρημαίη, τὸ πάλαι σέβας ὀψέ μοι Ἥρη
~ > , ,
Λητοῦς, ἀλλ᾽ οἰχτρὴν τήνδ᾽ ἐπέϑηχε δίχην.

XXII
TROY
AGATHIAS
Εἰ μὲν ἀπὸ Σπάρτης τις ἔφυς, ξένε, un με γελάσσῃς,
οὐ γὰρ ἐμοὶ μούνῃ ταῦτα τέλεσσε Τύχη;
Εἰ δέ τις ἐξ ᾿Ασίης, μὴ πένϑεε, Δαρδανικοῖς γὰρ
σκήπτροις Αἰνεαδῶν πᾶσα νένευχε πόλις"
Εἰ δὲ ϑεῶν τεμένη καὶ τείχεα καὶ ναετῆρας
ζηλήμων δηίων ἐξεκένωσεν ἤΔρης,
Εἰμὶ πάλιν βασίλεια" σὺ δ᾽ ὦ τέκος, ἄτρομε Ῥώμη

βάλλε καϑ' Ελλήνων σῆς ζυγόδεσμα δίκης.

21

Would I were yet blown about by ever-shifting gales, rather
than fixed for wandering Leto’s childbed; I had not so bemoaned
my desolation. Ah miserable me, how many Greek ships sail
by me, desert Delos, once so worshipful: late, but terrible, is
Hera’s vengeance laid on me thus for Leto’s sake.

22

If thou art a Spartan born, O stranger, deride me not, for not
to me only has Fortune accomplished this; and if of Asia, mourn
not, for every city has bowed to the Dardanian sceptre of the
Aeneadae. And though the jealous sword of enemies has emptied
out Gods’ precincts and walls and inhabitants, I am queen again ;
but do thou, O my child, fearless Rome, lay the yoke of thy law
over Greece.

21-25] FATE AND CHANGE 223

XXIII
MYCENAE (τ)
ALPHEUS
Ἡρώων ὀλίγαι μὲν ἐν ὄμμασιν, αἱ δ᾽ ἔτι λοιπαὶ
(ὃ > ~ ) > , δι ἃ
TATPLOES οὐ πολλῷ γ᾽ αἰπύτεραι TEDLWY
“ \ , , , ΄ BSE
Οἵην καὶ σέ, τάλαινα, παρερχόμενος γε Μυχήνην
ἔγνων, αἰπολίου παντὸς ἐρημοτέρην,
Αἰπολικὸν μιήνυμια" γέρων δέ τις, ἣ πολύχρυσος
Sey μους, et ete) ONT PUGGS,
= , δ. 8. τΑ͂ ,
εἶπεν, Κυκλώπων τῇδ᾽ ἐπέκειτο πόλις.

ΧΧΙν

MYCENAE (2)
POMPEIUS
> os > , /, / “ ,
Εἰ καὶ ἐρημαίη κέχυμιαι κόνις ἔνϑα Μυχήνη,
εἰ χαὶ ἀμαυροτέρη παντὸς ἰδεῖν σχοπέλου,
Μ ~ \ , τ > ,
Thov τις καϑορῶν χλεινὴν πόλιν ἧς ἐπατησα
τείχεα, καὶ ΤΠριάμου πάντ᾽ ἐχένωσα δόμων,
, v εἰ , y > ~~
Γνώσεται ἔνϑεν ὅσον παᾶρος ἔσϑενον᾽ εἰ δέ με γῆρας
ὕβρισεν, ἀρχοῦμαι μάρτυρι Μαιονίδῃ.
‘

XXV
AMPHIPOLIS
ANTIPATER OF THESSALONICA

Στρυμόνι καὶ μεγάλῳ πεπολισμένον ᾿ Ἑλλησπόντῳ

ἠρίον ᾿Ηδωνῆς Φυλλίδος, ᾿Αμφίπολι,

a3
Few of the native places of the heroes are in our eyes, and
those yet left rise little above the plain; and such art thou, O
hapless Mycenae, as I marked thee in passing by, more desolate
than any hill-pasture, a thing that goatherds point at; and an old
man said, ‘ Here stood the Cyclopean city rich in gold.’

24

Though I am but drifted desolate dust where once was Mycenae,
though I am more obscure to see than any chance rock, he who
i00ks on the famed city of Ilus, whose walls I trod down and
emptied all the house of Priam, will know thence how great my
former strength was; and if old age has done me outrage, I am
content with Homer’s testimony.

25
City built upon Strymon and the broad Hellespont, grave of
Edonian Phyllis, Amphipolis, yet there remain left to thee the

bo
bo
re

GREEK ANTHOLOGY [SECT. 9

Λοιπά τοι Αἰϑοπίης Βραυρωνίδος ἴχνια νηοῦ
υίψνει καὶ ποταμοῦ τἀμφιμάχητον ὕδωρ,
Τὴν δέ ποτ᾽ Αἰγείδαις μεγάλην ἔριν ὡς ἁλιανϑὲς
-“- , > , Ἄν els ead
τρῦχος ἐπ’ ἀμφοτέραις δερχκόμιεϑ᾽ ἠϊόσιν,

XXVI
SPARTA
AUTHOR UNKNOWN
“A πάρος ἄδμητος καὶ ἀνέμβατος, ὦ Λακεδαῖμον,
χαπνὸν ἐπ᾽ Εὐρώτᾳ δέρχεαι ᾿Ωλένιον
Ασχιος" οἰωνοὶ δὲ κατὰ χϑονὸς οἰκία ϑέντες
, t ᾽ i > st, ,
υύρονται, μιηλων δ᾽ οὐχ ἀΐουσι λύχοι.

ΧΧΥΙΠ
BERYTUS .
AUTHOR UNKNOWN
Τὴν πόλιν ot νέκυες πρότερον ζῶσαν κατέλειψαν,
ἡμεῖς δὲ ζῶντες τὴν πόλιν ἐχφέρομεν.

XXVIII
SED TERRAE GRAVIORA
LEONIDAS OF TARENTUM
“Ολχάδα πῦρ ν᾽ ἔφλεξε τόσην ἅλα μετρήσασαιν
ἐν χϑονὶ τῇ πεύχας εἰς ἐμὲ χειραμένῃ,

traces of the temple of her of Aethopion and Brauron, and the
water of the river so often fought around ; but thee, once the high
strife of the sons of Aegeus, we see like a torn rag of sea-purple on
either shore,

26
O Lacedaemon, once unsubdued and untrodden, thou seest
shadeless the smoke of Olenian camp-fires on the Eurotas, and the
birds building their nests on the ground wail for thee, and the
wolves do not hear any sheep.

27
Formerly the dead left their city living ; but we living hold the
city’s funeral.
28
Me, a hull that had measured such spaces of sea, fire consumed
on the land that cut her pines to make me. Ocean brought me

26-531]} FATE AND CHANGE 225

“Hy πέλαγος διέσωσεν ἐπ᾽ Hava’ ἀλλὰ ϑαλάσσης
\ o's. ἢ , - > ,ὔ
THY ἐμὲ γειναμένην εὑρον ἀπιστοτέρην.
ΧΧΙΧ
YOUTH AND RICHES
AUTHOR UNKNOWN
7 , > A , ~ ~ f , ,
Hy νέος ἀλλὰ πένης, νῦν γηοῶν πλούσιός εἶμι,
A 3 , ? 2
ὦ μόνος ἐκ πάντων οἰκτρὸς ἐν ἀμφοτέρο!ς,
Ὃς τότε μὲν χρῆσϑαι δυνάμιην ὁπότ᾽ οὐδὲ ἕν εἶχον,
~ Senko RORY Ma ESE ORTH nN a τ ἘΣ ὩΣ
νῦν δ᾽ ὁπότε χρῆσθαι μιὴ δύναμαι TOT ἔχω.

ΔΟΧ ΌΧΙ,
THE VINES REVENGE
EVENUS
Κν us φάγης ἐπὶ étlay ὅμως ἔτι χαρπ' +
ἣν με payns ἐπὶ ῥίζαν ὅμως ἔτι χαρποφορησω
2 > ~ , ’ ͵ὔ
ὅσσον ἐπισπεῖσαι σοί, τραγξ, ϑυομένῳ.

ΧΧΧΙ
REVERSAL
PLATO
x Ὶ οἷς > Jean e \ ἔλ ρ ἊΣ ᾿ > ps Lae Ὶ A
ρυσὸν ἀνὴρ εὑρὼν ἔλιπεν βρόχον' αὐτὰρ ὁ χρυσὸν
a , > e ak a LAT x € a
ὃν λίπεν οὐχ εὑρὼν ἦψεν ὃν cups βρόχον.

safe to shore; but I found her who bore me more treacherous
than the sea.

29
I was young, but poor; now in old age J am rich, alas, alone of
all men pitiable in both, who then could enjoy when I had nothing,
and now have when I cannot enjoy.

30

Though thou devour me down to the root, yet still will I bear
so much fruit as will serve to pour libation on thee, O goat, when
thou art sacrificed.

31
A man finding gold left a halter; but he who had left the
gold, not finding it, knotted the halter he found.

15

ΨΎΨΨΥΙ ἃ

a Le

226 GREEK ANTHOLOGY [SECT. 9
XXXII
TENANTS AT WILL

AUTHOR UNKNOWN

Αγρὸς Αχαιμενίδου γενόμην ποτέ, νῦν δὲ Μενίππου,
χαὶ παλιν ἐξ ἑτέρου

Kat γὰρ éxe

βήσομιαι εἰς ἕτερον"
χεῖνος ἔχειν

TOT ᾧετο, χαὶ πάλιν οὗτος
οἴεται" εἰμὶ δ᾽ ὅλως οὐδενός, ἀλλὰ Τύχης.
XXXIII
PARTING COMPANY
AUTHOR UNKNOWN
᾿Ελπὶς καὶ ov Τύχη υέγα χαίρετε᾽ τὸν λιμέν᾽ alk
οὐδὲν ἐμοὶ χ᾽ ὑμῖν: παίζετε τοὺς μετ᾽ ἐμέ

XXXIV
FORTUNE'S MASTER
PALLADAS
Eacntdo; οὐδὲ Τύχης ἔτι μοι μέλει, οὐδ᾽ ὀλεγίζω
A i ‘ ἐν Εν > LA

λοιπὸν τῆς aTATHS YAvdov εἰς λιμένα.
Εἰμὶ πένης ἄνϑρωπος, ἐλευϑερίῃ δὲ συνοιχῶν
ὑβριστὴν πενίης πλοῦτον ἀποστρέφομαι.

ΧΧΧν
BREAK OF DAY
JULIUS POLYAENUS
/ « ,
Ἐλπὶς ἀεὶ βιότου χλέπτει χρόνον᾽ ἡ πυμάτη δὲ
Dw \ A v > /
NOS τὰς πολλᾶς ἔφϑασεν ἀσχολίας

o-
I was once the field of Achaemenides, now I am Menippus’, and
again I shall pass from another to another ; for the former thought

: :
once that he owned me, and the latter thinks so now in his turn ;
and 1 belong to no man at all, but to Fortune

33
Hope, ἘΠ thou Fortune, a long farewell; I have found the
haven ; there is nothing more between me and you ; make your
sport of those who come after me
34
No more is Hope or Fortune my concern, nor for what remains
do I reck of your deceit; I have reached harbour. I am a poor
man, but living in Freedom’s company I turn my face away from
wealth the scorner of poverty.
35
Hope evermore steals away life’s period, till the last morning
cuts short all those many businesses.

Χ

TER HUMAN COMEDY

I
PROLOGUE

STRATO

Μὴ ζήτει δέλτοισιν ἐμαῖς Πρίαμον παρὰ βωμοῖς
υηδὲ τὰ Μηδείης πένϑεα χαὶ Νιόβης,

Μηδ’ Ἴτυν ἐν ϑαλάμοις καὶ ὀηδόνας ἐν πετάλοισιν᾽

- ΝΥ ε , , ™ v é

ταῦτα γὰρ οἱ πρότεροι πάντα χύδην ἔγραφον
« ~ ,ὔ «ς \ 2

᾿Αλλ’ ἱλαραῖς Χαρίτεσσι μεμιγμένον ἡδὺν ἔρωτα
καὶ Βρόμιον" τούτοις δ᾽ ὀφρύες οὐκ ἔπρεπον.

II
FLOWER Οὐ THE ROSE

DIONYSIUS

Ἢ τὰ dda, ῥοδόεσσαν ἔχεις χάριν: ἀλλὰ τί πωλεῖς,

, λ τ Οὗ 2A ,
σαυτὴν, ἢ τὰ ῥόδα, HE συναμφότερα;

Ι

Seek not on my pages Priam at the altars nor Medea’s and
Niobe’s woes, nor Itys in the hidden chambers, and the nightin-
gales among the leaves ; for of all these things former poets wrote
abundantly ; but mingling with the blithe Graces, sweet Love and

the Wine-god ; and grave looks become not them.

—
You with the roses, you are fair as a rose; but what sell you?

yourself, or your roses, or both together 4
227

228 GREEK ANTHOLOGY [SECT. 10

III
LOST DRINK
NICARCHUS
“Ἑρμαίοις ἡμῖν ᾿Αφροδίσιος 8 yous olvov
αἴρων, προσχόψας πένϑος ἔϑηχε μέγα.
Οἶνος xa Κένταυρον ἀπώλεσεν᾽ ὡς ὄφελεν δὲ
χἡμᾶς νῦν δ᾽ ἡ

υεῖς τοῦτον ἀπωλέσαμεν.

IV

THE VINTAGE-REVEL

LEONIDAS OF TARENTUM

Γλευχοπόταις Σατύροισι καὶ ἀμπελοφύτορι Banyo
“ἩΗρώναξ πρῶτα δράγματα φυταλιῆς

Τρισσῶν οἰνοπέδων τρισσοὺς ἱερώσατο τούὐσὸςε
ἐμπλήσας οἴνου πρωτοχύτοιο χάδους,

Ὧν ἡμεῖς σπείσαντες ὅσον ϑέμις οἴνοπι Βάχγῳ
xa, Σατύροις, Σατύρων πλείονα πιόμεϑα.

Vv
SNOW IN SUMMER

SIMONIDES

Τῇ ῥά ποτ’ Οὐλύμποιο περὶ πλευρὰς ἐκάλυψεν
ὀξὺ 2 a8. Θ sk eas > a B ἜΣ
ὀξὺς ἀπὸ Θρήκης ὀρνύμενος Βορέας

3
At the Hermaea, Aphrodisius, while lifting six gallons of wine
for us, stumbled and dealt us great woe. ‘From wine also perished
the Centaur,’ and ah that we had too! but now it perished from us,

4
To the must-drinking Satyrs and to Bacchus, planter of the vine,
Heronax consecrated the first handfuls of his plantation, these
three casks from three vineyards, filled with the first flow of the
wine; from which we, having poured such libation as is meet to
crimson Bacchus and the Satyrs, will drink deeper than they.

5
With this once the sharp North Wind rushing from Thrace
covered the flanks of Olympus, and nipped the spirits of thinly-

3-8] THE HUMAN COMEDY 229

~ NS ~ v > A /
᾿Ανδρῶν δ᾽ ἀχλαίνων ἔδαχε φρένας" αὐτὰρ ἐχρύφϑη
ζωή, Πιερίαν γῆν ἐπιεσσαμένη,
"Ey τις ἔμοιγ᾽ αὐτῆς γεέτω μέρος οὐ yao ἔοιχε
Seat PA v~> iy

ϑερμὴν βαστάζειν ἀνδρὶ φίλῳ πρόποσιν.

VI
A JUG OF WINE
AUTHOR UNKNOWN
/ > , ’ ,
Στρογγύλη, εὐτόρνευτε, μονούατε, μαχροτράχηλε,
δ]. deve Ὕ Asay Lue Υ
ὑψαύχην, στεινῷ φϑε γγομένη στόματι,
͵ / « /
Baxyou καὶ Μουσέων ἱλαρὴ λάτρι καὶ Κυϑερείης,
eX? ES =e ΤᾺ
ἡδύγελως, τερπνὴ συμβολικῶν ταμίη,
« , , . ms
Τίφϑ᾽ ὁπόταν νήφω μεϑύεις σύ μοι, ἣν δὲ υεϑυσϑῶ
ἐκνέήφεις;: ἀδικεῖς συμποτικὴν φιλίην.

VII
THE EMPTY JAR
ERATOSTHENES
Οἰνοπότας Ἐξενοφῶν χενεὸν πίϑον ἄνϑετο, Βάκχε:
/ ’ τὶ Ὁ" we \ > ‘ v Η
δέχνυσο δ᾽ εὐμενέως: ἄλλο γὰρ οὐδὲν ἔχει.

VIII
ANGELORUM CHORI
MARCUS ARGENTARIUS
Κωμόζω, χρύσειον ἐς ἑσπερίων χορὸν ἄστρων
λεύσσων, οὐδ᾽ ἄλλων λὰξ ἐβάρυνα χορούς,

clad men; then it was buried alive, clad in Pierian earth. Let
a share of it be mingled for me ; for it is not seemly to bear a tepid
draught to a friend.

6

Round-bellied, deftly-tarned, one eared, long-throated, straight-
necked, bubbling in thy narrow mouth, blithe handmaiden of
Bacchus and the Muses and Cytherea, sweet of laughter, delightful
ministress of social banquets, why when I am sober art thou in
liquor, and when I am drunk, art sober again? Thou wrongest
the good-fellowship of drinking.

7

Xenophon the wine-bibber dedicates an empty jar to thee, -

Bacchus ; receive it graciously, for it is all he has.
8

I hold revel, regarding the golden choir of the stars at evening,
nor do I spurn the dances of others; but garlanding my hair

290 GREEK ANTHOLOGY [SECT. 10

Στέψας δ᾽ ἀνϑόβολον χρατὸς τρίχα, τὴν χελαδεινὴὲν
πηχτίδα μουσοπόλοις χεροὶν ἐπηρέϑισα᾽

Καὶ rads δρῶν εὔχοσμον ἔχω βίον" οὐδὲ γὰρ αὐτὸς
χόσρμ. ος ἄνευϑε Χύρης E ἔπλετο χαὶ στεφάνου.

ΙΧ
SUMMER SAILING
ANTIPHILUS
oa say , ‘ e sy ae oe ee 4 > ~
Kay πρύμνῃ λαχέτω μέ ποτε στιβᾶς, αἵ ϑ᾽ ὑπὲρ αὐτῆς
ἠχεῦσαι hasta day TUVULLTE διφϑερίδες,
Kat πῦρ ἐκ μυλάχων βεβιημένον, ἥ τ᾽ ἐπὶ τούτων
,
as LA np
χύτρη, καὶ χενεὸς πομφολύγων ϑόρυβος,
,ὔ iy 3 , > A /
Καὶ x0’ ἕποντ᾽ ἐσίδοιμι διήχονον, 708 τράπεζα
t 4 3 j : 5. αὶ i i
ἔστω μοι στρωτὴ νηὸς ὕπερϑε σανίς"
τοι λάβε, καὶ ψιϑύρισμα τὸ ναυτιχόν᾽ εἶχε τύχη τις
KES τοισύτη τὸν φιλόχοινον ἐμέ.

Χ

L’ ALLEGRO
JULIANUS AEGYPTIUS

“Hoda πάντα χέλευϑα λά χὲν βίος: ἄστεϊ μέσσῳ
εὐχος ἕτ ταιρεῖαι, χρυπτὰ δόμοισιν ἄχη;

᾿Αγρὸς τέρψιν ὁ ἄγει, χέρ ρδος πλόος, ἀλλοδαπὴ χϑὼν
γνώσιας ἐκ δὲ γάμων οἶκος ὁμιοφρονέει,

with flowers that drop their petals over me, | waken the melodious
harp into passion with musical hands; and doing thus I lead a
well-ordered life, for the order of the heavens too has its Lyre and
Crown.

9

Mine be a mattress on the poop, and the awnings over it
sounding with the blows of the spray, and the fire forcing its way
out of the hearth-stones, and a pot upon them with empty turmoil
of bubbles ; and let me see the boy dressing the meat, and my
table be a ship’s plank covered with a cloth; and a game of pitch
and toss, and the boatswain’s whistle: the other day I had such
fortune, for I love common life.

10

All the ways of life are pleasant ; in the market-place are goodly
companionships, and at home griefs are hidden ; the country brings
pleasure, seafaring wealth, foreign lands knowledge. Marriages
make a united house, and the unmarried life is never anxious ;

9-13] THE HUMAN COMEDY 231

Τοῖς δ᾽ ἀγάμοις ἄφροντις ἀεὶ βίος ᾿ ἕρκος ἐτύχϑη
πατρὶ τέκος" φροῦδος τοῖς ἀγόνοισι φόβος:

᾿Ηνορέην νεότης, πολιὴ φρένας οἷδεν ὀπάσσαι.
ἔνϑεν ϑάρσος ἔχων ζῶε, φύτευς γένος.

ΧΙ
DUM VIVIMUS VIVAMUS
AUTHOR UNKNOWN
“RE ὧραι μόχϑοις ἱκανώταται" αἱ δὲ μετ᾽ αὐτὰς
γράμμασι δεικνύμεναι ζῆϑι λέγουσι βροτοῖς.

XII
HOPE AND EXPERIENCE
AUTHOR UNKNOWN
Εἰ τις ἅπαξ γήμας πάλι δεύτερα λέκτρα Su xer
vaunyos πλώει δὶς βυϑὸν ἀργαλέον.

XIII

THE MARRIED MAN
PALLADAS
A , or , We a ,
Ay πάνυ χομπαζὴς προσ πη τ μη ὑπαχοῦύξιν
Bue γαμετῆς, ΠΕΣ 5° Ov γὰρ ἀπὸ δρυὸς εἶ
\ , /
Οὐδ᾽ ἀπὸ πέτρης, φησίν᾽ ὃ 9’ οἱ πολλοὶ κατ᾽ ἀνάγχην

,

a
πάσχομεν Ἢ πάντες, χαὶ σὺ γυναικοχκρατῇ᾽

a child is a bulwark to his father; the childless are far from
fears; youth knows the gift of courage, white hairs of wisdom:
therefore, taking courage, live, and beget a family.

Il

Six hours fit labour best: and those that follow, shown forth in
letters, say to mortals, ‘ Live.’

12

Whoso has married once and again seeks a second wedding, is
a shipwrecked man who sails twice through a difficult gulf.

τ
If you boast high that you are not obedient to your wife’s
commands, you talk idly, for you are not sprung of oak or rock,
as the saying is; and, as is the hard case with most or all of us,
you too are in woman’s rule. But if you say, ‘I am not struck

232 GREEK ANTHOLOGY [SECT. 10

Ei δ᾽, οὐ σανδαλίῳ, φής, τύπτομαι, οὐδ᾽ ἀκολάστου
οὔσης μοι γαμετῆς χρή με μύσαντα φέρειν,
Δουλεύειν σε λέγω μετριώτερον, εἴ γε πέπρασαι
, = , = A / ~
σώφρονι δεσποίνῃ yds λίαν χαλεπῇ.

XIV
AN UNGROUNDED SCANDAL
LUCILIUS

Tac τρίχας, ὦ Νίκυλλά, τινες βάπτειν σε λέγουσιν
“ \

Kes ~
ἃς σὺ μελαινοτάτας ἐξ ἀγορᾶς ἐπρίω.

Χν
THE POPULAR SINGER
NICARCHUS
Νυχτικόραξ ἄδει ϑανατηφόρον᾽ ἀλλ᾽ ὅταν ἄσῃ
Δημόφιλος, ϑνήσχει καὐτὸς ὁ νυχτικόραξ,

XVI
THE FAULTLESS DANCER
PALLADAS
Δάφνην xa Νιόβην ὠρχήσατο Μέμφις ὁ σιμός,
ὡς ξύλινος Δάφνην, ὡς λίϑινος Νιόβην.

with a slipper, nor my wife being unchaste have I to bear it
and shut my eyes,’ I reply that your bondage is lighter, in that
you have sold yourself to a reasonable and not to too hard a

mistress.

14
Some say, Nicylla, that you dye your hair; which is as black as
can be bought in the market.

15
The night-raven’s song is deadly ; but when Demophilus sings,
the very night-raven dies.

16

Snub-nosed Memphis danced Daphne and Niobe; Daphne like
a stock, Niobe like a stone.

14-19] THE HUMAN COMEDY 233

XVII
THE FORTUNATE PAINTER
LUCILIUS

Kb δ “Ζουν ας le f CG “7 , r BS 1) ΎὙΩΣΖ υἱού
υὔκοσι γεννησας O ζωγράφος Kutuyos vious,
τ

\ ~

»W > , hy « ἌΡ ΤΣ
οὐὸ απὸ τῶν τέχνωὼν OUOEYV OU.0LOV cyet.

XVIII
SLOW AND SURE
NICARCHUS

Πέντε. μετ᾽ ἄλλων Χάρμος ἐν ᾿Αρχαδίᾳ δολιχεύων,

ϑιχῦμα μέν, ἀλλ’ ὄντως ἕβδομος ἐξέπεσεν.
“EE ὄντων, τάχ᾽ ἐρεῖς, πῶς ἕβδομος; εἷς φίλος αὐτοῦ,

ϑάρσει, Χάρμε, λέγων, ἦλϑεν ἐν ἱματίῳ:
Ἕβδομος οὖν οὕτω παραγίνεται εἰ δ᾽ ἔτι πέντε

εἶχε φίλους, ἦλϑ᾽ ἄν, Ζωΐλε, δωδέκατος.

ΧΙΧ
MARCUS THE RUNNER
LUCILIUS

κ

la 3 ,
Νύχτα μέσην ἐποίησε τρέχων ποτὲ Μάρχος ὁπλίτης
ει ~ / \
ὥστ᾽ ἀποχλεισϑῆναι πάντοϑε TO στάδιον,
ε ~ U y (A
Οἱ γὰρ δημόσιοι κεῖσϑαί τινα πάντες ἔδοξαν
ὁπλίτην τιμῆς εἵνεκα τῶν λιϑίνων᾽
a "Ἂς , / é A a Ἔ , Xx / ,
Καὶ τί yap; εἰς ὥρας ἠνοίγετο, καὶ τότε Μάρχος
ἦλϑε, προσελλείπων τῷ σταδίῳ στάδιον.

LW
Eutychus the portrait-painter got twenty sons, and never got
one likeness, even among his children.

18

Charmus ran for the three miles in Arcadia with five others;
surprising to say, he actually came in seventh. When there were
‘only six, perhaps you will say, how seventh? A friend of his
went along in his great-coat crying, ‘Keep it up, Charmus!’ and
so he arrives seventh ; and if only he had had five more friends,
Zoilus, he would have come in twelfth.

=D
Marcus once saw midnight out in the armed men’s race, so that
the race-course was all locked up, as the police all thought that
he was one of the stone men in armour who stand there in honour
of victors. Very well, it was opened next day, and then Marcus
turned up, still short of the goal by the whole course.

dicts aes) vo a 7, oe ae

234 GREEK ANTHOLOGY [SECT: ΟΣ

XX
HERMOGENES
LUCILIUS

Ὃ βραχὺς Ἑρμογένης, ¢ ὅταν ἐκβάλῃ εἰς τὸ χαμαί τι,

ἕλχει πρὸς τὰ χάτω τοῦτο δορυδρεπάνῳ.

XXI

PHANTASMS OF THE LIVING
LUCILIUS

Γάϊος ἐχπνεύσας τὸ πανύστατον ἐχϑὲς ὁ λεπτὸς
ς τὴν ἐχκομιδὴν οὐδὲν ἀφῆχεν ὅλως
Καὶ πέρας εἰς ᾿Αἴδην χαταβὰς ὅλος οἷος ὅτ᾽ ἔζη

~

τῶν ὑπὸ γῆν σκελετῶν λεπτότατος πέταται"
Τὴν δὲ κενὴν κλίνην οἱ φράτορες ἦραν ἐπ᾽ Oyo
ἐγγράψαντες ἄνω, Daiog ἐκφέρεται.

XXII
A LABOUR OF HERCULES
LUCILIUS
Tov μικρὸν Μάκρωνα ϑέρους κοιμώμενον εὑρὼν
εἰς τρώγλην μικροῦ τοῦ ποδὸς εἵλκυσε μῦς"
Ὃς δ᾽ ἐν τὴ τρώγλῃ ψιλὸς τὸν μῦν ἀποπνίξας,
Ζεῦ πάτερ, εἶπεν, Eyes ¢ δεύτ ξρον “Ἡρακλέα.

20

Little Hermogenes, when he lets anything fall on the ground,
has to drag it down to him with a hook at the end of a pole.

21

Lean Gaius yesterday breathed his very last breath, and left
nothing at all for burial, but having passed down into Hades just
as he was in life, flutters there the thinnest of the anatomies
under earth; and his kinsfolk lifted an empty bier on their
shoulders, inscribing above it, ‘This is Gaius’ funeral.’

22

Tiny Macron was found asleep one summer day by a mouse,
who pulled him by his tiny foot into its hole ; but in the hole he
strangled the mouse with his naked hands and cried, ‘Tather
Zeus, thou hast a second Heracles.’

20-25] THE HUMAN COMEDY 235

XXIII
EROTION
LUCILIUS
Τὴν μικρὴν παίζουσαν ᾿Ερώτιον ἥρπασε κώνωψ'
ἡ δέ, τί, φησί, δρῶ, Ζεῦ πάτερ, εἴ μ᾽ ἐϑέλεις ;

ΧΧΙΝ

ARTEMIDORA

LUCILIUS

la ,
“Ῥιπίζων ἐν ὕπνοις Δημήτριος ᾿Αρτεμιδώραν
\ , > ~ U eS
THY λεπτήν, ἐκ τοῦ δώματος ἐξέβαλεν.

XXV
THE ATOMIC THEORY
LUCILIUS
’ - a U v

Ἔξ ἀτόμων ’Extxoupos ὅλον τὸν κόσμον ἔγραψεν

εἶναι, τοῦτο δοχῶν, ΓΑλχιμε, λεπτότατον.

> \ ἘΤ , v aA > ,

Εἰ δὲ τότ᾽ ἦν Διόφαντος, ἔγραψεν av ἐκ Διοφάντου

τοῦ χαὶ τῶν ἀτόμων πουλύ τι λεπτοτέρου,
Ἄ \ \ » y »
Η τὰ μὲν ἄλλ᾽ ἔγραψε συνεστάναι ἐξ ἀτόμων ἄν,

ἐχ τούτου δ᾽ αὐτάς, Αλκιμε, τὰς ἀτόμους.

29

Small Erotion while playing was carried aloft by ἃ gnat, and
eried, ‘ What can I do, Father Zeus, if thou dost claim me Τ᾽

24

Fanning thin Artemidora in her sleep, Demetrius blew her
clean out of the house.

25
Epicurus wrote that the whole universe consisted of atoms,
thinking, Alcimus, that the atom was the least of things. But if
Diophantus had lived then, he would have written, ‘consisted of
Diophantus,’ who is much more minute than even the atoms, or
would have written that all other things indeed consist of atoms,
but the atoms themselves of him.

236 GREEK ANTHOLOGY [SECT. 10

XXVI
CHAEREMON
LUCILIUS
᾿Αρϑεὶς ἐξ ations λεπτῆς ἐποτᾶτο δι᾽ αἴϑρης
Χαιρήμων ἀ ὰ ape πολλὸν ἐλαφρότερος :

Καὶ τάχ ὃν ἐρροίζητο δι αἰϑέρος, εἰ μὴ ἀράχνῃ
ποὺς πόδας ἐμπλεχϑ εὶς ὕπτιος ἐχρέματο.
Αὐτοῦ δὴ γύχτας τε καὶ ἤματα πέντε χρεμασϑεὶς

ἑχταῖος κατέβη νήματι τῆς ἀράχνης.

XXVII
GOD AND THE DOCTOR
ο΄ ΝΙΘΑΚΟΗῦΒ
Tod λιϑίνου Διὸς ἐχϑὲς ὁ ὁ χλινιχὸς ἥψατο Μάρκος:
χαὶ λίϑος ὦν, χαὶ Ζεύς, σήμερον ἐκφέρεται.

XXVIII
THE PHYSICIAN AND THE ASTROLOGER
NICARCHUS

᾿Βρμογένη τὸν ἰατρὸν ὁ ἀστρολόγος Διόφαντος

εἶπε μόνους ζωῆς ἐννέα μῆνας ἔχειν
Κἀκεῖνος γελάσας, τί μὲν 6 Κρόνος ἐννέα μηνῶν

φησί, λέγει, σὺ νόει τἀμὰ δὲ σύντομια σοι.
Εἶπε, καὶ ἐχτείνας ee ἦψατο, χαὶ Διόφαντος

ἄλλον ἀπελπίζων, αὐτὸς ἀπεσχάρισεν.

26
Borne up by a slight breeze, Chaeremon floated through the
clear air, far lighter than chafl, and probably would have gone
spinning off through ether, but that he caught his feet in a spider’s
web, and dangled there on his back ; there he hung five nights and
days, and on the sixth came down by a strand of the web.

27
Marcus the doctor called yesterday on the marble Zeus ; though
marble, and though Zeus, his funeral is to-day.

28
Diophautus the astrologer said that Hermogenes the physician
had only nine months to live; and he laughing replied, ‘what
Cronus may do in nine months, do you consider ; but I can make
short work with you.’ He spoke, and reaching out, just touched
him, and Diophantus, while forbidding another to hope, gasped out
his own life.

Lo

26-32] THE HUMAN COMEDY 23

XXIX
A DEADLY DREAM
LUCILIUS
> > \ , ? “
“Ἑρμογένη τὸν ἰατρὸν ἰδὼν Διόφαντος ἐν ὕπνοις
οὐχέτ᾽ ἀνηγέρϑη, καὶ περίαμμαι. φέρων.

ΧΧΧ

SIMON THE OCULIST
NICARCHUS
"Hy τιν’ ἔγης ἐχϑοόν, Διονύσιε, wn χαταραση
ἀράν IES ates) BS ay coon eee)
> A \ « ,
τὴν Ἶσιν τούτῳ μηδὲ τὸν ᾿Αρποχράτην,
Ἷ \ es, \
M70’ εἴ τις τυφλοὺς ποιεῖ Deas, ἀλλὰ Σίμωνα"
\ t , \ \ , , δ
χαὶ γνώσῃ τί ϑεὸς χαὶ τί Σίμων δύναται.

ΧΧΧῚ
SCIENTIFIC SURGERY
NICARCHUS
Χειρουργῶν ἔσφαξεν ᾿Αχεστορίδην ᾿Αγέλαος"
ζῶν γὰρ χωλεύειν, φησίν, ἔμελλε τάλας.

XXXII
THE WISE PROPHET
LUCILIUS
Τῷ πατρί μου τὸν ἀδελφὸν οἱ ἀστρολόγοι μαχρόγηρων
πάντες ἐμαντεύσανϑ᾽ ὡς ἀφ᾽ ἑνὸς στόματος,

29
Diophantus, having seen Hermogenes the physician in sleep,
never awoke again, though he wore an amulet.

30
9
Ἢ you have an enemy, Dionysius, call not down upon him Isis
nor Harpocrates, nor whatever god strikes men blind, but Simon ;
and you will know what God and what Simon can do.

ἘΠῚ
Agelaus killed Acesterides while operating ; for, ‘Poor man,’ he
said, ‘he would have been lame for life.’

32
All the astrologers as from one mouth prophesied to my father
that his brother would reach a great old age; Hermocleides alone

238 GREEK ANTHOLOGY [SECT. 10

᾿Αλλ᾽ ᾿Ερμοχλείδης αὐτὸν μόνος εἶπε πρόμοιρον"
εἶπε δ᾽, ὅτ᾽ αὐτὸν ἔσω νεχρὸν ἐκοπτόμεϑια.

XX XIII
SOOTHSAYING
NICARCHUS
Εἰς Ῥόδον εἰ πλεύσει τις ᾿Ολυμπικὸν ἦλϑεν ἐρωτῶν
τὸν μάντιν, HAL πῶς πλεύσεται ἀσφοϊλέως"
© ’ “-. , v ‘ ad \ ~
Xo μάντις, πρῶτον μέν, ἔφη, καινὴν ἔχε τὴν ναῦν,
4 ~ ~ 4 ,ὔ ei] /
χαὶ μιὴ χειμῶνος, τοῦ δὲ ϑέρους ἀνάγον"
~ \ a $ ~ ar > “ὦ A aN
Τοῦτο γὰρ av ποιῇς, ἥξεις χἀχεῖσς καὶ ὧδε
a \ A > / ,
ay pn πειρατὴς ἐν πελάγει σε λαβῃ.

XXXIV
THE ASTROLOGER’S FORECAST
AGATHIAS
ver Of ἣν» “ “«-ί δι} "τ δ a He
Καλλιγένης ἀγροῖκος ὅτε σπόρον ἔμβαλε γαίῃ
3 > > > /
οἶκον ᾿Αριστοφάνους ἦλϑεν ἐς ἀστρολογου
“Hitec δ᾽ ἐξερέειν εἴπερ ϑέρος αἴσιον αὐτῷ
ἔσται καὶ σταχύων ἄφϑονος εὐπορίη.
Ὃς δὲ λαβὼν ψηφῖδας, ὑπὲρ πίνακός τε πυχάζων,
δάχτυλά τε γνάμπτων φϑέγξατο Καλλιγένει:
Ἐϊπε ᾿ β us 9F A > sf ee > / τ᾿
περ ἐπομβρηϑῇ τὸ ἀρούριον ὅσσον ἀπόχρη
ὰ δέ WG eS Τὰ εἰ > ts
pos τιν᾽ υλαίην τέζεται ἀνϑοσυνὴν,

said he was fated to die early ; and he said so, when we were
mourning over his corpse in-doors,

33
Some one came inquiring of the prophet Olympicus whether he
should sail to Rhodes, and how he should have a safe voyage ; and
the prophet replied, ‘First have a new ship, and set sail not in
winter but in summer; for if you do this you will travel there and
back safely, unless a pirate captures you at sea,’

34
Calligenes the farmer, when he had cast his seed into the land,
came to the house of Aristophanes the astrologer, and asked him
to tell whether he would have a prosperous summer and abundant
plenty of corn. And he, taking the counters and ranging them
closely on the board, and crooking his fingers, uttered his reply to
Calligenes: ‘If the cornfield gets sufficient rain, and does not

a. ee se
A ΕΣ 4

33-36] THE HUMAN COMEDY 239

un πάγος ῥίξῃ τὴν ν th LAG. a Pe

XXXV
A SCHOOL OF RHETORIC

AUTHOR UNKNOWN

τορος ἑπτὰ μαϑηταί,

XXXVI
CROSS PURPOSES

NICARCHUS

Δυσχώφῳ δύσχωφος ἐχρίνετο, χαὶ πολὺ μᾶλλον
ἣν ὁ χριτὴς τούτων τῶν δύο χωφότερος
Ὧν ὁ psy ἀντέλεγεν πὸ ἐνοίχιον αὐτὸν ben

υνηνῶν πένϑ᾽" ὁ δ᾽ ἔφη γυχτὸς ἀληλεχένα
Ἔμβ έψας δ᾽ αὐτοῖς ὁ ὁ χριτὴς λέγει" ἐς "ἢ

~

unt np on ὑμῶν, ἀμιφότερο L τρέφετε.

breed a crop of flowering weeds, and frost does not crack the
furrows, nor hail flay the heads of the springing blades, and the
pricket does not devour the crop, and it sees no other injury of
weather or soil, 1 prophesy you a capital summer, and you will
cut the ears successfully ; only fear the locusts.’

35

All hail, seven pupils of Aristides the rhetorician, four walls
and three benches.

36
A deaf man went to law with a deaf man, and the judge was a
long way deafer than both. The one claimed that the other owed
him five months’ rent; and he replied that he had ground his corn
by night; then the judge, looking down on them, said, ‘Why
quarrel? she is your mother; keep her between you.’

240 GREEK ANTHOLOGY [SECT. 10

XXXVII
THE PATENT STOVE
NICARCHUS
Ἢ γόρασας γαλχοῦν μιίλιάριον, ᾿Ηλιόδωρε
rr Seg Gy ats Ἂς ἐς Pe,
τοῦ περὶ τὴν Θοχχην ψυχρότερον Βορέου"
\ , Ae ; re \ x ‘ > ΣΉ Ἢ
Μὴ φύσα, μὴ χάμνε" μάτην τὸν χοιπνὸν ἐγείρεις
, / ~ >
εἰς τὸ ϑέρος χαλχῆν βαύχαλιν ηγόρασας.

XXXVIII

THE WOODEN HORSE
LUCILIUS

Θεσσαλὸν ἵππον ἔχεις, ᾿Εἰρασίστρατε, ἀλλὰ σαλεῦσαι

οὐ δύνατ᾽ αὐτὸν ὅλης φαριλαχα Θεσσαλίης
ΝΜ ’ “ a > , τι a
Οντως δούριον ἵππον, Ov εἰ Φρυγες εἴλκον ἅπαντες

το a rime

σὺν Δαναοῖς, Σχαιὰς οὐκ av ἐσῆλϑε πύλας"

Ὃν στήσας ἀνάϑημα ϑεοῦ τινος, εἰ προσέ γεις μοι,
\ ~
τὰς χριϑὰς ποίει τοῖς τεχνίοις πτισάνην.

ΧΧΧΙΧ
A MYSTERIOUS DISAPPEARANCE

LUCILIUS
Εϊσιδεν ’Avttoyos τὴν Λυσιμάγου ποτὲ τύλην
Ms κι iY Ne i
2) , \ ,
κοὐχέτι τὴν τύλὴν εἴσιδε Λυσίμαχος.

317
You have bought a brass hot-water urn, Heliodorus, that is
chillier than the north wind about Thrace; do not blow, do not
labour, you but raise smoke in vain; it is a brass wine-cooler
you have bought against summer.
38
You have a Thessalian horse, Erasistratus, but the drugs of all
Thessaly cannot make him go; the real wooden horse, that if
Trojans and Greeks had all” pulled together, would never have
entered at the Scaean gate; set it up as an offering to some god,
if you take my advice, ‘and make gruel for your little children with
its barley.
og
Antiochus once set eyes on Lysimachus’ cushion, and Lysimachus
never set eyes on his cushion again.

37-43] THE HUMAN COMEDY 241

DA
CINYRAS THE CILICIAN
DEMODOCUS
Πάντες μὲν Κίλιχες χαχοὶ ἀνέρες ἐν δὲ Κίλιξιν
εἷς ἀγαϑὸς Κινύρης, καὶ Κινύρης δὲ Κίλιξ,

XLI
A GENERATION OF VIPERS
AUTHOR UNKNOWN
᾿Ασπίδα, φρῦνον, ὄφιν, καὶ Λαδικέας περίφευγε,
καὶ κύνα λυσσητήν, καὶ πάλι Λαδικέας.

XLII
THE LIFEBOAT
NICARCHUS
Kiye Φίλων λέμβον Σωτήριον" ἀλλ᾽ ἐν ἐκείνῳ
σωϑῆν᾽ οὐδὲ Ζεῦς αὐτὸς ἴσως δύναται:
Οὔνομα γὰρ μόνον ἦν Σωτήριος" οἱ δ᾽ ἐπιβάντες
ἔπλεον ἢ παρὰ γῆν ἢ παρὰ Φερσεφόνην.

XLIII
THE MISER AND THE MOUSE
LUCILIUS
Μῦν ’Acxdymadns ὁ φιλάργυρος εἶδεν ἐν οἴκῳ,
καί, τί ποιεῖς, φησίν, φίλτατε μῦ, παρ᾽ ἐμοί;

40
All Cilicians are bad men; among the Cilicians there is one
good man, Cinyras, and Cinyras is a Cilician.

41
Keep clear of a cobra, a toad, a viper, and the Laodiceans ; also
of a mad dog, and of the Laodiceans once again.

42

Philo had a boat, the Salvation, but not Zeus himself, I believe,
can be safe in her; for she was salvation in name only, and those
who got on board her used either to go aground or to go under-
ground.

43
Asclepiades the miser saw a mouse in his house, and said, ‘ What
do you want with me, my very dear mouse?’ and the mouse,

16

bo
rg
bo

GREEK ANTHOLOGY [SECT. τῷ

“Hdd δ᾽ ὁ μῦς γε λάσας, μηδέν, ἜΘΕΙ φησί, φοβηϑῆς,
οὐχὶ Tne παρὰ σοὶ χρήζομεν, ἀλλὰ μιονῆς.

XLIV
THE FRUITS OF PHILOSOPHY

LUCIAN

Tod πωγωνοφόρου Κυνιχοῦ, τοῦ βαχτροπροσαίτου
εἴδομεν ἐν δείπνῳ τὴν μεγάλην σοφίαν
Θέρμων μὲν γὰρ πρῶτον ἀπέσχετο καὶ ῥαφανίδων
\ «2 , ,
vn δεῖν δουλεύειν γαστρὶ λέγων ἀρετήν"

Εὐτε δ᾽ ἐν ὀφθαλμοῖσιν ἴδεν provdex βόλβαν
στρυφνήν, ἣ πινυτὸν ἤδη ἔκλεπτε νόον,
Ἤιτησεν παρὰ προσδοχίαν χαὶ ἔτρωγεν ἀληϑῶς,

Ἰδὲ y U 2 ? a »ὃ τῷ
χοὐδὲν ἔφη βόλβαν τῆν ἀρετὴν ἀδικεῖν.

XLV

VEGETARIANISM

AUTHOR UNKNOWN

Οὐ δ > ψύ / Μ ,ὔ >? ‘ A € woe
v ase ἐμψύχων ἀπεχες χέρας, ἄλλα χαὶ ἡμεῖς
Ἐν a ΄ « ,
τίς γὰρ ὃς ἐνψίχων ἥψατο, Tudo ;
> ~ e ~
"AN ὅταν ἑψηϑῇ τι καὶ ὀπτηϑῇ χαὶ ἁλισϑῇ,

δὴ τότε χαὶ ψυχὴν οὐχ ἔγον ἐσθίομεν
ὴ καὶ ψυχὴ ἔχον ἐσϑίομεν.

smiling sweetly, replied, ‘Do not be afraid, my friend ; we do not
ask board from you, only lodging.’

44

We saw at dinner the great wisdom of that sturdy beggar the
Cynic with the long beard ; for at first he abstained from lupines
and radishes, saying that Virtue ought not to be a slave to the belly ;
but when he saw a snowy womb dressed with sharp sauce before
his eyes, which at once stole away his sagacious intellect, he
unexpectedly asked for it, and ate of it heartily, observing that
an entrée could not harm Virtue.

45
You were not alone in keeping your hands off live things ; we do
so too; who touches live food, Pythagoras ? but we eat what has
been boiled and roasted and pickled, and there is no life in it then.

44-48] THE HUMAN COMEDY 243

XLVI

NICON’S NOSE
NICARCHUS

Tod γρυποῦ Nixwvos ὁρῶ τὴν ῥῖνα, Μένιππε,

αὐτὸς δ᾽ οὐ μακρὰν φαίνεται εἶναι ἔτι:

Ἁ id , a , \ , ΄

Πλὴν ἥξει, μείνωμεν ὅμως" εἰ γὰρ πολύ, πέντε

τῆς ῥινὸς σταδίους οἴομαι οὐκ ἀπέχει.
᾿Αλλ᾽ αὐτὴ μέν, ὁρᾷς, προπορεύεται ἣν δ᾽ ἐπὶ βουνὸν

« \ ~ > \ > ,

ὑψηλὸν στῶμεν, καὐτὸν ἐσοψόμεϑα.

XLVII

WHY SO PALE AND WAN, FOND LOVER
ASCLEPIADES
Iliv’ "Acxdymady τί τὰ δάχρυα ταῦτα; τί πάσχεις:
οὐ σὲ μόνον χαλεπὴ Κύπρις ἐληΐσατο,
Οὐδ᾽ ἐπὶ σοὶ μούνῳ κατεϑήξατο τόξα καὶ ἰοὺς
πικρὸς "Ερως" τί ζῶν ἐν σποδιῇ τίϑεσαι:

XLVIII

THE WORLD’S REVENGE

LUCIAN

Ἔν πᾶσιν μεϑύουσιν ᾿Ακίνδυνος ἤϑελε νήφειν"
τοὔνεχα χαὶ μεϑύειν αὐτὸς ἔδοξε μόνος.

46
I see Nicon’s hooked nose, Menippus ; it is evident he is not far
off now ; oh, he will be here, let us just wait; for at the most his
nose is not, I fancy, five stadia off him. Nay, here it is, you see,
stepping forward ; if we stand on a high mound we shall catch
sight of him in person.

47
Drink, Asclepiades ; why these tears? what ails thee? not of
thee only has the cruel Cyprian made her prey, nor for thee only
bitter Love whetted the arrows of his bow; why while yet
alive liest thou in the dust ?

48
In a company where all were drunk, Acindynus must needs be
sober ; and so he seemed himself the one drunk man there.

244 GREEK ANTHOLOGY [SECT. 10

XLIX
EPILOGUE

PHILODEMUS
"Hoacdyy τίς δ᾽ οὐχί; κεκώμακα" τίς δ᾽ ἀμύητος
, > a 2 , = on νη ~
κώμων ; ἄλλ᾽ ἐμανην" ἐκ τίνος ; οὐχὶ Ieov ;
᾿Ερρίφϑω᾽ πολιὴ γὰρ ἐπείγεται ἀντὶ μελαίνης
Dole ἤδη, συνετῆς ἄγγελος ἡλικίης.
Καὶ παίζειν ὅτε καιρός, ἐπαίξαμεν'" ἡνίχα χαὶ νῦν
δον ἐν ene (ὃ δον
οὐχέτι, λωϊτέρης φροντίδος ἁΨψομεϑα.
) θης PP V-

49
I was in love once; who has not been? I have revelled; who
is uninitiated in revels? nay, I was mad; at whose prompting
but a god’s? Let them go; for now the silver hair is fast re-
placing the black, a messenger of wisdom that comes with age.
We too played when the time of playing was ; and now that it is
no longer, we will turn to worthier thoughts.

ΧΙ

DEATH

I
THE SPAN OF LIFE

MACEDONIUS

Γαῖα χαὶ Εἰλήϑυια, σὺ μὲν τέκες, ἣ δὲ καλύπτεις
χαίρετον᾽ ἀμφοτέρας ἤνυσα τὸ στάδιον"
Εἶμι δέ, un νοέ 391 νείσομιαι" οὐδὲ γὰρ ὑμέ
ips δέ, μιὴ νοέων πόϑι νείσομαι" οὐδὲ γὰρ ὑμέας
7 ,ὔ 2 y /
ἢ τίνος, ἢ τίς ἐών, οἶδα πόϑεν μετέβην.

il
DUSTY DEATH

AUTHOR UNKNOWN

Μὴ μύρα, μιὴ στεφάνους λιϑίναις στήλαισι χαρίζου,
pds τὸ πῦρ parsing ἐς χενὸν ἡ δαπάνη,
Ζῶντί μοι εἴ τι ϑέλεις χάρισαι τέφρην δὲ μεϑύσχων

ὶ
πηλὸν ποιήσεις, χοὐχ ὃ ϑανὼν πίεται.

Ι

~ Earth and Birth-Goddess, thou who didst bear me and thou who

coverest, farewell; I have accomplished the course between you,
and I go, not discerning whither I shall travel; for I know not
either whose or who I am, or whence I came to you.

2

Pay no offering of ointments or garlands on my stony tomb,
nor make the fire blaze up; the expense is in vain. While I live
be kind to me if thou wilt; but drenching my ashes with wine
thou wilt make mire, and the dead man will not drink.

245

246 GREEK ANTHOLOGY [SECT

III
A CITIZEN OF THE REPUBLIC
LEONIDAS OF TARENTUM

b Ὁ ’ A Ul ε 4 A
Ἀρκεῖ μοι γαίης μικρὴ κόνις ἣ δὲ περισσὴ

ἄλλον ἐπιϑλίβοι πλούσια χεχλιμιένον
v / A \ ~ , “ ,
Στήλη, τὸ σχληρὸν νεχρῶν βαρος, οἵ με ϑανόντα

γνώσοντ᾽, ΓΑλχανδρος τοῦϑ᾽ ὅτι Καλλιτέλευς.

IV
BENE MERENTI
AUTHOR UNKNOWN
Γαῖα φίλη τὸν πρέσβυν ᾿Αμύντιχον ἔνϑεο κόλποις
πολλῶν μνησαμένη τῶν ἐπὶ σοὶ καμάτων"
A \ Qa %& , 3 , ᾽ ,
Καὶ γὰρ ἀεὶ πρέμνον σοι ἐνεστήριξεν ἐλαίης,
ἘΞ NN Le < Ν Β , 2 ‘ > Pee
πολλάκι χαὶ Βρομίου xAnu.now ἡγλαῖσεν,
Καὶ Δηοῦς ἔπλησε, καὶ ὕδατος αὔλαχας ἕλχων
Fue μὲν εὐλάχανον, ϑῆχε δ᾽ ὀπωροφύρον:
egal Rvp he ee popoe
"Av® ὧν σὺ πρηεῖα κατὰ χροτάφου πολιοῖο
χεῖσο, καὶ εἰαρινὰς ἀνθοκόμει βοτάνας.

ν
PEACE IN THE END
DIONYSIUS

“ A! = , - Ν » Η \ ~ > cn
Πρηύτερον ὙΠ DEEN Rags νου σε του
ἔσβεσεν, εὐνήϑης δ᾽ ὕπνον ὀφειλόμιενον

3
A little dust of earth suffices me ; let another lie richly, weighed
down by his extravagant tombstone, that grim weight over the
dead, who will know me here in death as Alcander son of Calliteles.

Dear Earth, take old Amyntichus to thy bosom, remembering
his many labours on thee ; for ever he planted in thee the olive-
stock, and often made thee fair with vine-cuttings, and filled thee
full of corn, and, drawing channels of water along, made thee rich
with herbs and plenteous in fruit: do thou in return lie softly
over his grey temples and flower into tresses of spring herbage.

5
A gentler old age and no dulling disease quenched thee, and
thou didst fall asleep in the slumber to which all must come, O

3-7] DEATH 247

"Axon μεριμινήσας ᾿Ερατόσϑενες" οὐδὲ Κυρήνη
᾿ς μαῖα ce πατρῴων ἐντὸς ἔδεχτο τάφων,
᾿Αγλάου υἱέ, φίλος δὲ καὶ ἐν ξείνῃ κεκάλυψαι
πὰρ τόδε Πρωτῆος κράσπεδον αἰγιαλοῦ.

VI
THE WITHERED VINE

LEONIDAS OF TARENTUM

ἼΑμπελος ὡς ἤδη HAUGH στηρίζομιαι αὔῳ
σχηπανίῳ᾽ καλέει μ᾽ εἰς ᾿Αἴδην ϑάνατος"

Δυσχώφει μὴ Γόργε᾽ τί τοι χαριέστερον εἰ τρεῖς
Sh oH arnt un ὑπ᾽ ελίω:
7 πίσυρας ποίας Do vn ὑπ᾽ ἠελίω 5

‘OF εἴπας οὐ κόμπῳ, ἀπὸ ζωὴν ὁ παλαιὸς
ὥσατο, κῆς πλεόνων ἦλϑε μετοικεσίην.

VII
ACCOMPLISHMENT

THEAETETUS

ἭΝνδανεν ἀνθρώποις, ὁ δ᾽ ἐπιπλέον ἥνδοιννε Μούσαις
, Q , γ,. ” / =
Κράντωρ, καὶ γήρως ἤλυϑεν οὔτι πρόσω
Γῇ, σὺ δὲ τεϑνειῶτα τὸν ἱερὸν ἄνδρ᾽ ὑπεδέξω
μ t ρ
Ae ὅγε καὶ ζώει χεῖϑι ἐν εὐφροσύνῃ:

Eratosthenes, after pondering over high matters; nor did Cyrene
where thou sawest the light receive thee within the tomb of thy
fathers, O son of Aglaus ; yet dear even in a foreign land art thou
buried here, by the edge of the beach of Proteus.

6

Even as a vine on her dry pole I support myself now on a staff,
and death calls me to Hades. Be not obstinately deaf, O Gorgus ;
what is it the sweeter for thee if for three or four summers yet
thou shalt warm thyself beneath the sun? So saying the aged
man quietly put his life aside, and removed his house to the greater
company.

7
Crantor was delightful to men and yet more delightful to the
Muses, and did not live far into age: O earth, didst thou enfold
the sacred man in death, or does he still live in gladness there ?

248 GREEK ANTHOLOGY [SECT. 11

Vill
LOCA PASTORUM DESERTA
AUTHOR UNKNOWN
Νηϊάδες καὶ ψυχρὰ βοαύλια ταῦτα μελίσσαις
οἶμον ἐπ᾽ εἰαρινὴν λέξατε νισσομέναις,
ε 2 , ,
‘Os 6 γέρων Λεύκιππος ἐπ᾽ ἀρσιπόδεσσι λαγωοῖς
᾿ ἔφϑιτο χειμερίῃ νυχτὶ λοχησόμενος,
᾽ »ὕἹ ς ε ‘
Σμήνεα δ᾽ οὐχέτι οἱ χομέειν φίλον" αἱ δὲ τὸν ἄχρης
γείτονα ποιμένιαι πολλὰ ποϑοῦσι νάπαι.

IX
THE OLD SHEPHERD
LEONIDAS OF TARENTUM
Tlow.éves of ταύτην ὄρεος ῥάχιν οἰοπολεῖτε
> De uP > , Wee
αἶγας χεὐείοους ἐμβατέοντες ὄϊς,
,ὔ ‘A "ν > , > A ~
Κλειταγό on, πρὸς Γῆς, ὀλίγην χάριν ἀλλὰ προσηνῆ
τίνοιτε χϑονίης εἵνεκα Φερσεφόνης"
Ae > 7 σ᾿ aes \
Βληχήσαιντ᾽ cigs μοι, ἐπ ἀξέστοιο δὲ ποιμὴν
,ὔ ,ὔ ld
πέτρης συρίζοι πρηέα βοσχομέναις,
” pI , / + ? ,
ἴσρι δὲ πρώτῳ λειμώνιον ἄνϑος ἅμέερσας
χωρίτης στεφέτω τύμβον ἐμὸν στεφάνῳ,
Kat τις ἀπ᾽ εὐάρνοιο καταρραίνοιτο γάλαχτι
οἷός, ἀμολγοῖον μαστὸν ἀνασχόμενος,
Κρηπῖδ᾽ ὑγραίνων ἐπιτύμβιον᾽ εἰσὶ ϑανόντων
εἰσὶν ἀμοιβαῖαι κὰν φϑιμένοις χάριτες.

ὃ

Naiads and chill cattle-pastures, tell to the bees when they
come on their springtide way, that old Leucippus perished on a
winter’s night, setting snares for scampering hares, and no longer
is the tending of the hives dear to him; but the pastoral dells
mourn sore for him who dwelt with the mountain peak for
neighbour.

9

Shepherds who pass over this ridge of hill pasturing your
goats and fleecy sheep, pay to Clitagoras, in Earth’s name, a small
but kindly grace, for the sake of Persephone under ground; let
sheep bleat by me, and the shepherd on an unhewn stone pipe
softly to them as they feed, and in early spring let the countryman
pluck the meadow flower to engarland my tomb with a garland,
and let one make milk drip from a fruitful ewe, holding up her
milking-udder, to wet the base of my tomb: there are returns for
favours to dead men, there are, even among the departed.

8-12] DEATH 249

x
THE DEAD FOWLER
MNASALCAS
᾿Αμπαύσει καὶ τῇδε ϑοὸν πτερὸν ἱερὸς ὄρνις
xaos’ ὑπὲρ ἁδείας ἑζόμενος πλατάνου,
Ὥλετο γὰρ Ποίμανδροος ὁ Μάλιος, οὐδ᾽ ἔτι νεῖται
ἰξὸν ἐπ᾽ ἀγρευταῖς χευάμιενος καλαμιοις.

ΧΙ
THE ANT BY THE THRESHING-FLOOR
ANTIPATER OF SIDON
> ~ . 39 εἰ τ A > ’ ΠΩ «

Αὐτοῦ σοὶ παρ᾽ ἅλωνι, ou NTAVES COV ATO wong,

pe 2 > / , > ,

roto ἐκ βώλου διψάδος ἐχτισάμαν
"Open σε καὶ φϑίμενον Δηοῦς σταχυητρόφος αὐλαξ

ϑέλγῃ ἀροτραίῃ κείμενον ἐν ϑαλόάμῃ.

XII
THE TAME PARTRIDGE

SIMMIAS
ϑὲ ee Ip a> Oe al CES 5 , " > ΄ , διξ
Οὐκέτ᾽ av’ ὑλῆεν ὁρίος εὐσκιον, ἀγρότα πέροιξ,
> / iz ~ > \ ΄
ἤχύεσσαν ins γῆρυν ἀπὸ στομάτων,
, , / > w~ ef
Θηρεύων βαλίους συνομήλικοας ἐν vou. ὑλης"
x \ , Η NS
ᾧχεο γὰρ πυμάταν εἰς ᾿Αχέροντος ὁδόν.

10

Even here shall the holy bird rest his swift wing, sitting on this
murmuring plane, since Poemander the Malian is dead and comes
no more with birdlime smeared on his fowling reeds.

Li

Here to thee by the threshing-floor, O toiling worker ant, I rear
a memorial to thee of a thirsty clod, that even in death the ear-
nurturing furrow of Demeter may lull thee as thou liest in thy
rustic cell.

12

No more along the shady woodland copse, O hunter partridge,
dost thou send thy clear cry from thy mouth as thou decoyest thy
speckled kinsfolk in their forest feeding-ground ; for thou art gone
on the final road of Acheron.

Lhe

250 GREEK ANTHOLOGY [SECT. II
XIII
THE SILENT SINGING-BIRD
TYMNES

» 7 U , τ ,
Opveov ὦ Χάρισιν μεμελημένον, ὦ παρόμοιον
€ >
ἁλχυόσιν τὸν σὸν φϑόγγον ἰσωσαμιενον,
ἩἩρπάσϑης, φίλ᾽ drags σὰ δ᾽ ἤϑεα καὶ τὸ σὸν ἡδὺ
πνεῦμα σιωπηραὶ νυχτὸς ἔχουσιν ὁδοί.

XIV
THE FIELDS OF PERSEPHONE
ARISTODICUS

Οὐχέτι δή σε λίγεια κατ᾽ ἀφνεὸν ᾿Αλκίδος οἶκον

> A , ” 3." =

ἀχρὶ μελιζομέναν ὄψεται ἀέλιος

\ ~ > ΄ ,

Ἤδη γὰρ λειμῶνας ἐπὶ Κλυμένου πεπότησαι

χαὶ δροσερὰ χρυσέας ἄνϑεα Περσεφόνας.

XV

THE DISCONSOLATE SHEPHERD
THEOCRITUS

*O δείλαις τὺ Θύρσι, τί τοι πλέον εἰ καταταξεῖς
pe S
δάχρυσι διγλήνως ὦπας ὀδυρόμενος 5
Οἴχεται & χίμαρος, τὸ κοϊλὸν τέχος, οἴχετ᾽ ἐς “Away,
τραχὺς γὰρ χαλαῖς ἀμφεπίαξε λύχος,
Αἱ δὲ χύνες χλαγγεῦντι᾽ τί τοι πλέον, ἁνίκα τήνας
? 4
ὀστέον οὐδὲ τέφρα λείπετ᾽ ἀποιχομένας ;

13
O bird beloved of the Graces, O rivalling the halcyons in likeness
of thy note, thou art snatched away, dear warbler, and thy ways
and thy sweet breath are held in the silent paths of night.

14

No longer in the wealthy house of Alcis, O shrill grasshopper,
shall the sun behold thee singing ; for now thou art flown to the
meadows of Clymenus and the dewy flowers of golden Persephone.

15
Ah thou poor Thyrsis, what profit is it if thou shalt waste away
the apples of thy two eyes with tears in thy mourning ? the kid is
gone, the pretty young thing, is gone to Hades; for a savage wolf
crunched her in his jaws; and the dogs bay ; what profit is it, when
of that lost one not a bone nor a cinder is left 4

13-18] DEATH 251

XVI
LAMPO THE HOUND
ANTIPATER OF SIDON
Θηρευτὴν Λάμπωνα Μίδου κύνα δίψα κατέκτα
χαίπερ ὑπὲρ ψυχῆς πολλὰ πονησάμιενον᾽"
‘ » ‘ Ἁ ‘\
Ποσσὶ γὰρ ὦρυσσεν νοτερὸν πέδον, ἀλλὰ τὸ νωϑὲς
πίδοκος ἐκ τυφλῆς οὐκ ἐτάχυνεν ὕδωρ,
, ἣν 5 f Seas: >») = Μ ,
Πίπτε ὃ ἀπαυδήσας" ἡἣ δ᾽ ἔβλυσεν. ἢ ἄρα, Νύμφαι,
la ~ “
Λαάμπωνι χταμένων μῆνιν ἔϑεσϑ᾽ ἐλάφων.

XVII

STORM ON THE HILLS
DIOTIMUS

Αὐτόμαται δειλῇ ποτὶ ταὔλιον αἱ βόες ἦλϑον
ἐξ ὄρεος πολλῇ νιφόμεναι χιόνι'
Αἰαί, Θηρίμοιχος Se παρὰ δρυΐ τὸν μακρὸν εὕδει
« , ?
ὕπνον" éxow.n dy δ᾽ ἐχ πυρὸς οὐρανίου.

XVIII
A WET NIGHT
ANTIPATER OF SIDON
Οὐχ οἶδ᾽ εἰ Διόνυσον ὀνόσσομαι ἢ Διὸς ὄμβρον
, 3.2 Ξ Ν δ᾽ > ὃ > , 5

véulou., ὀλισϑηροὶ δ᾽ εἰς πόδας ἀμφότεροι
᾿Αγρόϑε γὰρ κατιόντα ΠΠολύξενον ἔκ ποτε δαιτὸς

τύμβος ἔχει γλίσχρων ἐξεριπόντα λόφων,

τό
Thirst slew hunter Lampo, Midas’ dog, though he toiled hard
for his life ; for he dug with his paws in the moist flat, but the
slow water made no haste out of her blind spring, and he fell in
despair; then the water gushed out. Ah surely, Nymphs, you
laid on Lampo your wrath for the slain deer.

17
Unherded at evenfall the oxen came to the farmyard from the
hill, snowed on with heavy snow; alas, and Therimachus sleeps
the long sleep beside an oak, stretched there by fire from heaven.

18
I know not whether I shall complain of Dionysus or blame the
rain of Zeus, but both are treacherous for feet. For the tomb

252 GREEK ANTHOLOGY [SECT. 11

Κεῖται δ᾽ Αἰολίδος Σμύρνης ἑκάς. ἀλλά τις ὄρφνης
δειμαίνοι μεϑύων ἀτραπὸν ὑετίην.

XIX
FAR FROM HOME
TYMNES
Μὴ σοὶ τοῦτο, Φιλαινί, λίην ἐπικαίριον ἔστω
εἰ wy, πρὸς Νείλῳ γῆς μορίης ἔτυχες,
᾿Αλλά σ᾽ Ἐλευϑέρνης ὅδ᾽ ἔχει τάφος" ἔστι γὰρ ἴση
πάντοϑεν εἰς ᾿Αἴδην ἐρχομένοισιν ὁδός.

ΧΧ
DEATH AT SEA
SIMONIDES
Σῶμα μὲν ἀλλοδαπὴ κεύϑει κόνις" ἐν δέ σε πόντῳ,
Κλείσϑενες, Εὐξείνῳ μιοῖρ᾽ ἔκιχεν ϑανάτου
Πλαζόμενον, γλυχεροῦ δὲ μελίφρονος οἴχαδε νόστου
ἤμνπλαχες, οὐδ᾽ ἵχευ Χῖον ἐπ’ ἀμφιρύτην.

ἈΚ ΧΙ
AT THE WORLD’S END
CRINAGORAS

~ / ,
Δείλαιοι, τί χεναῖσιν ἀλώμεϑα θαρσήσαντες

ἐλπίσιν, ἀτηροῦ ληϑόμενοι ϑανάτου;

holds Polyxenus, who returning once to the country from a feast,
tumbled over the slippery slopes, and lies far from Aeolic Smyrna:
but let one full of wine fear a rainy footpath in the dark.

2
Let not this be of too much moment to thee, O Philaenis, that
thou hast not found thine allotted earth by the Nile, but this tomb
holds thee in Eleutherne ; for to comers from all places there is an
equal way to Hades.
20
Strange dust covers thy body, and the lot of death took thee,
O Cleisthenes, wandering in the Euxine sea; and thou didst fail of
sweet and dear home-coming, nor ever didst reach sea-girt Chios.

21

Alas, why wander we, trusting in vain hopes and forgetting
baneful death ? this Seleucus was perfect in his words and ways,

19-23] DEATH 253

“Hy ὅδε καὶ μύϑοισι καὶ ἤϑεσι πάντα Σέλευκος
Μ τ >? ’ of 4 ‘ ‘
ἄρτιος" ἀλλ᾽ ἥβης βαιὸν ἐπαυρόμιενος,
Ὑστατίοις ἐν Ἴβηρσι, τόσον δίχα τηλόϑι Λέσβου,
χεῖται ἀμετρήτων ξεῖνος ἐπ᾽ αἰγιαλῶν.

XXII
IN LIMINE PORTUS

ANTIPHILUS

Ἤδη που πάτρης πελάσας σχεδόν, αὔριον, εἶπον,

ἡ μαχρὴ κατ᾽ ἐμοῦ δυσπνοίΐη κοπάσει"
Οὐπω χεῖλος ἔμυσε, καὶ ἦν ἴσος “Aidt πόντος,

καί με κατέτρυχεν χεῖνο τὸ κοῦφον ἔπος.

ϑ U / ‘ ‘ Μ > A ‘ A

Πάντα λόγον πεφύλαξο τὸν αὔριον" οὐδὲ τὰ μικρὰ

Cae d ‘ , > td /

ληϑει THY γλώσσης ἀντίπαλον Νέμεσιν.

XXIII
DROWNED IN HARBOUR
ANTIPATER OF THESSALONICA

Μηδ’ ὅτ᾽ ἐπ᾽ ἀγκύρης ὀλοῇ πίστευε ϑαλάσσῃ,

ναυτίλε, pnd εἴ τοι πείσματα χέρσος ἔχοι:
Καὶ γὰρ Ἴων ὅρμῳ ἐνικάππεσεν, ἐς δὲ κόλυμβον

ναύτου τὰς ταχινὰς οἶνος ἔδησε χέρας.
Φεῦγε χοροιτυπίην ἐπινήϊον᾽ ἐχϑρὸς Ἰάχχῳ

πόντος" Τυρσηνοὶ τοῦτον ἔϑεντο νόμον.

but, having enjoyed his youth but a little, among the utmost
Iberians, so far away from Lesbos, he lies a stranger on unmapped
shores.

22

Already almost in touch of my native land, ‘To-morrow,’ I said,
‘the wind that has set so long against me will abate’; not yet had
the speech died on my lip, and the sea was even as Hades, and
that light word broke me down. Beware of every speech with
to-morrow in it; not even small things escape the Nemesis that
avenges the tongue.

23

Not even when at anchor trust the baleful sea, O sailor, nor
even if dry land hold thy cables ; for Ion fell into the harbour, and
at the plunge wine tied his quick sailor’s hands. Beware of
revelling on ship-board ; the sea is enemy to Iacchus; this law
the Tyrrhenians ordained.

254 GREEK ANTHOLOGY [SECT. ΤΣ

XXIV

IN SOUND OF THE SEA
ANTIPATER OF THESSALONICA

Καὶ νέκυν ἀπρηῦντος ἀνιήσει pe ϑαλασσα
Λῦσιν ἐρημαίῃ κρυπτὸν ὑπὸ σπιλάδι,
Στρηνὲς ἀεὶ φωνεῦσα παρ᾽ OUaTL χαὶ παρὰ κωφὸν
- Ξ , ’ ” oa Bal 4
σῆμα: τὶ μ, VES τῇδε σον:
Υ > > \ ,
H πνοίης χήρωσε τὸν οὐκ ἐπὶ φορτίδι νηΐ
ν δ aN ὀλί es Ὶ th > ΄ Ξ
ἔμπορον, ἀλλ᾽ ὀλίγης ναυτίλον εἰρεσίης,
͵
Θηχαμένη ναυηγόν ; ὁ δ᾽ ἐκ πόντοιο ματεύων
, A ΄
ζωήν, ἐκ πόντου χαὶ μόρον εἱλκυσάμην.

XXV

THE EMPTY HOUSE

ANTIPATER OF THESSALONICA

Avcyope Νικάνωρ πολιῷ μεμορημένε πόντῳ,
ne ‘ , \ OL
χεῖσαι δὴ ξείνῃ yup-vos ἐπ᾽ ηἴονι
A A Μ.- ~
Ἢ σύ γε πρὸς πέτοησι τὰ δ᾽ ὄλβια χεῖνα μέλαϑρα
Ρ cs, PA μ ν
~ , A , ᾿ Ἀ Mw f

φροῦδα τε καὶ πάσης ἐλπὶς ὄλωλε Τύρου,
Οὐδέ τί σε κτεάνων ἐρρύσατο φεῦ, ἐλεεινέ,

Seo μοχϑήσας ἰχϑύσι καὶ πελά

ὥλεο μοχϑήσας ἰχϑύσι καὶ πελάγει.

24

Even in death shall the implacable sea vex me, Lysis hidden
beneath a lonely rock, ever sounding harshly by my ear and
alongside of my deaf tomb. Why, O fellow-men, have you made
my dwelling by this that reft me of breath, me whom not trading
in my merchant-ship but sailing in a little rowing boat, it brought
to shipwreck? and I who sought my living out of the sea, out of

the sea likewise drew my death.

25
Hapless Nicanor, doomed by the grey sea, thou liest then naked
on a strange beach, or haply by the rocks, and those wealthy halls
are perished from thee, and lost is the hope of all Tyre; nor did
aught of thy treasures save thee; alas, pitiable one! thou didst
perish, and all thy labour was for the fishes and the sea.

24-28] DEATH 255

XXVI
THE SINKING OF THE PLEIAD
AUTOMEDON
ἼΑνϑρωπε ζωῆς περιφείδεο, μηδὲ παρ᾽ ὥρην
ναυτίλος ἴσϑι᾽ χαὶ ὡς οὐ πολὺς ἀνδρὶ βίος:
Δείλαιε Κλεόνιχε, σὺ δ᾽ εἰς λιπαρὴν Θάσον ἐλϑεῖν
ἠπείγευ, κοίλης ἔμπορος ἐκ Συρίης,
Ἔμπορος ὦ Κλεόνιχε" δύσιν δ᾽ ὑπὸ Πλειάδος αὐτὴν
ποντοπορῶν, αὐτῇ Πλειάδι συγκατέδυς.

XXVII
A RESTLESS GRAVE
ARCHIAS
Οὐδὲ νέκυς ναυηγὸς ἐπὶ χϑόνα Θῆρις ἐλασϑεὶς
χύμασιν ἀγρύπνων λήσομαι ἠϊόνων"
7H i aN ig Ἐ ἕ \ ὃς , Dp 59. ,
γὰρ ἁλιρρήκτοις ὑπὸ δειράσιν, ἀγχόϑι πόντου
, ls Α » Ἢ
δυσμινέος, ζείνων χερσὶν ἔκυρσοι τάφου,
> A > , ,
Αἰεὶ δὲ βρομέοντα χαὶ ἐν νεχύεσσι ϑαλάσσης
ὁ τλήμων ἀΐω δοῦπον ἀπεχϑόμιενον.

XXVIII

TELLURIS AMOR
CRINAGORAS

Ποιμὴν ὦ μάκαρ, εἴϑε κατ᾽ οὔρεος ἐπροβάτευον
χἠγὼ, ποιηρὸν τοῦτ᾽ ἀνὰ λευχόλοφον,

26

O man, be sparing of life, neither go on sea-faring beyond the
time; even so the life of man is not long. Miserable Cleonicus,
yet thou didst hasten to come to fair Thasos, a merchantman out
of hollow Syria, O merchant Cleonicus ; but hard on the sinking
of the Pleiad as thou journeyedst over the sea, as the Pleiad sank,
so didst thou.

27

Not even in death shall I Theris, tossed shipwrecked upon land
by the waves, forget the sleepless shores; for beneath the spray-
beaten reefs, nigh the disastrous main, I found a grave at the
hands of strangers, and for ever do I wretchedly hear roaring even
among the dead the hated thunder of the sea.

28

O happy shepherd, would that even I had shepherded on the
mountain along this white grassy hill, making the bleating folk

256 GREEK ANTHOLOGY (SECT. II

Κριοῖς ἁγητῆρσι πότι βληχητὰ βιβαζων,
ἢ πικρῇ βάψαι mipes πηδάλια
“Aden τοιγὰρ ἔδυν ὑποβένϑιος" ἀμφὶ δὲ ταύτην
ϑῖνά με ῥοιβδήσας Εὖρος ἀπημέσατο.

ΧΧΙΧ
A GRAVE BY THE SEA
ASCLEPIADES
Ὀχτώ μευ πήχεις ἄπεχε τρηχεῖα ϑαλασσαι
Α , , »> en 7 ὃ ,
χαὶ χύμιαινε βόα ὃ᾽ ἡλίκα σοι δυναμις
*Hy δὲ τὸν Εὐμάρεω καϑέλῃς τάφον, ἄλλο μὲν οὐδὲν
κρήγυον, εὑρήσεις δ᾽ ὀστέα χαὶ σποδιήν.

ΧΧΧ
AN EMPTY TOMB
CALLIMACHUS
"Oogehe pnd’ ἐγένοντο ϑοαὶ νέες" οὐ γὰρ ἄν ἡμεῖς
maida Διοχλείδου Σώπολιν ἐστένομεν.
Nov δ᾽ ὁ μὲν εἰν ἁλί που φέρεται νέχυς" ἀντὶ δ᾽ ἐκείνου
οὔνομα χαὶ χενεὸν σῆμα παρερχόμιεϑα.

ΧΧΧΙ
THE DAYS OF THE HALCYONS
APOLLONIDES
\ NS , » > ,
Καὶ πότε δινήεις ἄφοβος πόρος, εἰπέ, ϑάλασσα,
εἰ χαὶ ἐν ἀλκυόνων ἤμασι χλαυσόμεϑα,

move after the leader rams, rather than have dipped a ship’s
steering-rudders in the bitter brine: so I sank under the depths,
and the east wind that swallowed me down cast me up again on
this shore.
29

Keep eight cubits away from me, O rough sea, and billow and
roar with all thy might; but if thou pullest down the grave of
Eumares, thou wilt find nothing of value, but only bones and dust.

30
Would that swift ships had never been, for we should not have
bewailed Sopolis son of Diocleides; but now somewhere in the
sea he drifts dead, and instead of him we pass by a name on an
empty tomb.
31
And when shall thy swirling passage be free from fear, say, O
sea, if even in the days of the haleyons we must weep, of the

vt
51

29-33] DEATH 2

= τ ~
᾿Αλχυόνων, αἷς πόντος ἀεὶ στηοίξατο κῦμα
, = ~ , > , Ey A
νήνεμον, ὡς χρῖναι χέρσον ἀπιστοτέρην ;
’ \ Nips Caney ~ = \ SOL ia > ‘
Adda χαὶ VIAL μαῖα RAL WOLWEGGLY ἀπήμων
> ~ A U ͵ ᾽ / =
αὐχεῖς, σὺν φόρτῳ δύσας ᾿Αριστομένην.

DOD
A WINTER VOYAGE
AUTHOR UNKNOWN

Καὶ σέ, Κλεηνορίδη, πόϑος ὥλεσε πατρίδος αἴης

ϑαρσήσαντα Νότου λαίλαπι χειμερίῃγ
“ , “δ φν ae’ \ δὲ ν \ \
Ὥρη γάρ σε πέδησεν ἀνέγγυος" ὑγρὰ δὲ τὴν σὴν

,ὔ 3 > » Ὁ A ΕΒ τς τ ,ὕὔ
κυμιοτ ἀφ᾽ ἱμερτὴν ἔχλυσεν ἡλικίην.

X XXIII

THE DEAD CHILD

AUTHOR UNKNOWN

»
Οὔπω τοι πλόχαμοι τετμημένοι, οὐδὲ σελάνας
A ~ ~ « ~ /
τοὶ τριετεῖς μηνῶν ἁνιοχεῦντο δρόμοι, ᾿
, ¢ 4
Knreudize, Nixaols ὅτε σὰν περὶ λάρναχα ματηο,
τλᾶμον, ἐπ᾽ αἰαχκτῷ πόλλ᾽ ἐβόασε τάφῳ
Καὶ γενέτας ΤΠ]ερίχλειτος: ἐπ᾽ ἀγνώτῳ δ᾽ ᾿Α γέροντι
, / i : , Z :
« [2 ᾿]
ἡβάσεις ἥβαν, Krevdix’, ἀνοστοτάταν.

haleyons for whom Ocean evermore stills his windless wave, that
one might think dry land less trustworthy? but even when thou
callest thyself a gentle nurse and harmless to women in labour,
thou didst drown Aristomenes with his freight.

32

Thee too, son of Cleanor, desire after thy native land destroyed,
trusting to the wintry gust of the South ; for the unsecured season
entangled thee, and the wet waves washed away thy lovely youth.

33

Not yet were thy tresses cut, nor had the monthly courses of
the moon driven a three years’ space, O poor Cleodicus, when thy
mother Nicasis, clasping thy coffin, wailed long over thy lamented
grave, and thy father Pericleitus; but on unknown Acheron thou
shalt flower out the youth that never, never returns.

17

258 GREEK ANTHOLOGY [SECr τι

XXXIV
THE LITTLE SISTER
LEONIDAS OF TARENTUM

Ἢ παῖς yer’ ἄωρος ἐν ἑβδόμῳ ἥδ᾽ ἐνιαυτῷ

εἰς ᾿Αἴδην, πολλῆς ἡλικίης προτέρη,
Δειλαία ποϑέουσα τὸν εἰκοσάμηνον ἀδελφὸν

νήπιον ἀστόργου γευσάμιενον ϑανάτου.
Αἰαῖ, λυγρὰ παϑοῦσα ἹΠεριστερί, ὡς ἐν ἑτοίμῳ

ἀνϑοώποις δαίμων θῆκε τὰ δεινότατα.

ΧΧΧν
ΡΕΚΒΕΡΗΟΝΕΒ PLAYTHING
AUTHOR UNKNOWN

᾿Αἴδη ἀλλιτάνευτε χαὶ ἄτροπε, τίπτε TOL οὕτω

Kahane; ζωᾶς νήπ DODK :

(λλαισχρον ζωᾶς νήπιον ὠρφαάνισας :

Ἁ « ~ > ΄

Ἔσται μὰν ὅ γε παῖς ἐν δώμασι Φερσεφονείοις
παίγνιον ἀλλ᾽ οἴκοι λυγρὰ λέλοιπε πάϑη.

XXXVI
CHILDLESS AMONG WOMEN
LEONIDAS OF TARENTUM
"A Seth’ ᾿Αντίκλεις, δευλὴ δ᾽ ἐγὼ ἡ τὸν ἐν ἥβης
ἀχμῇ καὶ μοῦνον παῖδα πυρωσαμένη,

34
This girl passed to Hades untimely, in her seventh year, before
her many playmates, poor thing, pining for her baby brother, who
at twenty months old tasted of loveless Death. Alas, ill-fated
Peristeris, how near at hand God has set the sorest griefs to men.

35
Hades inexorable and inflexible, why hast thou thus reft infant
Callaeschrus of life? Surely the child will be a plaything in the
palace of Persephone, but at home he has left bitter sorrows.

36
Ah wretched Anticles, and wretched I who have laid on the pyre
in the flower of youth my only son, thee, child, who didst perish

DEATH 259

Ὀχτωχαιδεχέτης ὃς ἀπώλεο, τέκνον" ἐγὼ δὲ
» , , ~ > ΄
ὀρφάνιον χλαίω γῆρας ὀδυρομένη.
᾿Ξ ἰς "Ads ν: πος ey, ἐσ
Βαίην εἰς ᾿Αἴδος σκιερὸν δόμον" οὔτε μοι ἠὼς
nO ~ on ae) ‘ yey 2 ia σὲ
ἡδεῖ, οὐτ᾽ ἀχτὶς ὠχέος ἠελίου
A δείλ᾽ ᾿Αντίκλεις, μεμορημένε, πένϑεος εἴης
> , ~ v ,
ἰητήρ, ζωῆς ἔκ με κομισσάμιενος.

RXV
FATE’S PERSISTENCY
PHILIPPUS

Ν

Ἢ πυρὶ πάντα τεκοῦσα Φιλαίνιον, ἡ βαρυπενϑὴς
μήτηρ, ἡ τέκνων τρισσὸν ἰδοῦσα τάφον,

᾿Αλλοτρίαις ὠδῖσιν ἐφώρμισα" ἢ γὰρ ἐώλπειν
πάντως μι ζήσειν τοῦτον ὃν οὐχ ἔτεχον,

Ἢ δ᾽ εὔπαις ϑετὸν υἱὸν ἀνήγαγον ἀλλά με δαίμων
ἤϑελε μηδ᾽ ἄλλης μητρὸς ἔχειν χάριτα,

Κληϑεὶς ἡμέτερος γὰρ ἀπέφϑιτο᾽ νῦν δὲ τεχούσαις
ἤδη καὶ λοιπαῖς πένϑος ἐγὼ γέγονα.

XXXVIII
ANTE DIEM
BIANOR

U , Ε , δὴ , G4 A
Tlavra Χάρων ἄπληστε, τί TOV νέον ἥρπασας AUTOS
¥ a ,
Ατταλον; οὐ σὸς ἔην, κἂν Dave ynpxréoc ;

at eighteen years; and I weep, bewailing an orphaned old age:
fain would I go to the shadowy house of Hades ; neither is morn
sweet to me, nor the beam of the swift sun. Ah wretched Anticles,
struck down by fate, be thou healer of my sorrow, taking me with
thee out of life.

37

I Philaenion who gave birth but for the pyre, I the woeful
mother, 1 who had seen the threefold grave of my children,
anchored my trust on another’s pangs; for I surely hoped that
he at least would live, whom I had not borne. So I, who once
had fair children, brought up an adopted son; but God would not
let me have even a second mother’s grace ; for being called ours
he perished, and now I am become a woe to the rest of mothers too.

38

Ever insatiate Charon, why hast thou wantonly taken young
Attalus ? was he not thine, even if he had died old ?

260 GREEK ANTHOLOGY [SECT. 1

XX XIX
UNFORGOTTEN
SIMONIDES

τοὶ , οἰ 4 ~ v
Φὴ ποτε Πρωτόμαχος, ποιτρὸς περὶ χεῖρας ἔχοντος,
/

e / ᾽ > oe 4 v « Ν
ἡνίκ᾽ ἀφ᾽ ἱμερτὴν ἔπνεεν ἡλικίην
3 NS Μ 4
Ω Τιμηνορίδη, παιδὸς φίλου οὔποτε λήσῃ
» ͵
οὔτ᾽ ἀρετὴν ποϑέων οὐτε σαοφροσύνην.

ΧΙ,
THE BRIDECHAMBER
ANTIPATER OF SIDON
Ἤδη μὲν κροχόεις Πιτανάτιδι πίτνατο νύμφα
Κλειναρέταᾳ χρυσέων παστὸς ἔσω ϑαλάμων
Καδεμόνες δ᾽ ἤλποντο διωλένιον φλόγα πεύχας
ἅψειν ἀμφοτέραις ἀνασχόμενοι παλάμαις
Δημὼ καὶ Νίκιππος" ἀφαρπαάξασα δὲ νοῦσος
παρϑενικάν, Λάϑας ἄγαγεν ἐς πέλαγος"
᾿Αλγειναὶ δ᾽ ἐχάμιοντο συνόάλικες οὐχὶ ϑυρέτρων
ἀλλὰ τὸν ᾿Αἴδεω στερνοτυπῇ πάταγον.

XLI
BRIDEGROOM DEATH
MELEAGER

AN δ
Οὐ γάμον ἀλλ᾽ ᾿Αἴδαν ἐπινυμφίδιον Κλεαρίστα
+ «
δέξατο παροϑενίας ἅνματα AvOU.ever’
> iy t ‘

39
Protomachus said, as his father held him in his hands when he
was breathing away his lovely youth, ‘O son of Timenor, thou
wilt never forget thy dear son, nor cease to long for his valour and
his wisdom.’
40
Already the saffron-strewn bride-bed was spread within the
golden wedding-chamber for the bride of Pitane, Cleinareta, and
her guardians Demo and Nicippus hoped to light the torch-flame
held at stretch of arm and lifted in both hands, when sickness
snatched her away yet a maiden, and drew her to the sea of Lethe;
and her sorrowing companions knocked not on the bridal doors,
but on their own smitten breasts in the clamour of death.

4:
Not marriage but Death for bridegroom did Clearista receive
when she loosed the knot of her maidenhood: for but now at even

_ +

iy a

39-43] DEATH 261

᾿ς:

“Apt γὰρ ἑσπέριοι νύμφας ἐπὶ διχλίσιν ἄχευν
λωτοί, καὶ ϑαλάμων ἐπλαταγεῦντο ϑύραι

"Hoar δ᾽ ὀλολυγμὸν ἀνέκραγον, ἐκ δ᾽ “Ὑμέναιος
σιγαϑεὶς γοερὸν φϑέγμα υεϑαρμόσατο,

Αἱ δ᾽ αὐταὶ καὶ φέγγος ἐδχδούχουν παρὰ παστῷ
πεῦχαι xa φϑιμένᾳ νέρϑεν ἔφαινον ὁδόν.

XLII
THE YOUNG WIFE
JULIANUS AEGYPTIUS
@) Σ χε ὡς 25; , eat ne € τύ βο
}ριος εἶχέ σε παστάς, ἀώριος εἷλέ σε τύμβος
εὐθαλέων Χαρίτων ἄνϑος, ᾿Αναστασίη,
\ , κ᾿ δος AE \ δ , A)
Σοὶ γενέτης, σοὶ πικρὰ πόσις χατὰ δαχουα λείβει,
, , ,
σοὶ τάχα. χαὶ πορϑμεὺς δαχρυχέει νεκύων᾽
εἰ , 2 ,
Οὐ γὰρ ὅλον λυχάβαντα διήνυσας ἄγχι συνεύνου,
cr ~ ,
GAN ἐχκαιδεχέτιν, φεῦ, κατέχει σε τάφος.

ΟῚ
SANCYISSIMA CONIUNX
CRINAGORAS
Asthaty, τί σε πρῶτον ἔπος τί δὲ δεύτατον εἴπω ;
δειλαίη: τοῦτ᾽ ἐν παντὶ κακῷ ἔτυμιον᾽
Οἴχεαι, ὦ χαρίεσσα γύναι, καὶ ἐς εἴδεος ὥρην
τἄχρα καὶ εἰς ψυχῆς ἦϑος ἐνεγκαμένη,

the flutes sounded at the bride’s portal, and the doors of the
wedding-chamber were clashed; and at morn they cried the wail,
and Hymenaeus put to silence changed into a voice of lamentation ;
and the same pine-brands flashed their torchlight before the bride-
bed, and lit the dead on her downward way.

42

In season the bride-chamber held thee, out of season the grave
took thee, O Anastasia, flower of the blithe Graces; for thee a
father, for thee a husband pours bitter tears; for thee haply even
the ferryman of the dead weeps ; for not a whole year didst thou
accomplish beside thine husband, but at sixteen years old, alas!
the tomb holds thee.

43
Unhappy, by what first word, by what second shall I name
thee? unhappy! this word is true in every ill. Thou art gone,

262 GREEK ANTHOLOGY (SECT. 22

v , Ἶ τε
Πρώτη σοὶ ὄνομ᾽ ἔσχεν ἐτήτυμον" ἣν γὰρ ἅπαντα
ἰ ἰ ι

, , ~
δεύτερ᾽ ἀμιμνήτων τῶν ἐπὶ σοὶ χαρίτων.

XLIV

SUNDERED HANDS

DAMAGETUS

‘Yoratiov, Doxa χλυτὴ πόλι, τοῦτο Θεανὼ
εἶπεν ἐς ἀτρύγετον νύχτα κατερχομένη᾽
Οἴμοι ἐγὼ δύστηνος, ᾿Απέλλιχε, ποῖον, ὅμιευνς,
ποῖον ἐπ᾽ οἰχείῃ νηΐ περᾷς πέλαγος"
> A ? ~ U Ul δ € Yi f
Αὐτὰρ ἐμεῦ σχεδόϑεν μόρος ἵσταται ὡς ὄφελόν YE
χειρὶ φίλην τὴν σὴν χεῖρα λαβοῦσα ϑανεῖν.

XLV
UNDIVIDED
APOLLONIDES
» ς ᾽ Ν « ε
Ἔφϑανεν ᾿ Ἡλιόδωρος, ἐφέσπετο δ᾽ οὐδ᾽ ὅσον ὥρῃ
ee > A / / Ul ;
ὕστερον ἀνδρὶ φίλῳ Διογένεια δάμαρ’
v δ᾽ «ε 74 CON lie \ ean’
Avo) δ᾽ ὡς συνέναιον ὑπὸ πλαχὶ τυμϑευονται
(a \ > , κ᾿ [, τ ΄
ξυνὸν ἀγαλλόμενοι χαὶ τάφον ὡς ϑαλαμιον.

O gracious wife, who didst carry off the palm in bloom of beauty
and in bearing of soul; Prote wert thou truly called, for all else
came second to those inimitable graces of thine.

44

This last word, O famous city of Phocaea, Theano spoke as she
went down into the unharvested night: ‘Woe’s me unhappy ;
Apellichus, husband, what length, what length of sea dost thou
cross on thine own ship! but nigh me stands my doom; would
God I had but died with my hand clasped in thy dear hand.’

45

Heliodorus went first, and Diogeneia the wife, not an hour's.
space after, followed her dear husband; and both, even as they
dwelt together, are buried under this slab, rejoicing in their
common tomb even as in a bride-chamber.

44-48] DEATH 263

XLVI
FIRST LOVE
MELEAGER
Δάκρυα σοὶ χαὶ νέρϑε διὰ χϑονός, ἡ Ηλιοδώρα,
δωροῦμαι στοργᾶς λείψανον εἰς ᾿Αἴδαν
eon py%s Ξ 6 ᾽
, , > /
Δάκρυα δυσδάχκρυτα᾽ πολυχλαύτῳ δ᾽ ἐπὶ τύμβῳ
σπένδω νᾶμα πόϑων, μνᾶμα φιλοφροσύνας"
Οἰχτρὰ γὰρ οἰχτρὰ φίλαν ce χαὶ ἐν φϑιμένοις Μελέχγρο
DOT EG Ao) OMe oot Bee SRO λευρΡ a) (ce
“ts \ ’ 3 /
αἰάζω, χενεᾶν εἰς Αχέροντα yaw"
Alot, ποῦ τὸ ποϑεινὸν ἐμοὶ ϑάλος ; ἅρπασεν ἽΑιδας,
ἅρπασεν, ἀχμιαῖον δ᾽ ἄνϑος ἔφυρε κόνις.
? , ~ ~ ete | \ ,
Αλλά σε γουνοῦμαι, YX παντρόφε, τὰν TavOdUETOV
> , ~ / ~ > ,
ἠρέμα Gots χολποις, μᾶτερ, ἐναγχάλισαι.

XLVII

FIRST FRIENDSHIP
AUTHOR UNKNOWN
“A μάχαρ ἀμβροσίῃσι cuvéotie φίλτατε Μούσαις
~ > aN
χαῖρε χαὶ civ ᾿Αἴδεω δώμασι Καλλίμαχε.

XLVIII

STREWINGS FOR GRAVES
AUTHOR UNKNOWN

5) δ ?
Ἄνϑεα πολλὰ γένοιτο νεοδμήτῳ ἐπὶ τύμβῳ,

ma ) , Ds 5 ἢ εὶ Α ζ \ ea
μη βατος αυγυ.ρὴ; μη χαχον αιγιπυρον,

46

Tears I give to thee even below with earth between us,
Heliodora, such relic of love as may pass to Hades, tears sorely
wept; and on thy much-wailed tomb I pour the libation of my
longing, the memorial of my affection. Piteously, piteously, |
Meleager make lamentation for thee, my dear, even among the
dead, an idle gift to Acheron. Woe’s me, where is my cherished
flower? Hades plucked her, plucked her and marred the freshly-
blown blossom with his dust. But I beseech thee, Earth that

nurturest all, gently to clasp her, the all-lamented, O mother, to
thy breast.

47

Ah blessed one, dearest companion of the immortal Muses, fare
thou well even in the house of Hades, Callimachus.

48
May flowers grow thick on thy newly-built tomb, not the dry

264 GREEK ANTHOLOGY [SECT. 11

3 + ν 2 Ν , ! ὦ A α΄ ON pes ,
AN ἴα καὶ σάμψυχα καὶ vdativy νάρκισσος,

Οὐίβιε, καὶ περὶ σοῦ πάντα γένοιτο ῥόδα.

SLES
DIMITTE MORTUOS
PAULUS SILENTIARIUS
Οὔνομά μοι-- τί δὲ τοῦτο; πατρὶς δέ μοι---ἐς τί δὲ τοῦτο ;"
χλεινοῦ δ᾽ εἰμὶ γένους ---εἰ γὰρ ἀφαυροτάτου ;
Ζήσας ἐνδόξως ἔλιπον βίον .---εἰ γὰρ ἀδόξως;
χεῖμαι δ᾽ ἐνθάδε νῦν----τίς τίνι ταῦτα λέγεις;

Lu;
MORS IMMORTALIS
AUTHOR UNKNOWN
Κάτϑανον, ἀλλὰ μένω σε" μενεῖς δέ τε καὶ ov τιν᾽ ἄλλον᾽
πάντας ὁμῶς ϑνητοὺς εἷς ᾿Αἴδης δέχεται.

1,
THE LIGHT OF THE DEAD
PLATO
᾿Αστὴρ πρὶν μὲν ἔλαμπες ἐνὶ ζωοῖσιν ᾿ Εἰῷος,
~ 4 \ ͵ e ’
νῦν δὲ ϑανὼν λαμπεις Εσπερος ἐν φῦ ἱμένοις.

bramble, not the evil weed, but violets and margerain and wet
narcissus, Vibius, and around thee may all be roses.

49

My name— Why this !—and my country—And to what end
this ?_—and I am of illustrious race—Yea, if thou hadst been of the
obscurest ?—Having lived nobly I left life—If ignobly {—and J lie
here now—Who art thou that sayest this, and to whom ἢ

50
I died, but I await thee; and thou too shalt await some one
else: one Death receives all mortals alike.

51
Morning Star that once didst shine among the living, now
deceased thou shinest the Evening Star among the dead.

THE JOY OF YOUTH

RUFINUS

Λουσάμενοι, Προδίκη, πυχασώμεϑα καὶ τὸν ἄκρατον
ἕλχωμεν χύλικας μείζονας αἰρόμιενοι"

Βαιὸς ὁ χαιρόντων ἐστὶν βίος" εἶτα τὸ λοιπὰ
γῆρας κωλύσει, καὶ τὸ τέλος ϑάνατος.

II
THE USE OF LIFE
NICARCHUS

Οὐχ ἀποϑνήσχειν Set με; τί μοι μέλει ἤν τε ποδαγρός,

ἦν τε δρομεὺς γεγονὼς εἰς ᾿Αἴδην ὑπάγω ;
Πολλοὶ γάρ μ᾽ ἀροῦσιν: ἔα χωλόν με γενέσϑαι,

~ ec A , .. ,
τῶνδ᾽ ἕνεχεν γὰρ ἴσως οὐποτ᾽ ἐῶ ϑιάσους.

I

Let us bathe, Prodice, and garland ourselves, and drain un-
mixed wine, lifting larger cups; little is our life of gladness, then
old age will stop the rest, and death is the end.

2

Must I not die? what matters it to me whether I depart to
Hades gouty or fleet of foot? for many will carry me; let me
become lame, for hardly on their account need I ever cease from
revelling.

266 GREEK ANTHOLOGY [SECT. 12
III
VAIN RICHES
ANTIPHANES ,

Ψιηφίζεις, κακόδαιμον, ὁ δὲ χρόνος ὡς τόχον οὕτω
χαὶ πολιὸν τίχτει γῆρας ἐπερχόμενος,

Κοὔτε πιὼν οὔτ᾽ ἄνϑος ἐπὶ κροτόφοις ἀναδήσας,
οὐ μύρον, οὐ γλαφυρὸν γνούς TOT’ ἐρωμένιον

Τεϑνήξη, πλουτοῦσαν ἀφεὶς μεγάλην διαϑήχην,
ἐχ πολλῶν ὀβολὸν μοῦνον ἐνεγκάμενος.

IV
MINIMUM CREDULA POSTERO
PALLADAS
Πᾶσι ϑανεῖν μερόπεσσιν ὀφείλεται, οὐδέ τις ἐστὶν
αὔριον εἰ ζήσει ϑνητὸς ἐπιστάμενος"
Τοῦτο σαφῶς, ἄνϑρωπε, μαϑὼν εὔφραινε σεαυτόν,
λήϑην τοῦ ϑανάτου τὸν Βρόμιον χατέχων,
Τέρπεο χαὶ ΠΠαφίῃ, τὸν ἐφημέριον βίον ἕλκων,
τἄλλα δὲ πάντα Τύχῃ πράγματα δὸς διέπειν.

V
DONEC HODIE
AUTHOR UNKNOWN
~ \ > , , \ ΝΜ * , \ i ᾿
Πῖνε καὶ εὐφραίνου, τί γὰρ αὔριον ἢ τί τὸ μέλλον ;
οὐδεὶς γιγνώσχει᾽ μὴ τρέχε, μιὴ κοπία"

3
Thou reckonest, poor wretch; but advancing time breeds white
old age even as it does interest ; and neither having drunk, nor
bound a flower on thy brows, nor ever known myrrh nor a delicate
darling, thou shalt be dead, leaving thy great treasury in its
wealth, out of those many coins carrying with thee but the one.

4

All human must pay the debt of death, nor is there any mortal
who knows whether he shall be alive to-morrow; learning this
clearly, O man, make thee merry, keeping the wine-god close by
thee for oblivion of death, and take thy pleasure with the Paphian
while thou drawest thy ephemeral life; but all else give to
Fortune’s control.

5

Drink and be merry ; for what is to-morrow or what the future ἢ
no man knows. Run not, labour not; as thou canst, give, share,

LIFE 267

“Ὡς δύνασαι χάρισαι, μετάδος, φάγε, ϑνητὰ λογίζου"
τὸ ζὴν τοῦ μὴ ζῆν οὐδὲν ὅλως ἀπέχει,
Πᾶς 6 βίος τοιόσδε, ῥοπὴ μόνον᾽ ἃ a ῦ
ς ὁ βίος τοιόσδε, ῥοπὴ μιόνον᾽ ἄν προλάβῃς, σοῦ,
a A , eer , \ ) >. “
ἄν δὲ ϑάνῃς, ἑτέρου πάντα, σὺ δ᾽ οὐδὲν ἔχεις.

VI
REQUIESCE ANIMA
MIMNERMUS
ἭΚβα μοι, φίλε ϑυμέ᾽ τάχ᾽ ἄν τινες ἄλλοι ἔσονται
ἄνδρες, ἐγὼ δὲ ϑανὼν γαῖα μέλαιν᾽ ἔσομαι.
vu
ONE EVENT
MARCUS ARGENTARIUS
, \ , ΄ , δ > δὲ \ \
Πέντε ϑανὼν κείσῃ κατέχων πόδας, οὐδὲ TH τερπνὰ
~ > Ν᾽ EEA Ly > , Ἂ
ζωῆς οὐδ’ αὐγὰς ὄψεαι ἠελίου
Ὥστε λαβὼν Baxyou ζωρὸν δέπας ἕλκε γεγηϑώς,
, ff - > \ v »
Κίγχιε, καλλίστην ἀγκὰς ἔχων ἁλοχον᾽
Εἰ δέ σοι ἀϑάνατος σοφίης νόος, ἴσϑι Κλεανϑης
χαὶ Ζήνων ᾿Αἴδην τὸν βαϑὺν ὡς ἔμολον.

ὙΠ

THE PASSING OF YOUTH
APOLLONIDES

ba , ΟΝ ~ P \ δὲ , > \na,2 z
TVGELS, ὦ TALIS το OF GLUGOS AUTO Cox σε
be \

E080, Uh τέοπου U.OLOLOLN μελέτη;
γρξ0. μὴ N ide ἢ ( il

consume, be mortal-minded ; to be alive and not to be alive are
no way at all apart. All life is such, only the turn of the scale ;
if thou art beforehand, it is thine; and if thou diest, all is
another’s, and thou hast nothing.

6

Be young, dear my soul: soon will others be men, and I being

dead shall be dark earth.
7

Five feet shalt thou possess as thou liest dead, nor shalt see the
pleasant things of life nor the beams of the sun; then joyfully lift
and drain the unmixed cup of wine, O Cincius, holding a lovely
wife in thine arm ; and if philosophy say that thy mind is immortal,
know that Cleanthes and Zeno went down to deep Hades.

8

Thou slumberest, O comrade; but the cup itself cries to thee,
‘Awake; do not make thy pleasure in the rehearsal of death.’

268 GREEK ANTHOLOGY [SECT. 12

, Νδᾷ
Μὴ φείσῃη, Διόδωρε, λάβρος δ᾽ εἰς Βάκχον ὀλισϑὼν
Μ > ‘
ἄχρις ETL σφαλεροῦ ζωροπότει γόνατος:
>

΄

“Eoce® ὅτ᾽ οὐ πιόμεσϑα πολὺς πολύς" ἀλλ᾽ ay’ ἐπείγου"

, e ig /
OTe φὼν απτεται NY-ETEOMY.

\

ἡ συνετὴ κα

IX
THE HIGHWAY TO DEATH
ANTIPATER OF SIDON

᾿Ωχύμ. Lopov με λέγουσι δαή ἥμονες ἀνέρες ἄστρων᾽

εἰμὶ μέν, ἀλλ᾽ οὔ μοι τοῦτο, Σέλευχε, μέλει"
Εἰς ᾿Αἴδην pla πᾶσι καταίβασις" εἰ δὲ τάχιον

« , , ~ ; , é

ἡμετέρη, 3 Μίνω ϑᾶσσον ἐποψόμεϑα
Πίνωμεν: χαὶ δὴ γὰρ ἐτήτυμον εἰς ὁδὸν ἵππος

οἶνος, ἐπεὶ ΕΣ δε ἀτραπὸς εἰς ᾿Αἴδην.

s4
BEFORE THE DELUGE
STRATO

Καὶ ats viv καὶ gon, Δαμόχρατες, οὐ γὰρ ἐς αἰεὶ

moped’ οὐδ᾽ ἀεὶ τέρψιος ἑξόμεϑα:
Καὶ στεφάνοις κεφαλὰς πυχασώμεϑα χαὶ μυρίσωμεν

αὑτούς, πρὶν τύμβοις ταῦτα φέρειν ἑτέρους.
Νῦν ἐν ἐμοὶ πιέτω μέϑυ τὸ πλέον ὀστέα THUS,

νεχοὰ δὲ Δευκαλίων αὐτὰ καταχλυσάτω.

Spare not, Diodorus, slipping greedily into wine, drink deep, even
to the tottering of the knee. Time shall be when we shall not
drink, long and long; nay come, make haste ; prudence already
lays her hand on our temples.

9
Men skilled in the stars call me brief-fated ; I am, but I care

not, O Seleucus. There is one descent for all to Hades; and if

ours comes quicker, the sooner shall we look on Minos. Let us
drink ; for surely wine is a horse for the high-road, when foot-
passengers take a by-path to Death.

10

Drink now and love, Damocrates, since not for ever shall we
drink nor for ever hold fast our delight; let us crown cur heads
with garlands and perfume ourselves, before others bring these offer-
ings to our graves. Now rather let my bones drink wine inside
me ; when they are dead, let Deucalion’s deluge sweep them away.

LIFE 269

XI

FLEETING DAWN
ASCLEPIADES

Πίνωμεν Βάχχου ζωρὸν πόμα" δάκτυλος dog"
ἡ πάλι χοιμιστὰν λύχνον ἰδεῖν μένομεν ;
Πίνωμεν γαλερῶς᾽ μετά τοι χρόνον οὐχέτι πουλύν,
σχέτλιε, τὴν μακρὰν νύκτ᾽ ἀναπαυσόμεϑοι.

XII
OUTRE-TOMBE
JULIANUS AEGYPTIUS
Πολλάκι μὲν τόδ᾽ ἄεισα, χαὶ ἐκ τύμβου δὲ βοήσω"
πίνετε, πρὶν ταύτην ἀμφιβάλησϑε κόνιν.

ΧΙΠῚ

EARTH TO EARTH
ZONAS

Δός τ τοὐχ γαίης ΤΠ το νον ἁδὺ κύπελλον,

ἃς γενόμην, χαὶ ὑφ’ % χείσομ. ἀποφϑίμενος.

XIV
THE COFFIN-MAKER
AUTHOR UNKNOWN
Ἤϑελον ἂν πλουτεῖν ὡς πλούσιος ἦν ποτε Κροῖσος
καὶ βασιλεὺς εἶναι τῆς μεγάλης ᾿Ασίης,

iE

Let us drink an unmixed draught of wine ; dawn is an hand-
breadth ; are we waiting to see the bed-time lamp once again ?
Let us drink merrily ; after no long time yet, O luckless one, we
_ shall sleep through the long night.

12

Often I sang this, and even out of the grave will I cry it ; ‘ Drink,
before you put on this raiment of dust.’

13
Give me the sweet cup wrought of the earth from which I was
born, and under which I shall lie dead.

14
I would have liked to be rich as Croesus of old was rich, and to
be king of great Asia; but when I look on Nicanor the coflin-

270 GREEK ANTHOLOGY [SECT. 12

χαὶ γνῶ πρὸς τί ποιεῖ ταῦτα τὰ Ἰωσσύκομα Ly
᾿Αχτήν που πάσσας χαὶ ταῖς χκοτύλαις ὑποβρέξας
\ ~ A ld ,
τὴν ᾿Ασίην πωλῶ πρὸς μυρα καὶ στεφάνους.

XV
RETURNING SPRING
PHILODEMUS

Ἤδη καὶ ῥόδον ἐστί, χαὶ ἀχμάζων ἐρέβινϑος,

χαὶ καυλοὶ κράμβης, Soni πρωτοτόμου,
Καὶ μαίνη ζαγλαγεῦσα χαὶ ἀρτιπαγὴς ἁλίτυρος

χαὶ ϑριδάκων οὔλων ἁβροφυῆ πέταλα.
“Ἡμεῖς δ᾽ ovr’ ἀχτῆς ἐπιβαίνομεν οὔτ᾽ ἐν ἀπόψει

γηνόμεϑ᾽ ὡς αἰεί, Σωσύλε, τὸ πρότερον ;
Καὶ μὴν ᾿Αντιγένης χαὶ Βάχχιος ἐχϑὲς ἔπαιζον,

ne

~ >]
νῦν δ᾽ αὐτοὺς ϑάψαι σήνψιερον ἐχφέρομεν.
XVI
A LIFE’ WANDERING
AUTHOR UNKNOWN

Καππαδόχων ἔ ἔϑνους πολυανϑέας οἴδατ᾽ ὁ ἀρούρας:

χεῖθϑεν ἐγὼ φυόμην ἐχ τοχέων ἀγ LVOV'
Ἔξότε τοὺς ΠΣ τόμην, δύσιν ἥλυϑον ἠδὲ χαὶ ἠῶ"

: οὔνομα μοι i hy λάφυρος χαὶ φρενὸς εἴχελον ὯΝ
τ \ v , ᾽
Εζηχοστον ἔτος πανελεύϑερον ἐξεβίωσα᾽
Ἂς \ \ ͵ A A μτ ͵
καὶ καλὸν τὸ τύχης HAL πιχρον οἷδα βίου.

maker, and know for what he is making these flute-cases of his,
sprinkling my flour and wetting it with my jug of wine, I sell all
Asia for ointments and garlands.

15
Now is rose-time and peas are in season, and the heads of early
cabbage, O Sosylus, and the milky maena, and fresh-curdled cheese,
and the soft- -springing leaves of curled lettuces ; and do we neither
pace the foreland nor climb to the outlook, as always, O Sosylus,
we did before ? for Antagoras and Bacchius too frolicked yesterday,
and now to-day we bear them forth for burial.

16

Know ye the flowery fields of the Cappadocian nation ? thence
I was born of good parents: since I left them I have wandered
to the sunset and the dawn; my name was Glaphyrus, and like
my mind. I lived out my sixtieth year in perfect freedom; I
know both the favour of Fortune and the bitterness of life.

.ὦ » δ

15-20] LIFE 271

XVII
ECCE MYSTERIUM
BIANOR
Οὗτος ὁ μηδέν, ὁ λιτός, ὁ καὶ λάτρις, οὗτος ἐρᾶται
χἀστί τινος ψυχῆς κύριος ἀλλοτρίης.

XVIII
THE SHADOW OF LIFE
THEOGNIS
“Agpoves ἄνϑρωποι χαὶ νήπιοι οἵτε ϑανόντας
χλαίουσ᾽, οὐδ᾽ ἥβης ἄνϑος ἀπολλύμενον.

RTO
THE SHADOW OF DEATH
AUTHOR UNKNOWN
Τοὺς χκαταλείψαντας γλυχερὸν φάος οὐχέτι ϑρηνῶ,
τοὺς δ᾽ ἐπὶ προσδοκίῃ ζῶντας ἀεὶ ϑανάτου.

ΧΧ

PARTA QUIES
PALLADAS
Tloocdoxin ϑανάτου πολυώδυνός ἐστιν avin,
~ A , A > /
τοῦτο δὲ χερδαίνει ὕνητος ἀπολλύμενος"
Μὴ τοίνυν κλαύσῃς τὸν ἀπερχόμενον βιότοιο,
\ ΙΑ ͵ { > ,
οὐδὲν γὰρ ϑανάτου δεύτερόν ἐστι πάϑος.

17
This man, inconsiderable, mean, yes, a slave, this man is loved,
and is lord of another’s soul.
18

Fools and children are mankind to weep the dead, and not the
flower of youth perishing.

19
Those who have left the sweet light I bewail no longer, but
those who live ever in expectation of death. :

20

Expectation of death is woful grief, and this is the gain of a
mortal when he perishes ; weep not then for him who departs from
life, for after death there is no other accident.

bo
coe |
bo

GREEK ANTHOLOGY [SECT. 12

XXI
THE CLOSED ACCOUNT
PHILETAS
Od χλαίω ξείνων σὲ φιλαίτατε᾽ πολλὰ γὰρ ἔγνως
xtra καχῶν δ᾽ αὖ σοὶ μοῖραν ἔνειμε ϑεός.

XXII
THE VOYAGE OF LIFE
PALLADAS
Πλοὺς σφαλερὸς τὸ ζῆν: χειμιαζόμινοι γὰρ ἐν αὐτῷ
~ > ,

πολλάκι ναυηγῶν πταίομιεν οἰκτρότερα"
r A A / , , v
Tay δὲ Τύχην βιότοιο χυβερνήτειραν ἔχοντες

« > ~ > ,

ὡς ἐπὶ τοῦ πελάγους ἀμφίβολοι πλέομιεν,
Οἱ μὲν ἐπ᾽ εὐπλοίην, οἱ δ᾽ ἔμπαλιν ἀλλ᾽ ἅμα πάντες

εἰς ἕνα τὸν κατὰ γῆς ὅρμον ἀπερχόμεϑα.

XXIII
DAILY BIRTH
PALLADAS

\ > , , si ΠΣ Lee ἢ
Νυχτὸς ἀπερχομένης γεννώμεϑα ἡμὰρ ἐπ᾽ ἦμαρ

τοῦ προτέρου βιότου μηδὲν ἔχοντες ἔτι,
᾿Αλλοτριωϑέντες τῆς ἐχϑεσινῆς διαγωγῆς

τοῦ λοιποῦ δὲ βίου σήμερον ἀρχόμενοι:

\ , / \ > ~ Dw ~

Μὴ τοίνυν λέγε σαυτὸν ἐτῶν, πρεσβῦτα, περισσῶν,

τῶν γὰρ ἀπελϑόντων σήμερον οὐ μετέχεις.

21

I weep not for thee, O dearest of friends; for thou knewest
many fair things; and again God dealt thee thy lot of ill.

22

Life is a dangerous voyage ; for tempest-tossed in it we often
strike rocks more pitiably than shipwrecked men; and having
Chance as pilot of life, we sail doubtfully as on the sea, some on a
fair voyage, and others contrariwise ; yet all alike we put into the
one anchorage under earth.

23

Day by day we are born as night retires, no more possessing
aught of our former life, estranged from our course of yesterday,
and beginning to-day the life that remains. Do not then call
thyself, old man, abundant in years ; for to-day thou hast no share
in what is gone.

ort

LIFE 273

XXIV
THE LIMIT OF VISION

AUTHOR UNKNOWN

Νῦν ἄμμες, πρόσϑ᾽ ἄλλοι ἐϑάλλεον, αὐτίκα δ᾽ ἄλλοι
ὧν ἄμμες γενεὰν οὐκέτ᾽ ἐποψόμεϑα.

ΧΧν
THE BREATH OF LIFE

PALLADAS

"Hépx λεπταλέον μυκτηρόϑεν ἀμπνείοντες
, > , , ,

ζώομεν ἠελίου λαμπάδα δερχόμινοι

Tlavres ὅσοι ζῶμεν χατὰ τὸν βίον, ὄργανα δ᾽ ἐσμὲν
αὔραις ζωογόνοις πνεύματα. δεχνύμενοι.

> , τὶ 5 7) , ’ > a ,

Ei δέ τις ὍΝ ὀλίγην TAK σφίγξειεν αὐτμὴν,
ψυχὴν συλήσας εἰς ᾿Αἴδην χκαταγει"

Οὕτως οὐδὲν ἐόντες, ἀγηνορίῃ τρεφόμεσϑα
πνοιῆς ἐξ ὀλίγης ἠέρα βοσχόμενοι.

XXVI
TWO ETERNITIES

LEONIDAS OF TARENTUM

»~

Μυρίος ἦν, ὥνϑρωπε, χρόνος προτοῦ, ἄχρι πρὸς ἠῶ
ἦλϑες, YO λοιπὸς μύριος εἰς "AL

24
Now we flourish as before others did, and soon others will,
whose children we shall never see.

25
Breathing thin air in our nostrils we live and look on the torch
of the sun, all we who live what is called life ; and are as organs,
receiving our spirits from quickening airs. If one then chokes
that little breath with his hand, he robs us of life, and brings us
down to Hades. Thus being nothing we wax high in hardihood,
feeding on air from a Jittle breath.

26

Infinite, O man, was the foretime until thou camest to thy
dawn, and what remains is infinite on through Hades: what share
is left for life but the bigness of a pinprick, and tinier than a pin-

18

214 GREEK ANTHOLOGY [SECT. 12

ν ~ ar « εἰ
Τίς μοῖρα ζωῆς ὑπολείπεται ἢ ὅσον ὅσσον
4 ᾿ δε γ + “ ,
Un, καὶ στιγμῆς εἴ τι χαμηλοτερον ;
, % A , > ἢ \ \
Μιχρὴ sev ζωὴ τεϑλιμμένη οὐδὲ γὰρ αὐτὴ
ε pt > ~ ,
ἡδεῖ, ἀλλ᾽ ἐχϑροῦ στυγνοτέρη ϑανάτου.

στιγ

XXVII

THE LORD OF LANDS
AMMIANUS
ἃ , c ΄ὔ ~ v ,
Kay μέχρις Ηραχλέους στηλῶν ἔλϑης παρορίζων
~ ‘ ~ , ,ὔ
γῆς μέοος ἀνϑοωποις πᾶσιν ἴσον σε μένει
γη μ" ϊ : t : 4 7
» εἰ “ ~ / ,ὔ
Κείσῃ δ᾽ "Tow ὅμοιος, ἔχων ὀβολοῦ πλέον οὐδέν,
εἰς τὴν οὐχέτι σὴν γῆν ἀναλυόμινος.

XXVIII

THE PRICE OF RICHES

PALLADAS

Πλουτεῖς, καὶ τί τὸ λοιπόν ; ἀπερχόμενος μετὰ σαυτοῦ
τὸν πλοῦτον σύρεις εἰς σορὸν ἑλκόμενος ;
Τὸν πλοῦτον συνάγεις δαπανῶν χρόνον: οὐ δύνασα: δὲ
‘ Ἦν
~ ~ ,
ζωῆς σωρεῦσαι μέτρα περισσότερα.

prick if such there be? Little is thy life and afflicted; for not
even so it is sweet, but more loathed than hateful death.

27
Though thou pass beyond thy landmarks even to the pillars of
Heracles, the share of earth that is equal to all men awaits thee,
and thou shalt lie even as Irus, having nothing more than thine
obolus, mouldering into a land that at last is not thine.

28

Thou art rich, and what of it in the end? as thou departest,
dost thou drag thy riches with thee, pulling them into the coffin ?
Thou gatherest riches at expense of time, and thou canst not heap
up more exceeding measures of life.

|

ΓΒ κρ Τ Ύ ὙΤΤ

27-32] LIFE 275

XXIX
THE DARKNESS OF DAWN
AMMIANUS
» ~ >
"Hors ἐξ ἠοῦς παραπέμπεται, cit’, ἀμελούντων
« ~ > , “ « ,
ἡμῶν, ἐξαίφνης ἥξει ὁ πορφύρεος,
Κ ν \ \ ie, \ y pV SN eet) A δὲ
at τοὺς μὲν τήξας, τοὺς δ᾽ ὀπτήσας, ἐνίους δὲ
, » Ὁ
φυσήσας, acer πάντας ἐς ἕν βάραϑρον.

ΧΧΧ
NIL EXPEDIT
PALLADAS
Γῆς ἐπέβην γυμινός, γυμνός 8’ ὑπὸ γαῖαν ἄπειμι,
, ~ A ~ ΄'
καὶ τί μάτην μοχϑῶ, γυμνὸν ὁρῶν τὸ τέλος;

XXXI
THE WAY OF THE WORLD
LUCIAN
Θνητὰ τὰ τῶν ϑνητῶν, nal πάντα παρέρχεται ἡμᾶς"
ἣν δὲ μή, ἀλλ᾽ ἡμεῖς αὐτὰ παρερχόμεϑα.

XXXII
THE SUM OF KNOWLEDGE
AUTHOR UNKNOWN
Οὐχ ἤμην, γενόμην: ἤμην, οὐκ εἰμί τοσαῦτα"
εἰ δέ τις ἄλλ᾽ ἐρέει, ψεύσεται οὐχ ἔσομιαι.

29
Morning by morning passes ; then, while we heed not, suddenly
the Dark One will be come, and, some by decaying, and some by
parching, and some by swelling, will lead us all to the one pit.

3°
Naked I came on earth, and naked I depart under earth, and
why do I vainly labour, seeing the naked end ?

31
Mortal is what belongs to mortals, and all things pass by us ;
and if not, yet we pass by them.

32
I was not, I came to be; I was, I am not: that is all ; and who
shall say more, will lie: I shall not be.

276 GREEK ANTHOLOGY [SECT. 12

XX XIII
NIHILISM

GLYCON

, ,
Πάντα γέλως καὶ πάντα χόνις καὶ πάντα τὸ pndév"
, \ ele) , > 4 A ͵
παντα γὰρ ἐξ ἀλόγων ἐστὶ τὰ γιγνόμενα.

KXXIV
NEPENTHE

AUTHOR UNKNOWN

/

Πῶς γενόμην ; πόϑεν sit; τίνος χάριν ἦλθον; ἀπελϑεῖν.
πῶς δύναμαί τι μαϑεῖν, υ:ηδὲν ἐπιστάμενος ;

Οὐδὲν ἐὼν γενόμ. nV) πάλιν ἔσσομαι ὡς πόρος Ha
οὐδὲν καὶ μιηδὲν τῶν μερόπων τὸ γένος.

᾽᾿Αλλ᾽ ἄγε μοι Βάκχοιο φιλήδονον ἔντυε ναμιοα"
τοῦτο γάρ ἐστι χαχῶν φάρμακον ἀντίδοτον.

ΧΧΧν
THE SLAUGHTER-HOUSE

PALLADAS

Πάντες τῷ ϑανάτῳ τηρούμεϑα καὶ τρεφόμεσϑα
ὡς ἀγέλη χοίρων σφαζομένων ἀλόγως.

33

All is laughter, and all is dust, and all is nothing; for out of
unreason is all that i is.

34
How was I born? whence am I? why did I come? to go again :
how can I learn anything, knowing nothing? Being nothing, I
was born ; again I shall be as I was before ; nothing and nothing-
worth is the human race. But come, serve to me the joyous

fountain of Bacchus ; for this is the drug counter-charming ills,

35
We all are watched and fed for Death as a herd of swine
butchered wantonly.

33-38] LIFE 277

SEXO VAT
LACRIMAE RERUM
PALLADAS
Δακχρυχέων γενόμην καὶ δακρύσας ἀποϑνήσχω
δάκρυσι δ᾽ ἐν πολλοῖς τὸν βίον εὗρον ὅλον.
Ὦ γένος ἀνθρώπων πολυδάχρυον, ἀσϑενές, οἰκτρόν,
συρόμενον κατὰ γῆς καὶ διαλυόμινον.

—<<= ῬΘ-

XXXVII

THE WORLD’S WORTH
, AESOPUS

,

Πῶς τις ἄνευ ϑανάτου ce φύγῃ, Pie; μυρία yap σευ
, A Μ ~ > A » a J "
λυγρά, καὶ οὔτε φυγεῖν εὐμαρὲς οὔτε φέρειν
x , \ , , τς
“Hoda μὲν γάρ σου τὰ φύσει καλά, γαῖα, ϑαλασσα,
ἄστρα, σεληναίης κύχλα καὶ ἠελίου,

a. |.

3 Τάλλα δὲ πάντα φόβοι te χαὶ aya χῆν τι TAD τις
: ἐσϑλόν, ἀμοιβαίην ἐχδέχεται Νέμεσιν.

4 XXXVIII

τ PIS-ALLER

q THEOGNIS

ἦ Πάντων μὲν μὴ φῦναι ἐπιχϑονίοισιν ἄριστον

Ῥ und’ ἐσιδεῖν αὐγὰς ὀξέος ἠελίου"

Ὶ Φύντα δ᾽ ὅπως ὠχιστα πύλας ᾿Αἴδαο περῆσα!

καὶ χεῖσϑαι πολλὴν γῆν ἐπαμιησάμιενον.

horn.

36
Weeping I was born and having wept I die, and I found all my
living amid many tears. O tearful, weak, pitiable race of men,
dragged under earth and mouldering away !

| 37

q How might one escape thee, O life, without dying? for thy
E sorrows are numberless, and neither escape nor endurance is easy.
4 For sweet indeed are thy beautiful things of nature, earth, sea, stars,
E the orbs of moon and sun; but all else is fears and pains, and
though one have a good thing befal him, there succeeds it an
answering Nemesis.

38
o
Of all things not to be born into the world is best, nor to see the

beams of the keen sun; but being born, as swiftly as may be to
pass the gates of Hades, and lie under a heavy heap of earth.

218 GREEK ANTHOLOGY [SECT. 12
ΧΥΧΙΝΧ
THE SORROW OF LIFE
POSIDIPPUS

Ποίην τις βιότοιο τάμῃ τρίβον ; εἰν ἀγορῇ μὲν
νείκεα καὶ χαλεπαὶ πρήξιες" ἐν δὲ δόμοις

Φροντίδες" ἐν δ᾽ ἀγροῖς καμάτων ἅλις" ἐν δὲ ϑαλάσσῃ
τάρβος" ἐπὶ ξείνης δ᾽, ἣν μὲν ἔχης τι, δέος,

“Hy δ᾽ ἀπορῇς, ἀννηρόν᾽ ἔχεις γάμον ; οὐκ ἀμέριμνος
ἔσσεαι οὐ γαμέεις ; ζῆς ἔτ᾽ ἐρημότερος"

Τέκνα πόνοι πήρωσις ἄπαις βίος" αἱ νεότητες
ἄφρονες" αἱ πολιαὶ δ᾽ ἔμπαλιν ἀδρανέες.

ἮΝν ἄρα τοϊνὸς δυοῖν ἑνὸς αἵρεσις, ἢ τὸ γενέσϑαι
υ:ηδέποτ᾽ ἢ τὸ ϑανεῖν αὐτίκα τικτόμενον.

ΧΙ,
THE JOY OF LIFE

METRODORUS

(De - , ap) ε > > = \
Παντοίην βιότοιο τάμοις τρίβον᾽ εἰν ἀγορῇ μὲν
‘> 4 7 nae > A ,
χύδεα χαὶ πινυταὶ πρήξιες" ἐν δὲ δόμοις
> ~ [ ’
"Αμπαυμ’" ἐν δ᾽ ἀγροῖς φύσιος χάρις" ἐν δὲ ϑαλάσσῃ
/ e jes =~ Fs 4 vv 7 ἊΝ ,ὔ
: χέρδος" ἐπὶ ξείνης, ἣν μὲν ἔχῃς τι, χλέος,
+ δι ~ U 3 »“ Ul τ A
Hy ὃ ἀπορῇς, μόνος οἶδας" ἔχεις γάμον; οἶκος ἄριστος

> ed ~ v /
GOSTAY οὐ γαμέεις 5 Cis ἔτ᾽ ἐλαφρότερος"

o

39

What path of life may one hold? In the market-place are strifes
and hard dealings, in the house cares; in the country labour
enough, and at sea terror; and abroad, if thou hast aught, fear,
and if thou art in poverty, vexation. Art married? thou wilt not
be without anxieties; unmarried? thy life is yet lonelier. Children
are troubles ; a childless life is a crippled one. Youth is foolish,
and grey hairs again feeble. In the end then the choice is of one
of these two, either never to be born, or, as soon as born, to die.

40

Hold every path of life. In the market-place are honours and
prudent dealings, in the house rest ; in the country the charm of
nature, and at sea gain; and abroad, if thou hast aught, glory, and
if thou art in poverty, thou alone knowest it. Art married ? so
will thine household be best; unmarried 1 thy life is yet lighter.
Children are darlings ; a childless life is an unanxious one: youth

—?

LIFE 279

Τέκνα πόϑος" ἄφροντις ἄπαις βίος" αἱ νεότητες
ῥωμαλέαι πολιαὶ δ᾽ ἔμπαλιν success’

Οὐχ ἄρα τῶν δισσῶν ἑ ἑνὸς αἵρεσις, ἢ τὸ γενέσϑαι
υ:ηδέποτ᾽ ἢ τὸ ϑανεῖν᾽ πάντα γὰρ ἐσϑλὰ βίῳ

XLI
QUIETISM
PALLADAS
Τίπτε μάτην, ἄνϑρωπε, πονεῖς καὶ πάντα ταράσσεις
χλήρῳ δουλεύων τῷ χατὰ τὴν γένεσιν ;
Τούτῳ σαυτὸν ἄφες τῷ δαίμονι μιὴ φιλονείχει
σὴν δὲ τύχην στέργων ἡσυχίην ἀγάπα.

XLII
EQUANIMITY
PALLADAS
\ , [2 ν / - a
Ki to ge θον GE φέρει, Eos a εἰ ὃ ἀγαναχτεῖς
ww ΄ Le
χαὶ σαυτὸν λυπεῖς, καὶ TO φξρον GE φέρει.

XLIII
THE RULES OF THE GAME
PALLADAS
ἢ

bane «ς᾽ ᾿ ,
Denver πᾶς ὁ βίος καὶ παίγνιον
tal /

-

ἢ μάϑε παίζειν
δὴν μεταϑείς, ἢ φέρε τὰς ὀδύνας

\

τὴν σποὺ

is strong, and grey hairs again reverend. The choice is not then
of one of the two, either never to be born or to die; for all things
are good in life.
41
Why vainly, O man, dost thou labour and disturb everythin
when thou art slave to the lot of thy birth? Yield thyself to it,
strive not with Heaven, and, accepting thy fortune, be content with

rest.
42
If that which bears all things bears thee, bear thou and be

borne ; and if thou art indignant and vexest thyself, even so that
which bears all things bears thee.
43
either learn to play it, laying

All life is a stage and a game
by seriousness, or bear its pains.

280 GREEK ANTHOLOGY [SECT. 12

XLIV
THE ONE HOPE

PAULUS SILENTIARIUS

Οὐ τὸ ζῆν χαρίεσσαν ἔχει φύσιν, ἀλλὰ τὸ ὀίψαι
φροντίδας ἐχ στ ἕρ ov τὰς πολιοχροτάφους.

Πλοῦτον ἔ ΕΝ ἐθέλω τὸν ἐπάρκιον, ἡ δὲ περισσὴ
Sup.ov ἀεὶ χατέδει χρυσομανὴς μελ ἔτη

ἜΝνϑεν ἐν ἀνθρώποισιν ἀρείονα πολλάκι δήεις
χαὶ πενίην πλούτου, καὶ βιότου ϑάνατον.

Ταῦτα σὺ γιγνώσχων χραδίης ἴϑυνε κελεύϑους
εἰς μίαν εἰσορόων ἐλπίδα, τὴν σοφίην.

XLV
AMOR MYSTICUS

MARIANUS

A

Ποῦ σοι τόξον ἐχεῖνο παλίντονον οἵ τ᾽ ἀπὸ σεῖο
πηγνύμενοι μεσάτην ἐς χραδίην δόναχες ;

Ποῦ mreon; ποῦ λαμπὰς πολ υώδυνος: ἐς τί δὲ τρισσὰ
στέμματα χεροὶν ἔχεις, κρατὶ δ᾽ Ex’ ἄλλο φέρεις:

Οὐχ ἀπὸ πανδήμου, ἔ Géve, Ku ὕπρι 1006, οὐκ ἀπὸ γαίης
εἰμὶ καὶ ὑλαίης ἔκγονος εὐφροσύνης,

᾿Αλλ᾽ ἐγὼ ἐς καϑαρὴν μερόπ των φρένα πυρσὸν ἀνάπτω
εὐμαϑίης, ψυχὴν δ᾽ οὐρανὸν εἰσανάγω᾽

44
It is not living that has essential delight, but throwing away
out of the breast cares that silver the temples. I would have wealth
sufficient for me, and the excess of maddening care for gold ever
eats away the spirit; thus among men thou wilt find often death
better than life, as poverty than wealth. Knowing this, do thou
make straight the paths of thine heart, looking to our one hope,
Wisdom.

45

Where is that backward-bent bow of thine, and the reeds that
leap from thy hand and stick fast in mid-heart? where are thy
wings ? where thy grievous torch? and why carriest thou three
crowns in thy hands, and wearest another on thy head? I spring
not from the common Cyprian, O stranger, I am not from earth,
the offspring of wild joy; but I light the torch of learning in
pure human minds, and lead the soul upwards into heaven. And

Pro ΕΟ

x be
=

44-46] LIFE 281
"Ex δ᾽ ἀρετῶν στεφάνους πισύρων πλέχω᾽ ὦν ἀφ᾽ ἑκάστης
τούσδε φέρων, πρώτῳ τῷ σοφίης στέφομιαι.

XLVI
THE LAST WORD
PALLADAS
δ ~ 7 \ BY , \ a ,
Πολλὰ λαλεῖς, ἄνϑρωπε, χαμαὶ δὲ wey μετα ptxoov.
σίγα, καὶ μελέτα ζῶν ἔτι τὸν ϑάνατον.

I twine crowns of the four virtues; whereof carrying these, one
from each, I crown myself with the first, the crown of Wisdom.

46
Thou talkest much, O man, and thou art laid in earth after a
little : keep silence, and while thou yet livest, meditate on death.

BrOGRAPHIC“VL INDEX
OF EPIGRAMMATISTS

δ γα, αὐλῷ αὶ
‘Attn -

Se

INCLUDED IN THIS SELECTION

Addaeus,
Aeschylus,
Aesopus,

Agathias,

Alcaeus of Messene,
Alpheus,
Ammianus, .
Anacreon,
Antipater of Sion

Antipater of Thessalonic::.

Antiphanes, .
Antiphilus, .
Anyte, .
Apollonides, .
Arabius,

- Archias,
Aristodicus,
Ariston,
Artemidorus,
Asclepiades, .
Asclepiodotus,
Automedon, .

~ Bacchylides, °

Bianor, -

Callimachus,
Carphyllides,
Cometas,
Crinagoras, .

Damagetus, .
Demodocus, . Σ
Diodorus of Sardis,
Dionysius,

PAGE
290
288
308
308
297
306
305
287
299
301
302
304
291
303
309
305
299
299
298
293
306
297

288
302

294
306
911
902

298
289
300

Dioscorides, .
Diotimus,

Eratosthenes,
Erinna,
Erycius,
Euphorion,
Evenus,

Gaetulicus, .
Glaucus,
Glycon,

Hegesippus, .
Hermocreon,

Joannes Barbucallus,
Julianus Aegyptius,
Julius Polyaenus,

Leonidas of Tarentum, .

Leontius,
Lucian,
Lucilius,

Macedonius, .
Maecius,

Marcus ἈΠ ΠΝ
Marianus,

Moleager,
Metrodorus, .
Mimnermus,
Mnasalcas,

Moero, .

Moschus,

298 | Myrinus,

285

BIOGRAPHICAL INDEX OF EPIGRAMMATISTS

PAGE
298
297

911
286
900
295
303

303
306
308

291
300

309
309
304

293
310
306
304

310
304
304
308
300
295
286
296
295
296
305

286 GREEK ANTHOLOGY
PAGE PAGE

Nicaenetus, . : 5 . 295 Rhianus, - : ᾿ . 296
Nicarchus, . : - . 305 Rufinus, : : : . 310
Nicias, . : : : . 294
Nossis, . : : . 293 Satyrus, ; ; _ 306
Palladas, .. : : . 3807 Secundus, - . : . 305

: Simmias, . : ὃ . 292
Pamphilus, . : : . 299 εἰν Ἦ

ς Simonides, . : i . 287
Parmenio, . : ! . 803 Strato 305
Parrhasius, . : ‘ . 289 et ; : . :
Paulus Silentiarius, : . 3810
Perses,. . . «. ὦ. 292 | Theaetetus, . oe
Phaedimus, . : : . 292 Theocritus, . 3 : . 294
Philetas, : 3 F . 292 Theodorides, . : : . 296
Philippus, . Σ 5 . 304 Theognis, . ὃ : . 287
Philodemus, . : ς . 300 Theophanes, . : - ἘΠ]
Plato, . ) : ; . 289 Thymocles, . : : . 805
Pompeius, . . . 803 | Tymnes, . : π΄ τ
Posidippus, . : Ξ . 295
Ptolemaeus, . ; d . 3806 Zonas, . : Σ : . 900

Greek literature from its earliest historical beginnings to its
final extinction in the Middle Ages falls naturally under five
periods. These are:—(1) Greece before the Persian wars;
(2) the ascendency of Athens; (3) the Alexandrian monarchies ;
(4) Greece under Rome; (5) the Byzantine empire of the East.
The authors of epigrams included in this selection are spread
over all these periods through a space of about fifteen centuries.

I. Period of the lyric poets and of the complete political develop-
ment of Greece, from the earliest time to the repulse of the
Persian invasion, B.C. 480.

MIMNERMUS of Smyrna fl. B.c. 634-600, and was the con-
temporary of Solon. He is spoken of as the ‘inventor of elegy’,
and was apparently the first to employ the elegiac metre in
threnes and love-poems. Only a few fragments, about eighty
lines in all, of his poetry survive.

Erinna of Rhodes, the contemporary of Sappho according
to ancient tradition, fl. 600 B.c., and died very young. There
are three epigrams in the Palatine Anthology under her name,
probably genuine: see Bergk, Lyr. Gr. 111. p. 141, and the note
on iv. 6 of this selection. Besides the fragments given by
Bergk, detached phrases of hers are probably preserved in

ΠΝ, ΨΥ Te ὙΌΣ ΒΡ δ a ῬΡΡΎ ΦΥ Το

a a οι πο ee

BIOGRAPHICAL INDEX 287

Anth. Pal. vii. 12 and 13, and in the description by Christo-
dorus of her statue in the gymnasium at Constantinople, Anth.
Pal. ii. 108-110. She was included in the Garland of Meleager,
who speaks, /. 12, of the ‘sweet maiden-fleshed crocus of Erinna’.

THEOGNIS of Megara, the celebrated elegiac and gnomic poet,
fl. B.c. 548, and was still alive at the beginning of the Persian
wars. The fragments we possess are from an Anthology of his
works, and amount to about 1400 lines in all. He employed
elegiac verse as a vehicle for every kind of political and social
poetry; some of the poems were sung to the flute at banquets
and are more akin to lyric poetry; others, described as γνῶμαι
dv ἐλεγείας, elegiac sentences, can hardly be distinguished in
essence from ‘hortatory’ epigrams, and two of them have
accordingly been included as epigrams of Life in this selection.

ANACREON of Teos in Ionia, B.c. 563-478, migrated with his
countrymen to Abdera on the capture of Teos by the Persians,
B.c. 540. He then lived for some years at the court of Poly-
erates of Samos (who died B.c. 522), and afterwards, like
Simonides, at that of Hipparchus of Athens, finally returning
to Teos, where he died at the age of eighty-five. Of his
genuine poetry only a few inconsiderable fragments are left ;
and his wide fame rests chiefly on the pseudo-Anacreontea, a
collection of songs chiefly of a convivial and amatory nature,
written at different times but all of a late date, which have

come down to us in the form of an appendix to the Palatine ms.

of the Anthology, and from being used as a school-book have
obtained a circulation far beyond their intrinsic merit. The
Garland of Meleager, 1. 35, speaks of ‘the unsown honey-
suckle of Anacreon’, including both lyrical poetry (μέλισμα) and
epigrams (ἔλεγοι) as distinct from one another. The Palatine

Anthology contains twenty-one epigrams under his name, a

group of twelve together (vi. 134-145) transferred bodily, it
would seem, from some collection of his works, and the rest
scattered; and there is one other in Planudes. Most are
plainly spurious, and none certainly authentic; but one of
the two given here (iii. 7) has the note of style of this period,
and is probably genuine. The other (xi. 32) is obviously of
Alexandrian date, and is probably by Leonidas of Tarentum.
ΘΙΜΟΝΙΘΕΒ of Ceos, B.c. 556-467, the most eminent of the
lyric poets, lived for some years at the court of Hipparchus of

288 GREEK ANTHOLOGY

Athens (8.0. 528-514), afterwards among the feudal nobility of
Thessaly, and was again living at Athens during the Persian
wars. The later years of his life were spent with Pindar and
Aeschylus at the court of Hiero of Syracuse. He was included
in the Garland of Meleager (J. 8, ‘ the fresh shoot of the vine-
lossom of Simonides’); fifty-nine epigrams are under his
name in the Palatine ms., and eighteen more in’ Planudes,
besides nine others doubtfully ascribed to him. Several of his
epigrams are quoted by Herodotus; others are preserved by
Strabo, Plutarch, Athenaeus, etc. In all, according to Bergk,
we have ninety authentic epigrams from his hand. There
were two later poets of the same name, Simonides of Magnesia,
who lived under Antiochus the Great about 200 B.c., and
Simonides of Carystus, of whom nothing definite is known;
some of the spurious epigrams may be by one or other of
them.

Beyond the point to which Simonides brought it the epigram
never rose. In him there is complete ease of workmanship
and mastery of form together with the noble and severe sim-
plicity which later poetry lost. His dedications retain some-
thing of the antique stiffness; but his magnificent epitaphs
are among our most precious inheritances from the greatest
thought and art of Greece.

Baccuy.ipes of Iulis in Ceos flourished B.c. 470. He was
the nephew of Simonides, and lived with him at the court of
Hiero. There are only two epigrams in the Anthology under
his name. The Garland of Meleager, J. 34, speaks of ‘the
yellow ears from the blade of Bacchylides’. This phrase may
contain an allusion to his dedicatory epigram to the West
Wind, ii. 34 in this selection.

Finally, forming the transition between this and the great
Athenian period, comes AESCHYLUS, B.C. 525-456. That
Aeschylus wrote elegiac verse, including a poem on the dead
at Marathon, is certain; fragments are preserved by Plutarch
and Theophrastus, and there is a well-supported tradition that
he competed with Simonides on that occasion. As to the
authorship of the two epigrams extant under his name there
is much difference of opinion. Bergk does not come to any
definite conclusion. Perhaps all that can be said is that they
do not seem unworthy of him, and that they certainly have

“οἷ ft ia

BIOGRAPHICAL INDEX 289

the style and tone of the best period. It was not till the
decline of literature that the epoch of forgeries began. It is,
however, suspicious that a poet of his great eminence should
not be mentioned in the Garland of Meleager; for we can
hardly suppose these epigrams, if genuine, either unknown to
Meleager or intentionally omitted by him.

II. Period of the ascendency of Athens, and of the great
dramatists and historians; from the repulse of the
Persian invasion to the extinction of Greek freedom at
the battle of Chaeronea, B.C. 480-338.

In this period the epigram almost disappears, overwhelmed
apparently by the greater forms of poetry which were then in
their perfection. Between Simonides and Plato there is not
a single name on our list ; and it is not till the period of the
transition, the first half of the fourth century B.c., that the
epigram begins to reappear. About 400 B.c. a new grace and
delicacy is added to it by PLATO (B.C. 429-347; the tradition,
in itself probable, is that he wrote poetry when a very young
man). Thirty-two epigrams in the Anthology are ascribed,
some doubtfully, to one Plato or another; a few of obviously
late date to a somewhat mythical PLATO ΦΌΝΙΟΝ (ὁ Νεώτερος),
and one to PLATO THE COMEDIAN (fl. 428-389), the contemporary
and rival of Aristophanes. In a note toi. 5 in this selection
something is said as to the authenticity of the epigrams
ascribed to the great Plato. He was included in the Garland
of Meleager, who speaks, //. 47-8, of ‘the golden bough of the
ever-divine Plato, shining everywhere in excellence’—one of
the finest criticisms ever made by a single phrase, and the

more remarkable that it anticipates, and may even in some

degree have suggested, the mystical golden bough of Virgil.

To the same period belongs PARRHASIUS of Ephesus, who fl.
400 B.c., the most eminent painter of his time, in whose work
the rendering of the ideal human form was considered to have
reached its highest perfection. Two epigrams and part of a
third ascribed to him are preserved in Athenaeus.

Demopocus of Leros, a small island in the Sporades, is
probably to be placed here. Nothing is known as to his life,
nor as to his date beyond the one fact that an epigram of his
is quoted by Aristotle, Hth. N. vii. 9. Four epigrams of

19

290 GREEK ANTHOLOGY

his, all couplets containing a sarcastic point of the same kind,
are preserved in the Palatine Anthology.

III. Period of the great Alexandrian monarchies; from the
accession of Alexander the Great to the annexation of
Syria by the Roman Republic, B.c. 336-65.

Throughout these three centuries epigrammatists flourished
in great abundance, so much so that the epigram ranked as
one of the important forms of poetry. After the first fifty
years of the period there is no appreciable change in the
manner and style of the epigram; and so, in many cases where
direct evidence fails, dates can only be assigned vaguely. The °
history of the Alexandrian epigram begins with two groups of
poets, none of them quite of the first importance, but all of
sreat literary interest, who lived just before what is known as
the Alexandrian style became pronounced ; the first group con-
tinuing the tradition of pure Greece, the second founding the
new style. After them the most important names, in chrono-
logical order, are Callimachus of Alexandria, Leonidas of
Tarentum, Theocritus of Syracuse, Antipater of Sidon, and
Meleager of Gadara. These names show how Greek literature
had now become diffused with Greek civilisation through the
countries bordering the eastern half of the Mediterranean.

The period may then be conveniently subdivided under five
heads—

(1) Poets of Greece Proper and Macedonia, continuing the

purely Greek tradition in literature.

(2) Founders of the Alexandrian School.

(3) The earlier Alexandrians of the third century B.c.

(4) The later Alexandrians of the second century B.c.

(5) Just on the edge of this period, Meleager and his contem-

poraries : transition to the Roman period.

(1) ApAEuUS or ADDAEUS, called ‘the Macedonian’ in the
title of one of his epigrams, was a contemporary of Alexander
the Great. Among his epigrams are epitaphs on Alexander
and on Philip; his date is further fixed by the mention of
Potidaea in another epigram, as Cassander, who died B.c. 296,
changed the name of the city into Cassandrea. Eleven epi-

SS et ΤΣ

BIOGRAPHICAL INDEX 291

grams are extant under his name, but one is headed ‘ Adaeus of
Mitylene’ and may be by a different hand, as Adaeus was a
common Macedonian name. They are chiefly poems of country
life, prayers to Demeter and Artemis, and hunting scenes, full
of fresh air and simplicity out of doors, with a serious sense of
religion and something of Macedonian gravity. The picture
they give of the simple and refined life of the Greek country
gentleman, like Xenophon in his old age at Scillus, is one of
the most charming and intimate elimpses we have of the
ancient world, carried on quietly among the drums and tramp-
lings of Alexander’s conquests, of which we are faintly reminded
by another epigram on an engraved Indian beryl.

ANYTE of Tegea is one of the foremost names among the
epigrammatists, and it 1s somewhat surprising that we know
all but nothing of her from external sources. ‘The lilies of
Anyte’ stand at the head of the list of poets in the Garland of
Meleager; and Antipater of Thessalonica in a catalogue of
poetesses (Anth. Pal. ix. 26) speaks of ᾿Ανύτης στόμα ϑηλὺν
Ὅμηρον. The only epigram which gives any clue to her date
is one on the death of three Milesian girls in a Gaulish inva-
sion, probably that of B.c. 279; but this is headed ‘ Anyte of
Mitylene’, and is very possibly by another hand. A late
tradition says that her statue was made by the sculptors
Cephisodotus and Euthycrates, whose date is about 300 B.c.,
but we are not told whether they were her contemporaries.
Twenty-four epigrams are ascribed to her, twenty of which
seem genuine. They are so fine that some critics have wished
to place her in the great lyric period ; but their deep and most
refined feeling for nature rather belongs to this age. They are
principally dedications and epitaphs, written with great sim-
plicity of description and much of the grand style of the older
poets, and showing (if the common theory as to her date be
true) a deep and sympathetic study of Simonides.

Probably to this group belong also the following poets:

Hucesippus, the author of eight epigrams in the Palatine
Anthology, three dedications and five epitaphs, in a simple and
severe style. The reference in the Garland of Meleager, 1. 25,
to ‘the maenad grape-cluster of Hegesippus’ is so wholly inap-
plicable to these that we must suppose it to refer to a body of
epigrams now lost, unless this be the same Hegesippus with the

292 GREEK ANTHOLOGY

poet of the New Comedy who flourished at Athens about 300
B.c., and the reference be to him as a comedian rather than an
epigrammatist.

PersEs, called ‘the Theban’ in the heading of one epigram,
‘the Macedonian’ in that of another (no difference of style can
be traced between them), a poet of the same type as Addaeus,
with equal simplicity and good taste, but inferior power. The
Garland of Meleager, /. 26, speaks of ‘the scented reed of
Perses’. There are nine epigrams of his in the Palatine An-
thology, including some beautiful epitaphs.

PuHaEpimMus of Bisanthe in Macedonia, author of an epic
called the Heracleia according to Athenaeus. ‘The yellow iris
of Phaedimus’ is mentioned in the Garland of Meleager, J. 51.
Two of the four epigrams under his name, a beautiful dedica-
cation, and a very noble epitaph, are in this selection; the
other two, which are in the appendix of epigrams in mixed
metres at the end of the Palatine Anthology (Section xiii.) are
very inferior and seem to be by another hand.

(2) Under this head is a group of three distinguished poets
and critics :

PuILETAS of Cos, a contemporary of Alexander, and tutor to
the children of Ptolemy 1. He was chiefly distinguished as an
elegiac poet. Theocritus (vil. 39) names him along with Ascle-
piades as his master in style, and Propertius repeatedly couples
him in the same way with Callimachus. If one may judge
from the few fragments extant, chiefly in Stobaeus, his poetry
was simpler and more dignified than that of the Alexandrian
school, of which he may be called the founder. He was also
one of the earliest commentators on Homer, the celebrated
Zenodotus being his pupil.

SruuiAs of Rhodes,who fl. rather before 300 B.c., and was the
author of four books of miscellaneous poems including an epic
history of Apollo. ‘The tall wild-pear of Simmias’ is in the
Garland of Meleager, /. 30. Two of the seven epigrams under
his name in the Palatine Anthology are headed ‘Simmias of
Thebes’, This would be the disciple of Socrates, best known
as one of the interlocutors in the Phaedo, But these epigrams
are undoubtedly of the Alexandrian type, and quite in the
same style as the rest; and the title is probably a mistake.

BIOGRAPHICAL INDEX 293

Simmias is also the reputed author of several of the Ὑρῖφοι or
pattern-poems at the end of the Palatine Ms.

ASCLEPIADES, son of Sicelides of Samos, who flourished B.c.
290, one of the most brilliant authors of the period. Theocritus
(1. ὁ. supra) couples him with Philetas as a model of excellence
in poetry. This passage fixes his date towards the end of the
reign of Ptolemy 1, to whose wife Berenice and daughter
Cleopatra there are references in his epigrams. There are forty-
three epigrams of his in the Anthology; nearly all of them
amatory, with much wider range and finer feeling than most
of the erotic epigrams, and all with the firm clear touch of the
best period. There are also one or two fine epitaphs. The refer-
ence in the Garland of Meleager, /. 46, to ‘ the wind-flower of the
son of Sicelides’ is another of Meleager’s exquisite criticisms.

(3) Leontpas oF TARENTUM is the reputed author of one
hundred and eleven epigrams in the Anthology, chiefly dedica-
tory and sepulchral. In the case of some of these, however, there
is confusion between him and his namesake, Leonidas of
Alexandria, the author of about forty epigrams in the Anthology
who flourished in the reign of Nero. In two epigrams Leonidas
speaks of himself as a poor man, and in another, an epitaph
written for himself, says that he led a wandering life and died
far from his native Tarentum. His date is most nearly fixed
by the inscription (Anth. Pal. vi. 130, attributed to him on the
authority of Planudes) for a dedication by Pyrrhus of Epirus
after a victory over Auntigonus and his Gaulish mercenaries,
probably that recorded under B.c. 274. Tarentum, with the
other cities of Magna Graecia, was about this time in the last
‘straits of the struggle against the Italian confederacy; this or
private reasons may account for the tone of melancholy in the
poetry of Leonidas. He invented a particular style of dedi-
catory epigram, in which the implements of some trade or pro-
fession are enumerated in ingenious circumlocutions; these
have been singled out for special praise by Sainte-Beuve, but
will hardly be interesting to many readers. The Garland of
Meleager, 7. 15, mentions ‘the rich ivy-clusters of Leonidas’,
and the phrase well describes the diffuseness and slight want
of firmness and colour in his otherwise graceful style.

Nossis of Locri, in Magna Graecia, is the contemporary of

294 GREEK ANTHOLOGY

Leonidas; her date being approximately fixed by an epitaph
on Rhinthon of Syracuse, who flourished 300 B.c. We know a
good many details about her from her eleven epigrams in the.
Anthology, some of which are only inferior to those of Anyte.
The Garland of Meleager, /. 10, speaks of ‘the scented fair-
flowering iris of Nossis, on whose tablets Love himself melted
the wax’; and, like Anyte, she is mentioned, with the charac-
teristic epithet ‘woman-tongued,’ by Antipater of Thessalonica
in his list of poetesses. She herself claims (Anth. Pal. vii. 718)
to be a rival of Sappho.

THEOcRITUS of Syracuse lived for some time at Alexandria
under Ptolemy IL, about 280 B.c., and afterwards at Syracuse
under Hiero 11. From some allusions to the latter in the Idyls,
it seems that he lived into the first Punic war, which broke out
B.C. 264. Twenty-nine epigrams are ascribed to him on some
authority or other in the Anthology; of these Ahrens allows
only nine as genuine.

ΝΊΟΙΑΒ of Miletus, physician, scholar, and poet, was the con-
temporary and close friend of Theocritus. Idyl xi. is addressed
to him, and the scholiast says he wrote an idyl in reply to it ;
idyl xxii. was sent with the gift of an ivory spindle to his wife,
Theugenis ; and one of Theocritus’ epigrams (Anth. Pal. vi. 337)
was written for him as a dedication. There are eight epigrams
of his in the Anthology (Anth. Pal. xi. 398 is wrongly attributed
to him, and should be referred to Nicarchus), chiefly dedica-
tions and inscriptions for rural places in the idyllic manner.
‘The green mint of Nicias’ is mentioned, probably with an
allusion to his profession, in the Garland of Meleager, /. 19.

CaLLImacuus of Alexandria, the most celebrated and the
most wide in his influence of Alexandrian scholars and poets,
was descended from the noble family of the Battiadae of
Cyrene. He studied at Alexandria, and was appointed princi-
pal keeper of the Alexandrian library by Ptolemy 11, about the
year 260 B.c. This position he held till his death, about B.c.
240. He was a prolific author in both prose and verse. Sixty-
three epigrams of his are preserved in the Palatine Anthology,
and two more by Strabo and Athenaeus; five others in the
Anthology are ascribed to him on more or less doubtful
authority. He brought to the epigram the utmost finish of
which it is capable. Many of his epigrams are spoiled by over-

ἘΠ Chae BC Aa TN DE X 295

elaboration and affected daintiness of style ; but when he writes
simply his execution is incomparable. The Garland of
Meleager, /. 21, speaks of ‘the sweet myrtle-berry of Calli-
machus, ever full of acid honey’; and there is in all his work
a pungent flavour which is sometimes bitter and sometimes
exquisite.

Posrpippus, the author of twenty-five extant epigrams, of
which twenty are in the Anthology, is more than once referred to
as ‘the epigrammatist’, and so is probably a different person from
the comedian, the last distinguished name of the New Comedy,
who began to exhibit after the death of Menander in B.c. 291.
He probably lived somewhat later; the Garland of Meleager,
ίἔ. 45, couples ‘the wild corn-flowers of Posidippus and
Hedylus’, and Hedylus was the contemporary of Callimachus.
One of his epigrams refers to the Stoic Cleanthes, who became
head of the school 8.0. 263 and died about B.c. 220, as though
already an old master.

With Posidippus may be placed Mrrroporus, the author of
an epigram in reply to one by Posidippus (xi. 39, 40 in this
selection). Whether this be contemporary or not, it can
hardly be by the same Metrodorus as the forty arithmetical
problems which are given in an appendix to the Palatine
Anthology (Section xiv.), or the epigram on a Byzantine lawyer,
Anth. Pal. ix. 712. These may be all by a geometrician of the
name who is mentioned as having lived in the age of Constantine.

Morro or Myro of Byzantium, daughter of the tragedian

Homerus, flourished towards the end of the reign of Ptolemy
1., about 250 B.c. She wrote epic and lyric poetry as well as
epigrams; a fragment of her epic called Mnemosyne is pre-
‘served in Athenaeus. Antipater é6f Thessalonica mentions her
in his list of famous poetesses. Of the ‘many martagon-lilies
of Moero’ in the Anthology of Meleager (Garland, |. 5) only
two are extant, both dedications.

NICAENETUS of Samos flourished about the same time. There
are four epigrams of his in the Anthology, and another is quoted
by Athenaeus, who, in connexion with a Samian custom,
adduces him as ‘a poet of the country’. He also wrote epic
poems. The Garland of Meleager, /. 29, speaks of ‘the myrrh-
twigs of Nicaenetus’.

EUPHORION of Chalcis in Euboea, grammarian and poet, was

296 GREEK ANTHOLOGY

born B.c. 274, and in later life was chief librarian at the court
of Antiochus the Great, who reigned B.C. 224-187. His most
famous work was his five books of Χιλιάδες, translated into
Latin by C. Cornelius Gallus (Virgil, Hel. vi. 64-73) and of
immense reputation. His influence on Latin poetry provoked
the well-known sneer of Cicero (Zusc. 111. 19) at the cantores
Euphorionis; cf. also Cic. de Div. 11. 64, and Suetonius, 72berius,
c. 70. Only two epigrams of his are extant in the Palatine
Anthology. The Garland of Meleager, /. 23, speaks of ‘the
rose-campion of Euphorion’.

RuIANUS of Crete flourished about 200 B.c., and was chiefly
celebrated as an epic poet. Besides mythological epics, he
wrote metrical histories of Thessaly, Elis, Aehaea, and Messene ;
Pausanias quotes verses from the last of these, Messen. i. 6,
xvil. 11. Suetonius, Ziberius, c. 70, mentions him along with
Euphorion as having been greatly admired by Tiberius. There
are nine epigrams by him, erotic and dedicatory, in the Pala-
tine Anthology, and another is quoted by Athenaeus. The
Garland of Meleager, J. 11, couples him with the marjoram-
blossom.

THEODORIDES of Syracuse, the author of nineteen epigrams
in the Anthology, flourished towards the close of the third
century B.C., one of his epigrams being an epitaph on Euphorion.
He also wrote lyric poetry ; Athenaeus mentions a dithyrambic
poem of his called the Centaurs, and a Hymn to Love. The
Garland of Meleager, 1. 53, speaks of ‘ the fresh-blooming festal
wild-thyme of Theodorides’.

A little earlier in date is Mnasaucas of Plataeae, near Sicyon,
on whom Theodorides wrote an epitaph (Anth. Pal. xiii. 21),
which speaks of him as imitating Simonides, and criticises his
style as turgid. This criticism is not borne out by his eighteen
extant epigrams in the Palatine Anthology, which are in the
best manner, with something of the simplicity of his great
model, and even a slight austerity of style which takes us back
to Greece Proper. The Garland of Meleager seizes this quality
when it speaks, 2. 16, of ‘the tresses of the sharp pine of
Mnasaleas ’.

Moscuus of Syracuse, the last of the pastoral poets, flourished
towards the end of the third century B.c., perhaps as late as
B.C. 200 if he was the friend of the grammarian Aristarchus.

Se OO

-

BIOGRAPHICAL INDEX 29

-τ

A single epigram of his is extant in Planudes. The Palatine
Anthology includes his idyll of Love the Runaway (ix. 440),
and the lovely hexameter fragment by Cyrus (ix. 136), which
has without authority been attributed to him and is generally
included among his poems.

To this period may belong DioTImus, whose name is at the
head of eleven epigrams in the Anthology. One of these is
headed ‘ Diotimus of Athens’, one ‘Diotimus of Miletus’, the
rest have the name simply. Nothing is known from other
sources of any one of them. An Athenian Diotimus was one
of the orators surrendered to Antipater B.c. 322, and some of
the epigrams might be of that period. A grammarian
Diotimus of Adramyttium is mentioned in an epigram by
Aratus of Soli (who ἢ. 270 B.c.); perhaps he was the poet
of the Garland of Meleager, which speaks, 1. 27, of ‘the quince
from the boughs of Diotimus ’.

AvuToMEDON of Aetolia is the author of an epigram in the
Palatine Anthology, of which the first two lines are in
Planudes under the name of Theocritus; it is in his manner,
and in the best style of this period. There are twelve other
epigrams by an Automedon of the Roman period in the An-
thology, one of them headed ‘ Automedon of Cyzicus’. From
internal evidence these belong to the reign of Nerva or Trajan.
An Automedon was one of the poets in the Anthology of
Philippus (Garland, 1. 11), but is most probably different from
both of these, as that collection cannot well be put later than
the reign of Nero, and purports to include only poets subse-
quent to Meleager: cf. swpra p. 17.

THEAETETUS is only known as the author of three epigrams

‘in the Palatine Anthology (a fourth usually ascribed to him,

Anth. Pal. vii. 444, should be referred to Theaetetus Scholas-
ticus, a Byzantine epigrammatist of the period of Justinian)
and two more in Diogenes Laértius. One of these last is an
epitaph on the philosopher Crantor, who flourished about 300
8.C., but is not necessarily contemporaneous.

(4) Atcarus of Messene, who flourished 200 B.c., represents
the literary and political energy still surviving in Greece under
the Achaean League. Many of his epigrams touch on the
history of the period ; several are directed against Philip 1Π. of

298 GREEK ANTHOLOGY

Macedonia. The earliest to which a date can be fixed is on
the destruction of Macynus in Aetolia by Philip, B.c. 218 or
219 (Polyb. iy. 65), and the latest on the dead at the battle of
Cynoscephalae, B.c. 197, written before their bones were collected
and buried by order of Antiochus B.c. 191. This epigram is
mentioned by Plutarch as having given offence to the Roman
general Flamininus, on account of its giving the Aetolians an
equal share with the Romans in the honour of the victory.
Another is on the freedom of Flamininus, proclaimed at the
Isthmia B.c. 196. An -Alcaeus was one of the Epicurean philo-
sophers expelled from Rome by decree of the Senate in B.c. 173,
and may be the same. Others of his epigrams are on literary
subjects. All are written in a hard style. There are twenty-
two in allin the Anthology. Some of them are headed ‘ Alcaeus
of Mitylene’, but there is no doubt as to the authorship; the
confusion of this Alcaeus with the lyric poet of Mitylene
could only be made by one very ignorant of Greek literature.

Of the same period is DAMAGrETUS, the author of twelve
epigrams in the Anthology, and included as ‘a dark violet’ in
the Garland of Meleager, /. 21. They are chiefly epitaphs, and
are in the best style of the period.

Dionysius of Cyzicus must have flourished soon after 200 B.c.
from his epitaph on Eratosthenes, who died B.c. 196. Eight other
epigrams in the Palatine Anthology, and four more in Planudes,
are attributed to a Dionysius. One is headed ‘Dionysius of
Andros’, one ‘Dionysius of Rhodes’ (it is an epitaph on a

thodian), one ‘ Dionysius the Sophist’, the others ‘ Dionysius’

simply. There were certainly several authors of the name,
which was one of the commonest in Greece ; but no distinction
in style can be traced among these epigrams, and there is little
against the theory that most if not all are by the same author,
Dionysius of Cyzicus.

DioscoripEs, the author of forty-one epigrams in the
Palatine Anthology, lived at Alexandria early in the second
century B.c. An epitaph of his on the comedian Machon is
quoted by Athenaeus, who says that Machon was master to
Aristophanes of Byzantium, who flourished 200 B.c. His style
shows imitation of Callimachus; the Garland of Meleager,
/. 23, speaks of him as the ‘the cyclamen of the Muses’.

ARTEMIDORUS, a grammarian, pupil of Aristophanes of

BIOGRAPHICAL INDEX 299

Byzantium and contemporary of Aristarchus, flourished about
180 B.c., and is the author of two epigrams in the Palatine
Anthology, both mottoes, the one for a Theocritus, the other
for a collection of the bucolic poets. The former is attributed
in the Palatine ms. to Theocritus himself, but is assigned to
Artemidorus on the authority of a Ms. of Theocritus.

PAMPHILUS, also a grammarian, and pupil to Aristarchus,
was one of the poets in the Garland of Meleager (/. 17, ‘the
spreading plane of the song of Pamphilus’). Only two epi-
grams of his are extant in the Anthology.

ANTIPATER OF SIDON is one of the most interesting figures of
the close of this century, when Greek education began to per-
meate the Roman upper classes. Little is known about his
life; part of it was spent at Rome in the society of the most
cultured of the nobility. Cicero, Or. ii. 194, makes Crassus
and Catulus speak of him as familiarly known to them, but
then dead ; the scene of the dialogue is laid in B.c. 91. Cicero
and Pliny also mention the curious fact that he had an attack
of fever on his birthday every winter. ‘The young Phoenician
cypress of Antipater’, in the Garland of Meleager, /. 42, refers
to him as one of the more modern poets in that collection.

There is much confusion in the Anthology between him and
his equally prolific namesake of the next century, Antipater
of Thessalonica. The matter would take long to disentangle
completely. In brief the facts are these. In the Palatine
Anthology there are one hundred and seventy-eight epigrams,
of which forty-six are ascribed to Antipater of Sidon and
thirty-six to Antipater of Thessalonica, the remaining ninety-
six being headed ‘Antipater’ merely. Twenty-eight other

epigrams are given as by one or other in Planudes and

Diogenes Laértius. Jacobs assigns ninety epigrams in all to
the Sidonian poet. Most of them are epideictic; a good many
are on works of art and literature; there are some very
beautiful epitaphs. There is in his work a tendency towards
diffuseness which goes with his talent in improvisation men-
tioned by Cicero.

To this period seem to belong the following poets, of whom
little or nothing is known:. Arisropicus of Rhodes, author of
two epigrams in the Palatine Anthology: ARrisTon, author of
three or four epigrams in the style of Leonidas of Tarentum:

300 GREEK ANTHOLOGY

HeERMocREON, author of one dedication in the Palatine Anthology
and another in Planudes: and ΤΎΜΧΕΒ, author of seven epi-
erams in the Anthology, and included in the Garland of
Meleager, /. 19, with the ‘the fair-foliaged white poplar’ for
his cognisance.

(5) MeLeacer son of Eucrates was born at the partially
Hellenised town of Gadara in northern Palestine (the Ramoth-
Gilead of the Old Testament), and educated at Tyre. His
later life was spent in the island of Cos, where he died at
an advanced age. The scholiast to the Palatine Ms. says he
flourished in the reign of the last Seleucus; this was Seleucus
vi. Epiphanes, who reigned B.c. 95-93. The date of his cele-
brated Anthology cannot be much later, as it did not include
the poems of his fellow-townsman Philodemus, who flourished
about B.c. 60 or a little earlier. Like his contemporary Men-
ippus,also a Gadarene, he wrote what were known as σπουδογέλοια,
miscellaneous prose essays putting philosophy in popular form
with humorous illustrations. These are completely lost, but
we have fragments of the Satwrae Menippeae of Varro written
in imitation of them, and they seem to have had a reputation
like that of Addison and the Enelish essayists of the eighteenth
century. Meleager’s fame however is securely founded on the
one hundred and thirty-four epigrams of his own which he
included in his Anthology. Some further account of the erotic
epigrams, which are about four-fifths of the whole number, is
given above, p. 33. For all of these the mss. of the Anthology
are the sole source.

Dioporus of Sardis, commonly called Zonas, is spoken of
by Strabo, who was a friend of his kinsman Diodorus the
younger (see infra, p. 302), as having flourished at the time of
the invasion of Asia by Mithridates B.c. 88. He was a dis-
tinguished orator. Both of these poets were included in the
Anthology of Philippus, and in the case of some of the epigrams
it is not quite certain to which of the two they should be referred.
Eight are usually ascribed to Zonas: they are chiefly dedicatory
and pastoral, with great beauty of style and feeling for nature.

Eryctus of Cyzicus flourished about the middle of the first
century B.c. One of his epigrams is on an Athenian woman
who had in early life been captured at the sack of Athens by

BIOGRAPHICAL INDEX 301

Sulla B.c. 80; another is against a grammarian Parthenius of
Phocaea, possibly the same who was the master of Virgil. Of
the fourteen epigrams in the Anthology under the name of
Erycius one is headed ‘Erycius the Macedonian’ and may be
by a different author.

PHILODEMUS of Gadara was a distinguished Epicurean philo-
sopher who lived at Rome in the best society of the Ciceronian
age. He was an intimate friend of Piso, the Consul of 8.0. 58,
to whom two of his epigrams are addressed. Cicero, i Pis.
§ 68 foll., where he attacks Piso for consorting with Graecult,
almost goes out of his way to compliment Philodemus on his
poetical genius and the unusual literary culture which he com-
bined with the profession of philosophy: and again in the de
Finibus speaks of him as ‘a most worthy and learned man’.
He is also referred to by Horace, 1 Sat. 11. 121. Thirty-two
of his epigrams, chiefly amatory, are in the Anthology, and five
more are ascribed to him on doubtful authority.

IV. Roman period ; from the establishment of the Empire to
the decay of art and letters after the death of Marcus
Aurelius, B.C. 30-A.D.180.

This period falls into three subdivisions; (1) poets of the
Augustan age; (2) those of what may roughly be called the
Neronian age, about the middle of the first century; and (3)
those of the brief and partial renascence of art and letters
under Hadrian, which, before the accession of Commodus, had
again sunk away, leaving a period of some centuries almost
wholly without either, but for the beginnings of Christian art
and the writings of the earlier Fathers of the Church. Even
-from the outset of this period the epigram begins to fall off.
There is a tendency to choose trifling subjects, and treat them
either sentimentally or cynically. The heaviness of Roman
workmanship affects all but a few of the best epigrams, and
there is a loss of simplicity and clearness of outline. Many of
the poets of this period, if not most, lived as dependants in
wealthy Roman families and wrote to order: and we see in
their work the bad results of an excessive taste for rhetoric
and the practice of fluent but empty improvisation.

(1) ANTIPATER OF THESSALONICA, the author of upwards of a

302 GREEK ANTHOLOGY

~

hundred epigrams in the Anthology, is the most copious and
perhaps the most interesting of the Augustan epigrammatists.
There are many allusions in his work to contemporary history.
He lived under the patronage of L. Calpurnius Piso, consul
in B.c. 15, and afterwards proconsul of Macedonia for several
years, and was appointed by him governor of Thessalonica.
One of his epigrams celebrates the foundation of Nicopolis
by Octavianus, after the battle of Actium; another anticipates
his victory over the Parthians in the expedition of B.c. 20;
another is addressed to Caius Caesar, who died in A.D. 4.
None can be ascribed certainly to a later date than this.

ANTIPHANES the Macedonian is the author of ten epigrams
in the Palatine Anthology; one of these, however, is headed
‘Antiphanes of Megalopolis’ and may be by a different author.
There is no precise indication of time in his poems.

Branor of Bithynia is the author of twenty-two epigrams in
the Anthology. One of them is on the destruction of Sardis
by an earthquake in a.D. 17. He is fond of sentimental
treatment, which sometimes touches pathos but often becomes
trifling.

CRINAGORAS of Mitylene lived at Rome as a sort of court
poet during the latter part of the reign of Augustus. He is
mentioned by Strabo as a contemporary of some distinction.
In one of his epigrams he blames himself for hanging on to
wealthy patrons; several others are complimentary verses sent
with small presents to the children of his aristocratic friends:
one is addressed to young Marcellus with a copy of the poems
of Callimachus. Others are on the return of Marcellus from
the Cantabrian war, B.c.. 25; on the victories of Tiberius in
Armenia and Germany; and on Antonia, daughter of the
triumvir and wife of Drusus. Another, written in the spirit
of that age of tourists, speaks of undertaking a voyage from
Asia to Italy, visiting the Cyclades and Corcyra on the way.
Fifty-one epigrams are attributed to him in the Anthology ;
one of these, however (Anth. Pal. ix. 235), is on the marriage
of Berenice of Cyrene to Ptolemy ul. Euergetes, and must be
referred to Callimachus or one of his contemporaries.

Dioporvs, son of Diopeithes of Sardis, also called Diodorus
the Younger, in distinction to Diodorus Zonas, is mentioned as
a friend of his own by Strabo, and was a historian and melic poet

Ce ea eee =

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αν].

BIOGRAPHICAL INDEX 303

besides being an epigrammatist. Seventeen of the epigrams
in the Anthology under the name of Diodorus are usually
ascribed to him, and include a few fine epitaphs. See also
above, p. 300, under ZONAS.

Evenus of Ascalon is probably the author of eight epigrams
in the Anthology; but some of these may belong to other
epigrammatists of the same name, Evenus of Athens, Evenus
of Sicily, and Evenus Grammaticus, unless the last two of
these are the same person. Evenus of Athens has been doubt-
fully identified with Evenus of Paros, an elegiac poet of some
note contemporary with Socrates, mentioned in the Phaedo
and quoted by Aristotle: and it is just possible that some of
the best of the epigrams, most of which are on works of art,
may be his.

PArMENIO the Macedonian is the author of sixteen epigrams
in the Anthology, most of which have little quality beyond
commonplace rhetoric.

These seven poets were included in the Anthology of
Philippus; of the same period, but not mentioned by name
in the proem to that collection, are the following :—

APOLLONIDES, author of thirty-one epigrams in the Anthology,
perhaps the same with an Apollonides of Nicaea mentioned by
Diogenes Laértius as having lived in the reign of Tiberius.
One of his epigrams refers to the retirement of Tiberius at
Rhodes from B.c. 6 to A.D. 2, and another mentions D. Laelius
Balbus, who was consul in B.c. 6, as travelling in Greece.

GAETULICUS, the author of eight epigrams in the Palatine
Anthology (vi. 154 and vii. 245 are wrongly ascribed to him),
is usually identified with Gn. Lentulus Gaetulicus, legate of

_Upper Germany, executed on suspicion of conspiracy by Cali-

gula, A.D. 39, and mentioned as a writer of amatory poetry by
Martial and Pliny. But the identification is very doubtful,
and perhaps he rather belongs to the second century A.D. No
precise date is indicated in any of the epigrams.

PoMPEIUS, author of two or three epigrams in the Palatine
Anthology, also called Pompeius the Younger, is generally
identified with M. Pompeius Theophanes, son of Theophanes
of Mitylene the friend of Pompey the Great, and himself a
friend of Tiberius, according to Strabo.

To the same period probably belong Quintus MAEcIUS or

304 GREEK ANTHOLOGY

Maccivs, author of twelve epigrams in the Anthology, and
Marcus ARGENTARIUS, perhaps the same with a rhetorician
Argentarius mentioned by the elder Seneca, author of thirty-
seven epigrams, chiefly amatory and convivial, some of which
have much grace and fancy. Others place him in the age of
Hadrian.

(2) Puiuippus of Thessalonica was the compiler of an
Anthology of epigrammatists subsequent to Meleager (see
above, p. 17 foll.) and is himself the author of seventy-four
extant epigrams in the Anthology besides six more dubiously
ascribed to him. He wrote epigrams of all sorts, mainly
imitated from older writers and showing but little original
power or imagination. The latest certain historical allusion in
his own work is one to Agrippa’s mole at Puteoli, but Anti-
philus, who was included in his collection, certainly wrote
in the reign of Nero, and probably Philippus was of about
the same date. Most of his epigrams being merely rhetorical
exercises on stock themes give no clue to his precise period.

ANTIPHILUS of Byzantium, whose date is fixed by his epigram
on the restoration of liberty to Rhodes by the emperor Nero,
A.D. 53 (Tac. Ann. xii. 58), is the author of forty-nine epigrams
in the Anthology, besides three doubtful. Among them are
some graceful dedications, pastoral epigrams, and sea-pieces.
The pretty epitaph on Agricola (Anth., Pal. 1x. 549) gives no
clue to his date, as it certainly is not on the father-in-law of
Tacitus, and no other person of the name appears to be men-
tioned in history.

JULIUS POLYAENUS is the author of a group of three epigrams
(Anth. Pal. ix. 7-9), which have a high seriousness rare in the
work of this period. He has been probably identified with a
C. Julius Polyaenus who is known from coins to have been
a duumvir of Corinth (Colonia Julia) under Nero. He was a
native of Corcyra, to which he retired after a life of much toil
and travel, apparently as a merchant. The epigram by
Polyaenus of Sardis (Anth. Pal. ix. 1), usually referred to the
same author, is in a completely different manner.

Lucitius, the author of one hundred and twenty-three
epigrams in the Palatine Anthology (twenty others are of
doubtful authorship) was, as we learn from himself, a gram-

~~

BIOGRAPHICAL INDEX 305

marian at Rome and a pensioner of Nero. He published two
volumes of epigrams, somewhat like those of Martial, in a
satiric and hyperbolical style.!

NICARCHUS is the author of forty-two epigrams of the same
kind as those of Lucilius. Another given under his name
(Anth. Pal. vii. 159) is of the early Alexandrian period,
perhaps by Nicias of Miletus, as the converse mistake is made
in the Palatine Ms. with regard to xi. 398. A large proportion
of his epigrams are directed against doctors. There is nothing
to fix the precise part of the century in which he lived.

To some part of this century also belong SEcunpus of
Tarentum and Myrinus, each the author of four epigrams in
the Anthology. Nothing further is known of either.

(3) Strato of Sardis, the collector of the Anthology called
Μοῦσα Παιδικὴ Στράτωνος and extant, apparently in an imper-
fect and mutilated form, as the twelfth section or first appendix
of the Palatine Anthology may be placed with tolerable cer-
tainty in the reign of Hadrian. Besides his ninety-four epigrams
preserved in his own Anthology, five others are attributed to
him in the Palatine Anthology, and one more in Planudes.
For a fuller discussion of his date see above, p. 18.

AMMIANUS is the author of twenty-nine epigrams in the
Anthology, all irrisory. One of them (Anth. Pal. xi. 226) is
imitated from Martial, ix. 30. Another sneers at the neo-
Atticism which had become the fashion in Greek prose writing.
His date is fixed by an attack on Antonius Polemo, a well-
known sophist of the age of Hadrian.

THYMOCLES is only known from his single epigram in Strato’s
Anthology. It is in the manner of Callimachus and may
perhaps be of the Alexandrian period.

To this or an earlier date belongs ArcHIAS of Mitylene, the
author of a number of miscellaneous epigrams, chiefly imitated
from older writers such as Antipater and Leonidas. Forty-one
epigrams in all are attributed on some authority to one
Archias or another; most have the name simply; some are
headed ‘Archias the Grammarian’, ‘Archias the Younger’,
‘Archias the Macedonian’, ‘Archias of Byzantium’. All are

1 The spelling Lucillius is a mere barbarism, the 7 being doubled to in-
dicate the long vowel: so we find Στατύλλιος, ete.

20

900 GREEK ANTHOLOGY

sufficiently like each other in style to be by the same hand.
Some have been attributed to Cicero’s client, Archias of
Antioch, but they seem to be of a later period.

To the age of Hadrian also belongs the epigram inscribed on
the Memnon statue at Thebes with the name of its author,
ASCLEPIODOTUS, ix. 19 in this selection.

CLAUDIUS PTOLEMAEUS of Alexandria, mathematician, astro-
nomer, and geographer, who gave his name to the Ptolemaic
system of the heavens, flourished in the latter half of the
second century. His chief works are the Μεγάλη Σύνταξις
τῆς Αστρονομίας in thirteen books, known to the Middle Ages
in its Arabian translation under the title of the Almagest, and
the Γεωγραφικὴ ᾿Ὑφήγησις in eight books. He also wrote on
astrology, chronology, and music. A single epigram of his on
his favourite science is preserved in the Anthology. Another
commonplace couplet under the name of Ptolemaeus is probably
by some different author.

LucIAN of Samosata in Commagene, perhaps the most impor-
tant figure in the literature of this period, was born about A.D.
120. He practised as an advocate at Antioch, and travelled
very extensively throughout the empire. He was appointed
procurator of a district of Egypt by the emperor Commodus
(reigned A.D. 180-192) and probably died about A.D. 200.
Besides his voluminous prose works he is the author of forty
epigrams in the Anthology, and fourteen more are ascribed to
him on doubtful or insufficient authority.

To some part of this period appear to belong ALPHEUS of
Mitylene, author of twelve epigrams, some school-exercises,
others on ancient towns, Mycenae, Argos, Tegea, and Troy,
which he appears to have visited as a tourist; CARPYLLIDES or
CARPHYLLIDES, author of one fine epitaph and another dull
epigram in the moralising vein of this age: GuLAucus of
Nicopolis, author of six epigrams (one is headed ‘Glaucus of
Athens’, but is in the same late imperial style; and in this
period the citizenship of Athens was sold for a trifle by the
authorities to any one who cared for it: ef. the epigram of
Automedon (Anth. Pal. xi. 319); and Satyrus (whose name is
also given as Satyrius, Thyilus, Thyillus, and Satyrus Thyillus),
author of nine epigrams, chiefly dedications and pastoral pieces,
some of them of great delicacy and beauty.

BIOGRAPHICAL INDEX 307

V. Byzantine period; from the transference of the seat of
empire to Constantinople, A.D. 330, to the formation of
the Palatine Anthology in the reign of Constantine Por-
phyrogenitus, about the middle of the tenth century.

For the first two centuries of this period hardly any names
have to be chronicled. Literature had almost ceased to exist
except among lexicographers and grammarians ; and though
epigrams, Christian and pagan, continued to be written, they are
for the most part of no literary account whatever. One name
only of importance meets us before the reign of Justinian.

PALLADAS of Alexandria is the author of one hundred and
fifty-one epigrams (besides twenty-three more doubtful) in the
Anthology. His sombre and melancholy figure is one of the
last of the purely pagan world in its losing battle against
Christianity. One of the epigrams attributed to him on the
authority of Planudes is an eulogy on the celebrated Hypatia,
daughter of Theon of Alexandria, whose tragic death took place
A.D. 415 in the reign of Theodosius the Second. Another was,
according to a scholium in the Palatine Ms., written in the
reign of Valentinian and Valens, joint-emperors, 364-375 A.D.
The epigram on the destruction of Berytus, ix. 27 in this
selection, gives no certain argument of date. Palladas was a
erammarian by profession. An anonymous epigram (Anth.
Pal. ix. 380) speaks of him as of high poetical reputation ; and,
indeed, in those dark ages the harsh and bitter force that
underlies his crude thought and half-barbarous language is
enough to give him a place of note. Casaubon dismisses him
in two contemptuous words, as ‘ versificator insulsissimus’ ; this

-is true of a great part of his work, and would perhaps be true of

it all but for the saeva indignatio which kindles the verse, not
into the flame of poetry, but as it were to a dull red heat.
There is little direct allusion in his epigrams to the struggle
against the new religion. One epigram speaks obscurely of
the destruction of the idols of Alexandria by the Christian
populace in the archiepiscopate of Theophilus, A.p. 389 ; another
in even more enigmatic language (Anth. Pal. x. 90) seems to
be a bitter attack on the doctrine of the Resurrection ; and a
scornful couplet against the swarms of Egyptian monks might
have been written by a Reformer of the sixteenth century.

308 GREEK ANTHOLOGY

For the most part his sympathy with the losing side is only
betrayed in his despondency over all things. But it is in his
criticism of life that the power of Palladas lies; with a re-
morselessness like that of Swift he tears the coverings from
human frailty and holds it up in its meanness and misery.
The lines on the Descent of Man (Anth. Pal. x. 45), which un-
fortunately cannot be included in this selection, fall as heavily
on the Neo-Platonist martyr as on the Christian persecutor,
and remain even now among the most mordant and crushing
sarcasms ever passed upon mankind.

To the same period in thought—beyond this there is no clue
to their date—belong AEsopus and GLycoy, each the author of
a single epigram in the Palatine Anthology. They belong to
the age of the Byzantine metaphrasts, when infinite pains were
taken to rewrite well-known poems or passages in different
metres, by turning Homer into elegiacs or iambies, and recasting
pieces of Euripides or Menander as epigrams.

A century later comes the Byzantine lawyer, MARIANUS, men-
tioned by Suidas as having flourished in the reign of Anastasius 1.,
A.D. 491-518. He turned Theocritus and Apollonius Rhodius
into iambics. There are six epigrams of his in the Anthology, all
descriptive, on places in the neighbourhood of Constantinople.

At the court of Justinian, A.D. 527-565, Greek poetry made
its last serious effort ; and together with the imposing victories
of Belisarius and the final codification of Roman law carried out
by the genius of Tribonian, his reign is signalised by a group
of poets who still after three hundred years of barbarism
handled the old language with remarkable grace and skill, and
who, though much of their work is but clever imitation of the
antique, and though the verbosity and vague conventionalism
of all Byzantine writing keeps them out of the first rank of
epigrammatists, are nevertheless not unworthy successors of
the Alexandrians, and represent a culture which died hard.
Eight considerable names come under this period, five of them
officials of high place in the civil service or the imperial house-
hold, two more, and probably the third also, practising lawyers
at Constantinople.

AGATHIAS son of Mamnonius, poet and historian, was born
at Myrina in Mysia about the year 536 Α.Ὁ. He received his
early education in Alexandria, and at eighteen went to Con-

BIOGRAPHICAL INDEX 309

stantinople to study law. Soon afterwards he published a
volume of poems called Daphniaca in nine books. The preface
to it (Anth. Pal. vi. 80) is still extant, and many of his epigrams
were no doubt included in it. His History, which breaks off
abruptly in the fifth book, covers the years 553-558 a.D.; in the
preface to it he speaks of his own early works, including his
Anthology of recent and contemporary epigrams, of which a
further account is given above, p. 19 foll. One of the most
pleasant of his poems is an epistle to his friend Paulus Silen-
tiarius, written from a country house on the opposite coast of
the Bosporus, where he had retired to pursue his legal studies
away from the temptations of the city. He tells us himself
that law was distasteful to him, and that his time was chiefly
spent in the study of ancient poetry and history. In later
life he seems to have returned to Myrina, where he carried out
improvements in the town and was regarded as the most dis-
tinguished of the citizens (Anth. Pal. ix. 662), He is believed
to have died about 582 a.p. Agathias is the author of ninety-
seven epigrams in the Anthology, in a facile and diffuse style;
often they are exorbitantly long, some running to twenty-four
and even twenty-eight lines.

ARABIUS, author of seven epigrams in the Anthology, is called
σχολαστικός or lawyer. Four of his epigrams are on works of
art, one is a description of an imperial villa on the coast near
Constantinople, and the other two are in praise of Longinus,
prefect of Constantinople under Justinian. One of the last is
referred to in an epigram by Macedonius (Anth. Pal. x. 380).

JOANNES BARBUCALLUS, also called JOANNES GRAMMATICUS, is
the author of eleven epigrams in the Anthology. Three of them

‘are on the destruction of Berytus by earthquake in A.D, 551:

from these it may be conjectured that he had studied at the
great school of civil law there. As to his name a scholiast in
MS. Pal. says, ἐθνικόν ἐστιν ὄνομα. Βαρβουκάλη γὰρ πόλις ἐν τοῖς
[ἐντὸς] Ἴβηρος τοῦ ποταμοῦ. But this seems to be an incorrect
reminiscence of the name ᾿Αρβουχάλη, a town in Hispania
Tarraconensis, in the lexicon of Stephanus Byzantinus.
JULIANUS, commonly called JULIANUS AEGYPTIUS, is the
author of seventy epigrams (and two more doubtful) in the
Anthology. His full title is ἀπὸ ὑπάρχων Αἰγύπτου, or ex-pre-
fect of a division of Egypt, the same office which Lucian had

510 GREEK ANTHOLOGY

held under Commodus. His date is fixed by two epitaphs on
Hypatius, brother of the emperor Anastasius, who was put to
death by Justimian in A.D. 532.

LEONTIUS, called Scholasticus, author of twenty-four epigrams

in the Anthology, is generally identified with a Leontius
teferendarius, mentioned by Procopius under this reign. The
Referendarii were a board of high officials, who, according to
the commentator on the Notitia imperii, transmitted petitions
and cases referred from the lower courts to the Emperor, and
issued his decisions upon them. Under Justinian they were
eighteen in number, and were spectabiles, their president being
a comes. One of the epigrams of Leontius is on Gabriel, prefect
of Constantinople under Justinian; another is on the famous
charioteer Porphyrius. Most of them are on works of art.

Maceponius of Thessalonica, mentioned by Suidas 8. Ὁ.
᾿Αγαϑίας as consul in the reign of Justinian, is the author of
forty-four epigrams in the Anthology, the best of which are
some delicate and fanciful amatory pieces.

PavuLus, always spoken of with his official title of SILEN-
TIARIUS, author of seventy-nine epigrams (and six others doubt-
ful) in the Anthology, is the most distinguished poet of this
period. Our knowledge of him is chiefly derived from
Agathias, Hist. v. 9, who says he was of high birth and great
wealth, and head of the thirty Silentiarii, or Gentlemen of the
3edchamber, who were among the highest functionaries of the
Byzantine court. Two of his epigrams are replies to two others
by Agathias (Anth. Pal. v. 292, 293; 299, 300); another is on
the death of Damocharis of Cos, Agathias’ favourite pupil,
lamenting with almost literal truth that the harp of the Muses
would thenceforth be silent. Besides the epigrams, we possess
a long description of the church of Saint Sophia by him, partly
in iambics and partly in hexameters, and a poem in dimeter
iambics on the hot springs of Pythia. The ‘grace and genius
beyond his age’, which Jacobs justly attributes to him, reach
their highest point in his amatory epigrams, forty in number,
some of which are not inferior to those of Meleager.

Kurrus, author of thirty-nine (and three more doubtful)
amatory epigrams in the Palatine Anthology, is no doubt of the
same period. In the heading of one of the epigrams he is
called Rufinus Domesticus. The exact nature of his public

BIOGRAPHICAL INDEX 311

office cannot be determined from this title. A Domestic was
at the head of each of the chief departments of the imperial
service, and was a high official. But the name was also given
to the Emperor's Horse and Foot Guards, and to the body-
guards of the prefects in charge of provinces, cities, or armies.
ERATOSTHENES, called Scholasticus, is the author of five epi-
grams in the Palatine Anthology. Epigrams by Julianus,
Macedonius, and Paulus Silentiarius, are ascribed to him in
other mss., and from this fact, as well as from the evidence
of the style, he may be confidently placed under the same date.
Nothing further is known of him. Probably to the same
period belongs THEOPHANES, author of two epigrams in the
miscellaneous appendix (xv.) to the Palatine Anthology, one
of them in answer to an epigram by Constantinus Siculus, as
to whose date there is the same uncertainty. Two epitaphs in
the Anthology are also ascribed to Theophanes in Planudes.
With this brief latter summer the history of Greek poetry
practically ends. The epigrams of Damocharis, the pupil of
Agathias, seem already to show the decomposition of the art.
The imposing fabric of empire reconstructed by the genius of
Justinian and his ministers had no solidity, and was crumbling
away even before the death of its founder: while the great
plague, beginning in the fifteenth year of Justinian, continued
for no less than fifty-two years to ravage every province of the
empire and depopulate whole cities and provinces. In sucha
period as this the fragile and exotic poetry of the Byzantine
Renaissance could not sustain itself. Political and theological
epigrams continued to be written in profusion; but the collec-
tions may be searched through in vain for a single touch of

“imagination or beauty. Under Constantine VII. (reigned A.D.

911-959) comes the last shadowy name in the Anthology.
Comeras, called Chartularius or Keeper of the Records, is
the author of six epigrams in the Palatine Anthology, besides
a poem in hexameters on the Raising of Lazarus. From some
marginal notes in the Ms. it appears that he was a contemporary
of Constantinus Cephalas. Three of the epigrams are on a
revised text of Homer which he edited. None are of any
literary value, except the one beautiful pastoral couplet, vi. 10
in this selection, which seems to be the very voice of ancient
poetry bidding the world a lingering and reluctant farewell.

᾿ ᾿ ν᾿ ( Ν | 4
Ae ΜΝ Hs
ἘΠῚ Naty tatty wy

NOTES AND INDICES

te va Ὦ

5 ᾿ς a Ἐ 4; ix > J
le gris: or

«ι aN pation Axe

Seki θὰ _

NOTES

I. Anth. Pal. v. 134.

I. 1. Κεχροπὶς λάγυνος (feminine here as in the Latin form lagena) the
ordinary Attic vase with a narrow neck, fully described by a list of
epithets in another epigram, infr. x. 6.

I. 2. συμβολική has special aptness as applied to the Anthology to which
each poet contributes verses. πρόποσις, generally ‘a health’, here means the
drinking party itself.

I. 3. Zeno and Cleanthes were the first and second masters of the Stoic
school. The former is probably called χύχνος in allusion to his great
age; he is said to have died at 98. So the chorus of old men in the
Hercules Furens speak of themselves as χύχνος ὡς γέρων ἀοιδός (1. 692).
There is no mention of Zeno ever having written poetry, though a book
περὶ ποιητιχῆς is mentioned in the catalogue of his works. Of the poetry
of Cleanthes all now extant is a hymn to Zeus and the famous quatrain
expressing the religious side of Stoicism (Epictetus, Enchir. ο. 53) :

"Ayou δέ μ᾽ ὦ Zed χαὶ ov γ᾽ ἡ Πεπρωμένη
ὅποι zo” ὑμῖν εἰμὶ διατεταγμένος"

ὡς ἕψομαί τῇ ἄοχνος" ἣν δὲ μὴ Dw,
χαχὸς γενόμενος οὐδὲν ἧττον ἕψομαι.

II. Anth. Pal. v. 169.

i. 1 and 2 are imitated from Aesch. Ag. 909, where Clytemnestra calls
her husband

γῆν φανέϊσαν ναυτίλοις παρ᾽ ἐλπίδα
χάλλιστον Tap εἰσιδεῖν éx χείματος,
ὁδοιπόρῳ διψῶντι πηγαῖον δέος.

I, 2. στέφανον needlessly altered in modern editions to ζέφυρον. The
flowers and the west wind are both mentioned in the exhortations to put to
sea in spring, Anth. Pal. x. 1, 4-6, 15,16. And sailors do not see the wind.

1. ὃ. ἡδεῖον Ms. with ἥδιστον in the margin : hence some read ἥδιον.

I. 4. Cf. Soph. Trach. 539, χαὶ νῦν δύ᾽ οὖσαι μίμνομεν μιᾶς ὑπὸ χλαίνης
ὑπαγχάλισμα : also Theocr. Epithal. Hel. 19, and Eur. frag. Peliad. 6,
ὅταν 8 ὑπ’ ἀνδρὸς χλαῖναν εὐγενοῦς πέσης.

III. Anth. Pal. v. 170.

l. 2. ἀπέπτυσα, the aorist of quick or sudden action : ἀπέπτυσ᾽, ὦ γεραιέ,
μῦϑον, Hur. Iph. in Aul. 874. The abruptness of expression in this line is

almost Oriental.
315

316 GREEK ANTHOLOGY [SECT. I

1. 3. τίνα -- ὅντινα : so in the epigram of Callimachus, infra iv. 32, the ms,
aA , ' ' ¥ <= z ῃ .
reads οὐδὲ χελεύϑῳ yalow τίς πολλοὺς ὧδε xat woe φέρει. Here Meineke
would alter τίνα to τάν.

IV. Anth. Pal. ix. 161. Headed ἄδηλον in Planudes.

With this epigram compare Mr. Austin Dobson’s charming verses called
‘A Dialogue from Plato’ in Old World Idylis, p. 103.

1. 1. βίβλον, the Ἔργα zat Ἡμέραι of Hesiod.

I. 4. ἔργα παρέγειν, ‘to give trouble’, with a play on the name of the poem.
For the use of Hesiod as a school-book, see Plato Rep. 363 a, and (for a
common-sense view of the matter) Lucian, Ver, Hist. ii, 22.

V. Anth. Pal. ν. 78. Also quoted by Diog. Laért. in Vita Platonis
ce. 32, and by Gellius Noct. Att. xix. 11.

The question of the authenticity of the epigrams attributed to Plato is
fully discussed by Bergk Lyr. Gr. ii. pp. 295-299, Thirty-seven epigrams
in the Anthology appear there under the name of Plato or are elsewhere
assigned to him, Another (infra iv. 13) is not in the Anthology. Of
these thirty-seven, one is attributed to Plato the comedian, a con-
temporary of Aristophanes, and three, which are very poor, to an other-
wise unknown Plato Junior (ὁ Νεώτερος), The rest were probably believed
to have been written by the great Plato, and the Garland of Meleager, l. 47,
speaks of them as such. Of the fourteen included in this collection this
epigram and six others (infra i. 41; iii. 10, 11; iv. 13; vi. 8; xi. 51) are
possibly genuine ; the other seven are certainly of later date.

This epigram, if authentic, is written under the person of Socrates.
Agathon, the brilliant dramatist, σοφώτατος xa χάλλιστος as Alcibiades calls
him in the Symposium, 212 ©, was noted for his beauty : see Plato Protag.
315 Ὁ, Aristoph. Thesm. 198, and the notices of him in Athenaeus.

VI Anth, Pal. xi. 111:

ἰ. 1. xa ἣν ἑσπερίην ὥρην ὑγιαίνομεν, ‘at the hour of evening when we
say good-night.’ γαΐρε and vytatve, as in Latin salve and vale, were used
for our ‘good-morning’ and ‘ good-night’.

VII. Anth. Pal. xii. 117.
l. 1. ante, ‘light a torch’, addressed to his slave.
I, 3. ‘Reason and love keep little company’ M.N.D., rv. i.

VIII. Anth. Pal. ν. 93. The epigram is modelled on one by Posidippus,
Anth, Pal. xii. 120,

I. 3. συνίστασϑαι here ‘to contend with’ : a rare use.

l. 4, There was a common proverb, μηδ᾽ ᾿Ηραχλῆς πρὸς δύο.

IX. Anth. Pal. v.64. There is a reminiscence throughout the epigram
of Aesch. Prom. ll. 992-5 :

πρὸς ταῦτα ῥιπτέσϑω μὲν αἰϑαλοῦσσα φλόξ,
λευχοπτέρῳ δὲ νιφάδι καὶ βροντήμασι
χϑονίοις κυκάτω πάντα καὶ ταρασσέτω,

- τ 1 ‘ AN CORNY

γνάμψει yao οὐδὲν τῶνδέ με.

4-14] NOTES ‘317

’ , . . “ ,
I. 2. πορφύυροντα νέφη, ‘glooming clouds’: ὡς ot? πορφύρῃ πέλαγος μέγα

χύματι χωφῷ, Il. xiv. 16, of the sea darkening with a foamless swell.

1. 4. yeloove may agree with με in 1. 3, but is more probably acc. pl. used
adverbially : cf. πλείονα πιόμεϑα, infra x. 4.

X. Anth. Pal. v. 261. For the general sense of the epigram cf. the
passage in Philostratus, p. 355, almost literally translated into English by
Jonson in Drink to me only with thine eyes.

l. 4. The thought is slightly confused, and it is not certai in whether the
οἰνοχόος is the lady herself, which is supported by πρόσφερε ἘΣ I. 2, or the
cup, like δέπας οἰνοχόον, infra Ep. 15.

XI. Anth. Pal. v. 212.

I. 1. δινεὶ is Hermann’s correction of the ms. δύνει, and has been generally
accepted, though δύνει gives a sufficiently good sense, ‘sinks in my ears’.

1. 2. Motos and Ἵμερος, Longing and Desire, are half personified
brothers of Hros ; the lover brings them his offering of tears. Cf. infra
vill. 3.

l. ὃ. ἐκοίμισε, ‘lets me rest’, precisely as in ue Aj. 674, δεινῶν τ᾽ ἄημα
πνευμάτων ἐχοίμισε στε νοντα πόντον.

4. Cf. Virg. Aen. iv. 23, and Dante Purg. xxx. 48.

XII. Anth. Pal. v. 171.

1. 3. ὑποϑεϊσα χείλεα, ‘bringing up her lips’, ἀπνευστί, ‘without drawing
breath’. Cf. Rossetti, The House of Life, u111., “1 leaned low and drank . . .
all her soul.’

XII. Anth. Pal. ν. 117. This epigram is imitated from Moschus Id. i.,
the”Epws Δραπέτης. A specimen of a proclamation describing a runaway
slave and offering a reward for his capture may be found in Lucian,
Fugitwi, c. 26; and two originals found on a papyrus in Egypt, dated
B.c. 145 (a little earlier than ΠΕ epigram) are given in Letronne, Fragmens
inédits Panciens poctes Grecs (printed at the end of Didot’s Aristophanes).

I. 3. λιγύδαχρυς (after the analogy of λιγύφωνος) has been suggested as
giving a better antithesis to σιμὰ γελών.

1. 5, Plato Symp. 1788: γονέϊς "Epwtos ovr? εἰσὶν οὔτε λέγονται ὑπ᾽ οὐδενὸς
οὔτε ἰδιώτου οὐτε ποιητοῦ. Hros is one of the uncreated originals of things
in Hesiod, Theog. 120. In the birds’ cosmogony (Aristoph. Av. 696) he
springs from ἃ wind-egg laid by Night in the times when γῆ οὐδ᾽ ἀὴρ οὐδ᾽

᾽ \ ΕΣ
ουρᾶνος Ἦν.

1. 9. xéivos, ‘there he is’, like ὦ οὗτος, ‘you here’.

XIV. Anth. Pal. xii. 134. The whole epigram is well illustrated by
that of Asclepiades, Anth. Pal. xii. 135:

Οἶνος ἔρωτος ἔλεγχος" ἐρᾷν ἀρνούμενον ἡμῖν
ἤνυσαν αἱ πολλαὶ Νιχαγόρην προπόσεις"
Καὶ γὰρ ἐδάχρυσεν καὶ ἐνύστασε καί τι χατηφὲς
ἔβλϑπε, χώ σφιγχϑεὶς οὐχ ἔμενε στέφανος.
l. 5. With ὠπτηται ef. the ὀπτὸν μέλι of Meleager, infra Ep. 75. δυσμός
is an Ionicism for δυϑμός : οὐχ ἀπὸ δυσμοῦ Ξε οὐχ ἀρύϑμως, “ποῦ at random’.

318 GREEK ANTHOLOGY [SECT. I

XV. Anth. Pal. vy. 266. It was a theory that the aversion from water
in persons suffering from hydrophobia was caused by their seeing the image
of the dog in the cup. Plato Symp. 217 © mentions a similar curious
superstition regarding the bite of a serpent.

l. 6. δέπας οἰνοχόον (cf. supra Ep. 10) must mean the cup into which the
wine is poured. Some editors read olvoycov or οἰνοχόων to keep the usual
sense of the word, ‘ cup-bearer’.

XVI. Anth. Pal. xi. 64. A description of the vintage-revel, which as
early as Homer (Jl. xviii. 561) was a favourite subject for poetry and
sculpture, and is one of the commonest subjects in Graeco-Roman reliefs.

1, 2. ἀνεπλέχομεν, sc. dancing with linked hands, a sort of Greek Car-
magnole.

1.5. σχέδιον ποτόν, ‘an extemporised banquet’, where we did not feel
the want of a proper crater and cups, or of warm water to mix with the
wine. For the practice of mixing wine with hot water see Athen. iii. p. 123,
Pollux ix. 67. The water was kept on table in a heated urn called
ἰπνολέβης.

1. 9. ϑοαὶ φρένες is an imitation of the Homeric usage in phrases like

Dory ἀλεγύνετε δαῖτα (Od. viii. 38).

XVII. Anth. Pal. v. 147.

l. 5. ψμυροβόστρυγος, ‘ balsam-curled ’, is one of the curious new compounds
of which Meleager is so fond: cf. μυροφεγγής, Anth. Pal. xii. 83. Other
instances of compounds coined by him are οὐρεσίφοιτος, ἐρωτοπλάνος, ἐρημο-
λάλος, δαχρυχαρής (infra Epp. 19, 65, 66, 69): bolder and more successful
than any of these is γλυχυπάρϑενος, Anth. Pal. ix, 16.

l. 6. Flowers were scattered over people’s heads as a mark of honour : ef.
Luer. ii. 627 ninguntque rosarum floribus wmbrantes ; Plut. Pomp. ὁ. 57,
πολλοὶ δέ χαὶ στεφανηφοροῦντες ὑπὸ λαμπάδων ἐδέχοντο χαὶ περιέπεμπον
ἀνϑοβολούμενον : and Dante Purg. xxx. 28:

dentro una nuvola di fiori
Che dalle mani angeliche saliva
E ricadea in git dentro e di fuori.

XVIII. Anth. Pal. xii. 147. The lover finding Heliodora gone is seized
with a sudden alarm that she has been forcibly carried off, and calls for
torches to go in pursuit, when he hears her footfall returning :

“What fond and wayward thoughts will slide
Into a lover’s head !

“Ὁ mercy !’ to myself I cried,
‘If Lucy should be dead !’”

/.1. The construction is a sort of compromise in syntax between τίς
οὕτως ἄγριος ἂν εἴη ὥστε τοῦτο αἰχμάσαι ; and τίς ἄγριος τόσσον ἂν αἰχμάσαι ;
αἰχμάζειν with cognate acc., ‘to do a deed of arms’ as in Soph. Trach. 354,
Ἔρως δέ viv Μόνος ϑεῶν ϑέλξειεν αἰχμάσαι ταδε.

XIX. Anth. Pal. ν. 144.

1, 3. φιλέραστος, ‘dear to lovers’, a common epithet of the rose, is here
transferred by anticipation to ‘the rose of womanhood’.

15-24] NOTES 319

1. 5. Strictly it is the flowers themselves that would be said to laugh, or
the meadows to laugh with flowers; for this extension of the ordinary
metaphor and half personification of the meadows cf. Virg. Georg. 1. 103,
ipsa suas mirantur Gargara messes.

XX. Anth. Pal. v. 151.

1. 2. χνώδαλον is ‘monster’ in the widest sense, of large and small
animals alike.

l. 6. Cf. Lucian, Muscae Encomium, c. 10, where after telling the story
of Myia and her rivalry with Selene for the love of Endymion he goes on,
xa διὰ τοῦτο πᾶσι νῦν τοῖς κοιμωμένοις αὐτὴν τοῦ ὕπνου φϑονέϊν μεμνημένην
ἔτι τοῦ ᾿Ενδυμίωνος, καὶ μάλιστα τοῖς νέοις χαὶ ἁπαλόϊς" καὶ τὸ δῆγμα δὲ αὐτὸ
χαὶ ἡ τοῦ αἵματος ἐπιϑυμία οὐκ ἀγριότητος ἀλλ᾽ ἔρωτος ἐστὶ σημεέϊον χαὶ φιλαν-
ϑρωπίας" ὡς γὰρ δυνατὸν ἀπολαύει καὶ τοῦ κάλλους τι ἀπανϑίζεται.

ΧΧΙ. Anth. Pal. xii. 114.

XXII. Anth. Pal. v. 241. Under the name of Agathias in Planudes.

1. 3. Suidas s.v. δασπλής quotes this couplet and explains δασπλῆτα as
ἐπὶ χακῷ προσπελαάζουσαν. The origin of the word (an epithet of ’Eptvus in
the Odyssey) is obscure.

ΧΧΠΙ. Anth. Pal. v. 228. Compare with this epigram the beautiful
Provengal alba (given in Raynouard, Choix des Poésies originales des Trouba-
dours, vol. 11. p. 236) beginning Hn un vergier sotz fuelha @albespi, with
the refrain, Oy dieus, oy dieus, de Palba tan tost ve /

I. 1. The planet Venus was ordinarily called Φωσφόρος by Greek
astronomers, though it also had the name ὁ τῆς ᾿Αφροδίτης (sc. πλανήτης).
It is not certain whether the allusion here is merely to the mythological
connection of Venus and Mars, or to a conjunction of the two planets.

1. 3. Φαέϑων, the god of the sun (as in Homer), whose son the Phaethon
of later legend was by the Oceanid Clymene wife of Merops. There is a
good deal of confusion about this myth, another version making Phaethon
the son of Clymenus and Merope ; but the story, only mentioned here, of
the dawn-star delaying its upward course through the eastern sky, seems
to relate to the former version.

1.5. περί has the force of going round or up and down in a place, rather
- than going round it: cf. χρονίζειν περὶ Αἴγυπτον, Hdt. iii. 61.

I. 6. For the Cimmerians, ‘on whom the sun looks not in his rising,’ see
Od. xi. 14-19.

XXIV. Anth. Pal. v. 3.

I. 1. ορϑρος is the grey dawn which is succeeded by the rose-fingered
“Hos or Ἢριγένεια. ‘And indeed the dawn was already beginning. The
hollow of the sky was full of essential daylight, colourless and clear ; and
the valley underneath was flooded with a grey reflection. . . . The scene
disengaged a surprising effect of stillness, which was hardly interrupted
when the cocks began once more to crow among the steadings. Perhaps
the same fellow who had made so horrid a clangour in the darkness not
half-an-hour before, now sent up the merriest cheer to greet the coming
day. R. L. Stevenson, The Sire de Malétroit’s Door.

320 GREEK ANTHOLOGY [SECT

l. 4. νυχίοις ἠδϑθέων ὀάροις in rather a different sense, infra vi. 1. Here
it seems to mean the talk of young men in the lesche or gymnasium.

XXV. Anth. Pal. v. 172.

1. 2. Cf. Meleager in Anth. Pal. xii. 63, καὶ πέτρον τήκω χρωτὶ χλιαινόμενον.

1. 5. ἐπ᾿ ᾿Αλχμήνην Διός, ‘for Alemena the bride of Zeus’ ; by an extension
of its common meaning ‘for the purpose of’, ἐπί here comes to mean ‘to
serve the purpose of’, ‘for the sake of’. ᾿Αλχμήνη Διός like Σμικυϑίωνος
Μελιστίγη, Aristoph. Eccl. 46 or ‘ Hectoris Andromache’, Aen. iii. 319.

1. 6. ἦλϑες ἀντίος, ‘thou didst go contrary’, 1,6. backward.

XXVI. Anth. Pal. v. 173.
1. 1. Dawn is represented as the charioteer of the wheeling firmament.

XXVIII. Anth. Pal. v. 279.

ἰ. 1. Cf. Petronius, Sat. c. 22, lucernae quoque humore defectae tenue et
extremum lumen spargebant.

l. 5. ἕσπερος adj. for the usual ἑσπέοιος : so again infra Ep. 36.

XXVIII. Anth. Pal. v. 150. The first couplet is also quoted by Suidas
8.υ. Θεσμοφόρος.

I. 1. ἡ ᾿πιβόητος, ‘she who is in all men’s mouths’, like the multt Lydia
nominis of Horace: the full phrase ἡ ᾿πίβωτος ἀνθρώποις is used Anth. Pal.
vil. 345.

1. 2. Θεσμοφύρος, Demeter ; ‘ legifera Ceres’, Aen. iv. 58.

I. 3. It is not certain what hour of night this implies; the night seems
in different circumstances to have been divided into three, four, or five
watches.

XXIX. Anth. Pal. v. 164.

I. 1. Hecker reads οὐχ ἀλαήν, which may be right.

l. 2. The termination -ς as a feminine form is extremely rare ; there is
perhaps an instance in Anth. Pal. xii, 81, where ψυχαπάτην φλόγα is the
most probable reading. Others prefer to coin a form φιλεξαπάτις, or to read
oth? ἐξ ἀπάτης, ‘deceitfully dear’, which hardly makes sense.

I. 4. ποτε is Jacobs’ conjecture for the ms. παρά, which he afterwards
proposed to retain, changing ἐπ᾽ to ἔτ. But the former makes a smoother
verse.

XXX. Anth. Pal, v. 237. Cf. the pseudo-Anacreon, 9 (Bergk).

ἰ. 5. ὄμματα δ᾽ οὐ λάοντα Ms., μύοντα Hecker. Others read ὄμματα δὲ
σταλάοντα, ‘my dripping eyes’. The couplet is omitted in Planudes, its
corruption having probably been considered desperate.

l. 9. Cf. Ovid Her. xv. 154:

moestissima mater
Concinit Ismarium Daulias ales Ityn,
Ales Ityn, Sappho desertos cantat amores
Hactenus ; ut media cetera nocte silent.

I. 10. The hoopoe, according to Aelian, Hist. An. iii. 26, builds ἐν tots

ἐρήμοις χαὶ tig πάγοις τόίς Udndots: cf. the opening scene of the Birds of
Aristophanes.

25-37] NOTES 321

XXXI. Anth. Pal. v.9. Plan. has JJ. 1 and 2 under the name of Rufinus,
and the rest of the epigram later without any author’s name.

l. 5. ἢ ἐπιορχήσων Ms., corr. Hecker. Coressus (see Xen. Hell. τ. ii. 7,
Pausan. Eliaca A. xxiv. 8) was the quarter of Ephesus which lay on the
hill overlooking the harbour and plain.

XXXII. Anth. Pal. ν. 34. Jacobs points out with truth that the style
of this epigram is exactly that of Meleager, and suspects that it is wrongly
attributed to Philodemus. Certainly no other of the thirty-four epigrams
extant under the name of Philodemus is like this, and most of them have a
marked style of their own. But it may be an imitation of the older poet
by the younger, and it is hardly safe, in face of the fact that Planudes
agrees with Cephalas in the authorship, to alter the title.

XXXII. Anth. Pal. v. 182. To this epigram some editors prefix a
couplet which occurs as a separate epigram, Anth. Pal. v. 187, also under
Meleager’s name :

Εἰπὲ Λυχαινίδι, Δορχας" ἴδ᾽ ὡς ἐπίτηχτα φιλοῦσα
ἥλως" οὐ χρύπτει πλαστὸν ἔρωτα χρόνος.

XXXIV. Anth. Pal. v. 226.

1. 4. νηφάλια μειλίγματα were peace-offerings of water, milk, and honey,
without wine. Cf. Aesch. Hum. 107.

L. 5. χαὶ χέϊθι, se. τῆλε, 1. ὃ.

XXXV. Anth. Pal. v. 280.
1. 1. πόϑον is the reading of Plan., πόνον ms. Pal.
l. 4. A scholiast on Theocr. xiv. 48 quotes an oracle given to the
Megarians :
ὑμεῖς ὃ). ὦ Μεγαρεῖς, ὀυδὲ τρίτοι ὀυδὲ τέταρτοι
οὐδὲ δυωδέχατοι, OUT ἐν λόγῳ ode’ ἐν ἘΠ

The phrase had become proverbial: cf. Callimachus in Anth. Pal. v. 6,
τῆς δὲ ταλαίνης νύμφης, ὡς Μεγαρέων, οὐ λόγος οὔτ᾽ ἀριϑμός. ;
l. 8. Hor. ut. Od. x. 9, ingratam Veneri pone superbiam.

XXXVI. Anth. Pal. v. 256.
l. 2. ἕσπερος for ἑσπέριος as in Ep. 27, supra.
l. 4. Catull. xx. 7, amantem iniuria talis cogit amare magis.

XXXVII. Anth. Pal. v. 247. After J. 4 in ms. Pal. follow two more
lines :
Κεντρομανὲς δ᾽ ἀγχιστρον ἔφυ στόμα, καί με δαχόντα
εὐϑὺς ἔχει δοδέου χείλεος ἐχχρεμέα..

which seem to be a fragment of another epigram, and are wanting in Plan.

1. 1. There is a play on the name Παρμενίς, ‘the constant.’

1. ὃ. χαὶ φεύγει φιλέοντα χαὶ od φιλέοντα διώχει of Galatea and the Cyclops,
Theocr. vi. 17. But the amplification in the next line is Macedonius’ own.
‘Pursuing that that flies and flying what pursues, Merry Wives, τι. ii.

21

322 GREEK ANTHOLOGY [SECT. 1

XXXVIII. Anth. Pal. ν. 23. In Plan. under the name of Rufinus, but
that is hardly possible. The repetitions are a piece of literary affectation
peculiar to Callimachus : ef. Anth. Pal. v. 6. xii. 71.

1. 4. κοιμίζεις is the same as χοιμᾶσϑαι mores in ἰ. 1.

l. G. αὐτίχα not ‘immediately’ but ‘presently,’ ‘by and bye.’

XXXIX. Anth. Pal. v. 16.
ἰ. 1. Hecker alters δέρχη to δέρχευ. περιλάμπει, Μ5. Others read περιλαμπεῖς,
1. 4. For the idiom οἵ, Theocr. τι. 156, νῦν δέ τε δωδεχαταῖος ἀφ᾽ ὦ τέ νιν

οὐδὲ ποχ᾽ εἶδον.

XL. Anth. Pal. v. 123. With this epigram may be compared Spenser’s
Epithalamium, Ul. 372-882, which shows the contrast between the richness
of the best Renaissance work and the direct simplicity of expression which
Greek poetry preserves even in its decline.

Ll. 1. Σελήνη φαῖνε is from Theoer. 11. 11.

1. 2. εὔτρητοι ϑυρίδες, latticed windows, the Latin fenestrae clatratae or
reticulatae (Varro, R. R. ut. 7, Serv. on Aen. iii. 152).

1. 5. ἡμέας, as often, means ἐμέ; but it is singularly awkward here in
antithesis to τήνδς.

XLI. Anth. Pal. vii. 669. Also quoted by Diog.’ Laért. in Vita
Platonis, c. 39. This epigram is in all likelihood authentic. Diog. Laért.
1.6. quotes Aristippus περὶ παλαίας τρυφῆς as saying that Aster was a
beautiful youth with whom Plato studied astronomy.

XLII. Anth. Pal. v. 84. In Plan. this and the next epigram, together
with a third couplet (Anth. Pal. v. 83.) are set down as a single epigram
under the name of Dionysius Sophista. All three are quoted by a scholiast
on Dion Chrysostom, Orat. ii. de Regno.

1. 2. ἀρσαμένη, ‘fastening’, a rare aorist of ἀραρίσχω. It occurs in
Hesiod, Scut. Her. 320, of Hephaestus forging the shield of Heracles,

, , U
αρσαμενος TOOT SLY.

XLII. Anth. Pal. appendix (xv.) 35. See the note on the last epigram-

ἀργεννάος (a variant of the Homeric ἀργεννός) and χροτιή (for yews) are
both ἅπαξ εἰρημένα.

ὄφρα μᾶλλον go together, ‘quo magis’, and χροτιῆς is governed by κορέσῃς
as in Soph. Phil. 1156, χορέσαι στόμα σαρχός.

XLIV. Anth. Pal. v. 174.

1, 2. Sleep was represented as winged in Greek art ; as in the celebrated
bronze head of the school of Praxiteles with the wings of a night-hawk,
found in the bed of a river in Umbria and now in the British Museum.

1. 3. The reference is to the Iliad, xiv. 230, foll.

XLV. Anth. Pal. v. 225.

1. 4. Machaon ἐπ’ ap’ ἤπια φάρμαχα εἰδὼς πάσσεν on the wound of
Menelaus, Il. iv. 218.

l. 5. Cf. Paulus Silentiarius in Anth. Pal. v. 291, Τήλεφον ὁ τρώσας χαὶ

38-52] NOTES 323

ἀχέσσατο. The story of Telephus’ wound being cured by rust scraped from
the spear of Achilles is in Hygirus, Fab. 101.

XLVI. Anth. Pal. xii. 47. Cf. with this Ep. 67 infra, and Apoll.
Rhod. iii. 114, foll., where there is an elaborate description of Eros and
Ganymede playing at ἀστράγαλοι.

1.2. There is a play on the phrase πνεῦμα κυβεύειν which was used of
running a deadly risk, ‘set one’s life in jeopardy’. Cf. Antipater of Sidon
in Anth. Pal. vii. 427, last couplet.

XLVII. Anth. Pal. v. 190.

1. 1. &xofuntot Ms. generally altered into ἀκοίμητον : but the construction
is like the Virgilian haeret inexpletus lacrimans, Aen. viii. 559.

1. 2. Cf. Οἷς. de Or. iii. 164, where tempestas comissationis is instanced
as a good metaphor.

l. 4. The rudderless ship drifts back upon Scy Tae

XLVIII. Anth. Pal. xii. 80.

I. 1. δυσδάκρυτος active, ‘weeping sore’: in δάχρυα δυσδάχρυτα, infra ΧΙ.
46, it has its normal passive sense.

πεπανϑὲν τραῦμα is a medical phrase, used of a wound after the hard
swelling has gone down and it has begun to suppurate ; the. metaphor is
continued in ἀναφλέγεται, ‘sets up inflammation again’. Ovid, R. A. 623,
vulnus in antiquum rediit male firma cicatria.

I. 6. Branding (στίζειν) was the usual punishment inflicted on runaway
slaves.

XLIX. Anth. Pal. v. 214.

1. 2. παλλομέναν is used in the double sense of the ball being tossed and
the heart beating.

1 4. ἀπάλαιστρον, ‘against the rules of the game’, which consisted in
keeping the ball up and not letting it fall to the ground.

L. Anth. Pal. v. 198.

1.1. Δημοῦς, Brunck for Τιμοῦς, ms. As Timo and Timarion are the same
name, the latter being merely the pet form or diminutive of the former,
one must be altered, either Τιμοῦς into Δημοῦς or Τιμαρίου into Δημαρίου.
-Both names occur in other epigrams of Meleager.

1. 5, mtxpous is a conjectural restoration of a word which has been lost in
the Ms. owing to the copyist having inadvertently written xtepdevtac twice
over. Others fill wp the line with χρυσέη.

LI. Anth. Pal. v. 98, with title ἄδηλον, οἱ δὲ ᾿Αρχίου. In Plan. it is run
on to another epigram by Capito ( Anth. Pal. v. 67).
1.2. Eur. A. F, 1245, γέμω κακῶν δή, κοὐκέτ᾽ ἔσϑ᾽ ὅπη τεϑῇ.

LIL. Anth. Pal. v. 57. Probably on a gem which represented ἃ butter-
fly, the usual embiem of the soul in later classical art, fluttering round a
lamp. Miiller, Arch. der Kunst § 391, gives an account of the principal
gems and reliefs which represent this subject. According to him the
Psyche-butterfly does not occur till the Roman period, and is connected

924 GREEK ANTHOLOGY (SECT. 1

with the mystical doctrines of the so-called Orphic school with regard to the
immortality of the soul. But this epigram shows that the origin of the
symbolism must be placed earlier.

I. 1. πυρὶ νηχομένην Ms., corr. Hecker.

LUI. Anth. Pal. v. 178.

l. 3. ἄχρα ὄνυξιν is equivalent to ἀχρώνυχος, ‘with the tips of his nails’.

1. 5. πρὸς δ᾽ ἔτι λοιπόν is a redundant colloquial phrase like nec non etiam.
LIV. Anth. Pal. vy. 110. Compare Sir H. Wotton’s lines to the Princess

Elizabeth :
You meaner beauties of the night,

Which poorly satisfy our eyes

More by your number than your light,
You common people of the skies,
What are you, when the moon shall rise ?

LV. Anth. Pal. v. 137.

1. 3. γράφεται, is entered in the register as my προστάτις ; cf. the speech
of Rhetoric in Lucian, Bis Acc. c. 29, ὁπότε μόνην ἐμὲ ϑαυμαζουσι χαὶ
ἐπιγράφονται ἅπαντες προστάτιν ἑαυτῶν.

]. 4. ἀχρήτῳ συγχεράσας, 1.6. he will mix his wine with her name as other
drinkers do with water.

LVI. Anth. Pal. v. 136.

ἰ. 1. This line is imitated and expanded from that of Callimachus,
infra vill. 4.

I. 2. σὺν ἀχρήτῳ, MS. σὺ δ᾽ ἀχρήτῳ, most Edd. Cf. Pindar, Nem. iii. 134,
μεμιγμένον μέλι λευχῷ σὺν γάλαχτι.

ἰ. 3. He desires yesterday’s garland for memory, soiled though it be
with myrrh and dropping its rose-petals like tears (cf. supra, Ep. 14).
There is no allusion here to the vulgar practice condemned by Plutarch
(Quaest. Conv. vii. viii.) of steeping flowers in artificial scents. The old
garland is dabbled with ointment from the hair on which it was worn.

LVII. Anth. Pal. v. 149.

Ll. 1. ἑταίραν Ms., corr. Graf. δεικνύναι ‘to portray’ is almost a technical
term of art.

LVIII. Anth. Pal. vy. 156. There is a reminiscence in the epigram of
Aesch. Ag. 740, where Helen is called φρόνημα νηνέμου yaravas . . μαλϑαχὸν
ὀμμάτων βέλος. Cf. also Lucr. v. 1004-5.

ἰ. 1. γαροπός, ‘sparkling’; an epithet of the sea under a light wind in
another epigram by the same author, infra vii. 10.

LIX. Anth. Pal. v. 138. On a girl who sang the ᾿Ιλίου πέρσις.

I. 1. ἵππον, the Trojan horse, my woe in the singing as it was the Trojans’
in the story.

l. 2. As the city kindled, I kindled along with it, not restrained by the
fear that, like the Greeks, I might lose my labour for ten years.

1. 3. φέγγος, the light of the burning city. But there is also probably an
allusion to ‘Asch! Ag: 504, where the 8 δέχατον φέγγος ἔτους is simply a peri-
phrasis for the tenth year.

53-67] NOTES 325

LX. Anth. Pal. v. 139.

1. 1. μέλπεις μέλος πηχτίδι and κρέχεις μέλος express the same idea, which is
probably that of simple harp-playing and does not necessarily imply singing,
though the harp was generally used as an accompaniment to the voice.

The πηχτίς was a larger instrument than the χιϑάρα, and seems to have
resembled more nearly the μάγαδις or Lydian harp of twenty strings ; the
cithara, which had seven in the best period, never increased the number
beyond eleven.

1. 2. λιγίαν Ms., corr. Schneider. Boissonade would read ναὶ Mav’.

LXI. Anth, Pal. v. 163.

1. 3. καὶ δύσοιστον MS., xat δυσύποιστον Edd., which makes the sentence
very awkward and barely grammatical, ‘that she has a sting of love both
sweet and intolerable, ever bitter to the heart’. I have therefore written
χαὶ τὸ δύσοιστον, ‘that even the intolerable sting of love, ever bitter to the
heart, has sweetness too’.

LXII. Anth. Pal. v. 152.
1. 7. He promises the gnat for reward the lion-skin and club of Hercules ;
ef. infra x. 23, and Aesop Fab. 149, where the gnat conquers the lion.

LXIII. Anth. Pal. v. 215. Attributed in Plan. to Posidippus. It
occurs again with one verbal change, Anth. Pal. xii. 19.*

1. 6. Cf. Theocr. xxiii. (Ahrens, Incertorwm v.) 44: γράψον καὶ τόδε
γράμμα, τὸ sis τοίχοισι χαράξω, Τοῦτον "Ἔρως ἔχτεινεν.

LXIV. Anth. Pal. v. 130.
1. 3. From Theoer. xiv. 37, ἄλλος tot γλυκίων ὑποχόλπιος.
l. 6. Ht. τ. 8, ὦτα τυγχάνει ἀνθρώποισι ἐόντα ἀπιστότερα ὀφθαλμῶν.

LXV. Anth. Pal. vii. 195. Field-crickets and tree-crickets (ἀχρίδες and
τέττιγες) were much kept in cages (ἀχριδοϑῆχαι) as pets ; for other references
to the custom see infra vi. 20 and xi. 14; and for the μίμημα λύρας of their
shrill note, the story of Eunomus infra i. 14.

1. 7. γήτειον or γήϑυον (see Schneider on Theophrast. Hist. Plant. vii. 4)
can hardly mean ‘leek’ here : the etymology suggests ‘groundsel’ as an
equivalent.

l. 8. The cages for crickets were floored with a turf, which he promises to
water every morning. στόματα are the holes in the rose of the watering-can
which divide the stream of water into drops.

LXVI. Anth. Pal. vii. 196.

1. 1. Of. Antipater of Thessalonica in Anth. Pal. ix. 92, ἀρκέϊ τέττιγας
μεϑύσαι δρόσος.

1. 3. ἄκρα ἐφ. πετάλοις is equivalent to ἐφ. ἄκροις πετάλοις, as in Ep. 53
supra.

LXVII. Anth. Pal. xii. 46.

1. 3. ἥν τι πάϑω, ‘when I die’. The phrase is a double evasion of the
straightforward statement, like the Latin siquid mihi humanitus acciderit.
It occurs again Ep. 71 infra.

990 GREEK ANTHOLOGY [SECTe2

LXVIII. Anth. Pal. vy. 8. In Plan. under the name of Philodemus.

1. 5. Cf. Soph. Frag. Incert. 694, ὅρχους ἐγὼ γυναιχὸς εἰς ὕδωρ γράφω.

LXIX. Anth. Pal. v. 166.

l. ἃ. The epithet σχολιῶν perhaps rather means jealous or malign. Some
editors alter it to σχοτιῶν, ‘gloomy’. δαχρυγαρῆ is however a somewhat
uncertain emendation of the Ms, daxvyae7, so that we cannot be sure of the
meaning of the whole phrase.

LXX. Anth. Pal. v. 145.
l. 3. ‘He will weep you an ’twere a man born in April’, Troil. and Cress.
I. 2

=.

LXXI. Anth. Pal. xii. 74.

I. 1. τί γὰρ πλέον, ‘for what good is it ?’ seems to have been adopted by all
the editors. But the ms. reading, τὸ γὰρ πλέον ἐν πυρί, may be right ; ‘the
greater part of me is already in ashes’ ; cf. infra vil. 11.

1. 4, χκάλπις, a jug, is here half-jestingly used for the burial urn.

LXXII. Anth. Pal. v. 176.

1. 6. ἐξ ὑγροῦ τέτοχας is a compressed form of expression which may be
compared with χαϑήμεϑ᾽ ἄχρων ἐχ πάγων, Soph. Ant. 411; to complete the
sense yeyovvia must be understood with the former as σχοπούμενοι with the
latter phrase. For the sense cf. Antipater in Anth. Pal. ix. 420 (of Eros),
ἐσβέσϑη δὲ οὐδὲ τότ᾽ ἐν πολλῷ τιχτόμενος πελάγει.

LXXIII. Anth. Pal. xii. 48.

LXXIV. Anth. Pal. xii. 132, ll. 1-6. This and the following epigram
are written as one in the ms. I have separated them, following a German
critic, Huschke, quoted by Dubner.

LXXV. Anth. Pal. xii. 132, Il. 7-14: see note to the last epigram.

LXXVI. Anth. Pal. v. 155.

I. 2. Greek artists, from the time of Alexander onwards, generally signed
their work in the imperfect ( Απελλῆς ἐποίει) ; from not remembering this
the editors have most needlessly altered the text to ἔπλασεν αὐτὸς "Ἔρως.
Cf. The Gardener's Daughter, 1. 25, [01].

LXXVII. Anth. Pal. xii. 248. With the whole epigram cf. Shakespeare,
Sonnet exvi.

I. 3. By a dexterous confusion of tenses, yesterday is spoken of as still
present (ἀρέσχων) and to-day being thus future (ἀρέσει), the ‘dreadful
morrow’ seems put off into a still greater distance.

II

I. Anth. Pal. ix, 7.

/. 3. The Scheria of the Odyssey was, from the earliest times, identified
with Corcyra. Xen., Hell. vi. 2, describes the extraordinary fertility of the
ἱερὸν πέδον of Corcyra. A temple of Zeus Casius there is mentioned by
Suetonius, Ner. c. 22.

“

1-8] NOTES 32

1. 5. Hor. τι. Od. vi. 7, sit modus lasso maris et viarum.

II. Anth. Pal. x. 24.
1, 4. The editors print ᾿Ασπασίῳ as a proper name, which does not seem
necessary.

Ill. Anth. Pal. x. 17. The voyage spoken of is probably from Byzan-
tium to Aulis, where he would disembark and proceed to Delphi by land.
It can hardly have been to Delos, as the town and temple there were
destroyed long before (see infra ix. 21), and Πύϑειον in 1. 4, though it
might be used of any shrine of Apollo, properly means the Delphic temple.

I. 3. ἐπὶ Τρίτωνα means ἐπὶ θάλασσαν, the open sea outside the straits.
σύ must be a new god on the headland ; Jacobs supposes it still to refer to
the harbour-god of the first couplet.

IV. Anth. Pal. ix. 90.

ἰ. 3. Aegae in Euboea was peculiarly connected with the worship of
Poseidon as early as Homer: Il. xiii. 20, ἵχετο τέχμωρ Alyas ἔνϑα δέ of
χλυτὰ δώματα βένϑεσι λίμνης. The ἀμφιχρεμὴς σχόπελος here is the sea-
cavern of Aegae, humida regna speluncisque lacus clausi, where he kept his
sea-horses. Dilthey very ingeniously reads ἀμφιβρέμεις σχόπελον, which
makes an easier syntax; the allusion would then be to the rock of
Caphareus, called ξυλοφάγος from the number of ships wrecked on it.

l. 3. "Ageos πόλις, 1.6. Rome.

V. Anth. Pal. vi. 70.
VI. Anth. Pal. vi. 349.

ὙΠ. Anth. Pal. vi. 30.
1. 8. ὡς ἐθέλεις Ms. Others read ὡς ϑέμις, ὦ μεδέων.

VIII. Anth. Pal. vi. 223, under title ᾿Αντιπάτρου. Jacobs prints it
among the epigrams of Antipater of Sidon ; but the style seems more like
Antipater of Thessalonica.

The Scolopendra (enrolled by Spenser among the ‘dreadful pourtraicts of

- deformitee’ that live in the sea, J’. Q. 11. xii. 23), seems to have been a

half-fabulous monster, like the sea-serpent, compounded out of what was
known or believed of various huge sea-creatures. It is called: μυριόπους in
an epigram by Theodorides (Anth. Pal. vi. 222). Aelian says that the
part of its body which appears above the water is about the size of a
trireme, and that it ‘swims with many feet’. The scolopendra of Pliny
(N. H. ix. 43) isa very harmless creature. The object dedicated here
must be one of the tentacles of a huge cuttle-fish. They are not now found
in the Mediterranean of so gigantic a size, but in the Indian Ocean still
exist with tentacles of forty feet in length, while the ten-tentacled squid
or calamary of the Banks of Newfoundland sometimes even exceeds that
size. Each tentacle is furnished with a hundred and twenty suckers, so
that the epithet μυριόπους is hardly exaggerated.

928 GREEK ANTHOLOGY [SECT. 2

IX. Anth. Pal. vi. 105.

ἰ. 1. λιμενίτι Jacobs for Ms. λιμενῆτιν : οὗ Callim. Hymn to Artemis,
ἰ. 39, ἔσση zai λιμένεσσιν ἐπίσχοπος.

1.3. Cfjithe Homeric ζωρότερον δὲ χέραιςε and the discussion on the
meaning of the phrase in Arist. Poet. 1461 a. 15.

l. 6. πάντα λίνα, se. fishing-nets as well as hunting-nets; cf. Ep. 38, infra.

X. Anth. Pal. vi. 33.

1. 2. παρα, ‘by the grace of’: it was owing to the god’s help that the
fishermen had any offerings to give him.

1. 3. The meaning of λίνου βυσσώμασι is rather difficult to determine. If
βύσσωμα (a word which does not appear to occur elsewhere) is formed from
βυσσός, ‘depth’, a collateral form of βυϑός, λίνον would be the net (as in
Ep. 38 infra) and βυσσώματα the pockets of the net; if βύσσωμα is formed
from βύσσος, ‘flax’, the whole phrase will merely mean ‘nets woven of flax’.
Liddell and Scott say that βύσσωμα -- βύσμα, ‘a stopper’, which seems to be
a mistake, as it does not satisfy either the sense or the etymology.

l. 5. The ἐρείκη is described by Pliny, N. H. xxiv. 39, as a bush not
unlike the tamarisk. It is probably the Mediterranean heath, which grows
to a height of five or six feet, and might have stems thick enough to be
made into a rough stool. αὐτούργητον means a rudely wrought rather than
a natural seat ; it is in distinction to an object on which ornament has been
added ; cf. the αὐτόξυλον ἔχπωμα of Philoctetes, Soph. Phil. 35.

I. 6. Glass did not come into common use for drinking-vessels before the
Christian era, and even then earthenware was the ordinary substance, or,
among wealthy people, silver. Trimalchio in speaking about his cups of
Corinthian metal (Petr. Sat. ὁ. 50) says, tgnoscetis mihi quod dixero, ego
malo mihi vitrea, certe non olunt: quod si non frangerentur, mallem mihi
quam aurum; nune autem vilia sunt, and then goes on to tell the story of
the invention of malleable glass by an artist in the reign of Tiberius. The
manufacture of glass, of which Alexandria was the chief centre, was carried
to as great perfection under the Empire as it ever has attained since. The
calices allassontes of iridescent glass were specially prized; Vopisc.
Saturn. ὁ. 8.

XI. Anth. Pal. vi, 251. A dedication by sailors in the famous temple
of Apollo on the headland of Leucas, called formidatus nautis by Virgil,
Aen. iii. 275. Cf. the epigram by Antipater of Thessalonica (Anth. Pal.
ix. 553) on the foundation of Nicopolis by Augustus.

1. 6. ὄλπη, the oil-flask from which the lamp was filled ; called βιοφειδής,
‘parsimonious’, because the oil was dropped from it into the lamp a little
at a time.

XII. Anth. Pal. vi. 199. As a rule the Greeks wore hats only on
journeys, not in the city or near home.

I. 1. φίλης χόρσης simply ‘his head’, the old epic use.

1. 4. γάρις, concrete, ‘ thank-offering’.

XT. Anth. Pal. vi. 149. It is not known what victory is referred te.
The cock was a common symbol of courage. Pausanias, Eliacu B. xxvi. 3,

ἢ
9

Wey

ES Oe Pte ier ae)

ee en ee js ben ἐν pik οἷν Ris

eid
μὰ ΑΝ

ἀν

9-18] NOTES 329

mentions a chryselephantine statue of Athene by Pheidias at Elis with a
cock for helmet-crest, ὅτι προχειρότατα ἔχουσιν ἐς μάχας of ἀλεχτρυόνες.

XIV. Anth. Pal. vi. 54. The same story is told at somewhat greater
length in an epigram by an unknown author, Anth. Pal. ix. 584, with the
title in the Ms. εἰς ἀγαλμα Εὐνόμου tod χιϑαρῳδοῦ ἑστῶτος ἐν Δελφσῖὶς ἔχοντος
ἐπὶ τῇ κιϑάρᾳ χαὶ τὸν μουσικὸν τέττιγα. The opponent is there called Spartis.
It is also related by Strabo vi. p. 260, (who says the statue was in Locris),
by Clemens Alexandrinus in the preface to his Προτρεπτιχαά, and by the
Emperor Julian, Ep. xli. The original source appears to have been the
history of Timaeus. It is told in English by Browning in the epilogue to
the volume of poems entitled La Saisiaz.

1. 1. The Delphians, according to a scholiast on Apoll. Rhod. iv. 1490,
were originally called Avzwpets, from the village of Lycorea on Parnassus ;
hence Apollo Lycoreus.

1.2. ἀϑλοσύνας φιλοστεφάνου means little if anything more than ‘contest
for the garland’. In such compound epithets one half is frequently
ornamental ; thus compounds of πούς, δεινόπους aou, ὀρϑόπους πάγος in
Sophocles are a stronger way of saying δεινός and detec: cf. φιλορρὼξ
ἄμπελος, ‘the clustered vine’, infra iv. 12.

1.6. ἀπεχόμπασε Boayyov, ‘snapped with a jarring sound’. The verb
ἀποχομπάζειν seems coined for the occasion ; the words κόμπος and xouna lew
originally meant a sound like that of ringing metal, and hence came to
mean ‘sounding brass’ in the metaphorical sense.

XV. Anth. Pal. vi. 240. A prayer to Artemis Soteira for the recovery
of the Emperor. In the uncertainty as to the date of Philippus it cannot
be determined what emperor is referred to. The title of βασιλεύς was
current in the eastern provinces of the empire from Tiberius downwards.

1. 4. For the Hyperborean worship of Artemis see Hdt. iv. 32-35,

XVI. Anth. Pal. vi. 337. It is this Nicias, the physician of Miletus,
to whom Theocritus dedicates Idyl xi., ἰατρὸν ἐόντα χαὶ ταῖς ἐννέα δὴ
πεφιλημένον ἔξοχα Μοίσαις: and Idyl xxviii. went with the present of an
ivory distaff to his wife Theugenis.

XVII. Anth. Pal. vi. 189. A dedication to the healing Nymphs of the
river Anigrus on the borders of Elis and Triphylia. Pausanias, Eliaca A.
v. 11, gives an account of the ceremonial gone through by persons suffering
from skin disease; after prayer and sacrifice in the cave of the Nymphs,
they anointed the ailing parts of their body and swam across the river,
from which they were said to emerge cured. The water of this river was
reddish and had a strong sulphurous smell. Cf. also Strabo, viii. p. 346.
᾿Ανιγριάδες has been restored here from these passages for the Ms.
᾿Αμαδρυάδες into which it had become very naturally corrupted.

I. 2. ἀμβρόσιαι, ms. (and Plan.), due to ἃ copyist who thought the metre
needed mending,

XVIIF. Kaibel, Epigr. Graec. 802. From an inscribed tablet of the
second century a.p. found at Rome.

990 GREEK ANTHOLOGY [SECTIg

With an offering to Pan Paean, the Healer. Besides Apollo Paean,
other gods, Asclepius, Dionysus, etc., were worshipped under this title.

For such appearances of the gods, not in dreams but in a form visible to
the waking eye, cf. Virg. Aen. 111. 173, and Hegesippus in Anth. Pal.
vi. 266, where Artemis appears to a girl at her loom, ὡς αὐγὰ πυρός.

1. 1. Unless τάδε is a mistake of the stonecutter for τόδε, it means ‘these
offerings’, and δῶρον is in apposition, ‘as a gift’.

1. 4. There is a play on the words “Yycivog and ὑγιής.

XIX. Anth. Pal. vi. 3.

1. 2. Mount Pholoe in Arcadia was the scene of Heracles’ fight with the
Centaurs.

1. 4. αὐτὸς ἀποταμών go together in the construction. Cf. the χορύνα
ἀγριελαίω of Lycidas, Theocr. vii. 18.

XX. Anth. Pal. vi. 336.
XXI. Anth. Pal. vi. 119.

XXII. Anth. Pal. xii. 131.

1.1. Est Paphos Idaliwmque tibi, sunt alta Cythera, says Juno to Venus,
Aen. x. 86. The temple of Aphrodite in the Reeds at Miletus was the
principal sanctuary of that city. For the worship of Astarte-Aphrodite at
Heliopolis in Hollow Syria see Lucian’s treatise de Dea Syria.

I. 4. otxétog here has its primary sense ‘of the house’; a very rare use ;
cf. Hes. Ἔργα 457.

XXIII. Anth. Pal. vi. 1. Ascribed there to Plato, but it is obviously
of a much later date.

There were two celebrated courtesans of the name of Lais. The first
was a Corinthian, and flourished in the time of the Peloponnesian war. The
second, daughter of the Sicilian Timandra, lived nearly a century later, and
was the contemporary and rival of Phryne the Athenian. There is a vast
amount of gossip about both in Athenaeus, Book xiii.

There are three epigrams on the same subject by Julianus Aegyptius,
Anth. Pal. vi. 18-20.

XXIV. Anth. Pal. v. 205. For the magical uses of the wryneck the
locus classicus is the Φαρμαχευτρίαι of Theocritus. The bird was fastened
outspread on a wheel, which was turned to a refrain of incantations.
ἕλχειν Wyya ἐπί τινι was the technical phrase for using this charm upon a
lover. The object dedicated here is an amethyst engraved with a wryneck
and set in gold.

1. 1. Theoer. 1.6. (1. 40), χὡώς Swe’ δὸς ῥόμβος ὁ χάλκεος ἐξ ᾿Αφροδίτας,
ὡς τῆνος δινσίτο mow” ἁμετέρησι ϑύρῃσιν. The refrain of the sorceress is
Wyk ἕλχε τὸ τῆνον ἐμὸν ποτὶ δῶμα τὸν ἀνδρα.

1. 2. Theoer. (1. 136), σὺν δὲ χαχαῖς μανίαις καὶ παρϑένον ἐχ ὕαλάμοιο, χαὶ
νύμφαν ἐσόβησ᾽ ἔτι δέμνια ϑερμὰ λιποῖσαν ἀνέρος.

1.5. Theocr. (1. 2), στέψον τὰν χελέβαν φοινιχέῳ οἷὸς ἀώτῳ. Purple had
magical virtues.

19-32] NOTES 331

/.6. This is the Thessalian Larissa, Thessaly being famous for its
witches : cf. infra x. 38, and the Asinus of Lucian.

XXV. Anth. Pal. v. 17, with title Γαιτουλλίου.
1.2. ψαιστία are explained by Suidas to be cakes of barley-meal, oil,
and wine.

XXVI. Anth. Pal. vi. 148. The temple of Serapis at Canopus was one
of the holiest in Egypt and a celebrated place of divination by dreams,
Strab. xvii. p. 801. Athen., xv. 700 D, speaks of a lamp given by
Dionysius the younger of Syracuse to the prytaneum of Tarentum with as
many lights as there were days in the year.

/. 2. There are no means of determining whether ἡ Κριτίου means the
wife or the daughter of Critias.

I. 3. εὐξαμένα, i.e. when her prayer was heard: cf. Ep. 1 supra.

1.4. This lamp ‘outburned Canopus’. There is a curious verbal co-
incidence with Isaiah xiv. 12, πῶς ἐξέπεσεν 2% tod οὐρανοῦ ὁ ᾿Εωώσφορος ὁ πρωὶ
ἀνατέλλων.

XXVII. Anth. Pal. vi. 178.
1, 1. ὅπλον is the shield, ἀσπίς, and so the epithets are in the feminine.

XXVIII. Anth. Pal. vi. 127. For a dedicated weapon, probably a
helmet or shield, in the temple of Artemis, presumably at Miletus, to which
Nicias belonged.

ἰ. 2. Of these χοροὶ παρϑένιοι Callimachus’ Hymn to Artemis is a
specimen. In it, /. 226, Artemis is invoked as ‘ the dweller in Miletus’.

XXIX. Anth. Pal. vi. 160. There is a very similar epigram by
Philippus, Anth. Pal. vi. 247; cf. also Kaibel, Epigr. Grace. 776.

1.2. The shuttle may be called ἀλχυὼν ἱστῶν either from its ringing
sound (cf. the χερχίδος φωνή in Arist. Poet. 1454 b. 35) or from the swift
flash of colour in which it passes through the loom.

I, 3. χαρηβαρέοντα, with its heavy swathe of wool at the top.

l. 6. στάμων, ‘warp’, must here mean thread spun for use as warp. With
the rest of the line cf. Catull. txrv. 320, mollia lanae vellera virgati
custodibant calathisei.

XXX. Anth. Pal. vi. 22, without any author’s name. In Plan. it is
attributed to Zonas.

1. 1. Cf. Virg. Eel. ii. 51, cana tenera lanugine mala.

i. 4. Cf. Philippus in Anth. Pal. vi. 102, χάρυον γλωρῶν ἐχφανὲς ex
λεπίδων.

I. 5. A marginal note in the Ms. says, στόρϑυγξ δὲ λέγεται πᾶν τὸ εἰς ὀξὺ
χαταλῆγον. It is specially used of the tip of a horn, asin Ep. 41 infra.
This Priapus was a wooden post carved into a head at the top, and below
running into a point which was stuck into the ground.

XXXI. Anth. Pal. vi. 98.
XXXII. Anth. Pal. vi. 36.

392 GREEK ANTHOLOGY [SECT. 2
1. 4. Imitated from Theocr. vii. 155, ἃς ἐπὶ σωρῷ αὖτις ἐγὼ πάξαιμι μέγα
πτύον.

XXXIIL Anth. Pal. vi. 31: headed ἄδηλον. with the words of δὲ
Νιχάρχου added in a later hand. ’
1. 2. For the rites of Demeter Chthonia see Pausan. Corinthiaca, xxxv. 5-8.

XXXIV. Anth. Pal. vi. 53. With this epigram compare the famous
lines of Du Bellay, D’wn vanneur de blé aux vents, taken in substance from
a Latin epigram by the Venetian scholar and historian Andreas Naugerius
(b. 1483, d. 1529). This last, which is less easily accessible, is worth
quoting as a specimen of the best and simplest Renaissance workmanship :

Aurae, quae levibus percurritis aera pennis
Et strepitis blando per nemora alta sono,

Serta dat haec vobis, vobis haec rusticus Idmon
Spargit odorato plena canistra croco ;

Vos lenite aestum, et paleas seiungite inanes
Dum medio fruges ventilat 1116 die.

1. 2. From this line Suidas has an entry in his lexicon, πιότατος,
’ ἣν , .

ϑρεπτιχος, αὐξητιχός. Meineke says the word could not have such a
meaning ; πιστοτάτῳ, πρηὕτατῳ (cf. ἀνέμων πρηΐτατε Ζέφυρε in an epigram
by Dioscorides, Anth. Pal. xii. 171) λειοτάτῳ, have been suggested by
different editors. Cf. Milo’s song in Theocritus (x. 46):

"Es βορέην ἄνεμον τᾶς χόρϑυος & τομὰ ὕμιν

“᾿ ' , ' © σ

ἢ ζέφυρον βλεπέτω ᾿ πιαίνεται ὁ στάχυς οὕτως.

Columella (11. 20) speaks of the Jenis aequalisque Favonius as the best wind
for winnowing in.

XXXV. Anth. Pal. ix. 142.

ἰ. 2. λέλογχε is Brunck’s correction of the Ms. χέχευϑε,

ἰ. 3. λίβα is a shortened form (ἀφηρημένον) of λιβαδα ; it apparently does
not occur elsewhere.

1. 4. ἀπωσάμεϑα, a frequentative aorist equivalent to a present.

XXXVI. App. Plan. 291. It occurs twice in the Planudean Anthology,
the second time with the reading αἵ μιν ὑπὸ ζαϑέοιο ϑέρευς in I. ὃ.

I, 2. οἰονόμος here is most probably ‘shepherd’, from οἷς : but it is
possible that σχοπιᾶς οἱονόμου, “ἃ lonely peak’, may be the true reading :
cf. Κιϑαιρῶνός τ᾽ οἰονόμοι σχοπίαι in the epigram of Simonides, infra 111. 57.

XXXVII. Anth. Pal. vi. 177: without the name of any author. Ahrens
places it among the Dubia et Spuria in his edition of Theocritus. He
restores the Doric forms, ὕμνως, etc., throughout.

XXXVIIT. Anth. Pal. vi. 16. One of fifteen epigrams (Anth. Pal. vi.
11-16 and 179-187) by different authors on the same ie four of them
by Archias.

ΡΞ, θυ, θα γε Me ee ee

any

ΕΘΝ ΤῊ
ΕΝ

33-41] NOTES 333

XXXIX. Anth. Pal. vi. 268. Also quoted by Suidas, s.vv. coato,
ὑπέρισχε, εἰνοσίφυλλον and μαιμωσαις.

Compare with this the single Greek epigram written by the poet Gray,
one of the many scattered proofs of the extraordinary genius which alone in
that age penetrated the inmost spirit of Greek literature :

᾿Αζόμενος πολύϑηρον ἑχηβόλου ἄλσος ἀνάσσας
τᾶς δεινᾶς τεμένη λέϊπε κυναγὲ Deas,

Μοῦνοι ao’ ἔνϑα κυνῶν ζαϑέων χλαγγεύσιν ὑλαγμοὶ
ἀνταγέϊς Νυμφᾶν ἀγροτερᾶν χελαδῳ.

I. 2. δρίου corr. Jacobs for Ms. βίου : others read ῥίου, ‘spur’ of ἃ
mountain. ὑπέρισχε perhaps merely means ‘stand above’; but it is
generally taken as meaning ‘protect’, ὑπερίσχειν yéex being the full
expression.

I, 3. εἴτε Ms., ἥτε Suid. The editors for the most part read ἔστε (‘so long
as thou goest’), which is not Greek. I have made what seems the simplest
emendation.

I. 4. κυσίν is a dative of accompaniment, equivalent to σὺν χυσίν.

XL. Anth. Pal. vi. 253.

I, 2. πρεῶν is a rare variant of πρών, a headland of coast or spur of hill.

I, 3. The ‘hut of Pan’ is probably the little penthouse over the god’s
image to protect it from birds and rain. Cf. also however Endymion, i.
232, ‘O thou, whose mighty palace roof doth hang from jagged trunks, and
overshadoweth eternal whispers.’

1. 4. Kasoaing ms. corr. Hecker. Bassae in Arcadia was one of the most
celebrated shrines of Apollo: the temple stands high on the hillside in a
most imposing situation.

i. 5, The hunters nailed up their trophies on these old juniper stumps :
for the practice cf. Paulus Silentiarius in Anth. Pal. vi. 168.

i. 6. Eustathius, on Od. xvi. 471, ὑπὲρ πόλιος, ὅϑι “Ἕρμαιος λόφος ἐστίν,
mentions a story that Hermes was brought to trial before the gods at the
suit of Hera for the murder of Argus, and acquitted, the judges all casting
down their pebbles of acquittal at his feet as they passed ; ὅϑεν ἄχρι tod νῦν
τοὺς ἀνθρώπους χατὰ τὰς ὁδοὺς. . . σωροὺς ποιέϊν λίϑων χαὶ διάγοντας
προσβάλλειν λίϑους, χαὶ τούτους χαλεῖν ᾿Ἑρμαίους λόφους. Another scholium
on the same passage says that the name Ἕρμαιοι λόφοι was given to the
Roman milestones, because Hermes πρῶτος ἐχάϑηρε τὰς ὁδούς. There is an
epigram of unknown authorship, App. Plan. 254, on one of these Ἕρμαιοι
λόφοι or Ἕρμαχες ; it is there at once a propitiation to the god and a mark
of the distance, seven stadia, from a place called Αἰγὸς Κρήνη.

XLI. Anth. Pal. vi. 111: with title ᾿Αντιπάτρου merely.

The places mentioned in the epigram are all Arcadian except Lasion,
which was a town in Elis, but near the border of Arcadia.

1.3. A Thearidas is mentioned by Polybius, xxxii. 17 and xxxviii. 2, as
Achaean envoy to Rome, B.c. 158 and 146; it may have been his son for
whom this epigram was written,

994 GREEK ANTHOLOGY [SECT. 3

1, 4. δομβωτός means shaped like a rhomb or diamond; it may be
doubted whether we should not read here δομβητῷ, ‘whirled’.

1. 5, στόρϑυγξ, ‘antler-point’: see note on Ep. 30 supra. Antipater
like Pindar falls into the mistake of giving the female deer horns. Arist.
Poet. 1460 b. 31, ἔτι πότερόν ἐστι τὸ ἁμάρτημα, τῶν κατὰ τὴν τέχνην ἢ κατ᾽ ἄλλο
συμβεβηκός ; ἔλαττον yao, εἰ μὴ Toe ὅτι ἔλαφος ϑήλεια χέρατα οὐχ ἔχει, ἢ εἰ
ἀμιμήτως ἔγραψεν : the reference being to Pind. Olymp. iii. 52.

XLII. <Anth. Pal. vi. 75.

l. 4. ἐπί merely means ‘ with’.

l. 7. Lyctus was a town in Crete.

1. 8. The ἀμφιδέαι were metal sockets into which the ends of the bow
were fitted and on which the bowstring was attached.

XLITI. App. Plan. 17. Attributed by Natalis Comes, Myth. v. 6, to
Ibyeus ; but it is obviously of late date.

XLIV. Anth. Pal. vi. 79.

1. 3. The herds of Pan here, as in Keats, Endymion i. 78, are probably
not visible to mortals.

1. 5, There is a play on words which can hardly be rendered in a trans-
lation, τὸ ἐπαύλιον or ἡ ἐπαυλία meaning also the day after the marriage
ceremony. Pan will find consummation and rest here after his long
wanderings in search of Echo.

1. 6. Cf. vi. 10 infra, and an anonymous epigram Anth, Pal. vi. 87,
which speaks of Pan as leaving the company of Bacchus and wandering
over the country in search of Echo.

DT

I. Anth. Pal. vii. 253. Also quoted by a scholiast on Aristides iii. 154.
For the critical questions involved in this and the next epigram, see
Bergk Lyr. Gr. iti. p. 426 foll. The authenticity of both is beyond reason-
able doubt. The only question is which is the Athenian and which the
Lacedaemonian inscription ; and, as Bergk points out, J. 3 of this epigram
applies more naturally to Athens. The mutual jealousy of the two states
probably accounts for the absence of any distinctive expressions.

l. 3. περιϑείναι, sc. as a crown. Cf. the epigram of Mandrocles the
Samian engineer in Hat. iv. 88, αὑτῷ μὲν στέφανον περιϑεὶς Σαμίοισι δὲ κῦδος.

II. Anth. Pal. vii. 251. See the note to the last epigram.

III. Anth. Pal. ix. 304. The bridging of the Hellespont and the cutting
of Athos were favourite themes with Greek rhetoricians. Cf. Isocr. Paneg.
588, ὃ πᾶντες ϑρυλοῦσι, τῷ στρατοπέδῳ πλεῦσαι μὲν διὰ τῆς ἠπείρου πεζεῦσαι δὲ
διὰ τῆς ϑαλάττης, and Arist. Π οί. 1410 ἃ. 11. This perpetual repetition
provoked the sneer of Juvenal (x. 173}:

creditur olim
Velificatus Athos et quicquid Graecia mendax
Audet in historia, constratum classibus isdem
Suppositumque rotis solidum mare.

1-10] NOTES 335

IV. Anth. Pal. vii. 249. Hat. vii. 228, Θαφϑεῖσι δέ σφι αὐτοῦ ταύτῃ, τῆπερ
ἔπεσον, ἐπιγέγραπται γράμματα λέγοντα τάδε... τοῖσι δὲ Σπαρτιήτησι ἰδίῃ" ὦ
ξεῖν᾽, ἀγγέλλειν (so the best mss.) χιτιλ. It is also quoted by Diod. Sic. xi.
33, and by Strabo, ix. p. 656 c, who says that the pillars with the inscription
still existed in his time. Strabo and Diodorus both quote J. 2, τοῖς κείνων
πειϑόμενοι νομίμοις : Suidas s.v. Λεωνίδης follows Hdt. and the ms. Pal.

Cie. Tusc. i. 101, part animo Lacedaemonit in Thermopylis occiderunt, in
quos Simonides :

Dic hospes Spartae nos te hic vidisse iacentes
Dum sanctis patriae legibus obsequimur.

V. Anth. Pal. vii. 242. It is not known to what event this epigram
refers. It is headed in the Palatine ms. εἰς τοὺς μετὰ Λεονίδου τελευτήσαντας,
which is obviously absurd.

VI. Anth. Pal. vii. 245. It follows an epigrain under the name of
- Gaetulicus on the battle between three hundred Spartans and three hundred
Argives to decide the possession of Thyrea (Hdt. i. 82), with the heading
ποῦ αὐτοῦ εἰς τοὺς αὐτούς. The εἰς τοὺς αὐτούς is plainly absurd. But J. 1 and
2 are partially extant on a marble fragment of a date between 300 and 350
B.C. found near the Olympeium at Athens (Kaibel Epigr. Graec. 27) which
proves that tod αὐτοῦ is wrong also. A scholium suggests that it is either
on the Athenian and Theban dead at Chaeronea, or on those slain in the
subsequent battle in which Alexander crushed the revolt of Thebes, B.c. 335.

VII. Anth. Pal. vii. 160. This epigram is probably authentic, though
there is some doubt as to all those ascribed to Anacreon. See Bergk
Lyr. Gr. iii. p. 281.

It is conjectured that this Timocratus was one of the Teians who re-
colonised Abdera after the capture of Teos by the Persians under Harpagus,
B.c. 544, and was killed in a battle with the neighbouring Thracians (see
Hdt. i. 168) ; but nothing is certainly known on the subject.

I. 1. ἐν Ms., ἦν Bergk, without obvious necessity.

1. 2. Soph. Phil. 436, πόλεμος οὐδέν᾽ ἄνδρ᾽ Exedy αἱρεῖ πονηρόν, ἀλλὰ τοὺς
χρηστοὺς ἀεί, and fr. incert. 649, ΓΆρης γὰρ οὐδὲν τῶν χαχῶν λογίζεται.

VIII. Anth. Pal. vii. 255. Nothing is known of the occasion of this
epigram, nor on what authority it is assigned to Aeschylus. The style is of
the best period ; and a Life of Aeschylus says that he competed with
Simonides in ἐλέγεια.

ἰ. 1. μενέγχης, which does not seem to occur elsewhere, is formed on the
analogy of the Homeric μενεπτόλεμος.

IX. App. Plan. 26. On the Athenians who fell in the great victory
over the Chalcidians after the unsuccessful invasion of Attica by the con-
federacy under Cleomenes king of Sparta, B.c. 504: Hdt. v. 77.

i. 4. Cf. Pind. Isthm. iv. 26, τραχέϊα νιφὰς πολέμοιο.

X. Anth. Pal. vii. 256. Also quoted by Philostratus, vita 4 οἱ]. i. 23.
On the Eretrian captives settled at Ardericca in Cissia by Darius after

386 GREEK ANTHOLOGY [SECT. 3

the first great Persian War of 490 B.c. Hdt. vi. 119 gives a full account
of the history. Philostratus, /.c., gives a more or less legendary account of
memorials of the colony surviving up to the time of Apollonius. He places:
the colony ‘in Cissia near Babylon’, one long day’s journey from the city
of Babylon. Four hundred and ten of the seven hundred and eighty
prisoners reached Ardericca alive. They built temples and an agora in
the Greek style, and continued to speak Greek for about a century.
Damis, a contemporary of Apollonius, saw this epigram on a Greek tomb _
there. So far Philostratus, who may possibly be preserving some fragments
of a real tradition.

For the question of the authenticity of this and the next epigram, see
Bergk Lyr. Gr. ii. p. 297, who inclines to consider them genuine. A
ground for suspicion is the mention of the plain of Ecbatana, which was
in Upper Media, and at least three hundred miles distant from Ardericca.
But we need never look for accurate geography in Greek authors when
speaking of Persia ; both Ecbatana here and Susa in the next epigram are
probably used vaguely for the heart of the Persian empire.

XI. Anth. Pal. vii. 259: also quoted by Diog. Laért. vita Platonis ο. 33,
_ and by Suidas s.v. Ἵππιος. See the notes to the last epigram.
I. 1. Suidas has Εὐβοέων, which is perhaps right.

XII. Vita Anonyma Aeschyli, printed in most editions. The first
couplet is also quoted in Plutarch de Hzsilio c. 13, and the second in
Athenaeus xiv. 627 p. Athenaeus is the authority on which it is ascribed
to Aeschylus himself, the author of the Life merely saying that the people
of Gela engraved it on this tomb. It is referred to by Pausan. Attica
xiv. 5.

Aeschylus died at Gela in Sicily, B.c. 456.

ἰ. 3. For the grove of the hero Marathon, from which the battlefield was
named, see Pausan. Attica xy. 3, xxxil. 4.

XIII. Anth. Pal. vii. 651.

l. 1. ὀστέα κεῖνα, ms. The correction λευχά, which Jacobs suggested but
did not print in his text, is undoubtedly right.

l. 2. Incised letters in marble were nearly always coloured, generally with
minium, but sometimes as here with zvavos, blue carbonate of copper.

1. 3. Doliche was another name of the island Icaria, one of the larger
Sporades, which gave the name of the Icarian sea to the channel between
the Sporades and Cyclades. Dracanon or Drepanon was the northern pro-
montory of this island.

l. 5. ξενίης πολυμήδεος Ms. Reiske and Jacobs beth saw that a proper
name was concealed here, the former proposing to read Ξενία πολυχήδεος,
‘the unfortunate Xenias’, and the latter χερσὶ δ᾽ ἐγὼ Ξενίης πολυχήδεος “ by
the hands of the unfortunate Xenia’ (mother or wife of the dead man). I
keep the s. reading : ‘pro hospitio meo cwm Polymede.’

1. 6. The Dryopes were the inhabitants of Doris, the neighbouring state
to Malian Trachis, and only divided from it by a spur of Mount Oeta.

a ee a Sk ae) σον

Ge ee ee ee LT δε ee ee

wey tae ~ se μά

Of Sa ee er Se eT ae

δα οἰῶ

τὰ

11-23] NOTES 337

XIV. Anth. Pal. x. ὃ. Probably an epitaph on an Athenian who had
died at Meroé. It is among the Προτρεπτιχά in the Anthology, and Jacobs
accordingly says, ‘hominem de exsilio lamentantem poeta alloqui videtur’.
But ϑανόντα, 1. 3, makes this explanation impossible.

For the sentiment cf. Cic. Tusc. 1. 104, Praeclare Anaxagoras ; qui cum
Lampsact moreretur quaerentibus amicis velletne Clazomenas in patriam si
quid et accidisset afferri, Nihil necesse est, inquit, undique enim ad inferos
tantundem viae est: also an epigram by Arcesilaus, quoted by Diog.
Laért. iv. 30:

᾿Αλλὰ γὰρ εἰς ᾿Αχέροντα τὸν οὐ φατὸν ἴσα χέλευϑα,
ὡς αἶνος ἀνδρῶν, πάντοϑεν μετρεύμενα.

XV. Anth. Pal. vii. 368. On an Athenian woman, probably one of those
carried to Rome after the storm and sack of Athens by Sulla on the first of
March, B.c. 86.

1. 4. Cyzicus was built on a peninsula in the Propontis only joined to the
mainland by a narrow passage : Strabo, xii. p. 861.

XVI. Anth. Pal. vii. 265. Bergk, 1.6. on i. 5 supra, is unquestionably
right in saying that this and the next epigram belong to a later period
than Plato.

Si bene caleulum ponas, ubique naufragium est, says the hero in Petronius,
Sat. c. 115.

XVII. Anth. Pal. vii. 269. See the note to the last epigram.
XVIII. Anth. Pal. vii. 282. In Plan. under the name of Antipater.
XIX. Anth. Pal. vii. 264.

XX. Anth. Pal. vii. 350.

XXI. Anth. Pal. vii. 277.

ἰ. 1. Various emendations of this line have been proposed, none [con-
vincing. The text as it stands, though extremely elliptical, is quite in the
manner of Callimachus. ‘At the hands of what stranger hast thou found
burial, O shipwrecked man?’

1. 2. ἐπ᾽ αἰγιαλοῖς Edd. It is not necessary to alter the ms. reading. It
means ‘stretched on the sand’, like ἐπ᾽ ἐννέα κείτο πέλεϑρα, Od. xi. 577.

XXII. Anth. Pal. vii. 285.
1. 3. From Od. i. 161, ἀνέρος οὗ δή που Acvx’ ὀστέα πύϑεται ὄμβρῳ. Cf.
Propert. 111. vii. 11,
Sed tua nunc volucres adstant super ossa marinae,
Nune tibi pro tumulo Carpathium omne mare.

XXIII. Anth. Pal. vii. 496. Bergk, Lyr. Gr. iii. p. 466, argues that
this epigram as it stands must be incomplete, the name of the dead man not
being mentioned. He would therefore prefix to it the couplet also attri-
buted to Simonides which occurs a little further down in the, Palatine
Anthology (vii. 511) :

Σῆμα χαταφϑιμένοιο Μεγαχλέος εὖτ᾽ ἂν ἴδωμαι
οἰχτείρω σέ, τάλαν Καλλία, ov ἔπαϑες.

Lo
bo

998 GREEK ANTHOLOGY [SECT. 3

and regards the eight lines thus reconstructed as ‘non tumulo inseriptum sed
epistolium consolandi causa missum Calliae curius filius Megacles naufragio
prope Geraneam interitt’. It is an additional argument in favour of this
proposal that Bergk is thus enabled to retain the ms. reading wyehev in J. 1,
which all other editors alter to ὥφελες.

But the theory cannot be accepted. The epigram is obviously an epitaph,
real or imaginary ; the τῇδε in 1. 6 agrees very ill with the εὖτ᾽ ἂν ἴδωμαι
of the other epigram ; and it is almost superfluous to point out how much
the beautiful and stately apostrophe to Mount Geraneia suffers by being
removed from the beginning of the poem and transformed into a somewhat
frigid statement of fact. Nor is it any insuperable objection that the name
of the dead man is not given. In many of the sepulchral epigrams of the
Anthology we must suppose that the name and family of the deceased were
inscribed separately on the tomb, followed by the verses. For an instance
similar to this of an inscription on a cenotaph, where the original monument
has been preserved, see Kaibel Hpigr. Graec. 89. On the tomb there is
engraved first the name, Νικίας Νιχίου “Egetotcug; then follow eight lines of
elegiacs, beginning :—

2 , ἜΗΝ 3 ἘΝ
Σῆμα τόδ᾽ ἐν χενεῇ χκέϊται χϑονὶ [σῶμα δ᾽ ἐπ’ ἀγροῦ]
" ν ‘
, «\ ,
’Opstov χρυπτει πυρχαϊη φϑιμένου.
hon » , 5 DLS ͵ \ ἢ \ ' ᾿ ἢ

Tovo’ ἔτι παπταίνοντ᾽ ἐπὶ youvact πατρὸς [ἢ πατρὸς γουνασι] μαρψας

a > ' ,

Αἰδης οἱ σχοτίας ἀμφέβαλεν πτέρυγας.

where the τόνδε is like the ὁ μέν of Simonides here.

/. 1. Mount Geraneia and the Scironian rock lay north of the Isthmus
of Corinth, leaving a narrow pass between Corinth and Megara along the
coast. The spot was celebrated for the legendary leap of Ino and the
slaying of the robber Sciron by Theseus.

1. ἃ. 2x Σχυϑέων Ms., ἐς Bergk, an almost certain correction, though it
is possible to keep the ms. reading, translating it, with Jacobs, ‘ Tanai
ὁ Scythis descendentem’.

1. 3. Il. ii. 626, νήσων αἱ ναίουσι πέρην ἅλός : cf. Soph. Aj. 596, ὦ χλεινὰ
Σαλαμίς, σὺ μέν που ναίεις ἁλίπλαγχτος.

l. 4. For the Μελουρίς or Μολουρὶς πέτρα, ἃ rock projecting into the sea
at this point of the coast, see Pausan, Attica xliv. 8. The reading of this
line in the Ms. is ἀγνέα νειφομένας ἀμφὶ μὲ ϑουριάδος. Salmasius suggested
ἄγχεα, ‘ravines’, which has been generally accepted. Bergk ingeniously
reads :

οἴδμα ϑαλάσσης
‘hf ἡ Litt He
Ken μαινομένης ἀμφὶ Μολουριαδα

‘the billow of the sea that raves round accursed Molurias’, for the epithet
referring to Pausan. l.c. tag δὲ μετὰ ταύτην (the Μολουρὶς πέτρα) νομίζουσιν
ἐναγεῖς, ὅτι παροιχῶν σφίσιν ὁ Σχείρων, ὁπόσοις τῶν ξένων exetuyycvev, ἠφίει σφᾶς
ἐς τὴν ϑάλασσαν. But the alteration of νιφομένης into μαινομένης is rather
arbitrary, and the reason he gives, ‘ewm neque rupes ista neque mare

vicinum nivale dict potuerit’, entirely incomprehensible.

24-32] NOTES 339

XXIV. Anth. Pal. vii. 497.
I. 6. In the epithet ἀξείνου there is a further allusion to the name of
the Euxine Sea.

XXV. Anth. Pal. vii. 639.

1. 2. The *O§iat, rocky islets off the coast of Acarnania, are mentioned by
Strabo x. p. 458, as λυπραὶ χαὶ τραχεῖαι. They lay at the mouth of the
Achelous, where navigation was difficult owing to shifting banks caused by
the silt of the river, which came down with a violent current.

1. 3. ὄνομα here means ‘bad name’, as in Ep. 44 infra.

1. 5. Scarphe was a small seaport in Locris.

XXVI. Anth. Pal. vii. 499.
/. 3. For Icaria see note on Ep. 13 supra.

XXVIU. Anth. Pal. vii. 502. Ona tomb by the high-road just outside
the city wall of Torone.

I. 2. For αὐτήν it has been proposed to read αἰπήν or χλειτήν, but no
change is necessary ; the αὐτήν conveys a touch of tenderness on the part
of the speaker towards his native place, and implies its distinction as the
chief city of Thrace.

1. 4. Strymonias was the name given by Greek sailors in the Aegean to
the north wind that came down from the region of the Strymon. Xerxes
was caught in it and almost shipwrecked on his flight from Salamis, Hat.
vill. 118.

It is generally the evening rising of the Kids, impetus orientis Haedi,
(put down by Columella under November 4th) which is spoken of as the
time of storms. But Serv. on Aen. ix. 665 says, quorum et ortus et occasus
tempestates gravissimas facit ; and their morning setting would be about a
month later.

XXVIII. Anth. Pal. vii. 739.
l. 4. Sciathus is a small island off the northern coast of Euboea and
opposite the Gulf of Torone.

XXIX. Anth. Pal. ix. 315.

I. 2. xis ϑᾶσσον Ms., corr. Schneidewin. The form xi seems to have
been more colloquial than πίε, and so is perhaps better suited to the
simplicity of the epigram.

1. 3. Ἱδρύεσϑαι applied to a fountain is rather a stretch of language, as
it is seldom used in this sense except of a statue or temple. But it hardly
means more than ‘to dedicate’, and any additional meaning in it would be
quite satisfied if we suppose that an artificial basin for the fountain was
placed here by Simus. To alter with Hecker ᾧ ἔπι Τίλλῳ, ‘by which (the
statue of) Simus is set up beside his dead child’, completely spoils the
epigram.

XXX. Anth. Pal. vii. 474,

XXXI. Kaibel Epigr. Graec. 576; Ο, I. G. 6257. On a tomb found at
Rome.

XXXII. Anth. Pal. vii. 308.

940 GREEK ANTHOLOGY [SECT. 3

XXXII. C. 1 G. 5816. On a tomb found near Naples and now in the
Museum there. Above the inscription is a relief representing the child
standing between his father and mother.

l. 4. The parents could not keep him though they held him by both hands.

XXXIV. Anth. Pal. vii. 453.

XXXV. Kaibel Epigr. Graec., Addenda 1. ἃ; C. 1. A. 477 ο. Of the
6th century B.c. ; found at Athens and now in the Museum there.

XXXVI. Kaibel Epigr. Graec. 373; C. I. G. Add. 3847, 1. From a
tomb at Yenidje in Asia Minor.

1. 4. ‘To be the love of the dead in their more populous world’: cf. infra
v. 17, xi. 6. The marble reads ἐρῶν πολλῶν ἐράμενος πλεόνων.

XXXVII. Kaibel Epigr. Graec. 190; C. 1. G. 2445. From a tomb in
the island of Pholegandros, one of the smaller Cyclades.

XXXVIII. Anth. Pal. vii. 261.
I, 2. μὴ τέχοι εἰ μέλλοι MS., ἣ τέχοι, εἰ μέλλει Hecker.

XXXIX. Anth. Pal. vii. 459.

XL. Anth. Pal. vii. 112. One of two epigrams (Anth. Pal. vii. 710,
712) ona girl who died just before her marriage, attributed to Erinna the
famous contemporary of Sappho. The epigram of Leonidas or Meleager,
infra iv. 7, which quotes Βάσχανος ἔσσ᾽ "Alda from here as words of Erinna’s,
is regarded by Bergk as sufficient ground for accepting the authenticity of
this epigram, and consequently of the other as well. Both appear to have
been inscribed on the tomb, which was further embellished with two figures
of Sirens.

1. 8. τὰ δέ τοι χαλὰ τὰ wed’ ὁρῶντι Ms., corr. Bergk.

ll. 5, 6. The ΜΒ. reads :

Ὃς τὰν παϊδ᾽ Ὑμέναιος ἐφ᾽ alg ἥδετο πεύχαις
tava’ ἐπὶ χαδεστὰς ἔφλεγε πυρκαϊᾶς.
It is impossible in so involved ἃ sentence to be certain what the original
reading was, though it is easy enough to see how it became corrupted. I
have modified Bergk’s restoration :
“Os τὰν παϊδ᾽ “Ὑμέναιος ὑφ᾽ ἃς εἰσάγετο πεύχας
τᾷδ᾽ ἐπὶ χαδεστὰς ἔφλεγε πυρχαΐϊαν,
which as it stands leaves τὰν παῖδα without anything to govern it.
Cf. the epigram of Meleager, infra xi. 41.

ΧΙ]. Anth. Pal. vii. 185. On a Libyan slave-girl who had been
manumitted and adopted by her mistress, and died at a villa on the coast
of Latium.

l. 4. Freedmen and freedwomen had a share in the family tomb, from
which slaves were excluded ; sibi swisque libertis libertabusque is a common
formula in the dedication of a family vault.

I, 5. πῦρ ἕτερον, the marriage torch,

33-49] NOTES 341

XLII. Ο I. G. 6261. In the Borghese Gardens at Rome. These four
lines are engraved above a portrait in relief with a cithara of eleven strings
on one side and a lyre of four strings on the other. Below the portrait is
another epigram of eight lines, and under it the name PETRONIAE MUSAE,

1. 3. Theogn. 568, κείσομαι ὥστε λίϑος ἀφϑογγος.

XLII. C. I. G. 6268. The history of this epigram is very curious. It
is inscribed on a marble tablet, professing to be in memory of one Claudia
Homonocea, conliberta and contubernalis of Atimetus Antherotianus, a
freedman of the imperial household. At the sides are Latin elegiacs,
twenty-six lines in all. The tablet was supposed to have been discovered
in San Michele at Rome and to be of the first century A.p. But the Latin
verses are too plainly not ancient ; and in fact the whole monument is a
Renaissance forgery. Nothing is known as to the date or person of the
forger ; but there can be no doubt that this epigram is really ancient and
that it was the basis upon which he constructed the rest.

XLIV. Anth. Pal. vii. 700.

1. 1. ἥ μ᾽ ἔχρυψεν Ms., ἢ μ΄ ἔκρυφεν Edd. after Brunck.

I. 3. οὔνομα, ‘ill name’ as in Ep. 25 supra, “Ρουφῖνος ΜΒ. ἱ Ρουφίανος has
also been suggested. Names ending in -canus often have the penult short
after the 3d century A.D.

XLV. Anth. Pal. vi. 348.

1.1. The order is very involved ; the sense is, τοῦτο αἴλινον γράμμα τῆς
Διοδωρείου σοφίης λέγει με (ὖ.6. the marble) xexogdat ὠχυμόρῳ λεχωΐδι.

1. 6. For the converse cf. Cic. Nat. Deor. ii. 69, concinne ut multa
Timaeus: qui cum in historia dixisset qua nocte natus Alexander esset
cadem Dianae Ephesiae templum deflagravisse, adiunait minime id esse
mirandum, quod Diana, cum in partu Olympiadis adesse volwisset, abfuisset
domo.

XLVI. Anth. Pal. vii. 167. The preceding epigram in the ms. is
headed Διοσχορίδου, of δὲ Νικάρχου, and this one, tod αὐτοῦ," of δὲ “Exatou
[Ἑκαταίου] Θασίου. It is usually included among the epigrams of
Dioscorides.

XLVI. Kaibel Epigr. Graec. 596; OC. 1. G. 6785. On a tomb at
Ravenna, of the second or third century A.D.

XLVIII. Kaibel Epigr. Grace. 204 ΒΚ. On a tomb at Cnidos, of the
first century B.C.

XLIX. Anth. Pal. vii. 163. This is one of the most graceful specimens
of the epitaphs κατὰ πεῦσιν χαὶ ἀπόκρισιν which were favourite in later
Greece. It is followed in the Anthology by two others on the same Prexo
and of the same purport, one by Antipater of Sidon, and the other by
Archias. Antipater lived a century and a half after Leonidas, and Archias
probably at least a century later than Antipater ; if the titles of the three
epigrams are correct, they are a very curious instance of the narrow
academicism of Greek literature in the Alexandrian and Roman periods.

342 GREEK ANTHOLOGY [SECT. 3

Other epitaphs of similar form are Anth. Pal. vii. 64, 79, 470, 552 ; see
also Ep. 58 infra.

The purer taste of the best period discouraged such garrulity in an
epitaph. See the curious passage in Theophrastus (Char. xiii.) where it is
made a mark of the περίεργος or busybody, γυναικὸς τελευτησάσης ἐπιγράψαι

(oes A al args ee can CE , ᾿ ἀροῦν
ἐπὶ τὸ μνῆμα τοῦ τε ἀνδρὸς αὐτῆς χαὶ τοῦ πατρὸς χαὶ τῆς μητρὸς χαὶ αὐτῆς τῆς

\ ΩΣ Ἢ a 9 . . ‘
γυναιχὸς τοὔνομα χαὶ ποδαπη ἐστιν, precisely what is done here. But the
pathetic beauty of the last two lines more than redeems the rest.

ἰ. 1. Παρίη χίων, a etppus or truncated column of Parian marble sur-
mounting the tomb.

L. Anth. Pal. vii. 667. A scholium says it is from a tomb in the chureh
of S$. Anastasia at Thessalonica.

LI. Kaibel Epigr. Graec. 47. Of the fourth century s.c. ; found at the
Piraeus. The name of the nurse was Malicha of Cythera.
For the fashion of having Spartan nurses see Plutarch, Lycurgus, c. 16.

111. Anth. Pal. vii. 178.

l. 1. ‘Lydian’ was a term for the lowest class of slaves; cf. Eur. Alc. 675.

1. 2. The τροφεύς or παιδαγωγός took charge of a child when he was five
or six years old, and remained in charge of him till he grew up. Cf. Anth.
Pal. ix. 174.

1.111. Anth. Pal. vii. 179.
1. 4. καλύβη, properly a slave’s hut, is applied here to the simple tomb
erected over the speaker.

LIV. Kaibel Hpigr. Graec. 627. Found near Florence,

LY. Anth. Pal. vii. 211. The white Maltese lap-dogs were as much prized
as pets in ancient times as they are now. Athenaeus, xii. p. 518 F, says that
the citizens of Sybaris used to keep κυνάρια Μελιταῖα, ἅπερ αὐτοῖς χαὶ
ἕπεσϑαι εἰς τὰ γυμνάσια. Theophrastus (Char. xxi) makes it characteristic
of the μιχροφιλότιμος or man of petty ambition to erect a monument to such
a dog: χαὶ χυναρίου δὲ τελευτήσαντος αὐτῷ μνῆμα ποιῆσαι χαὶ στυλίδιον ποιήσας
ἐπιγράψαι ΚΛΑΔΟΣ MEAITAIOS.

ἰ. 4. is repeated with a variation in another epigram by the same
author, wfra xi. 13.

LVI. Anth. Pal. vii. 204. One of three epigrams, two by Agathias
himself and one by Damocharis, on a tame partridge belonging to
Agathias and killed by his cat. A scholium in the ms. adds αἴλουρος ὁ
παρὰ Ῥωμαίοις (1.6. the Byzantines) λεγόμενος yattos. The cat had been
introduced from Egypt and domesticated in Europe under its present name,
but in literary Greek the old word αἴλουρος was still used.

Cf. xi. 12 infra; and for the unexpected turn in the final wish,
Ammianus in Anth, Pal. xi, 226 :

Εἴη σοι κατὰ γῆς κούφη χόνις, οἰχτρὲ Νέαργε,
ὄφρα σε ῥηϊδίως ἐξερύσωσι κύνες.
LVII. Pollux ν. 47.
ἰ. 4. It cannot be certainly determined whether olovoyos means ‘lonely’

ἫΝ» Ψ ΒΜ eS ee ee ee

oer Mat

Bt at δῶ, at |

50-63] ᾿ NOTES 343

(from οἷος), or ‘pastured by sheep’ (from ots). The word ‘pastoral’ has
something of the force of both. Cf. ii. 36 swpra and the note there.

LVIII. Anth. Pal. vii. 524, This Charidas was probably a Pythagorean
philosopher. Their doctrine of transmigration implied the immortality of
the soul; cf. Ov. Metam. xv. 153 foll. where the text omnia mutantur,
nihil interit is expanded at some length.

1. 3. ἄνοδοι, doctrines of a resurrection. Φέρεσϑαι ἄνω εἰς τὴν γένεσιν says
Plato of the souls who had chosen their new lives, Rep. x. 621 B.

1. 6. βόυλει πελλαίου βοῦς μέγας εἰν ᾿Αἰδῃ Ms. The line is generally
regarded as desperate ; ‘longum est interpretum somnia adscribere’ is the
conclusion of Jacobs. His own conjecture was that xehAdtov might be the
name of a small Macedonian coin (derived from Pella, as the florin and
bezant from Florence and Byzantium), and that the meaning of the line was
‘food is cheap in Hades.’

The change I have made in reading TOYCAMIOY for ITEAAAIOY is not
great, especially if TOY was contracted in the ms. Cf. the epigram, also by
Callimachus, infra iv. 26, ἐγὼ δ᾽ ἀνὰ τήνδε κεχηνὼς χείμαι τοῦ Σαμίου διπλόον.

LIX. Anth. Pal. vii. 509.

LX. Anth. Pal. vii. 346. An epitaph at Corinth, according to a note in
the ms. which justly adds that it is ϑαύματος ἄξιον.

LXI. Anth. Pal. vii. 309.

LXII. Anth. Pal. vii. 254*: written on the margin of the Ms. in a
different hand.

LXIII. Anth. Pal. vii. 451. Cf. C. 1. G. 6276, last couplet :
Καὶ λέγε TlwntAtny εὕδειν, ἄνερ * οὐ ϑεμιτὸν yap
ϑινήσχειν τοὺς ἀγαθούς, ἀλλ᾽ ὕπνον ἡδὺν ἔχειν.

IV

I. C. I. G. 6186: on a Hermes found at Herculaneum.

Probably an inscription for a library opening on to a court with plane-
trees, like that in Pliny’s Tuscan villa (Ep. v. 6.), and containing statues
of the Muses, the guardians of the place.

1. 4. τῷ κισσῷ, ‘with our ivy’, “EAtdy εὔκισσος, as it is called by Dios-
corides in Anth. Pal. vii. 407, being the Muses’ home.

II. Anth. Pal. vii. 6. Also inscribed on a terminus upon which a bust
of Homer formerly stood, found outside the Porta 8. Paolo at Rome,
©. I. G. 6092. The marble reads δόξης for βιοτῇ in 1. 2 and παντὸς ὁρᾷς
τοῦτον δαίδαλον ἀρχέτυπον in ἰ. 4.

1. 4. ἁλιρροϑία μ5., ἁλιρρόϑιος, which would be the usual form, in the
line as quoted by Suidas s.v.

IL Anth. Pal. ix. 97. The ‘wail of Andromache’ over Hector is in
Tl. xxiv. 725-745; the ‘battling of Ajax’ probably refers to the fighting

344 GREEK ANTHOLOGY [SECT. 4

in front of the Greek entrenchments, xii. 370 foll. ; the dragging of Hector’s
body under the walls of Troy is in xxii. 395 foll. But Homer nowhere
tells the story of the sack of Troy: /. 2 is a translation of Aen. 11. 625,
omne mihi visum considere in ignes Iliwm et ex imo verti Neptunia Troia.

1. 6. κλίμα, literally ‘slope’, is used widely for ‘district’, and specially as
a technical term of geography equivalent to our ‘zone’. aly ἀμφοτέρη,
Europe and Asia.

IV. Anth. Pal. vii. 8.

V. Athenaeus xiii. p. 596 B, ᾿Ενδόξους δὲ ἑταίρας καὶ ἐπὶ χάλλει διαφερούσας
ἤνεγχε καὶ ἡ Ναύχρατις, Δωρίχαν te, ἣν ἡ χαλὴ Σαπφώ, ἐρωμένην γενομένην
Χαράξου τοῦ ἀδελφοῦ αὐτῆς κατ᾽ ἐμπορίαν εἰς τὴν Ναύχρατιν ἀπαίροντος, διὰ
τῆς ποιήσεως διαβάλλει ὡς πολλὰ τοῦ Χαράξου γοσφισαμένην. Ἡρόδοτος δ᾽ αὐτὴν
“Ῥοδώπιν καλεῖ, ἀγνοῶν ὅτι ἑτέρα τῆς Δωρίχης ἐστὶν αὕτη. . ἐς δὲ τὴν Δωρίχαν
τόδ᾽ ἐπόιησε τοὐπίγραμμα Ποσίδιππος, καίτοι ἐν τῇ Αἰϑιο ἴω πολλάχις αὐτῆς
μνημονεύσας ᾿ ἐστὶ δὲ τόδε" Δωρίχα, ὀστέα μὲν, κ.τ.λ.

See also Hdt. 11. 134-5 and Strabo xvii. p. 1161 p. The ode of Sappho
mentioned by Herodotus is completely lost.

1. 1. σαπαλὰ χοσμήσατο [κοιμήσατο two Mss.] δεσμῶν Athenaeus; πάλαι
χόνις οἵ t ἀπόδεσμοι corr. Dehéque. I have written ἠδ᾽ ἀπόδεσμος as being
nearer the Mss.

l. 4. σύγχρους is from χρώς : ef. supra i. 25 and Theocr. ii. 140, x. 18.

l. 7. Naucratis, the only open port in Egypt before the Persian conquest,
remained a place of importance until after the foundation of Alexandria.

VI. Anth. Pal. vii. 12. Little is known of Erinna, though her fame
was only second to that of Sappho, whose friend and contemporary she
was according to Suidas and Eustathius. She is said to have died very
young. Her renown mainly rested on the poem called ᾿Αλαχάτα (referred
to here by its name in /. 4, and as the ‘fair labour of hexameters’ in J. δ).
It consisted of about 300 verses, of which a few fragments survive. Three
epigrams are in the Anthology under her name, one of which is given swpra
iii. 40. It seems probable that this epigram is partly made up of phrases
from her poem.

VIL. Anth. Pal. vii. 13, under heading Λεωνίδου, of δὲ Μελεάγρου.

This epigram must have been written by some one who had seen the two
sepulchral epigrams composed by Erinna on her friend Baucis of Tenos.
But the phrase Βάσχανος gaa’ "Atéx quoted here from the latter of these
seems to have become proverbial, and it cannot be inferred that the writer
had been in Tenos and seen the actual inscription.

The way in which the half line of Erinna is re-echoed three centuries
later has a curiously exact parallel in Mr. Swinburne’s roundel on the death
of the translator of Villon’s rondeau beginning Mort, j’appelle de ta rigueur.

I. 1. For ἐν ὑμνοπόλοισι μέλισσαν ef. the last epigram: also Plato, Ion,
534 B, λέγουσιν of ποιηταί, ὅτι 2x Μουσῶν κήπων τινῶν καὶ ναπῶν δρεπόμενοι
τὰ μέλη ἡμῖν φέρουσιν, ὥσπερ αἱ μέλιτται. It was in such metaphors that the
word ‘ Anthology’ had its origin.

i ee ee a γυ ν νυ νἍ» Ὑ» ὧν ὦ“. ΨΘΟΨ.Ψ.Ψ, ὧν Ὅν» Ὁ ΨΟ ΩΨ ———————————— ὙΨΨΓΎΨΨΨΨ

ΡΨ ee ee ee ee eee

ee a ay ee oe αΨῸΝ
i a all 6

a ae ST ΡΥ
/

4-14] NOTES 345

VIII. Anth. Pal. vii. 28. Also quoted by Suidas s.v. οἰνοπότης.
This and the following epigram are two out of ten or eleven on Anacreon,
Anth. Pal. vii. 23-33 (it is not certain whether 32 refers to him or not),

. five of them being by Antipater of Sidon.

IX. Anth. Pal. vii. 26.

1. 3. γάνος se. ἀμπέλου : the full phrase is in Aesch. Pers. 615.

1. δ. odact χῶμος Ms. The text is Jacobs’ emendation. But we may
suspect that two lines have dropped out between J. 5 and 1. 6. olvac (or
εὐάσι, which has also been suggested) is a feminine form and goes with
κώμοις only by slipshod grammar.

X. App. Plan. 305.

I. 1. νέβρειοι αὐλοί, flutes made out of the leg-bone of a fawn, which gave
a shrill thin note. Ass-bones were also used for this purpose.

ἰ. 3. The story of bees clustering on the lips of the young Pindar when
asleep on the wayside near Thespiae is told by Pausanias, Bovotica, xxiii. 2.
ξουϑός here probably has its proper meaning ‘yellow-brown’: cf. the note
on vi. 20 infra.

1.5. Plutarch, Non posse suaviter vivi sec. Epicurwm, c. xxii, mentions
the story of Pindar hearing the god Pan sing one of his own songs.

XI. Anth. Pal. vii. 410.

I. 1. ἀνέπλασε Ms. But the whole epigram is written in the person of
Thespis.

I. 2. χαινοτομέϊν γάριτας is equivalent to ποιεῖν καινὰς χάριτας : οὗ the
Latin novare.

I. 3. τριϑὺν χατάγοι Ms., corr. Jacobs, comparing Aristoph. Ach. 628, ἐξ
οὗ γε χορόϊσιν ἐφέστηχεν τρυγιχοῖς ὁ διδάσχαλος ἡ ἡμῶν.

The jingle of ἄϑλων and ἄϑλον is disagreeable, and gives colour to an
ingenious emendation, ᾧ tpvyos ἀσχός ; cf. the Arundel marble, 1. 55, καὶ
ἄϑλον ἐτέϑη πρῶτον ἰσχάδων ἄρσιχος χαὶ οἴνου ἀμφορεύς. But it is hardly
safe to alter the ms. reading where it gives an unexceptionable sense.

1. 5. Cf. Epicharmus, fr. 98 Ahrens :

Ὡς δ᾽ ἐγώ δοχέω---δοχέω yao; σάφα ἴσαμι τοῦϑ᾽ ὅτι
Τῶν ἐμῶν μνάμα mor ἐσσεέϊται λόγων τούτων ἔτι"
Καὶ λαβών τις αὐτὰ περιδύσας τὸ μέτρον, ὃ νῦν ἔχει
Εἶμα, χαὶ δοὺς πορφύραν, λόγοισι ποικίλοις χαλσὶς
Δυσπάλαιστος ὧν τὸς ἄλλους εὐπαλαίστους ἀποφανεῖ.

XII. Anth. Pal. vii. 32. Partly suggested by the celebrated chorus in
the Oed. Col. 668 foll.

1. 3. For φιλορρώξ cf. the note on ii. 14 supra.

XIII. Olympiodorus in his Life of Plato and Thomas Magister in his
Life of Aristophanes quote this epigram. Bergk considers it authentic. It
is, aS he says, worthy of the author and the subject. Another life of Plato
quotes it with ὅπερ ἤϑελον εὑρεῖν in 1. 1.

XIV. Anth. Pal. vii. 414. Rhintho of Syracuse, who flourished in the
reign of Ptolemy 1., about 300 B.c., invented the φλύαξ or thapotpaywola, a

940 GREEK ANTHOLOGY [SECT. 4

sort of burlesque tragedy. He founded a school of writers of this sort at
Tarentum. No important fragments of his plays are preserved. We know
the titles of a few ; among them is an ᾿Αμφιτρύων, to which the Amphitruo
of Plautus is probably indebted. These burlesques were written in loose
metre, probably following the example of the Sicilian pipor.

1. 3. ἀηδονίς isa collateral form of ἀηδὼν rather than a diminutive ; from
it is formed the diminutive ἀηδονιδεύς. Cf. Catull. xxvut. 8.

XV. Anth. Pal. vii. 419. This and the next epigram are two of three
professing to be written by Meleager for his own tomb, Anth. Pal. 417-419.

1. 2. ὀφειλόμενον sc. πᾶσιν : the full phrase is given in the epigram of
Callimachus, supra, 111. 39.

l. 4. Ἱλαραῖς Χάρισιν refers to the Menippean satires of Meleager : see p. 300.

1.6. The Meropes were traditionally the original inhabitants of Cos :
ef. infra, vill. 5.

l. 7. Salam, ‘peace’, the usual form of greeting in Hebrew and kindred
Semitic languages. The Phoenician word, transliterated as Nazdios here,
is uncertain. In the ms. of Plautus’ Poenulus it is written Haudoni. :

XVI. Anth. Pal. vii. 417.

1. 1. The force of the present, texvat, is to give the notion of what is the
fact rather than what did happen; so generat is used by Virgil, Aen. viii. 141.

1. ἃ. Gadara, to the south-east of the Lake of Tiberias, is the Ramoth-
Gilead of the Old Testament. It is called ‘Attic’ here from the group of
literary men whom it produced at this period: Strabo xvi. p. 759, ἐχ δὲ
τῶν Tadaowy Φιλόδημός te ὁ ᾿Ἐπιχούρειος χαὶ Μελέαγρος καὶ Μένιππος ὁ
σπουδογέλοιος. The words ‘Syrian’ and ‘ Assyrian’ are used in Greek litera-
ture generally without much distinction.

l. 3. ὁ σὺν Μούσαις ‘the companion of the Muses’: from Theocr. vii. 12.

l. 5. The saying is attributed to Socrates by Musonius quoted in Stobaeus,
xl. 9, τί δ᾽ ; οὐχὶ κοινὴ πατρὶς ἀνθρώπων ἅπαντων ὁ χόσμος ἐστίν, ὥσπερ ἠξίου
Σωχράτης; There are two slightly different forms of it quoted from
Euripides ; ἅπασα δὲ χϑὼν ἀνδρὶ γενναίῳ πατρίς, fr. incert. 19, and ὡς
πανταχοῦ γε πατρις ἡ βόσκουσα γῆ, fr. Phaethon, 9.

XVII. Anth. Pal. vii. 412. The citharist Pylades of Megalopolis jl.
about 200 B.c. Plutarch, Philop. xi. and Pausan. Arcadica, τ. 3, tell a
story of Philopoemen entering the theatre at the Nemean festival soon
after his victory at Mantinea over Machanidas tyrant of Sparta (B.c. 206)
when Pylades was singing the Persae of Timotheus. Pausanias says he
was the most famous singer of his time.

1. 3. ‘Unshorn Apollo’ went into mourning so far as it was proper for a
god to do so. For the practice of laying aside garlands on the arrival of
bad news compare the story of Xenophon when the death of his son was
announced to him, in Diog. Laért. Vita Xenophontis, ο. 10.

l. 6. The Asopus here spoken of rises in Arcadia and flows northward
into the Corinthian gulf ; it must not be confounded with the better known
Boeotian river of the same name.

I. 8. For the epithet the ferreus Somnus of Virgil (Aen. x. 745) is a

Se eee τὸς

Le ie ils a” fa

ΓΉΨ ΨΥ Φ Ν

—ee ΡΣ ΤΑ τῷ »ὰ

15-24] NOTES 347

nearer parallel than the σιδήρειαι πύλαι of the Iliad (viii. 15) where the
word has its literal sense. Cf. however, Propert. tv. xii. 4, Non exorato
stant adamante viae.

XVIII. Anth. Pal. vii. 571. Nothing else is known of this Plato. The
date of the epigram is in the reign of Justinian.

XIX. App. Plan. 8. The contest of Apollo and Marsyas was one of the
favourite subjects of Greek art. The most celebrated representation of
it was the. fresco of Polygnotus in the Lesche at Delphi, described by
Pausanias, Phocica xxx. 9 ; his description is closely followed by M. Arnold
in Empedocles on Etna.

I. 2, χροῦμα properly is a note struck on a string, but is used loosely of an
air whether played on harp or flute.

1. 5. ἀλυχτοπέδαι is an archaic word, taken from Hesiod, Theog. 521.

I. 7. λωτοί, flutes made of the hard wood of the African lotus-tree. This
or boxwood was the common material.

XX. Anth. Pal. vii. 696. See the notes on the last epigram. Marsyas
used to play on the cliff of Celaenae in Phrygia, Pausan. lc.

XXI. Anth. Pal. ix. 266. In Plan. attributed to Philippus.

Glaphyrus was a celebrated flute-player of the time of Augustus. He is
mentioned by Juvenal, vi. 77, and Martial, rv. v. 8.

I. 5. Hyagnis was the father of Marsyas.

XXII. Anth. Pal. ix. 433. Placed among the doubtful epigrams by
Ahrens. It does not seem unworthy of Theocritus.

I. 3. ὁ δὲ βωκόλος ἐγγύϑεν aoc Ms., probably from a recollection of Idyl
Vil. 72, ὁ δὲ Titupos ἐγγύϑεν dod. ἄμμιγα ϑελξεί is restored from the mss. of
Theocritus.

1. 4. xapddetov πνεῦμα is an extremely bold synecdoche for πνεῦμα καροδέτου
σύριγγος. ;

l. 5. ἐγγύϑεν ἄντρου Ms. The mss. of Theogritus read ἐγγὺς δὲ στάντες
λασίας δρυὸς ἄντρου ὄπισϑεν. ἔνδοϑεν is Hermann’s correction.

The epithet λασιαύγχην means that the mouth of the cave is thickly fringed
with plants and creepers. The best commentary on it is Theocr. iii. 16, ἐς
τεὸν ἄντρον ἱχοίμαν τὸν χισσὸν διαδὺς χαὶ τὰν πτέριν ἅ τυ πυχάσδει.

1. 6. In Theocr. i. 15, the goat-herd does not venture to do so :

Οὐ ϑέμις, ὦ ποιμήν, τὸ μεσαμβρινόν, οὐ ϑέμις ἄμιν
συρίσδεν. τὸν Πᾶνα δεδοίχαμες" 7 γὰρ ax’ ἄγρας
τανίχα χεχμαχὼς ἀμπαύεται, ἔστι δὲ πιχρός.

XXIII. Anth. Pal. xi. 133.

1, 3. Cf. Hor. 1 Sat. x. 62, capsis quem fama est esse librisque ambustum
propriis.

ἰ. 6. καὶ γῆν Ms., corr. Jacobs.

XXIV. Anth. Pal. xi. 148. Notice that the rhetorician, the grammarian,
and the musician are balanced, in a studied disarrangement, by Cerberus,
Tityus, and Ixion. Nothing is known of this Marcus ; /. 2 implies that he

948 GREEK ANTHOLOGY [SECT. 4

was a Cynic. Melito is alluded to in another epigram by the same author
(Anth. Pal. xi. 246) as a writer of ‘rotten plays’. The Rufus mentioned
by Juvenal vii. 214 (and identified by some editors of Juvenal with the
historian better known under his other names of Quintus Curtius) can
hardly be the person spoken of here. Whatever the date of Q. Curtius
may have been, he would be classed as a rhetorician rather than a gram-
marian.
Ἰ. 4, μελετᾷν in oratory means to rehearse or declaim.

XXV. Anth. Pal. ix. 162.

XXVI. Anth. Pal. vi. 310. A statue of Dionysus set up in a school-
room speaks.

1. 2. The reference is to Il. vi. 236.

1. 3. The god stands against the wall where the Pythagorean allegory of
virtue and vice is painted, and yawns with weariness at hearing his own
words repeated over and over by the pupils. The διπλοῦς Σαμίη (quae
Samios diduait litera ramos, Pers. iii. 56) is the letter Y, used by Py-
thagoras to illustrate the divergence of right and wrong.

1. 6. ἱερὺς ὁ πλόχαμος, τῷ ϑεῷ δ᾽ αὐτὸν τρέφω, says Dionysus in the
Bacchae of Euripides 1, 494. The passage of στιχομυϑία in which the line
occurs appears to have been a favourite school exercise in recitation.

The proverb τοὐμὸν ὄνειαρ ἐμοί (or τοὐμὸν ὄνειρον ἐμοί in another epigram
by Callimachus, infra ix. 15) meant to tell some one a piece of news that
he must know already. Cf. Plato, Rep. 563 p, and Cic. Aft. νι. ix. 3.

XXVIL Anth. Pal. vi. 303. There is a very similar epigram by
Leonidas of Alexandria, Anth. Pal. vi. 302, probably imitated from this,
unless both are imitations of some older epigram.

1.3. A note ina s. of Plan. says ἤρχεε τὸ ἰσχάδα μόνον᾽ τὸ γάρ αὔην παρέλκει,
ἰσγάς alone meaning dried grapes. The epithet is put in to balance πίονα.

l. 4. The σχύβαλα are the multa de magna quae superessent fercula cena of
Horace in the fable of the town and country mouse, 2 Sat. vi. 79 foll.

XXVIIL Anth. Pal. xi. 354. In Plan. attributed to Palladas, perhaps
rightly. Both authors are often intolerably verbose. Nothing is known
of this Nicostratus ; the name may be real or invented.

1. 2. σχινδαλαμοφράστης is a word suggested by the phrase λόγων ἀχριβῶν
σχινδαλαμοί in Aristoph. Nub. 130.

1. 6. ληπτός here means ‘tangible’, or ‘capable of being apprehended by
the senses’. It usually has a wider sense ; thus Plato speaks of things λόγῳ
χαὶ διανοίᾳ Annta, ὄψει δ᾽ οὐ, Rep. 529 Ὁ.

1. 10. ἐνασχείσϑαι, used of the patterns wrought into a web in the loom,
is here applied to the composite and eclectic philosophy of the later Greek
schools.

1. 15. στεγνοφυῆ, the res quae solido sunt corpore of Lucretius.

1. 17. For the story of Cleombrotus see Ep. 30 infra, from wuich phrases
have already been transferred in ἢ]. 7 and 8 of this epigram.

1. 20. ὕπερ ζητεῖς, i.e. τὴν ψυγήν. You can only find out with certainiy
what the soul or vital principle is by putting an end to your life.

25-32] NOTES 349

XXIX. Anth. Pal. ix. 358. It has been attributed, on the reported
authority of an unknown ms., to Leonidas of Alexandria. Jacobs thinks
it is by Diogenes Laértius.

Panaetius of Rhodes, the Stoic philosopher and friend of Scipio Africanus
the younger, flourished B.c. 150. The substance of his principal work, Περὶ
τοῦ χαϑήκοντος, is preserved in the De Offciis of Cicero. His teaching with
regard to the immortality of the soul is stated in the Tusculan Disputa-
tions, i. 79: Credamus igitur Panaetio, a Platone suo dissentienti: quem
enim omnibus locis divinum, quem sapientissimum, quem sanctissimum,
quem Homerum philosophorum appellat, huius hance unam sententiam de
inmortalitate animorum non probat.

XXX. Anth. Pal. vii. 471. Οἷα. Tuse. 1. 84: Callimachi quidem epi-
gramma in Ambraciotam Cleombrotum est; quem ait, cum nihil et accrdisset
adversi, e muro se in mare abiecisse, lecto Platonis libro. The story is often
referred to by ancient authors, and has been made imperishable in English
by a line and a half of Milton (Par. L. 111. 471),

—he who, to enjoy
Plato’s Elysium, leapt into the sea,
Cleombrotus.

1. 3. ἢ ἀναλεξάμενος, ‘only that he had read’. There is no reason for
altering ἢ τό into ἀλλά. The ellipsis of the comparative before ἢ is quite
in the author’s manner, and is not unknown in the best Greek : ef. Soph.
Aj. 966, and the epigram of Crinagoras infra xi. 28.

XXXII. Anth. Pal. vii. 80. This Heraclitus of Halicarnassus is
mentioned as an eminent scholar and a friend of Callimachus by Strabo,
xiv. p. 656, and Diog. Laért. ix. 17, who quotes this epigram.

i. 3. Virgil, Ecl. ix. 51, saepe ego longos cantando puerwum memini me
condere soles.

1.5. The ἀηδόνες are the poems of Heraclitus (elegiacs according to
Diog. Laért. 1.0.) So ᾿Αλχμᾶνος ἀηδόνες in an anonymous epigram, Anth.
Pal. ix. 184.

XXXII. Anth. Pal. xii. 48. In the ms. there follows another couplet :
Avoavin, od δὲ valyt καλὸς χαλός * ἀλλὰ πρὶν εἰπέϊν
τοῦτο σαφῶς, ἠχὼ φησί τις “ἼΑλλος ἔχει.
which is rejected as a spurious addition by most editors.
l. 1. Cf. the epigram of Pollianus, Anth. Pal. xi. 130:
Τοὺς χυχλιχοὺς τούτους, τοὺς αὐτὰρ ἔπειτα λέγοντας
μισῷ, λωποδύτας ἀλλοτρίων ἐπέων.
I. 8, The phrase ἀπὸ χρήνης πίνειν is from Theognis, 959 :
” κι Me Fat ’ I~
Eote υὲν AUTOS ETLVOV ATO χρηνης μελανυόρου
ἡδύ τί μοι ἐδόχει χαὶ χαλὸν εἶμεν ὕδωρ,
Νῦν δ᾽ ἤδη τεϑόλωται ὕδωρ δ᾽ ἀναμίσγεται Wut:
ἄλλης δὴ χρήνης πίομαι ἢ ποταμοῦ.
For the beginning of the line also cf. Theogn. 581, ἐχϑαίρω δὲ γυναῖίχα
περίδρομον, of which this is a parody.

960 GREEK ANTHOLOGY [SECT. 4

XXXII. Anth. Pal. ix. 577.

1. 2. The helix or spiral represents the apparent path of the sun, the
moon, or a planet.

l. 4. ϑεοτροφίης Ms., hardly a possible form : corr. Dindorf.

XXXIV. Anth. Pal. ix. 205. It is also quoted in the prefaces to some
mss. of Theocritus. A motto for a collected volume of the pastoral poets.
As such, it is written in Doric.

XXXV. App. Plan. 251. Miller, Archdologie der Kunst, § 391, gives
a catalogue of the chief representations of Eros and Anteros extant on
reliefs or gems, chiefly of the late Greek and Graeco-Roman period. Serv.
on Aen. iv. 520 says, “᾿Αντέρωτα invocat. contrarium Cupidini qui amores
resolvit, aut certe (‘or rather’) cui curae est iniquus amor, scilicet ut
implicet non amantem. Amatoribus pracesse dicuntur "Ἔρως, ᾿Αντέρως,
ΔΛυσέρως.᾽

I. 1. τὸν ἀντίον Μ55.,) corr. Jacobs: others would read τίς ἀντίον, with a
mark of interrogation at the end of the line.

I. 3. Cf. Meleager in Anth. Pal. xii. 144, where Myiscus plays the part
that Anteros does here.

1. 5. Spitting thrice into the bosom disarmed witchcraft and averted
Nemesis : cf. Theocr. vi. 39.

XXXVI. App. Plan. 250.
1. 1. ἰδὼν ἀγνυσι Mss., corr. Lobeck.

XXXVIT. App. Plan. 200.

1. 2. Hesychius says ovAos * μαλαχὸς xo ἁπαλός. But it might also mean
‘ curly-headed’.

1. 5. Cf. the Athenian prayer quoted by Marcus Aurelius, v. 7, ὅσον,
ὅσον, ὦ φίλε Zed, κατὰ τὰς ἀρούρας τῶν ᾿Αϑηναίων χαὶ τῶν πεδίων.

XXXVIII. «4. Plan. 225.

I. 3. ‘Pan loved his neighbour Echo, but that child
Of Earth and Air pined for the Satyr leaping,’

as Shelley translates Moschus, Id. iv.
1. 4. πηχτίς here means the πηχτὴ σύριγξ or Pan’s pipe, not, as usual, the
Lydian harp.

XXXIX. App. Plan. 174. The Armed Aphrodite was mainly wor-
. shipped in Laconia : cf. Pausan. Laconiea, xv. 10 and xxiii. 1.

XL. App. Plan. 162. The Cnidian Aphrodite of Praxiteles was probably
the most famous single work of art in the ancient world. Both Greek and
Latin literature are full of allusions to it. ‘Of all the images that euer
were made (I say not by Prawiteles onely, but by all the workmen that were
in the world) his Venus passeth that hee made for them of Gnidos : and in
truth so exquisit and singular it was, that many a man hath embarked,
taken sea, and sailed to Gnidos for no other busines, but onely to see and

33-46] NOTES 351

behold it. . . . In the same Gnidos there be diuers other pieces more of
Marble, wrought by excellent workmen, . . . yet there goeth no speech nor
voice of any but onely of Venus abouesaid ; than which, there cannot be a
greater argument to proue the excellencie of Praziteles his work ; they all
seem but foils, to giue a lustre to his Venus.’ Holland’s Pliny, Book
XXxvi. 6. 5.

XLI. App. Plan. 146. Compare the more famous epigram of Michel-
angiolo on his statue of Night in San Lorenzo :

Grato m ’é Ἶ sonno, 6 pit 7] esser di sasso,
Mentre che il danno e la vergogna dura ;
Non veder, non sentir m’ ὃ gran ventura ;
Peréd non mi destar: deh parla basso.

XLII. App. Plan. 129.

XLIIL. App. Plan. 344 : with the title εἰς εἰκόνα Σατύρου πρὸς τῇ axo7 τὸν
αὐλὸν ἔχοντος καὶ ὥσπερ ἀχροωμένου. The word χηρός in J. 5 shows that this
was not a statue but a picture, painted with wax as the medium.

l. 6. πηχτίς, ‘Pan’s pipe’: see note on Ep. 38 supra.

XLIV. Anth. Pal. ix. 736. This is one of a set of thirty-one epigrams,
Anth. Pal. ix. 713-742, on the Cow of Myron, the famous masterpiece of
Greek bronze which stood in the agora at Athens. ‘The piece of worke
that brought him into name and made him famous, was an heifer of brasse ;
by reason that diuers Poets haue in their verses highly praised it, and spread
the singularity of it abroad.’ Holland’s Pliny, Book xxxiv. ὁ. 8.

XLV. App. Plan. 248. See Bergk Lyr. Gr. ii. p. 309 for all that is to be
said as to the probable authorship of this epigram. If it is by a Plato at
all, it is by the person known as Plato Junior.

I. 2. ἄργυρος Mss., corr. Bergk.

XLVI. Athenaeus, xii. 543 c. : ἱστορεῖ Κλέαρχος ἐν τοῖς βίοις... Παρράσιον

τὸν ζωγράφον. πορφύραν ἀμπέχεσϑαι peagany στέφανον ἐπὶ τῆς χεφαλῆς ἔχοντα
. ηὔχησε δ᾽ ave εμεσήτως ἐν τούτοις" εἰ χαὶ ἄπιστα x.T.A.

“Athenaeus goes on to give further details of his magnificence, gold buckles
in his shoes, etc. He used to paint in full dress, like Vandyck.

A fragment of a similar epigram in the name of Parrhasius’ great rival
Zeuxis of Crotona is preserved in Aristides, τι. p. 386, where the phrase
τέχνης πείρατα occurs. For the superb insolence compare the epigram on
himself, by the tragedian Astydamas, quoted by Suidas 8.0. σαυτὸν ἐπαινεῖς.

1.3. Cf. the epigram attributed to Simonides, App. Plan. 84 :

1s Dey = 8 » ' οὐδεν δ. 2 Ἢ
Ovz αδαὴης ἔγραψε Κίμων TAGE παντὶ δ᾽ ἐπ᾽ ἔργῳ
~ In? Ἢ ,
ὦμος. ὅν οὐδ᾽ ἥρως Δαίδαλος ἐξέφυγεν.
μ >? Ly 7

352 GREEK ANTHOLOGY [SECT. 5

V

I. Anth. Pal. x. 16. This and the next epigram (and also vi. 26 and 27
infra) are selected from a collection of short poems of the same purport
(Anth. Pal. x. 1, 2, 4-6, 14-16) probably all written for the same shrine of
Priapus on a headland in the Thracian Bosporus.

1. 2. λήϊον, generally ‘a cornfield,’ must refer here to the fields of roses
grown to supply the immense market of Constantinople. The Damascus
rose is still thus grown in Rumelia for the manufacture of attar of roses.

l. 4. It must be remembered that barley harvest in the south comes at
the same time with spring flowers ; in Egypt it is as early as March ; here
it would be a month later.

1. δ. γείσον or γέϊσσον is explained by a scholiast as to xpovyov τοῦ ὑπερ-
Svgov. But it more properly means the eaves generally. The corbels
supporting them are called γεισίποδες.

1. 9. καταιγίς is the sea-term for a white squall.

1. 12. ἀνθϑεμόεις ‘ burnished’, a Homeric epithet of a metal vessel, is here
applied to the metallic lustre of the τρίγλη or red mullet, called μιλτοπάρῃος
by Matro in Athen. iv. 135 B.

1. 13. The scarus (identified with the wrasse) was said to emit sounds.
Oppian, Halveut. i. 134 :

' SS ~ She , ~ > ἔτι
σχάρον, ὃς δὴ μοῦνος ἐν ἰχϑυσι πᾶσιν ἀναυδοις
' > ' , 5
φϑέγγεται ἰχμαλέην λαλαγην.

Il. Anth. Pal. x. 14. The subject is the same as in the last epigram.

1. 1. In Homer the word πορφύρειν when used of the sea in the line ὡς ὅτε
πορφύρῃ πέλαγος μέγα κύματι κωφῷ means simply ‘to gloom’; and so the
epithet πορφύρεος is applied to the sea frequently, to a tidal wave (Od. xi.
243), and to a cloud (Jl. xvii. 551). In later Greek it covers a wide range
of colour between bright crimson and slate-blue, passing through all the
shades of purple. This range of colours may be seen in the few extant
manuscripts on parchment dyed with murex, and also in the Mediterranean
at different times according to different conditions of sky and water. When
the sea smooths out as the λευχὴ φρίξ caused by a strong wind dies away, it
sometimes appears, as seen from the coast in sunlight, banded with peacock
blue and reddish purple.

1. 8. χροχάλη “ἃ pebble’, here ‘a pebbly beach ’.

1. 10. The βώξ, like the σκάρος, was believed to emit sounds. Athen. vii.
287 A, ὠνομάσϑε παρὰ τὴν Bory’ διὸ καὶ “Ἑρμοῦ ἱερὸν εἶναι λόγος τὸν ἰχϑύν, ὡς
τὸν χίϑαρον ᾿Απόλλωνος.

Il. Ο1. Ο. 3797. Ona marble base found at Kadi-Kioi near the site of
the ancient Chalcedon. It must have come there (Bockh suggests having
been brought in a ship as ballast) from the temple of Zeus Οὔριος at the
mouth of the Bosporus, 120 stadia above Byzantium, where ships paid
sacrifice when entering or leaving the Euxine.

Philon was a celebrated artist of the time of Alexander the Great. The

ΤΠ] NOTES 353

statue which stood on this base is mentioned by Cicero, Verr. iv. 129, as
still perfect in his time.

IV. Anth. Pal. ix. 645.

For the connexion of Dionysus with Sardis ef. Eur. Bacch. 462-8. A
legend which placed the birth of Zeus on Mount Sipylus not far from Sardis
is mentioned by a scholiast on 1]. xxiv. 615. The Mother of the Gods was
also born there, Hdt. ν. 102.

ll. 7, 8. olvas ὀπώρη. . . Exvdov ἀμελξε γάνος Ms. and Edd., which hardly
makes sense. Cf. Ion of Chios fr. 1 (Bergk).

1. 10. Sardis was thrice captured in early times (Hat. i. 15, i. 84, v. 101), was
almost destroyed when taken and sacked by Antiochus, B.c. 214 (Polyb. vii.
15), and was partially ruined by an earthquake, a.p. 17 (Tac. Ann. ii. 47),
but always recovered itself, and remained a flourishing city till its destrue-
tion by Tamerlane at the beginning of the fifteenth century.

V. Anth. Pal. x. 12.
1. 6. γυιοβαρῆ κάματον, ‘limb-wearying toil’, where we should naturally
say ‘toil-wearied limbs’.

VI. App. Plan. 188. For the Hermes of Cyllene, see Pausan. Eliaca Β.
πα ΝΠ Ὁ:

VII. Anth. Pal. x. 10.

ἰ. 1. δισσάδος ms., which is strongly supported by τοῦϑ' ὑπὸ δισσὸν ὄρος,
Ep. 10 infra. But as there is no trace of the word δισσάς or ἐπιδισσάς else-
where, I have with some hesitation adopted the emendation of Jacobs.
λισσάς, “ἃ smooth rock’, the dis πέτρη of Homer.

1. 6. εὐπλοίης Ms., corr. Jacobs,

VILL Anth. Pal..x. 8.

1.2. αἰϑυίας οὔποτε ἀντιβίας Ms. None of the emendations proposed are
satisfactory. The reading in the text gives what must I think be the
general sense of the line. For the phrase, cf. Alpheus of Mitylene, infra
ix, 23, of the ruins of Mycenae, οὐ πολλῷ γ᾽ αἰπύτεραι πεδίων.

γηλή,, ‘claw’, is either an artificial mole or a natural spit of land.

1, 3. φοξός, ‘with a head running to a point’, of Thersites in Π, ii. 219.
For ἄπους see note on μονοστόρϑυγγ: Πριήπῳ, swpra, ii. 30.

TX. Anth. Pal. x. 11.

1. 3. λασίου ποδός, se. of the hare. δασύπους, ‘rough-foot’, was a common
synonym for λάγως.

1. 4. The fowler lengthened out his lime-twigs by jointing them together
like a fishing-rod till they reached the bird where it sat. They are called
ἀχλινέες as having to be made rigid enough to get an accurate aim. There
is an elaborate description of the process in Sil. Ital. vii. 674 foll.

X. Anth. Pal. ix. 337. The image of Pan stands ona spur of cliff in a
wooded valley with hills on either side.

ΧΙ. Anth. Pal. ix. 334. Strabo, p. 588, in giving an account of the
worship of Priapus, says he belongs to the ‘younger gods,’ and ἔοιχε tots

23

954 GREEK ANTHOLOGY [SECT. 5

᾿Αττιχοῖς ᾿οΟρϑάνη χαὶ Κονισάλῳ zat Τύχωνι. Diod. Sic., iv. 6, identifies Tychon
with Priapus.

1. 3. ὡς ὅτε δημογέρων Ms., corr. Hecker. ϑεὸς δημοτέρων, one of the
‘plebeian gods’, the di minorum gentiwm of the Latin religion.

XI. Anth. Pal. vii. 694. Nothing is known of the hero Philopregmon
except from this epigram. There was a female deity of the same lesser order
called Praxidice, Hesych. s.v. Pausanias, Attica xxiv. 3, says that on the
acropolis at Athens there was a Σπουδαίων δαίμων, whom he mentions in
connexion with Athene Ergane. Cf. the Italian gods Iterduca and
Domiduca.

XIII. Anth. Pal. ix. 107. In Plan. under the name of Antipater of
Thessalonica.

1. 3. Cf. Antipater of Sidon, supra ii. 25.

1. 5. Greek ships were worked by a pair of steering oars, one on each
side. Aelian, Var. Hist. ix. 40, implies that these were usually worked by
a single steersman. The great galley of Ptolemy Philopator had four ;
Athen. v. 203 F.

1. 6. Probably Σωζομένη was the name of this ship. An Athenian
trireme of that name occurs in a dockyard list of the year 356 8,0. given in
Bockh, Seewesen des Att. Staats, p. 329.

XIV. CL. 6. 6300. At Rome: on the tomb of Floria Chelidon, a
priestess of Jupiter, who died at the age of 75. The date is uncertain.

XV. Clemens Alexandrinus, Strom. v. 13: quoted as an inscription over
the doorway of the great temple of Asclepius at Epidaurus; οὗ abid. ἵν. 144,
and Porphyry de Abstinentia, ο. 3.

XVI. Anth. Pal. Appendix Miscell. (xiv.) 71, with the title γρησμὸς τῆς
Ππυϑίας.

I. 1. ἁγνὸς εἰς, MS.

1. 2. νυμφαῖον vara like παρϑένος πηγή Aesch. Pers. 617, or the Aqua
Virgo at Rome.

l. 4. Cf. Soph. Oecd. Tyr. 1227, οἶμαι γὰρ οὔτ᾽ av Ἴστρον οὔτε Φᾶσιν av
νίψαι χαϑαρμῷ τήνδε τὴν στέγην, and Macbeth ii. 2, ‘will all great Neptune’s
ocean wash this blood clean from my hand?’

XVII. Anth. Pal. xi. 42.

1. 1. For the hiatus after oot ef. infra xi. 48, πρώτη σοι ὄνομ᾽ ἔσχεν, in
another epigram by the same author.

1. 6. ἐς πλεόνων ‘to the place of the dead’: see note on ii, 36 supra.

For the sense cf. Plato Rep. 365 A, πείϑοντες οὐ μόνον ἰδιώτας ἀλλὰ χαὶ
πόλεις, ὡς ἄρα λύσεις te xo χαϑαρμοὶ ἀδικημάτων διὰ ϑυσιῶν καὶ παιδιᾶς
ἡδονῶν εἰσὶ μὲν ἔτι ζῶσιν, εἰσὶ δὲ καὶ τελευτήσασιν, ἃς δὴ τελετὰς καλοῦσιν, αἱ τῶν
ἐχεὶ χαχῶν ἀπολύουσιν ἡμᾶς, μὴ ϑύσαντας δὲ δεινὰ περιμένει : and Soph., fr.
incert. 719,

ὡς τρισόλβιοι
κεῖνοι βροτῶν οἱ ταῦτα δερχϑέντες τέλη
μόλωσ᾽ ἐς “Αιἰδου * τοῖσδε γὰρ μόνοις ext
ζῆν ἐστι, τοῖς δ᾽ ἄλλοισι nave’ ἐκέϊ nano.

SECT. 6] NOTES 355

VI

I. App. Plan. 202. On a crowned Love in a garden.

With this should be compared the epigram of Marianus, infra xii. 45,
which was probably suggested by the same statue. If it has not the strange
mystical fervour of the other, this epigram is no less singular in its suppressed
but intense feeling for Nature.

ἰ. 1. The city of Heliopolis (Baalbek) at the foot of Anti-Libanus in the
great plain of Hollow Syria was one of the chief seats of the worship of the
Dea Syria. Cf. Cant. iv. 8: and, for singular comparison and contrast, the
scene in the garden of Dante’s Earthly Paradise, Purgatorio xxix., with the
‘quattro animali coronati ciascun di verde fronda:’ and below, xxx. 10:
‘ed un di loro, quasi da ciel messo, vent sponsa de Libano cantando gridéd
tre volte.’

1. 2. ἠϊδϑέων ὀάρους in a slightly different sense, supra i. 24. Here it
means the whispered talk of lovers.

I. 3. The manifold ‘rustic Loves’ of the popular mythology were the
children of the Nymphs, as distinguished from the celestial Love the son of
Venus. They are the winged children who constantly occur in every variety
of occupation in later pagan art, e.g. on Pompeiian frescoes. Cf. Claudian,
Nupt. Honor. et Mar. 74: Hos Nymphae pariunt, illum Venus aurea
solum edidit.’

Il. App. Plan. 226.
1. 6. δήσσειν ‘to dance,’ as in IJ. xviii. 571.

Ill. App. Plan. 230.

IV. App. Plan. 227. For a statue of Pan in a meadow by a mountain
foot.

Wl. 5, 6. Cf. Hor. Od. 111. xxix. 21-23.

I. 7. αἴπος ἀμείψεις αὔριον ‘you will cross the height to-morrow.’ It has
been plausibly suggested that ὥριον ‘in good time’ is the true reading.

V. App. Plan. 13. Attributed there to Plato. It is obviously however
of much later date. The question is fully discussed by Bergk, Lyr. Gr. 11.
p- 307.

A fountain speaks : beside it there is a statue of Pan piping under a pine
tree.

ἰ. ἃ. πυχινσὶς χῶμον ὑπὸ Ζεφύροις Ms., with a scholium, φρίσσουσαν χῶμον,
οἱονεὶ χωμάζουσαν. But even if that were possible Greek, the name of the
tree is absolutely required in the verse. Others read χῶνον, which would
be satisfactory if there were any; proof of the existence of a feminine κῶνος
meaning a tree: κῶνος masculine is the fruit of the πεύχη.

VI. App. Plan. 12. On a Pan playing under a pine by a fountain:
probably written for the same scene as the last epigram.

VII. App. Plan. 11. Also on a fly-leaf of the Palatine ms. On a
Hermes said to have stood in the νάπη Πλάτωνος, also called the Garden of

356 GRREK ANTHOLOGY [SECT. 6

the Nymphs, on Mount Hymettus. Here was laid the scene of the legend
of bees laying their honey on the mouth of the infant Plato in his sleep.
Cf. the pretty idyllic fragment under the name of Plato in the Anthology,
App. Plan. 210.

l. 4. χτέανα, ‘stock,’ used principally of possessions in cattle.

VIII. Anth, Pal. ix. 823. In his latest edition Bergk with some reluct-
ance pronounces that this epigram cannot with reasonable probability be
regarded as authentic, though in beauty of workmanship it ranks with those
of the best period. The epigram of Alcaeus, supra vi. 2, seems to be
imitated from it. The Dryads or Hamadryads do not appear under these
names till a quite late period in Greek poetry ; Apollonius Rhodius is the
earliest authority I have found.

IX. Anth. Pal. ix. 627. Headed in the ms. εἰς λουτρὸν λεγόμενον "Ἔρωτα.
There is another epigram by Marianus on the same subject, Anth. Pal. ix.
626.

Cf. Shakespeare, Sonnets ciiu. and CLiv.

1. 6. Νύμφαι "Eowttadec, the nymphs of the fountain Eros, the word being
formed on the analogy of Ὑδριαδες.

X. Anth. Pal. ix. 586, last two lines. In the ms. this couplet follows
four very commonplace lines of question and answer in the frigid Byzantine
style :

Εἰπὲ vowed, τίνος εἰσὶ φυτῶν στίχες : at μὲν ἐλαῖαι
Παλλάδος, at δὲ πέριξ ἡμερίδες Βρομίου.

Καὶ τίνος of στάχυες : Δημήτερος. ἄνϑεα ποίων
εἰσὶ ϑεῶν ; Ἥρης χαὶ ῥοδέης Παφίης.

It is obviously complete in itself and has no evident connection with them.
Possibly it is an older epigram which Comatas conveyed into his own work
without taking pains to make it fit.

1, 2. ϑειλόπεδον is from Od. vii. 123.

XI. App. Plan. 279. Headed in the mss. εἰς tov ἐν Μεγάροις χιϑαριστὴν
λίϑον.

Pausanias, Attica xlii. 2, τῆς δὲ ἑστίας ἐγγὺς ταύτης (at Megara) ἐστὶ
λίϑος ἐφ᾽ οὗ καταϑεῖναι λέγουσιν ᾿Απόλλωνα τὴν κιϑάραν, ᾿Αλχάϑῳ τὸ τεῖχος
συνεργαζόμενον.... ἢν δὲ τύχῃ βαλών τις ψηφίδι, χατά ταὐτὰ οὗτός τε ἤχησε
καὶ χιϑάρα χρουσϑεῖίσα. It is also referred to by Ovid, Met. viii. 14, and by
the author of the Ciris, 105. For the legend cf. Theognis, 773.

I. 4. Λυχωρείην -- Delphic : see note on ii. 14, swpra.

XII. Anth. Pal. ix. 374. Καϑαρα, ‘Clear,’ is the name of the fountain.
A fountain of the same name is the subject of an epigram by Apollonides,
infra ix, 13.

l. 3. ἡμεροϑαλλέσι, ‘gentle-blossomed,’ probably in reference to the soft
milky colour of the laurel-flower ; for the tree has no special connexion
-with peace. ;

8-19] NOTES 357

XIII. Anth. Pal. ix. 338. Placed by Ahrens in his edition of Theocritus
among the Dubia et Spuria. It certainly has the extraordinary clearness
of outline which is distinctive of Theocritus beyond all other writers of his
own or a later period.

I. 1. πέδῳ, on the floor of the cave mentioned in J. 5.

1. 2. στάλιχες are the stakes on which hunting-nets were fastened.

1. 6. xp is the drowsiness that precedes or follows sleep, ἡ μεταξὺ ὕπνου
χαὶ ἐγρηγόρσεως χκαταφορά as it is explained by a scholiast.

ἀαταγόμενον MS., χατειβόμενον Dilthey, comparing Sappho fr. 4, Bergk,
αἰϑυσσομένων δὲ φύλλων χῶμα χαταρρεῖ.

XIV. Anth. Pal. ix. 814. On a Hermes by a windy orchard-corner
near the sea.

Hermes of the Garden is invoked in an epigram by Leonidas of Tarentum,
Anth. Pal. ix. 318, and also in some anonymous iambics, App. Plan. 255.

1. 4. I have written ὕδωρ προχέει for ὑποϊάχει of the ms. Meineke reads
ὑποπροχέει ; but ὕδωρ seems necessary for the sense.

XV. App. Plan. 153. Cf. Wordsworth, Poems of the Imagination, ΧΧΤΧ :

Yes, it was the mountain Echo
Solitary, clear, profound,

Answering to the shouting Cuckoo,
Giving to her sound for sound.

Unsolicited reply
To a babbling wanderer sent ;
Like her ordinary cry,
Like—but oh, how different !

XVI. Anth. Pal. ix. 87.

1. 7. ἴξός means both the mistletoe plant and the birdlime made from it.
But Athen. x. 451 p quotes the tragedian Ion as calling birdlime δρυὸς ἱδρῶτα,
as though it were made from the sap of the oak itself.

XVlS Anth. Lalo ΤΊ.

XVIII. Anth. Pal. vi. 228. Cicero de Nat. Deor. ii. 159, following
Aratus, Phaen. 132, makes the slaughtering of ploughing-oxen one of the
marks of the iron age, it having been counted a crime till then: cf. Virgil,
Georg. ii. 537. Aelian, Var. Hist. v. 14, quotes an Athenian law βοῦν
ἀρότην μή Due . . . ὅτι γέωργος καὶ τῶν ἐν ἀνθρώποις xapatwy χοινωνός.

XIX. Anth. Pal. ix. 122, headed ἀδέσποτον, and again, after ix. 999,
headed Evyvov; in Plan. called ἄδηλον.

I. 1. The swallow is called ᾿Ατϑὶς χύόρα from the story of Procne, who was
the daughter of Pandion king of Athens.

μελίϑρεπτος hardly means more than ‘honey-voiced’: cf. Theocr. i. 146,
πλῆρές τοι μέλιτος τὸ χαλὸν στόμα Θύρσι γένοιτο : and the various legends of
bees placing honey in the mouths of sleeping children who were predes-
tined to be poets, Pindar, Plato, ete. Jacobs wished to read μελίφϑεγχτε.

958 GREEK ANTHOLOGY [SECT. 6

1. 3. The repetition of λάλος is awkward, but there is no reason to suppose
any error in the text. χαλὸς χαλόν suggested in J. 1 would not be Greek.

I. 4. ξένον seems to imply a belief that the field-cricket, like the swallow,
migrated, which might be due to their sudden appearance in great numbers
in spring when they come out of the pupa. In England their season is
from April to August : see White’s Selborne, Letter xuv1. Cf. also Plato,
Phaedr. 230 ©, ϑερινόν τε καὶ λιγυρὸν ὑπηχέϊ τῷ τῶν τεττίγων γορῷ.

There is an admirable translation of this epigram among Cowper’s Minor
Poems.

XX. Anth. Pal. ix. 373. For the practice of catching tree-crickets and
keeping them in cages, see supra i. 65, and infra xi. 14.

I. 2. ἕλκετε, sc. with lime-twigs.

1. 4. ξουϑός in classical Greek is only used as a constant epithet of the
bee and the nightingale, except in the ξουϑὸς ἱππαλεχτρυών of Aeschylus
(Aristoph. Av. 800). Rutherford on Babrius, fab. 118, argues, but not
convincingly, that it refers properly to sound, and that its use as an epithet
of colour is a mere mistake. It is generally taken to be equivalent in
etymology to ξονϑός or ξανϑός. As applied to sound the grammarians
explain it by λεπτός, ὀξύς, ἁπαλός and kindred words.

/. 5. It is not certain whether χίγλη is the thrush or the fieldfare,

XXI. Anth. Pal. ix. 57. Attributed in Plan. to Palladas, which is
obviously wrong.

Cf. the similar but inferior epigram of Mnasalcas, Anth. Pal. ix. 70,
which makes it certain that the swallow and not the nightingale is the
subject here. The ordinary version of the story (as told by Ovid and
Hyginus) makes Philomela the ravished daughter of Pandion be turned
into the nightingale, but there was another version, which is implied in
Odyssey xix. 518, making Procne (the sister of Philomela and mother of
Itylus) the nightingale, and Philomela the swallow : ef. Pseudo-Anacreon
9 (Bergk). The contrast between the light-heartedness of the swallow
and the grief of the nightingale, in Mr. Swinburne’s Jtylws and elsewhere,
seems to be modern.

XXIL. Anth. Pal. vii. 703. In Plan. there follows another couplet :
“A Νύμφαι, Νύμφαι, διεγείρατε tov λυχοϑαρσῆ
βοσχόν, μὴ ϑηρῶν χύρμα γένηται "Ἔρως.

1. 1. The Nymphs had, like Pan (supra, ii. 44) their invisible flocks upon
the hills, and committed their herding to favoured shepherds. Jacobs

XXIII. Anth. Pal. ix. 333. According to the heading in the ms., which
may be taken for what it is worth, this was the famous temple of

20-28] NOTES 359

Aphrodite in Cnidos. For temples and groves of Aphrodite on the sea-
shore cf. Pausan. Attica i. 3, Achaica xxi. 10, 11.

l. 1. The text has been left as it stands in the ms. though it is not very
satisfactory. The word ἁλίρραντος, which apparently does not occur else-
where, would naturally mean ‘wet with sea-spray’ and apply to the land.
If πόντου is right, it must be used actively, ‘scattering spray’. In any case
Hecker’s conjecture,

Στῶμεν ἁλιρροϑίου χϑαμαλὰν παρὰ Hva ϑαλάσσης,
is rewriting, not editing.
1. 3. With the fountain and poplars ef. Odyssey, vi. 291.
1. 4. Eoudat probably means ‘shrill’: see note on Ep. 20 supra.

XXIV. Anth. Pal. ix. 144. Compare the description of a temple of
Venus on the coast of Argolis in Atalanta’s Race in the Earthly Paradise.
1. 4. Cf. Antipater of Sidon in Anth. Pal. ix. 143 (Venus speaks) : πόντῳ

\ Εν 5: πον νος ’ a ic , ys , A IAN ¥ 2
γὰρ ἐπὶ πλατὺ δειμαίνοντι χαίρω, καὶ ναυταις εἰς ἐμὲ σωζομένοις.

ΧΧΥ. Anth. Pal. ix. 675. On the lighthouse of Smyrna, built by the
great guild of the Asclepiadae. For a full account of them see Grote’s
History of Greece, vol. i. cap. ix. ad fin.

Compare the lines written by Scott in 1814 on his visit to the Bell Rock
Lighthouse :

Far in the bosom of the deep

Over these wild shelves my watch I keep ;
A ruddy gem of changeful light

Bound on the dusky brow of night ;

The seaman bids my lustre hail

And scorns to strike his timorous sail.

XXVI. Anth. Pal. x. 1.

XXVIL Anth. Pal. x. 2.
1. 6. φωλάδες, ‘lurking’, generally used of such wild beasts as live in
dens : φωλάδες ἄρχτοι, Theocr. i. 115.
1. 8. ‘Priapus of the Anchorage’ occurs again in the similar epigram by

Agathias, supra v. 2.

XXVIII. Athenaeus, xv. 673 B.: μνημονεύειν δ᾽ ἔοιχεν ἐπὶ ποσόν τι τῆς
χατὰ τὴν λύγον στεφανώσεως καὶ Νιχαίνετος ὁ ἐποποιὸς ἐν τοῖς ἐπιγράμμασιν,
ποιητὴς ὑπάρχων ἐπιχώριος (.6. in Samos) καὶ trv ἐπιχώριον ἱστορίαν ἠγαπηχὼς
ἐν πλείοσι " λέγει δ᾽ οὕτως “Οὐχ ἐθέλω χ.τιλ.

1. 3. χαμεύνη, “ἃ bed on the ground’, the simplest form of which was a
strewing of green boughs or rushes, as in the description of the summer
feast in the Thalysia of Theocritus (vii. 133) :

ἔν te βαϑείαις
᾿Αδείας σχοίνοιο χαμευνίσιν ἐχλίνϑημες
"Ey te νεοτμάτοισι yeyathotes οἰναρέῃσιν.

1. 4. The πρόμαλος and λύγος are two varieties of willow, the latter pro-

960 GREEK ANTHOLOGY [SECT. 7

bably the osier, the former of uncertain species. ‘The willow worn of
forlorn paramours’ (Spenser, F. Q. τ. i. 9) is a symbol which does not occur
in ancient art, and appears to have originated in the Psalm Super flumina
Babylonis. But its use for festive garlands was not common. Athenaeus,
/. ¢., calls it ἄτοπον, because willow withes are used for fetters and the like,
and quotes Menodotus’ History of Samos for the origin of the custom in
that island. He derives it from a prehistoric religious observance of
binding the image of Hera with bands of λύγος to prevent it from running
away.

XXIX. Anth. Pal. ix. 667. On the palace gardens of the Heraeum, an
imperial villa on the coast opposite Constantinople, laid out by the
Emperor Justinian, cire. 532 Α.Ὁ.

‘On the Asiatic shore of the Propontis, at a small distance to the east of
Chalcedon, the costly palace and gardens of Heraeum were prepared for
the summer residence of Justinian, and more especially of Theodora. ™ The
poets of the age have celebrated the rare alliance of nature and art, the
harmony of the nymphs of the groves, the fountains and the waves; yet
the crowd of attendants who followed the court complained of their incon-
venient lodgings, and the nymphs were too often alarmed by the famous
Porphyrio, a whale of ten cubits in breadth and thirty in length who was
stranded at the mouth of the river Sangaris after he had infested more than
half a century the seas of Constantinople.’—Decline and Fall, c. xl.
Gibbon’s description follows two epigrams by Paulus Silentiarius, Anth.
Pal. ix. 663, 664, and one by Agathias, probably on the same gardens,
Anth. Pal. ix. 665.

Vit

I. Anth. Pal. ix. 649. An inscription for the author’s house at Cibyra
in Phrygia. Another inscription (Anth. Pal. ix. 648) celebrated its
hospitality :

᾿Αστὸς ἐμοὶ καὶ ξεῖνος ἀεὶ φίλος “ οὐ γὰρ ἐρευνᾶν
τίς πόϑεν ἠὲ τίνων ἔστι φιλοξενίης.

ἣ» , , . .
I. 5. λιπερνήτης or λιπερνής, ‘an outcast’: explained by Photius as
meaning ἤτοι λιποπόλεις ἢ πένητες.

IT. Anth. Pal. ix. 770. An inscription on a cup (probably of silver ;
compare App. Plan. 324) given by the poet to his daughter.

III. Anth. Pal. v. 194.

IV. Anth. Pal. vi. 345. For roses forced (festinatae) under glass in
winter see Martial xiii. 127. Martial also speaks of roses brought from
Egypt to Rome in winter, vi. 80.

1, 5, στεφϑῆνα: Ms., ὀφϑῆνα: Edd. after Brunck, without the least necessity.

I-10] NOTES 361

V. Anth. Pal. vi. 280. <A dedication to Artemis by a Laconian girl.
The Doric forms χορᾶν I. 4 and τύ J. 5 are to give local colour.

1, 2. The χεχρύφαλος was worn by married and unmarried women alike,
as respectable women never appeared with their hair loose except in certain
religious ceremonies : there is therefore no special significance in this gift.

1. 3. Dolls in ancient Greece were generally made of clay ; ef. Plato,
Theaet. 1474, Lucian, Leviph. 22. Wax models were made and moulds cast
from them ; or else the clay was modelled by hand round a wax core, which
was then melted out. Pollux, x. 190, τὸ πήλινον, ὃ περιείληφε τὰ πλασϑέντα
χήρινα, ἃ κατὰ τὴν τοῦ πυρὸς προσφορὰν THxETAL, λίγδος καλεῖται.

The temple of Artemis Limnatis stood in the village of Limnae on the
borders of Laconia and Messenia, Pausan. Laconica, ii. 6, Messeniaca,
Xxxl. 3.

VI. Anth. Pal. vi. 209.

l. 2. λύγδος was the name of the white marble quarried in Paros.
εὐξαμένη, not ‘when her prayer was heard’, as in 11. 1 supra, but like ἐξ
εὐχῆς, Ep. 15, infra; the Latin ex voto,

l. 4. ὁμοφροσύνη Ms. and Edd. ; ὁμοφροσύνῃ seems obviously right. Cf.
ix. 24 infra, ἀρκοῦμαι μάρτυρι Μαιονίδη.

VII. Anth. Pal. vi. 55. The epithet in ἰ. 2, and the word νυμφίος,
imply that they are recently married.

VIII. Anth. Pal. v. 263.
/. 1. Virgil, Georg. 1. 390 :

Ne nocturna quidem carpentes pensa puellae
Nescivere hiemem testa cum ardente viderent
Scintillare oleum et putres concrescere fungos.

I, 4. ‘How is acc., and the subject of ἥρμοσε is Κύπρις. She breaks off
abruptly in terror of the bad omen of comparing herself and her husband
to Hero and Leander.

1, 6. ὀδύνη 50. the jealousy of Hephaestus.

- [X. Anth. Pal. vi. 340.
1. 5. ἐκ σέϑεν ἀρχομένοις, beginning the year with worship to thee ; like
the 2x Διὸς αρχγώμεσϑα of Aratus.

X. Anth. Pal. xii. 53.

I. 5, τοῦτ᾽ ἔπος ἀγγείλατε χαλὴ νοέσως pe χομίζει Ms. The first part of the
line has been variously emended into τοῦτ᾽ ἔπος ἀγγέϊλαι or τοῦτ᾽ ἀγγείλατ᾽
ἔπος, with χἄλη long, or τοῦτ᾽ ἔπος ἀγγείλαιτε, with x&A7 short. In the
second half καλοὶ νέες, ὡς με χομίζει has also been suggested.

I. 6. Before he can see Phanion he has to take the long journey on foot
down the coast as far as Halicarnassus, whence he can cross by ferry to Cos.
Some prefer to take it as a hyperbolical statement that he is ready to walk
across the sea to her, but this does not suit the quiet tone of the epigram.

362 GREEK ANTHOLOGY [SECT. 7

l. 7. εὖ tehot Ms., corr. Piccolos. The word εὐαγγέλιον was generally
written in a contracted form by Christian copyists, and this probably
accounts for the corruption.

1. 8. For Zeus Οὔριος see v. 3, supra.

ΧΙ. Anth. Pal. vi. 146, and again after vi. 274.

1. 2. Εὔλογος was one of the regular titles of Artemis Ilithyia: cf. Eu.
Hippol. 167.

The ms. reads εὐτοχίη in the first version of the epigram, εὐτυχίῃ in the
second. Meineke would read εὐχολίῃ.

XII. Anth. Pal. vi. 147.

ἰ. 1. ἀπέχειν is the technical word used in forms of receipt ; thus in the
collection of Inland Revenue receipts recently found written on ὄστραχα at
Karnak in Upper Egypt, the form runs ἀπέχω παρὰ σοῦ τὸ τέλος.

‘T acknowledge to have received from you the tax . . .’

I. 3. χαί μιν ἀπαιτῆς Ms., corr. Porson. Jacobs would read τίμιον, a rare
collateral form of τιμήν.

XIII. Anth. Pal. vi. 271.

1, 2. πέπλων πτύγμα is the διπλοῖς or long Ionic chiton which was folded
over at the shoulders and fell in a sort of cape as far as the hips.

I. 4. Od. xi. 198,

PLAS TIGER Dace eyel ἜΝ ἜΤΟΣ 7

οὔτ᾽ ἐμέγ᾽ ἐν μεγάροισιν ἐὔὕσχοπος ἰοχέαιρα
ΓΙ = ' > ' '

οἷς ayavots βελέεσσιν ἐποιχομένη χατέπεφνεν.

1. 5. Λέοντος Ms. The sense requires Meineke’s correction, λέοντι
(governed by νεῦσον).

1. 6. vi’ ἀεξόμενον ms., corr. Meineke. But the ms. reading gives ἃ
possible sense, ‘grant that Leon’s infant son may in time see a son of his
own growing up.’

XIV. Anth. Pal. vi. 59.

XV. Anth. Pal. vi. 857. Those who know Rome will remember the
monument—a pathetic contrast to this—in 8. Maria della Pace to the two
little Ponzetti children, ‘indolis festivitatisqyue mirandae,’ who died on the

same day at the ages of eight and six in 1505, with their likenesses side by
side on it.

1, 2. κείμενόν ἐστι means hardly more than zéitat or ἐστίν alone.
XVI. Anth. Pal. vii. 228.

XVII. Anth. Pal. vii. 387.

1, 2, εἰς ὀδύνας is equivalent to ὀδυνηρῶς, like εἰς τάγος, εἰς καλόν, ete.

XVIII. Anth. Pal. vii. 464. There is another epigram on this same
Aretimias ascribed to Heraclides of Sinope, Anth. Pal. vii. 465, from which
it appears that she was a Cnidian. The Δωρίδες in 1. 4 are her country-

11-21] NOTES 363

women in the under world, Cnidos being one of the cities founded in the
great Dorian emigration from Peloponnesus to Crete and the southern
portion of Asia Minor.

1. 5. Most editors alter ξαίνουσα to ῥαίνουσα, without necessity.

XIX. Anth. Pal. vii. 555. Followed in the ms. by another couplet :

~ , " U σ ,

Τοῦτο σαοφροσύνας ἄνταξιον εὑρεο, Nootw,

' , ' ~ ͵
δαχρυα σοι γᾶμετας σπεισε χαταφϑιμένα

which is clearly a separate epigram, and is so distinguished in Planudes.

XX. Anth. Pal. vii. 340.

1. 1. Μαράϑωνις has been doubted as a man’s name, and the reading
variously altered to Νιχόπολιν Μαράϑων ἐσεϑήκατο or ἐνεϑήχατο, or Νικόπολις
Μαράϑωνιν. But it is a possible masculine form, and in the uncertainty
it seemed best to leave it alone.

XXI. Anth. Pal. vii. 260. Cf. the celebrated passage in Vell. Paterc.
i. 11., on Q. Metellus Macedonicus, the paragon of human good fortune,
ending, hoc est nimirum magis feliciter de vita migrare quam more.

Vill

I. Anth. Pal. xii. 127.
1. 5. Cf. Soph. Trach. 94, νὺξ χατευναζει ἥλιον.

ΤΙ. Anth, Pal. xii. 121.

1. 3. ποτὶ and ἐπηχύναντο go together.

1. 6. ἀνθέοιξ or ἀνϑέριχος is the tough stalk of the asphodel, of which
basket-work was woven for huts (Hdt. iv. 190) or cages (Theocr. i. 52).

Ill. Anth. Pal. xii. 54. For Ἵμερος and Moos see note on i. 11 supra.

IV. Anth. Pal. xii. 51. The first two lines are also quoted by the
scholiast on Theocritus 11. 147.

1.1. Achelous is the god of fresh water ; he will drink to Diocles in
unmixed wine. So Virgil, Georg. i. 9, poculaque inventis Acheloia miscwit
uvis,

V. Anth. Pal. xii. 56. The Eros of Praxiteles, his most famous statue
after the Cnidian Aphrodite, and according to tradition his own favourite
work, was given by him to Phryne and dedicated by her at Thespiae. Nero
took it to Rome on his return from Greece, and it was destroyed there by a
fire during the reign of Titus.

1. 7. Μερόπων πόλις, the city of Cos: ef. supra iv. 15.

VI. Anth. Pal. xii. 59.

VIL Anth. Pal. xii. 159.

1. 1. From Eur. Med. 770, ἐκ τοῦδ᾽ ἀναψόμεσϑα πρυμνήτην κάλων.

1. 2. πνεῦμα τὸ λειφϑὲν ἔτι occurs again Ep. 11 infra.

1. 5, Cf. a graceful couplet in an anonymous epigram, Anth. Pal. xii. 156,

904 GREEK ANTHOLOGY [SECT. 9

’ A ’ ” ae
Ka! ποτε μὲν φαίνεις πολὺν ὑετόν " ἄλλοτε δ᾽ αὖτε
ena =a er ἃ
εὔδιος ἁβρὰ γελῶν ὄμμασιν ἐχχέγυσαι.
ye ©

VIII. Anth. Pal. xii. 128.

1. 4. The epithet παρϑένιος is partly suggested by the legend of Daphne,
but refers in the first instance to the delicate creamy blossom of the Greek
laurel, the ‘proud sweet bay-flower’ of the poet. Cf. Aristoph. Av. 1099,
ἦρινά te βοσχόμεϑα παρϑένια λευχότροφα μύρτα χαρίτων τε χηπεύματα.

1. 5. Δάφνις μὲν ἐν οὔρεσι Μ5., corr. Dilthey ; eastinctum Nymphae
Daphnin lugebant, Virg. Eel. v. 20.

σοί, to the lyre of Phoebus, 7.¢. to Phoebus himself.

IX. Anth. Pal. ix. 341. This epigram is probably imitated from one by
Zonas, Anth. Pal. ix. 556 ; if so, the date of Glaucus cannot be earlier than
about the middle of the first century B.c.

1. 2. Cf. Song of Solomon i. 6, 7.

1. 5. Malea and Psophis were two towns in the north-west of Arcadia
near the border of Elis. The former must not be confounded with the
promontories of the same name in Laconia and Lesbos.

X. Anth. Pal. xi. 138.
/. 1. Cf. Archestratus in Athen. vil. 321 Ὁ,

Clee a δ᾿ aT > , ον "
Vina O αν OUVOVTOS EV ουρᾶνῳ Ὥριωνος
μήτηρ οἰνοφόρου βότρυος χαίτην ἀποβαλλῃ.

1, 2. ἑσπέριον is ἃ mistake. The autumnal setting of the Pleiades, the well-
known signal for ceasing to put to sea and beginning to plough (Hesiod,
Opera, 615 foll., Vire. Georg. i. 221) was in the morning ; their evening setting

> ? 5 9 5 ‘ Θ So
is in spring, on the 6th of April according to the calendar of Columella.

XI. Anth. Pal. xii. 12.
1. 4. Cf. Dante, Purg. xxx. 90, Si che par fuoco fonder la candela.

ΠΝ
I. Anth. Pal. v. 118:

1.1. With the phrase μύρον εὕδειν may be compared the ἔαρ ὁρᾷν of
Theocritus, Id. xiii. 45.

II. Anth. Pal. v. 74.

III. Anth. Pal. xii. 234. In Plan. under the name of Meleager.

1.2. ἐρίφη is a shortened form for ἐρρίφη : so ἀπέριψα in Pind. Pyth.
vi. 37.

l. 3. There is a play on the meaning of χρόνος : as the words ἄνθος and
χάλλος are of the same ‘time’, 7.e. musical or metrical value ( -- ὦ), so Time

ou ,
on the ὡσπερ νέφος of Demosthenes.
1. 4. odoviwy χρόνος, the invida actas of Hor. Od. 1. xi. 7.

1-10] NOTES 365

IV. Anth. Pal. xi. 53.

1. 1. παρέλϑη, 56. χρόνος. Suidas cites a proverb, ῥόδον παρελϑὼν μηκέτι
ζήτει πάλιν, from which it has been proposed to read παρέλθῃς here, perhaps
rightly.

V. Anth. Pal. xii. 32.
1. 3. παρϑύσει Ms., παρφϑάσει (from παραφϑάνω), corr. Dorville. For the
line cf. Simonides fr. 32, Bergk, and Omar Khayyam, vii. (first edition),

The Bird of Time has but a little way
To fly—and Lo! the Bird is on the Wing.

1. 4. Cf. Theoer. vii. 120,
eat ~
at δὲ γυναϊΐχες
~ ~ ” © τὸ
Alot, φαντί, Φιχῖνε, τό τοι καλὸν ἄνϑος ἀπορρεῖ,

VI. Anth. Pal. ix. 260. For Lais ef. note on 11. 23 supra. Athenaeus,
xiii. p. 570 B, quotes from a comedy of Epicrates called Anti-Lats a passage
moralising on the end to which such women come, which says that the
Corinthian Lais in her age was glad to get anything she could, and took
alms. Ht jadis fusmes si mignottes !

VIL. Anth. Pal. xii. 235. In Plan. under the name of Meleager.
VIII. Anth. Pal. v. 85.

te Anth. Pal. v. 233.
. 5. So Arist. Poet. 1457 B. 23, ὁμοίως ἔχει : - apa πρὸς βίον χα

σπέρα πρὸς ἡμέραν " ἐρεῖ τοίνυν τὴν ἑσπέοαν γῆρας ἡμέρας χαὶ τὸ γῆρας ἑσπέραν
t

X. Anth. Pal. x. 71. According to the ordinary version of the story as
told by Hesiod, Opera, ll. 60-105, the casket of Pandora contained evil,
labour, and sickness, which were spread among mankind when it was
opened, hope alone remaining in the casket when Pandora shut it again ;
cf. Theognis, 580 foll. But there seems to have been a different version in
which the casket contained good things which escaped and were lost.

/. 3. μετά ‘among’ is used very loosely, the proper sense required being
over’.

1, 5. μετὰ πῶμα seems to allude to a picture of Pandora holding the
casket in front of her, much as in Rossetti’s picture.

XI. Anth. Pal. xi. 37: headed ᾿Αντιπάτρου simply.

1.1. The morning rising of Arcturus is placed by Pliny on the 12th of
September. It iarkedl the division between ὀπώρα, the season of harvest,
and φϑινόπωρον, our autumn.

——— The year growing ancient
Not yet on swmmer’s death, nor on the birth
Of trembling winter.

The thatching of cottages would be pressed forward just then to anticipate
the equinoctial storms. 2x ζώνης, unless 2x means ‘following upon’, is not

966 GREEK ANTHOLOGY [SECT. 9

quite accurate, Arcturus lying in the knee of Bootes a little below the
belt : cf. Aratus, Phaen. 94 (of Bootes) :
a, , niroe “50
ὕπο ζωνη δέ of αὐτὸς
Ἔξ ἄλλων “Apxtoupos ἑλίσσεται ἀμφαδὸν ἀστήρ.

l. 5. Cf. Hesiod, Opera, 534-6.

XII. Anth. Pal. xii. 141. This epigram is illustrated by another of the
same general purport, Anth. Pal. xii, 140.

1. 1. ἃ μὴ ϑεός se. av φϑέγξαιτο.

1]. 2, 3. The repetition is a favourite device of Meleager ; cf. supra i. 7,
60, infra xi. 46: also Anth. Pal. ν. 165.

αὐτὸς ὑπέστης, tu Vas voulu.

1. 4, Cf. the epigram cited above :

© ' , ᾽ ‘

& Νέμεσίς με συνήρπασε, χεὐϑὺς ἐχείμαν
> ' PS jp eye pee ἋΣ ,

ἐν πυρί, παῖς δ᾽ ἐπ᾽ ἐμοὶ Ζεῦς ἐχεραυνοβολει.

XIII. Anth. Pal. ix. 257. For the fountain Καϑαρή, see vi. 12 supra.
Pausanias, Bocotica xxx. 8, gives a legend of the river Helicon having sunk
underground when the Pierian women would have washed their hands in it
after the murder of Orpheus, ἵνα δὴ μὴ τῦυ φόνου χαϑάρσια τὸ ὕδωρ παράσχηται.
Cf. also the epigram of Antiphanes, Anth. Pal. ix. 258,

XIV. Anth. Pal. ix. 269. In Plan. under the name of Philippus.

Cicero, Off. iii. 89, 90, quotes a discussion of such cases of conscience
from the work of Hecaton : quaerit, si tabulam de naufragio stultus arri-
puerit, extorquebitne eam sapiens si potuerit? negat, quia sit iniuriwm
... Quid si una tabula sit, duo naufragi hique sapientes, sibine uterque
rapiat an alter cedat alteri? cedat vero, sed οἱ cuius magis intersit vel sua
vel rei publicae causa vivere. Quid si haec paria in utroque? nullum erit
certamen, sed quasi forte aut micando victus alteri cedat alter. The some-
what parallel case of the ship Mignonette is familiar to all modern readers.

I. 4. If he had been fortunate enough to escape the notice of Atxyj, who
is here half personified, or if his Κῆρες had not predestined him for punish-
ment, it was a case οὐ νεμεσητόν, in which the moral sense of plain men
would not have demanded the infliction of a penalty.

1. δ. Aelian, Hist. An. i. 55, describes the χυὼν ϑαλάττιος as one of the
largest χήτη.

XV. Anth. Pal. xii. 148. For the phrase τοὐμὸν ὄνειρον ἐμοί, see note
on iv. 26, supra.

XVI. Anth. Pal. vy. 113. In Plan. under the name of Philodemus.

1.1. ἠράσϑης is passive, as in Eur. fr. Dan. 8, οὐδεὶς προσαιτῶν βίοτον
ἠράσϑη βροτῶν ; and in /. 2 I have accordingly put the passive ἐρᾷ for
ἐρᾷς of the mss. and Editors.

1. 3. From Bion i. 71, τὸ σὸν μύρον ὠλετ᾽ Αδωνις.

Ι. 4. Note the sense of the name Menophila, a month’s lover.

XVII. Anth. Pal. ix. 530. Headed in the ms. εἰς ἄργοντα ἀνάξιον.

12-21] NOTES 367

XVIII. Anth. Pal. ix. 51, headed Πλάτωνος : and again after Anth. Pal.
xi. 441, together with an epigram of Plato ὁ Νεώτερος. It is probably
by the same hand.

l. 1. From Virgil, Eel. ix. 51, omnia fert aetas.

XIX. Ο1.6΄ 4747, inscribed on the base of one of the two Colossi of Amunoph
111, known as the Memnon statues, in the Nile valley under the edge of the
Libyan mountains opposite Thebes. The inscription was first copied by
Pococke, who gives a drawing of it in his great work (A Description of the
East and of some other Countries. By Richard Pococke, LL.D., F.R.S.,
London, 1743. 2 voll. folio). Above the verses is the author’s name,
᾿Ασχληπιοδότου, and below them Πομπο... το... ἐπιτρόπου, ‘in the prefecture
of Pomponius.’ The date seems to be about the time of Hadrian.

The story of Memnon, son of Eos, slain by Achilles at Troy, was given
at length in the lost Aethiopiad of Arctinus which came next after the Iliad
in the Epic Cycle, and is extant in Quintus Smyrnaeus, B. ii.

XX. Anth. Pal. ix. 151. On the capture of Corinth by the consul
Lucius Mummius, s.c. 146, the citizens were killed or sold for slaves and
the city levelled to the ground together with its walls and citadel. All
rebuilding was prohibited, and the site remained desolate till the city
was refounded as a Roman colony by Julius Caesar a hundred years later,

Compare the famous letter of Ser. Sulpicius Rufus to Cicero (Cic. Fam.
iv. 5): Ex Asia rediens cum ab Aegina Megaram versus navigarem, coepi
regiones circumcirca prospicere ; post me erat Aegina, ante Megara, dextra
Piraeeus, sinistra Corinthus; quae oppida quodam tempore florentissima
fuerunt, nunc prostrata et diruta ante oculos iacent. And Sen. Ep.
xc1; non vides quemadmodum im Achaia clarissimarum urbium iam
Fundamenta consumpta sint, nec quicquam exstet ex quo appareat illas saltem
fuisse ? ἴ

/, 4, Sisyphus was the legendary founder of Ephyre or Corinth.

l. 7. The wailing of the sea-birds as they flew across between the two
gulfs was the only sound in the deserted city. A translation can hardly
convey the exact force of the rhetorical confusion in this couplet. Gram-
matically ἀγέων depends on ἀλχυόνες, and the phrase might be*translated,
‘the shrill wailers of thy woes,’ the reference being to the wailing cry of the
haleyon. But the Nereids or sea-nymphs are these haleyons, namely the six
daughters of Aleyoneus who were according to the legend changed into
haleyons, and can be thought of either as birds or as semi-divine beings of
the sea.

XXI. Anth. Pal. ix. 408, with the heading *AzoAAwvidov, of δὲ *Avtt-
πάτρου. The authorship is fixed by the allusion to it (οὐδὲ λόγοις ἕψομαι
᾿Αντιπάτρου) in an epigram by Alpheus, Anth. Pal. ix. 100. It follows from
the fact that the desolation of Delos is alluded to as of long standing, that
Antipater of Thessalonica is the author; Antipater of Sidon was dead
before the disaster of Delos. Cf. supra p. 299.

After the destruction of Corinth, Delos became the great centre of the
trade between Europe and Asia, and the largest slave-market in the ancient

368 GREEK ANTHOLOGY [SECT. 9

world. In 8.0. 88 it was occupied by the Pontic fleet under Archelaus and
Menophanes, all the merchants in the island were massacred, the city razed
to the ground, and the inhabitants sold for slaves. From this crushing blow
it never recovered ; see Pausan. Laconica xxiii. 3, 4.

1. 4, There is an allusion to Callimachus, Hymn to Delos, 316 :

’
Tig δέ σε vautys
Ἢ ’ ,
Ἑμπορος Αἰγαίοιο παρήλυϑε νηὶ ϑεουσῃ :

XXII. Anth. Pal. ix. 155. One of four epigrams by Agathias on Troy,
Anth. Pal. ix. 152-155.

1. 1. For the desolation of Sparta see Ep. 26, infra.

1. 8. From Virgil, Aen. vi. 851.

XXIII. Anth. Pal. ix. 101. In Plan. attributed to Antipater of Thes-
salonica.

In 5.0. 468 Mycenae was besieged by the Argives, and though the
Jyclopean walls resisted assault, the inhabitants were ultimately forced by
famine to evacuate the town, which was then destroyed and has never been
since repeopled. Pausanias gives an account of its destruction, and of the
Lion Gate and other remnants left in his time, Corinthiaca xvi. 5, 6.

1. 4. αἰπολίου is awkward with the αἰπολιχόν of the next line following
so closely. Jacobs, comparing J. 2 of the next epigram, plausibly emends
ἔγνωχα, σχοπέλου παντὸς ἐρημοτέρην.

XXIV. Anth. Pal. ix. 28: headed Πομπηίου, of δὲ Μάρχου Νεωτέρου.
These are probably, however, the same person, M. Pompeius Theophanes,
son of Theophanes of Mitylene, the friend of Pompey.

XXV. Anth. Pal. vii. 705.

l. 1. The Hellespont had a somewhat loose geographical signification :
properly it meant the straits between the Propontis and the bay of Sigeum,
but in Hat. i. 57 (cf. also iv. 38) it includes the Propontis. In the list of
Athenian allies at the outbreak of the Peloponnesian war (Thue. ii. 9) the
enumeration going round the Aegean is Ἰωνία, “Ἑλλήσποντος, τὰ ἐπὶ Opaxns ;
and probably there was no definite line of division between the two last.
But in any accurate geography Amphipolis would belong to τὰ ἐπὶ Θρᾷχης.

1. 2. For the legendary foundation of Amphipolis and the story of Phyllis
and Demophoon, see Ovid, Herotd. ii.

1. 3. Artemis Aethopia was worshipped at Aethopion in Lydia, Artemis
Brauronia at Brauron in Attica, and also on the Athenian acropolis.

l. 4. Two attempts to colonise Amphipolis, from Miletus in B.c. 497 and
from Athens in 8.0. 465, were unsuccessfully made, and the colonists
massacred by the Edonians, before the final colonisation of B.c. 437. The
position of Amphipolis commanding the coast road between Europe and
Asia and the great waterway of the Strymon was of the utmost military
and commercial importance. Its loss in the Peloponnesian war was a most
serious blow to Athens. For its later history down to its capture by Philip
of Macedon in 5.0. 358, see Grote, capp. 79 and 86, After the Roman con-
quest it still remained an important libera civitas, and it is not certainly

22-28 | NOTES 369

known when it fell into decay. Probably the population and traffic were
absorbed by Philippi and its seaport of Datum, where a Roman colony was
planted by Octavianus after the defeat of Brutus and Cassius. The date of
this epigram cannot be more than twenty or thirty years later.

i. δ. Atystdat, the Athenians.

XXVI. Anth. Pal. vii. 723. In 8.0. 189, Philopoemen, then general of
the Achaean league, advanced at the head of an allied force into Laconia,
and to save themselves from destruction the Lacedaemonians were com-
pelled to pull down their walls, dismiss their mercenaries, abrogate the
laws and customs of Lycurgus, and become subject to the league: Livy
XXXVill. 33, 34, and Polyb. vii. 8.

It was the boast of the Spartans, according to Plutarch, Agesilaus, ὁ. 31,
that no Laconian woman had ever seen the smoke of an enemy’s fire ; until
the invasion by Epaminondas in the spring of B.c. 369 no enemy had ever
set foot on Laconian soil. Xenophon says of the march of the Thebans
(Hell. vi. v. 237) ἐν δεξιᾷ ἔχοντες τὸν Εὐρώταν παρῆσαν xaovtes χαὶ πορϑοῦντες,
τῶν δ᾽ ἐχ τῆς πόλεως αἱ μὲν γυναΐχες οὐδὲ τὸν χαπνὸν ὁρῶσαι ἠνείχοντο, ἅτε
οὐδέποτε ἰδοῦσαι πολεμίους.

I. 2. Olenus, a small town on the Corinthian gulf near Patrae, was one of
the less important members of the Achaean league, and so is put here to
emphasize the contrast between the former and the present state of Sparta.

1. 3. So Arist. Rhet., τι. xxi. 8, quotes a warning of Stesichorus to the
Locrians not to presume, ὅπως μὲ of τέττιγες χαμόϑεν ἄδωσιν, sc. all the trees
‘having been cut down by invaders.

ἰ. 4. The wolves prowl unchecked, but find no flocks to attack.

XXVIII. Anth. Pal. ix. 501, with no author’s name; and again after
Anth. Pal. xi. 316, under the name of Palladas. If the heading εἰς τὴν πόλιν
Βηρυτόν be correct, it was written upon the destruction of the Roman colony
of Berytus in Syria by an earthquake, followed by a fire which broke out
among the ruins, on the 9th of July a.p. 551, in the reign of Justinian,
when the reputation of the city as the great school of civil law was at its
height. The catastrophe is recounted by the historian Theophanes, and is
the subject of two epigrams by Joannes Barbucailus, Anth. Pal. ix. 425, 426.
As it happened more than a century after the date of Palladas, this epigram
is either not his or refers to some other city. The former is the more pro-
bable. But ‘the greater part’ of Berytus had been destroyed by an earth-
quake before, in A.p. 349, the twelfth year of the reign of Constantius
(Georg. Cedr. 299 8,), and the epigram may possibly refer to this.

XXVIII. Anth. Pal. ix. 106. Cf. the epigrams with a similar point,
probably imitated from this, by Antiphilus, Secundus, and Julianus
Aegyptius, Anth. Pal. ix. 34, 36, 398.

I. 2. Cf. Catull. iv. 10, wbi iste post phaselus antea fuit comata silva.

I. 3. ἐπ ἠόνος ms. and Edd., ἐπ’ ἠόνας Plan. I have written ἠόνα :
διέσωσεν ἐς ἠόνα would be the regular construction. It is very clumsy to
put a comma after διέσωσεν and make ἐπ᾽ ἠόνος a mere repetition of ἐν χϑονί ;
and διέσωσεν ἐπ᾽ ἠόνος is hardly Greek.

24

370 GREEK ANTHOLOGY [SECT. 10

XXIX. Anth. Pal. ix. 138.

XXX. Anth. Pal. ix. 75. Also quoted by the scholiast on Aristoph.
Plut. 1130, and by Suetonius, Dom. ὁ. 14, in a curious story of Domitian :
minimis suspicionibus commovebatur ; ut edicti de excidendis vineis proposite
gratiam facere non alia magis re compulsus credebatur quam quod sparst
libelli cwm his versibus erant, χἄν με φάγῃς x72.

The fable is given in full in an epigram by Leonidas of Tarentum, Anth.
Pal. ix. 99, the last line being the same as in this; it is rendered in Latin
by Ovid, Fast. i. 353-8. For the practice of such sacrifices, see Suid. 8.0.
᾿Ασχός and Varro R. R., I. ii. 19.

XXXI. Anth. Pal. ix. 44: under the name of Statyllius Flaccus, but
the corrector has written in the margin, Πλάτωνος tod μεγάλου. It is also
quoted as Plato’s by Diog. Laert. Vita Platonis, ο. 33.

XXXII. Anth. Pal. ix. 74, called ἀδέσποτον. Attributed in Plan., and
also by the scholiast on the Nigrinus, ὁ. 26, to Lucian ; it is very much in
his style.

The thought is from Horace, Sat. τι. ii. 133. Achaemenides and Menippus
are conventional names for a rich and a poor man.

XXXIII. Anth. Pal. ix. 49, headed ἄδηλον, It is in the manner of
Palladas.

MOXIE) Anta Pali ix 13:

XXXV. Anth. Pal. ix. 8. Cic. Or. 11.2: O fallacem hominum spem,
fragilemque fortwnam et inanes nostras contentiones ! quae in medio spatio
saepe franguntur et corruunt, et ante in ipso cursu obruuntur, quam portum
conspicere potuerunt.

‘So there came one morning and sunrise, when all the world got wp and
set about its various works and pleasures, with the exception of old Joseph
Sedley, who was not to fight with fortune, or to hope or scheme any more.’
—Vanity Farr, c. Ἰχὶ.

x

I. Anth. Pal. xii. ἃ. This is one of two prefatory epigrams at the
beginning of the Μοῦσα Στράτωνος, the twelfth section of the Palatine
Anthology ; cf. Intr. p. 18.

l. 1. παρὰ βωμσῖς, sc. at the altar of Zeus Ἕρχειος where he was slain by
Neoptolemus : cf. Virg. Aen. ii. 550, which follows the details of the story
as given in the Hecuba and Troades of Euripides.

1. 3. Od. xix. 518 foll. :

ὡς δ᾽ ὅτε Πανδαρέου κούρη χλωρηὶς ἀηδὼν
καλὸν ἀείδησιν ἔαρος νέον ἱσταμένοιο
δενδρέων ἐν πετάλοισι χαϑεζομένη πυχινσῖσιν,
ἥτε ϑαμὰ τρωπῶσα γέει πολυηχέα φωνήν,
Tos’ ὀλοφυρομένη Ἴτυλον φίλον.

1-9] NOTES 371

11. Anth. Pal. v. 81.

I. 1. ἡ τὰ ῥόδα sc. ἔχουσα or φοροῦσα.

III. Anth. Pal. xi. 1.

ἰ. 1. The festival of the Hermaea was a sort of Greek Saturnalia on a
modified scale, celebrated with games and a general relaxation of discipline.
The scene of Plato’s Lysis is laid during a celebration of the Hermaea by
young men and boys conjointly (206 p). Athen., xiv. 639 B, says that at the
Cretan Hermaea servants feasted and were waited on by their masters.

ἕξ yous, between four and five gallons, which we must suppose to have
been in a single earthenware jar.

ἰ. 2. τένϑος ἔϑηχεν is an epic phrase (like aye’ ἔϑηκχεν) introduced to give
a tinge of parody and lead up to the next line with its more obvious
reference to Homer.

l. 3. From Od. xxi. 295, οἶνος καὶ Κένταυρον ayaxAutov Εὐρυτίωνα ἄασεν.

IV. Anth. Pal. vi. 44, headed ἄδηλον, of δὲ Λεωνίδου Ταραντίνου. It is
also attributed to Leonidas in Plan., and is quite in his manner.

I. 2. πρώτης MS. ; πρῶτα is restored from Suidas s.v. δράγματα.

1. 6. For πλείονα (ace. pl.) οὗ supra i. 9, καὶ διαϑεὶς τούτων χείρονα.

V. Athenaeus 111. 125 c, Καλλίστρατος ἐν ἑβδόμῳ συμμίκτων φησίν, ὡς
ἑστιώμενος παραΐ τισι Σιμωνίδης ὁ ποιητὴς χραταιοῦ ee ὥρᾳ, χαὶ τῶν
οἰνοχόων τοῖς ἐν μισγόντων εἷς τὸ ποτὸν χιόνος, αὐτῷ δ᾽ οὐ, ἀπεσχεδίασε
τόδε τὸ ἐπίγραμμα" τῇ ῥα χ.τιλ.

The snow is put into the wine directly : to cool jars of wine in snow was
a later refinement : see infra Ep. 37.

I. 1. τῇ 56. yove: the speaker is supposed to point to it.

l. 3. ἐκάμφϑη Mss. corr. Brunck.

I. 4. The same phrase is used of burial, supra 111. 8.

VI. Anth. Pal. v. 185 : headed εἰς λάγυνον. Cf. supra i. 1.

VII. Anth. Pal. vi. 77.

VIII. Anth. Pal. ix. 270. He will revel, taking pattern by the dances
of the stars, and will imitate heaven itself in adorning himself with a lyre
and crown.

I. 1. Cf. Comus, 1. 111, ‘we that are of purer fire imitate the starry quire.’

1. 2. λὰξ ἐβαρυναύρος Ms. It is not certain that we have recovered the
original line. βαρύνειν seems to be used as equivalent to the classical
βαρύνεσθαι, aegre ferre. For the phrase cf. λὰξ ations Aesch. Hum. 540.

I. 3. For the force of ἀνθόβολον see note on i. 17 supra.

i. 5. There isa play upon the two senses of κύσμος, ‘order’ and ‘universe’.

I, 6. The Lyre of Orpheus and the Crown of Ariadne are the constella-
tions still bearing these names. Their two chief stars, Vega and Alphecca,
are among the brightest in the northern hemisphere.

IX. Anth. Pal. ix. 546. ‘ Navigantium oblectamenta recensentur, says

372 GREEK ANTHOLOGY [SECT. Io

Jacobs; it is a curious and almost unique piece of description in the
manner of a Dutch painting.

1. 2. διφϑερίδες (Lat. segestria) were awnings of skin stretched over the
quarter-deck for protection against spray and rain.

1. 3. The cooking fire forces its way in little jets of flame through the
stones which are built up into a hearth ; over it a piece of meat is boiling
in a pot.

l. 5. καὶ χρε ὕπτοντα ιδιδοιμι ΜΒ.) corr. Schneider comparing 1]. xi. 775,
ἀμφὶ Boos Exetov χρέα.

l. 6. πρώτη Ms. corr. Boissonade. Cf. Pers. v. 146, Tu mare transilias ?
tibt torta cannabe fulto cena sit in transtro ?

I. 7. δὸς Aa Be was a game of chance. It is referred to again in an epigram
by Strato, Anth. Pal. xii. 204.

X. Anth. Pal. ix. 446. Imitated from the epigram of Metrodorus, infra
xii. 40.

1. '7. πολιή 50. ϑρίξ : for the full phrase cf. Ep. 49 infra.

1. 8. Ce may be either the vocative of ζωός (with retracted accent) or
the imperative of ζώειν. ἡ

ΧΙ. Anth. Pal. x. 43. In the Greek system of numerals, 7, 8, 9, 10 are
represented by the letters ζ, ἡ, 3, τ.

For the special force of ζῆϑι cf. the Vivamus mea Lesbia of Catullus, and
the celebrated motto dum vivimus vivamus which apparently is first found
on the tomb of Aelia Restituta at Narbo: Gruter, C. I. p. 609.

XI. Anth. Pal. ix. 133. ‘A gentleman who had been very unhappy in
marriage married immediately after his wife died: Johnson said, it was
the triumph of hope over experience.’ Dr. Maxwell, quoted in Boswell’s
Johnson, ann. 1770.

XIII. Anth. Pal. x. 55.

I. 3. φησίν Sone saith, for the more usual φασίν. The proverb is from
Od. xix. 163, where Penelope says to Odysseus in asking who he is, οὐ γὰρ
ἀπὸ δρυός ἐσσι παλαιφάτου οὐδ᾽ ἀπὸ πέτρης. Eustathius ad. 1. says of the
phrase, οὐ μόνον ἀρχαιογονίαν παλαιοτάτην σημαίνει ἀλλὰ xa ἦϑος ἀτέραμνον,
and it has the latter sense here. There may also be some slight touch of
cynical reference to the more famous passage where the phrase is first found,
Il. xxii. 126 :

οὐ μέν πως νῦν ἐστὶν ἀπὸ δρυὸς οὐδ᾽ ἀπὸ πέτρης
τῷ ὀαριζέμεναι ἅτε παρϑένος ἠΐϑεός τε
παρϑένος ἠΐϑεός τ᾽ ὀαρίζετον ἀλλήλοισιν.

I. 6. From Juvenal, Sat. i. 56, 7.
XIV. Anth. Pal. xi. 68.

XV. Anth. Pal. xi. 186. Under the name of Lucilius in Plan. The
νυχτιχόραξ is identified by some with the horned owl, strix bubo, whose
ferale carmen is spoken of by Virgil, Aen. iv. 462; by others with the

10-22] NOTES 373

heron, ardea. The ‘night-raven’ who sings in L’ Allegro, l. 7, is merely a
literal translation of the word.

Δημόφιλος, ‘Mr. Popular,’ is of course an imaginary name ; so the name
of the unlucky painter, infra, Ep. 17, is Edtvyos, and of the little man,
Ep. 22, Maxowv.

XVI. Anth. Pal. xi. 255.
XVII. Anth. Pal. xi. 215.

XVIII. Anth. Pal. xi. 82. Cf. the next epigram ; also Anth. Pal. xi.
83, 86.

1. 1. The δόλιχος δρόμος was of various lengths ; it seems that anything
longer than the δίαυλος or double stadium was included under the name.
Twenty-four stadia or something under three miles is the longest men-
tioned,

Arcadian games are also spoken of in an anonymous epigram, Anth. Pal.
ix. 21; contests at Tegea in one attributed to Simonides, Anth. Pal. xiii. 19 ;
and at Lycosura on Mount Lycaeus by Pausanias, Arcadica, ii. 1.

XIX. Anth. Pal. xi. 85. The δρόμος ὁπλιτῶν was introduced into the
Olympian games in the 65th Olympiad (B.c. 520) μελέτης Evexa τῆς ἐς τὰ
. πολεμιχά according to Pausanias, Hliaca A, vill. 10.

1. 4. τιμῆς εἵνεκα, ‘honoris causa, goes with τῶν λιθίνων ; the statues
- erected in honour of victors in the race.

1. 5. εἰς ὥρας usually means ‘next year, as in Theocr. xv. 74, xelg ὥρας
χήἤπειτα ; and so the scholiast on this epigram explains it ἐν τῇ ἕξης "OAvprtads,
But it rather means at the regular hour of opening next day.

1. 6. στάδιον comes in at the end παρὰ προσδοχίαν, ‘still short of the course
by—the course.’

XX. Anth. Pal. xi. 89. The δορυδρέπανον was a hook mounted on a
long pole and used as a grappling-iron in sieges and sea-fights. Caesar B. G.
iii. 14, falces pracacutae insertae adfixacque longuris non absimili forma
muralium faleium ; Strabo in his account of the same battle calls these
δορυδρέπανα.

ΧΧΙ. Anth. Pal. xi. 99.

1.3. καταβὰς οἷος ὅτ᾽ ἔζη ms. Brunck’s correction, inserting ὅλος, which
might easily have dropped out before οἷος, the more so on account of the
ὅλως in I. 2, is the simplest way of filling up the line.

1. 4. σκελετόν (sc. σῶμα) is, according to etymology, rather a mummy than
a skeleton ; but in medical Greek it means the latter.

1. 5. The φρατρίαι were subdivisions of the φυλή ; φράτορες were supposed
to be united by a common ancestry, and had common religious rites.

XXII. Anth. Pal. xi. 95. In Plan. under the name of Ammianus.
1. 3. ψιλός, ‘without armour,’ like γυμνός.

374 GREEK ANTHOLOGY [SECT. 10

XXII. Anth. Pal. xi. 88.

I. 2, δῶ ms. δρῶ corr. Hecker. The gnat serves her for the eagle of
Ganymede: ‘in raptoris potentia excusationem facilitatis suae quaerit’
Jacobs.

XXIV. Anth. Pal. xi. 101.
XXV. Anth. Pal. xi. 103.

XXVI. Anth. Pal. xi. 106. Compare the stories of Cinesias in Athenaeus
xii. 551, 552.

l. 3. ἀράχνη here of course means the web, not the spider itself, and in
l. 6, νῆμα τῆς ἀράχνης “ἃ thread of the web.’ The usual word for a spider’s
web is ἀράχνιον.

XXVIII. Anth. Pal. xi. 113. There is a play on the word ἅπτεσϑαι,
which is used (1) of a suppliant embracing the knees or hand of a god, and
(2) of a disease attacking a patient. Zeus ‘caught the Marcus’, as Beatrice
says, M. Ado i. 1, ‘God help the noble Claudio! if he have caught the
Benedick, it will cost him a thousand pound ere he be cured.’

XXVIII. Anth. Pal. xi. 114. A physician called Hermogenes is men-
tioned by Galen, and another by Dion Cassius; but the name here is pro-
bably taken at random. The names Hermogenes and Diophantus have
both occurred already, supra Epp. 20 and 25 ; see also the next epigram.

l. 3. Κρόνος, the ‘inpius Saturnus’ of Horace Od. τι. xvii. 22.

I. 5. ἐχτείνας 50. χέρα. ;

l. 6. ἀπασχαρίζω is a verb used to express the struggles of a dying fish
out of water.

XXIX. Anth. Pal. xi. 257. Cf. Martial vi. 53, in somnis medicum
viderat Hermocratem.

XXX. Anth. Pal. xi. 115.

l. 2. Cf. Juvenal xiii. 93, Isis et irato feriat mea lumina sistro. Harpo-
crates (Egyptian Her-pe-chruti, Horus the child) is a form of the name of
the hawk-headed Horus, the son of Osiris and Isis.

XXXII. Anth. Pal. xi. 121.
XXXII. Anth. Pal. xi. 159.

XXXII. Anth. Pal. xi. 162. There is an epigram of similar point,
attributed to Lucilius, Anth. Pal. xi. 163, where the name of the soothsayer
is Olympus. Neither need be a real name; these epigrams are merely
academic exercises.

For the practice of such consultations cf. the story of Xenophon’s journey
to Delphi before he joined the expedition of Cyrus, Anab. 111. i. 4-7.

XXXIV. Anth. Pal. xi. 365.

Ι. 5. The Ψηφίδες are the balls on the abacus used for calculations and
helped out by the fingers, which were used to express different numbers as
they were held straight or crooked.

23-41] NOTES 375

I. 8. ὑλαίη, ‘wild’: cf. the use of silva for an undergrowth of weeds,
Virg. Georg. i. 152.

1. 11. χεμάς is a young deer between the fawn (νεβρός) and the full-grown
ἔλαφος.

1. 12. λήϊα must be understood again as the subject to ὄψεται, unless, with
some editors, we read ὄψεαι,

XXXV. Quoted in an anonymous argument to the Panathenaic oration
of Aristides of Smyrna, the pupil of Herodes Atticus and friend of Marcus
Aurelius, as having, however, been made not on him, but on a later
rhetorician of the same name.

Athenaeus, viii. 348 p, has a similar story of a music teacher who had
figures of Apollo and the nine Muses in his schoolroom, and when asked
how many pupils he had, replied, Σὺν τοῖς Dedig δώδεχα. Cf. also the story
of Diogenes in Diog. Laert. vi. 69.

1. 2. συψέλια is a barbarous transliteration of the Latin subsellia : βάϑρα
would be the pure Greek word.

XXXVI. Anth. Pal. xi. 251.

I. 2. τούτων δύο Ms., the second τῶν having fallen out.

I. 3. The one party in the suit claimed five months’ rent for a house ;
the other replied that he had used the mill at night. The last may refer
to some question of rights over a mill-stream which might only be used at
.certain hours. Or possibly αὐτόν is to be supplied again from /. 3, and
the counter-suit was on the ground of annoyance from his neighbour grind-
ing corn by night.

XXXVII. Anth. Pal. xi. 244, with no author’s name; in Plan. under
the name of Nicarchus.

There is an epigram with the same point in Martial, ii. 78.

ἰ. 1. The original sense of miliarium (which must not be confounded
with miliarium, a milestone) was the socket in which the upright iron
beam of an olive-press was fixed; Cato de Agri Cultura, c. 20. Later
it seems to have been applied to a tall narrow caldron in baths of a similar
shape, and so it is explained by Athenaeus iii. 98 Ὁ, as equivalent to ἰπνολέβης,
the urn in which water was kept hot over charcoal for mixing with wine ;
cf. supra i. 16.

1. 4. βαύχαλις is the same as ψυχτήρ, a wine-cooler.

XXXVIII. Anth. Pal. xi. 259. The horses and witches of Thessaly
were both famous from early times : for the latter cf. swpra 11. 24.

XXXIX. Anth. Pal. xi. 315. The covers of the cushions used at dinner
in rich houses were made of precious stuffs and embroideries. Compare
with this the lines of Catullus (xii) on the man who stole napkins at dinner.

XL. Anth. Pal. xi. 236. There are several versions of this jest attributed
to Phocylides (fl. 520 8.6.) from which this epigram is probably imitated.

XLI. Synesius, Hpist. 127, and Suidas, 8.0. φρῦνος. Of the many towns
called Laodicea, that in Asia on the Lycus, and that on the coast of Syria

376 GREEK ANTHOLOGY [SECT. 10

south of Antioch were the most important. It is not known to which this
epigram refers.
I. 1. ἀσπίς is the Egyptian cobra ; ὄφις the common (venomous) snake.

ΧΙ]. Anth. Pal. xi. 331. In Plan. under the name of Antipater of
Thessalonica.

1.1. The mss. give the form Σωτήριχος here and inl. 3. More than one
Athenian trireme was called Σωτηρία: Bockh, Seewesen des Att. Staats, p. 92.
Among upwards of 250 names of triremes in Bockh’s lists, all are feminine
with two doubtful exceptions, the ᾿Ηγησίπολις and the Φώς (or Φῶς 2).
Perhaps we should read Σωτήριον as a feminine diminutive in both lines
here.

1. ἃ. The allusion is to Zeus under his title of Σωτήρ or Σωτήριος, the
preserver of voyagers.

I. 4. The play on the double sense of παρα, ‘alongside of’ and ‘to’ can
hardly be preserved in a translation. Grotius neatly turns it :

Nomen inane gerit ; nam fertur quisquis in illa, est
Aut ubi litus adest, aut ubi Persephone.

XLIII. Anth. Pal. xi. 391.

XLIV. Anth. Pal. xi. 410. Attributed in Plan. to Palladas.

1. 1. βακτροπρόσαιτος, one who extorts alms by the help of his cudg
cai: Cynics were accused of doing this.

5. βόλβα is a transliteration of the Latin vulva. It is called στρυφνή

fue it was served with a sharp sauce flavoured with silphium.

l. 6. Cf. the story which Lucian tells of the Cynic Demonax (Vit. Demon.
c. 52), ἐρομένῳ δέ τινι εἰ καὶ αὐτὸς πλαχοῦντας ἐσϑίοι, οἴει οὖν, ἔφη, τοῖς μωρσὶς
τὰς μελίττας τιϑέναι τὰ χήρια: One of the sayings recorded of this same
Demonax was ϑαυμάζω Διογένην καὶ φιλῶ ᾿Αρίστιππον ; and indeed in the
lives of their more refined professors the Cynic and Cyrenaic philosophies
tended to become undistinguishable. ‘The heathen philosopher, when he
had a desire to eat a grape, would open his lips when he put it into his

mouth ; meaning thereby, that grapes were made to eat, and lips to open.’
—As You Like It, v. i.

XLV. Anth. Pal. vii. 121. Also quoted by Diog. Laért. viii. 44.
XLVI. Anth. Pal. xi. 406.

XLVU. Anth. Pal. xii. 50, 1]. 1-4, For the remainder of the epigram
as it stands in the Ms. see infra xii. 11, and the notes there.

I. 3. κατεϑήχατο Ms., corr. Schneidewin. The verb applies strictly to
ἰούς only, but τόξα καὶ tous is treated as a single phrase.

I. 4. Cf. the epigram of Antipater in Anth. Pal. xi. 158, σὺ δ᾽ ἔφυς οὖν

~ ͵
σποδιῦσι χυων.

XLVIII. Anth. Pal. xi. 429ὅ. The sense is from Theognis, 627, Bergk :
Αἰσχρόν τοι μεϑύοντα παρ᾽ ἀνδρασι νήφοσι μείναι
αἰσχρὸν δ᾽ εἰ vi, Qwyv πὰρ με εϑύουσι με ἕνοι.
But Lucian has just made that slight change in form which makes an
epigram out of what was a γνώμη.

42-49] NOTES 377

XLIX. Anth. Pal. v. 112. Cf. Songs before Sunrise, Prelude, vv. 10
and foll. : ‘Play then and sing ; we too have played.’
I. 1. ἠράσϑην here is middle, not passive like ἠράσϑης, supra ix. 16.

TE
I. Anth. Pal. vii. 566.

II. Anth. Pal. xi. 8: also engraved on the tomb of Cerellia Fortunata
at the Villa Pamfili-Doria at Rome, C. I. G. 6298. The marble reads in
I. 1, στήλῃ χαρίσῃ" λίϑος ἐστίν, and in J. 3, εἴ τι ἔχεις μετάδος, and adds another
couplet,

Τοῦτ᾽ ἔσομαι γὰρ ἐγώ᾽ σὺ δὲ τούτοις γῆν ἐπιχώσας
εἴφ᾽, ὅ τ᾽ ἐγὼ οὐχ ἦν, τοῦτο πάλιν γέγονα.

Cf. the pseudo-Anacreon, 30 Bergk :

τί σε O& λίϑον μυρίζειν
PX rome! μ

τί δὲ γῇ χέειν μάταια :

ἐμὲ μᾶλλον ὡς ἔτι ζώ

μύρισον.

/, 2. ‘Neither make the fire blaze’ sc. with wine and ointments poured
_ over it. Cf. Georg. iv. 384, ter liquido ardentem perfudit nectare
Vestam, ter flamma ad summum tecti subiecta reluxit. It is not therefore
necessary to read βρέξης with most editors.

Til. Anth. Pal. vii. 655.
1. 4. ᾿Αλχάνδρῳ. ms. Ρα]., ᾿Αλχανὸρος Plan. ; Hecker very ingeniously reads,

δ᾽ ,
et με ϑανοντα
, τ U ~
γνωσοντ᾽, ᾿Αλχανδρῳ τοῦτο τί Καλλιτέλευς ;

But the sense rather seems to be that he will take his place in the under
world without the certificate of a pompous tomb and inscription, and be
known there simply by his own name, ‘A son of B’ being the full name
of a citizen. γνώσονται has a double construction, with a direct object and
an object-clause, ‘the dead will know me dead, (and) that this (dust) is
Alcander son of Calliteles’.

IV. Anth. Pal. vii. 321.

I. 3. The olive was propagated from long pieces of the trunk sawn off and
stuck in the ground, πρέμνα, Latin caudices. Cf. Virg. Georg. ii. 30, and
for the verb ἐνεστήριξεν (Salmasius’ correction of the ms. ἀνεστήριξεν) the
stirpes obruit arvo of the same passage.

1. 4. Perhaps we should read χλημασί σ᾽ 7yAaioev.

V. Anth. Pal. vii. 78. On the famous geographer Eratosthenes of
Cyrene, principal keeper of the Alexandrian library under Ptolemy 111, Iv,
and v, who died at the age of more than eighty about 196 B.c.

378 GREEK ANTHOLOGY [SECT. 11:

I. 1. ἀμαυρή carries on the metaphor in ἔσβεσεν : ‘such sickness as makes
the light of life burn dim’.

1. 6. ‘The beach of Proteus’ is the coast of Egypt, where Menelaus meets
Proteus in the Odyssey, Book iv.

VI. Anth. Pal. vii. 731.

1. 1. αὐτῷ Ms., αὔῳ corr. Meineke.

1. 4. ποίας ‘mowing times’ 7.e. summers ; the use is not unfrequent in
later Greek. ‘Suaviter hoc dictum de sene, cui nihil wpricatione tucundius’
Jacobs.

1. 6. ἐς πλεόνων ἦλϑε μετοιχεσίην is the Latin ad plures conmigravit. See
note on iil. 36, supra.

VII. Quoted as by Theaetetus, in the life of Crantor, Diog. Laert. iv. 25.

Crantor of Soli was head of the Academy about 300 B.c. Diog. Laert.
mentions his having written poetry. It is not known to what age he lived.

1. 2. Cf. the famous line of Menander, δὶς Ἐξαπατῶν fr. 4, ὃν of ϑεοὶ
φιλοῦσιν ἀποϑνήσχει νέος.

1. 4. εὐϑυμίη Ms. against the metre. I have written εὐφροσύνῃ which has
about the same sense. Cf. the tribute paid to Sophocles in the under world,
Aristoph. Ran. 82, ὁ δ᾽ εὔχολος μὲν eva’, εὔκολος δ᾽ ἐχεῖ,

VIII. Anth. Pal. vii. 111.
1. 1. ταῦτα may either agree with βοαύλια or be the object of λέξατε. Ψυχρὰ
βοαύλια are the frigida rura of Virgil, Georg. iii. 324.

IX. Anth. Pal. vii. 657. Cf. the description of the shepherd’s funeral in
Longus 1. 31: φυτὰ ἥμερα πολλὰ ἐφύτευσαν χαὶ ἐξήρτησαν αὐτῶν τῶν ἔργων
ἀπαρχάς" ἀλλὰ xa γάλα κατέσπεισαν καὶ βότρυας κατέϑλιψαν καὶ σύριγγας πολλὰς
χατέχλασαν᾽ ἠχούσϑη χαὶ τῶν βοῶν ἐλέεινα μυχήματα, καὶ ὡς ἐν ποιμέσιν εἰχάζετο,
ταῦτα ϑρῆνος ἦν τῶν βοῶν ἐπὶ βουχόλῳ τετελευτηχότι.

Il. 1, 2. There is a curious inversion of the verbs, ἐμβατέοντες going in
sense and construction with ῥάχιν, and οἰοπολείτε with αἶγας καὶ dic. Some
editors propose to read ῥάχιν ἐμβατέοντες. . . οἱοπολεῖίτ᾽ dias, but there is no
justification for doing so. The disarrangement of the words is merely a
piece of not very happy over-refinement of style.

1. 5. Cf. Keats, Isabella, stanza 38,

‘A sheepfold bleat
Comes from beyond the river to my bed’.

With the ἀξεστος πέτρα may be compared the ‘large flint-stone’ of the same
verse,

X. Anth. Pal. vii. 171.
XI. Anth. Pal. vii. 209. Also quoted by Suidas s.vv. δυηπαϑής and

ἠρία. :
1. 1. δυηπαϑιής is explained by Suidas as equivalent to χαρτεριχύς ; it has
much the same force as the Homeric πολύτλας.

1. 4. So ϑαλάμη is used of the cells in a honey-comb, Anth. Pal. vi. 239,
ix. 404. ;

6-19] NOTES 379

XII. Anth. Pal. vii. 203. On a decoy partridge (παλεύτης). Aelian,
Nat. An. iv. 16, gives an account of the way in which they were used :
προσάγεται δὲ apa ὁ πέρδιξ καὶ σειρῆνας ἐς τὸ ἐφόλχον προτείνει τὸ τῶν ἄλλων
τὸν τρόπον τοῦτον. ἕστηχεν ἄδων, καὶ ἔστιν of τὸ μέλος προχλητιχόν, ἐς μάγην
ὑποϑῆγον τὸν ἄγριον, ἕστηχε δὲ ἐλλοχῶν πρὸς τῇ Mayr’ ὁ δὲ τῶν ἀγρίων κορυ-
φαϊος ἀντάσας πρὸ τῆς ἀγέλης μαχούμενος ἔργεται" ὁ τοίνυν τιϑασὸς ἐπὶ πόδα
ἀναχωρεῖ, δεδιέναι σχηπτόμενος, ὁ δὲ ἔπεισι γαῦρος οἷα δήπου χρατῶν ἤδη, καὶ
ἑάλωχεν ἐνσχεϑεὶς τῇ παγῆ. Cf. also Xen. Mem. τι. i. 4, and supra, iii. 56.

L. 1. δρίος ὑλῆεν is a variation of the ordinary δρίος ὕλης, a forest copse.

XIII. Anth. Pal. vii. 199. The ms. has the heading εἴς ὄρνεον ἀδιάγνωστον,
οἶμαι ὃὲ λάρον. This probably indicates that the words φίλε λάρε, which are
the reading in the ms. /. 3, are a conjectural restoration where the original
Ms. was corrupt or illegible. It is a bad guess ; λάρος has « short in
classical Greek ; and a sea-gull would never be kept on account of its voice.
‘De huius aviculae cantu nihil leg quod ad eius commendationem pertinet,
as Jacobs quaintly observes. This must be some sort of singing-bird ; and
in fault of a better, we must retain the reading of Plan., φίλ᾽ ἐλαιέ, which
may indeed be right, if ἐλαιός be a collateral form of ἐλέα, a bird mentioned
by Aristotle in the Hist. An. and apparently a kind of reed-warbler.

I. 4. Cf. supra iii. 55, and the note there.

XIV. Anth. Pal. vii. 189. On a field-cricket (gryllus campestris) kept
as a plaything; cf. swpra i. 65: and White’s Selborne, Letter xivt, ‘One
of these crickets, when confined in a paper cage and set in the sun, and
supplied with plants moistened with water, will feed and thrive, and
become so merry and loud as to become irksome in the same room where a
person is sitting: if the plants are not watered it will die.’

I. 3. Κλύμενος, the Renowned, was one of the names of the lord of the
under world. Pausanias, Corinthiaca, xxxv. 9, says that behind the temple
of Chthonia at Hermione there was a ‘place of Clymenus’ with a chasm in
the earth through which Heracles was said to have brought Cerberus up
from Hades.

I. 4. Crickets were supposed to feed on dew. Instead of the wetted turf
in its cage it has now all the meadows of Hades and the dew of Persephone
for playground and food.

XV. Anth. Pal. ix. 432. Placed by Ahrens among the dubia et spuria
attributed to Theocritus.
1. 2. διγλήνως ὦπας, the geminas acies of Virgil, Aen. vi. 788.

XVI. Anth. Pal. ix. 417.
XVII. Anth. Pal. vii. 173, with the title Διοτίμου, of δὲ Λεωνίδου.

XVIII. Anth. Pal. vii. 398. Cf. the epigram by Leonidas of Tarentum,
Anth. Pai. vii. 660, from which this is probably imitated.

XIX. Anth. Pal. vii. 477. On an Egyptian woman, buried at Eleu-

380 GREEK ANTHOLOGY § [secr.11

therne in Crete, according to the generally accepted correction of Reiske,
Ἐλευϑέρνης, for the ms. éAcude_ping in L. 3.
l. 4. Cf. the saying of Aristippus quoted in Stobaeus, Flor. xl. p. 233,

a“ , ’ " Ace , .« So. -- en?
ἢ οὐ πανταχγοῦεν ἴση χαὶ ὁμοία ἡ εἰς Αἰδου οὗος ;

XX. Anth. Pal. vii. 510. The ms. reading Χίον in J. 4 has generally been
regarded as a false quantity, indicating either a corruption in the text or a
very late date for the epigram. The ordinary name of the island in classical
Greek is Χίος with t short. Many alterations have been suggested, and will
be found detailed in Bergk Lyr. Gr. 111. p. 470. Bergk himself in his fourth
edition reads οὐδ᾽ ἵχευ Kéwy πάλιν ἀμφιρύτην. But some doubt is thrown on
the supposed necessity of an alteration by an epigram of the 3d or 4th
century B.c. where the original marble is extant (Kaibel Epigr. Graec. 88)
with a line :

Χῖος ἀγαλλομένη Συμμάχῳ ἐστὶ πατρίς

where the form Χίος is quite unquestionable. This epigram has the all but
inimitable touch of Simonides, and if not authentic is a very clever forgery.

XXI. Anth. Pal. vii. 376.
l. 6. Cf. Winter's Tale iv. 3:

‘a wild dedication of yourselves
To unpath’d waters, undream’d shores’ :

and the last verses of M. Arnold’s Scholar Gipsy.

XXII. Anth. Pal, vii. 680,

1. 2. δυσπλοίη Ms. Hecker’s correction δυσπνοΐη seems almost necessary :
χκοπάζειν, ‘to abate’, of a storm (e.g. Hdt. vii. 191, ἄλλως κως αὐτὸς ἐθέλων
ἐχόπασεν, of the great storm which fell on the Persian fleet at Artemision)
could hardly be used of a voyage.

XXIII. Anth. Pal. ix. 82.
I. 6. The story of ‘the Tuscan mariners transform’d’ is told in Hom.
Aymn. vi. and Ovid, Met. iii. 660 foll.

XXIV. Anth Pal. vii. 287.
1. 8. Observe the metaphor in εἵλχυσάμην ; the fisherman drew up Death
in his nets.

XXV. Anth. Pal. vii. 286.

XXVI. Anth. Pal. vii. 534. The first couplet is in Plan. under the
name of Theocritus, and the whole epigram is generally printed among the
Theocritean epigrams (26 ed. Ahrens).

1. 4. Hollow Syria is properly the plain between the two ranges of
Libanus and Anti-Libanus ; but it was also used to include Daraascus and
the country east of Anti-Libanus up to the edge of the desert, and here
seems to include the coast west of Libanus as well.

l. 6. The morning setting of the Pleiades was about the.3d of November.

20-31] NOTES 381

XXVII. Anth. Pal. vii. 278.

1. 2. Jacobs would read ἀγρύπνου λήσομαι Ἰονίου, without any obvious
necessity.

1. 4. ξείνου ms. Pal. ; ξείνων, Plan.

1. 6. After this line the mss. add another couplet :

Μόχϑων οὐδ᾽ ᾿Αἴδης με χατεύνασεν, ἡνίκα μοῦνος
οὐδὲ ϑανὼν λείη χέχλιμαι ἡσυχίῃ.

which has the appearance of being a later addition, as it only repeats rather
feebly what has been said already, and this is not like Archias.

XXVIII. Anth. Pal. vii. 636.

1. 1. The metrical quality of this line should be noticed ; it is a bucolic
hexameter with no caesura, so that the rhythm slides heavily down on the
spondee followed by a pause at the beginning of the pentameter. I do not
know that this can be precisely paralleled elsewhere ; the effect is very
beautiful.

1.2. The word λευχόλοφον does not occur elsewhere ; the picture seems
to be of a white limestone hill with grassy slopes towards the sea. Reiske
compares λευχόπετρον, which is used by Polyb. iii. 53 and x. 30.

1. 3. ποτε βληχημένα βάζων ms. which in spite of Meineke’s defence is mere
nonsense, the ποτε being meaningless, and the phrase βληχημένα βάζειν, ‘to
talk bleatingly’, ridiculous even if there were such a word as βληχημένα.
The reading in the text is Lobeck’s, which is the most satisfactory correction
yet suggested.

1. 4. 7 is equivalent to μᾶλλον 7, as iniv. 30 supra. νήογα is another
ἅπαξ εἰρημένον. It probably means little if anything more than vavtxa.
If there is any special force in the latter half of the compound it would
seem to be ‘that make the ship keep her way’.

l. 6. ἀπημέσατο, Salmasius from Ms, ἐφημίσατο. Others read ἐφωρμίσατο.

XXIX. Anth. Pai. vii. 284.

XXX. Anth. Pal. vii. 271.
ll. 3 and 4 are imitated from the epigram of Simonides, supra ili. 23.

XXXI. Anth. Pal. ix. 271.

I. 1. Ihave retained the ms. reading, as, though rather harsh, it gives a
sufficiently good sense. The heading in the ms., εἰς τὴν ἐν Βοσπόρῳ
ϑάλασσαν, does not seem to have any further foundation than a misreading
of this line (---βος πόρος). Jacobs suggests χαὶ πότε δὴ νήεσσ᾽ ἄφοβος πόρος.

i, 2. The days of the halcyons, ai ἀλχυονίδες or ἀλχυόνειαι, were the week
before and the week after the winter solstice, when there was usually fine
weather, in which the halcyon was believed to breed. Cf. Simonides,
fr. 12, Bergk :

ὡς ὁπόταν γειμέριον χατὰ μῆνα πινύσχῃ

Ζεὺς ἄματα τέσσαρα καὶ δέχα

λαϑάνεμόν τέ μιν ὥραν χαλέοισιν ἐπιχϑόνιοι

ἱρὰν παιδοτρύφον ποιχίλας

ἀλκχυόνος. ͵

and Aristotle, Hist. An. v. 9, ἡ δ᾽ ἀλχυὼν τίχτει περὶ τροπὰς τὰς χειμερινάς.

982 GREEK ANTHOLOGY [SECT. II

διὸ καὶ χαλοῦνται, ὅταν εὐδιειναὶ γένωνται al τροπαί, αλκυόνειαι ἡμέραι, ἕπτα
μὲν πρὸ τροπῶν, ἕπτα δὲ μετὰ τροπάς. For the story of Ceyx and Alcyone
and a description of haleyons’ weather, see Lucian, Halcyon sive de trans-
formatione, sub in.

1. 3. στηρίξατο χῦμα refers to the solid appearance of a smooth sea, the
marmor of Latin poetry.

1. 5. The construction is ἡνίχα αὐχεῖς (εἶναι) μαῖα.

XXXII. Anth. Pal. vii. 263: ascribed to Anacreon. It is certainly of
later date, and is in the manner of Leonidas of Tarentum.

1,2. From II. xi. 306, Notovo βαϑείη λαίλαπι.

1. 3. ὥρη ἀνέγγυος, a season that there are no means of binding down.

XXXII. Anth. Pal. vii. 482.

ἰ. 1. A boy’s hair was cut at the festival of the Apaturia next following
his third birthday, when his name was enrolled in his φρατρία. The festival
was called Κουρεώτις.

I. 5. Περίχλειτος, Edd. after Salmasius. The ms. has περι, with a mark
signifying that something was lost.

l. 6. Cf. Antipater in Anth. Pal. vii. 467, ἐς τὸν ἀνόστητον χῶρον ἔβης
ἐνέρων.

XXXIV. Anth. Pal. vii. 062. Ascribed to Theocritus in a note in one
of the mss. of Plan., and also found in some mss. of Theocritus. The
heading in ms. Pal. is Λεωνίδου merely ; but from the style it is safe to
ascribe it to Leonidas of Tarentum.

1. 2, Ahrens would read xodAcis, and πολὺ τῆς has also been suggested.
But πολλῆς ἡλικίης is equivalent to πολλῶν ὁμηλίχων.

ll. 5, 6. The mss. of Theocritus read alot ἐλεινά or αἱ ἐλεεινά, and τὰ
λυγρότατα.

ΧΧΧΥ. Anth. Pal. vii. 483.

XXXVI. Anth. Pal. vii. 466.

l. 6, ὠχέος ἠελίου is from Mimnermus, fr. 11 Bergk. This couplet may
have suggested to Gray the opening of his noble sonnet on the death of
Richard West.

1. 8. The dead boy becomes almost identified with the Angel of Death,

Hermes πρόπομπος.

XXXVI. Anth. Pal. ix. 254.

1. 8. λοιπαῖς, to all other mothers. With the passionate exaggeration may
be compared the famous me primam absumite ferro of the mother of
Euryalus, Aen. ix. 494.

XXXVUI. Anth. Pal. vii. 671 ; with the heading ἄδηλον, of δὲ Βιάνορος.
It is headed ἄδηλον in Plan.

XXXIX. Anth. Pal. vii. 513.

1.1. φῆ ποτε πρόμαχος Ms. Pal. Πρωτόμαχος is the correction generally
accepted. Plan. has Τίμαργος.

/. 3. If the ms. text is right, there is a construction ad senswm, a sort

32-45] NOTES 383

of combination of the two expressions οὐ λήσῃ παιδός, οὔτ᾽ ἀρετὴν οὗτε
σαοφροσύνην and ov λήσῃ παιδός, ποϑέων ἀρετὴν καὶ _ σαοφροσύνην (αὐτοῦ).
Bergk alters λήσῃ to λήξεις, and Dilthey would read οὐ τ᾽ ἀρετὴν ποϑέων οὗ
τε σαοφροσύνην.

XL. Anth. Pal. vii. 711.

I. 1. Pitane was one of the Aeolian colonies on the bay of Elaea in Asia
Minor. It was never a place of any importance.

1. 3. διωλένιον, held at the full stretch of the arm. Cf. The Ancient
Mariner (verse omitted after the edition of 1798) :

They lifted up their stiff right arms,
They held them straight and tight ;

And each right arm burnt like a torch,
A torch that’s borne upright.

1. 6. Aj dng πέλαγος occurs again in an epigram by Dionysius of Rhodes,
Anth. Pal. vii. 716. So Styx is spoken of indifferently as a river or a lake.

1. 7. For the ἐπιϑαλάμιος χτύπος on the doors of the bridal chamber, see
the next epigram, and Hesychius s.v. χτυπιῶν.

XLI. Anth. Pal. vii. 182.

1. 1. There is a reminiscence of Soph. Ant. 815, ov? ἐπινυμφίδιός πώ μέ
τις ὕμνος ὕμνησεν, ἀλλ᾽ ᾿Αχέροντι νυμφέυσω.

I. 3. For λωτοί see note on iv. 19 supra.

XLIL Anth. Pal. vii. 600. In Plan. under the name of Paulus
Silentiarius.

1.1. The ms. has εἶλε in both places. εἶχε, the ordinary reading, is no
doubt right. It is taken up again by χατέχει in J. 6.

XLII. Anth. Pal. v. 108.

1. 4. Brunck and Jacobs alter 790s to ἄνθος, but the former is more in
the manner o ἄτι τες

1. 6. τῶν ἐπὶ σοί is simply equivalent to τῶν σῶν.

XLIV. Anth. Pal. vii. 735. The grave of Theano would seem to have
stood outside the city gate of Phocaea.

1.2. For the epithet ct. the last words of Meleager in Atalanta in
Calydon :

Kiss me once and twice
And let me go; for the night gathers me,
And in the night shall no man gather fruit.

XLV. Anth. Pal. vii. 378.
1. 3. ἄμφω δ᾽ ὡς ὑμέναιον Ms. corr. Jacobs.
l. 4. Cf. Rom. and Jul. v. 3:

—Here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
. . . I still will stay with thee
And never from this palace of dim night
Depart again.

984 GREEK ANTHOLOGY [SECT. 12

XLVI. Anih. Pal. vii. 476.
l. 4. μνᾶμα ms. in both places ; corr. Brunck.

XLVIL. Anth. Pal. vii.41. This epigram and the next following it in the
Anthology, vii. 42, both on Callimachus of Alexandria the famous scholar
and poet, are written as one in ms. Pal. but are properly separated in Plan.
and in modern editions of the Anthology. Another epigram attributed to
Apollonius Rhodius, Anth. Pal. xi. 275, gives the criticism of a jealous
rival on Callimachus.

ἰ. 1. The Αἴτια of Callimachus opened with an account of a dream in
which the poet found himself among the Muses and received instruction

from them.
1.2. From I7. xxiii. 19, Achilles over Patroclus.

XLVIII. C. I. G. 6789; Kaibel Epigr. Graec. 548. On a tomb at
Nimes. Above the verses is the inscription,
D. M.
C. VIBI LICINIANI V. ANN. XVI. M. VI.
C. VIBIVS AGATHOPVS ET LICINIA NOMAS
FILIO OPTIMO PIISSIMO
1. 2. αἰγίπυρον or αἰγίπυρος was a weed with a red flower (perhaps the
loosestrife ?) : it is mentioned in Theocr. iv. 25 as growing by a river-side
OnE καλὰ πάντα φύοντι.

XLIX. Anth. Pal. vii. 807.
L. Anth. Pal. vii. 842.

LI. Anth. Pal. vii. 670. This, perhaps the most perfect epigram ever
written in any language, is most probably authentic. See supra i. 5, for a
reference to the whole question of the epigrams ascribed to Plato, and supra
i. 41 for Aster. Cf. also the well-known χαὶ od Ἕσπερος 009 “Edos οὕτω
ϑαυμαστός in Arist. Hth. v. i. 15.

ΧΙ

I, Anth. Pal. v. 12.
1. πυχάζειν, ‘to crown with garlands’ as in Hdt. vii. 197. The full
phrase, στεφάνοις χεφαλὰς πυχασώμεϑα, occurs infra Ep. 10.

II. Anth. Pal. v. 39.
I. 3. When I am dead, there will be many bearers ‘kirkward to carry

me.’
l. 4. τῶνδ᾽ ἕνεκεν, sc. to save them their trouble. ἴσως is sarcastic, like the

Latin credo.

111. Anth. Pal. xi. 168.

l. 4. The diminutive ἐρωμένιον does not seem to occur elsewhere. Plan.
reads γνούς τι μελισμάτιον, probably from the same reason which induced the
change in the text of Ep. 10 infra, 1. 2.

I-11] NOTES 385

. a! ν᾽ ' ~ \ , , \
1. 6. Lucian de Luctu c. 10, éxerdav τις ἀποϑανῃ, πρῶτα μὲν φέροντες ὀβολὸν
ἐς TO στόμα xatEdyxav αὐτῷ, μισϑὸν τῷ πορϑμεί τῆς ναυτιλίας γενησόμενον.

IV. Anth. Pal. xi. 62. This epigram is a free rendering into elegiacs of
Eur. Ale. 782-791, for the greater part keeping pretty closely to the words
of Euripides.

V. Anth. Pal. xi. 56.

1. 3. ϑνητὰ λογίζου is equivalent to the common ϑνητὰ φρονεῖν.

1.5. The force of δοπὴ μόνον has been well illustrated from Seneca de
Brevitate Vitae ο. 10: praesens tempus in cursu semper est, fluit et praecipit-

atur.

VI. Theognis //. 887-8 Bergk ; who inclines, rightly as it seems to me, to
think that the couplet is not by Theognis but by Mimnermus.

VII. Anth. Pal. xi. 28.

1. 5. σοφίης γόος go together ; ‘the Reason of philosophy’, as one might
say ‘the Socrates of the Phaedo’, 2.e. the rational human being according
to philosophy.

For Cleanthes and Zeno, see supra i. 1.

VIII. Anth. Pal. xi. 25.

I. 2. μοιριδίῃ μελέτῃ is a rather awkward way of saying μελέτη μοίρης.
Sleep, the shadow of death, is by a bold extension of language called the
rehearsal of death. Cf. Ep. 46 infra.

I. 5. πολύς sc. χρόνος.

1. 6. ἡ συνετή 50. θρίξ. For the full phrase cf. Philodemus in Anth. Pal.
xi. 41,

Ἤδη χαὶ λευχαί με χατασπείρουσιν ἔϑειραι,
Ξανϑίππη. συνετῆς ἄγγελοι ἡλιχίης.

IX. Anth. Pal. xi. 23. He will ride by the highway to death like a
gallant, and not skulk along by-paths.

1. 5. Cf. Nicaenetus in Anth, Pal. xiii. 29, where the line οἶνος tot γαρίεντι
πέλει ταχὺς ἵππος ἀοιδῷ is quoted as a saying of Cratinus.

X. Anth. Pal. xi. 19.
/. 2. I have adopted in the text the reading of Plan., which Jacobs says is
due to a mala monachi manus. The Palatine ms. has παισὶ συνεσσόμεϑα.

XI. Anth. Pal. xii. 50, ll. 5-8. In the ms. this epigram is run on to
another of four lines which is here printed in another section (swpra x. 47).
The eight lines are obviously not a single poem. Most editors strike out
the Jast couplet and retain the first three as a single epigram ; and there is
sufficient connexion of thought to give countenance to this. But there is
an even stronger connexion between the third and fourth couplets, and it
seems pretty certain that each half of the ms. poem is a complete epigram
by itself.

i. 1. From Alcaeus fr. 41 Bergk, Πίνωμεν᾽ τί τὸ λύγνον μένομεν : δάχτυλος
ἀμέρα. Apparently the meaning of the expression in Alcaeus is ‘day passes

25

386 GREEK ANTHOLOGY [SECT. 12

quickly’, is no bigger than a finger’s breadth : cf. Mimnermus, fr. 2, Bergk,
πήχυιον ἐπὶ ypdvov ἄνϑεσιν ἥβης τερπόμεϑα. But as modified here it is a
curiously exact parallel to a verse in Omar Khayyam (first edition),

Dreaming while Dawn’s Left Hand was in the Sky
I heard a Voice within the Tavern cry,

‘ Awake, my Little ones, and fill the Cup
Before Life’s Liquor in its Cup be dry.’

1. 2. κοιμιστὴς λύχνος, the lamp that says bed-time ; like ‘the star that
bids the shepherd fold’ in Comus.

1. 3. πίνομεν od yap ἔρως Ms. ; Salmasius restored γαλερῶς from Hesychius,
who explains it as equivalent to ἱλαρώς.

XII. Anth. Pal. vii. 32. Probably for an epitaph on Anacreon: cf.
supra ἵν. 8 and 9, and the notes there.

XIII. Anth. Pal. xi. 43. Compare Omar Khayyam, xxxv-xxxviii (edition
of 1879).

XIV. Anth. Pal. xi. 3: headed ἀδέσποτον ; it is in the style of Palladas.

1. 4. γλωσσόχομον or (usually) γλωσσοχομιεῖον was the case in which the
mouth-pieces (γλωσσίδες) of flutes were kept when the instrument was not in
use. Here it is applied to the case in which the dead man is put away,
‘this little organ’ in which ‘there is much music, excellent music, yet
cannot you make it speak’ any more.

1. δ. ἀχτή (the Δημήτερος ἀχτή of Homer) is fine meal, which kneaded and
soaked in wine was the simplest form of Greek food.

The χοτύλη was about half a pint: the force of the article here (ταῖς
χοτύλαις) is to imply, without expressing it directly, the two cotylae of wine,
which with a choenix of meal were a slave’s daily allowance.

XV. Anth. Pal. ix. 412.

I, 2. χράμβη, the spring cabbage, of which πρωτοτόμος was the regular
gardener’s name ; cf. Columella x. 369.

1.3. A scholium in one of the mss. of Plan. says that patvy is an εἶδος
βοτάνης, ‘sort of vegetable, but nothing further is known of it. A fish
called by this name is mentioned by Pliny, but he says it was eaten salted.
The epithet ζαγλαγεῦσα is explained in the same scholium as γάλαχτος μεστή.

ἀρτιπαγὴς ἁλίτυρος is a newly made cream cheese, slightly salted to make
it keep longer : cf. Virg. Georg. 111. 403.

XVI. Kaibel Epigr. Graec. 640. From a tomb in the island of Lipara,
of the second century A.D.

1. 4. γλαφυρός of persons is the Latin concinnus, the old English ‘nice.’

1. 5. Ritschl would read Πανελεύϑερος as a proper name.

XVII. Anth. Pal. xi. 364.

1. 1. λιτός, one of the minutus populus. The antithesis to ὦ λιτός is
ὁ πανυ. ;

12-26] NOTES 387

ἐρᾶται is Scaliger’s correction of the Ms. ὁρᾶτε. It is passive, as in ix. 16
supra, and as in the phrase ἐρῶν ἀντερᾶται, Xen. Symp. viii. 3.

I, 2. I have written xaot! for the ms. ἐστί ; Scaliger put a point of inter-
rogation after ἐρᾶται.

XVIII. Theognis, //. 1069, 1070, Berek.

XIX. Anth. Pal. xi. 282. Attributed in Plan. to Lucilius.
Cf. Seneca Ep. xxiv, ‘ Moriar’: hoe dicts, ‘desinam mori posse.’

XX. Anth. Pal. x. 59.

1. 2. τοῦτο, sc. τὸ μὴ ἀνιᾶσϑαι.

l. 4. Shakespeare, Sonnet cxivi, ‘And, Death once dead, there’s no more
dying then.’

XXI. Stobaeus, Flor. exxiv. p. 616.

XXII. Anth. Pal. x. 65. Cf. Marcus Aurelius, iii. 3, ἐνέβης, ἔπλευσας,
χατήχϑης, ἔχβηϑι.

ΧΧΊΙΠΙ. Anth. Pal. x. 79. The thought in this epigram is often recurred
to by Marcus Aurelius : cf. especially ii. 14, v. 23.

κ᾿ ν

XXIV. Plutarch, Consolatio ad Apollonium c. 15; γενναῖον δὲ καὶ τὸ
Λαχωνιχόν, νῦν ἄμμες x.7.A.

ΧΧΥ. Anth. Pal. x. 75.

I. 3. ὄργανα, the musical instrument ; this is apparently one of the earliest
instances of the modern name; Vitruvius calls it hydraulicon. It was
invented at least as early as 250 B.c., the date of Hero of Alexandria. There
is a description of a man playing on an organ in an epigram attributed to
the Emperor Julian, Anth. Pal. ix. 365.

I. 8. The expression is adapted from the common proverbial phrase ‘to
feed on air’, of the cameleon’s dish.

XXVI. Anth. Pal. vii. 472. In the ms, this epigram is followed by ten
more lines which are very corrupt, but which seem to have been inscribed
below a relief representing a human skeleton. Probably this relief and
inscription were carved on the same tomb with the six lines above, and so
the whole was transcribed as a single epigram into the Anthology.

I. 1. πρὸς ἠῶ, to the dawn of birth.

1. 2. εἰς ᾿Αἴδην, stretching onwards through the realm of death. Cf. Simo-
nides Amorg. fr. 3, Bergk, according to the generally accepted reading,
πολλὸς γὰρ ἡμῖν ἐς τὸ (ἐστί in Stobaeus) teDvavat γρόνος.

1. 3. For the expression cf. Aristoph. Vesp. 213, τί οὐχ ἀπεχοιμήϑημεν ὅσον
ὅσον στίλην ;

I. 4. Τοῦ ἀνθρωπίνου βίου ὁ μὲν χρόνος στιγμή, says Marcus Aurelius ii. 17;
he also uses the phrase ὁ γαμαὶ βίος, vii. 47. For the different uses which
may be made of the doctrine it is interesting to compare Plutarch de Educa-
tione Puerorum c. 17, where the tempter says to the young man, στιγμὴ

988 GREEK ANTHOLOGY [SECT. 12

χρόνου πᾶς ἐστιν ὁ βίος" ζῆν καὶ οὐ παραζῆν προσήχει, with the Consolatio ad
Apolloniwm c. 17, where it is used as an argument against excess of grief :
τὰ γὰρ ough χαὶ τὰ μυρία, κατὰ Σιμωνίδην, ἔτη στιγμή τις ἐστὶν ἀόριστος, Ἐπ,
δὲ μόριόν τι βραχύτατον στιγμῆς.

XXVII. Anth. Pal. xi. 209.

l. 4. ἀναλύειν or ἀναλύεσϑαι, to weigh anchor, is used of setting out ona
journey generally, and is frequently applied in sepulchral inscriptions to the
journey of death (e.g. Kaibel, 340, 713). But this sense does not agree
well with xcioy in the previous line, and perhaps it rather means ‘dissoly-
ing’ like διαλυόμενον in Ep. 36, infra.

XXVIII. Anth. Pal. x. 60.

XXIX. Anth. Pal. xi. 13.

1. 2. ὁ πορφύρεος, the πορφύρεος ϑάνατος of Homer.

l. 3. ὀπτήσας se. by parching fevers. The three natural causes of death
are enumerated, viz., decay of the tissues, and defect or excess of the
humours.

XXX. Anth. Pal. x. 58. Also attributed in one ms. to Lucian.
I. 2. The γυμνόν here has a further shade of meaning; ‘seeing clearly
and not through a veil how all things end.’

XXXI. Anth. Pal. x. 31. Attributed to Palladas in Plan.

XXXII. C. I. 6. 6745, Kaibel Epigr. Graec. 1117 a. An inscription on
a Hermes in the Museum at Bologna.

XXXII. Anth. Pal. x. 124. Followed in the ms. by two fragmentary
couplets on the advantages and disadvantages of having a wife and children,
which have no connexion with it, and are rightly separated by Boissonade.

XXXIV. Anth. Pal. x. 118. Attributed to Palladas in some copies of
Plan.

ἰ. ἃ. Compare the sophistical paradox in the Huthydemus of Plato, that
it is impossible to learn what one does not know already, and hence impos-
sible to learn at all.

ll. 3 and 4 are repeated in another anonymous epigram, Anth. Pal.‘ vii.
339, with οὐδέν instead of 7a.

1. 4. οὐδὲν χαὶ μηδέν, nihil et nihili: ef. Eur. Meleager, fr. 20:

χατϑανὼν δὲ πᾶς ἀνὴρ
γῆ χαὶ oxta’ τὸ μηδὲν εἰς οὐδὲν δέπει.
It is unnecessary, and makes the xa! very awkward, to connect οὐδέν with
7 as Meineke proposes.
1. 5. ἐντύω is a Homeric word.

XXXV. Anth. Pal. x. 85. Cf. King Lear, iv. 1:

As flies to wanton boys are we to the gods ; :
They kill us for their sport.

27-39] NOTES 389

1.1. ϑανάτῳ might be either the dative of the secondary object, ‘ for
death ’, or of the agent, ‘ by death’, but probably is the former.

XXXVI. Anth. Pal. x. 84.

Cf. Lucretius ν. 226, and Munro’s note there for parallel passages.

l. 8. πολυδάχρυτον ms.: and in 1]. xvii. 192, Eustathius read μαγῆς
πολυδαχρύτου with v short ; but modern editors read πολυδαχρύου there, and
it is perhaps best to make the same change here.

I. 4. φερόμενον ms. Pal., συρόμενον Plan. φυρόμενον and φαινόμενον have
also been suggested.

XXXVII. Anth. Pal. x. 123.

I. 1. φύγοι Ms., corr. Meineke.

I. 3. The thought in this couplet is expressed even more nobly in
Menander, Hypobolimacus, fr. 2 :

τοῦτον εὐτυχέστατον λέγω

id ’ ν᾽ ,
στις ϑεωρήσας ἄλυπως, Παρμένων,
\ ἘΣ > “ - ,

τὰ σεμνὰ ταῦτ᾽, ἀπῆλϑεν odev ἦλϑεν ταχύ,

Ἁ σ. \ U μ᾿ σ ,
τὸν ἥλιον τὸν ZOLVOY, ἀστρ᾽, VOW, νέφη;

~ ~ an Ἁ " ~ "
πῦρ᾽ ταῦτα xav ἑχατὸν ἔτη βιῷς, ἀεὶ
“ἢ , Ἃ > \ LNT Ltn
oer παρόντα, κἂν ἐνιαυτοὺς σφοδρ’ ὀλίγους,

, ͵ » ” ,

σεμνοτερα τούτων ἕτερα δ᾽ οὐχ ober ποτέ.

XXXVIII. Theognis, UJ. 425-428, Bergk. From these lines Sophocles
took the famous passage in the Oed. Col. 1225-8 :

A ~ a
μὴ φῦναι μὲν ἀπαντα νι-
py SENT στ =
χᾷ oYov* τὸ δ᾽ ἐπεὶ φανῇ
- a a
βῆναι κεῖϑεν, οϑενπερ ἤχει,
Oy Ie ε ,
πολὺ δεύτερον ὡς ταχιστα.

XXXIX. Anth. Pal. ix. 359. Also quoted by Stobaeus, Flor. xeviii.
p- 533.

This epigram was also assigned, according to the ms. Pal., to Plato the
Comedian, and according to Plan. and Stobaeus to Crates the Cynic. A
worthless Byzantine tradition ascribes this and the next epigram to
Heraclitus the weeping and Democritus the laughing philosopher. With
the -whole epigram cf. that of Julianus Aegyptius on the same subject,
supra x. 10.

1. 2. Besides its general sense of ‘business’, πρᾶξις is specially used to
signify the collection of debts, and probably includes the latter meaning
here.

I. 8. at πολιαί se. τρίχες : for the ellipsis cf. Ep. 8 supra, ἡ συνετή.

1.9. ἣν ἄρα, ‘there is then in the end’; the imperfect ‘implying the
actual result of antecedents prior in fact or in idea’ (Madvig). The
most striking example of this use is in the Aristotelian τὸ τί ἦν εἶναι, the
essence which is antecedently in a thing as the necessary condition of its
being that thing.

τόϊνδε δυσίν corr. Brunck from ms. τοῖν δυσίν. The ordinary reading,
τοῖν δισσσῖν (from /. 9. of the next epigram) is not so good here, where the

990 GREEK ANTHOLOGY [SECT. 12

alternatives are about to be stated, as in the other epigram where it refers
back to them as already stated here. In Stobaeus the line runs, ἣν ἄρα τῶν
πάντων τόδε λωΐϊον.

XL. Anth. Pal. ix. 360. See the notes to the last epigram.

1. 3. Ido not know any other passage in classical literature where ‘the
heauty of nature’ in the completely modern sense of the words is spoken
of so explicitly.

XLI. Anth. Pal. x. 77. I have omitted in the text the last two lines of
this epigram :
Μᾶλλον ἐπ’ SURE ὃὲ βιάζεο, Zar παρὰ μοίρην.
εἰ δυνατόν, Ψυχὴν τερπομένην μετάγειν.

which have the appearance of being a later addition.

XLII. Anth. Pal. x. 73. Also attributed, with some verbal variations,
to S. Basil in a ms. quoted by Boissonade.

To φέρον (cf. τὸ φέρον 2x ϑεοῦ in Soph. Oed. Col. 1694) is hardly so much
‘Fortune’, though it includes this sense, as the stream of the world that
carries all things along upon it. Like the ἀνέχου καὶ ἀπέχου of the Stoics,
φέρε χαὶ φέρου sums up the practical philosophy of the Epicureans. Aequo
animoque agedum magnis concede; necesse est, Lucr. 111, 692.

Cf. also Montaigne Essais, ii. 37 ; Suyvons de par Dieu, suyvons! Il
meine ceulx qui suyvent ; ceulx qui ne le suyvent pas, il les entraisne.

XLII. Anth. Pal. x. 72.

It would be difficult to trace back to its first original the comparison,
developed to its fullest extent by Shakespeare (As You Like It, ii. 7), of
human life to a stage play. In one form or another it has probably existed
ever since plays did, and it recurs again and again in all literatures. On
the Globe Theatre in which Shakespeare played was inscribed the motto,
Totus mundus agit histrionem. This form of the proverb may be traced
back to two passages in John of Salisbury, Fere totus mundus ex Arbitri
nostro sententia mimum videtur implere, and again, Fere totus mundus juata
Petroniwm cexercet histrionem, the reference being to a snatch of verse in
Petr. Sat. c. 80, beginning, Grex agit in scena mimum. Gataker on
Marcus Aurelius, xi. 6, where life is called ἡ μείζων σχηνή, quotes this
epigram among many other passages, Greek and Latin, of which the most
noteworthy are Plato, Philebus, 50 B, μὴ τοῖς δράμασι μόνον, ἀλλὰ χαὶ τῇ
τοῦ βίου ξυμπάσῃ τραγῳδίᾳ καὶ χωμῳδία ; Seneca, De tranquillitate anim,
c. 15, verwm esse quod Bion dixit, omnivm hominum negotia similia
mounicis esse ; and the dying words of Augustus in Suet. Aug. ὁ. 99, amicos
admissos Reka est, ecquid vis wideretur mimum vitae commode trans-
egisse. There is a somewhat similar view of life, not as a play, but as a fair,
in the fragment of the Hypobolimacus of Menander already referred to in
the note on Ep. 37, supra :

πανήγυριν νόμισόν τιν᾽ εἶναι τον χρόνον
ὃν φημὶ τοῦτον, ἢ ᾿πιδημίαν, ἐν ᾧ
ὄγλος, ἀγορά, κλέπται, κυβείαι, διατριβαί.

40-46] NOTES. 391

XLIV. Anth. Pal. x. 76.

The thought is rather confusedly expressed, and the connection of //. 3
and 4 with the rest is not at once obvious : death is often better than life just
as poverty is than wealth, for life itself, if not informed by wisdom, becomes
a misery just as great riches do, giving more trouble to keep than it is
worth.

XLV. App. Plan. 201, with the heading, εἰς Ἔρωτα ἐστεφανωμένον.

Compare with this epigram the next following it in the Planudean
Anthology, swpra vi. 1, and the notes there. Love in the other epigram
says he is the son of a garden-nymph; here he denies this and claims
heavenly parentage. Both epigrams are a protest against the sensuous view
of Love. With this one cf. Plato Sympos. 180, 181. But it foreshadows
Dante as much as it recalls Plato.

/. 5. From the epigram of Theocritus, supra vii. 9, ᾿Α Κύπρις οὐ πάνδαμος.

l. 9. The other virtues are Justice, Temperance, and Fortitude.

XLVI. Anth. Pal. xi. 300. Cf. Plato, Phaedo 67 Ἐ, τῷ ὄντι ἄρα of ὀρϑῶς
~ > C , - ν \ , Lv oe ὦ 7 ,
φιλοσοφοῦντες ἀποϑνήσχειν μελετῶσι, χαὶ τὸ τεϑνάναι ἥχιστ᾽ αὐτοῖς ἀνθρώπων
U « ‘ > ~
φοβερὸν : and 80 x, ἐὰν [ἡ ψυχὴ] χαϑαρὰ ἀπαλλάττηται, μηδὲν τοῦ σώματος
a ᾽ ~ ν ~ ~ ~ = ’
ξυνεφέλχουσα, ate οὐδὲν χοινωνοῦσα αὐτῷ ἐν τῷ βίῳ ἑκοῦσα εἶναι, ἀλλὰ φεύγουσα
> \ , ν᾽ . 7 ~ ’ ~ ~ \ τ
αὐτὸ χαὶ συνηϑροισμένη αὐτὴ εἰς αὑτήν, ἅτε μελετῶσα ἀεὶ τοῦτο — τοῦτο δὲ οὐδὲν
Ἣ ΖΞ A>. ~ ~ x ~ ’ ~ CUNY, “᾿
ἄλλο ἐστὶν ἢ ὀρϑῶς φιλοσοφοῦσα zai τῷ ὄντι τεϑνάναι μελετῶσα ῥαδίως" ἢ
οὐ τοῦτ᾽ ἂν εἴη ἀελέτη ϑανάτου :

και, of alt = = Sean Ap then lh. to
.

a Sop & ᾿ Ω fn Ἂν 4 7 αξζ ἐν x an ΐ
ἐδ bf z Ἐν eh FAs a τὰ ὶ ἈΦ ΤΑΣ ἔν
“ere + ἐξ pus τε pean ee +t οὶ SEIT οὐ ἐγ. 8 he οἰ
= = a ak - αἱ <_<. — ἢ -.»} “ἀν , 5% p+) ὰ pe
- Σ ῳ- d ‘

INDEX I

AUTHORS OF EPIGRAMS

ADDAEUS, v. 12; vi. 18.

Aeschylus, iii. 8, 12.

Aesopus, xl, 37.

Agathias, i. 10, 16, 30, 35; 1. 44;
i. 56; ἵν 28, 43; v. 2; vu. 8,
ITO ab: 99. & BYE

Alcaeus of Messene, iv. 17, 19;
Vi. 2.

Alpheus, ii. 4; iv. 3; ix. 23.

Ammianus, xil. 27, 29.

Anacreon, iii. 7.

Antipater of Sidon, ii. 29, 41 ; iii.
ὍΘ ἵν 2. 4,29) 10's vi. 215) Vals
18; ix. 11, 20; xi. 11, 16, 18,
40; xii. 9.

Antipater of Thessalonica, i. 24;
Te Ses ls les tye τ: Vik. Gis 1x.
14, 21, 25; xi. 23-25.

Antiphanes, xii. 3.

Antiphilus, ii. 3, 12; vi. 17; x. 9;
xi. 22.

Anyte, ii. 36; vi. 14, 24.

Apollonides, ii. 9; ix. 13; xi. 31,
Ady) Xi1..8,

Arabius, iv. 38 ; vi. 29.

Archias, ii. 38; iv. 20; v.
xi. 27.

Aristodicus, xi. 14.

Ariston, iv. 27.

Artemidorus, iv. 34.

Asclepiades, i. 2, 9, 28, 29, 67, 70;
πο δῖ: Σοσ Sak, Ae) usa hig ile

Asclepiodotus, ix. 19.

Automedon, xi. 26.

(Pager

BACCHYLIDES, li. 94.
iPianor, vile 7; τὶ 38s τ 17.

CALLIMACHUS, i. 14, 38; ii. 13, 26 ;
iii. 21, 34, 39, 58, 63; iv. 26, 30-
90). νὴ 1 159.: val. 4 ix. Vor
xi. 30.

Carphyllides, vii. 21.

Cometas, vi. 10.

Crinagoras, ii. 2, 40; v.17; vil. 4;
xi, 21, 28, 43.

DAMAGETUS, 11], 243; xi. 44.
Demodocus, x. 40.

Diodorus of Sardis, ili. 44, 45.
Dionysius, ii. 19; x. 2; xi. 5.
Dioscorides, i. 59; 11. 52; iv. 11.
Diotimus, iii. 38 ; xi. 17.

ERATOSTHENES, X. 7.
Erinna, 111. 40.
Erycius, iii. 15.
Euphoricn, 111. 13.
Evenus, vi. 19; ix. 30.

GAETULICUS, 11. 25.
Glaucus, 111. 22; viii. 9.
Glycon, xii. 33.

HEGESIPPUS, 11. 27.
Hermocreon, vi. 7.

JOANNES BARBUCALLUS, vii. 7, 19.

Julianus Aegyptius, x. 10; xi. 42;
xii, 12.

Julius Polyaenus, ii. 1 ; ix. 35.

Leonrpas of Tarentum, iil. 19, 49 ;
ive, Τπῖτ΄ 10, 15: vi, 9; 26 > ie
28; x. 4; xi. 3, 6, 9,34, 36; xii.
26.

393

994 GREEK ANTHOLOGY

Leontius, iv. 18.

Lucian, iii. 32 ; x. 44, 48; xii. 31.

Lucilius, iv. 23, 24; x. 14, 17, 19-
26, 29, 32, 38, 39, 43.

MACEDONIUS, i. 23, 37, 45; ii. 5,
039043 vil ix 9) 10% a ἢ:

Maecius, i. 64; ii. 10.

Marcus Argentarius, i. 4, 39, 54;
Wi. 161; 1χ 15. 16.: Bs ἡ,

Marianus, vi. 9 : xii. 45.

Meleager, i. 7, 11-13, 17-21, 25, 26,
33, 44, 46-50, 52, 53, 55-58, 60-
63, 65, 66, 68, 69, 71-76 ; iv. 15,
10) νει 10; warns 15 9. 5-6. Wilks
ix. 12; xi. 41, 46.

Metrodorus, xii. 40.

Mimnermus, xii. 6.

Mnasaleas, ii. 39; iii. 5; vi. 23;
viii. 10 ; xi. 10.

Moero, ii. 17, 21.

Moschus, iv. 37.

Myrinus, vi. 22.

NICAENETUS, iii. 27; vi. 28.
‘Nicarchus, x. 3, 15, 18, 27, 28, 30,
31, 33, 36, 37, 42, 46; xii. 2.
Nicias, ii. 28 ; iii. 29; v. 6.

Nossis, i. 3; iv. 14.

PaLLADAS, ix. 34; x. 13, 16; xii.
4, 20, 22, 23, 25, 28, 30, 35, 36,
41-43, 46.

Pamphilus, vi. 21.

Parmenio, iii. 3.

Parrhasius, iv. 46.

Paulus Silentiarius, i. 15, 22, 27,

34, 36 ; ii. 14,42; vii.2; xi. 49;
xii. 44,

Perses, v. 11.

Phaedimus, iii. 28 ; vii. 13.

Philetas, xii. 21.

Philippus, ii. 11, 15, 32; xi. 37.

Philodemus, i. 32, 40; ii. 6; vii. 3;
x. 49). 15.

Plato) 1.5.41; πὶ 23; in. 10, 11.
16; 17; iv. 13, 45% νῖ 5, Sime
18, 31; xi. 51.

Pompeius, ix. 24.

Posidippus, i. 1; ii. 22; iv. 5; xii.
39.

Ptolemaeus, iv. 33.

RHIANUS, Viii. 2.
Rufinus, 1. 8,'31 ; 1: 2+ xa 1:

SATYRUS, Vv. 9; vi. 15.

Secundus, ix. 6.

Simmias, iv. 12; xi. 12.

Simonides, iii. 1, 2, 4, 9, 23, 57, 59,
62); x. 55 ἘΠῚ 20, 39,

strato, 1. 6,77 3 τσ. 8, τ Σ eee
10.

THEAETETUS, iii. 26 ; v. 1; vii. 15;
xi 7.

Theocritus, ii. 16, 20, 37; iv. 22;
ὙἹ. 19; WO xis 1p:

Theodorides, iii. 18.

Theognis, xii. 18, 38.

Theophanes, i. 43.

Thymocles, ix. 5.

Tymnes, iii. 55; xi. 13, 19.

ZONAS, ii. 31 ; xii. 13.

ἘΝ Χ ΤΕ

FIRST LINES OF EPIGRAMS

“A δείλ᾽ ᾿Αντίχλεις, .

- ’ ν᾽ Ul

A Κυπρις ov πανδαμος,
a ’ \ Sr

A Κυπρις ταν Kuzoty,
a , “ ,

A Κύπρον ἃ te Κυϑηρα..
3 , ᾽ ,

A μᾶχαρ ἀμβροσίῃσι,

ε ea - 2s bags

A παρος αὔμητος,

e \ ’

A πολὺ Σειοήνων,

A φίλερως yapordis,

=a boyz ύμογϑε

A ψυχὴ βαρυμοχς,

« \ \ *
Αβροὺς ναὶ τὸν Ἔρωτα,
», , ,
Αγγεῖλον tade Δορχας,
Αγγελε Φερσεφόνης ᾿Ερμῆ.
€ \ A ~

Αγνον χρὴ νησῖο,
Αγνὸς χεὶς τέμενος...
᾿Αγρὸς ᾿Αχαιμενίδου,

Ὁ ἐς τον
Αδιον οὐδὲν ἔρωτος,

\ ~
“Adv μέλος ναὶ Tava,
ΕΣ , ΄

Αέναον Καϑαρην με,

-» "ἢ

Αἱ Χαριτες τέμενος,
, ,
AlaCw Πολυανϑον..
Αἰγιαλίτα Πρίηπε,
, ,
Aly:Baty τόδε Πανί,
. ᾿ ,

᾿Αἴδη adActaveute, .
Alet μοι dtvét μέν,
Athwvoy ὠχυμόρῳ με,

> ἘΞΞ a " , a
Αἰπολιχαὶ συριγγες;
Αἴσγυλον Εὐφορίωνος,

ΙΝ " ἜΣ ’ ae =
Αἰων πᾶνταὰ φέρει,

~ / Ul

Αἰωρῇ ὕϑήρειον ἱμασσοόμενος.
> ~ sw ,
Αχμαΐος δοθίη νηὶ δρόμος.
Soe ae ἋΣ ΤΕ των
Αχρὶς ἐμῶν αἀπάτημα,
5 >

Αλλον ᾿Αριστοτέλην,
4 ;

Αλσος μὲν Μουσαις,
ie end bE το ϑος
Αμπαύυσει χαὶ TOE,

ἼΑμπελε μήποτε φύλλα,
” ἃ. tic:
Αμπελος ὡς ἤδη,

| Ἂν πάνυ xouratns,

Avdoozhos ὠπολλον.
’ τὸ ’ ” ~
Avdpopayns ἔτι ϑρῆνον..
ἈΑνέρα λυσσητῆρι,
Ὕ \ '
Ανϑεα πολλὰ γένοιτο.
᾿Ανϑοδίαιτε μέλισσα,
᾿Ανθϑρωπε ζωῆς περιφείδεο.
᾿Αρϑεὶς ἐξ avons,
Ἀρχεΐ μοι γαίης,
, 20 eer
Ἀρνέϊται τὸν Ἔρωτα,
eo ' ,
Apractat’ τις τοσσον.
᾿Αργέλεω λιμενῖτα..
᾿ alist aie aie
᾿Αρχέλεω με δαμαρτα,
A '

Αρτεμι σοὶ τὰ πέδιλα,
‘Att λοχευομένην σε.
Ὕ ,
Ἄρτι με γευομενον..
᾽ ~ ,
Αρτιγανῆ ῥοιᾶν τε...
” , "
Ασβεστον χλέος οἵδε,
᾽ γος ~ uv
Ασπιδα φρυνον οφιν,
” A ~
Ασπορα Πᾶν λοφιῆτα.
Αστέρας εἰσαϑρείς,.
ν᾽ \ 5
Αστὴρ πρὶν μὲν ἔλαμπες..
τ ,
Ατϑὶ xopa μελίϑρεπτε,
> <a> Pe ' ,
Ατϑὶς éyw* xetvy yao,
’ ,
Atos ἐμοὶ ζησασα.
᾽ , Ξ ' ~
Ατρέμας ὦ ξένε βαῖνε,

" Η ͵
Avhazt χαὶ γηρα,
Avotoy ἄϑρησω ss, .
Αὐσονίη με Λίβυσσαν,
Αὐτόμαται Seq,

ν᾽ , '
Avutou.atws Σατυρισχε,
Αὐτοῦ μοι στέφανοι,

ΗΜ ταις δ > ὦ.
Αὐτοῦ σοὶ παρ᾽ ἄλωνι.

395

15.

i. 18.

45.

Αὐτῷ χαὶ τεχέεσσι.
" Agpoves ἄνθρωποι,
"Aymets τέττιξ,

Βαιὸς ἰδεῖν ὁ Πρίηπος,
Βεβλήσϑω χύβος" ἅπτε,
Βιϑυνὶς Κυϑέρη με.
Βωχολιχαὶ Moicat,

~ Ἢ ,
Tota zat Ethy dura,
Tata φίλη tov πρέσβυν,
fae ’
Γαΐος ἐχπνεύσας,
Τῆς ἐπέβην γυμνό
1S ἐπέβην γυμνος,

’ ἢ
Γλευχοποταις Σατυροισι,

, ’ '

Aazpua σοι χαὶ νέρϑε,
' 2
Δαχρυγχέων γενόμην,

, oT)
Aaovny χαὶ Νιοβην,

Ul ΄ Ul
Aaovis ὁ Aevxoypus,
Δειλαίη τί σε πρῶτον,
Δείλαιοι τί χεναῖσιν.

Ἁ ,
Δεινὸς [Ἔρως δεινός,
᾿ »ε Ul
ἐξαι μ᾽ Ἥραχλεις,
’ ,
Δηϑύνει KAcovavtte,
- ,

Δησί λιχμαίῃ,

Διχλίδας ἀμφετίναξεν

Δίχτυον ἜΔΕΕ ΕΣ
,

Δίρφυος ἐδμήϑημεν,

, ν᾽
Δὸς μοι τοὐχ γαίης,

Ul , ΄
Δραγματα σοι ywoou,
, -“
Δυσχώφῳ ὄυσχωφος,

’ ,

Δυσμορε Nixavwp, .
. , \ i
Δωδεχέτη Tov παϊδα.
Δωρίχα ὀστέα μὲν σα,

Ἔγχγει χαὶ πάλιν εἰπὲ
Ἔγχγει καὶ πάλιν εἰπὲ
Ἔγγει

"Eyyet

.
Lt χαι

Διοχλέος.
Ul

παλιν.

Λυσιδίχης,

τᾶς Πειϑοῦς,

vv ’

ἄπιστα χλυουσι.

~> »

οἱ χαὶ

>) '
ἢ

Ut χα!

oe

Ὗ Ul
SPA Do.
σευ πολὺ υφῶνος,
δ. αν [φ Ὁ
Et χαὶϊ σοι ἐδραΐϊΐος,

'~
t χάλλει καυχᾷ,

, , U

at pe Πλάτων οὐ γράψε,

‘ ν᾽ ‘ ,
μὲν ἀπὸ 'Σπαρτης.
δ. ΠΝ ,
Et μὲν γηρᾶάσχει,

= a r ,
δι τις ἀπαξ γημας,

ἘΝ ἃν ,
τὸ χαλώς ὕνησχειν.

Vii.
xi.

© bo bo =T DO
Pa ST ROT

ἜἜμπνει

GREEK ANTHOLOGY

5 Ἁ , ,
Et τὸ φέρον σε φέρει.
Ὑ ” '
Etapog ἡνϑει μέν. .
ws , ,
Εἴη ποντοπόρῳ πλόος,
Ὗ ' U
Eide χρίνον γενόμην,
Eide με παντοίοισιν,
Ὗ ,
Eide δόδον γενόμην,
, ,
Εἰχόνα μὲν Παρίην,
- '
Εἴχοσι γεννήσας,
ν ,
Εἰμὶ μὲν οὐ φιλόοινος.
U
Elvodly σοὶ τόνδε.
>. Ia ee
Etvootoy otetyovta, .
Ὑ
Εἰνοσίφυλλον ὄρος, .
δ Ὁ. ~
Einag nAte yaioe,
> ’ © Ul
Εἶπέ τις “HoaxAerte,
᾿Αἰδὴν ἰϑεία, .
ἌΡ ν Τ᾽ ,
Εἷς ode Νιχανδρου,
ca U
Εἰς “Podov εἰ πλεύσει,
Εἴσιδεν ᾿Αντίοχος, .
ΕΥ ͵ ν ν ,
Εἴτε σὺ γ᾽ ὀρνεόφοιτον,
Εἶχε Φίλων λέμβον..
. ,
Ἔχ ζωῆς με Deol,

σ. ” \
Ehzog ἔχω τὸν ἔρωτα,
¢ ” ΚΞ ΕΣ
Ελχος ἔχων ὁ ξεῖνος,

᾿Ελπίδος οὐδὲ Τύχης,

᾿Ἐλπὶς ἀεὶ βιότου,

"Ἐλπὶς χαὶ σὺ Τύχη,

Πὰν λαοσῖσιν,

Ἔν πᾶσιν μεϑύουσιν, .
Ἔν σοὶ τἀμὰ Μυΐσχε,

"Evdade γῆ κατέχει, ε :
"Evtos ἐμῆς χραδίης, : 3
Ἔξ ἀτόμων ᾿Επίχουρος,

Γ᾿ - ,
EE ὡραι μόχϑοις,.

᾿Ἐξηκοντούτης Διονύσιος... ‘

“Epuatos ἡ ἡμῖν ᾿Αφροδίσιος,

Ἑρμᾶς τᾷδ᾽ ἕσταχα,

“Ἑρμογένη τὸν ἰατρὸν ἰδών,

ἱἙρμογένη τὸν ἰατρὸν ὁ ἀστρο-
λόγος,

Ἔργεο καὶ χατ᾽ ἘΠ (ev,

"Es πόσιν ἀϑρήσασα,

ἱἙσπερίην Μοϊρίς με,

Evaypet λαγόϑηρα..

Εὐβοίης γένος ἐσμέν,

οὕδεις Zyvowtha, .

Evers φυλλοστρῶτι πέδῳ,

Εὔδημος τὸν νηόν...

Εὐδια μὲν πόντος,

ἡ

a
σι ts
δι =

_
cet as!

>

rs
a
ae coe nee

bo
σι ὦ
Nes oe ee ae ore

19.

efile

Εὐμαϑίην ὑτείτο,

Εὐσεβίη τὸ μέλαϑρον,
Evgoptot νᾶες
"Eodavey ᾿Ηλιόδωρος,
᾿Εφϑέγξω ναὶ Κύπριν,
᾿Εχϑαίρω τὸ ποίημα,

\ ~
Ζηνὸς zat Λητοῦς, .
, ᾿
Ζωειν εἰναλίη Θέτι.

e c , ’ ,
Η Καϑαρη, Νυμφαι yao,
© ¥ ” ”
H παΐϊς wyet’ aweos,
> , ῃ
H ποὺ σε χϑονίας,
« , ~
H πυρὶ πάντα τεχοῦσα,
Ἢ 6? ὑπὸ σοὶ Xaptdac,
3. , ,
H 6a ye χαὶ ov, Φίλιννα.
> , , ,
H 6 vu τοι Κλεονιχε,
Ἢ σεῦ χαὶ φϑιμένας,
e \ ai
H σοβαρὸν γελασασα,
ε ἥυζιο τς τς ἢ
H τὰ ῥόδα δοδόεσσαν,
. \ U a4
H to πᾶλαι Aats, .
a ᾿
Ηβα μοι φίλε Dupe,
᾽ ΄ -
Ηγοόρασας γαλχοῦν.
, ΜΝ
“Hoda πᾶντα χέλευϑα.
4 ;
Ηδη καὶ ῥόδον ἐστὶ.
τ :
Hoy χαλλιπέτηλον.
Ὑ Lao U
Hoy λευχόϊον θάλλει,
Ὕ μὲ
Ηδὴ μὲν γλυχὺς ὄρϑρος..
= Pearce \ ,
Ηδὴ μὲν χροχοεις,.

” , ,
Hoy που πάτρης πελασας.

“ U
Ἤδη τοι φϑινόπωρον.
᾿Ηδὺ ϑέρους διψῶντι,
᾿Ηέρα λεπταλέον,
Ἤερίη Τεράνεια,
” an ~
Hv<hov av πλουτεῖν.
"HAM: χαὶ ἐς
Ἡμεῖς μεν πατέοντες,
Ἤμην ἀχγρέϊον χάλα!
μὴν ay¢ κάλαμος,
ΕΥ̓ , ν᾽ A ’
Hyvéos ἄλλα πένης,

”

Hy παρίῃς ἥρωα,

Μίλατον.

Ἢν taya συρίζοντος,

Hy τιν᾽ ἔχης ἐχϑρόν,
ἽἭνδανεν ἀνθρώποις,
᾿Ηοῦς ἄγγελε γαΐρε,
᾿Ἡράχλεες Bes
Ἦρασϑην᾽ τίς δ᾽ οὐχί,
"Hoasdys πλουτῶν,

πελαγίτιδες.

Hy τι πάϑω Κλεόβουλε..

16.

EL

ν᾽ ᾿ ,
Ηρέμ᾽ ὑπὲρ τύμβοιο,

Ἢρίον εἰμὶ Βίτωνος,

oa , , ) ᾽ ~

Ηρωων χαρυχ΄ apetas,
, , ,

᾿Ηρώων ὀλίγαι μέν,

“Ἡσιόδου ποτὲ βίβλον,

Θειονόης ἔχλαιον.
Θέσπις ὅδε τραγικήν,
Θεσσαλὸν ἵππὸν ἔχεις,
Θηρευτὴν Λάμπωνα,
Θνητὰ τὰ τῶν ϑνητῶν.
Θύρσις ὁ κωμήτης,

“ ΠΡ een
ξ ξ
Ιζευ ὑπ’ αἰγείροισιν,
“ “ « \ \ ,
Ιζευ uno σχιερᾶν πλάτανον.
a τὰ ,
Ἵμερον ᾿αὐλήσαντι,

᾿Ινοῦς ὦ Με μκέρτα,
Ἵππον ᾿Αϑήνιον σεν.
᾿Ισιὰς ἡδύπνευστε,

” \ b Jalen
Iotw νυχτος ἐμῆς,
"TOE ἡ Νιχοῦς,

x

αἱ καπυρὸν γελάσας,

τὰ

Κ

Καὶ νέχυν ἀπρηῦντος,
Καὶ πάλιν Εἰλήϑυια,
K
K

R

Ν , σι, ἣν ΟὟ
αὶ πίε νῦν χαὶ goa,

κ ͵ - , ”
αὶ ποτε δινηεις ἄφοβος,

>t Ix
Kat mote Θυμωόης,
Kat σὲ Κλεηνορίδη..
Καλλιγένης aypotxos,

eat iy \ ~

Kaye tov ἐν σμικροίς,
an ͵ ΄ ,
Kav μέχρις HoaxAgous,
a/ Ὑ,
Καππαδόχων ἔθνους,
\ Ψ ,
Καρτερὸς ἐν πολέμοις,

σῦν ᾽ \ ,
Κατϑανον ἀλλὰ μένω σε..
Κείμαι" λὰξ ἐπίβαινε,

~~ \ ,
Kétout δὴ γρυσέαν.

΄ ~ U

Κεχροπὶ ῥαϊνε λαγυνε,
‘ ,’ U
Kepxida τὰν ὀρϑρινα,
Αγ,
Κὴν μὲ φ φάγῃς ἐπὶ ῥίζαν.
Κὴν πρύμνῃ λαγέτω ve,
Κηρύσσω τὸν Ἔρωτα,

" ,
Κλασϑείσης ποτὲ νηός,
Κλῶνες ἀπηόριοι, :

‘ ,
Κρηϑίδα τὴν πολυμυϑὸν.
’
Κρημνοβαταν dixcowy,
\ ees \ Ul ᾿
Kors γένεαν Βροταγος,

998

Κυανέη “at τουσδε..

~ Ἁ ν
Κῦμα τὸ πιχρὸν Ἔρωτος,
= ~ = . ~
Κυπριόος outos ὁ ywpos, .
= ty 2 ΡΞ
Κωμαζὼω γρυσειον.

ix ‘ '
Λαμπάδα ϑεὶς καὶ τοξα,
Λείψανον ἀμφίχλαστον,

ες ea y
Λευχαῦδος αἰπὺν ἔχων,
Λῆς ποτὶ τᾶν Μοισᾶν,
7 ’ ” ‘ ” ἘΞ
Λίσσομ᾽ Ἔρως τὸν ayourvov,

U ᾿Ι

Λουσάμενοι Προδιχη;
, ’ ‘ ,
Avdos ἐγώ. vat Λυδος,

‘ vv Ul
Ματρὸς ἔτ᾽ ἐν χόλποισιν,

+ vv ,
Μέλλον ἄρα στυγερᾶν.
Μέμνη ποὺ μέμνῃ;

A ,
Μὴ ζήτει δέλτοισιν,
,
Μή με τὸν ἐχ Λιβαάνοιο,
\ εἴ 1 ᾿Ξ ,
Μη μέμψῃ παριων; -
Ἁ , \ ͵
Μη μυρὰ μὴ στεφάνους.
\ ~ '
Μὴ σοὶ τοῦτο Φιλαινί,
Μὴ σύ γε ποιονόμοιο,
eo , ,
M70’ ov ἐπ’ ἀγχύρης,
Μηκέτι δειμαίνοντες,
As ,
Μηχέτι νῦν μινυριζε,
U ’ ,
Μηνη χρυσοόχερως δέρχῃ; .
, , ,
Μήποτε Avyve μυχητα,
~ Ul
Μῦν ᾿Ασχληπιαάδης,.
ῃ τ ᾿
Μυρίος ἣν ὦνθρωπε,
~ , Ἁ U '
Νᾶσος ἐμὰ ϑρέπτειρα Tupoc,
~ , 1e HES
Ναυηγοῦ τάφος εἰμί" ὁ δ᾽ ἀντίον,
΄ ~ , ate NERY ,
Ναυηγοῦ τάφος εἰμί" σὺ ὃὲ még,
r ‘ ,
Ναυτίλε μὴ πευϑου,
r κι ,
Ναυτίλοι ὦ mAwovtes,

' © , ,

Νεβρείων ὁπόσον σαλπιγξ,
+= ΝΣ ΩΣ ,
Ny& σοὶ ὦ ποντου..
-" ‘ ts

Νηΐαδες χαὶ ψυχρὰ βοαύλια,

ae , , eo oy
Nywy ὠχυπορων Gs ἔχεις.

τ , ’
Νιχόπολιν Μαραϑωνις,

νὦ ,
Nive χαλαζοβολει,.
Νύχτα μέσην ἐποίησε,

Te SNS
Nuzteptvy δίχερως, .

Ξ , Yn
Νυχτιχοραξ adet,

= \ ᾽ ἢ
Νυχτος ἀπεργομενης,
Νύμφαι ᾿Ανιγριάδες,
Νύμφαι πευϑομένῳ,
Νύμφας Βαυχκίδος ἐμμί,

GREEK

111.
i

Vi
xX.

iv.
il.

ANTHOLOGY

— bo bo et bo
DOW WO ND κα μὶ μὶ δι

| Νῦν ἄμμες πρόσϑ᾽ ἄλλοι,
Νὺξ ἱερὴ χαὶ λύχνε,
Νύξ, σὲ γὰρ οὐχ ἄλλην,

~ Ul
Ξέϊνε τάφον παρὰ λιτόν,

- see Ff ,
Ξείνοι λαϊνέας μὴ Ψαύετε,
ts e , « J,

O βραχὺς “Ἑρμογένης, .
© > U e ~

O πλοος ὡραῖος. .

ε οἷ ,

O πτανὸς τὸν πτανόν,

ng OF
Od? ott ϑνατὸς 2yu,

= σ
Oi’ ὅτι μοι πλούτου,

,

Olde πάτραν πολύδακρυν,
Οἵδε ποτ᾽ Αἰγαίοιο,.
Οἰνοπότας Ξενοφῶν, ;
ἣν ' , vv”

Οχτὼ [EV TIVES ATEYE, .
» ’

Ὄλβια τέχνα γένοισϑε,

«. U ~ 5

Ολχαδα πῦρ μ᾽ ἔφλεξε, .
ν ,

Οξύβοαι χώνωπες,.

© r , ,
Οπλίζευ Κυπρι τόξα.

᾿ ork

Ορϑρε τί μοι δυσέραστε,.
” hae ἄτι ἢ

Ορϑρε τί νῦν δυσέραστε,
"Oodpos ἔβη Χρύσιλλα,

” =)

Ορνεον ὦ Xaptaty, .
᾿Ορφέος οἰχομένου.

’ , ’ + day We oN
Οὐ γάμον ἀλλ᾽ ᾿Αἴδαν,
Οὐ δέχεται Mapxov,

Οὐ χλαίω ξείνων σε,

ae aT Pr) O57

Ov χονις οὐδ᾽ ὀλίγον.

Οὐ μόνος ἐμψύχων...
|

Οὐ πλόχαμον Δημοῦς,

Οὐ σοὶ τοῦτ᾽ ἐβόων,

Οὐ τὸ ζῆν yaplessay,

Οὐ τὸ Davey ἀλγεινόν,
Οὐ Τρηγίς σε λίϑειος,
Οὐδὲ νέχυς ναυηγός,

Οὐχ ἀποϑνήσχειν δέΐ pe, .
Οὐχ ἐθέλουσα Τύγη. ἱ
Οὐχ ἐθέλω Φιλόϑηρε,
Οὐχ εἴμ᾽ οὐδ᾽ ἐτέων,

Οὐχ ἤμην γενόμην...

Οὐχ οἴδ᾽ εἰ Διόνυσον,
Οὐχέτ᾽ ἀν᾽ ὑλῆεν,

Οὐχέτ᾽ ἀνὰ Φρυγίην,
Οὐχέτι δή σε λίγεια,
Οὐχέτι ϑελγομένας,. :
Οὐχέτι που τλῆμον,
Οὐνομαά port τί δὲ τοῦτο...

xii.

24.
68.
29,

Οὐπω σοι χαλύχων,
Οὔπω τοι πλοχαμοί,
” ΕῚ ,
Ovptov ex πρύμνης, .
= © Ω ,
Οὕτος ὁ μηδὲν ὁ λιτός,
a . ,
Ovtws uzvwoats, .
“ ’ ’ U
Οφϑαλμοί, τέο μέχρις.

Παϊίδα με πενταέτηρον,
Παιδὸς ἀποφϑιμένοιο,
\ \ ,
Παλλὰς τὰν Κυϑέρειαν,
Ἁ r ' '
Πὰν φίλε πηχτίδα μίμνε,
ae ἢ a AN ae
Πᾶνα pe τονὸ ἱερῆς;
Af ogi ,
Πανδώρης ὁρόων yehou, .
Ul r Ψ
Tlavta γέλως χαὶ παντα,
’ ule ΩΣ
Tlavte Xaowv ἀπληστε,.
Πάντες μὲν Κίλιχες,
, ~ ’
Tlavtes τῷ Davate,
,
Παντοίην βιότοιο...
͵ Ἁ ~
Tlavtwy μὲν μὴ φῦναι,
\ U
Παρϑενιχὴν veoardov,
ets te
TIaou.cvig οὐχ ἔργῳ,
- ' ,
Πᾶσα ϑάλασσα ϑάλασσα.
Sen sy '
Tlace, σοι otyou.cvu,
~ τι ‘ \ ’
Tlacay ἐγὼ τὴν vuxta, .
~ a ,
Πᾶσι ϑανέίν μερόπεσσιν,
Πειϑοὶ χαὶ Παφία,.
, © ,
Πέμπω cot PodoxAca,
’ \ ,
Πέντε ϑανὼν xeton, .
Π a Mes ’
Πέντε μετ᾽ ἄλλων Χάρμος,
ὦ ,
Ty ᾿Ασχληπιάδη,. i
Gwe καὶ εὐφραίνου,
, Ul U
Titvwpev Baxyou ζωρον.
᾿ fee
ΠπΠλέξω Acvzotov, .
~ \ ~
πλοῦς σφαλερὸς τὸ ζῆν,
‘ ‘ ‘as

ω ΩΝ ͵
ΤΠλουτέϊς χαὶ τί τὸ λοιπόν.

- ,

Πλωτῆρες σωζοισϑε. 3

‘

,
Ποίην τις βιότοιο, .
, ’

Ποιμένες of tautyy, .

᾿ vv
Tlowweviay ἄγλωσσος.

‘ > ,

Ποιμὴν ὦ μᾶχαρ ete,

ῃ ~
Τολλάκι μὲν τόδ᾽ ἄεισα,
Πολλὰ Aahéis ἄνϑρωπε,

» ͵ Ἐπ
Ποῦ σοι τόξον éxétvo,
en βοὸς Ἃς
Ποῦ τὸ περίβλεπτον,
ah ~ -
Πρηῦτερον γηρᾶς σε,
U
ΠΙροσδοχίη davatov,
Πταίης μοι xaived, .
~ 4 ”
Titavw mtavoy Eowta,

INDEX II

Πωλείσϑω χαὶ ματρός, .

~ ' ΄

Πῶς γενόμην : πόϑεν εἰμί,
~ ad ’

Πώς τις ἀνευ Davatov, .

© ᾿ > σ
Ριπίζων ἐν ὑπνοις,.

ease a
Povgivos tr ᾽μῆ;

~ , ’
Σῆμα Ocoyvidos εἰμί,
, , ,
Σιγάτω λάσιον Δρυάδων..
, ~ .
Σχήνη πᾶς o βίος, .
~ © δὶ ~
Σοὶ καὶ νῦν ὑπὸ γῆν.
, ~
Σοὶ τάδε Πὰν σχοπιῆτα.
τὸ ™ ᾿
Σοὶ TAGE συριχτα..
, ~
Σπήλυγγες Νυμφῶν,

, ν᾽ ,
Στρογγύλη εὐτόρνευτε,
Σ yt χαὶ aN

τρυμόνι χαὶ μεγάλῳ,
~ © (3
Στώμεν ἁλιρραντοιο,
‘ \ v
Σφαιριστὰν τὸν "Ἔρωτα,
,
Σωζεο σοὶ μέλλων...
~ ’ ,
Σῶμα piv ἀλλοδαπή,

Neue. Vane ,
Ta Goda τὰ δροσόεντα, .
=~ © \ \ ’
Tad ὑπὸ τὰς TAatavous, .
~ Νὴ -
Τάδε xata γλοερσῖο,
BS] Ul
Τὰν ἔλαφον Λάδωνα,
\ Pheer
Tas τρίχας ὦ Νίχυλλα,
, > ᾿ ™
Tedvyx Ευτυχίδης,
~ ,
Τῇ Παφίη στεφάνους,
͵ ‘ ῃ ΗΠ
~ , , ν᾽ ᾿
Τῇ 6% ποτ᾽ Οὐλυμποιο,
awn? € , Ὑ
THO ὑπὸ τήν ἄρχευϑον
~ ’ e
Tye Sawy ὁ Atzwvos,
Τῆδε tov éx Μελίτης,
A \ ν᾿
Τὴν Διὸς ἀμφίπολον.
Τὴν χυανῶπιν Μοῦσαν.
Τ' \ ἃ ’ dz
Ἣν μιχρὴν pe λέγουσι,
\ \ '
Τὴν μιχρὴν παίζουσαν.
Ἁ ῃ
Τὴν περινηγχομένην,
\ , ᾿
Τὴν πόλιν of vexves,
\ ~ if
Τὴν σεμνῶς ζησασαν,
᾿ ᾿ ποὺς “Ὁ ,
Τὴν τρίβον og παραγεις, .
lt ‘ τὰ ’
Τὴν ψυχὴν Ayatwva,
Ti πλέον εἰς ὠδῖνα...

3

' LU ἍΝ ψῳ
Tt στυγνὴ : τι OF ταῦτα,
' ’
Τιμαρέτα πρὸ γάμοιο,
Pah , Ἢ
Tinte ματὴν ἄνθρωπε,
’
Tixte μάτην yoowvtes,
' ‘ '
Tixte με τὸν φιλέρημον.
,

Tinte πανημέριος, .
ΓΕ ATS
Tis Guvatat yywvat,

400

Tis μοι Ζηνοφίλαν,

Τίς ξένος, ὦ ναυηγξέ,

Τίς τίνος εὖσα γύναι,
Τμώλῳ ὑπ᾽ ἀνθεμόεντι.
Τὸ ῥόδον ἀχμάζει,

Τὸ σχύφος ἡδὺ γέγηϑε,
Τὸ χρέος ὡς ἀπέχεις,

Τόν γαίης χαὶ πόντου,
Τὸν με λίϑον μέμνησο,
Τὸν μιχρὸν Μάχρωνα,
Τὸν Σάτυρον Διόδωρος.
Τὸν χαλχοῦν τέττιγα,

Τοῦ γρυποῦ Νίχωνος,

Τοῦ λιϑινοῦ Διός, . ;
Τοῦ πωγωνοφόρου Κυνιχοῦ,

-

Τοὺς χαταλείψαντας, ;
Τοῦτο σοὶ ΓΑρτεμι Sta,
Τοῦτό τοι ἡμετέρης,
Τρίγλαν an ἀνϑραχιῆς,
Τῷ με Κανωπίταᾳ, .

Τῷ πατρί μου τὸν ἀδελφόν,

Canam Ἢ ,

Youor καὶ χηποισι.. .
© , RP ak

γπνωεις ὦ THLE, . :
. , 2

γστατιον Φωχαια,,

© ' τ Vow
γψίχομον παρὰ tavde,

[δὰ ,
Φείδη παρϑενίης,
- \ ’ ,
Φεῦ σὺ Μύοων πλασσας,.

GREEK

lv.

ANTHOLOGY

jj = bo οἱ
Pee ἔ5. τπ σι

ὧϑ

Φῆ ποτε Πρωτόμαχος,
Φησὶν ὅ με στήσας, . :
Bony ἱερὴ μεγάλου, :
Φριξοχόμα τόδε Mavi,
Φωσφόρε μὴ τὸν Ἔρωτα,

Χαίρειν τὸν χατὰ γᾶς, .
Χαίρετ᾽ ᾿Αριστείδου,
Χεῖλος ᾿Ανιχήτεια,.
Χειρουργῶν ἔσφαξεν,
Χρυσὸν ἀνὴρ εὑρών,

Ψηφίζεις χαχόδαιμον,
Ψυχὴ δυσδάχρυτε, . :
Ψυχή μοι προλέγει...

*Q δείλαιε τὺ Θύρσι,

Ε1 , > \ 29»

Ὁ p.vEs εἰ μὲν ἐπ΄ APTOV, .
>. \ Ἕ ,

Q νὺξ ὦ φιλαγρυπνος,

I ~ Ἢ

Q ξεῖν᾽ ἀγγειλον. . :
*Q ξένε τόνδε τάφον,

3 \ ,

Q Πὰν φερβομεέναις,

Ὦ Χρόνε παντοίων,

’ 2 Ul ᾿
ὩὨχύμορον με λέγουσι, .
tf a

Ὡμολόγησ᾽ ἥξειν, : ;

“Ὥπλισμαι πρὸς Ἔρωτα,
“Optos εἶχέ σε TASTES,
Ὁ = μηδ᾽ ἐγένοντο,

”

INDEX III

EPIGRAMS IN THE PALATINE ANTHOLOGY AND APPENDICES
INCLUDED IN THIS SELECTION

Anth. Pat.

Wes

108
110
112
113
118
123
124
130
134
135
136
137
138
139
144

Anth. Pal.

V. 145
147
149
150
151
152
155
156
163
164
166
169
170
171
172
173
174
176
177
178
182
190
198
205
212
214
215
223
225
226
233
237
241
247

μ᾿
~

ad pete pede μῶν pee feds Μ

μι μῶν μὴν μ͵αὸ μὴν μὴ. μ᾿ μα μῶρ μῶν μῶὸ μῶν μῶν μα μοὶ μὰν μῶο μῶὸ κῶο μῶο μο μῶν μῶο
: - . - - - “ . 5 . . - - - - “ - . . - “ -

|

> tv)

17

Anth. Pal.

V. 256

ΝΕ

261
263
266
279
280

105
ΠῚ
119
127
146
147
148
149
160
177

Vii.
Vil.

. 37

Anth. Pal.

Vil.

ΠῚ:

178
189
199
209
223
228
240
251
253
268
271
280
303
310
336
337
340
345
348
349
357

121
26

. 45

—_
od

—

— μὰ
μι δι DS © Ὁ aS ἢ WO

me ὧϑ
σι

402

Anth. Pal.

VII. 160
163
167
171
173
178
179
182
185
189
195
196
199
203
204
209
211
228
242
245
249
251
253
254*
255
256
259
260
261
263
264
265
269
271
277
278
282
284
285
286
287
307
308
309
321
340
342

iii.

Vii.

GREEK ANTHOLOGY

/

Anth. Pal,

VII. 346
350
368
376
378
387
398
410
412
414
417
419
451
453
459
464
466
471
472
474
476
477
482
483
496
497
499
502
509
510
513
524
534
555
566
571
600
630
636
639
651
655
657
662
667
669
670

Anth. Pal.
iii. 60 | VII. 671
iii. 20 694
iii. 15 696
veh MA 700
xi. 45 703
vii. 17 705
xi. 18 711
iv. 11 rly
Ave 17 717
iv. 14 723
iv. 16 731
iv. 15 735
lil. 63 739
ii, 94
TH e342) | ἘΝ rs
vii. 18 8
xi. 36 28
iv. 30 44.
xi. 26 49
li. 80 51
xi. 46 57
xi. 19 γι]
xi. 33 74
ἘΠ. Ὁ 75
li, 23 82
11. 24 87
ili. 26 90
111. 27 97
lii. 59 101
xi. 20 106
xl. 39 107
11. 58 122
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vii. 19 138
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Errata.—Page 14, line 1, jor Damagetas read Damagetus.
Page 17, lines 19, 33, for Huenus read Evenus

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