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Harvard College 





Library 


Se ΘΠ ΞΙΕΠΞΙΕΙΕΙ ΞΕ ΚΠ 


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: BOUGHT 
3 FROM THE GIFT OF 


i CHARLES HERBERT THURBER ff 


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044 102 84 





SELECTIONS 


FROM THE 


GREEK LYRIC POETS; 


WITH 


AN HISTORICAL INTRODUCTION AND 
EXPLANATORY NOTES 


BY 


HENRY M. TYLER, 


PROFESSOR OF GREEK AND LATIN IN SMITH COLLEGE, 
NORTHAMPTON, MASS. 


BOSTON, U.S.A.: 
PUBLISHED BY GINN & COMPANY. 
18809. 


eee YT ANNA &, Ὧη. «στ 
| 


HARVARD COLLEGE LIBRARY 
FROM THE GIFY OF 
CHARLES HERBERI THURBER 


Wear s ) larle 


Copyright, 
By Ginn ann HEAts. 
1879. 


J. 5. Cusninc & Co., ῬΕΙΝΤΕΚΒ, BosToN. 


PREFACE. 


THE present edition of Selections from the Greek 
Lyric Poets has been prepared with the desire to do 
something toward filling what seems to be a great 
chasm in the field of Greek literature as explored in 
our American colleges. We study Greek poetry, leav- 
ing out those very species of song which have most to 
do with the common life of the common people. 

I have followed very largely in my selections the 
German edition of Professor Buchholz. I have also 
to acknowledge my obligations for his excellent notes, 
which have been used with great freedom, though never 
without an attempt to verify his statements from other 
authorities. The text is generally that of Bergk; 
though in some exceptional cases, especially referred 
to in the notes, other authorities have been followed. 
The original plan of the book included some selec- 
tions from Pindar’s Epinician Odes. I found, however, 
that another American editor was at work upon a 
plan similar to my own. I have to express my ob- 
ligations that, in the consequent division of the field, 
sO generous a portion was relinquished to myself. 


iv PREFACE. 


References will be found to Smith’s Classical Dic- 
tionaries, to Goodwin’s Greek Moods and Tenses, and 
to Professor White’s new edition of Schmidt’s Rhyth- 
. mic and Metric of the Classical Languages (S.). I 
regret that the first part of my book was sent to the 
publisher before I had time for a complete examination 
of this last work. The references are made as far as 
possible to the Grammars of Professors Goodwin (G.) 
and Hadley (H.). 

In the Historical Introduction I have endeavored 
briefly to trace the growth of the Greek poetic art, 
with the desire to compensate in some slight degree — 
for the fragmentary nature of the text. It has been 
my purpose to make the notes as brief as possible 
without too greatly exposing myself to the charge of 
meagerness. Discussions have been uniformly avoided. 

This book has already greatly increased the interest 
of one student in the fragments of Greek Lyric poe- 
try. That it may do as much for others is my high- 
est ambition for its success. ? 


HENRY M. TYLER. 


Smits CoLuece, July 22, 1879, 


CONTENTS. 


ELEGIAC POETS. 
PAGE 


CALLINUG 6. es ὡ; τ a a sn OS we te 3 
TYRTRUS ν΄ a) νὼ A A eS Se. ἅ 
MIMNERMUS.) 2 - 6 6 6 © 6 6 © © ew et ew we wh eh wh 10 
SOLON. . . a Sa 12 
XENOPHANES 2. . 2 1 5 0 es ee ew ew we te we eh wh ew ed 19 


THEOGNIS . . « 6 «© »« © © ©» © © «© © © © ew tw ew wl e 932 


IAMBIC POETS. 
ARCHILOCHUS . . « «© « © © © «© © «© «© «© © © @ ew ele) δ 


SIMONIDES OF AMORGOS . .... 2. «2 © e « «© @ @ e689 


MELIC POETS. 
SSAPPHO:. κ τἀν ὦ a: atl eh Ge, RE ὦ Ske Se we τἶκι es a er 97 
AUCBUS «ey τῳ τὼ See Se, SR a i se ὡς we ewe 
ANKCREON ὦ Οὃκ 2-56: @ A a OR Swe 78 
ANACREONTEA 2. 2 6 6 2 0 2 ee ee 8 te ew te ew we ew) CD 


SIMONIDES OF CEOS . . . . + «© « © © © © © © © © © ©) 97 


HISTORICAL INTRODUCTION . ..... +... + ~ 109 
NOTES e e .Φ e e .Φ e .Φ e e e Φ Φ e e e e e .Φ Φ Φ 195 


ELEGIAC POETS. 


ELEGIAC POETS. 





OALLINOUS. 


Catiinus of Ephesus enjoys the reputation of being the 
oldest of the Greek elegiac poets. The date of his life can 
with difficulty be determined, though probably his writing 
commenced about 730 B. c. He is full of patriotic feeling and 
fiery earnestness. 

Asia Minor seems from early ages to have been ravaged by 
the inroads of Cimmerians, wild barbarians supposed to issue 
from the regions north of the Euxine sea (cf. Herod. i. 6, 15, 
103; iv. 12). From this scourge Asia Minor was not finally 
delivered until the reign of Alyattes (B. ο. 618-566). It was 
probably in connection with the threatening of these invad- 
ers that Callinus wrote the following elegy to rouse the Ephe- 
sians to defend their homes. We have a line and a half of 
another, in which he beseeches Zeus to pity his countrymen. 

The Exxe1ac Disticu, used by the Elegiac Poets, is com- 
posed of an ordinary heroic hexameter consisting of two dac- 
tylic tripodies with czesura (S. § 19, 2, 111.); and of a catalectic 
dactylic hexameter with syncope in the third measure (S. § 11, 
6, n1.).. This second verse is usually, but erroneously, called 
pentameter, 2 name founded on the mistaken division of the 
verse into five measures, the third of which was always a spon- 
dee and the fourth and fifth anapests. See S. § 28,2; G. 295, 
5; H. 911. 


Méxpts τεῦ κατάκεισθε; Kor ἄλκιμον ἕξετε θυμόν, 
ὦ νέοι; οὐδ᾽ αἰδεῖσθ᾽ ἀμφιπερικτίονας, 


x 


4 ELEGIAC POETS. 


ὧδε λίην μεθιέντες, ἐν εἰρήνῃ δὲ δοκεῖτε 
ἧσθαι, ἀτὰρ πόλεμος γαῖαν ἅπασαν ἔχει. 
* Ἕ * 
’ 9 ») ν 9.ϑ 9 a 
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As Ud 9 \ 9 ἢ 9 Ἁ , 
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γῆς πέρι καὶ παίδων κουριδίης τ᾽ ἀλόχου 
ὃ 4 “ θ a? de ou ε , 4 
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Μοῖραι ἐπικλώσωσ᾽, ἀλλά τις ἰθὺς ἴτω 
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10 ἔγχος ἀνασχόμενος καὶ ὑπ᾽ ἀσπίδος ἄλκιμον ἦτορ 
ἔλσας, τὸ πρῶτον μιγνυμένου πολέμου. 
οὐ γάρ κως θάνατόν γε φυγεῖν εἱμαρμένον ἐστίν 
¥ 5 3 39 δ᾽ 3 , Φ , 9 θ , 
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9 . 
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, , > » ε [4 
θνήσκοντος. ζώων δ᾽ ἄξιος ἡμιθέων ' 
2 ὥσπερ γάρ μιν πύργον ἐν ὀφθαλμοῖσιν ὁρῶσιν" 
Ω͂ b ~ ¥ A 2? 
ἐρδει yap πολλῶν ἄξια μοῦνος ἐών. 


TYRTAEUS. 


THE story of Tyrtaeus is almost too familiar to require repe- 
tition. According to tradition he was a lame schoolmaster, 
sent by the unwilling Athenians to the disappointed Spartans, 
who in obedience to the oracle sought a leader to rescue them 
from their misfortune in the second Messenian war. But the 
Athenians were in turn disappointed, and the Spartans were 
made jubilant, for he so inspired them with ardor by his songs 


TYRTAEUS. 5 


that complete victory crowned their efforts. Almost all mod- 
ern critics look upon the story with great suspicion, but in 
any case the question arises how to account for the origin of 
the tradition, and how to explain its meaning. It is perhaps 
safe to accept the evidence that the poet was by birth and 
parentage a foreigner, but by his mental and moral superior- 
ity, evinced both in the inspiring power of his poetry and in a 
talent for organization which marked him as a statesman, he 
became a leader, and, at length, a citizen in the Dorian state. 
The effect of his songs was so highly estimated that it was 
customary for the armed soldiers to sing them in front of the 
king’s tent before entering upon any military expedition. 

The date of the second Messenian war would mark him as 
flourishing from about 685-665 B.c. For language his poems 
make use of the Epic dialect, with occasional Doric forms aris- 
ing from local influence. 


In the Ἔμβατήριον (p. 9) the metre is an anapestic tripody 
(paremiac). See 8. § 31, 3,1; G. 297,3; H. 913, ὁ. 


YTIO@HKAT. 
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¥ > 9 N \ @ , , 
ἄνδρ᾽ ἀγαθὸν περὶ ἣ πατρίδι μαρνάμενον. 
τὴν δ᾽ αὐτοῦ προλιπόντα πόλιν καὶ πίονας ἀγρούς 
πτωχεύειν πάντων ἔστ᾽ ἀνιηρότατον, 
4 “\ A , ‘ A 4 
© πλαζόμενον σὺν μητρὶ φίλῃ καὶ πατρὶ γέροντι 
παισΐ τε σὺν μικροῖς κουριδίῃ τ᾿ ἀλόχῳ. 
ἐχθρὸς μὲν γὰρ τοῖσι μετέσσεται, ovs κεν ἵκηται 
χρησμοσύνῃ τ᾽ εἴκων καὶ στυγερῇ πενίῃ, 
3 4 4 δ δ᾽ 9 ‘ x 2 
αἰσχύνει τε γένος, κατὰ δ᾽ ἀγλαὸν εἶδος ἐλέγχει, 
0 πᾶσα δ᾽ ἀτιμία καὶ κακότης ἕπεται. 
9 δ᾽ 9 9 ὃ 4 9 , ὐὸ »ϑ»ν 
εἰ ὃ οὕτως ἀνὸρός τοι ἀλωμένου οὐδεμί᾽ WEN 


* The figures in parentheses give the numbering οἵ Bergk’s edition. 


15 


35 


ELEGIAC POETS. 


, ¥ > 93904 νυν ¥ 9 . 
γίγνεται, οὔτ᾽ αἰδὼς ovr’ Gms οὔτ᾽ ἕλεος, 
θυμῷ γῆς περὶ τῆσδε μαχώμεθα καὶ περὶ παίδων 
θνήσκωμεν ψυχέων μηκέτι φειδόμενοι. 
ὦ νέοι, ἀλλὰ μάχεσθε παρ᾽ ἀλλήλοισι μένοντες, 
A “A 9 A »¥ A (4 
μηδὲ φυγῆς αἰσχρᾶς ἄρχετε μηδὲ φόβον, 
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A a 9 9 ὃ , ’ 
μηδὲ φιλοψυχεῖτ᾽ ἀνδράσι μαρνάμενοι " 
8 A a? 4 > , , > 9 ’ 
τοὺς δὲ παλαιοτέρους, ὧν οὐκέτι γούνατ᾽ ἐλαφρά, 
᾿ , 4 A 4 
μὴ καταλείποντες φεύγετε, τοὺς ‘yepapous ° 
αἰσχρὸν γὰρ δὴ τοῦτο μετὰ προμάχοισι πεσόντα 
A 4 , ¥ 4 
κεῖσθαι πρόσθε νέων ἄνδρα παλαιότερον, 
¥ ἃ ἣν Ud , a, 
non λευκὸν ἔχοντα κάρη πολιόν τε γένειον, 
θυμὸν ἀποπνείοντ᾽ ἄλκιμον ἐν κονίῃ, 
ε έ 9 9 ~ a 9 A ¥ 
αἱματόεντ᾽ αἰδοῖα φίλαις ἐν χερσὶν ἔχοντα -- 
9 “ ᾿ 4 x 9 “A A “ 3 ~ 
αἰσχρὰ τά γ᾽ ὀφθαλμοῖς καὶ νεμεσητὸν ἰδεῖν ---- 
καὶ χρόα γυμνωθέντα. νέοισι δὲ πάντ᾽ ἐπέοικεν, 
¥ >» 9 A 9 9 “ ν ¥ 
opp ἐρατῆς ἤβης ἀγλαὸν ἄνθος ἔχῃ" 
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ἀνδράσι μὲν θηητὸς ἰδεῖν, ἐρατὸς δὲ γυναιξίν, 
Α 5 9) >) > 9 4 ’ 
ζωὸς ἐών, καλὸς δ᾽ ἐν προμάχοισι πεσών. 
9 , 4 δ , ἃ 3 , 
ἀλλά τις εὖ διαβὰς μενέτω ποσὶν ἀμφοτέροισιν 
Α 9 ἃ ~ 9 ΜᾺ A 
στηριχθεὶς ἐπὶ γῆς, χεῖλος ὀδοῦσι δακών. 


II. (11.) 


᾿Αλλ᾽ Ἡρακλῆος yap ἀνικήτου γένος ἐστέ, 
θαρσεῖτ᾽, οὔ πω Ζεὺς αὐχένα λοξὸν ἔχει " 

μηδ᾽ ἀνδρῶν πληθὺν δειμαίνετε, μηδὲ φοβεῖσθε, 
ἰθὺς δ᾽ εἰς προμάχους ἀσπίδ᾽ ἀνὴρ ἐχέτω, 

ἐχθρὰν μὲν ψυχὴν θέμενος, θανάτου δὲ μελαίνας 


10 


15 


TYRTAEUS. rf 


κῆρας ὁμῶς αὐγαῖς ἠελίοιο φίλας. 
ἴστε γὰρ “Apes πολυδακρύου ἔργ ᾿ ἀΐδηλα, 
εὖ δ᾽ ὀργὴν ἐδάητ᾽ ἀργαλέου πολέμου, 
καὶ θαμὰ φευγόντων τε διωκόντων τε γέγευσθε, 
4 id 9 ’ 9 9 ’᾽ 3 , 
ὦ νέοι, ἀμφοτέρων δ᾽ εἰς κόρον ἠλάσατε. 
ot μὲν γὰρ τολμῶσι παρ᾽ ἀλλήλοισι μένοντες 
ἔς τ᾽ αὐτοσχεδίην καὶ προμάχους ἰέναι, 
παυρότεροι θνήσκουσι, σαοῦσι δὲ λαὸν ὀπίσσω' 
, > 9 “A A > 9 , > 9 a, 
τρεσσάντων δ᾽ ἀνδρῶν πᾶσ᾽ ἀπόλωλ᾽ ἀρετή. 
οὐδεὶς ἄν ποτε ταῦτα λέγων ἀνύσειεν ἕκαστα, 
gy 3 aA > “ ’ , 9 ὃ . , 
ὅσσ᾽, ἣν αἰσχρὰ πάθῃ, γίγνεται ἀνδρὶ κακά. 
9 ,ὕ δ ¥ , 9 A 5 A 4 
ἀργαλέον yap ὄπισθε μετάφρενον ἐστὶ Satlew 
ἀνδρὸ } Syiw ἐν πολέμῳ " 
pos φεύγοντος δηΐῳ ἐν πολέμῳ 
αἰσχρὸς δ᾽ ἐστὶ νέκυς κακκείμενος ἐν κονίῃσιν, 
A ΜΝ ᾿ 9 9 ἦν δ 3 ra 
νῶτον ὄπισθ᾽ αἴχμῇ δουρὸς ἐληλαμένος. 
ἀλλά τις εὖ διαβὰς μενέτω ποσὶν ἀμφοτέροισιν 
στηριχθεὶς ἐπὶ γῆς, χεῖλος ὀδοῦσι δακών, 


_ μηρούς τε κνήμας τε κάτω καὶ στέρνα καὶ ὥμους 


25 


ἀσπίδος εὐρείης γαστρὶ καλυψάμενος ' 
δεξιτερῇ δ᾽ ἐν χειρὶ τινασσέτω ὄμβριμον ἔγχος, 
κινείτω δὲ λόφον δεινὸν ὑπὲρ κεφαλῆς" 


᾿ἕρδειν δ᾽ ὄμβριμα ἔργα διδασκέσθω πολεμίζων, 


> 595 Α ’ ε , 9 QD ἈΝ 
μηδ᾽ ἐκτὸς βελέων ἑστάτω ἀσπίδ᾽ ἔχων. 
3 , 3 Δ Κφ9.5 39 Ν » ee see 
ἀλλά Tis ἐγγὺς ἰὼν αὐτοσχεδὸν ἔγχεϊ μακρῳ 
ἢ ξίφει οὐτάζων δήϊον avdp’ ἑλέτω - 
καὶ πόδα παρ ποδὶ θεὶς καὶ ἐπ᾿ ἀσπίδος ἀσπίδ᾽ 
> , 
9 oe 4 a’ 4 , ᾿ 
ἐν δὲ λόφον τε λόφῳ καὶ κυνέην κυέβ .-. 
καὶ στέρνον στέρνῳ πεπλημένος ἀνδρὶ μαχέσθω, 


8 ELEGIAC POETS. 


ἢ ξίφεος κώπην ἢ δόρν μακρὸν ἑλών. 
ς- 5 δ᾽ ΕΓ A e 3 9 (ὃ 4 ¥ 
33 ὑμεῖς ὁ, ὦ γυμνῆτες, ὑπ᾽ ἀσπίδος ἄλλοθεν ἄλλος 
πτώσσοντες μεγάλοις βάλλετε χερμαδίοις, 
δούρασί τε ξεστοῖσιν ἀκοντίζοντες ἐς αὐτούς, 
τοῖσι πανόπλοισι πλησίον ἱστάμενοι. 


III. 42.) 


Οὔτ᾽ ἂν μνησαίμην οὔτ᾽ ἐν λόγῳ ἄνδρα τιθείμην 
οὔτε ποδῶν ἀρετῆς οὔτε παλαισμοσύνης, 
οὐδ᾽ εἰ Κυκλώπων μὲν ἔχοι μέγεθός τε βίην τε, 
νικῴη δὲ θέων Θρηΐκιον Βορέην, 
s οὐδ᾽ εἰ Τιθωνοῖο puny χαριέστερος εἴη, A> idnetis 
πλουτοίη δὲ Midew καὶ Κινύρεω μάλιον, Ley 
οὐδ᾽ εἰ Τανταλίδεω Πέλοπος βασιλεύτερος εἴη, 
γλῶσσαν δ᾽ ᾿Αδρήστου μειλιχόγηρυν ἔχοι, 
οὐδ᾽ εἰ πᾶσαν ἔχοι δόξαν πλὴν θούριδος ἀλκῆς, 
10 ---οΟοὺ γὰρ ἀνὴρ ἀγαθὸς γίγνεται ἐν πολέμῳ --- 
εἰ μὴ τετλαίη μὲν ὁρῶν φόνον αἱματόεντα 
καὶ δηΐων ὀρέγοιτ᾽ ἐγγύθεν ἱστάμενος. 
nO ἀρετή, τόδ᾽ ἄεθλον ἐν ἀνθρώποισιν ἄριστον 
κάλλιστόν τε φέρειν γίγνεται ἀνδρὶ νέῳ. 
3 ξυνὸν δ᾽ ἐσθλὸν τοῦτο πόληϊ τε παντί τε δήμῳ, 
᾿ ὅς τις ἀνὴρ διαβὰς ἐν προμάχοισι μένῃ 
νωλεμέως, αἰσχρᾶς δὲ φυγῆς ἐπὶ πάγχν λάθηται, 
ψυχὴν καὶ θυμὸν τλήμονα παρθέμενος, 
θαρσύνῃ δ᾽ ἔπεσιν τὸν πλησίον ἄνδρα παρεστώς" 
2 οὗτος ἀνὴρ ἀγαθὸς γίγνεται ἐν πολέμῳ " YU 


αἶψα δὲ δυσμενέων ἀνδρῶν ἔτρεψε φάλαγγας 


25 


40. 


TYRTAEUS. 9 


τρηχείας, σπουδῇ τ᾽ ἔσχεθε κῦμα μάχηφ" 
3 ᾿ > 3 4 δ ’ Ἦν 4 
αὐτὸς δ᾽ ἐν προμάχοισι πεσὼν φίλον ὥλεσε θυμόν 
¥ νι “N Ν », 9 9 h 
ἄστυ τε Kat λαοὺς καὶ πατέρ᾽ εὐκλεῖσας, 
πολλὰ διὰ στέρνοιο καὶ ἀσπίδος ὀμφαλοέσσης 
Ἁ Ν ’ ’ 3 o 
καὶ διὰ θώρηκος πρόσθεν ἐληλαμένος " 
Α > 93 ’ A ε. a ’ 3 A a 
τὸν δ᾽ ὀλοφύρονται μὲν ὁμῶς νέοι ἠδὲ γέροντες, 
9 ’ ᾿ ’ ~ ‘4 4 
dpyahéw τε πόθῳ πᾶσα κέκηδε πόλις" 
, ’ Ἁ Ὁ 9 3 a 9. 9 
καὶ τύμβος καὶ παῖδες ἐν ἀνθρώποις ἀρίσημοι 
καὶ παίδων παῖδες καὶ γένος ἐξοπίσω. 
οὐδέ ποτε κλέος ἐσθλὸν ἀπόλλυται οὐδ᾽ ὄνομ᾽ αὐτοῦ, 
ϑὅλλδλ εν a 28 , 9524 » 
ἀλλ᾽ ὑπὸ γῆς περ ἐὼν γίγνεται ἀθάνατος, 
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a , \ , “- ¥ 2\ 2 
γῆς πέρι καὶ παίδων θοῦρος “Apns ὀλέσῃ. 
3 A a Ἁ ΄΄ὸὦ id ’ 
εἰ δὲ φύγῃ μὲν κῆρα τανηλεγέος θανάτοιο, 
, > 9» a 9 δ a 9 
νικήσας δ᾽ αἰχμῆς ἀγλαὸν εὖχος Edy, . 
4 ω ζω 
πάντες μιν τιμῶσιν ὁμῶς νέοι ἠδὲ παλαιοί, 
πολλὰ δὲ τερπνὰ παθὼν ἔρχεται εἰς ᾿Αΐἴδην " 


, > A 
“γηράσκων ἀστοῖσι μεταπρέπει, οὐδέ τις αὐτόν 


Ud ¥ A 

βλάπτειν ovr’ αἰδοῦς οὔτε δίκης ἐθέλει, 

Ud δ᾽ 9 θ , e a , ν 9 3. 7 
πάντες ὃ ἐν θώκοισιν ὁμῶς νέοι οἵ τε KAT αὐτὸν 

ν 9 

εἰκουσ᾽ ἐκ χώρης οἵ τε παλαιότεροι. 

a A A 
ταύτης νῦν τις ἀνὴρ ἀρετῆς Eis ἄκρον ἱκέσθαι 

, ~ 
πειράσθω θυμῳ, μὴ μεθιεὶς πολέμον. 


EMBATHPION. 
IV. (15.) 
“Ayer, ὦ Σπάρτας évdvdpov 
κοῦροι πατέρων πολιητᾶν, 


10 ELEGIAC POETS. 


λαιᾷ μὲν ἴτυν προβάλεσθε, 

δόρυ δ᾽ εὐτόλμως πάλλοντες, 
5 μὴ φειδόμενοι Tas ζωᾶς " 

οὐ γὰρ πάτριον τᾷ Σπάρτᾳ. 


MIMNERMUS. 


MIMNERMUS was born apparently at Smyrna, and flour-— 
ished according to some authorities from about 635 B.c., while 
others place his literary activity in the following century. 
The facts of his life are but little known to us, though the 
date is to a certain degree fixed by the fact that Solon ad- 
dresses him as a contemporary. He was the first to employ 
the elegiac verse for plaintive mournful compositions, and so 
receives the honor of introducing to the Greeks a new inven- 
tion in song, more especially as the character which he im- 
pressed upon the elegy became a distinguishing trait of that 
style of poetry forever after. Abandoning the themes of war 
he sung of the trials and disappointments of fife, exalting love 
as the only compensation left to poor mortality. A beautiful 
maiden named Nanno, the preéminent subject of his song, was 
immortalized by his elegies addressed to her. 

The dialect of Mimnermus was the Epic, though with some 
forms like κοτέ and κως imitating the later Ionic. 


NANNQ. 
I. (0 
‘Tus δὲ Bios, τί δὲ τερπνὸν ἄτερ χρυσῆς ᾿Αφροδίτης ; 
τεθναίην, ὅτε μοι μηκέτι ταῦτα μέλοι, 
κρυπταδίη φιλότης καὶ μείλιχα δῶρα καὶ εὐνή" 
εἰ nBns ἄνθεα γίγνεται ἁρπαλέα 


MIMNERMUS. 11 


5 ἀνδράσιν ἠδὲ γυναιξίν. ἐπεὶ δ᾽ ὀδυνηρὸν ἐπέλθῃ 
γῆρας, 67 αἰσχρὸν ὁμῶς καὶ κακὸν ἄνδρα τιθεῖ, 
αἰεί μιν φρένας ἀμφὶ κακαὶ τείρονυσι μέριμναι, 
οὐδ᾽ αὐγὰς προσορῶν τέρπεται ἠελίου, 
9 9 9 Q ' , > ἢ QA , 
ἀλλ᾽ ἐχθρὸς μὲν παισίν, ἀτίμαστος δὲ γυναιξίν " 
9 2 4 “A ¥ Ρ 
10 οὕτως ἀργαλέον γῆρας ἔθηκε θεός. 


II. (2.) 


Ἡμεῖς δ᾽ οἷά τε φύλλα φύει πολνανθέος ὥρῃ 
¥ y > F792 2" ¥ 3 , 
ἕαρος, ὅτ᾽ αἶψ᾽ αὐγῃς αὔξεται ἠελίον, 
“A ¥ a 9 A , ¥ ν 
τοῖς ἵκελου πήχνιον ἐπὶ χρόνον ἄνθεσιν ἥβης 
i \ “A 3Q 4 ¥ , 
τερπόμεθα, πρὸς θεῶν εἰδότες οὗτε κακόν 
¥ > 5 , a A , 
5 our ἀγαθόν: Κῆρες δὲ παρεστήκασι μέλαιναι, 
ε A ¥ , 3 4 
ἡ μὲν ἔχουσα τέλος γήραος ἀργαλέου, 
ε δ᾽ ε 2 , ’ θ δὲ id ῳ 
ἡ δ᾽ ἑτέρη θανάτοιο" μίνυνθα δὲ γίγνεται ἥβης 
καρπός, ὅσον τ᾽ ἐπὶ γὴν κίδναται ἠέλιος " 
2 A 8. A A , y 
αὐτὰρ ἐπὴν δὴ τοῦτο τέλος παραμείψεται ὥρης, 
. 9 A a , 
1 αὐτίκα τεθνᾶναι βέλτιον ἢ βίοτος " 
πολλὰ γὰρ ἐν θυμῷ κακὰ γίγνεται" ἄλλοτε οἶκος 
τρνυχοῦται, πενίης δ᾽ ἔργ᾽ ὀδυνηρὰ πέλει " 
ἄλχος δ᾽ αὖ παίδων ἐπιδεύεται, ὧν τε μάλιστα 
ε v4 a A ΕΣ 9 9, 
ἱμείρων κατὰ γῆς ἔρχεται εἰς ᾿Αἴδην" 
15 ἄλλος νοῦσον ἔχει θυμοφθόρον " οὐδέ τις ἔστιν 
ἀνθρώπων, ᾧ Ζεὺς μὴ κακὰ πολλὰ διδοῖ. 


ΠῚ, (5.) 


Αὐτίκα μοι κατὰ μὲν χροιὴν ῥέει ἄσπετος ἱδρώς, 
πτοιῶμαι δ᾽ ἐσορῶν ἄνθος ὁμηλικίης 





12 ELEGIAC POETS. 


τερπνὸν ὁμῶς καὶ καλόν, ἐπεὶ πλέον ὥφελεν εἶναι " 
ἀλλ᾽ ὀλιγοχρόνιον γίγνεται ὥσπερ ὄναρ 
s ἤβη τιμήεσσα" τὸ δ᾽ ἀργαλέον καὶ ἄμορφον 
γῆρας ὑπὲρ κεφαλῆς αὐτίχ᾽ ὑπερκρέμαται, 
ἐχθρὸν ὁμῶς καὶ ἄτιμον, ὅ τ᾽ ἄγνωστον τιθεῖ avdpa, 
βλάπτει δ᾽ ὀφθαλμοὺς καὶ νόον ἀμφιχυθέν. 


IV. (12.) 


9 UA A 4 > a »ν 4 
Ηέλιος μὲν κάρτ᾽ ἔλαχεν πόνον ἥματα πάντα, 
οὐδέ ποτ᾽ ἄμπαυσις γίγνεται οὐδεμία 
9 , A 3 A > x e ’ 9 ’ 
ἱπποισίν τε καὶ αὐτῷ, ἐπεὶ ῥοδοδάκτυλος Has 
3 Q a > 9 Ἁ 3 ~ 
OQxeavov προλιποῦσ᾽ οὐρανὸν εἰσαναβῇ " 
δ \ Q A κ , : “ > » 
s τὸν μὲν γὰρ διὰ κῦμα φέρει πολνήρατος εὐνή 
J e ͵ \ 9 , 
κοὔλη, Ηφαίστου χερσὶν ἐληλαμένη 
χρυσοῦ τιμήεντος, ὑπόπτερος, ἄκρον ἐφ᾽ ὕδωρ 
εὕδονθ᾽ ἁρπαλέως χώρον ad’ Ἑσπερίδων 
A 9 3 4 9 Α a 9 , 9 
γαῖαν ἐς Αἰθιόπων, ἵνα δὴ θοὸν ἅρμα καὶ ἵπποι 
ε “A >» > 9 “ > a , 
1 ἕστασ᾽, ὄφρ᾽ Has ἠριγένεια μόλῃ " 
» 3 9 » e » 9 z > ‘4 e@ 
ἦνθ᾽ ἐπέβη ἑτέρων ὀχέων Ὑπερίονος vids. 


SOLON. 


SoLon was an Athenian citizen of noble birth, tracing his 
lineage back to Codrus, the last king of Athens. His mother 
was also cousin to the mother of Peisistratus. His naturally 
meditative mind was rendered more thoughtful by observation 
at home and extended travel abroad, so that he became known - 
as one of the seven sages of Greece, 


SOLON. 13 


His age was one of peculiar interest in the history of his 
fatherland. Born about 638 B.c., he grew up to find the 
state suffering from widely extended discontent, and in 594. 
he was elected Archon with unlimited power to introduce the 
needed reforms. 

The little oratory and philosophy of that age was almost en- 
tirely poetic, and Solon’s work as a statesman was performed 
largely through this same instrumentality; he addressed the 
people in poetry. Athens had for many years been troubled 
with an old dispute with the Megarians over the possession of 
the island of Salamis. Megara had gained the superiority in 
the contest, and the Athenians in despair had given up their 
undertaking, even passing a law forbidding writing or saying 
anything to urge the people to reopen the conflict. Solon, 
however, was indignant at such a result, so that he finally 
even feigned himself mad, and, after the report of his irre- 
sponsibility had been sufficiently circulated, rushed in among 
the citizens and delivered a poetic address, bidding them 
retrieve their disgrace and repossess the lovely Salamis. The 
appeal was sustained by the ardor of the younger citizens, 
war was recommenced, and Salamis was recovered. 

This was the commencement of Solon’s prominence as a 
poet and politician, but he never relinquished his fondness for 
this method of bringing his thoughts before the people. He 
15 said even to have written a metrical version of his laws, and 
certainly composed a number of shorter poems, generally of a 
hortatory character. The basis of Solon’s dialect was the 
Epic, though with some peculiarities which remind us of the 
later Attic. 


ZTAAAMISE. 
I. (1.) 


Αὐτὸς κήρυξ ἦλθον ad’ ἱμερτῆς Σαλαμῖνος, 
κόσμον ἐπέων ῳδὴν ἀντ᾽ ἀγορῆς θέμενος, 


14 ELEGIAC POETS. 


IL. (2, 8.) 
Einv δὴ τότ᾽ ἐγὼ Φολεγάνδριος ἢ Σικινήτης 
ἀντί γ᾽ ᾿Αθηναίον, πατρίδ᾽ ἀμειψάμενος - 
αἶψα γὰρ ἂν φάτις ἦδε per’ ἀνθρώποισι γένοιτο " 
᾿Αττικὸς οὗτος ἀνὴρ τῶν Σαλαμιναφετῶν. 
5 Ἴομεν eis Σαλαμῖνα, μαχησόμενοι περὶ νήσον 
ἱμερτῆς, χαλεπόν T° αἶσχος ἀπωσόμενοι. 


ὙΠΟΘΗΚΑΙ ΕΙΣ ΑΘΗΝΑΙΟΥΣ. 
III. (4) 


Ἡμετέρα δὲ πόλις κατὰ μὲν Διὸς ov ποτ᾽ ὀλεῖται 
A a “A 4 9 ’ 
αἶσαν καὶ μακάρων θεῶν φρένας ἀθανάτων " 
τοΐη γὰρ μεγάθυμος ἐπίσκοπος ὀμβριμοπάτρη 
Παλλὰς ᾿Αθηναίη χεῖρας ὕπερθεν ἔχει" 
s αὐτοὶ δὲ φθείρειν μεγάλην πόλιν ἀφραδίῃσιν 
ἀστοὶ βούλονται χρήμασι πειθόμενοι, 
δήμου θ᾽ ἡγεμόνων ἄδικος νόος, οἷσιν ἑτοῖμον 
ὕβριος ἐκ μεγάλης ἄλγεα πολλὰ παθεῖν " 
οὐ γὰρ ἐπίστανται κατέχειν κόρον οὐδὲ παρούσας 
ο εὐφροσύνας κοσμεῖν δαιτὸς ἐν ἡσυχίῃ. 
x * * 
πλουτοῦσιν δ᾽ ἀδίκοις ἄργμασι πειθόμενοι 
* * * 
¥73 e ~ 4 ¥ a, 
ov” ἱερῶν κτεάνων οὔτε τι δημοσίων 
A ν 
φειδόμενοι κλέπτουσιν ἐφ᾽ ἁρπαγῇ ἄλλοθεν ἄλλος 
οὐδὲ φυλάσσονται σεμνὰ θέμεθλα Δίκης, 
:5 ἣ σιγῶσα σύνοιδε τὰ γιγνόμενα πρό τ᾽ ἐόντα, 
τῷ δὲ χρόνῳ πάντως ἦλθ᾽ ἀποτισομέ 
‘ χρὸνς Ἶ ΚΕ ἢ: 


25 


SOLON. 15 


Tour ἤδη πάσῃ πόλει ἔρχεται ἕλκος ἄφυκτον : 
εἰς δὲ κακὴν ταχέως ἤλυθε δουλοσύνην, 
ἣ στάσιν ἔμφυλον πόλεμόν θ᾽ evdorr’ ἐπεγείρει, 
ὃς πολλῶν ἐρατὴν ὥλεσεν ἡλικίην ᾽ 
ἐκ γὰρ δυσμενέων ταχέως πολνήρατον ἄστυ 
τρύχεται ἐν συνόδοις τοῖς ἀδικοῦσι φίλαις. 
ταῦτα μὲν ἐν δήμῳ στρέφεται κακά" τῶν δὲ πενιχρῶν 
ἱκνοῦνται πολλοὶ γαῖαν ἐς ἀλλοδαπήν 
πραθέντες δεσμοῖσί τ᾽ ἀεικελίοισι δεθέντες, 
καὶ κακὰ δουλοσύνης στυγνὰ φέρουσι βίᾳ. 
οὕτω δημόσιον κακὸν ἔρχεται οἴκαδ᾽ ἑκάστῳ, 
αὕλειοι δ᾽ ἔτ᾽ ἔχειν οὐκ ἐθέλουσι θύραι, 
ὑψηλὸν δ᾽ ὑπὲρ ἔρκος ὑπέρθαρεν, εὗρε δὲ πάντως, 
εἰ καί τις φεύγων ἐν μυχῷ ἡ θαλάμον. 
ταῦτα διδάξαι θυμὸς ᾿Αθηναίους με κελεύει, 
ὡς κακὰ πλεῖστα πόλει δυσνομία παρέχει, 
εὐνομία δ᾽ εὔκοσμα καὶ ἄρτια πάντ᾽ ἀποφαίνει, 
καὶ θαμὰ τοῖς ἀδίκοις ἀμφιτίθησι πέδας " 
τραχέα λειαΐνει, παύει κόρον, ὕβριν ἀμαυροῖ, 
αὐαίνει δ᾽ ἄτης ἄνθεα φυόμενα, 
εὐθύνει δὲ δίκας σκολιὰς ὑπερήφανα τ᾽ ἔργα 
πραὕΐνει, παύει δ᾽ ἔργα διχοστασίης, 


{Ὁ 


Ρ’ 3 9 », ν 4 ν 9 ε 9 9 “A 
παύει δ᾽ ἀργαλέης ἔριδος χόλον, ἔστι δ᾽ ὑπ᾽ αὐτῆς 
πάντα Kat ἀνθρώπους ἄρτια καὶ πινυτά. 


IV. (ὅ.) 


’ b' b' 25 4 4 Y 9 A 
Δήμῳ μεν yap ἔδωκα τόσον κράτος, ὁσσον ἔπαρκειϊ, 
aA ¥ > 5 “ ¥ 3 9 , 
τιμῆς OUT ἀφελὼν οὔτ᾽ ἐπορεξάμενος- 


φοφ 


ELEGIAC POETS. 


a 9 V4 Ἁ , 3 [4 
ot δ᾽ εἶχον δύναμιν καὶ χρήμασιν ἦσαν ἀγητοί, 
A “A 9 a \ 9 ἢ ¥ 
καὶ τοῖς ἐῤρασάμην μηδὲν ἀεικὲς Exe 
ἔστην δ᾽ ἀμφιβαλὼν κρατερὸν σάκος ἀμφοτέροισιν, 
νικᾶν δ᾽ οὐκ εἴασ᾽ οὐδετέρους ἀδίκως. 


V. (11.) 


Εἰ δέ πεπόνθατε λυγρὰ δι’ ὑμετέρην κακότητα, 
μή τι θεοῖς τούτων μοῖραν ἐπαμφέρετε" 
9 A δ ’ 9 l4 ¢ / 4 
αὐτοὶ yap τούτους ηὐξήσατε ῥύματα δόντες, 
καὶ διὰ ταῦτα κακὴν ἔσχετε δουλοσύνην " 
ε ’ 9 A 9 > ’ ¥ ‘4 
ὑμέων δ᾽ els μὲν Exacrros ἀλώπεκος ἴχνεσι βαίνει, 
σύμπασιν δ᾽ ὑμῖν κοῦφος ἔνεστι νόος" 
3 Ν a en , » ¥ ἫΝ 3 , 
εἰς γὰρ γλῶσσαν ὁρᾶτε καὶ εἰς ἔπος αἰόλον ἀνδρός, 
9 «. 9 SQN ’ id % 
εἰς ἔργον δ᾽ οὐδὲν γιγνόμενον βλέπετε. ᾿ 


ὧν 


ὙΠΟΘΗΚΑΙΈΠΣ EAYTON. 
VI. (13.) 


Μνημοσύνης Kat Ζηνὸς ᾿Ολυμπίον ἀγλαὰ τέκνα, 
Μοῦσαι Πιερίδες, κλῦτέ μοι εὐχομένῳ " 
ὄλβον μοι πρὸς θεῶν μακάρων δότε καὶ πρὸς 
ἁπάντων 
ἀνθρώπων αἰεὶ δόξαν ἔχειν ἀγαθήν " 
εἶναι δὲ γλυκὺν ὧδε φίλοις, ἐχθροῖσι δὲ πικρόν, 
αν Α > ΜᾺ “ ἢ ν 9 ~ 
τοῖσι μὲν αἰδοῖον, τοῖσι δὲ δεινὸν ἰδεῖν, 
’ δ᾽ ε ’ A ¥ LOL δὲ Δ 
χρήματα δ᾽ ἱμείρω μὲν ἔχειν, ἀδίκως δὲ πεπᾶσθαι 
οὐκ ἐθέλω" πάντως ὕστερον ἦλθε δίκη. 
A 3 8 A 4 4 9 , 
πλοῦτον δ᾽ ὃν μὲν δῶσι θεοΐ, παραγίγνεται ἀνδρί 


SOLON. 17 


¥ 
19 ἔμπεδος ἐκ νεάτου πυθμένος εἰς κορυφήν" 
a > κα a en 9 9 yA 
ὃν δ᾽ ἄνδρες τιμῶσιν ὑφ᾽ ὕβριος, οὐ κατὰ κόσμον 
¥ 3 > 909 ¥ 4 
ἔρχεται, ἀλλ᾽ ἀδίκοις ἔργμασι πειθόμενος 
9 9 9 , > 93 a? ¥ 
οὐκ ἐθέλων ἔπεται" ταχέως δ᾽ ἀναμίσγεται arn: 
9 ᾿ 5» 9 o\ 7 ,’ ν 0 
ἀρχὴ δ᾽ ἐξ ὀλίγον γίγνεται ὥστε πυρός, 
o 4 A A 9 A A A 
1s φλαύρη μὲν TO πρῶτον, ἀνιηρὴ δὲ τελευτᾷ. 
9 “ ‘ “~ 9 ¥ 
ov yap δὴν θνητοῖς ὕβριος ἔργα πέλει. 
ἀλλὰ Ζεὺς πάντων ἐφορᾷ τέλος, ἐξαπίνης δέ 
ὥστ᾽ ἄνεμος νεφέλας αἶψα διεσκέδασεν 
ἠρινός, ὃς πόντου πολυκύμονος ἀτρυγέτοιο 
2 πυθμέών κινήσας, γὴν κατὰ πυροφόρον 
δῃώσας καλὰ ἔργα, θεῶν ἕδος αἰπὺν ἱκάνει 
οὐρανόν, αἰθρίην δ᾽ αὖθις ἔθηκεν ἰδεῖν -- 
λάμπει δ᾽ ἠελίοιο μένος κατὰ πίονα γαῖαν 
4 9. A ’ QA »ν. 9 9 Ἁ 3 ~ 
καλόν, ἀτὰρ νεφέων οὐδὲν Er ἐστὶν ἰδεῖν » 
, ‘ , , > δ᾽ 393,3 © », 
23 τοιαύτη Ζηνὸς πέλεται τίσις, οὐδ Ep ἑκάστῳ 
σ .. 3. , , 2e/ 
ὥσπερ θνητὸς ἀνήρ, γίγνεται ὀξύχολος ° «7 
αἰεὶ δ᾽ οὗ ἑ λέληθε διαμπερές, ὅστις ἀλιτρόν 
θυμὸν ἔχει, πάντως δ᾽ ἐς τέλος ἐξεφάνη. 
ἀλλ᾽ ὁ μὲν αὐτίκ᾽ ἔτισεν, ὁ δ᾽ ὕστερον" ἣν δε φύ- 
yoow — 
9 ’ δ “A a > 9 A a 
9 αὐτοί, μηδὲ θεῶν pop’ ἐπιοῦσα κίχῃ. 
¥ , > 9 , ¥ , 
ἤλυθε πάντως αὖθις - ἀναίτιοι ἔργα τίνουσιν 
ἢ παῖδες τοῦτων ἢ γέγος ἐξοπίσω. 
θνητοὶ δ᾽ ὧδε γοεῦμεν ὁμῶς ἀγαθός τε κακός TE* 
δεινὴν εἶ εἷς αὐτοῦ δόξαν ἕ ἕκαστος ἔχει, 
as πρίν τι παθεῖν' τότε δ᾽ αὐτίκ᾽ ὀδύρεται" ἄχρι 88 
τούτον 
, ’ 3 a (4 
χάσκοντες κούφαις ἐλπίσι τερπόμεθα. 


18 ELEGIAC POETS. 


χὥῶστις μὲν νούσοισιν ὑπ᾽ ἀργαλέῃσι πιεσθῇ, 
ὡς ὑγιὴς ἔσται, τοῦτο κατεφράσατο . 
ἄλλος δειλὸς ἐὼν ἀγαθὸς δοκεῖ ἔμμεναι ἀνήρ, 
© καὶ καλός, μορφὴν οὐ χαρίεσσαν ἔχων" 
3 δέ 3 , , δέ ¥ A 
εἰ δέ τις ἀχρήμων, πενίης δέ pw ἔργα βιᾶται, 
κτήσασθαι πάντως χρήματα πολλὰ δοκεῖ. 
σπεύδει δ᾽ ἄλλοθεν ἄλλος: ὁ μὲν κατὰ πόντον 
ἀλᾶται 
ἐν νηυσὶν χρήζων οἴκαδε κέρδος ἄγειν 
9 a 3 > » a 2 λ », 
ss ἰχθυόεντ᾽, ἀνέμοισι φορεύμενος ἀργαλέοισιν, 
φειδωλὴν ψυχῆς οὐδεμίαν θέμενος - 
ἄλλος γῆν τέμνων πολυδένδρεον εἰς ἐνιαυτόν 
λατρεύει, τοῖσιν καμπύλ᾽ ἄροτρα μέλει ' 
ἄλλος ᾿Αθηναίης τε καὶ Ηφαίστου πολυτέχνεω 
959 ἔργα δαεὶς χειροῖν ξυλλέγεται βίοτον" 
ἄλλος Ὀλυμπιάδων Μουσέων πάρα δῶρα διδαχθείς, 
ἱμερτῆς σοφίης μέτρον ἐπιστάμενος " 
ἄλλον μάντιν ἔθηκεν ἀναξ ἑκάεργος ᾿Απόλλων, 
¥ 9. 5 4 4 , 9 ’ 
ἔγνω δ᾽ ἀνδρὶ κακὸν τηλόθεν ἐρχόμενον, 
s ᾧ συνομαρτήσωσι θεοί" τὰ δὲ μόρσιμα πάντως 
οὔτε τις οἰωνὸς ῥύσεται οὔθ᾽ ἱερά. 
ἄλλοι Παιῶνος πολυφαρμάκου ἔργον ἔχοντες 
9 a ‘ A ΩΝ » lA 
intpoi* Kat τοῖς οὐδὲν ἔπεστι τέλος " 
πολλάκι δ᾽ ἐξ ὀλίγης ὀδύνης μέγα γίγνεται ἄλγος, 
9 ¥ a > » 4 ’ 
6 κοὐκ ἄν τις λύσαιτ ἤπια φάρμακα δούς, 
τὸν δὲ κακαῖς νούσοισι κυκώμενον ἀργαλέαις τε 
ε , A 4 2 ε A 
ἁψάμενος χειροῖν αἶψα τίθησ᾽ ὑγιῆ. 
Μοίρα δέ τοι θνητοῖσι κακὸν φέρει ἠδὲ καὶ ἐσθλόν" 
δῶρα δ᾽ ἄφυκτα θεῶν γίγνεται ἀθανάτων. 


» 


XENOPHANES. 19 


bs πᾶσι δέ τοι κίνδυνος ἐπ᾽ ἔργμασιν, οὐδέ Tis οἶδεν, 
7 μέλλει σχήσειν χρήματος ἀρχομένου, 
4 ϑε A S 9 , 3 ’ 
ὗ ἀλλ᾽ ὁ μὲν εὖ ἔρδειν πειρώμενος οὐ προνοήσας 
9 , ¥ 4 . os» 
εἰς μεγάλην ἄτην καὶ χαλεπὴν ἔπεσεν, 
τῷ δὲ κακῶς ἕρδοντι θεὸς περὶ πάντα δίδωσιν 
το συντυχίην ἀγαθήν, ἔκλυσιν ἀφροσύνης 
’ 9 QA ’ , 9 4 ~ 
πλούτου δ᾽ οὐδὲν τέρμα πεφασμένον ἀνδράσι κεῖται" 
οἱ γὰρ νῦν ἡμέων πλεῖστον ἔχουσι βίον, - 
διπλασίως σπεύδουσι" τίς ἂν κορέσειεν ἅπαντας ; 
κέρδεά τοι θνητοῖς ὥπασαν ἀθάνατοι" 
¥ > 9 ϑ A 9 ld a ε 4 a? 
73 ἄτη δ᾽ ἐξ αὐτῶν ἀναφαίνεται, ἣν ὁπόταν Ζεύς 
πέμψῃ τισομένην, ἄλλοτε ἄλλος ἔχει. 


VII. (δ.) 


ΣΙολλοὶ γὰρ πλουτεῦσι κακοί, ἀγαθοὶ δὲ πένονται" 
ἀλλ᾽ ἡμεῖς αὐτοῖς οὐ διαμειψόμεθα 
a 9 ~ >’ ΜᾺ 3 A X A ¥ 50 9. »9 
τῆς ἀρετῆς τὸν πλοῦτον, ἐπεὶ τὸ μὲν ἐμπεὸον αἰεὶ, 
, 2 9 , ¥ ¥ ¥ 
χρήματα δ᾽ ἀνθρώπων ἄλλοτε ἄλλος ἔχει. 
iy ree Be χεῖρ 


C we 


XENOPHANES. 


XENOPHANES was the distinguished Eleatic philosopher, 
born at Colophon, though very little that is definite can be 
determined with regard to the time of his birth. He flour- 
ished during the latter half of the 6th century B. c., establish- 
ing himself in the Phocean colony of Elea, in Italy, having 
been for some reason banished from his native city. He was 
the author of a number of poems, of which his elegies are 
those best known to us. He uses the style of poetry rather 


20 ELEGIAC POETS. 


in the manner of Mimnermus than in that of the earlier writ- 
ers, being however more positive and didactic, and less melan- 
choly. He upholds the dignity of philosophy against the 
excessive admiration of the Greeks for athletic strength, while 
at the same time he sharply chides the Ionians for their grow- 
ing luxury and effeminacy. He recommencas that at the ban- 
quets the praises of virtue rather than the prowess of giants 
should be sung. 

The dialect of Xenophanes corresponds in general to the 
Epic, with a few individual peculiarities. 


EAETEIA. 
I. (1.) 


Nov yap δὴ ζάπεδον καθαρὸν καὶ yecoes ἁπάντων 
A 4 “ > 5 A 4 
καὶ κύλικες ' πλεκτοὺς δ᾽ ἀμφιτιθεῖ στεφάνους, 
¥ > 3a , 3 , , 
ἄλλος δ᾽ εὐῶδες μύρον ἐν φιάλῃ παροστείνει " 
κρατὴρ δ᾽ ἔστηκεν μεστὸς ἐὐφροσύνης " 
y > 4 ea δ ¥ \ , 
ς ἄλλος δ᾽ οἶνος ἑτοῖμος, ὃς οὔ ποτε φησὶ προδώσειν, 
μείλιχος ἐν κεράμοις, ἄνθεος ὀσδόμενος " 
9 A , ε N 9 4 . 9 
ἐν δὲ μέσοις ἁγνὴν ὀδμὴν λιβανωτὸς inow, 
NX Ὧ4 4 9 “ ‘ Ἁ ’ 
ψυχρὸν δ᾽ ἔστιν ὕδωρ καὶ γλυκὺ καὶ καθαρόν " 
Cd > *¥ ἃ (4 4 
πάρκεινται δ᾽ ἄρτοι ξανθοὶ yepapy τε τράπεζα 
' τυροῦ καὶ μέλιτος πίονος ἀχθομένη 
Q > ᾿ 9 A 4 ’ A 
βωμὸς δ᾽ ἄνθεσιν ἀν τὸ μέσον πάντη πεπύκασται, 
μολπὴ δ᾽ ἀμφὶς ἔχει δώματα καὶ θαλίη. 
\ 5 A Ν Ν ε A y ¥ ὃ 
χρὴ δὲ πρῶτον μὲν θεὸν ὑμνεῖν εὔφρονας avdpas 
εὐφήμοις μύθοις καὶ καθαροῖσι λόγοις. 


σπείσαντας δὲ καὶ εὐξαμένους τὰ δίκαια δύνασθαι 


“ 
οι 


΄- 4 
πρήσσειν — ταῦτα yap ὦν ἐστι προχειρότερον, 
> 9 ’ ε ’ ¥ 9 4 
οὐχ ὕβρις, ---- πίνειν ὁπόσον κεν ἔχων ἀφίκοιο 


go, 
ἀχτιϑ. 
XENOPHANES. 21 


ν ὃν ’ Α 4 , 
οἴκαδ᾽ ἄνεν προπόλουν, μὴ πάνν ynpadéos: 
4 “A 4 ΕῚ A aA a 9 “ be 3 ’ 
ἀνδρῶν δ᾽ αἰνεῖν τοῦτον, ὃς ἐσθλὰ πιὼν ἀναφαίνει, 
9 ε ’ > 4 Ν ‘ a 9 > 9°» A 
22 ὥς OL μνημόσυν᾽ 7, καὶ TOV, ὃς au ἀρετῆς, 
» , ὃ id 4 ὑδὲ ’ 
οὔτι μάχας OLETTEL Τιτήνων ovde Γιγάντων, 
οὐδὲ τὰ Κενταύρων, πλάσματα τῶν προτέρων, 
a ’ , A 9 δὲ νΝ ¥ 
ἢ στάσιας odedavds: τοῖς οὐδὲν χρηστὸν ἔνεστιν" 
“ ὃ Ν ’ aN 4 3 θ 4 
θεῶν δὲ προμηθείην αἰὲν ἔχειν ἀγαθον. 


IL. (2.) 


A A ¥ 
"ANN εἰ μὲν ταχυτῆτι ποδῶν νίκην τις ἄροιτο 
ἢ πενταθλεύων, ἔνθα Διὸς τέμενος 
A » 4 
παρ Πίσαο pons ἐν ᾿Ολυμπίῃ, εἴτε παλαίων, 
Ὦ 
ἢ καὶ πυκτοσύνην ἀλγινόεσσαν ἔχων, 
» N ἃ ¥ a / 4 
5 εἴτε TO δεινὸν ἄεθλον, ὃ παγκράτιον καλέουσιν, 
ἀστοῖσίν κ᾿ εἴη κυδρότερος προσορᾶν, 
Kai κε προεδρίην φανερὴν ἐν ἀγῶσιν ἄροιτο, 
καί κεν σῖτ᾽ εἴη δημοσίων κτεάνων 
9 , 4 A y ε , ¥ 
ἐκ πόλεως καὶ δῶρον, 6 οἱ κειμήλιον εἴη " 
m εἴτε καὶ ἵπποισιν, ταῦτά χ᾽ ἅπαντα λάχοι, 
9 aN ¥ 9 9 lA ¢ \) “‘ 9 , 
οὐκ ἐὼν ἄξιος, ὥσπερ ἐγώ ῥώμης γὰρ ἀμείνων 
9 ὃ ῶν ἠδ᾽ ur e » [4 
᾿ἀμωὠβγὸρῶν ἠδ᾽ ἵππων ἡμετέρη σοφίη. 
ΩΣ iA) 9. A tr A ? ὃ So δ΄ 
ἀλλ' εἰκῃ μάλα τοῦτο νομίζεται" οὐδὲ δίκαιον 
, 
προκρίνειν ῥώμην τῆς ἀγαθῆς σοφίης. 
» δ “A 
15 Οὔτε yap εἰ πύκτης ἀγαθὸς λαοῖσι μετείη, 
y 3 ἴω , 
our εἰ πενταθλεῖν, οὔτε παλαισμοσύνην, 
‘ A 
οὐδὲ μὲν εἰ ταχυτῆτι ποδῶν, τό πέρ ἐστι πρότιμον 
ε»ἴ 9 > 9° “a ¥ % 93 > “Ὁ 
ῥώμης ὅσσ᾽ ἀνδρῶν ἔργ᾽ ἐν ἀγῶνι πέλει, 
¥ ζω 
τοὔνεκεν ἂν δὴ μᾶλλον ἐν εὐνομίῃ πόλις εἴη" 


22 ELEGIAC POETS. 


‘ > ¥ 4 , , #9 A aA 
9 σμικρὸν δ᾽ av τι πόλει χάρμα γένοιτ᾽ ἐπὶ τῷ, 
Ψ 9 ’ A ’ὔ + a 
εἴ τις ἀεθλεύων νικῷ Πίσαο map ὄχθας" 
οὐ γὰρ πιαίνει ταῦτα μυχοὺς πόλεως. 


THEOGNIS. 


THEOGNIS was a native of Megara, about twenty miles west- 
ward across the bay and the island of Salamis from Athens. 
He flourished from about 550 until as late as 490 8. c. His 
birth would therefore apparently fall as early as B. c. 570. 

For a long time previous to the birth of Theognis his native 
city had suffered from a series of revolutions which threw the 
control of the state back and forth between the oligarchs and 
the commons, or more frequently tyrants who usurped the 
power in their name. Theognis belonged by birth <nd by 
sympathy to the nobles, and his poems naturally reflect his 
feeling of indignation over the misfortunes of his friends, and 
his thorough hatred of their political opponents. His senti- 
ments were greatly intensified by his personal losses, as his 
property was confiscated, and he was sent forth an exile, home- 
less and almost friendless. He found at last a resting-place 
and obtained the rights of citizenship in Megara, in Sicily. 
It was the natural result of his experiences that all his 
thoughts were colored by his political feeling. In his writings 
the nobles are always the ἀγαθοί and ἐσθλοί, and the common 
people are κακοί and δειλοί, 80 that these words, as they occur 
in his poems, are always to be taken as having at least much 
of this political signification. 

Theognis has left to us an extended collection of apothegms, 
and is therefore far better known to us than any other author 
as a writer of gnomic poetry. His verses were addressed to 
one Kurnos the son of Polypas, of whom nothing further is 


THEOGNIS. 23 


known than Theognis suggests. His lines contain frequently 
very excellent mora] maxims, and for this reason were studied 
in the Greek schools as part of the moial training of the 
young. He was, however, a disappointed, imbittered man, 
and his feelings are constantly coming into sight. He could 
not be satisfied with the times in which he lived, nor with the 
actions of his countrymen. 

There are other fragments of the poetry of Theognis, but 
they are less deserving of attention. The edition of Bergk 
gives some fourteen hundred lines of his elegiacs; only a por- 
tion has been selected as sufficient to give an illustration of 
the Greek gnomic poetry. 

The dialect in which Theognis wrote was the Epic, with 
some modifications from the Ionic, and some forms also Doric, 
as Megara was a Dorian state. 


> ¥ A a 
Ὡ ava, Λητοῦς υἱέ, Διὸς τέκος, οὗποτε σεῖο 
’ > 
λήσομαι ἀρχόμενος οὐδ᾽ ἀποπανόμενος, 
9 3 aN “A N , 9 » , 
ἀλλ᾽ αἰεὶ πρῶτον σὲ καὶ ὕστατον ἕν TE μέσοισιν . 
ἀείσω" σὺ δέ μοι κλῦθι καὶ ἐσθλὰ δίδου. 


5 Φοῖβε ἀναξ, ὅτε μέν σε θεὰ τέκε πότνια Λητώ, 5" 
φοίνικος ῥαδινῆς χερσὶν ἐφαψαμένη, 
ἀθανάτων κάλλιστον, ἐπὶ τροχοειδέϊ λίμνῃ, 
πᾶσα μὲν ἐπλήσθη Δῆλος ἀπειρεσίη 
ὀδμῆς ἀμβροσίης, ἐγέλασσε δὲ γαῖα πελώρη. 
1 γήθησεν δὲ βαθὺς πόντος ἁλὸς πολιῆς. 10 


ἼἌρτεμι θηροφόνη, θύγατερ Διός, ἣν ᾿Αγαμέμνων 
εἴσαθ᾽, ὅτ᾽ ἐς Τροίην ἔπλεε νηυσὶ Boats, 


* The figures on the right give the numbering of Bergk’s edition. 


24 ELEGIAC POETS. 


εὐχομένῳ μοι κλῦθι, κακὰς δ᾽ ἀπὸ κῆρας ἄλαλκε- 
σοὶ μὲν τοῦτο, θεά, σμικρόν, ἐμοὶ δὲ μέγα. 


A “a 9 
13 Μοῦσαι καὶ Χάριτες, κοῦραι Διός, ai ποτε Κάδμου 
3 , 9 a 4 >? ον 
ἐς γάμον ἐλθοῦσαι καλὸν ἀείσατ᾽ ἔπος " 16 
ὅττι καλόν, φίλον ἐστί: τὸ δ᾽ οὐ καλὸν ov φίλον 
ἐστίν" 
nA 4 
τοῦτ᾽ ἔπος ἀθανάτων ἦλθε διὰ στομάτων. 


Κύρνε, σοφιζομένῳ μὲν ἐμοὶ σφρηγὶς ἐπικείσθω 
A > ¥ , > ¥ , 
2 τοῖσδ᾽ ἔπεσιν, λήσει δ᾽ οὔποτε κλεπτόμενα. 2 
οὐδέ τις ἀλλάξει κάκιον τοὐσθλοῦ παρεόντος. 
4Φ \ a > A , , 9 Ψ 
ὧδε δὲ πᾶς τις ἐρεῖ - Θεύγνιδός ἐστιν ἔπη 
“A ’ , δ > 9 ’ > 
τοῦ Μεγαρέως: πάντας δὲ κατ᾽ ἀνθρώπους dvo- 
μαστός 
9 “A A 4 A ε “A ’ 
ἀστοῖσιν δὴ οὗ πω πᾶσιν ἁδεῖν δύναμαι - 
15 οὐδὲν θαυμαστόν, ἸΠολυπαΐδη : οὐδὲ γὰρ ὁ Ζεὺς “5 
ννΔ9 Ὁ ld > e 4, ¥ > 3 ’ 
ov?” ὕων πάντεσσ᾽ ἁνδάνει οὔτ᾽ ἀνέχων. 


ἃ > 9 Ν 4 4 e 4 G7 9 4 
Σοὶ δ᾽ ἐγὼ εὖ φρονέων ὑποθήσομαι, οἷά περ αὐτός, 
, 3 2 A A 9 A ~ F > ON Ψ 
Κύρν, ἀπὸ τῶν ἀγαθῶν παῖς ἔτ᾽ ἐὼν ἔμαθον. 
9 9 ΠΝ > > ¥ 9 307 
πέπννο, μηδ᾽ αἰσχροῖσιν ἐπ᾿ ἔργμασι μηδ᾽ ἀδί- 
κοισιν 
δ > 9 ἃ 9 > » 
0 τιμὰς μηδ᾽ ἀρετὰς ἕλκεο μηδ᾽ ἄφενος. 30 


“A N 4 ¥ ~ \ \ 4 
Ταῦτα μὲν οὕτως ἴσθι. κακοῖσι δὲ μὴ προσομίλει 
3 ἤ Φ. FN _A 3 A »¥ 
ἀνδράσιν, ἀλλ᾽ αἰεὶ τῶν ἀγαθὼν ἔχεο᾽" 
καὶ παρὰ τοῖσιν πῖνε καὶ ἔσθιε, καὶ μετὰ τοῖσιν 
ἵζε, καὶ ἄνδανε τοῖς, ὧν μεγάλη δύναμις. 





THEOGNIS. 25 


~ Ν 
as ἐσθλῶν μὲν γὰρ ἀπ᾽ ἐσθλὰ μαθήσεαι" ἣν δὲ κα- 

κοῖσιν - 35 
, > A A “\ 9 » 4 

συμμίσγῃς, ἀπολεῖς Kal TOV ἐόντα VOW. 

A Q 9 ΄“ € », , 4 

ταῦτα μαθὼν ἀγαθοῖσιν ὁμίλεε, καί ποτε φήσεις 
εὖ συμβουλεύειν τοῖσι φίλοισιν ἐμέ. 


Κύρνε, κύει πόλις ἥδε, δέδοικα δὲ μὴ τέκῃ ἄνδρα 
© εὐθυντῆρα κακῆς ὕβριος ἡμετέρης. 4 
ἀστοὶ μὲν γὰρ ἔθ᾽ οἵδε σαόφρονες, ἡγεμόνες δὲ 
τετράφαται πολλὴν ἐς κακότητα πεσεῖν. 


Οὐδεμίαν πω, Κύρν᾽, ἀγαθοὶ πόλιν ὥλεσαν ἄνδρες ’ 
ἀλλ᾽ ὅταν ὑβρίζειν τοῖσι κακοῖσιν ἄδῃ, 
as δῆμόν τε φθείρωσι, δίκας τ᾽ ἀδίκοισι διδῶσιν 45 
οἰκείων κερδέων εἵνεκα καὶ κράτεος, 
Ἅ ‘ , , > a 
ἔλπεο μὴ δηρὸν κείνην πόλιν ἀτρεμιεῖσθαι, 
9 3 “~ ~ “~ 93 € , 
μηδ᾽ εἰ νῦν κεῖται πολλῇ ἐν ἡσυχίῃ.. 
77> Δ = a 4y> 5» , A , 
εὖτ᾽ ἂν τοῖσι κακοῖσι φίλ᾽ ἀνδράσι ταῦτα γένηται, 
’ “ aA 
= κέρδεα δημοσίῳ σὺν κακῷ ἐρχόμενα. 50 
3 “ ᾿ ’᾽ ,ὔ νν ’ 3 A 
ἐκ τῶν yap στάσιές TE Kat ἔμφυλοι φόνοι ἀνδρῶν. 
τις πὶ ἷ ’ δὲ 5X. rd 79 45 
yak μούναρχος ὃὲ πόλει μήποτε τῇδε Adot. 
— 
Kupve, πόλις μὲν ἔθ᾽ nde πόλις, λαοὶ δὲ δὴ ἄλλο 
a ’ 4 » ’ » » ’ 
οἱ πρόσθ᾽ οὔτε δίκας ἤδεσαν, οὔτε νόμους, 
4 > 9 Ν A ‘ 9 “7 4 
ss ἀλλ᾽ ἀμφὶ πλευρῇσι δορὰς αἰγῶν KatrérpiBov, 5: 
» 393» > ¥ A > > 9 ’ 
ἔξω δ᾽ ὥστ᾽ ἔλαφοι τῆςδ᾽ ἐνέμοντο πόλεος " 
καὶ νῦν εἴσ᾽ ἀγαθοί, ἸΠολυπαΐδη: οἱ δὲ πρὶν 
ἐσθλοὶ 


γὴν δειλοί, τίς κεν ταῦτ᾽ ἀνέχοιτ᾽ ἐσορῶν; 


26. ELEGIAC POETS. 


ἀλλήλους δ᾽ ἀπατῶσιν ἐπ᾽ ἀλλήλοισι γελῶντες, 
¥ ~ a > 6 ¥ 35. 3 A 
x» οὔτε κακῶν γνώμας εἰδότες οὔτ᾽ ἀγαθῶν. to 


Μηδένα τῶνδε φίλον ποιεῦ, Πολυπαΐδη, ἀστῶν 
ἐκ θυμοῦ, χρείης εἵνεκα μηδεμιῆς " 

ἀλλὰ δόκει μὲν πᾶσιν ἀπὸ γλώσσης φίλος εἶναι, 
χρῆμα δὲ συμμίξῃς μηδενὶ μηδ᾽ ὁτιοῦν 

6s σπουδαῖον " γνώσῃ γὰρ ὀϊζυρῶν φρένας ἀνδρῶν, 6 

ὥς σφιν ἐπ᾽ ἔργοισιν πίστις ἔπ᾽ οὐδεμία, 

ἀλλὰ δόλους τ᾽ ἀπάτας τε πολυπλοκίας τ᾽ ἐφίλησαν 
οὕτως, ὡς ἄνδρες μηκέτι σωζόμενοι. 


Πιστὸς ἀνὴρ χρυσοῦ τε καὶ ἀργύρου ἀντερύσασθαι 
» ἄξιος ἐν χαλεπῃ, Κύρνε, διχοστασίῃ. τς ηγ8 


Παύρους εὑρήσεις, Πολυπαΐδη, ἄνδρας ἑταίρους " 
πιστοὺς ἐν χαλεποῖς πρήγμασι γινομένους, 
οἵ τινες ἂν τολμῷεν, ὁμόφρονα θυμὸν ἔχοντες, 
ἶσον τῶν ἀγαθῶν τῶν τε κακῶν μετέχειν. 
: he 
75 Οὐ τόσσους χ᾽ εὕροις διζήμενος οὐδ᾽ ἐπὶ πάντας 83 
ἀνθρώπους, ods ναῦς μὴ μία πάντας ἄγοι, 
οἷσιν ἐπὶ γλώσσῃ τε καὶ ὀφθαλμοῖσιν ἔπεστιν 


io o ὑδ᾽ 9 4 a + a 5 ¥ 
alows, ου αισχρον ΧΡΉΜ €7Tt Kep ος αγει. 
Ιλ A 
\ ~ 


Μή μ᾽ ἔπεσιν μὲν στέργε, νόον δ᾽ ἔχε καὶ φρένας 
Υ 
ἄλλας, 87 
εἴ με φιλεῖς Kal σοι πιστὸς ἔνεστι νόος. 
ἀλλὰ φίλει καθαρὸν θέμενος νόον, ἡ μ᾽ ἀποειπὼν 


= 


Fe Ba ee 





THEOGNIS. 27 


ave barvw 
¥ 9 3 , A 9 Ud 
ἔχθαιρ᾽, ἀμφαδίην νεῖκος ἀειράμενος. 
ὃς δὲ μιῇ γλώσσῃ δίχ᾽ ἔχει νόον, οὗτος ἑταῖρος 
δειλός, Κύρν᾽, ἐχθρὸς βέλτερος ἢ φίλος ὧν. 
8s Ἣν τις ἐπαινήσῃ σε τόσον χρόνον ὅσσον ὁρῴης, - 
A 9 » “A ea 4 
νοσφισθεὶς δ᾽ ἄλλην γλῶσσαν inot κακήν, 
a Sp e A 9. AN V4 ¥ δι 9 ’ 
τοιοῦτός τοι ἑταῖρος ἀνὴρ φίλος οὔτι μάλ᾽ ἐσθλός, 
9 9 4 , : ~ - Ὁ 3 9 
ὅς K εἴπῃ γλώσσῃ Ama, φρονῃῇ δ᾽ ἕτερα. 


᾿Αλλ᾽ etn τοιοῦτος ἐμοὶ φίλος, ὃς τὸν ἑταῖρον ο; 
’ 9 4 A A} ¥ , 
» γινώσκων ὀργὴν καὶ βαρὺν ὄντα φέρει 
ἀντὶ κασιγνήτου" σὺ δέ μοι, φίλε, ταῦτ᾽ ἐνὶ θυμῷ 
φράζεο, kai ποτ᾽ ἐμοῦ μνήσεαι ἐξοπίσω. 


Μηδείς σ᾽ ἀνθρώπων πείσῃ κακὸν ἄνδρα φιλῆσαι, τοι 
Κύρνε᾽ τί δ᾽ ἐστ᾽ ὄφελος δειλὸς ἀνὴρ φίλος ὧν ; 
9% OUT ἄν σ᾽ ἐκ χαλεποῖο πόνον ῥύσαιτο καὶ ἄτης, 
¥ 9 . Ψ A A 9» 
οὔτε κεν ἐσθλὸν ἔχων τοῦ “μεταδοῦν ἐθέλοι. 
4 }-r t ἀ ee 
Δειλοὺς εὖ ᾿ἔρδοντι ματαιότάτη χάρις ἐστίν" 105 
ἶσον καὶ σπείρειν πόντον ἁλὸς πολιῆς. 
¥ bs) 4 a? ‘ ave 9 “ΜᾺ 
οὗτε γὰρ ἂν πόντον σπείρων βαθὺ λήϊον ἀμῷς, 
10 οὔτε κακοὺς εὖ δρῶν εὖ πάλιν ἀντιλάβοις. 
ἄπληστον γὰρ ἔχουσι κακοὶ νόον. ἣν δ᾽ ἕν ἁμάρτῃς, 
τῶν πρόσθεν πάντων ἐκκέχνυται φιλότης. 
οἱ δ᾽ ἀγαθοὶ τὸ μέγιστον ἐλαφρίζουσι παθόντες, 
μνῆμα δ᾽ ἔχουσ᾽ ἀγαθῶν καὶ χάριν ἐξοπίσω. 
ὥρας. bree ; ‘ . ᾿ as, 
13 Κιβδήλου δ᾽ ἀνδρὸς γνῶναι χαλεπώτερον οὐδέν, 117 
Κύρν᾽, οὐδ᾽ εὐλαβίης ἐστὶ περὶ πλέονος. 


28 ELEGIAC POETS. 


Χρυσοῦ κιβδήλοιο καὶ ἀργύρου ἄνσχετος arn, 19 
Κύρνε, καὶ ἐξευρεῖν ῥάδιον ἀνδρὶ σοφῷ. 
εἰ δὲ φίλον νόος ἀνδρὸς ἐνὶ στήθεσσι λελήθῃ 
a0 Ψιυδρὸς ἐών, δόλιον δ᾽ ἐν φρεσὶν ἦτορ ἔχῃ, 
“Ὁ ,. 4 4 eS 
τοῦτο θεὸς κιβδηλότατον ποίησε βροτοῖσιν, 
καὶ γνῶναι πάντων τοῦτ᾽ ἀνιηρότατον. 
9 “ ¥ id 4 9 ὃ A , ὑδὲ ’ 
οὐ γὰρ ἄν εἰδείης ἀνδρὸς νόον οὐδὲ γυναικός, 
πρὶν πειρηθείης ὥσπερ ὑποζυγίου " 
3 4 3 lA 9 9. 93 ¥ 9 ’ 
ns οὐδέ κεν εἰκάσσαις ὥσπερ ToT ἐς ὦνιον ἐλθών" 
πολλάκι γὰρ γνώμην ἐξαπατῶσ᾽ ἰδέαι. 


Οὐδὲν ἐν ἀνθρώποισι πατρὸς καὶ μητρὸς ἄμεινον 1:3: 
ἔπλετο, τοῖς ὁσίη, Κύρνε, μέμηλε δίκη. 


¥ 
Οὐδείς, Κύρν᾽, ἄτης καὶ κέρδεος αἴτιος airds, 135 
mo ἀλλὰ θεοὶ τούτων δώτορες ἀμφοτέρων " 
οὐδέ τις ἀνθρώπων ἐργάζεται, ἐν φρεσὶν εἰδὼς 
9 9 9 ,. [4 ¥ ’ 
ἐς τέλος εἴτ᾽ ἀγαθὸν γίνεται εἴτε κακόν. 
πολλάκι γὰρ δοκέων θήσειν κακόν, ἐσθλὸν ἔθηκεν" 
4 ΜᾺ a > ‘4 ¥ , 
καί τε δοκῶν θήσειν ἐσθλόν, ἔθηκε κακόν. 
195 Οὐδέ τῳ ἀνθρώπων παραγίγνεται, ὅσσ᾽ ἐθέλῃσιν: 
ἴ 
ἴσχει γὰρ χαλεπῆς πείρατ᾽ ἀμηχανίης. rps 
ἄνθρωποι δὲ μάταια νομίζομεν, εἰδότες οὐδέν " Ldn - 
θεοὶ δὲ κατὰ σφέτερον πάντα τελοῦσι νόον. 


Οὐδείς πω ξεῖνον, Πολυπαΐδη, ἐξαπατήσας 143 
9039 ε “2 A 9» , ¥ 
9 οὐδ᾽ ἱκέτην θνητῶν ἀθανάτους ἔλαθεν. 


Βούλεο δ᾽ εὐσεβέων ὀλίγοις σὺν χρήμασιν οἰκεῖν. «45 
a ΄σι , a ld 
ἢ πλουτεῖν, ἀδίκως χρήματᾳ παφάμενος. 


THEOGNIS. 29 


~ 4 
μνι efpdri- 


ἐν δὲ δικαιοσύνῃ συλλήβδην πᾶσ᾽ ἀρετή στιν, 
a 43 9 A 9 ld [4 ’ 3 ἢ) 
πᾶς δέ τ᾽ ἀνὴρ ἀγαθός, Κύρνε, δίκαιος ἐών. 


1235 Χρήματα μὲν δαίμων καὶ παγκάκῳ ἀνδρὶ δίδωσιν, us 
Κύρν᾽ : ἀρετῆς δ᾽ ὀλίγοις ἀνδράσι μοῖρ᾽ ἕπεται. 
Μήποτέ τοι πενίην θυμοφθόρον ἀνδρὶ χολωθείς, τῷ 
μηδ᾽ ἀχρημοσύνην οὐλομένην πρόφερε. 
Ζεὺς γάρ τοι τὸ τάλαντον ἐπιῤῥέπει ἄλλοτε ἄλλως, 
mo ἄλλοτε μὲν πλουτεῖν, ἄλλοτε μηδὲν ἔχειν. 


Μήποτε, Κύρν᾽, ἀγορᾶσθαι ἔπος μέγα" olde γὰρ 
οὐδεὶς 159 


ἀνθρώπων ὅ τι νὺξ χἡμέρη ἀνδρὶ τελεῖ. 


"ANN ἄλλῳ κακόν ἐστι, τὸ δ᾽ ἀτρεκὲς ὄλβιος οὐδεὶς 167 
ἀνθρώπων, ὁπόσους ἠέλιος καθορᾷ. 


«5 Ὃν δὲ θεοὶ τιμῶσ᾽, ὃν καὶ μωμεύμενος aivel. τῷ 
9 “ Ν N ‘4 > ’ 
ἀνδρὸς δὲ σπουδὴ γίνεται οὐδεμία. 


Θεοῖς εὔχου, θεοῖς ἐστιν ἔπι κράτος: ov τοι ἅτερ 
θεῶν 171 
o 3 ρ 3 5 3 ¥ ’ 
γίνεται ἀνθρώποις ovr aya’ οὔτε κακά. 


¥ Avd > 9 θὰ ’ , ὃ ᾽ aN 
p ἀγαθὸν πενίη πάντων δάμνησι μάλιστα, 13 
το καὶ γήρως πολιοῦ, Κύρνε, καὶ ἠπιάλου, 
a \ ᾿ ’ \ 3 , , 
ἣν δὴ χρὴ φεύγοντα καὶ és βαθυκήτεα πόντον 
ε ~ A 4 a > 5» ao 
purrew, καὶ πετρέων, Κύρνε, κατ᾽ ἠλιβάτων. 
καὶ γὰρ ἀνὴρ πενίῃ δεδμημένος οὔτε -ἰ εἰπεῖν 
οὔθ᾽ ἔρξαι δύναται, γλῶσσα δέ οἱ δέδεται. 


/ 





30 ELEGIAC POETS. 


15 Χρὴ yap ὁμῶς ἐπὶ γῆν τε καὶ εὐρέα νώτα θαλάσ- 
σης 179 
δίζησθαι χαλεπῆς, Κύρνε, λύσιν πενίης. 


Κριοὺς μὲν καὶ ὄνους διζήμεθα, Κύρνε, καὶ ἵππους x83 
9 ’ ld ’ > > ~ 
evyevéas, καί τις βούλεται ἐξ ἀγαθῶν 
’ “A λῚ ‘ A > 4 
βήσεσθαι: γῆμαι δὲ κακὴν κακοῦ ov pededaiver 
το ἐσθλὸς ἀνήρ, ἦν οἱ χρήματα πολλὰ διδῷ. 
οὐδὲ γυνὴ κακοῦ ἀνδρὸς ἀναίνεται εἶναι ἄκοιτις 
πλουσίου, ἀλλ᾽ ἀφνεὸν βούλεται ἀντ᾽ ἀγαθοῦ. 
χρήματα γὰρ τιμῶσι" καὶ ἐκ κακοῦ ἐσθλὸς ἔγημεν, 
Ἁ , 9 9 Le) A ¥ ρ 
καὶ κακὸς ἐξ ἀγαθοῦ ' πλοῦτος ἔμιξε γένος. 
63 οὕτω μὴ θαύμαζε γένος, Πολυπαΐδη, ἀστῶν 
μαυροῦσθαι: σὺν γὰρ μίσγεται ἐσθλὰ κακοῖς. 


Αὐτός τοι ταύτην εἰδὼς κακόπατριν ἐοῦσαν 193 
Ὦ 
εἰς οἴκους ἄγεται, χρήμασι πειθόμενος, 
70 500 9 ‘A , 3 o 
evdofos κακόδοξον, ἐπεὶ κρατερή μιν ἀνάγκη 
3 ’ ν > 93 Q a an) ’ 
170 ἐντύει, ἦ τ᾽ ἀνδρὸς τλήμονα θῆκε νόον. 


Χρῆμα δ᾽, ὃ μὲν Διόθεν καὶ σὺν δίκῃ ἀνδρὶ γένη- 
ται 197 
Ἁ ΜᾺ 9 A 4 4 
καὶ καθαρῶς, αἰεὶ παρμόνιμον τελέθει. 
3 39. 397 ‘ μι 9.ϑ δ jee “~ 
εἰ δ᾽ ἀδίκως παρὰ καιρὸν ἀνὴρ φιλοκερδέϊ θυμῷ 
’ wns Ὁ Q 4 ε ’ 
κτήσεται, εἴθ᾽ ὅρκῳ παρ τὸ δίκαιον ἑλών, 
> », ’, , , ὃ ὃ na 2 de “ 
173 αὐτίκα μέν τι φέρειν κέρδος δοκεῖ, és δὲ τελευτὴν 
αὖθις éyerto κακόν, θεῶν δ᾽ ὑπερέσχε νόος. 
δ FQ 9 ’ 9 ou 4 9 Ν 9 3 9 ~ 
αλλὰ τάδ᾽ ἀνθρώπων ἀπατᾷ νόον" ov yap ἐπ᾽ αὐτοῦ 
τίνονται μάκαρες πρήγματος ἀμπλακίας " 


THEOGNIS. 31 


ἀλλ᾽ ὁ μὲν αὐτὸς ἔτισε κακὸν χρέος οὐδὲ φίλοισιν 
1% ἄτην ἐξοπίσω παισὶν ὑπερκρέμασεν " 
ἄλλον δ᾽ οὐ κατέμαρψε δίκη" θάνατος γὰρ ἀναιδὴς 
πρόσθεν ἐπὶ βλεφάροις ἕζετο κῆρα φέρων. 


Κύρνε, φίλους κάτα πάντας ἐπίστρεφε ποικίλον 
ἦθος, arg 


ὀργὴν συμμίσγων ἥντιν᾽ ἕκαστος ἔχει. 


185 Πουλύπου ὀργὴν ἴσχε πολυπλόκου, ὃς ποτὶ πέτρῃ. 515 
τῇ προσομιλήσῃ, τοῖος ἰδεῖν ἐφάνη. 
fe) Q AQ? 37 7 δ 9.93 A 6 4 
νῦν μὲν τῇδ᾽ ἐφέπου, τοτὲ δ᾽ ἀλλοῖος χρόα yivov. 
κρέσσων τοι σοφίη γίνεται ἀτροπίης. 


Ὅστις τοι δοκέει τὸν πλησίον evar οὐδέν, — 22 
3 3 3. ᾿ A 4. 9ψΨ 
το ἀλλ᾽ αὐτὸς μοῦνος ποικίλα Syve ἔχειν, 
a + > » 9 4 0 f. 9 “A 
κεῖνός γ᾽ ἄφρων ἐστί, νόον βεβλαμμένος ἐσθλοῦ. 
ἴσως γὰρ πάντες ποικίλ᾽ ἐπιστάμεθα, 
ἀλλ᾽ ὁ μὲν οὐκ ἐθέλει κακοκερδίῃσιν ἕπεσθαι, 
τῷ δὲ δολ τλρκίαι μᾶλλον ἄπιστοι ἅδον. 
Airy te. 
4 A > A 4,3 “ e > 3 > ‘4 
195 OL μὲν ἐγὼ πτέρ᾽ ἔδωκα, σὺν ols ἐπὶ ἀπείρονα 
πόντον 237 
πωτήσῃ καὶ γῆν πᾶσαν ἀειράμενος 
ε LoL θ ’ δὲ Ἁ 3 [4 4 
ῥηϊδίως " θοίνῃς € Kat εἰλαπίνῃσι παρέσσῃ 
ἐν πάσαις, πολλῶν κείμενος ἐν στόμασιν " 
’ ‘ 9\ 7 4 4 ¥ 
Kai σε σὺν αὐλίσκοισι λιγυφθόγγοις νέοι ἄνδρες 
“ὦ εὐκόσμως ἐρατοὶ καλά τε καὶ λιγέα 
ag ‘ ἣν ὃ oO φ A € AN 4 A , 
ἄσονται" καὶ ὅταν δνοφερῆς ὑπὸ κεύθεσι γαίης 


32 ELEGIAC POETS. 


Bys πολυκωκύτους εἰς ᾿Αἴδαο δόμους, 
οὐδὲ τότ᾽ οὐδὲ θανὼν ἀπολεῖς κλέος, ἀλλὰ μελήσεις 
ν > a 3A y¥ ¥ 
ἄφθιτον ἀνθρώποις αἰὲν ἔχων ὄνομα, 
wos Κύρνε, καθ᾽ Ἑλλάδα γῆν στρωφώμενος ἠδ᾽ ἀνὰ 
νήσους, 
Φ a“ id y 9 9 ρ 
ἰχθυόεντα περῶν πόντον ἔπ᾽ ἀτρύγετον, 
οὐχ ἵππων νώτοισιν ἐφήμενος " ἀλλά σε πέμψει 
4 4, ld A > o 
ἀγλαὰ Μουσάων δῶρα ἰοστεφάνων - 
la) o 4 ’ \ 9: ld 4 ld 
πᾶσι yap, οἷσι μέμηλε, “καὶ ἐσσομένοισιν ἀοιδή 
Ψ ε n » 4 4. 4 A , s 
10 ἔσσῃ ὁμῶς, ὄφρ᾽ ἂν ἢ γῆ TE καὶ ἠέλιος - 
9 Q 9 . 9 a a A 9 4 9 ΄“ 
αὐτὰρ ἐγὼν ὀλίγης παρὰ σεῦ οὐ τυγχάνω αἰδοῦς, 
3 9 Ὁ Q ΗΝ > 9 σι 
ἀλλ᾽ ὥσπερ μικρὸν παῖδα λόγοις μ᾽ ἀπατᾷς. 


/ 
Κάλλιστον τὸ δικαιότατον " λῷστον δ᾽ ὑγιαίνειν " “55 
πρῆγμα δὲ τερπνότατον, τοῦ τις ἐρᾷ, τὸ τυχεῖν. 


¥ Q « Ψ 4 A 9 , 
a5 Iows τοι τὰ μὲν adda θεοὶ θνητοῖς ἀνθρώποις 2 
A ld 9 3 4 Ἁ ’ > 
γῆράς τ᾽ οὐλόμενον καὶ νεότητ᾽ ἔδοσαν " 
τῶν πάντων δὲ κάκιστον ἐν ἀνθρώποις, θανάτου τε 
καὶ πασέων νούσων ἐστὶ πονηρότατον, 
a > \ , \ ¥ , , 
παῖδας ἐπεὶ θρέψαιο καὶ ἄρμενα πάντα παράσχοις, 
, > 2 ἢ“. Vy? 23 δ , 
20 χρήματα δ᾽ ἐγκαταθῃς, πόλλ᾽ ἀνιηρὰ παθών : 
. » 9 9 " 4 ~ δ᾽ 9 l4 
τὸν πατέρ᾽ ἐχθαίρουσι, καταρῶνται δ᾽ ἀπολέσθαι, 
καὶ στυγέουσ᾽ ὥσπερ πτωχὸν ἐπερχόμενον. 


Tot κακοὶ οὐ πάντως κακοὶ ἐκ γαστρὸς γεγόνασιν, 3.5 
ἀλλ᾽ ἄνδρεσσι κακοῖς συνθέμενοι φιλίην 
ns ἔργα Te δείλ᾽ ἔμαθον καὶ ἔπη δύσφημα καὶ ὕβριν, 
ἐλπόμενοι κείνους πάντα λέγειν ἔτυμα. 


THEOGNIS. 33 


Kupv’, ἀγαθὸς μὲν ἀνὴρ γνώμην ἔχει ἔμπεδον αἰεί, 5:0 
A @ » a , ¥ 2 5" A 
τολμᾷ δ᾽ ἔν TE κακοῖς κείμενος ἔν τ᾽ ἀγαθοῖς " 
9 \ Q aA 59 ὃ ‘\ ’ὔ \ A 4 , 
εἰ δὲ θεὸς κακῷ ἀνδρὶ βίον καὶ πλοῦτον ὀπάσσῃ, 
30 ἀφραίνων κακίην οὐ δύναται κατέχειν. 


Μή ποτ᾽ ἐπὶ σμικρᾷ προφάσει φίλον ἄνδρ᾽ ἀπο- 
᾿ λέσσαι 423 
᾿ πειθόμενος χαλεπῇ, Κύρνε, διαιβολίῃ. 
εἴ τις ἁμαρτωλῇσι φίλων ἐπὶ παντὶ χολῷτο, 
οὔ ποτ᾽ ἂν ἀλλήλοις ἄρθμιοι οὐδὲ φίλοι 
a5 εἶεν - ἁμαρτωλαὶ γὰρ ἐν ἀνθρώποισιν ἕπονται 
θνητοῖς, Κύρνε" θεοὶ δ᾽ οὐκ ἐθέλουσι φέρειν. 


ν σ 9. » , $50 ¥ , 
Hovyos, ὥσπερ eyo, μέσσην οδοὸν ἔρχεο ποσσὶν, 331 
> ἐ » UA 4 “ “A ε #7 
μηδ᾽ ἑτέροισι διδούς, Kupve, τὰ τῶν ἑτέρων. 


Μηδὲν ἄγαν σπεύδειν: πάντων μέσ᾽ ἄριστα" καὶ 
| οὕτως 335 
0 ἕξεις, Κύρν᾽, ἀρετήν, ἦν τε λαβεῖν χαλεπόν. 


Ζεὺς μοι τῶν τε φίλων δοίη τίσιν, οἵ με φιλεῦσιν, 337 
τῶν τ᾽ ἐχθρῶν μεῖζον, Κύρνε, δυνησόμενον. 
Ψ Δ ὃ 4 > 3 ’ Ν 
χοὕτως ἂν δοκέοιμι μετ᾽ ἀνθρώποις θεὸς εἶναι, 
εἴ μ᾽ ἀποτισάμενον μοῖρα κίχοι θανάτον.᾿ 
pies, ᾿ ‘ ὶ χὰ ᾿ 
4s ᾿Αλλὰ Ζεῦ τέλεσόν μοι ᾽᾿Ολύμπιε καίῤιον εὐχήν" 5. 
δὸς δέ μοι ἀντὶ κακῶν καί τι παθεῖν ἀγαθόν. 
‘A > 
τεθναίην δ᾽, εἰ μή τι κακῶν ἄμπαυμα μεριμνέων ΄᾿ 
ε ’ , > 9. 735 5» ~ > » 
εὑροίμην, δοίην δ᾽ ἀντ᾽ ἀνιῶν ἀνίας " 


34 ELEGIAC POETS. 


αἶσα yap οὕτως ἐστί" τίσις δ᾽ οὐ φαίνεται ἡμῖν 
99 ἀνδρῶν, οἷ τἀμὰ χρήματ᾽ ἔχουσι βίῃ 
συλήσαντες . ἐγὼ δὲ κύων ἐπέρησα χαράδρην, ° 
_Xepappy ποταμῷ πάντ᾽ ἀποσεισάμενος ᾿ a ot a 
τῶν εἴη μέλαν αἷμα πιεῖν" ἐπί τ᾽ ἐσθλὸς ὄροιτο 
δαίμων, ὃς κατ᾽ ἐμὸν νοῦν τελέσειε τάδε. - 


sss Τόλμα, Κύρνε, κακοῖσιν, ἐπεὶ κἀσθλοῖσιν ἔχαι- 
Pes, 355 
evré σε καὶ τούτων μοῖρ᾽ ἐπέβαλλεν ἔχειν- 
ὡς δέ περ ἐξ ἀγαθῶν ἔλαβες κακόν, ὡς δὲ καὶ 
αὖτις 


ἐκδῦναι πειρῶ, θεοῖσιν ἐπευχόμενος. 


Οὐδένα θησαυρὸν παισὶν καταθήσῃ ἀμείνω 4.9 
3 ΜᾺ ν 9.9 »" 9 a : v4 3 4 
so αἰδοῦς, ἥ τ᾿ ἀγαθοῖς ἀνδράσι, Κύρν᾽, ἕπεται. 


Οὐδενὸς ἀνθρώπων κακίων δοκεῖ εἶναι ἑταῖρος,Ἠ 4% 
ᾧ γνώμη θ᾽ ἕπεται, Κύρνε, καὶ ᾧ δύναμις. 
Οὐδέν᾽ ὁμοῖον ἐμοὶ δύναμαι διζήμενος εὑρεῖν «5 

πιστὸν ἑταῖρον, ὅτῳ μή τις ἔνεστι δόλος" 

:65 ἐς βάσανον δ᾽ ἐλθὼν παρατρίβομαι ὥστε μολίβδῳ 

χρυσός, ὑπερτερίης δ᾽ eee ἔνεστι λόγος. 
τὴν δ ἢ 
Πολλοῖς ἀνθρώπων γλώσσῃ θύραι οὐκ ἐπί. 
κεινται 42x 
ἁρμόδιαι, Kai σφιν πόλλ᾽ ἀμέλητα μέλει" 
πολλάκι γὰρ τὸ κακὸν κατακείμενον ἔνδον ἄμεινον, 
20. ἐσθλὸν δ᾽ ἐξελθὸν λώϊον ἢ τὸ κακόν. 


a f β 
aaa ἰοῦ | «κι 47 


THEOGNIS. 35 


Πάντων μὲν μὴ φῦναι ἐπιχθονίοισιν ἄριστον, 4s 
μηδ᾽ ἐσιδεῖν αὐγὰς ὀξέος ἠελίου" 
φύντα δ᾽ ὅπως ὥκιστα πύλας ᾿Αἶδαο περῆσαι, 


Α ~ N ~ > 
καὶ κεῖσθαι πολλὴν γῆν ἐπαμησάμενον. 


75 Ducat καὶ θρέψαι ῥᾷον βροτόν, ἣ φρίνας ἐσθλὰς 49 
ἐνθέμεν: οὐδείς πω τοῦτό γ᾽ ἐπεφράσατο, 
ᾧ τις σώφρον᾽ ἔθηκε τὸν ἄφρονα, κἀκ κακοῦ 
ἐσθλόν" 
εἰ δ᾽ ᾿Ασκληπιάδαις τοῦτό γ᾽ ἔδωκε θεός, 
ἰᾶσθαι κακότητα καὶ ἀτηρὰς φρένας ἀνδρῶν, 
8) πολλοὺς ἂν μισθοὺς καὶ μεγάλους ἔφερον᾽ 
3 δ᾽ 4 , » 9 ‘ 4 
εἰ δ᾽ ἦν ποιητόν τε καὶ ἔνθετον ἀνδρὶ νόημα, 
» 9 9 A a 64 ’ 
οὔ ποτ᾽ ἂν ἐξ ἀγαθοῦ πατρὸς ἔγεντο κακός, 
πειθόμενος μύθοισι σαόφροσιν' ἀλλὰ διδάσκων 
οὔ ποτε ποιήσεις τὸν κακὸν ἄνδρ᾽ ἀγαθόν. 


285 Μή ποτ᾽ ἐπ᾽ ἀπρήκτοισι νόον ἔχε, μηδὲ μενοίνα, 46 
χρήμασι, τῶν ἄνυσις γίνεται οὐδεμία. 


᾿Αμφ᾽ ἀρετῇ τρίβου, καί σοι τὰ δίκαια φίλ᾽ ἔστω, 465 
4 , ld 9 9 9 δ » 
μηδέ σε νικάτω κέρδος, 6 τ᾽ αἰσχρὸν ἔῃ. 


- Μηδένα τῶνδ᾽ ἀέκοντα μένειν κατέρυκε παρ᾽ ἡμῖν. 467 
“20 μηδὲ θύραζε κέλεν᾽ οὐκ ἐθέλοντ᾽ ἰέναι, 
μήδ᾽ εὕδοντ᾽ ἐπέγειρε, Σιμωνίδη, ὅν tw’ ἂν ἡμῶν 
θωρηχθέντ᾽ οἴνῳ μαλθακὸς ὕπνος ἕλῃ, 
μήτε τὸν ἀγρυπνέοντα κέλευ᾽ ἀέκοντα καθεύδειν" an 
πᾶν γὰρ ἀναγκαῖον χρῆμ᾽ ἀνιηρὸν ἔφν' 


36 ELEGIAC POETS. 





os τῷ πίνειν δ᾽ ἐθέλοντι παρασταδὸν οἰνοχοείτω" | 
ov πάσας νύκτας γίνεται ἁβρὰ παθεῖν" 
αὐτὰρ ἐγώ ---- μέτρον γὰρ ἔχω μελιηδέος οἴνου ---- 
ὕπνου λυσικάκον μνήσομαι οἴκαδ᾽ ἰών, 
ἥξω δ᾽ ὡς οἶνος χαριέστατος ἀνδρὶ πεπόσθαι:" 
¥ ee eee , , 
90 οὔτε τι γὰρ νήφω, οὔτε λίην μεθύω. 
Ld b e ’ 4 4 9 4 “~ 
ὅς δ᾽ ἂν ὑπερβάλλῃ πόσιος μέτρον, οὐκέτι κεῖνος 
τῆς αὐτοῦ γλώσσης καρτερὸς οὐδὲ νόου" 
“ ’ 99 4 Q »,’ ᾽ ἴδ 3 ed 
pubetras δ᾽ ἀπάλαμνα, τὰ νήφουσ᾽ εἴδεται αἰσχρά" 
αἰδεῖται δ᾽ ἕρδων οὐδέν, ὅταν μεθύῃ, 
Q Α oA , , rd 9 δ ‘ A 
9.95 τὸ πρὶν ἐὼν σώφρων, τότε νήπιος: ἀλλὰ σὺ ταῦτα 
γινώσκων, μὴ tiv’ οἶνον ὑπερβολάδην, 
ἀλλ᾽ ἢ πρὶν μεθύειν ὑπανίστασο ---- μή σε βιάσθω 
γαστήρ, ὥστε κακὸν λάτριν ἐφημέριον «----, 
ἡ παρεὼν μὴ πῖνε" σὺ δ᾽ ἔγχεε τοῦτο μάταιον 
8:0 κωτίλλεις αἰεί" τοὔνεκά τοι μεθύεις. 
ἡ μὲν γὰρ φέρεται φιλοτήσιος, ἡ 7 δὲ πρόκειται, 
- τὴν δὲ θεοῖς σπένδεις, τὴν δ᾽ ἐπὶ χεῖλος ἄγεις" 
ἀρνεῖσθαι δ᾽ οὐκ οἶδας" ἀνίκητος δέ τοι οὗτος, 
ὃς πολλὰς πίνων μή τι μάταιον ἐρεῖ. it 
3 4 4 , . an » 
3s Ev πυρὶ μὲν χρυσόν τε καὶ apyupov ἵἴδριες av- 
δρες 499 
γωώσκουσ᾽ ἐ ἀνδρὸς δ᾽ οἶνος ἔδειξε νόον, 
καὶ μάλα πέρ πινυτοῦ, τὸν ὑπὲρ μέτρον ἤρατο πί- 
νων, 
4 ~ .' Α 5 ¢ 
ὥστε καταισχῦναι καὶ πρὶν ἐόντα σοφόν. 


Olvos πινόμενος πουλὺς κακόν' ἣν δέ τις αὐτόν 59 
’ 3 id 3 “ 9 3 9 4 
309 πίνῃ ἐπισταμένως, OV κακὸν ἀλλ᾽ ἀγαθόν. ᾿ 


THEOGNIS. 37 


Τολμᾶν χρὴ χαλεποῖσιν ἐν ἄλγεσι κείμενον ar 
dpa, 535 
πρός Te θεῶν αἰτεῖν ἔκλυσιν ἀθανάτων. 


Κεκλῆσθαι δ᾽ ἐς δαῖτα, παρέζεσθαι δὲ παρ᾽ 
ἐσθλόν , 563 
» , ’, “A > , 
ἄνδρα χρεών, σοφίην πᾶσαν ἐπιστάμενον. 
“ ~ ε 4 Ξ td 4 » “Ὁ 
8.5 τοῦ συνιεῖν, ὁπόταν τι λέγῃ σοφόν, ὄφρα διδαχθῇς 
καὶ τοῦτ᾽ εἰς οἶκον κέρδος ἔχων ἀπίῃς... 
wees wt ο΄ é 
Todpav χρή, τὰ διδοῦσι θεοὶ θνητοῖσι Bporor- 
σιν, sa 
ῥηϊδίως δὲ φέρειν ἀμφοτέρων τὸ λάχος: 
μήτε κακοῖσιν ἀσῶ τι λίην φρένα, μήτ᾽ ἀγαθοῖσιν 
” 3 ’ N , ¥ 2Q A 
30 τερφθῆς ἐξαπίνης, πρὶν τέλος ἄκρον ἰδεῖν. 


Πολλῷ τοι πλέονας λιμοῦ κόρος ὦλεσεν ἤδη δος 
¥ 4 [4 n ¥ ¥ 
ἄνδρας, ὅσοι μοίρης πλεῖον ἔχειν ἔθελον. 


᾿Αρχῇ ἔπι ψεύδους μικρὴ χάρις" ἐς δὲ τελευτήν 
3 “ “ é . ‘4 9 4 
, αἰσχρὸν δὴ κέρδος καὶ κακόν, ἀμφότερον, 
385 γίνεται" οὐδέ τι καλόν, ὅτῳ ψεῦδος προσομαρτῇ 
9 Α \ 9 os ~” > AN 4 
ἀνδρὶ καὶ ἐξέλθῃ πρῶτον ἀπὸ στόματος. 


Οὔτι μάλ᾽ ἀνθρώποις καταθύμια πάντα τελεῖται" 6:6 
πολλῷ γὰρ θνητῶν κρέσσονες ἀθάνατοι. 
Πᾶς τις πλούσιον ἄνδρα τίει, ἀτίει δὲ πενιχρόν " 6a 
w πᾶσιν δ᾽ ἀνθρώποις αὐτὸς ἕνεστι νόος. 


38 ELEGIAC POETS. 


Βουλεύου Sis καὶ τρίς, 6 τοί x’ ἐπὶ τὸν νόον ἔλθῃ" 633 


ἀτηρὸς γὰρ τοι λάβρος ἀνὴρ τελέθει. 


> Α QA , > 9 A ε “a 
Ελπὶς καὶ κίνδυνος ἐν ἀνθρώποισιν ὁμοῖοι" 637 
οὗτοι yap χαλεποὶ δαίμονες ἀμφότεροι. 


μ᾿... 4 
us Πολλάκι παρ δόξαν τε καὶ ἐλπίδα γίνεται εὖ ῥεῖν 
ἔργ᾽ ἀνδρῶν, βουλαῖς δ᾽ οὐκ ἐπέγεντο τέλος. 


Πολλοὶ παρ κρητῆρι φίλοι γίνονται ἑταῖροι, 643 
ἐν δὲ σπουδαίῳ πρήγματι παυρότεροι. 


Παύρους κηδεμόνας πιστοὺς εὕροις κεν ἑταίρους 
se κείμενος ἐν μεγάλῃ θυμὸν ἀμηχανίῃ. 


7A δειλὴ πενίη, τί ἐμοῖς ἐπικειμένη ὦμοις 64g 
σῶμα καταισχύνεις καὶ νόον ἡμέτερον ; 
αἰσχρὰ δέ μ᾽ οὐκ ἐθέλοντα βίῃ κακὰ πολλὰ διδά- 
σκεις, 
ἐσθλὰ μετ᾽ ἀνθρώπων καὶ Kad" ἐπιστάμενον. 


ass Μηδὲν ἄγαν χαλεποῖσιν aod φρένα μηδ᾽ ἀγαθοῖ- 
σιν 657 
χαῖρ᾽, ἐπεὶ ἔστ᾽ ἀνδρὸς πάντα φέρειν ἀγαθοῦ. 


Εἰ μὲν χρήματ᾽ ἔχοιμι, Σιμωνίδη, οἷά περ dew, 66) 
οὐκ ἂν ἀνιῴμην τοῖς ἀγαθοῖσι συνών" 
νῦν δέ με γινώσκοντα παρέρχοντ᾽, εἰμὶ δ᾽ ἄφωνος 
g6o χρημοσύνῃ, πολλῶν γνούς περ ἄμεινον ἔτι, 


bs utils ΒΕ 6 watie ok OE eae μὰ oon Aa 


7 


THEOGNIS. ae 39 


Aivi are «ey - ζ. 


οὕνεκα νῦν φερόμεσθα καθ᾽ ἱστία λευκὰ βαλόντες 
Μηλίου ἐκ πόντου νύκτα διὰ δνοφερήν"᾿ 

9 a) 3 > 3 ε ’ ‘ 4 

ἀντλεῖν δ᾽ οὐκ ἐθελουσιν" ὑπερβάλλει δὲ θάλασσα 
9 ’, ’ 4 “~ 
ἀμφοτέρων τοίχων: ἦ pada τις χαλεπῶς 

865 σώζεται, OL ἕρδουσι- κυβερνήτην μὲν ἔπαυσαν 

2 , 9 x 3 , 
ἐσθλόν, ὅτις φυλακὴν εἶχεν ἐπισταμένως" 

4 δ᾽ ε ’ ‘4 ’ δ᾽ 2 , 
χρήματα δ᾽ ἁρπάζουσι Bin, κόσμος δ᾽ ἀπόλωλεν, 
δασμὸς δ᾽ οὐκέτ᾽ ἴσος γίνεται ἐς τὸ μέσον, 

4 > Ψ 4 9 οἷ ᾽ὔ 
φορτηγοὶ δ᾽ ἄρχουσι, κακοὶ δ᾽ ἀγαθῶν καθύπερ- 
θεν. 
83). δειμαίνω, μή πως ναῦν κατὰ κῦμα πίῃ 
ταῦτά μοι ἠνίχθω κεκρυμμένα τοῖς ἀγαθοῖσιν" 
γινώσκοι, δ᾽ av τις καὶ κακός, ἣν σοφὸς 7. 


Πολλοὶ πλοῦτον ἔχουσιν ἀΐδριες" οἱ δὲ τὰ καλὰ 6 
ζητοῦσιν χαλεπῇ τειρόμενοι πενίῃ. 
ν ὃ δ᾽ ld 3 ’ 4 
373 ἔρδειν δ᾽ ἀμφοτέροισιν ἀμηχανίη παράκειται" 
εἴργει γὰρ τοὺς μὲν χρήματα, τοὺς δὲ νόος. 
Οὐκ ἔστιν θνητοῖσι πρὸς ἀθανάτους μαχέσασθαι 
ϑΝ 4 9 ~ 9 A “A rd 
οὐδὲ δίκην εἰπεῖν" οὐδενὶ τοῦτο θέμις. 


Πολλούς τοι κόρος ἄνδρας ἀπώλεσεν ἀφραίνον- 
τας" 693 
9. γνῶναι γὰρ χαλεπὸν μέτρον, ὅτ᾽ ἐσθλὰ παρῇ. 


᾿ 

Εὖ μὲν ἔχοντος ἐμοῦ πολλοὶ φίλοι: ἣν δέ τι 

δεινόν ne 
συγκύρσῃ. παῦροι πιστὸν ἔχουσι νόον. 


40 ELEGIAC POETS. 


Πλήθει δ᾽ ἀνθρώπων ἀρετὴ pia γίνεται ἧδε, 699 
πλουτεῖν" τῶν δ᾽ ἄλλων οὐδὲν ap” ἦν ὄφελος, 
9.5 οὐδ᾽ εἰ σωφροσύνην μὲν ἔχοις Ῥαδαμάνθυος av- 
τοῦ, 
πλείονα δ᾽ εἰδείης Σισύφου Αἰολίδεω, 
ὅστε καὶ ἐξ ᾿Αἴδεω πολυϊδρίῃσιν ἀνῆλθεν, 
πείσας Περσεφόνην αἱμυλίοισι λόγοις, 7 
ἥτε βροτοῖς παρέχει λήθην, βλάπτουσα νόοιο ----- 
8.0 ἄλλος δ᾽ οὕπω τις τοῦτό γ᾽ ἐπεφράσατο, 
ὄντινα δὴ θανάτοιο μέλαν νέφος ἀμφικαλύψῃ, 
ἔλθῃ δ᾽ ἐς σκιερὸν χῶρον ἀποφθιμένων, 
κυανέας τε πύλας παραμείψεται, αἵτε θανόντων 
ψυχὰς εἴργουσιν καίπερ ἀναινομένας" 
3.5 ἀλλ᾽ ἄρα καὶ κεῖθεν πάλιν ἥλνθε Σίσνφος ἥρως 
ἐς φάος ἠελίον σφῇσι πολυφροσύναις᾽ ---- . 
οὐδ᾽ εἰ ψεύδεα μὲν ποιοῖς ἐτύμοισιν ὁμοῖα, 
γλῶσσαν ἔχων ἀγαθὴν Νέστορος ἀἂντιθέου, 
ὠκύτερος δ᾽ εἴησθα πόδας ταχεῶν ᾿Αρπυιῶν 
“ο καὶ παίδων Βορέω, τῶν ἄφαρ εἰσὶ πόδες. 
ἀλλὰ χρὴ πάντας γνώμην ταύτην καταθέσθαι, 
ὡς πλοῦτος πλείστην πᾶσιν ἔχει δύναμιν. 


Φροντίδες ἀνθρώπων ἔλαχον πτερὰ ποικίλ᾽ ἔχου- 
σαι, 729 
, : “A σ 4 i : 
μυρόμεναι ψυχῆς etvexa καὶ βιότον. 


- εἰ be SA as 
ws Zev πάτερ, εἶθε γένοιτο θεοῖς φίλα τοῖς μὲν ᾿ἁλι- ᾿ 


τροῖς 731 
ὕβριν ἁδεῖν, καί σφιν τοῦτο γένοιτο φίλον 


THEOGNIS. Sait fal 


θυμῷ, σχέτλια ἔργα pera φρεσὶν ὅστις ἀθειρής 
ἐργάζοιτο, θεῶν μηδὲν ὀπιζόμενος, 
> A » o “~ 4 o x 9 o 
αὐτὸν ἔπειτα πάλιν τῖσαι κακά, μηδέ τ᾽ ὀπίσσω 
Q 4 \ 4 ’ 
#0 πατρὸς ἀτασθαλίαι παισὶ γένοιντο κακόν" 
’ 9 » 397 Ν δ , “A 
παῖδες δ᾽ oir’ ἀδίκου πατρὸς Ta δίκαια νοεῦντες 
ποιῶσιν, Κρονίδη, σὸν χόλον ἁζόμενοι, 
9 9 ἴω. a ᾽ὔ > 9 “A o 
ἐξ ἀρχῆς τὰ δίκαια μετ᾽ ἀστοῖσιν φιλέοντες, 
μή τιν᾽ ὑπερβασίην ἂντιτίνειν πατέρων. 
Ὁ 59 » ,’ aA , A“ > ε Ν 
“5 ταῦτ᾽ εἴη μακάρεσσι θεοῖς φίλα" νῦν δ᾽ ὁ μὲν 
9 
ἕρδων 


ἐκφεύγει, τὸ κακὸν δ᾽ ἄλλος ἔπειτα φέρει. 


Καὶ τοῦτ᾽, ἀθανάτων βασιλεῦ, πῶς ἐστὶ δίκαιον, 73 
¥ 9 > A 9 . t Be) 9 δί 
ἔργων ὅστις ἀνὴρ ἐκτὸς ἐὼν ἀδίκων, 
,’ 9 e€ 4 _ Κ, δ᾽ 9 Ξ ar ‘4 
μή τιν᾽ ὑπερβασίην κατέχων μηδ᾽ ὅρκον ἀλιτρόν, 
3 4 ’ aN ‘ δ ’ ’ 
> ἀλλὰ δίκαιος ἐὼν μὴ τὰ δίκαια πάθῃ; ,. 
, 4 ᾿ δ a4 ea A y [fe fee 
tis δή κεν βροτὸς ἄλλος, ὁρῶν πρὸς τοῦτον, ἔπειτα 
9 > 9 4 A a? Q ¥ 
ἄζοιτ᾽ ἀθανάτους, καὶ τίνα θυμὸν ἔχων, 
ε oo 3. " ΧΗ ν » » ¥ 
ὁππότ᾽ ἀνὴρ ἄδικος Kat ἀτάσθαλος, οὔτε rev ἂν- 
δρῶν 
»¥ ΕῚ ᾽ ΄--ο 9 4 
οὔτε τευ ἀθανάτων μῆνιν arevdpevos, 
ε , 4 4 e A 4 
«3 ὑβρίζῃ πλούτῳ κεκορημένος, οἱ δὲ δίκαιοι 
τρύχονται χαλεπῇ τειρόμενοι πενίῃ; 


Ταῦτα μαθών, φίλ᾽ ἑταῖρε, δικαίως χρήματα 


᾿ 
λα 


“ποιοῦ, 753 
σώφρονα θυμὸν ἔχων ἐκτὸς ἀτασθαλίης, 
3 Ya 3 4 Vd 4 QA 4 
αἰεὶ τῶνδ᾽ ἐπέων peuvnpevos: ἐς δὲ τελευτήν 
a0 αἰνήσεις μύθῳ σώφρονι πειθόμενος. 


“ὲ 


42 ELEGIAC POETS. 


Ζεὺς μὲν τῆσδε πόληος ὑπειρέχοι, αἰθέρι ναίων, 
αἰεὶ δεξιτερὴν χεῖρ᾽ ἐπ᾿ ἀπημοσύνῃ., 
ἄλλοι τ᾽ ἀθάνατοι μάκαρες θεοί: αὐτὰρ ᾿Απόλλων 
ὀρθώσαι γλῶσσαν καὶ νόον ἡμέτερον. 
as φόρμιγξ δ᾽ αὖ φθέγγοιθ᾽ ἱερὸν μέλος ἠδὲ καὶ 
αὐλὸς" 
ἡμεῖς δὲ σπονδὰς θεοῖσιν ἀρεσσάμενοι 
πίνωμεν, χαρίεντα μετ᾽ ἀλλήλοισι λέγοντες, 
μηδὲν τὸν Μήδων δειδιότες πόλεμον. 
ὧδ᾽ εἴη κεν ἄμεινον: ἐΐφρονα θυμὸν ἔχοντας 
“ο νόσφι μεριμνάων εὐφροσύνως διάγειν 
τερπομένους, τηλοῦ δὲ κακὰς ἀπὸ κῆρας ἀμῦναι, 
γῆράς τ᾽ οὐλόμενον καὶ θανάτοιο τέλος. 


Φοῖβε ἄναξ, αὐτὸς μὲν ἐπύργωσας πόλιν ἄκρην, 773 
᾿Αλκαθόῳ Πέλοπος παιδὶ χαριζόμενος" 
“5 αὐτὸς δὲ στρατὸν ὑβριστὴν Μήδων ἀπέρυκε 
τῆσδε πόλευς, ἵνα σοι λαοὶ ἐν εὐφροσύνῃ 
ἦρος ἐπερχομένου κλειτὰς πέμπωσ᾽ ἑκατόμβας, 
τερπόμενοι κιθάρῃ καὶ par θαλίῃ, ; (> 
παιάνων τε χοροῖς ἰαχῇσί τε σὸν περὶ Βωμόν. 
5.5 ἢ γὰρ ἔγωγε δέδοικ᾽ ἀφραδίην ἐσορῶν 
καὶ στάσιν Ἑλλήνων λαοφθόρον: ἀλλὰ σύ, Φοῖβε, 
ἵλαος ἡμετέρην τήνδε φύλασσε πόλιν. 


Ἦλθον μὲν γὰρ ἔγωγε καὶ εἰς Σικελήν ποτε γαῖαν, 783 
ἦλθον δ᾽ Εὐβοίης ἀμπελόεν πεδίον 

ass Σπάρτην τ᾽ Εὐρώτα δονακοτρόφον ἀγλαὸν ἄστυ" 
καὶ μ᾽ ἐφίλευν προφρόνως πάντες ἐπερχόμενον" 





THEOGNIS. ° 43 


ἀλλ᾽ οὔτις μοι τέρψις ἐπὶ φρένας ἦλθεν ἐκείνων. 
οὕτως οὐδὲν ἄρ᾽ ἦν φίλτερον ἄλλα πάτρης. 


Οὐδεὶς ἀνθρώπων ovr’ ἔσσεται οὗτε πέφυκεν, — 
#0 ὅστις πᾶσιν ἁδὼν δύσεται εἰς ᾿Αἰδεω" 
2QN . ἃ A ν 399. 9 > 9 
οὐδὲ γὰρ ὃς θνητοῖσι καὶ ἀθανάτοισιν ἀνάσσει, 
᾿ Ζεὺς Κρονίδης, θνητοῖς πᾶσιν ἁδεῖν δύναται. 
| | μὴ 
Τόρνου καὶ στάθμης καὶ γνώμονος ἄνδρα θεωρόν 
εὐθύτερον χρῆμεν, Κύρνε, φυλασσέμεναι, 
#5 τινί κεν Πυθῶνι θεοῦ χρήσασ᾽ ἱέρεια 
“( XP ρ 
9 4 ld 4 3 9 ’ 
ὀμφὴν σημήνῃ πίονος ἐξ ἀδύτου" 
¥ “ 4 9 ld > a: ὶ ν 
οὔτε τι γὰρ προσθεὶς οὐδέν κ᾿ ἔτι φάρμακον εὖ- 
pois, 


οὔτ᾽ ἀφελὼν πρὸς θεῶν ἀμπλακίην προφύγοις. 


Ρ 9 » 9 “ ~ > 4 9 e 
Κύρν᾽, ἔμπης 6 τι μοῖρα παθεῖν, οὐκ ἔσθ᾽ ὑπα- 
λύξαι" 817 


so ὅττι δὲ μοῖρα παθεῖν, οὔτι δέδοικα παθεῖν. 


Οἱ δ᾽ > A U4 9 , A 
(0 ἀπὸ γηράσκοντας ἀτιμάζουσι τοκῆας, Bax 
4 > »¥ ’ 9 s\ 7 4 
τούτων τοι γ᾽ ὥρη, Κύρν᾽, ὀλίγη τελέθει. 


9 
Αλλ᾽ ὁπόταν καθύπερθεν ἐὼν ὑπένερθε γένηται, 8. 
¥ 
TOUTAKLS οἴκαδ᾽ ἵμεν παυσάμενοι πόσιος. 


as Λὰξ ἐπίβα δήμῳ κενεόφρονι, τύπτε Se κέντρῳ ὃ.) 
ὀξέϊ, καὶ ζεύγλην δύσλοφον ἀμφιτίθει" 
οὐ γὰρ ἔθ᾽ εὑρήσεις δῆμον φιλοδέσποτον ὧδε 
ἀνθρώπων, ὁπόσους ἠέλιος καθορᾷ. 


44 ELEGIAC POETS. 


Ζεὺς ἄνδρ᾽ ἐξολέσειεν ᾽᾿Ολύμπιος, ὃς τὸν ἑταῖρον 
@ μαλθακὰ κωτίλλων ἐξαπατᾶν ἐθέλει. 


Τῶν δὲ φίλων εἰ μέν τις ὁρᾷ μέ τι δειλὸν ἔχοντα, 55] 
αὐχέν' ἀποστρέψας οὐδ᾽ ἐσορᾶν ἐθέλει" 

ἣν δέ τί μοί ποθεν ἐσθλόν, ἃ παυράκι γίνεται ἀνδρί, 
πολλοὺς ἀσπασμοὺς καὶ φιλότητας ἔχω. 


#s Πολλοῖς ἀχρήστοισι θεὸς διδοῖ ἀνδράσιν ὄλβον %s 
ἐσθλόν, ὃς οὔτ᾽ αὐτῷ βέλτερος οὐδὲν ἐών 
9 9 “ a 4 4 ¥ 9. 9 “Ὁ 
ovre φίλοις: ἀρετῆς δὲ μέγα κλέος οὔποτ᾽ ὀλεῖται" 
αἰχμητὴς γὰρ ἀνὴρ γῆν τε καὶ ἄστυ σαοῖ. 


Ἔν μοι ἔπειτα πέσοι μέγας οὐρανὸς εὐρὺς ὕπερθεν 
9» χάλκεος, ἀνθρώπων δεῖμα χαμαιγενέων, 
εἰ μὴ ἐγὼ τοῖσιν μὲν ἐπαρκέσω οἵ με φιλεῦσιν, 
τοῖς δ᾽ ἐχθροῖς avin καὶ μέγα πῆμ᾽ ἔσομαι. 


Ἥβα μοι, φίλε θυμέ- τάχ᾽ αὖ τινὲς ἄλλοι ἔσον- 
ται . 877 
ἄνδρες ἐγὼ δὲ θανὼν γαῖα μέλαιν᾽ ἔσομαι. 


ws liv” οἶνον, τὸν ἐμοὶ κορυφῆς amo Τηὐγέτοιο δ; 
ἄμπελοι ἤνεγκαν, τὰς ἐφύτευσ᾽ ὁ γέρων 
οὔρεος ἐν βήσσῃσι, θεοῖσι φίλος Θεότιμος, 
ἐκ πλατανιστοῦντος ψυχρὸν ὕδωρ ἐπάγων. 
A 4 9 ἃ Q 4 4 ~ 
τοῦ πίνων ἀπὸ μὲν χαλεπὰς σκεδάσεις μελεδῶ: 
vas, | 
so θωρηχθεὶς δ᾽ ἔσεαι πολλὸν ἐλαφροτέρως. 


THEOGNIS. 45 


Εἰρήνη καὶ πλοῦτος ἔχοι πόλιν, ὄφρα μετ᾽ ἄλλων 
κωμάζοιμι: κακοῦ δ᾽ οὐκ ἔραμαι πολέμον. 


4 
Ἔστιν ὁ μὲν χείρων, ὁ δ᾽ ἀμείνων ἔργον ἐκαστον" 9 
9 4 
οὐδεὶς δ᾽ ἀνθρώπων αὐτὸς ἅπαντα σοφός. 


93 Μή ποτ᾽ ἐπαινήσῃς, πρὶν ἂν εἰδῇς ἄνδρα σαφη- 
᾿ νέως, 963 
9 ᾽ν x e Ν N ’ 9 aA φ 
ὀργὴν καὶ ῥυθμὸν καὶ τρόπον ὅστις ἂν 7). 
πολλοί τοι κίβδηλον ἐπίκλοπον ἦθος ἔχοντες 
κρύπτουσ', ἐνθέμενοι θυμὸν ἐφημέριον. soni 
τούτων δ᾽ ἐκφαίνει πάντως Χρόνος ἦθος ὁ ἑκάστου. 
so καὶ γὰρ ἐγὼ γνώμης πολλὸν ap’ ἐκτὸς ἔβην" 
ἔφθην αἰνήσας πρίν cov κατὰ πάντα δαῆναι 
¥ yt a > »¥ ~ ownre , 
ἤθεα. νῦν δ᾽ ἤδη ναῦς al” ἑκὰς διέχω. 


Οὐδεὶς ἀνθρώπων, ὃν πρῶτ᾽ ἐπὶ γαῖα καλύψῃ ο"» 
eis τ᾽ Ἔρεβος καταβῇ, δώματα Περσεφόνης, 
sis Τέρπεται οὔτε λύρης οὔτ᾽ αὐλητῆρος ἀκούων, 
οὔτε Διωνύσου Sup’ ἐσαειράμενος. 
, 


a 3 9 ΜᾺ , 4 ’ » 
ταῦτ᾽ ἐσορῶν κραδίην εὖ πείσομαι, ὄφρα τ 


ἐλαφρά 
γούνατα καὶ κεφαλὴν ἀτρεμέως προφέρω. 


Μή μοι ἀνὴρ εἴη γλώσσῃ φίλος, ἀλλὰ καὶ ἔργῳ. 
0 χερσίν τε σπεύδονυ χρήμασί τ᾽, ἀμφότερα: 
μηδὲ παρὰ κρητῆρι λόγοισιν ἐμὴν φρένα θέλγοις, 
ἀλλ᾽ ἕρδων φαίνοι᾽, εἴ τι δύναι᾽, ἀγαθόν. 


46 ELEGIAC POETS. 


ληδακ es 
Ἡμεῖς δ᾽ ἐν θαλίῃσι φίλον καταθώμεθα θυμόν, 
ὄφρ᾽ ἔτι τερπωλῆς ἔργ᾽ ἐρατεινὰ φέρῃ. 
“5 αἶψα γὰρ ὥστε νόημα παρέρχεται ἀγλαὸς ἥβη" 
οὐδ᾽ ἵππων ὁρμὴ γίνεται ὠκντέρη, 
aire ἄνακτα φέρουσι δορυσσόον ἐς πόνον ἀνδρῶν 
λάβρως, πυροφόρῳ τερπόμεναι πεδίῳ. 


Ξυνὸν δ᾽ ἀνθρώποις ὑποθήσομαι, ὄφρα τις 
ἥβης r007 
so ἀγλαὸν ἄνθος ἔχων καὶ φρεσὶν ἐσθλὰ νοῇ, 
τῶν αὐτοῦ κτεάνων εὖ πασχέμεν" οὐ γὰρ avnBav 
δὶς πέλεται πρὸς θεῶν οὐδὲ λύσις θανάτου 
Ὧν 3 Cd ‘ > 95 A κι ϑᾺ 9 
θνητοῖς ἀνθρώποισι. κακὸν δ᾽ ἐπὶ γῆρας ἐλέγχει 
Φ 4 “A s ¢ 9 ’ 
οὐλόμενον, κεφαλῆς δ᾽ ἅπτεται ἀκροτάτης: 
sa “Pyidin τοι πρῆξις ἐν ἀνθρώποις κακότητος" 1027 
τοῦ δ᾽ ἀγαθοῦ χαλεπή, Κύρνε, πέλει παλάμη. 


Τόλμα θυμὲ κακοῖσιν ὅμως ἄτλητα πεπονθώς" 
δειλῶν τοι κραδίη γίνεται ὀξυτέρη, 
δὲ ’ 9 9 ’ > 3 ¥ ἂν 
μηὸὲε σὺ y ἀπρήκτοισιν ἐπ᾿ “ἔργμασιν ἄλγος 
3» 
ἀέξων 


so ὄχθει, μηδ᾽ ἄχθου, μηδὲ φίλους ἀνία, 
μηδ᾽ ἐχθροὶς evppawe. θεῶν δ᾽ εἱμαρμένα δῶρα 
οὐκ ἂν ῥηϊδίως θνητός ἀνὴρ προφύγοι, 
οὔτ᾽ ἂν πορφυρέης καταδὺς ἐς πυθμένα λίμνης, |.” 
οὔθ᾽ ὅταν αὐτὸν ἔχῃ Τάρταρος ἠερόεις. Υ 
ss Ανδρα Tot ἐστ᾽ ἀγαθὸν χαλεπώτατον ἐξαπατῆσαι, 
ὡς ἐν ἐμοὶ γνώμη, Κύρνε, πάλαι κέκριται. 


THEOGNIS. AT 


Ἦν ., ἃ 
Αφρονες ἄνθρωποι καὶ νήπιοι, οἵτινες οἶνον 
\ , > » 
μὴ Twovo’ ἄστρου καὶ κυνὸς ἀρχομένου. 


Νῦν μὲν πίνοντες “τερπώμεθα, καλὰ λέγοντες: τοιδ 
se ἅσσα δ᾽ ἔπειτ᾽ ἔσται, ταῦτα θεοῖσι μέλει. ἃ. 


"Σοὶ δ᾽ ἐγὼ οἷά τε παιδὶ πατὴρ ὑποθήσομαι αὐτός 
ἐσθλά: σὺ δ᾽ ἐν θυμῷ καὶ φρεσὶ ταῦτα βάλεν: 
μή ποτ᾽ ἐπειγόμενος πρήξῃς κακόν, ἀλλὰ βαθείῃ 
σῇ φρενὶ βούλευσαι σῷ τ᾽ ἀγαθόν τι νόῳ. 
55 Τῶν γὰρ μαινομένων πέτεται θυμός τε νόος τε, 
βουλὴ δ᾽ εἰς ἀγαθὸν καὶ νόον ἐσθλὸν ἄγει. 


Τιμαγόρα, πολλῶν ὀργὴν ἀπάτερθεν ὁρῶντι. τον 
γινώσκειν χαλεπόν, καίπερ ἐόντι σοφῷ. 
οἱ μὲν γὰρ κακότητα κατακρύψαντες ἔχουσιν 
so πλού ὶ δ᾽ ἀρετὴν οὐλομέ 5 
πλούτῳ, τοὶ δ᾽ ἀρετὴν μένῃ πενίῃ. 


ἌΛφρονες ἄνθρωποι καὶ νήπιοι, οἵτε θανόντας τοῦ 
’ 9 98.» Ὁ » 9 rd 
κλαίουσ᾽, οὐδ᾽ ἤβης ἄνθος ἀπολλύμενον. 


Οὐδένα τῶν ἐχθρῶν μωμήσομαι ἐσθλὸν ἐόντα, 1079 
οὐδὲ μὲν αἰνήσω δειλὸν ἐόντα φίλον. 


#3 Οὕτω χρὴ τόν γ᾽ ἐσθλὸν ἐπιστρέψαντα νόημα τοῦ 
¥ oN ἢ 3 9 ἃ 
ἔμπεδον αἰὲν ἔχειν ἐς τέλος ἀνδρὶ φίλῳ. 


Κάστορ καὶ Πολύδευκες ot ἐν Λακεδαίμονι δίῃ τοῖο 
a Δ». 9 9 , 4 “Ὁ 
vaier ἐπ᾿ Ευρώτα καλλιρόῳ ποταμῳ, 
¥ , ’ 2 \. 
εἰ ποτε βουλεύσαιμι φίλῳ κακόν, αὐτὸς ἔχοιμι" 
3 ’ A 3 ’ Α , 9 ἃ ¥ 
so εἰ δέ τι κεῖνος ἐμοί, δὶς τόσον αὐτὸς ἔχοι. 


48 | ELEGIAC POETS. 


Ὕβρις καὶ Μάγνητας ἀπώλεσε καὶ Κολοφῶνα — 1103 
καὶ Σμύρνην. πάντως, Κύρνε, καὶ yup ἀπολεῖ. 


Κύρν᾽, οἱ πρόσθ᾽ ἀγαθοὶ νῦν αὖ κακοί, ot δὲ κακοὶ 
πρίν 1109 
“~ 9 ’ ’ Aa Φ 9. 9 > >. ”~ 
νῦν ἀγαθοί: τίς κεν ταῦτ᾽ ἀνέχοιτ᾽ ἐσορῶν, 
“ 9 θ 4 Q 3 4 id δὲ λ 4 
s7s TOUS ἀγαθοὺς μὲν ἀτιμοτέρους, κακίους δὲ λαχόντας 
τιμῆς ; μνηστεύει δ᾽ ἐκ κακοῦ ἐσθλὸς ἀνήρ. 
ἀλλήλους δ᾽ ἀπατῶντες ἐπ᾽ ἀλλήλοισι γελῶσιν, 
¥ δ 9 a , 207 Ψ a 
οὔτ᾽ ἀγαθῶν μνήμην εἰδότες οὔτε κακῶν. 


Πλοῦτε, θεῶν κάλλιστε καὶ ἱμεροέστατε πάν- 
των, 3127 


> » 
58. σὺν σοὶ Kal κακὸς ὧν γίνεται ἐσθλὸς ανήρ. 


Ἥβης μέτρον ἔχοιμι, φιλοῖ δέ με Φοῖβος ᾿Απόλλων 
Λητοίδης καὶ Ζεύς, ἀθανάτων βασιλεύς, 

¥ ’ ’ ~ ¥ ε 4 

ὄφρα βίον ζώοιμι κακῶν ἔκτοσθεν ἁπάντων, 
ν ’ ’ a 3 4 
nBy Kat πλούτῳ θυμὸν ἰαινόμενος. 


545 Μή με κακῶν μίμνησκε" πέπονθά τοι οἷά τ᾽ Οδυσ. 
σεύς, 
ὅστ᾽ ᾿Αἴδεω μέγα δῶμ᾽ ἤλυθεν ἐξαναδύς, 
ὃς δὴ καὶ μνηστῆρας ἀνείλετο νηλέϊ θυμῷ 
Πηνελόπης ἔμφρων, κουριδίης ἀλόχου, 
n pw δήθ᾽ ὑπέμεινε φίλῳ παρὰ παιδὶ μένουσα, 
so ὄφρα τε γῆς ἐπέβη δειμαλέους τε μυχούς. 


᾿Ελπὶς ἐν ἀνθρώποις μούνη θεὸς ἐσθλὴ ἔνεστιν. τις 
᾿ ἄλλοι δ᾽ Οὐλυμπόνδ᾽ ἐκπρολιπόντες ἔβαν" 








THEOGNIS. 49 


. Oxero μὲν Πίστις, μεγάλη θεός, ᾧχετο δ᾽ ἀνδρῶν 
Σωφροσύνη: Χάριτές τ᾽, ὦ φίλε, γῆν ἔλιπον" 
ν 3 9 [4 x 3 3 θ , δί 
ses ὅρκοι δ᾽ οὐκέτι πιστοὶ ἐν ἀνθρώποισι δίκαιοι, 
οὐδὲ θεοὺς οὐδεὶς ἄζεται ἀθανάτους" 
εὐσεβέων δ᾽ ἀνδρῶν γένος ἔφθιται, οὐδὲ θέμιστας 
οὐκέτι γινώσκουσ᾽ οὐδὲ μὲν εὐσεβίας. 
ἀλλ᾽ ὄφρα τις ζώει καὶ ὁρᾷ φάος ἠελίοιο, 
to εὐσεβέων περὶ θεούς, Ἐλπίδα προσμενέτω, 
9 4 δ “ \ 3 XN ‘4 , 
εὐχέσθω δὲ θεοῖσι, καὶ ἀγλαὰ μηρία καίων 
9 ’ 4 4 Ud ‘4 
Ελπίδι τε πρώτῃ καὶ πυμάτῃ θνέτω. 
’ 95 590. 3 “~ “ , 9 » 
φραζέσθω δ᾽ ἀδίκων ἀνδρῶν σκολιὸν λόγον αἰεί, 
a ~ 9 U4 ΦΟΝ 9 , 
ot θεῶν ἀθανάτων οὐδὲν ὀπιζόμενοι 
ΦᾺ > > 5 ’ 4 9 a 4 
6os αἰὲν. ἔπ ἀλλοτρίοις κτεάνοις ἐπέχουσι νόημα, 
αἰσχρὰ κακοῖς ἔργοις σύμβολα θηκάμενοι. 


My ποτε τὸν παρεόντα μεθεὶς φίλον ἄλλον ἐρεύνα, 
δειλῶν ἀνθρώπων ῥήμασι πειθόμενος. 


Οὐκ ἔραμαι πλουτεῖν οὐδ᾽ εὔχομαι, ἀλλά μοι Et τις 
Νὰ > Aa ~ o\ 2 A ¥ 4 
so ζῆν ἀπὸ τῶν ὀλίγων, μηδὲν ἔχοντι κακόν. 


Οὐδένα θησαυρὸν καταθήσειν παισὶν ἄμεινον: 16 
αἰτοῦσιν δ᾽ ἀγαθοῖς ἀνδράσι, Κύρνε, didov. 


Γνώμην, Κύρνε, θεοὶ θνητοῖσι διδοῦσιν ἄριστον un 
ἀνθρώποις: γνώμη πείρατα παντὸς ἔχει. 
U4 9 , ¥ 4 a ‘N 4 
33 ὦ μάκαρ, ὅστις δή μιν ἔχει φρεσίν, ἣ πολὺ κρείσ- 
σων 
ν 3 ld ’ g 
ὕβριος οὐλομένης λευγαλέου τε κόρου 
ἔστι" κακὸν δὲ βροτοῖσι κόρος, τῶν οὔτι κάκιον " 
πᾶσα γὰρ ἐκ τούτων, Κύρνε, πέλει κακότης. 





‘60 ELEGIAC POETS. 


EC κ᾽ ets ἔργων αἰσχρῶν ἀπαθὴς καὶ ἀεργός, 
to 86 Kupve, μεγίστην κεν cbs id ἔχοις ἀρετῆς. 


Arse 


Kupve, θεοὺς αἰδοῦ καὶ δείδιθι" τοῦτο γὰρ ἄνδρα 
εἴργει μήθ᾽ épdew μήτε λέγειν ἀσεβῆ. 


Δημοφάγον δὲ τύραννον, ὅπως ἐθέλεις, κατακλῖναι 
οὐ νέμεσις πρὸς θεῶν γίνεται οὐδεμία. 


ας Οὔὗτις ἄποινα διδοὺς θάνατον φύγοι οὐδὲ Ba- 
ρεῖαν 1187 
δυστυχίην, εἰ μὴ pop’ ἐπὶ τέρμα βάλοι. 
οὐδ᾽ ἂν δυσφροσύνας, ὅτε δὴ θεὸς ἄλγεα πέμποι, 
θνητὸς ἀνὴρ δώροις βουλόμενος προφύγοι. 


¥ L κι ᾿ 
. Οὐκ ἔραμαι κλισμῷ βασιληΐῳ ἐγκατακεῖσθαι 
4 

to τεθνεώς, ἀλλά Ti μοι ζῶντι γένοιτ᾽ ἀγαθόν' 

3 4 Q , e ~ σι , 

ἀσπάλαθοι δὲ τάπησιν ὁμοῖον στρῶμα θανόντι" 

: ἃ é a ‘\ id 4. 4 

τὸ ξύλον ἣ σκληρὸν γίνεται, ἣ μαλακόν. 





Μή τι θεοὺς ἐπίορκον ἐπόμνυθι" οὐ γὰρ ἀνεκτόν 
ἀθανάτους κρύψαι χρεῖος ὀφειλόμενον. 


855 Ὄρνιθος φωνήν, Πολυπαΐδη, ὀξὺ βοώσης 1197 
¥ > a ¥: >> "᾿ 
ἤκουσ᾽, ἧτε βροτοῖς ἄγγελος ἦλθ᾽ aporov 
ὡραίον" Kai μοι κραδίην ἐπάταξε μέλαιναν, 
4 3 Κὰ » »ν , 
ὅττι μοι εὐανθεῖς ἄλλοι ἔχουσιν ἀγρούς, 
3 ld e [4 . a 3 9 ᾿ 3 
οὐδέ μοι ἡμίονοι κύφων᾽ ἕλκουσιν ἀρότρου, 


σ΄. τῆς μάλα μισητῆς εἵνεκα ναντιλίης. 








—> 7 
ΠΣ Pies 


THEOGNIS. 51 
¢ dread 

Μή μ᾽ ἀφελῶς παίζουσα φίλους δένναζε τοκῆας, τοι 
"Apyupi: σοὶ μὲν γὰρ δούλιον ἦμαρ ἔπι, 

ἡμῖν δ᾽ ἄλλα μέν ἐστι, γύναι, κακὰ πόλλ᾽ ἐπεὶ ἐκ 

γῆς 
φεύγομεν, ἀργαλέη δ᾽ οὐκ ἔπι δουλοσύνη, 
645 οὐδ᾽ ἡμᾶς περνᾶσι. πόλις γε μέν ἐστι καὶ ἡμῖν 

καλή, Ληθαίῳ κεκλιμένη πεδίῳ. 


Οὐδέν, Κύρν᾽, ὀργῆς ἀδικώτερον, ἣ τὸν ἔχοντα 1293 
πημαίνει, θυμῷ δειλὰ χαριζομένη. 


Οὐδέν, Κύρν᾽, ἀγαθῆς γλυκερώτερόν ἐστι γυναικός" 
60 μάρτυς ἐγώ, σὺ δ᾽ ἐμοὶ γίνουν ἀληθοσύνης. 
ve 


[AMBIC POETS. 





[AMBIC PORTS. 


IAMBIC POETS. - 


ARCHILOCHUS. 


ARcHILOocHUS of Paros flourished the latter part of the 
eighth and the earlier part of the seventh century, Β. 6. He 
enjoys the distinction of being the inventor of iambic verse, 
which means, probably, that he introduced definite principles 
into this style of writing. The ancients lavish upon him 
their praises from every side, comparing him with all the 
‘immortal leaders of Greek song, and sometimes giving him 
the supremacy among them all. He was descended from a 
priestly family of noble standing, but connected himself promi- 
nently with a colony which between 710 and 700 emigrated 
from Paros to Thasos. The expedition ended, however, in 
thorough disappointment, and he at length, after many wan- 
derings, returned to his native island. He lost his life in an 
engagement between the Parians and the people of the island 
of Naxos. It is said that a curse was pronounced by the Del- 
phic oracle upon the man who killed him, as having “ slain 
the servant of the Muses.” 

The history of Archilochus is ‘manifestly incomplete without 
the story of Lycambes and his daughters, not because we can 
vouch for the details of the narrative, but because it illustrates 
the Greek feeling with regard to the poet’s power. The poet 
was betrothed to one of the daughters, Neobule, but suddenly 
the father turned against him, and rejected ‘his alliance with 
scorn. The indignation of the poet found utterance in his 
verses, and he turned his satires without mercy against the 


4 
7 \ 
la Wace é 


56 IAMBIC POETS. 


offending family, until they all sought refuge in voluntary 
death. 

* Τδο chief distinction of Archilochus, as we have suggested, 
was the invention or development of Iambic verse. Such are 
the Iambics which follow in I. and 11., and the tetrameters 
IlI.— VI. For the so-called Iambic trimeter see S. pp. 32, 845 
G. 293, 4; H. 906. For the trochaic tetrameter, see S. p. 84; 
G. 291, 2; H. 899, See further on iambus and trochee, 
S. pp. 24, 26, 30. He wrote also elegies as well as other 
forms of poetry. His dialect was Ionic. 


IAMBOI. 
I. 
"Hoe δ᾽ ὥστ᾽ ὄνου ῥάχις 

ἔστηκεν ὕλης ἀγρίης ἐπιστεφής" 
οὐ γάρ τι καλὸς χῶρος οὐδ᾽ ἐφίμερος 
οὐδ᾽ ἐρατός, οἷος ἀμφὶ Σίριος ῥοάς. 

II. 
Ov μοι τὰ Γύγεω τοῦ πολυχρύσον μέλει, 
οὐδ᾽ εἷλέ πώ με ζῆλος, οὐδ᾽ ἀγαίομαι 
θεῶν ἔργα, μεγάλης δ᾽ οὐκ ἐρέω τυραννίδος" 
ἀπόπροθεν γάρ ἐστιν ὀφθαλμῶν ἐ sane : 


-- 
ne rn: 
Je. ἢ; 


 TETPAMETPA. 
Ill. (38.) 
Τοῖς θεοῖς τιθεῖν ἅἄπαντα' πολλάκις μὲν ἐκ κακῶν 
ἄνδρας ὀρθοῦσιν μελαίνῃ κειμένους ἐπὶ χθονί, 
πολλάκις δ᾽ ἀνατρέπουσι καὶ μάλ᾽ εὖ βεβηκότας 
ὑπτίους κλίνουσ᾽ " ἔπειτα πολλὰ γίγνεται κακά, 

5 καὶ βίου χρήμῃ πλανᾶται καὶ νόον παρήορος. 

IV. (60.) 

Οὐ φιλέω μέγαν στρατηγὸν οὐδὲ διαπεπλιγμένον, 
οὐδὲ βοστρύχοισι γαῦρον οὐδ᾽ ὑπεξυρημένον, 


vv 


ἈΝ 


\ 
rH . Bory iJ 


ARCHILOCHUOUS. 57 


4 ; ᾿ 
Os = an 2 es ᾿ a ' nor " vis 
> 

aq 


ἀλλά μοι σμικρός τις εἴη Kal περὶ κνήμας ἰδεῖν ᾿ 
ςε 4 > , A a 4 id 
pokes, ἀσφαλέως βεβηκὼς ποσσί, xapdins πλέος. 


V. (68.) 
Θυμέ, θύμ᾽ ἀμηχάνοισι κήδεσιν κυκώμενε, 
ἄνα δέ, δυσμενῶν δ᾽ ἀλέξεν προσβαλὼν ἐναντίον 
στέρνον, ἐν δοκοῖσιν ἐχθρῶν πλησίον κατασταθείς 
ἀσφαλέως καὶ μήτε νικῶν ἀμφάδην ἀγάλλεο, 
5 μηδὲ νικηθεὶς ἐν οἴκῳ καταπεσὼν ὀδύρεο" 
ἀλλὰ χαρτοῖσίν τε χαῖρε καὶ κακοῖσιν ἀσχάλα 
μὴ λίην: γίγνωσκε δ᾽ οἷος puopos ἀνθρώπους 
eloay 
ἔχει. ἡ τς 
VI. (16) αν ων 
Χρημάτων ἄελπτον οὐδέν ἐστιν οὐδ᾽ ἀπώμοτον," 
οὐδὲ θαυμάσιον, ἐπειδὴ Ζεὺς πατὴρ ᾿Ολυμπίων 
3 ’ » ’ »5 v4 , 
ἐκ μεσημβρίης ἔθηκε νύκτ᾽ ἀποκρύψας φάος 
ἡλίον λάμποντος" λυγρὸν δ᾽ ἦλθ᾽ ἐπ᾽ ἀνθρώπους 
δέος. 
2 b | ἰφὶ Q 4 a > 9 4 
sex δὲ τοῦ καὶ πιστὰ πάντα κἀπίελπτα γίγνεται 
9 , A ¥f> € “” 9 ΄ς“ , 
dvipdow: μηδεὶς ἔθ᾽ ὑμῶν εἰσορῶν θαυμαζέτω, 
> 9 “A A 3 4 4 
μηδ᾽ ὅταν δελφῖσι θῆρες ἀνταμείψωνται νομόν 
ἐνάλιον καί σφιν θαλάσσης ἠχέεντα κύματα 
φίλτερ᾽ ἠπείρον γένηται, τοῖσι δ᾽ ἡδὺ ἦν ὄρος. 


EAETEIA. 
: VII. (0 
Εἰμὶ δ᾽ ἐγὼ θεράπων μὲν ᾿Ενναλίοιο ἄνακτος, 
καὶ Μουσέων ἐρατὸν δῶρον ἐπιστάμενος. 
VIII. ὦ.) 
Οὐ γάρ μοι πενίη — οὐδ᾽ ἀπὸ πάππων 
εἰμὶ λιπερνήτης. ἃ. 


4 
“1 δ. 


58 -ITAMBIC POETS. 


IX, (8.) 
Ἐν δορὶ μέν μοι pala μεμαγμένη, ἐν δορὶ δ᾽ οἶνος 
Ἰσμαρικός, πίνω δ᾽ ἐν δορὶ κεκλιμένος. 


X. ὦ 
᾿Αλλ᾽ ἄγε, σὺν κώθωνι θοῆς διὰ σέλματα νηός 
φοίτα καὶ κοίλων πώματ᾽ ἄφελκε κάδων, 
ἄγρει δ᾽ οἶνον ἐρυθρὸν ἀπὸ τρυγός. οὐδὲ γὰρ 
ἡμεῖς 
νήφειν ἐν φυλακῇ τῇδε δυνησόμεθα. 
; ΧΙ, (6.) 
᾿Ασπίδι μὲν Σαΐων τις ἀγάλλεται, ἣν παρὰ θάμνῳ 
EVTOS ἀμώμητον κάλλιπον οὐκ ἐθέλων᾽ ᾿ 
αὐτὸς δ᾽ ἐξέφυγον θανάτον τέλος: ἀσπὶς ἐκείνη 
ἐῤῥέτω" ἐξαῦτις κτήσομαι οὐ κακίω. 


ΠΡΟΣ WEPIKAEA. 
| XII. (9.) 
Κήδεα μὲν στονόεντα, Περίκλεες, οὔτε τις ἀστῶν 
μεμφόμενος θαλίῃς τέρψεται οὐδὲ πόλις" 
τοίους γὰρ κατὰ κῦμα πολυφλοίσβοιο θαλάσσης 
ἔκλυσεν, οἰδαλέους δ᾽ ἀμφ. ὀδύνῃς ἔ ἔχομεν 
5 πνεύμονας- ἀλλὰ θεοὶ γὰρ ἀνηκέστοισι κακοῖσιν, 
ὦ φίλ᾽, ἐπὶ κρατερὴν τλημοσύνην ἔθεσαν 
φάρμακον" ἄλλοτε δ᾽ ἄλλος ἔχει τόδε' νῦν μὲν ἐς 
ἡμέας 
9 ’ 3 9 id 
ἐτράπεθ᾽, αἱματόεν ὃ ἕλκος ἀναστένομεν, 
9 A > e » 9 [4 3 Ν ,’ 
ἐξαῦτις δ᾽ ἑτέρους ἐπαμείψεται'" ἀλλὰ τάχιστα 
10 τλῆτε γυναικεῖον πένθος ἀπωσάμενοι. 


SIMONIDES OF AMORGOS. 59 


XIII. (10.) . 
Κρύπτωμεν δ᾽ ἀνιηρὰ Ποσειδάωνας ἄνακτος 
δῶρα. 
XIV. (13.) 
Οὔτε τι yap κλαίων ἰήσομαι οὔτε κάκιον 
θήσω τερπωλὰς καὶ θαλίας ἐφέπων.᾿ 


SIMONIDES OF AMORGOS. 


Srmonipes of Amorgos was a native of Samos, but, like Ar- 
chilochus, left his native island with a colony, which, settling 
in the island of Amorgos, gave to the poet his designation. 
His life belongs to the first half of the seventh century B. c. 

The poetry of Simonides was written very largely in the 
style of Archilochus, as their lives also bore a marked similar- - 
ity to each other. The former is, however, more fond of moral- 
izing and dealing in maxims, performing in spirit something 
of the office of the gnomic poets. The poem upon the origin 
of the different classes of women has always been justly re- 
garded as an interesting curiosity. The dialect of Simonides, 
like that of Archilochus, is Ionic. In the arrangement of his 
measures synizesis is not uncommon. 

The metre 15 the common iambic trimeter. 


“σὰ 7 us 
pi Veh Mat αἰ MOLE: roe 
4 


4 


t 


I, 
Ὦ ral, τέλος μὲν Ζεὺς ἔχει βαρύκτυπος 
ζή °, 9 ¥ A ’ 3 9g , 
πάντων ὅσ᾽ ἔστι, καὶ τίθησ᾽ ὅπη θέλει" 
3 3 3 
νόος δ᾽ οὐκ ἐπ᾽ ἀνθρώποισιν: add’ ἐφήμεροι 
ἃ δὴ βότ᾽ αἰεὶ ζῶμεν, οὐδὲν εἰδότες, 


60 -IAMBIC POETS. 


@ ν 9 fd 4 
5 ὅπως ἕκαστον ἐκτελευτήσει θεός. 
ἐλπὶς δὲ πάντας κἀπιπειθείη τρέφει 
ἄπρηκτον ὁρμαίνοντας" οἱ μὲν ἡμέρην 
μένουσιν ἐλθεῖν, οἱ δ᾽ ἐτέων περιτροπάς. 
V4 3 3 a 9 9 id ~ 
νέωτα δ᾽ οὐδεὶς ὅστις οὐ δοκέει βροτῶν 
10 πλούτῳ τε κἀγαθοῖσιν ἵξεσθαι φίλος: δι 
φθάνει δὲ τὸν μέν γῆρας ἄζηλον λαβόν, 
πρὶν τέρμ᾽ ἵκηται" τοὺς δὲ δύστηνοι νόσοι 
φθείρουσι θνητῶν. τοὺς δ᾽ “Aper δεδμημένους 
’ ’ 3 ς A , 
πέμπει μελαίνης ᾿Αΐδης ὑπὸ χθονός" 
ις οἱ δ᾽ ἐν θαλάσσῃ λαΐλαπι κλονεύμενοι 
καὶ κύμασιν πολλοῖσι πορφυρῆς aos 
θνήσκουσιν, εὖτ᾽ ἂν μὴ δυνήσωνται ζόειν" 
οἱ δ᾽ ἀγχόνην ἅψαντο δυστήνῳ μόρῳ, 
καὐτάγρετοι λείπουσιν ἡλίου φάος. 
ν “A ¥ 39 9 ’ > “ ’ 
20 οὕτω κακῶν Gm οὐδέν: ἀλλὰ μυρίαι 
βροτοῖσι κῆρες κανεπίφραστοι δύαι 
, ’ > 9 , 9 9. 9 Q , 
καὶ πήματ ἐστίν" εἰ δ᾽ ἐμοὶ πιθοίατο, 
3 Ce > A 2Q9 » 2 »¥ 
οὐκ ἂν κακῶν ἐρῷμεν, οὐδ᾽ ἐπ᾽ ἄλγεσιν 2 A 
aA» \ 9 , ᾿ 
κακοῖς ἔχοντες θυμὸν aixilotpefa, Ο., yeti 


II. (7.) 
Q “a A > , ld 
Χωρὶς γυναικὸς θεὸς ἐποίησεν νοόν 
τὰ πρῶτα' τὴν μὲν ἐξ ὑὸς τανύτριχος, 
Κι , 9 > 9 4 ’ la 
τῇ TAVT αν οἴκον βορβόρῳ πεφυρμένα 
ἄκοσμα κεῖται, καὶ κυλινδεῖται χαμαί: 
: ταὐτὴ δ᾽ ἄλουτος ἀπλύτοις τ᾽ ἐν εἵμασιν 
ἐν κοπρίῃσιν ἡμένη πιαίνεται. 
Τὴν δ᾽ ἐξ ἀλιτρῆς θεὸς ἔθηκ᾽ ἀλώπεκος 


SIMONIDES OF AMORGOS. 61 


“ , to OE “A 
γυναῖκα, πάντων ἴδριν" οὐδέ μιν κακῶν 
λέληθεν οὐδέν, οὐδὲ τῶν ἀμεινόνων. 

A A A 3 A , , 
10 TO μὲν γὰρ αὐτῶν εἶπε πολλάκις κακόν, 
τὸ δ᾽ ἐσθλόν: ὀργὴν δ᾽ ἄλλοτ᾽ ἀλλοίην ἔχει. 

Τὴν δ᾽ ἐκ κυνὸς λιτουργόν, αὐτομήτορα, -- .« 
A ’ 3. 9 ΄-Ἄ ’ 9 9 3, 

ὃ πάντ᾽ ἀκοῦσαι, πάντα δ᾽ εἰδέναι θέλει, 
πάντη δὲ παπταίνουσα καὶ πλανωμένη 
a Ν 5 93 , e a 
15 λέληκεν, ἣν καὶ μηδ΄ν᾿ ἀνθρώπων ὁρᾷ. 

, > » » 9 5 vd 3 , 
παύσειε δ᾽ ἂν μιν οὔτ᾽ ἀπειλήσας ἀνήρ, 
οὐδ᾽ εἰ χολωθεὶς ἐξαράξειεν λίθῳ 

IQ? 
ὀδόντας, οὐδ᾽ ἂν μειλίχως μυθεύμενος, 
90. 9" “ 4 e ’ ’ 
οὐδ᾽ εἰ παρὰ ξείνοισιν ἡμένη τύχοι" 
A \9 9 ᾽ν 3 . » 
2 add ἐμπεδῶς ἄπρηκτον αὐονὴν ἔχει. 
. 3 

Τὴν δὲ πλάσαντες γηΐνην ᾿Ολύμπιοι 
»¥ Ν 4 ¥ Q , 
ἔδωκαν ἀνδρὶ πηρόν" οὔτε yap κακόν, 

ΠΕ] θ A ἡδὲ iPS) 4 , 
ovr ἐσθλον ovdev οἷδε τοιαύτη γυνή" 
ἔργον δὲ μοῦνον ἐσθίειν ἐπίσταται: 
"35 κοὐῦδ᾽ ἣν κακὸν χειμῶνα ποιήσῃ θεός, 
ε “Ἄ , > , 
ῥιγῶσα δίφρον ἄσσον ἕλκεται πυρός. 
3 σ΄ 

Τὴν δ᾽ ἐκ θαλάσσης, ἣ δύ᾽ ἐν φρεσὶν νοεῖ" 

\ \ ” \ , ε » ° 
τὴν μὲν γελᾷ τε Kal γέγηθεν ἡμέρην, 
ἐπαινέσει μιν ξεῖνος ἐν δόμοις ἰδών 

» “Οὐκ ἔστιν ἄλλη τῆσδε λωΐων γυνή 
9 an 9 a IQv , 3) 
ἐν πᾶσιν ἀνθρώποισιν, οὐδὲ καλλίων. 
τὴν δ᾽ οὐκ ἀνεκτὸς οὐδ᾽ ἐν ὀφθαλμοῖς ἰδεῖν, 

»ν " 4 2 a ? \ ’, , 
οὔτ᾽ ἄσσον ἐλθεῖν, adda μαίνεται τότε 
¥ 9 3 Ἁ ,’ a 
ἄπλητον, ὥσπερ ἀμφὶ τέκνοισιν κύων. 
3 a A A 3 ’ 

85 ἀμείλιχος δὲ πᾶσι κἀποθυμίη 
3 -~” Ἁ 0 
ἐχθροῖσιν ἶσα καὶ φίλοισι γίγνεται. 


aq? 


62 - TAMBIC POETS. 


ὥσπερ θάλασσα πολλάκις μὲν ἀτρεμής 
ἕστηκ᾽ ἀπήμων, χάρμα ναύτῃσιν μέγα, 
θέρεος ἐν ὧρῃ, πολλάκις δὲ μαίνεται 

ro βαρυκτύποισι nada φορευμένη᾽ 


ταύτῃ μάλιστ᾽ ἔοικε τοιαύτη γυνή 
ὀργήν" φνὴν δὲ πόντος ἀλλοίην ἔχει. 


ἐν τὴν δ᾽ ἔκ τε σποδιῆς καὶ παλιντριβέος ὄνου, 
ἣ σύν τ᾽ ἀνάγκῃ σύν T ἐνιπῇσιν μόγις 
1s ἔστερξεν ὧν ἅπαντα καὶ πονήσατο 
9 “~ 
ἀρεστά' τόφρα δ᾽ ἐσθίει μὲν ἐν μυχῷ 
, A 9 , δ᾽ > 3 » ’ 
προνύξ, προῆμαρ, ἐσθίει δ᾽ ἐπ᾿ ἐσχάρῃ᾽ 
ε a δὲ Ἀ , »ν» 2 δί 
ὁμῶς δὲ καὶ πρὸς ἐργον αφροόιίσιον 
ἐλθόνθ᾽ ἑταῖρον ὁντινῶν ἐδέξατο. 
90 Τὴν δ᾽ ἐκ γαλῆς, δύστηνον οἰζυρὸν γένος. 
’ “ » Ν δ᾽ > 9 
κείνῃ γὰρ οὗ τι καλὸν οὐδ᾽ ἐπίμερον 
πρόσεστιν, οὐδὲ τερπνόν, οὐδ᾽ ἐράσμιον" 
εὐνῆς δ᾽ ἀδηνής ἐστιν ἀφροδισίης, 
Ἁ > » a 4, v4 A 
τὸν δ᾽ ἄνδρα τὸν παρόντα vavaiy διδοῖ" 
9 > ¥ ‘ ’ A 
ss κλέπτουσα δ᾽ ἔρδει πολλὰ γείτονας κακά, 
ἄθυστα δ᾽ ἱρὰ πολλάκις κατεσθίει.) 
‘ 79 ε ‘ , > 9 ’ 
Τὴν δ᾽ ἵππος ἁβρὴ χαιτέεσσ᾽ ἐγείνατο, 
a ὃ λ > » A 5 , 2 
7 δούλι᾽ ἔργα καὶ Sunv περιτρέπει" 
yy? 9. : , » ’ 
κοῦτ ἂν μύλης ψαύσειεν, OUTE κόσκινον 
6 ἄρειεν, οὔτε κόπρον ἐξ οἴκον βάλοι, 
»» ν 3 4 4 ’ ϑ 4 
οὔτε πρὸς ἱπνον, ἀσβόλην αλευμένῃη, 
9 3 3 , >, » ~ [4 
ἰζοιτ᾽΄ " ἀνάγκῃ δ᾽ ἄνδρα ποιεῖται φίλον" 
~ N , ε ’ 9 “ ε»ἤ 
λοῦται δὲ πάσης ἡμέρης ἀπὸ ῥύπον 
δίς, ἄλλοτε τρίς, καὶ μύροις ἀλείφεται" 
6s αἰεὶ δὲ χαίτην ἐκτενισμένην φορεῖ, 


Ἂν. - 
Η 





SIMONIDES OF AMORGOS, 63 


βαθεῖα», ἀνθέμοισιν ἐσκιασμένην. 
καλὸν μέν ὧν θέημα τοιαύτη γυνή 
» “A δϑὲιν , 
ἄλλοισι" τῷ δ᾽ ἔχοντι γίγνεται κακόν, 
ἣν μή τις ἢ τύραννος, ἣ σκηπτοῦχος ἦ, 
70 ὅστις τοιούτοις θυμὸν ἀγλαΐζεται. 
Τὴν δ᾽ ἐκ πιθήκον" τοῦτο δὴ διακριδόν 
Ζεὺς ἀνδράσιν μέγιστον ὥπασεν κακόν. 
αἴσχιστα μὲν πρόσωπα" τοιαύτη γυνή 
εἶσιν δι᾿ ἄατεος πᾶσιν ἀνθρώποις γέλως 
γ5 ἐπ᾿ αὐχένα βραχεῖα, κινεῖται μόγις, 
¥ 3 , a > ‘4 
ἄπυγος, αὐτόκωλος. ὦ τάλας ἀνήρ, 
ὅστις κακὸν τοιοῦτον ἀγκαλίζεται. 
δήνεα δὲ πάντα καὶ τρόπους ἐπίσταται, 
9 4 9.9 ε A a 
ὥσπερ πίθηκος, οὐδέ οἱ γέλως pede’ 
8. οὐδ᾽ ἂν Tw’ εὖ ἔρξειεν, ἀλλὰ τοῦθ ὁρᾷ, 
καὶ τοῦτο πᾶσαν ἡμέρην βουλεύεται, 
ὅκως τιν᾽ ὡς μέγιστον ἔρξειεν κακόν. 
Τὴν δ᾽ ἐκ μελίσσης" τήν τις εὐτυχεῖ λαβών' 
κεΐνῃ γὰρ οἴῃ μῶμος ov προσιζάνει:" 
8s θάλλει δ᾽ ὑπ᾽ αὐτῆς κἀπαέξεται βίος" 
Α AS A 4 ’ 
φίλη δὲ σὺν φιλεῦντι γηράσκει πόσει, 
τεκοῦσα καλὸν κοὐνομάκλυτον γένος" 
καριπρεπὴς μὲν ἐν γυναιξὶ γίγνεται 
a ’ 3. 9 A Ud 
πάσῃσι, θείη δ᾽ ἀμφιδέδρομεν χάρις" 
935 52 ψ , 
9» οὐδ᾽ ἐν γυναιξὶν ἥδεται καθημένη, 
ν A 9 ’ 4 
ὅκον λέγουσιν ἀφροδισίους λόγους. 
τοίας γυναῖκας ἀνδράσιν χαρίζεται 
Ζεὺς τὰς ἀρίστας καὶ πολνφραδεστάτας. 
Τὰ δ᾽ ἄλλα φῦλα ταῦτα μηχανῇ Διός. 


64 : IAMBIC POETS. 


séorw τ᾽ ἐπ᾽ ἄτῃ, καὶ παρ᾽ ἀνδράσιν μενεῖ. 
Z:0s γὰρ μέγιστον τοῦτ᾽ ἐποίησεν κακόν, 
γυναῖκας" ἥν τι καὶ δοκῶσιν ὠφελεῖν, 
Ν a a a ϑ 
-Xovrt τοι μάλιστα γίγνεται κακὸν. 
» Ud 3 » ε 4 ? 
οὐ γάρ Kor εὔφρων ἡμέρην διέρχεται 
10) ἅπασαν, ὅστις σὺν γυναικὶ πέλεται" 
Qo a 9 ἢ 8 ’ 
οὐδ᾽ αἶψα λιμὸν οἰκίης ἀπώσεται, 
ἐχθρὸν συνοικητῆρα, δυσμενέα θεόν. 
δ A x @ ld A ΄ὰ 
ἀνὴρ δ᾽ ὅταν μάλιστα θυμηδεῖν δοκῇ. 
κατ᾽ οἶκον ἣ θεοῦ μοῖραν ἣ ἀνθρώπου χάριν, 
10 εὑροῦσα μῶμον ἐς μάχην κορύσσεται. * * 
ὅκον γυνὴ γάρ ἐστιν, οὐδ᾽ ἐς οἰκίην 
ἴω 9 3 ’ ’ 
ξεῖνον μολόντ᾽ ἂν προφρόνως δεχοίατο. .. ... 
ἥτις δέ τοι μάλιστα σωφρονεῖν δοκεῖ᾽ 
V4 , ’ . ᾿ 
αὕτη μέγιστα τυγχάνει λωβωμένη" νι. reo c~ 
κεχηνότος γὰρ ἀνδρὸς --- οἱ δὲ γείτονες. 
χαίρουσ᾽ ὁρῶντες καὶ τόν, ὡς ἁμαρτάνει . 
τὴν ἣν δ᾽ ἕκαστος αἰνέσει μεμνημένος 
γυναῖκα, τὴν δὲ τοὐτέρου μωμήσεται" 
ἴσην δ᾽ ἔχοντες μοῖραν οὐ γιγνώσκομεν. 
115 Ζεὺς γὰρ μέγιστον τοῦτ᾽ ἐποίησεν κακόν, 
καὶ δεσμὸν ἀμφέθηκεν ἄῤῥηκτον πίδης, 
ἐξ οὗτε τοὺς μὲν ᾿Αἴδης ἐδέξατο 
Α 9 > 9 4 
γυναικὸς εἵνεκ᾽ ἀμφιδηριωμένους. 


Sud 


MELIC POETS. 


“- 


MELIC POETS. 





SAPPHO. 


SaPPHO was born on the island of Lesbos, in Mytilene or 
Eresos, and began her poetic work about the commencement 
of the sixth century B. c. She was married, according to tra- 
dition, to one Cercolas or Cercylas, of Andros, but his wife was 
all that saved him from oblivion. Very little is known of the 
particulars of her life; she lived principally in her native 
island, though there is testimony of her once fleeing to Sicily. 

The life of the Kolian women seems to have been peculiarly 
free. Sappho became the centre and leader of a society of 
her countrywomen, who, like herself, were devoted to the 
Muses. She was ardent in temperament, and.impulsive in 
her affections, and this characteristic has given her the repu- 
tation of being immoral in her private life. It is however fair 
to record that there does not exist a particle of well-sustained 
evidence that her character was impure, and the existing frag- 
ments of her poetry are thought by many critics entirely to 
contradict the charge. (See Historical Introduction.) 

Her expressions of love are full of marvelous intensity 
and ardor. According to ancient tradition she was enamored 
of a youth named Phaon, and in her passionate feeling even 
threw herself from the Leucadian cliff; but the name does not 
appear in her poems, and the whole story seems to be utterly 
without foundation. For gracefulness of diction and impetu- 
osity and unrestraint of feeling she has never had an equal. 
We have only fragments of her poetry left, but they are mar- 
velous exhibitions of her power in the use of words, and of 
her unparalleled intensity of emotion. 


68 MELIC POETS. 


She is said to have written nine books of lyric poems, as 
also epigrams, elegies, iambi, hymeneal songs, etc. 

Her dialect is, of course, the Molic. 

In giving the meters of these short poems, we are confronted 
by considerable difficulties, from the fact that not only is the 
metrical system of the Greeks imperfectly understood, but the 
text is often exceedingly uncertain. I have given them gen- 
erally upon the authority of Bergk or Hartung. It will be — 
noticed from the references to S., that his forms for the scan- 
ning are often essentially different from those which have 
been in use. The meter of I., II., III, IV., and V. is the 
recognized Sapphic verse (Sapphics and Adonics). S., p. 104; 
H. 917, r and a. (See also Latin-Grammars, Allen and 
Greenough, 372, 2; Harkness, 700, II.) VI. is Alcaic.. 
S. pp. 72, 102; H. 917, s. VII. and VIII. are Asclepiadean. 
S. p. 97; H. 920, fr (See also Latin Grammars.) IX, is a | 


f -- 
hexameter. oy τς ip Ve a ee ar 


os paca. Ye 
ν.1 ἃ) 
Ποικιλόθρο»᾽. ἀθάνατ' ᾿Αφρόδιτα, 
παῖ Δίος, δολόπλοκε, λίσσομαί σε, 
» > » 4.37 3 @& δά 
μή μ᾽ ἄσαισι μήτ᾽ ὀνίαισι δάμνα, 
ο πότνια, θῦμον" 
ἀλλὰ Tu’ ἔλθ᾽, αἴ ποτα κἀτέρωτα 


Gs 


A φ ἠδ 9h 4 
τᾶς Eas avdws ἀΐοισα πήλυι 
ἔκλνες, πάτρος δὲ δόμον λίποισα, 
χρύσιον ἦλθες 
app ὑποζεύξαισα" κάλοι δέ σ᾽ ἄγον 
1 ὦκεες στροῦθοι περὶ γᾶς μελαίνας 
’ A % > 3 9 a » 
πύκνα δινεῦντες πτέρ᾽ ἀπ᾿ ὠράνω αἴθε- 
pos διὰ μέσσω. ᾿ 
αἶψα δ᾽ ἐξίκοντο" τὺ δ᾽, ὦ μάκαιρα, 





SAPPHO. 69 


μειδιάσαισ᾽ ἀθανάτῳ προσώπῳ, 
αα«ἐς «εἰ. 15 ἤρε᾽, ὅττι δηὖτε yer KOTTL 
δηὗτε κάλημι, 
κὄττ᾽ ἔμῳ μάλιστα θέλω γένεσθαι : 
μαινόλᾳ θύμφ' τίνα δηὖτε Πείθω Jee anes 
pats aynv és σὰν φιλότατα, tis σ᾽, ὦ 
20 Ψάπφ᾽, ἀδικήει; 
καὶ γὰρ αἱ φεύγει, ταχέως διώξει, 
ai δὲ δῶρα μὴ δέκετ᾽, ἄλλα δώσει, 
ai δὲ μὴ φίλει, ταχέως φιλήσει 
| κωὺκ ἐθέλοισα. 
25 ἔλθε μοι καὶ νῦν, χαλεπᾶν δὲ λῦσον 
ἐκ μεριμνᾶν, ὅσσα δέ μοι τέλεσσαι 
θύμος i ἱμέῤῥει, τέλεσον" σὺ δ᾽ αὖτα 
σύμμαχος ἔσσο. 


II. (2.) 

, , a ¥ , 
Φαίνεταί μοι κῆνος ἴσος θίοισιν 
ἔμμεν ὥνηρ, ὅστις ἐναντίος τοι 
ἰζάνει, καὶ πλασίον abu φωνεί- 

σας ὑπακούει 
Α a 3 , 9 ’ 
5 καὶ γελαίσας ἱμερόεν, τό μοι pay 
καρδίαν ἐν στήθεσιν ἐπτόασεν' 
ε A ¥ lA 4 
ὡς γὰρ εὔιδον βροχέως σε, φώνας 
IQA ¥ 9 ν 
οὐδὲν ἔτ᾽ εἴκει" 
ἀλλὰ καμ μὲν γλῶσσα ἔαγε, λέπτον δ᾽ 
10 αὕτικα χρῶ πῦρ ὑπαδεδρόμακεν, 
3 4 > IQA 9 4 9 4 
- ὀππάτεσσι δ᾽ οὐδὲν ὄρημ᾽, ἐπιρρόμ- 
βεισι δ᾽ ἄκοναι. 


ἁ δέ μ᾽ ἵδρως κακχέεται, τρόμος δὲ 


MELIC POETS. 


πᾶσαν ἄγρει, χλωροτέρα δὲ ποίας 
15 ἔμμι, τεθνάκην δ᾽ ὀλίγω ᾿᾽πιδεύην 
φαίνομαι (ἀλλα). 
ἀλλὰ πὰν τόλματον, [ἐπεὶ καὶ πένητα]. 

IIL. (89) 

“Aotepes μὲν ἀμφὶ κάλαν σελάναν 

ἂψ ἀποκρύπτοισι φάεννον εἶδος, 

ὄπποτ᾽ ἂν πλήθοισα μάλιστα λάμπῃ 
(ἀργυρέα) αὔγαν. 

IV. (4.) | 
᾿Αμφὶ δὲ ψῦχρον κελάδει δι᾿ ὕσδων 
μαλίνων, αἰθυσσομένων δὲ φύλλων 

κῶμα καταῤῥεῖ. 
σιν 

V. (5.) 
ον ον Ede, Κύπρι, 
χρυσίαισιν ἐν κυλίκεσσιν ἄβρως 
συμμεμιγμένον θαλίαισι νέκταρ 


9 
οἰνοχοεῦσα. 5 τς 
ee δος ee 


| 


«οἰ 
VI. (29.) 
Ai 8’ ἦχες ἔσλων ἵμερον ἣ κάλων 
καὶ μή τι ξείτην γλῶσσ᾽ ἐκύκα κάκον 
αἴδως κέ σ᾽ οὐ κίχανεν ὄππατ᾽, 
3 > » ‘ ~ ’ 
ἀλλ᾽ ἔλεγες περὶ τῶ δικαίω. 
VII. (136.) 

᾿Αλλ᾽ ov yap θέμις ἐν μουσοπόλων δόμῳ 
θρῆνον ἔμμεναι" οὐκ ἄμμι πρέπει τάδε. 

| VIL | 
Τὸ θνάσκειν κακόν" οὕτω κεκρίκασι θεοί" 
» ᾿ 4 a yy . ld ld 
έθνασκον yap ἂν εἴπερ κάλον ἦν τόδε, 


ALCAEUS. re 


IX. | 

Ἕσπερε, πάντα φέρεις ὅσα φαίνολις 
ἐσκέδασ᾽ avus, 

αἶγα σὺ οἷν τε φέρεις, σὺ φέρεις 


καὶ ματέρι παῖδα. 


ALCAUS. 


Auczus of Mytilene was a contemporary of Sappho, living 
in the seventh and sixth centuries B.c. Mure places his 
active life as beginning 611; at all events, mention is made 
of his brother at that time, and there is a reference to a mili- 
tary campaign by himself five years later. He was by birth a 
noble, by sympathy an aristocrat, and by taste and disposition 
both a warrior and a poet. He lost his arms in the battle 
between his countrymen and the Athenians for the possession 
of Sigeum, yet in spite of this misfortunethe seems to have 
retained his reputation as a valiant soldier. His valor and his 
genius were alike made tributary to his political party, and he 
fought in behalf of the nobles against successive tyrants, as 
also against the excellent government of Pittacus, who by his 
righteous rule was restoring peace to the suffering Lesbians. 
The latter part of the poet’s life was spent in foreign lands. 

There were ten books of songs ascribed to Alceus, among 
which the patriotic and martial odes were the most celebrated. 
His full-souled vitality was a most important element in form- 
ing the character of his life, as also of his poems. He betrayed 
his love of activity, his admiration for forceful energy, in all 
that he did or said. His poems have unfortunately almost en- 
tirely disappeared, being lost perhaps the sooner because, being 
written in the AXolic dialect, they could not be thoroughly 
known and universally appreciated by the Greek public. 


72 MELIC POETS. 


The meter of fragment I. is marked at the beginning as it 
is given by Buchholz. For fuller account, see S. pp. 43, seq. 
(notice form as given p. 44); G. 301; H.916. The sign x 
marks the basis (G. 288; H. 916). Selections 11., III, VL, 
and VII. are the common Alcaic stanza which we have so 
frequently in Horace. For the scheme, see 8. pp. 72, 102; 
H. 917, s. (Also the Latin Grammars, Allen and Greenough, 
372, 1; Harkness, 700, I.) Fragment VIII. is the well- 
known Sapphic and Adonic. S. p. 104; H. 917, r and a. 
(Compare also the Latin Grammars.) The meter of IV., 
IX , X., and XI. is Asclepiadean. S. p.97; H. 920, f£ (See 
also Latin Grammars.) 


I ΣΤΑΣΙΩΤΙΚΑ. 


I. (15.) 


Revi vu—vVv—[RKu rn υνυ-- υ πο [-ν -- 


Μαρμαίρει δὲ μέγας δόμος χάλκῳ: πᾶσα δ᾽ Αρῃ 
κεκόσμηται στέγα 

λάμπραισιν κυνίαισι, καττᾶν λεῦκοι χαδύπερθὲν 
9 ld 
ἵππιοι λόφοι 

νεύοισιν, κεφάλαισιν avdpwv ἀγάλματα, χάλκιαι 
δὲ πασσάλοις 

[4 4 a ’ »ἤ» 

κρύπτοισιν περικείμεναι λάμπραι κνάμιδες, ἄρκος 

ἰσχύρω βέλευς, 
ς«θώρακές τε νέοι λίνω κοίϊλαί τε Kat ἄσπιδες 

βεβλήμεναι" 

παρ δὲ Χαλκίδικαι σπάθαι, παρ δὲ ζώματα πολλὰ 
καὶ κνπάττιδες" 

τῶν οὐκ ἔστι λάθεσθ᾽, ἐπειδὴ πρώτισθ᾽ ὑπὸ ἔργον 
ἔσταμεν τόδε. 





ALCALUS. 79 


Il. (18.) 
3 ld ν᾿ 3 ld , 
Ασυνέτημι ταν ἀνέμων στάσιν" 
τὸ μὲν γὰρ ἔνθεν κῦμα κυλίνδεται, 
τὸ δ᾽ ἔνθεν" ἄμμες δ᾽ ἂν τὸ μέσσον 
Prove , Ά »᾽ 
ναὶ φορήμεθα σὺν μελαίνᾳ, 
5 χειμῶνι μοχθεῦντες μεγάλῳ pada: 
περ μὲν γὰρ ἄντλος ἱστοπέδαν ἔχει, 
λαῖφος δὲ πὰν ζάδηλον ἤδη 
‘ , , > * 
καὶ λάκιδες μέγαλαι κατ᾽ αὗτο" 
χόλαισι δ᾽ ἄγκυραι. 


III. (20.) 
Nov χρὴ μεθύσθην καὶ χθόνα πρὸς βίαν 
κρούην, ἐπειδὴ κάτθανε Μύρσιλος. 


IV. (88. 
ΠΡΟΣ ANTIMENIAAN. 
Ἦλθες ἐκ περάτων γᾶς, ἐλεφαντίναν 
λάβαν τῶ ξίφεος χρυσοδέταν ἔχων. 
ἐπειδὴ μέγαν ἄθλον Βαβυλωνίοις 
συμμάχεις τελέσας, ῥύσαό τ᾽ ἐκ πόνων 
5 κτένναις ἄνδρα μαχαίταν, βασιληΐων 
παλαίσταν ἀπολείποντα μόνον μίαν 
παχέων ἀπὺ πέμπων. 
Υ͂. δ.) of , ἜΤ ἢ 
EPOTIKON. | 
Ἰ᾿Ἰόπλοχ᾽ adyva μειλιχόμειδε Σάπφοι, 
θέλω τι Ρείπην, ἀλλά με κωλύει 
αἴδως. 


14 MELIC POETS. 


ZKOATA. 
VI. (84.) 


— eee lee 


κάββαλλε τὸν χείμων᾽, ἐπὶ μὲν riBers 
9 9 Α ,’ 3 , 
Tup’, ἐν δὲ κίρναις οἶνον ἀφειδέως 
5 μέλιχρον, αὐτὰρ ἀμφὶ κόρσᾳ : 
μάλθακον ἑσσάμενος γνόφαλλον. 


VIL. (35.) 

Οὐ χρὴ κάκοισι θῦμον ἐπιτρέπην" 
ὔ 4 9 A ’ 
προκόψομεν γὰρ οὐδὲν ἀσάμενοι, 

> 4 ’ Ἂν 
ὦ Βύκχι, φάρμακον δ᾽ ἄριστον 
οἶνον ἐνεικαμένοις μεθύσθην. 


VIII. (36.) 
᾿Αλλ᾽ ἀνήτω μὲν περὶ ταῖς δέραισιν 
περθέτω πλέκταις ὑποθύμιδάς τις, 
Kad δὲ χευάτω μύρον ἂδυ κατ τῶ 
στήθεος ἄμμι. 

IX. (37.) 
Tov κακοπάτριδα 

Πίττακον πόλεως τᾶς ἀχόλω καὶ βαρυδαίμονος 
ἐστάσαντο τύραννον μέγ᾽ ἐπαινέοντες ἀόλλεες. 


X. (41.) 
Πίνωμεν" τί τὸ λύχνον μένομεν ; δάκτυλος ἁμέρα. 
Kad δ᾽ ἄειρε κυλίχναις μεγάλαις, ἀΐτα, ποικίλαις. 
οἶνον γὰρ Σεμέλας καὶ Δίος υἷος λαθικάδεα 
’ , ΟΡ. , “ ὶ δύ 
ἀνθρώποισιν ἔδωκ᾽ ἔγχεε κίρναι; ἕνα καὶ δύο 





ANACREON. 75 


s πλέαις Kak κεφάλας, a δ᾽ ἑτέρα τὰν ἑτέραν κύλιξ 
ὠθήτω. 
ΧΙ. 
Μηδὲν ἄλλο φυτεύσῃς πρότερον δένδριον ἀμπέλω. 


FE ΟΣ 


ANACREON. 


ANACREON was a native of Teos, an Ionian city, on the coast 
of Asia Minor. When, however, this city was taken by Harpa- 
gus, the general of Cyrus, he removed, with a large portion of 
his fellow-townsmen, to Abdera in Thrace. This took place 
about 540 s.c. Somewhat later in life, he was prominent at the 
court of Polycrates at Samos. After the death of his patron 
he was brought, in a galley of fifty oars sent especially for his 
conveyance, to Athens, to join the coterie of poets whom Hip- 
parchus, the son of Pisistratus, had gathered about himself. 
He died at the age of eighty-five, choked, as tradition says, 
by a grape-stone. His death took place, apparently, about 
478 B.c. . 

Anacreon lived a voluptuary, in the midst of the greatest 
luxury which his age could boast. Polycrates and the sons of 
Pisistratus labored alike to make their capitals the envy of the 
surrounding world for their prosperity and magnificence, while 
their courts were celebrated for the brilliant pleasures with 
which they encompassed themselves. Here he lived to enjoy 
all that was enjoyable, and to sing the delights of wine and 
love. 

Five books of songs were known as attributed to him among 
the ancients; but only a few fragments have been preserved 
_for us to read. The dialect in which he writes is the Ionic; 
but, in imitation of the Holic, he uses, in some cases, ἃ instead 
of η. Some other Aolisms appear as peculiarities of his 
language. 





16 MELIC POETS. 


The meter is Glyconic, with Pherecratic verses inserted 
(S. p. 70; G. 300; H. 917, 1 and d; also, 921). This is the 
meter of the first five fragments. The sixth, seventh, and 
eighth are ionic. The ionic a minore is two short followed by 
twolong. For the long syllables of one foot, taken with the two 
short of the next, two trochees may be substituted (anaclasis) 
(H. 925, a). The scheme is, therefore: UU -- . --- - 
In VIL. the alternate verses are iambic. 


EIS APTEMIN. 


I. @.) 
Γουνοῦμαί σ᾽, ἐλαφηβόλε, 


ξανθὴ παῖ Διός, ἀγρίων 
δέσποιν᾽ ἴΑρτεμι θηρῶν. 
κου νῦν ἐπὶ Ληθαίου 

5 δίνῃσι: θρασυκαρδίων 
ἀνδρῶν ἐγκαθόρα πόλιν 
χαίρουσ᾽- οὐ γὰρ ἀνημέρους 
ποιμαίνεις πολιήτας. 


ΕΙΣ AIONYZON. 


II. (2.) 
*Ovak, @ δαμάλης Ἔρως 
καὶ Νύμφαι κνανώπιδες 
πορφυρέη τ᾽ ᾿Αφροδίτη 
συμπαίζουσιν" ἐπιστρέφεαι δ᾽ 
5 ὑψηλῶν κορυφὰς ὀρέων, 
γουνοῦμαί σε' σὺ δ᾽ εὐμενής 
ἔλθ᾽ ἡμῖν, κεχαρισμένης δ᾽ 





ANACREON. 


εὐχωλῆς ἐπακούειν. 
Κλευβούλῳ δ᾽ ἀγαθὸς γένεν 
4 \ > A ἦν 9 
10 σύμβουλος. τὸν ἐμὸν δ᾽ ἔρωτ᾽, 
ὦ Δεύνυσε, δέχεσθαι. 


II. (8) 
Κλευβούλον μὲν ἔγωγ᾽ ἐρῶ, 
Κλευβούλῳ δ᾽ ἐπιμαίνομαι, 
Κλεύβουλον δὲ διοσκέω. 


IV. (4. 

Ὦ παῖ παρθένιον βλέπων, 
δίζημαί σε, σὺ δ᾽ οὐ κίεις 
οὐκ εἰδώς, ὅτι τῆς ἐμῆς 
ψυχῆς ἡνιοχεύεις. 

ove (4) 
Σφαίρῃ δηὖτέ με πορφυρέῃ 
βάλλων χρυσοκόμης Ἔρως 
νήῆνι ποικιλοσαμβάλῳ 
συμπαίζειν προκαλεῖται" 

5 ἡ δ᾽, ἐστὶν γὰρ am’ εὐκτίτον 
Λέσβου, τὴν μὲν ἐμὴν κόμην, 
λευκὴ γάρ, καταμέμφεται, 
πρὸς δ᾽ ἄλλην τινὰ χάσκει. 


VI. (44.) 
Πολιοὶ μὲν ἡμὶν ἤδη 
κρόταφοι κάρη τε λευκόν, 
χαρίεσσα δ᾽ οὐκέθ᾽ ἤβη 
πάρα, γηράλεοι δ᾽ ὀδόντες. 


{1 


MELIC POETS. 


5 γλυκεροῦ δ᾽ οὐκέτι πολλός 
βιότου χρόνος λέλειπται" 
διὰ ταῦτ᾽ ἀνασταλύζω 
θαμὰ Τάρταρον δεδοικώς. 
᾿Αἔδεω γάρ ἐστι δεινός 

10 μυχός, ἀργαλέη δ᾽ ἐς αὐτόν 
κάθοδος: καὶ γὰρ ἑτοῖμον 
καταβάντι μὴ ἀναβῆναι. 


(ΠΡΟΣ ΣΜΕΡΔΙΗΝ.) 


VIL. (48.) 

Μεγάλῳ Sniré μ᾽ Ἔρως 

»ἭἍὦ 9 a 

ἔκοψεν ὥστε χαλκεὺς 

πελέκει, χειμερίῃ 

δ᾽ ἔλουσεν ἐν χαράδρῃ. 

VIII. (θ4.) 
“Aye δή, φέρ᾽ ἡμίν, ὦ παῖ, 
κελέβην, ὅκως ἅμυστιν 
, ‘ 4 9% 9 a 

προπίω, τὰ μὲν δέκ᾽ ἐγχέας 

ν δ 4 3 » 

ὕδατος, τὰ πέντε, δ᾽ οἶνον 
5 κυάθους, ὡς ἀνυβριστί 

ἀνὰ δηὖτε βασσαρήσω. 

* # # # 

"Aye δηὖτε μηκέθ᾽ οὕτω 

πατάγῳ τε κἀλαλητῷ 

Σκυθικὴν πόσιν παρ᾽ οἴνῳ 
10 μελετῶμεν, ἀλλὰ καλοῖς 

ὑποπίνοντες ἐν ὕμνοις, 


AN ACREONTEA. 79 


ANACREONTEA. 


THESE songs have long borne the name. of Anacreon, being 
_ written with much of his spirit; but by the best critics they 
are regarded as spurious, They receive little recognition from 
the ancients, and represent different ideas from those found in 
the undoubted poems of Anacreon. They differ also in their 
meter, which is usually iambic dimeter catalectic (G. 293, 2; 
H. 904, ὁ. The Ion. a min. with anaclasis will be recog- 
nized, X., XI., etc. For fuller accounts of these meters, see 
S. pp. 107-111. 
I. (6.) 
ΕΙΣ EAYTON. 


a ε" A 
Aéyovow at yuvaixes, 
> s 4 
Avaxpéwy, γέρων el: 
λαβὼν ἔσοπτρον ἄθρει 
κόμας μὲν οὐκέτ᾽ οὖσας, 
“ Vd , 
5Ψιλοὸν δέ σευ μέτωπον. 
> A δὲ A ’ , 
ἐγὼ O€ τὰς κόμας μέν, 
¥” 9 9 td yy 9 9 ~*~ 
εἴτ᾽ εἰσίν, εἴτ᾽ ἀπῆλθον, 
οὐκ oloa: τοῦτο δ᾽ οἶδα, 
ὃς τῷ γέ αλλ 
ὡς τῷ γέροντι μᾶλλον 
10 πρέπει τὸ τερπνὰ παίζειν, 
9 4 , 
ὅσῳ πέλας τὰ Μοίρης. 


II. (7.) 
EIS EAYTON. 
Ov μοι μέλει τὰ Γύγεω, ᾽ 
τοῦ Σαρδίων ἄνακτος" 


MELIC POETS. 


οὐδ᾽ εἷλέ πώ με ζῆλος, 
οὐδὲ φθονῶ τυράννοις. 
5 ἐμοὶ μέλει μύροισιν 
καταβρέχειν ὑπήνην" 
> Ἁ LA es 
ἐμοὶ μέλει ῥόδοισιν 
καταστέφειν κάρηνα. 
τὸ σήμερον μέλει μοι, 
A 3 »ν» , 
10 τὸ δ᾽ αὔριον τίς οἶδεν ; 
ε ΔΨ» o> 3 
ὡς οὖν ἔτ᾽ ευδί᾽ ἐστιν, 

, A Q , 

Kal πίνε Kat KuBeve, 

“ 4 , , 
καὶ σπένδε τῴ Λναίῳ, 
μὴ νοῦσος, ἦν τις ἔλθῃ, 

1s λέγῃ σε μὴ δεῖ πίνειν. 


IIT. (8.) 


ΕΙΣ EAYTON ΜΕΜΕΘΥΣΜΕΝΟΝ, 


"Ades με, τοὺς θεούς σοι, 
πιεῖν πιεῖν ἀμυστί: 
θέλω θέλω μανῆναι: 
9 ,’ 95.59 o 
ἐμαινετ ᾿Αλκμαίων τε 
9 , 9 a 
5 χὠ λευκόπους Ὀρέστης, 
τὰς μητέρας κτανόντες:" 
2 A Q ὃ ’ , 
ἐγὼ δὲ μηδένα κτάς, 
᾿ 95 9 N 4 
πιὼν δ᾽ ἐρυθρὸν οἶνον 
θέλω θέλω μανῆναι. 
9 ’ 9 ¢ A a 
τὸ ἐμαίνετ Ἡρακλῆς πρίν 
δεινὴν κλονῶν φαρέτρην 
. ἡ» γ7 47 ε 
᾿ καὶ τόξον Ἰφίτειον. oy 





ANACREONTEA. 


3 4 A » 
ἐμαίνετο πρίν Atas 
> 9 a [4 

μετ᾽ ἀσπίδος κραδαίνων 
13 τὴν Ἕκτορος μάχαιραν" 

ἐγὼ δ᾽ ἔχων κύπελλον 

καὶ στέμμα τοῦτο χαΐταις, 

οὐ τόξον, οὐ μάχαιραν, 


θελω θέλω μανῆναι. 


IV. 9.) 
ΕΙΣ XEAIAONA. 


Τί σοι θέλεις ποιήσω, 
τί σοι, λάλη χελιδόν; 
τὰ ταρσά σεν τὰ κοῦφα 
θέλεις λαβὼν ψαλίξω; 

5ἢ μᾶλλον ἔνδοθέν σεν 

‘ A e e [4 

τὴν γλῶσσαν, ws ὁ Τηρεὺς 
2A 53 Δ. » 
ἐκεῖνος, ἐκθερίξω ; 
τί μεν καλῶν ὀνείρων 
ε , ζω. 
ὑπορθρίαισι φωναις 

:ο ἀφήρπασας Βάθυλλον; 


EIS EPOQTA KHPINON.. 
| V. (10.) 
¥ ’ ’ 
Ερωτα κὴρινὸν τις 
νεηνίης ἐπώλει" 
ἐγὼ δέ οἱ παραστάς, 
πόσον θέλεις, ἔφην, σοί 
5 τὸ τυχθὲν ἐκπρίωμαι ; 


81 


MELIC POETS. 


ὁ δ᾽ εἶπε δωριάζων, 
λάβ᾽ αὐτὸν ὁππόσου λῇς" 
ὅπως δ᾽ ἂν ἐκμάθῃς πᾶν, 
οὐκ εἰμὶ καροτέχνας" 

10 ἀλλ᾽ οὐ θέλω συνοικεῖν 
Ἔρωτι παντορέκτᾳ. 
δὸς οὖν, δὸς αὐτὸν ἡμῖν 
δραχμῆς, καλὸν σύνευνον. 
» ‘ 9 9 , 
Ερως, σὺ δ᾽ εὐθέως με 

td 9 QA 4 4 
15 TUpwoov: εἰ δὲ μή, σύ 


κατὰ φλογὸς τακήσῃ. 


γι. (11.) 
ΕΙΣ ATTIN. 


Οἱ μὲν καλὴν Κυβήβην 
τὸν ἡμίθηλυν ἴΑττιν 

ἐν οὔρεσιν βοῶντα 
λέγουσιν ἐκμανῆναι. 

5 οἱ δὲ Κλάρον παρ᾽ ὄχθαις 
δαφνηφόροιο Φοίβου 
λάλον πιόντες ὕδωρ 
μεμηνότες βοῶσιν. 
ἐγὼ δὲ τοῦ Λναίον 

10 καὶ τοῦ μύρου κορεσθείς 
καὶ τῆς ἐμῆς ἑταίρης 
θέλω θέλω μανῆναι. 








ANACREONTEA. 


VIL (2) 
ΕΙΣ EPOTA. 
Θελω θέλω φιλῆσαι-. 
ἔπειθ᾽ Ἔρως φιλεῖν με, 
ἐγὼ δ᾽ ἔχων νόημα 
ἄβουλον οὐκ ἐπείσθην. 

5 ὁ δ᾽ εὐθὺ τόξον ἄρας 
καὶ χρυσέην φαρέτρην 
μάχῃ με προὐκαλεῖτο. 
κἀγὼ λαβὼν ἐπ᾽ ὦμων 
θώρηχ᾽, ὅπως ᾿Αχιλλεύς, 

το καὶ δοῦρα καὶ βοείην, 
ἐμαρνάμην Ἔρωτι. 
ἔβαλλ᾽, ἐγὼ δ᾽ ἔφευγον» 
ὡς δ᾽ οὐκ ἔτ᾽ εἶχ᾽ ὀϊστούς, 
ἤσχαλλεν" εἶτ᾽ ἑαυτόν 

1s ἀφῆκεν eis βέλεμνον, 

᾿ μέσος δὲ καρδίης μεν 
ἔδυνε, καί μ᾽ ἔλυσεν " 
μάτην δ᾽ ἔχω βοείην. 
τί γὰρ βάλωμεν ἔξω, 

20 μάχης ἔσω μ᾽ ἐχούσης ; 


VIII. (18.) 
BIZ ΤΟΥΣ EAYTOY EPOTAE. 
Ei φύλλα πάντα δένδρων 
ἐπίστασαι κατειπεῖν, 

> 4 9 ε ΝᾺ 
ει κυματ οἶδας ευρέειν, 


τὰ τῆς ὅλης θαλάσσης, 


MELIC POETS. 


5 σὲ τῶν ἐμῶν ἐρώτων 
μόνον ποῶ λογιστήν. 

“A \ 3 3 A 
πρῶτον μὲν ἐξ ᾿Αθηνῶν 
ἔρωτας εἴκοσιν θές 
καὶ πεντεκαίδεκ᾽ ἄλλους. 

1 ἔπειτα δ᾽ ἐκ Κορίνθον 
θὲς ὁρμαθοὺς ἐρώτων" 

2 ah , 3 

Αχαΐης γάρ ἐστιν, 

9 Q A 
ὅπου KaNal γυναῖκες. 
τίθει δὲ Λεσβίους μοι 

:5 καὶ μέχρι τῶν Lave 
καὶ Καρίης Ῥόδον τε 
δισχιλίους ἔρωτας. 
τί φής; ἐκηριώθης ; 
οὕπω Σύρους ἔλεξα, 

3. οὕπω πόθους Κανώβου, 
οὐ τῆς ἅπαντ᾽ ἐχούσης 
Κρήτης, ὅπου πόλεσσιν 
» a 3 4 
Epws ἐποργιαάζει. 

, UA 9 a 
τί σοι θελεις ἀριθμεῖν 

. .ἣ 4 2 ’ 

25 καὶ TOUS Γαδείρων ἐκτὸς, 

“ 4 9 A 
τοὺς Βακτρίων τε κἰνδῶν 


ψυχῆς ἐμῆς ἔρωτας; 


ΙΧ. (14.) 
ΕΙΣ ΠΕΡΙΣΤΕΡΑΝ,. 
"Epacpin πέλεια, 
πόθεν πόθεν πετᾶσαι; 
πόθεν μύρων τοσούτων 


AN ACREONTEA. 


>» 39 5.9 , 
ἐπ᾽ ἠέρος θέουσα 
’ . 4 

5 πνέεις TE καὶ ψεκάζεις; 
τίς εἶ; τί σοι μέλει δέ; 
3 ld > » 
Ανακρέων μ᾽ ἔπεμψεν 
πρὸς παῖδα, πρὸς Βάθυλλον, 
τὸν ἄρτι τῶν ἁπάντων 

10 κρατοῦντα καὶ τύραννον. 

’ 4 2 e , 
πέπρακε μ᾽ ἡ Κνθήρη 
λαβοῦσα μικρὸν ὕμνον" 
9. 3.9 A 
ἐγὼ δ᾽ ᾿Ανακρέοντι 
διακονῶ τοσαῦτα" 

15 καὶ νῦν, ὁρᾷς, ἐκείνου 
9 δ ’ 
ἐπιστολὰς κομίζω" 

, 3429 
καί φησιν εὐθεως με 
3 UA , 
ἐλευθέρην ποιήσειν. 
δ 4 a 81 "Ὁ 
ἐγὼ Se, κἣν ἀφῇ με, 
9 δούλη μενῶ παρ᾽ αὐτῷ" 
, 4 A ’ 
τί γάρ με δεῖ πέτασθαι 
ὄρη τε καὶ κατ᾽ ἀγρούς, 
’ 
καὶ δένδρεσιν καθίζειν 
φαγοῦσαν ἀγριόν τι; 

95 TAVUV ἔδω μὲν ἄρτον 
ἀφαρπάσασα χειρῶν 
᾿Ανακρέοντος αὐτοῦ" 
πιεῖν δέ μοι δίδωσιν 
τὸν οἶνον, ὃν προπίνει" 

A 3 , 

» πιοῦσα δ᾽ ἂν χορεύσω, 

καὶ δεσπότην γέροντα 


“πτεροῖσι συγκαλύψω, 


85 


86 MELIC POETS. 
κοιμωμένη δ᾽ ἐπ᾽ αὐτῷ 
τῷ βαρβίτῳ καθεύδω - 

ss ἔχεις ἅπαντ᾽" ἄπελθε" 
λαλιστέραν μ᾽ ἔθηκας, 


¥ ‘ ’ 
ἄνθρωπε, καὶ κορώνης. 


X. (165.) 
ΕΙΣ KOPHN. 


“Aye, ζωγράφων ἄριστε, 
γράφε, ζωγράφων ἄριστε, 
‘Podins κοίρανε τέχνης, 
ἀπεοῦσαν, ws ἂν εἴπω, 

5γράφε τὴν ἐμὴν ἑταίρην. 
γράφε μοι τρίχας τὸ πρῶτον 
ἁπαλάς τε καὶ μελαίνας" 
ὁ δὲ κηρὸς ἂν δύνηται, - 
γράφε καὶ μύρον πνεούσας. 





το γράφε δ᾽ ἐξ ὅλης παρειῆς >< es : er 


ὑπὸ πορφυραῖσι χαίταις 
ἐλεφάντινον μέτωπον. 
τὸ μεσόφρνον δὲ μή μοι 
διάκοπτε, μήτε μίσγε" 
:5 ἐχέτω δ᾽, ὅπως ἐκείνη, 
τὸ λεληθότως σύνοφρυν 
βλεφάρων ἵτυν κελαινήν. 
τὸ δὲ βλέμμα νῦν ἀληθῶς 
ἀπὸ τοῦ πυρὸς ποίησον, 
dua γλαυκόν, ὡς ᾿Αθήνης, 
ἅμα δ᾽ ὑγρόν, ὡς Κυθήρης. 


AN ACREONTEA. 


ypade ῥῖνα Kai παρειάς, 
ῥόδα τῷ γάλακτι pitas. 
γράφε χεῖλος, οἷα Πειθοῦς, 
25 προκαλούμενον φίλημα. 
τρυφεροῦ δ᾽ ἔσω yeveiou 
περὶ λυγδίνῳ τραχήλῳ 
Χάριτες πέτοιντο πᾶσαι. 
στόλισον τὸ λοιπὸν αὐτήν 
» ὑποπορφύροισι πέπλοις" 
διαφαινέτω δὲ σαρκῶν 
ὀλίγον, τὸ σῶμ᾽ ἐλέγχον. 
ἀπέχει" Βλέπω γὰρ αὐτήν. 
τάχα κηρὲ καὶ λαλήσεις. 


ΧΙ. (17, 18.) 


{ 
᾿ 


ΕΡΩΤΙΚΟΝ ΩΙΔΑΡΙΟΝ. 
Δότε μοι, δότ᾽, ὦ γυναῖκες, 
Βρομίον πιεῖν ἀμυστί:" 

2 A , BN ¥ 
ἀπὸ καύματος yap ἤδη 

᾿ > U 
προδοθεὶς ἀναστενάζω. 
’ 3. 9 4 9 , 
5 δότε δ᾽ ἀνθέων ἐκείνου 
U 9 Ud 
στεφάνους, οἵους πυκάζω" 
τὰ μέτωπά μον ᾿πικαίει. 

>, »’ A “Ὁ 9 4. 
τὸ δὲ καῦμα τῶν ᾿Ερώτων, 
κραδίη, τίνι σκεπάζω ; 

:ο Παρὰ τὴν σκιὴν Βαθύλλου 
κάθισον" καλὸν τὸ δένδρον" 

ε “ > ¥ 6 
ἁπαλὰς δ᾽ ἔσεισε χαίτας 


88 MELIC POETS. 


μαλακωτάτῳ κλαδίσκῳ. 
δ 3 9 Ἁ 3 , 
παρὰ δ᾽ αὐτὸν ἐρεθίζει 
1s πηγὴ ῥέουσα Πειθοῦς-" 
τίς ἂν οὖν ὁρῶν παρέλθοι 
καταγώγιον τοιοῦτο; 


ΧΙ]. (19.) 
ΕΙΣ ἘΡΩΤΑ. 


Αἱ Μοῦσαι τὸν Ἔρωτα 
a , 
δήσασαι στεφάνοισιν 
τῷ Κάλλει παρέδωκαν. 
Δ α ε UA 
καὶ νῦν ἡ Κυθέρεια 
A , ’ 

5 ζητεῖ λύτρα φέρουσα 
λύσασθαι τὸν Ἔρωτα. 
κἂν λύσῃ δέ τις αὐτόν, 

9 ¥ a 4 
οὐκ ἔξεισι, μενεῖ δέ" 
UA 
δουλεύειν Sedidaxrat. 


XIII. (21.) 


ε A ’ ’ 
Η γὴ μέλαινα πίνει, 
πίνει δὲ δένδρε᾽ αὖ γῆν. 
πίνει θάλασσα δ᾽ αὔρας. 
ὁ δ᾽ ἥλιος θάλασσαν, 
, 33 Ὁ 4 

5 τὸν δ᾽ ἥλιον σελήνη. 
τί μοι μάχεσθ᾽, ἑταῖροι, 
καὐτῷ θέλοντι πίνειν; 








AN ACREONTEA. 


XIV. (22.) 
ΕΙΣ KOPHN. 


Ἢ Ταντάλου ποτ᾽ ἔστη 
λίθος Φρυγῶν ἐν ὄχθαις, 
καὶ παῖς TOT ὄρνις ἔπτη 
Πανδίονος χελιδών. 
2 A ον ¥ 

5 ἐγὼ δ᾽ ἔσοπτρον εἴην, 
ν 9 A A 
ὅπως ἀεὶ βλέπῃς με" 
ἐγὼ χιτὼν γενοίμην, 
ὅπως ἀεὶ φορῇς με. 
ὕδωρ θέλω γενέσθαι, 

:ο ὅπως σε χρῶτα λούσω" 
μύρον, γύναι, γενοίμην, 
ῳ 3 , > 5 ’ 
ὅπως ἐγὼ σ᾽ ἀλειψω. 

. , Q ~ 
καὶ tawin δὲ μαστῶν, 
καὶ μάργαρον τραχήλῳ. 

. Ud , 

15 καὶ σάνδαλον γενοίμην" 
μόνον ποσὶν πάτει με. 


XV. (23.) 
ΕΙΣ KI@APAN. 


Θέλω λέγειν ᾿Ατρεΐδας, 
θέλω δὲ Κάδμον ἄδειν" 
a, βάρβιτος δὲ χορδαῖς 
Ἔρωτα μοῦνον ἠχεῖ. 
κἥμειψα νεῦρα πρώην 
καὶ τὴν λύρην ἅπασαν. 


89 





MELIC POETS. 


“ κἀγὼ μὲν ἦδον ἄθλους 
Ἡρακλέους: λύρη δέ 
ἔρωτας ἀντεφώνει. 

10 χαίροιτε λοιπὸν ἡμῖν, 
ἥρωες" ἡ λύρη γάρ 
μόνους Ἔρωτας ἄδει. 


XVI. (24.) 
EPOTIKON. 


’ a , 
vais κέρατα Tavpots, 
ὁπλὰς δ᾽ ἔδωκεν ἵπποις, 
ποδωκίην λαγωοῖς, 

0 4 > 9 a 
λέουσι χάσμ᾽ ὀδόντων, 

A 4 

τοῖς ἰχθύσιν τὸ νηκτόν, 

A , ( 
τοῖς ὀρνέοις πέτασθαι, 

a 4 
τοῖς ἀνδράσιν φρόνημα. 

\ 9 yy” 9? - 
γυναιξὶν οὐκ ἔτ᾽ εἶχεν. 
τί οὖν δίδωσι; κάλλος 
9 9 9 , ε A 

το ἀντ᾽ ἀσπίδων ἁπασᾶν, 
4 
ἀντ᾽ ἐγχέων ἁπάντων. 
΄Ὁ QA a 
νικᾷ δὲ Kat σίδηρον 

Q A id 

Kal πῦρ καλὴ τις οὖσα. 


XVII. (2ὅ.) 
ΕΙΣ XEAIAONA. 
Σὺ μὲν, φίλη χελιδόν, 
ἐτησίη μολοῦσα 
θέρει πλέκεις καλιήν' 


- 


i 


ως Ya PPL Q 2 tee of eee em 
C Ww 
ANACREONTEA. 91 


χειμῶνι δ᾽ els ἄφαντος 
5 ἢἣ Νεῖλον ἢ ᾽πὶ Μέμφιν. 
Ἔρως δ᾽ ἀεὶ πλέκει prev 
ἐν καρδίῃ καλιήν" 
Πόθος δ᾽ ὁ μὲν πτεροῦται, 
ὁ δ᾽ ὠόν ἐστιν ἀκμήν, 
το ὁ δ᾽ ἡμίλεπτος ἤδη. 
βοὴ δὲ γίγνετ᾽ αἰεί 
κεχηνότων νεοσσῶν. 
"Epwridets δὲ μικρούς 
οἱ μείζονες τρέφουσιν. 

15 οἱ δὲ τραφέντες εὐθύς 
πάλιν κύουσιν ἄλλους. 
τί μῆχος οὖν γένηται; 
οὐ γὰρ σθένω τοσούτους 
Ἔρωτας ἐκβοῆσαι. 


XVIII. (26. A) 
EPOTIKON QOIAAPION. 
Σὺ μὲν λέγεις τὰ Θήβης, 

ὁ δ᾽ αὖ Φρυγῶν auras: 
ἐγὼ δ᾽ ἐμὰς ἁλώσεις. 
οὐχ ἵππος ὥλεσέν με, 
sou πεζός, οὐχὶ νῆες" 
στρατὸς δὲ καινὸς ἄλλος 
ἀπ᾽ ὀμμάτων με βάλλων. 


92 | MELIC POETS. 


ΕΑ 
XIX. (7. τ 99) 


ΕΙΣ TA ΤΟΥ ἘΡΩΤΟΣ BEAR. 
Ὃ ἀνὴρ 6 τῆς Κυθήρης 
παρὰ Λημνίαις καμίνοις 
τὰ βέλη τὰ τῶν ᾿Ερώτων 
ἐπόει λαβὼν σίδηρον. 

5 ἀκίδας δ᾽ ἔβαπτε Κύπρις 
μέλι τὸ γλυκὺ λαβοῦσα" 
ὁ δ᾽ Ἔρως χολὴν ἔμισγεν. 
ὁ δ᾽ “Apns ποτ᾽ ἐξ aurns 
στιβαρὸν δόρυ κραδαίνων 

βέλος ηὐτέλιζ᾽ Ἔρωτος" 
ὁ δ᾽ Ἔρως, τόδ᾽ ἐστίν, εἶπεν, 
βαρύ: πειράσας νοήσεις. 
ἔλαβεν βέλεμγον "Αρης" 
ὑπεμειδίασε Κύπρις. 

366 “Apns ἀναστενάξας, 


: βαρύ, φησίν: ἄρον αὐτό. 
ὁ δ᾽ Ἔρως, ἔχ᾽ αὐτό, φησίν. 
Uv 
XX. (30.) 


EPOTIKON. yan 
9 \ , a 
ἔπι μυρσίναις τερείναις, 
ἐπὶ λωτίναις τε ποίαις 
στορέσας θέλω προπίνειν. 
ε δ᾽ ν A , 
Ο Epos χιτῶνα δήσας 
5 ὑπὲρ αὐχένος παπύρῳ 





ANACREONTEA. 93 


id , 
μέθυ μοι διακονείτω. 
τροχὸς ἅρματος γὰρ οἷα 
βίοτος τρέχει κυλισθείς" 
3 ', , 4 
ὀλίγη δὲ κεισόμεσθα 
ld 9 LA Ld 
10 KOVLS ὀστέων λυθέντων. 
τί σε Set λίθον μυρίζειν; 
τί δὲ γῇ χέειν μάταια; 
ἐμὲ μᾶλλον, ὡς ἔτι ζῶ, 
’ ε», \ “ 
μύρισον, podots δὲ κρᾶτα 
a ’ > ε ’ 
15 πύκασον, κάλει δ᾽ ἑταίρην. 
‘ ¥ ¥ 9. 3 a 
πρὶν ἔρως ἔχει μ᾽ ἀπελθεῖν 
ὑπὸ νερτέρων χορείας, 
4 , ’ 
σκεδάσαι θέλω μερίμνας. 


ΧΧΙ. (31.) 
ΕΙΣ EPOTA 


Μεσοννυκτίοις ποτ᾽ ὥραις, 
στρέφεται or “Apxros ἤδη 
κατὰ χεῖρα τὴν Βοώτου, 
4 QA “A , 
μερόπων δὲ φῦλα πάντα 
5 Κέαται κόπῳ δαμέντα, 
ὃν 9 , 
τότ Epws ἐπισταθεΐς μευ 
θυρέων ἔκοπτ᾽ ὀχῆας. 
a y 4 9 e 
Tis, ἔφην, θύρας ἀράσσει; 
κατά μεν σχίζεις ὀνείρους. 
ε 9}0Ὁ Ν ,’ 
τὸ ὁ δ᾽ Ἔρως, ἄνοιγε, φησίν" 
, > » ᾿ ’ 
βρέφος εἰμί, μὴ φόβησαι" 
βρέχομαι δὲ κἀσέληνον 


MELIC POETS. 


κατὰ νύκτα πεπλάνημαι. 
ἐλέησα ταῦτ᾽ ἀκούσας. 
133 ἀνὰ δ᾽ εὐθὺ λύχνον ἅψας 
> o a ’ a 
ἀνέῳξα, καὶ βρέφος μέν 
ἐσορῶ φέροντα τόξον 
πτέρυγάς τε καὶ φαρέτρην, 
“ > e ’ 
παρὰ δ᾽ ἱστίην καθῖσα 
20 παλάμαις τε χεῖρας αὐτοῦ 
ἀνέθαλπον, ἐκ δὲ χαίτης 
ἀπέθλιβον ὑγρὸν ὕδωρ. 
ε 9 9 a 4 A 
ὁ δ᾽, ἐπεὶ κρύος μεθῆκεν, 
ld o o 
φέρε, φησί, πειράσωμεν 
’ ’ ᾿», A 
25 τόδε τόξον, EL TL μοι νῦν 
βλάβεται βραχεῖσα νευρή. 
τανύει δὲ καί με τύπτει 
μέσον ἧπαρ, ὥσπερ οἶστρος" 
> A > ¢ 4 
ἀνὰ δ᾽ ἄλλεται καχάζων, 
39 ξένε δ᾽, εἶπε, συγχάρηθι. 
, 3 Δ. 4 3 
κέρας ἀβλαβὲς μεν ἐστιν, 
σὺ δὲ καρδίην πονήσεις. 


XXII. (32.) 


ΕΙΣ TETTITA. 


Μακαρίζομέν σε, τέττιξ, 
ν lA ; > > ¥ 
ὅτε δενδρέων ἐπ᾿ ἄκρων 
x\ 7 ’ ’ 
ὀλίγην δρόσον πεπωκώς 
A’ 9 a 
βασιλεὺς ὅπως ἀείδεις" 
5 σὰ γάρ ἐστι κεῖνα πάντα, 











AN ACREONTEA., 


ὁπόσα βλέπεις ἐν ἀγροῖς, 
χὠπόσα φέρουσιν ὧραι. 
σὺ δὲ φιλία γεωργῶν, 
ἀπὸ μηδενός τι βλάπτων. 
:ο σὺ δὲ τίμιος βροτοῖσιν, 
θέρεος γλυκὺς προφήτης" 
φιλέουσι μέν σε Μοῦσαι, 
φιλέει δὲ Φοῖβος αὐτός, 
λιγυρὴν δ᾽ ἔδωκεν οἴμην" 
5 τὸ δὲ γῆρας οὗ σε τείρει, 
σοφέ, γηγενής, φίλυμνε, 
ἀπαθής, ἀναιμόσαρκε" 
σχεδὸν εἶ θεοῖς ὅμοιος. 


XXIII. (33.) 
EIS EPQOTA. 
᾿ Ἔρως ποτ᾽ ἐν ῥόδοισιν 
κοιμωμένην μέλιτταν 
οὐκ εἶδεν, ἀλλ᾽ ἐτρώθη 
a o 4 
τὸν δάκτυλον" παταχθείς 
A ΝᾺ 9 Ρ, 
5 τὰς χεῖρας ὠλόλυξεν" 
δραμὼν δὲ καὶ πετασθεΐς 
πρὸς τὴν καλὴν Κυθήρην, 
ὄλωλα, μᾶτερ, εἶπεν, 
¥ 9 ,. 
ὄλωλα κἀποθνήσκω" 
:ο ὄφις μ᾽ ἔτυψε μικρός 
πτερωτός, ὃν καλοῦσιν 
μέλιτταν οἷ γεωργοί. 


95 


MELIC POETS. 


a δ᾽ εἶπεν" εἰ τὸ κέντρον 
πονεῖ τὸ τᾶς μελίττας, 

15 πόσον δοκεῖς πονοῦσιν, 
Ἔρως, ὅσους σὺ βάλλεις; 


ἀξ. Penh BO ts 


XXIV. (84.) 
EIS ΦΙΔΑΡΓΥΡΟΝ. 


e “ Ὗ “A 
O πσλουτος εἰ ye χρυσου 
τὸ ζῆν παρεῖχε θνητοῖς, 
ἐκαρτέρουν φυλάττων, 
iv’, ἂν θανεῖν ἐπέλθῃ, 
5 λάβῃ τι καὶ παρέλθῃ. 
3 3 4 “ Ἁ ’ 
εἰ δ᾽ οὖν τὸ μὴ πρίασθαι 
Ν la) ¥ ~ 
τὸ ζῆν ἔνεστι θνητοῖς, 
id . 3 A 
τί χρυσὸς ὠφελεῖ με; 
θανεῖν γὰρ εἰ πέπρωται, 
U 
το Ti καὶ μάτην στενάζω; 
τί καὶ γόους προπέμπω; 
’ . 
ἐμοὶ γένοιτο πίνειν, 
πιόντι δ᾽ οἶνον ἡδύν 
3 “ [4 va) 
ἐμοῖς φίλοις συνεῖναι, 
9 9 ε ἴω 0 
3 ἐν δ᾽ ἁπαλαῖσι κοίταις 
τελεῖν τὰν ᾿Αφροδίταν. 





SIMONIDES OF CEOS. 97 


SIMONIDES OF OEOS. 


STMONIDES of Ceos excelled in various branches of Lyric 
poetry, but has become especially well known for his innumer- 
able famous Epigrams. He was born 556 3. c. His father 
had an official position in the worship of Dionysus, and the son 
seems to have been brought up in the study of music and poetry, 
as in preparation for a regular profession. In his younger 
years he was one of the favorites at the court of Hipparchus 
at Athens, where he still retained his interest after the death 
of the tyrant. In his advanced age he found an honorable 
home at the court of Hiero at Syracuse. He died 467 B.c. 

It would seem to have been not very long after the death of 
the Pisistratide that Simonides was for a time in Thessaly, in 
connection with the noble families of the Aleuadw and the 
Scopade, of whom we are obliged to confess that they are 
known for few noble virtues, except that they entertained him. 
If we are to place any trust in the story which tradition has 
preserved to us, his life was spared only through divine inter- 
vention, when their injustice’and impiety brought down calam- 
ity upon them. (Cf. Cicero de Oratore, 11. 86; also, Smith’s 
Dict. Biog.) 

Simonides was a most voluminous writer, and was one of the 
most popular of the Greek poets. He was celebrated for the 
sweetness and harmony of his poetry. He so excelled in the 
expressiveness of his words and figures that all ages have 
repeated in admiration ‘some of his beautiful verses. His 
dialect is the Epic, with some Doric, and possibly some Atolic 
forms. The scheme of the meters is that given by Bergk. 


Ι. (4) 
a Re a © 2 © ns © 
ACE © Sa συν. De © 


“κυ... νυν .-. νέ 


98 MELIC POETS. 


..--υν-υ- - ὧν 
pe a © EO Ben © eS En, © Ee a, © en ek © es 


mm VY we VY oe Vo eV Oe 


ι΄ ων. νυ. νιν... 


Ἑ-ὠνο νυ ΜΨ 


Τῶν εν Θερμοπύλαις θανόντων 
εὐκλεὴς μὲν ἁ τύχα, καλὸς δ᾽ ὁ πότμος, 
βωμὸς δ᾽ ὁ τάφος, πρὸ γόων δὲ μνᾶστις, ὃ δ᾽ 
οἶκτος ἔπαινος" 
ἐντάφιον δὲ τοιοῦτον οὔτ᾽ εὐρώς, 
¥fi>? ε ld > rd o 

sov0’ ὁ πανδαμάτωρ ἀμαυρώσει χρόνος. 
ἀνδρῶν δ᾽ ἀγαθῶν ὅδε σηκὸς οἰκέταν εὐδοξίαν 
“Ἑλλάδος εἵλετο" μαρτυρεῖ δὲ καὶ Λεωνίδας 
ε o ’ > ~ a ’ 
ὁ Σπάρτας βασιλεύς, ἀρετᾶς μέγαν λελοιπώς 
κόσμον ἀέναόν τε κλέος. 


ἘΠΙΝΙΚΟΣ. 


ΣΚΟΠΑῚ TOI KPEONTOZ ΘΕΣΣΑΛΩΙ. 


II. (5.) 


(UU Ex ie © Lo AE © DEE © 2 © DE © DELS © OO νυν 


Vue ue ἘΝ UU 





SIMONIDES OF CEOS. 99 


Srp. α΄. 

"Ανδρ᾽ ἀγαθὸν μὲν ἀλαθέως γενέσθαι 

χαλεπὸν χερσίν τε καὶ ποσὶ καὶ νόῳ τετράγωνον, 
ἄνευ ψόγον τετυγμένον" 

ὃς ἂν ἦ κακὸς μηδ᾽ ἄγαν ἀπάλαμνος, εἰδώς γ᾽ ὀνη- 
σίπολιν δίκαν , 

ὑγιὴς ἀνήρ (ἐστιν)" ov μιν ἐγώ 

5 μωμήσομαι" τῶν γὰρ ἡἠλιθίων 
ἀπείρων γενέθλα. 
πάντα τοι καλά, τοῖσί T αἰσχρὰ μὴ μέμικται. 


Στρ. β΄. 
Οὐδέ μοι ἐμμελέως τὸ Πιττάκειον 
νέμεται, καίτοι σοφοῦ παρὰ φωτὸς εἰρημένον: χα- 
λεπὸν φάτ᾽ ἐσθλὸν ἔμμεναι. 
10 θεὸς ἂν μόνος τοῦτ᾽ ἔχοι γέρας" ἄνδρα δ᾽ οὐκ ἔστι 
μὴ οὐ κακὸν ἔμμεναι, 
a Φ 4 | a 
ὃν ἀμάχανος συμφορὰ καθελῃ. 
, a A 9A 9 , 
πράξαις γὰρ εὖ πᾶς ἀνὴρ ἀγαθός, 
κακὸς δ᾽, εἰ κακῶς" καί 
τοὐπιπλεῖστον ἄριστοι, τοὺς θεοὶ φιλέοισιν. 


Στρ. γ΄. 
1s Τοὔνεκεν οὕποτ᾽ ἐγὼ τὸ μὴ γενέσθαι 

δυνατὸν διζή ὰν ἐς ἄπρα! ἐλπίδα μοῖ 
υνατὸν διζήμενος, κενεὰν ἐς ἄπρακτον ἐλπίδα pot 

ραν αἰῶνος βαλέω, 
o ¥ 9 ν “ > 9 
πανάμωμον ἄνθρωπον, εὐρνέδους ὅσοι καρπὸν aive- 

μεθα χθονός" 


100 MELIC POETS. 


ἐπί τ᾿ ὕμμιν εὑρὼν ἀπαγγελέω. 
πάντας δ᾽ ἐπαίνημι καὶ φιλέω, 
2. ἑκὼν ὅστις ἔρδῃ 
μηδὲν αἰσχρόν: ἀνάγκᾳ δ᾽ οὐδὲ θεοὶ μάχονται. 


IIT. (37.) 
@PHNOI. 


STROPHE. 
VV YY eV 
VU ee © On © Sao SE © 
ie RGN ss RING ed PNG ad BRI Gs 
— VV VV eV Ve Vv ar Ue 
5. ν- © 
WF Fee ee WV .....--ὧὧν-. νυ. . 
ee SF EEN Se es 
oe Fp -. ANS ees NI SNS 
ce ee Sn © ee 2 
WVV Bee Et 
ENS AS a δ 
“ Αῳ INS aE WF AP σϑυ. ὦ. ὦ 


. EPODE. 
a ND Gc ee eS RS RS ee 
we JIU ae Vet μὰ 
UU COW δ ὁ 
BU Ψ ΘΟ Ψ Ψ᾽ 
“«--ωἦοῳν..ν.-.-.Ὁ....-«- ων οὐ ὼ 


[4] SUu_ugdsuw 


ἀξ τος οι a Ws 
Στροφή. 


Ὅτε λάρνακι ἐν δαιδαλέᾳ 
2 , 4 ow id ld 
ἄνεμος TE μιν πνέων κινηθεῖσά τε Nuva 





SIMONIDES OF CEOS. 101 


δείματι ἤριπεν, οὔτ᾽ ἀδιάνταισι παρειαῖς, 
ἀμφί τε Περσέϊ βάλλε φίλαν χέρ᾽, εἶπέ τ᾽ ὦ τέκος, 
5 οἷον ἔχω πόνον' 
“ 9 9 ΄“ ~ 3 ¥ a > 
ov δ᾽ dwreis γαλαθηνῷ τ᾽ ἤτορι κνώσσεις ἐν 
ἀτερπεῖ 
δούρατι χαλκεογόμφῳ 
ἴα , ld ‘4 
νυκτιλαμπεῖ κνανέῳ τε δνόφῳ σταλείς". 
αὐαλέαν 5° ὕπερθεν τεὰν κόμαν βαθεῖαν 
10 παριόντος κύματος οὐκ ἀλέγεις, 
9 ἃ ὁ 9 ’ é 
οὐδ᾽ ἀνέμον φθόγγων, 
4 > », ’ δ Ld 
κείμενος ἐν πορφυρέᾳ χλανίδι, καλὸν πρόσωπον. 


Ἐπῳδή. 
Εἰ δὲ τοὶ δεινὸν τό γε δεινὸν ἦν, 
καί κεν ἐμῶν ῥημάτων λεπτὸν ὑπεῖχες ovas. 
:5 κέλομαι δ᾽ εὖδε βρέφος, εὑδέτω δὲ πόντος, 
εὑδέτω δ᾽ ἄμετρον κακόν" 
μεταιβολία δέ τις φανείη, Ζεῦ πάτερ, ἐκ σέο" 
g Q , » 
ὅτι δὲ θαρσαλέον ἔπος 
Ἦν 4 a? 4 o 
εὔχομαι, τεκνόφι δίκαν σύγγνωθί μοι. 


EB AAHAQN EIAQN. 


IV. (58.) 
a Ope © wd 
ες ι τς - ζχους. 
Κυ.-.υ..-...-.--..ν .--ν... 
Ξ-υ.--υυ----ἰ HUG 
-. UV 


.ῳι].ὍὉὉ..ν.-.-. Ὁ... 


. ° e .ΨΦ 





102 MELIC POETS. 


» 4 

ἔστι τις λόγος 

a 3 A ? 4 9 A 4 
τὰν ἀρετὰν ναίειν δυσαμβάτοις ἐπὶ πέτραις, 
ε Α ’ Q “A ε 4 9 4 
ἁγνὰν δέ pw θεὰν χῶρον ἁγνὸν ἀμφέπειν. 
οὐδὲ πάντων βλεφάροις θνατῶν ἔσοπτος, 
Φ AS , ε ὃ ‘ 

s@ μὴ δακέθυμος ἱδρὼς 

Ψ 4 9 ’ 353 ¥ 
ἔνδοθεν μόλῃ, ἵκηταί τ᾿ ἐς ἄκρον 
ἀνδρείας. 


ENITPAMMATA. 


EDTKHAETIA. 
I. (90.) 
Aipdvos ἐδμήθημεν ὑπὸ πτυχί, σῆμα δ᾽ ἐφ' ἡμῖν 
ἐγγύθεν Εὐρίπου δημοσίᾳ κέχυται, 
οὐκ ἀδίκως" ἐρατὴν γὰρ ἀπωλέσαμεν νεότητα 
τρηχεῖαν πολέμου δεξάμενοι νεφέλην. 
11. (91.) 
“Ἑλλήνων προμαχοῦντες ᾿Αθηναῖοι Μαραθῶνι 
χρυσοφόρων Μήδων ἐστόρεσαν δύναμιν. 
III. (92.) 
Μυριάσιν ποτὲ τῇδε τριηκοσίαις ἐμάχοντο 
ἐκ Πελοποννάσον χιλιάδες τέτορες. 
IV. (94.) 
Μνῆμα τόδε κλεινοῖο Μεγιστία, ὅν ποτε Μῆδοι 
Σπερχειὸν ποταμὸν κτεῖναν ἀμειψάμενοι, 
μάντιος, ὃς τότε Κῆρας ἐπερχομένας σάφα εἰδώς 
οὐκ ἔτλη Σπάρτης ἡγεμόνας προλιπεῖν. 


SIMONIDES OF CEOS. 103 


V. (95.) 

Εἰ τὸ καλῶς θνῆσκειν ἀρετῆς μέρος ἐστὶ μέγιστον, 
ἡμῖν ἐκ πάντων τοῦτ᾽ ἀπένειμε τύχη" 

Ἑλλάδι γὰρ σπεύδοντες ἐλευθερίην περιθεῖναι 
κείμεθ᾽ ἀγηράντῳ χρώμενοι εὐλογίῃ. 


VI. (96.) 
ἜΑσβεστον κλέος οἵδε φίλῃ περὶ πατρίδι θέντες 
κυάνεον θανάτου ἀμφεβάλοντο νέφος" 
9 4, A o Φ rd Ε] 9 Q ’ 
οὐδὲ τεθνᾶσι θανόντες, ἐπεί σφ᾽ ἀρετὴ καθύπερ- 
θεν 


κυδαίνουσ᾽ ἀνάγει δώματος ἐξ “Atdew. 


VII. (97.) 
Εὐκλέας ala κέκενθε, Λεωνίδα, ot μετὰ σεῖο 
AQDd ¥ rd 9 ’ ΄ 
τῇδ᾽ ἔθανον, Σπάρτης εὐρυχόρον βασιλεῦ, 
πλείστων δὴ τόξων τε καὶ ὠκυπόδων σθένος 
ἵππων 
Μηδείων τ᾽ ἀνδρῶν δεξάμενοι πολέμῳ. 


VIII. (100.) 
Ὦ ξεῖν᾽, evidSpdv ποτ᾽ ἐναίομεν ἄστυ KopivOov, 
νῦν δ᾽ dup’ Αἴαντος νᾶσος ἔχει Σαλαμίς" 
en b | [4 aA ‘ a ey, ἢ 
peta δὲ φοινίσσας νῆας καὶ Πέρσας ἑλόντες 
καὶ Μήδους ἱερὰν ᾿ Ἑλλάδὰ ῥυσάμεθα. 


IX. (101.) 
᾿ ᾿Ακμᾶς ἑστακυῖαν ἐπὶ ξυροῦ “Eada πᾶσαν 
ταῖς αὐτῶν ψυχαῖς κείμεθα ῥυσάμενοι 


104 MELIC POETS. 


δουλοσύνας- Πέρσαις δὲ περὶ φρεσὶ πήματα πάντα 
ἥψαμεν, ἀργαλέης μνήματα ναυμαχίας : 
s ὀστέα δ᾽ ἄμμῳ ἔχει Σαλαμίς" πατρὶς δὲ Κόρινθος 
ἀντ᾽ εὐεργεσίης μνῆμ᾽ ἐπέθηκε τόδε. 


X. (108.) 





Οὗτος ᾿Αδειμάντου Keivou τάφος, οὗ διὰ βουλάς 
᾿Ελλὰς ἐλευθερίας ἀμφέθετο στέφανον. 


| XI. (102) 
Παῖδες ᾿Αθηναίων Περσῶν στρατὸν ἐξολέσαντες 
ἤρκεσαν ἀργαλέην πατρίδι δουλοσύνην. 


XII. (107.) 
"EE οὗ τ᾽ Ἑὐρώπην ᾿Ασίας δίχα πόντος ἔνειμεν, 
\ ’ ae A ¥ - o4 7 
καὶ πόλιας θνητῶν θοῦρος “Apys ἐφέτπει, 
9 , , 3 , , > 9 A 
οὐδενί πω κάλλιον ἐπιχθονίων γένετ᾽ ἀνδρῶν 
ἔργον ἐν ἠπείρῳ καὶ κατὰ πόντον ὁμοῦ. 
5 οἷδε γὰρ ἐν yain Μήδων πολλοὺς ὀλέσαντες 
Φοινίκων ἑκατὸν ναῦς ἕλον ἐν πελάγει 
9 ΄“ : o a > »¥ b Q e 3 9 
ἀνδρῶν πληθούσας, μέγα δ᾽ ἔστενεν ᾿Ασὶς ὑπ᾽ ai- 
τῶν 
Aa > 9 , a 4 ’ 
πληγαισ ἀμφοτέραις χερσί, κράτει πολέμου. 


XIII. (113.) 
A pe 4 > 9 A > ἃ > AN A 
Θηρῶν μὲν κάρτιστος ἐγώ, θνατῶν δ᾽, ὃν ἐγὼ νῦν 
A 7” , of, 3 a 
φρουρῶ, τῷδε τάφῳ λαΐνῳ ἐμβεβαώς: 
59.λλ » A , , > ,᾿,»͵.Ψ , > 4 
ἀλλ᾽ εἰ μὴ θυμόν γε Λέων ἐμόν, οὔνομά τ᾽ εἶχεν, 
3 A 9 δ. ’ AQ? 9 rd C4 
οὐκ ἂν ἐγὼ τύμβῳ τῷδ᾽ ἐπέθηκα πόδας. 


SIMONIDES OF CEOS. 105 


XIV. (122.) 
Σῶμα μὲν ἀλλοδαπὴ κεύθει κόνις, ἐν δέ σε πόντῳ, 
Κλείσθενες, Εὐξείνῳ μοῖρ' ἔκιχεν θανάτον 
πλαζόμενον- γλυκεροῦ δὲ μελίφρονος οἴκαδε νό- 
στου 
ἤμπλακες οὐδ᾽ ἵκευ Χίον ἐς ἀμφιρύτην. 


XV. 


“ e ~ ν 9 o > “A 
Τῶν αὕτου Tis ἕκαστος ἀπολλυμένων ἀνιᾶται, 


Νικοδίκον δὲ φίλοι καὶ πόλις ἤδεθ᾽ ὅλη. 


ΧΥ͂Ι. 
Πολλὰ πιὼν καὶ πολλὰ φαγὼν καὶ πολλὰ κάκ᾽ εἰ- 
πών 
ἀνθρώπους κείμαι Τιμοκρέων Ῥόδιος. 





HISTORICAL INTRODUCTION, 


AND 


NOTES. 


HISTORICAL INTRODUCTION. 


Tue history of Greek poetry is a history of Greece. The 
whole growth of the nation is pictured to us in the nation’s 
songs. Whatever the people thought, or planned, or did, flowed 
as simply and naturally into verse, as in a school of artists all 
fancies clothe themselves in form. And so the language be- 
came full of poetry which was a perfect reflection of Greek 
nature, with all that marvelous variety of form and expression 
which were so characteristic of the products of the Greek mind. 
The Hellenic people would not tolerate a dull uniformity in 
thought or language. Nowhere was the Athenian disposition 
to see and hear new things more systematically illustrated than 
in the growth of the national literature. But, what is even more 
wonderful, this Greek fertility did not trespass beyond the 
limits which Greek taste had marked out. Each new develop- 
ment came to fulfill appropriately a well-defined purpose. The 
growth went on with a perfect propriety of progress, as if there 
were some system of landscape-gardening which could control 
it to adapt each form and color to the place which it was des- 
tined to occupy. It was natural, but with a naturalness which 
anywhere else, especially with imitators, would be, and be felt 
to be, artificial. Greek songs, like the rainbow, had infinite 
different hues, yet all grouped under well-marked divisions of 
color. There was a prodigal abundance, yet no confusion. 

I quote, because they are much better than anything which 
I can say, the words of Mr. Mure with regard to the interesting 
variety in Greek song: “From Olympus down to the work- 
shop or the sheepfold, from Jove and Apollo to the wandering 


- 


110 HISTORICAL INTRODUCTION. 


mendicant, every rank and degree of the Greek community, 
divine or human, had its own proper allotment of poetical cele- 
bration. The gods had their hymns, nomes, pans, dithyrambs ; 
the great men, their encomia and epinicia; the votaries of 
pleasure, their erotica and symposiaca; the mourner, his thre- 
nodia and elegies. The vine-dresser had his epilenia; the 
herdsmen, their bucolica; even the beggar his iresione and 
chelidonisma. The number of these varieties of Grecian song 
recorded under distinct titles, and most of them enjoying a 
certain benefit of scientific culture, amounts to upwards of 
fifty.” 

The progress of the art of singing from the more simple to 
the more complex forms was of course only gradual. There is 
a long period in which, as far as we can trace the history, the 
hexameter occupied the whole field of Greek literature. This 
was the only form of composition which they regarded worthy 
of their ears, or upon which they cared to bestow their interest 
or study. But the same condition of popular feeling which 
had brought forth the Iliad and the Odyssey could not remain 
forever. As must be the case in any advancing society, the 
Homeridz passed away and the Hesiods appeared. It is said 
that the father of Hesiod emigrated from AXolis, in Asia Minor, 
to the little village of Ascra, under the afternoon shadow of 
Mt. Helicon, where the poet was born. We might almost find 
an allegory in the story, to represent the literary life of the 
people. Homer had sung of national topics, but, after all, the 
scenery, the locality, the life, were all foreign. With Hesiod, 
the people forsook their wars in Asia, and their wanderings 
round the whole world, and came back to the fresh hills of 
Greece to be at home. The “Works and Days,” the most 
characteristic of the writings of this school, a volume of frugal 
maxims for country life, was of inestimable value for its en- 
couragement to the simpler virtues, and remains to us now to 
mark the progress which the Greeks were making in their 
home life. _ | 


«“᾿ἷ 





HISTORICAL INTRODUCTION. 111 


There is yet another change which, we notice in the progress 
of this literature, was taking place with great rapidity among 
the people. In Homer, the chiefs were all, the commons were 
nothing. Homer without his heroes would be absolutely with- 
out occupation, — there would be no one for whom to write. 
Hesiod, on the contrary, writes for the multitude. We have 
here the delightful evidence that that marvelous progress of 
the race which lifted the common people up to the cultured 
democracy of Athens had already begun. The contrasts be- 
tween Homer and Hesiod are a most striking illustration how 
truly national, universal to all classes, was the artistic talent 
of the Greeks. ; 

In the latter part of the eighth century before Christ, 
we begin to trace the development of elegiac verse. It is a 
simple modification of the ordinary hexameter by varying 
each alternate line, but it springs into prominence to fulfill 
a mission which reminds us of the oratory of democratic 
days. Callinus pleads with the recreant people of Ephesus; 
Tyrtseus rouses the enthusiasm of the warlike Spartans; Solon 
exhorts the Athenians to be both valorous and law-abiding ; 
and for them all the elegiac distich was the appropriate form. 
The shortness of its sentences, the unvaried limitation of the 
stanzas, was like a continual reminder to the poet to be brief 
and sententious and vigorous, and his thoughts were naturally 
- compressed and intensified until they became peculiarly stirring 
and effective. 

But this very sententiousness ofthe elegiac verse adapted 
it even more peculiarly for another purpose. It is ἃ mcst 
natural progress for every one who exhorts or teaches, to 
express himself more and more in the language of maxims, 
especially as there is an innate fondness among all men for’ 
this form of instruction. This tendency of the verse to be- 
come a vehicle of didactic thought, shows itself in a great 
variety of ways: Solon is inclined to moralize, while Theognis 
makes his whole poem a collection of sage remarks for the 


een? 


112 HISTORICAL INTRODUCTION. 

guidance of human conduct. A large part of the epigrams 
partake of this character, and this was the favorite verse in 
which to compose them. This fondness for the statement of 
truths in maxims (gnomes), has given to Solon and Theognis, 
together with Phocylides and Simonides of Ceos, the title of 
gnomic poets. Mimnermus, on the other hand, moralizes in a 
more continuous, meditative style, reflecting with sadness upon 
the frailties of human life. Here in the mournfulness of the 
song is the commencement of the modern idea of the elegy, 
or, as the feeling seeks relief in such pleasures as are within 
reach of human striving, there is a natural transition to the 
love-songs and sentimental poems which, in later times, were 
written in this form. This last tendency of the elegy is es- 
pecially well illustrated in the Latin composers of the Augustan 
period. 

But there was yet another province for poetry to occupy 
which was entirely distinct from those to which we have re- 
ferred. The branches of song which we have noticed have 
been ideal in their representations, didactic in their aim. 
They give us pictures of imagination, dreams, aspirations, 
hopes; there are no representations of men of every-day life, 
as they actually are. The pictures are paintings, never photo- 
graphs. The poet is largely a preacher; he writes, not what 
men are, but what they ought to be. In the same period in 
which Callinus began to write elegies, Archilochus entered upon 
this new method of song. Unfortunate in his origin, being 
born of a slave woman, unhappy in his disposition, bitterly dis- 
appointed in his life, he suffered with cruel keennecs, and it was 
a suffering which it was not his nature to repress. His feel- 
ings burst forth to blaze like a fire which finds the air. All 
his grief and anger and hatred he brings into his verses, to 
poison the shafts of vengeance which he thus showers upon 
his enemies. His verses are full of spiteful passion, but we 
are made conscious that it is just such passion as the world 
brings forth; it is no fancy picture with artificial varnishing 





HISTORICAL INTRODUCTION. 113 


and coloring which he presents; its vivid, outspoken reality 
chills one at the sight. It is because he is a good hater that 
he is especially appropriate to his age. Just what he was, and 
frail men about him were, that was what he put into his poems. 
He proved his originality and greatness in being as frank in 
condemnation of himself as of any one. It was natural that 
for his purpose he should adopt and regulate by rule the con- 
versational iambi, and so prepare the vehicle for the dramatic 
aufhors of after days. 

The work of Archilochus marks a most important era in the 
history of Greek thought. He rouses a complete rebellion 
against the traditional past. The old times had been full of 
the conception of the divine right of kings and nobles; he 
proved that even to the despised commoner there was open an 
appeal to a public sentiment, which could touch and humble 
even the proudest prince. He questioned and criticised every- 
- where with extreme boldness, and thus pricked the bubbles 
which had long been floating before the popular eyes, and 
made men look at things as they really are. The old sentiment 
had branded one who fled in battle as a coward, baser than the 
basest in society; Archilochus sings with the utmost noncha- 
lance of the loss of his armor, “Let the shield go, I’ll find 
another just as good.” The conservative military Spartans 
would not suffer such a poisoner of morals to come into their 
city, but the Greek nation, as a whole, honored him as one 
who helped to enlarge their thought. 

The ancients could never express sufficient admiration for 
the splendid originality of Archilochus. He is placed side 
by side with Homer as pre-eminent in his art,—almost the 
inventor of a new art. It was the tradition that, before he 
was born, the promise was made to his parents that they 
should have an immortal son, while over the man who slew him 
Apollo through his oracle uttered this terrible sentence: “Go 
forth from the temple; you slew the servant of the Muses.” 
And so, through all antiquity, his reputation for power never 
waned. 


114 HISTORICAL INTRODUCTION. 


The poetry which we have thus far considered is peculiarly 
simple in its form. When, on the other hand, we come to 
notice that which is more distinctly Lyric, we find an almost 
endless variety of versification. How could it be otherwise Ὁ. 
Lyric poetry is made up of songs and hymns, and these must 
seek variety as the human mind changes in its feelings. 
These poems may be divided into two great classes. The 
A®olians of the island of Lesbos were the first cultivators of 
Greek song, and naturally made their singing a part of their 
joyous life. They laughed away the merry hours in easy 
contentment, cultivating social life and meeting with especial 
delight in the banquet-hall. Their songs of love and mirth 
and festivity attained to an elegant carelessness of expression 
which has never been surpassed and probably never equaled. 
They set the example for the merrymakers of all future ages. 
On the other hand, the Dorians were the Puritans of the 
ancient Greeks, distinguished for the faithfulness and dignity 
of their worship. They cultivated the religious hymns, and 
trained their choruses to sing them with most effective power. 
They placed their impress so thoroughly upon this style of 
poetry that even in the Attic tragedy the choruses cast their 
solemn thoughts in the form of the Doric dialect. And so 
like two sisters, one gay and careless, the other thoughtful and 
grave, these two great branches of the Greek family brought 
forth each its peculiar style of music and poetry, and handed 
down its influence to the ages which were to follow. 

It was through the talent, or genius, or inspiration, or re- 
ceptivity of the A@olians of the island of Lesbos, that this new 
musical impulse was first communicated to the Greeks. Lesbos 
was, from its position, peculiarly adapted to furnish a point of 
contrast for the traditional principles of the Pierian bards, and 
the more artificial methods of Asiatic composers. The wild- 
ness and fancifulness of the Phrygians and Lydians were caught 
by the quick ear of the Greeks, but were taken by them only 
to be reformed and reconstructed, remodulated to satisfy the 


HISTORICAL INTRODUCTION. 115 


Greek taste. So the new art was from abroad, and yet it was 
their own. The commencement of this new Greek music is 
with Terpander. He took the ancient tetrachord whose un- 
varied notes had furnished the only accompaniment, or rather 
prelude, for the recitation of the ancient poems, and added 
three strings, giving it the compass of an octave, though with 
one omitted note. The especial benefit of his improvements is 
to be found in their fertility. He opened a field which his 
quick-witted countrymen hastened to cultivate with an ardor 
which gathered riches to be transmitted even to us. 

Terpander carried his art from his native Antissa, in Lesbos, 
to Sparta, and founded the first of the Spartan schools of music. 
He was followed in his adopted city, within the same genera- 
tion, by two other masters, Thaletas of Crete, and Alcman, a 
Lydian, apparently from Sagdis. It was a central article of 
the inborn faith of the Greeks, that the proper balance of 
character could be obtained only through the refining yet up- 
lifting influence of art. So these three poets, all of them 
foreigners, like Tyrtseus, who belonged to the same age, were 
brought to Sparta to do a work for society without which 
Spartan discipline and Dorian valor were recognized as help- 
less. The development of this art was made as earnest work 
as the carrying out of the constitution of Lycurgus; music 
stayed.the plague, propitiated the gods, healed the popular 
disorders, inspired the halting mind, was a necessary part of 
healthy life. Thus it was that the solemn Greek choruses re- 
ceived their character of impressive grandeur. 

It is almost impossible for us to comprehend what an element 
this choral song became in the life of the ancient Dorians. It 
is, moreover, difficult to say which was reckoned by the popular 
mind more worthy of admiration, the dignified flow of the 
poet’s thoughts and words, the modulated cadence of the har- 
monizing voices, or the stately tread of the worshiping chorus 
as it danced about the altar of Apollo. Dancing, because it 
helped to train the body while it also exhibited its vigor and 


116 HISTORICAL INTRODUCTION. 


gracefulness, was held in high estimation among this people of 
muscular religion, and especial honor was given to Thaletas 
for the instruction which he gave in this manly art. Aleman 
helped to bring in a greater variety of form, even develop- 
ins the idea of the strophe and antistrophe, to be written in 
the same meter, but to be sung corresponding to alternate 
movements of the chorus, first from right to left, then from 
left to right. A still further advance in the same direction 
was afterward made by Stesichorus of Himera, in Sicily, who 
added the epode to be sung while standing before the altar, 
after the strophe and antistrophe. Stesichorus was a veritable 
Dorian, not merely by birth, but in his principles. His songs 
were full of dignity and grandeur, and all his influence worked 
in harmony with Dorian manners, although he belonged to the 
same age as Alceeus and Sappho. 

The island of Lesbos, which gave birth to Terpander, and 
sent him to be a leader for the Spartan choruses, was itself to 
become the centre of another school of even more striking 
brilliancy and glory. So pre-eminent was its influence upon 
the musical schools of Greece that, at the risk of some repetition, 
I will again call attention to the characteristics of its inhabitants. 
Almost at the eastern frontier of the Greek-speaking people, 
it was the first to.catch the suggestions and inspiration to be 
gained from the older, and in some respects more advanced, 
civilization of the East; it seized the new ideas, and improved 
upon them with a readiness and progressiveness which were 
peculiarly Greek. The island was not deficient in fertility, 
but the population was naturally impelled to maritime pur- 
suits, and the result of this was a large development of mer- 
cantile enterprise. It is only by scattered hints that we are 
informed of the extent of this tendency, but we gain suffi- 
cient information to know that Lesbian enterprise reached out 
after wide conquests. The brother of Alcssus appears among 
the courtiers of the king of Babylon; the brother of Sappho 
seeks his fortune among the Egyptians, and receives the re- 


HISTORICAL INTRODUCTION. 117 


proaches of his sister for bringing home from there a noted 
courtesan. These instances are illustrations that the Lesbians 
were coming in contact with people in remote quarters of the 
globe. 

These AXolians were thus quick-witted, commercial, wealthy, 
even luxurious in their tastes, developing also with great ra. 
pidity those versatile qualities of character which would come 
from contact with the world. They would become intensely 
fresh and individual in their sentiments, impatient of each 
other, eager for something new, — full of large plans, only a 
small portion of which could, by any possibility, be carried out. 
The character of Greek citizens was such, especially in the 
. seaboard towns, that each state was almost sure to come to a 
point where its circumscribed limits could scarcely contain the 
convulsions which were engendered. There was everywhere 
too much bursting activity for the fields which were open. 
Thus it was that Mytilene was torn with civil dissensions in 
connection with new questions of pragress and old questions 
of family and rank, which were always so rife in early Greek 
society, until the people, in despair, placed the supreme power 
in the hands of Pittacus, that a strong government might give 
them peace. 

There is, however, another point of great consequence in the 
character of the people of Lesbos. They were not, like the 
Dorians, of stately and solemn disposition. The religious ele- 
ment was not pre-eminent in their constitution. Choral songs 
would have been too serious to express their most ardent feel- 
ing. They were a luxurious, pleasure-seeking people; they 
' loved their festivals and banqueting-halls far better than their 
temples. They could have dispensed with the gods better than 
with their feasts. And so their poetry was the reflection of 
their character, calling forth its highest powers, not for wor- 
ship, but to celebrate the delights of the sensuous life. The 
intensity of personal feeling would thus furnish the motive 
force in this the typical Melic poetry of the Greeks. The 


118 HISTORICAL INTRODUCTION. 


Dorian hymn was the emotion of the whole people, breathing 
through the swelling cadences of the poet; the Molian song 
was but the feeling of the individual, interpreting his own 
thought to ask the sympathy of the listeners. The Dorians 
were grandly communistic ; the Aolians were strikingly indi- 
vidual. Alcseus was a politician, a partisan, in intention a 
patriot; and he used his poetry to make others feel his feel- 
ing. In this respect his art would trace its lineage back to 
Archilochus and his fierce iambics, while in the increased 
variety in thought and form we see the evidence of growth in 
culture and of the development of the art of music on which 
the poetry leaned. . 

The Lesbian poetry adopted a form which was suited to its 
aim. It was composed generally in simple measures, with the 
verses arranged in stanzas of moderate length, so as to lend 
a pleasing variety, and furnish a convenient resting-place for 
the singer’s voice, since they were rendered as solos com- 
monly in connection with the feasts. The form and the spirit 
is admirably illustrated in the Odes of Horace, which were 
largely imitations of these Greek songs. 

Of the two great composers of Mytilene, Sappho is by far the 
better representative of the art. With an intensity which 
makes one almost shrink back from her burning words, she 
furnishes thoughts as exquisite and graceful as pictures 
formed by the fancy in the wreathing flames of the evening 
fire. She is intensely personal; her imagination is all her 
own ; her songs are all of herself; and yet, with the instinct 
of a true poet, she never deserts the listener, — you are carried 
with her. She has apparently the perfect openness of a true 
lyric poet, and yet she is Greek, and with Greek skill she 
weaves her thoughts into a wonderful web-work of words and 
pictures and figures of speech, so that, while appearing to tell 
everything, she perhaps tells little or nothing. She seems to 
confess all her inward feeling, — to be as open, in her exposure 
of herself and those about her, as ever Archilochus could have 





HISTORICAL INTRODUCTION. 119 


been; and yet, with all her apparent frankness, the world of 
scholars has never been able to settle the question whether she 
was pure enough to be an adornment in any home, or corrupt 
enough to disgrace any society. If we ask how this can be, 
we answer, It is her art — her poet’s art and her woman’s art, 
the perfection of art-—— which hides the line between fiction 
and reality, and conceals deformity even from the keenest eye. 
It would be of interest to me to know the character of Sappho; 
but it is even more interesting that no one can make her tell 
more than she has intended to. 

Sappho presents to us the best picture of the dominant char- 
acteristics of the ASolian school, because she shows such marvel- 
ous power in the delineation of sensuous feeling. In the whole 
history of the world, no other author has represented so vividly 
the sensations of human nature. She was a wonderful out- 
growth of a peculiar society. The Molians lived in the feel- 
ings and enjoyments of the day. Sappho was the Aolian of 
the AXolians ; in her their feelings were magnified and inten- 
sified beyond description. Yet all her writing is with consum. 
mate art. In the utmost frenzy of her sensation, she does not 
shock your taste, nor hardly violate your sense of propriety, 
You read feeling that in every line there are two marvels: 
first, that she could venture to say so much; second, that in 
those times, with her surroundings, she could say it all-with so 
little offense to the most exacting taste. 

The Molians made the poetic art simply tributary to their 
physical and social enjoyment. Songs were to help their pleas- 
ures, and add to the enthusiasm of their feasts. The tendency 
which had been nourished and fostered by these bards of the 
island of Lesbos was of far-reaching influence among the 
Greeks, especially of the maritime towns. The islands of 
the Augean had grown old in experience of luxury, and often 
of vice, while Sparta and Arcadia and almost all the mainland 
were still wrapped in the innocence of their natural simplicity. 
The product of a longer growth of this spreading plant of 


120 HISTORICAL INTRODUCTION. 


Greek luxury is presented to us in the Ionian Anacreon. He 
was born at Teos, on the coast of Asia Minor, but his life 
really belongs to the two courts of Samos and Athens, where 
he was a favorite of the wealthy and luxurious tyrants, Poly- 
crates and Hipparchus. He was devoted to pleasure, not with 
a peculiar, superhuman sensitiveness, like Sappho, but with a 
common love for all physical gratification, such as shows itself 
everywhere in human nature, if it is encouraged to come to 
light. Anacreon represents to us the degeneracy of Greek 
life. He furnished the models for drinking songs for all suc- 
ceeding time. He lavished his artistic praises upon the joys of 
dissipation with a fervor which will insure him the sympathy 
of drunkards and debauchees to the end of time. There is, in 
fact, a sort of sincerity and earnestness in his dissipation, 
which few modern imitators would be able to preserve. 
Through all his verses, there is an air of elegance, which you 
cannot but admire, yet you feel it is only his birthright as a 
Greek artist which restrains him from becoming insufferably 
coarse. It is a striking testimony as to the estimate which 
was placed upon him, both with reference to his talent and 
his character, that long afterward so many songs, like the 
Anacreontea which we publish, imitated his style and tone, and 
were attributed to his genius. 

Anacreon was an Ionian, but we are not to conclude that 
he represented the only tendency of that brar.ch of the Greek 
race. The Dorians, as we have noticed, were especially re- 
markable for their reserve, their conservatism, their faith. 
The Aolians showed far more freedom in their social life, 
a fact which is especially illustrated in the position occupied 
by their women, who were left untrammeled by any such mass 
of regulations and traditions as held sway among the Dorians. 
Sappho’s school of young women would have been an utter 
impossibility in the close air of Spartan tradition. The 
Tonians were like a compromise between these two, showing 
sometimes more liberty than the AZolians, and more strictness 


HISTORICAL INTRODUCTION. 121 


than the Dorians, and yet with a capacity for well-balanced pro- 
gress which was peculiarly their own. So it was in their poetry. 
In Anacreon, they out-Molized the Zolians. At the same court 
of Hipparchus, they presented in Simonides of Ceos a man 
of Dorian power and purity, yet with a gracefulness and ele- 
~ gance combined with depth of thought and feeling which were 
all his own. He was almost as peculiarly a disciple of the 
Dorians as was Anacreon of the AZolians. He loved the grand 
form of the Dorian chorus in which to express his thoughts, 
and excelled especially in the composition of the dithyramb, or 
Dionysiac chorus, and of epinician odes and encomia. His 
elegies were also noted for their beauty, and as a composer of 
epigrams (and the epigram was child of the elegy) he was 
most widely celebrated. His short but grandly expressive 
verses in honor of heroic men are likely to be remembered as 
long as the Greek language has any remains. Among his 
friends were the prominent citizens both of Sparta and 
Athens, and his sentiments were loved and admired in both 
these cities. 

The poetical activity of the Greeks must have grown at this 
time to be enormous. Not merely was it true that in the 
chief cities there were poetical contests, calling out numerous 
competitors, but every town had its composers, its choruses, 
and leaders, — every village had its own musicians. Certain 
families kept alive the poetic art, handing it down from father 
to son, gaining renown not only for themselves, but for the 
community to which they belonged. The impulse was felt 
among all the branches of the Greek race. The three great 
families vied with each other in the pursuit of this beautiful 
art, each bringing its peculiar characteristics into its prosecu- 
tion of the work. ‘The different varieties of hymn and song 
had grown up with well-marked distinctions. The pean, in 
honor of Apollo, was as old as the Homeric poems, but had 
been cultivated with peculiar ardor wherever the Dorian race 
was found. The dithyramb, in praise of Dionysus, was known 


122 HISTORICAL INTRODUCTION. 


before the age of Archilochus, had received new attention from 
the genius of Arion, and was rapidly advancing to that per- 
fection of development where it was to give birth to the Athe- 
nian tragedy. Pauarthenia, or processional hymns of the Dorian 
maidens, had been popular since the days of Aleman ; hypor- 
chems, dancing songs, always accompanied by mimetic per- 
formances, had a history from the time of Thaletas; the 
threnoi, or songs of mourning, traced their pedigree up to 
the bard Olympus; the erotica and symposiaca had been be- 
loved by all the Aolians, and the former could, perhaps, trace 
a well-authenticated relationship with the pensive elegies of 
Mimnermus and his school. Scolia, songs of individual ban- 
queters succeeding each other about the table, had been long 
cultivated with peculiar beauty; while the ringing melody of 
the comus was soon to develop into the beautiful epinician odes 
of Pindar. These and a multitude of other forms, sacred and 
profane, prove to us that all Greece was full of poetry. The 
brilliant lines which we prize as beautiful and precious beyond 
description, are but the sparkling spray-drops from what was 
then a full river of exquisite song. 

Then it was that Pindar appeared; with these surroundings 
he cultivated the poet’s art; upon these foundations he built 
his power. With Pindar we reach the culmination of Greek 
lyric poetry. He loved especially the highly developed form 
of the Dorian choruses, but he learned from all the schools, 
and improved upon them with an originality all his own. And 
so almost five hundred years before the Christian era Lyric 
poetry in Greece had gained its highest perfection, we might 
almost say, the utmost of which it was capable. The later 
development was in new fields, with new methods. We have 
referred to the diversity of Greek poetry, its magnificent range, 
its contrasts and variety. Now we notice the time over which 
its growth extended, the centuries which were filled up with 
continual development, and we are amazed anew at the mar- 
velous intellectual vigor of the favored Hellenic race. We can 


HISTORICAL INTRODUCTION. 123 


mark off periods, not merely by years, or decades, but by cen- 
turies, and multiplied centuries, in which they were not only 
supreme in the literary world, but were sending forth produc- 
tions which were to be ‘masterpieces for all the ages yet to 
come. We have, assuredly, reason enough for enthusiastic 
admiration for Greek literature when we think with how much 
mind we come in contact when we open this storehouse of 
thought. And nowhere are the Greeks better interpreted and 
understood than in the poetry which is the natural breathing 
forth of their own active and artistic thought. 


NOTES. 


CALLINUS. 


PaGE 


“THE poem is an exhortation to the indolent Ephesians to rouse them- 
selves, and fight for their lives against the advancing enemy. 


Linz 1. Μέχριε: the form is epic, but unhomeric before a con- 
sonant. It reappears in later Greek. The Attic form is without 
the -¢. τεῦ -- τίνος. μέχρις tev: how long! κατάκεισθε: the κατά 
strengthens the meaning of the verb, lve inactive. Cf. καθῆσθαι. 

2. dpdurepucr(ovas : the neighboring people of the coast, who had 
been to a considerable degree held in subjugation by the Greeks, by 
whom it was requisite that Greek valor should be respected, and who 
would naturally look to the citizens for defense. 

5. καὶ, x.7.A.: Even when dying, let each one for the last time hurl 
his javelin. ἀποθνήσκειν is largely used of violent death, as passive of 
ἀποκτείνω. 

6. ἀνδρί : depends upon τιμῆεν and ἀγλαόν (G. 184, 3; H. 597, 1). 

8. δυσμενέσιν : depends on μάχεσθαι (G. 186, N. 1; H. 602, 1). Δυσ- 
μενέσιν is ἃ strong word, implying personal hostility. Itis much used 
by Tyrtaeus : indeed, this poem is by some attributed to Tyrtaeus. The 
word would seem to have been a favorite one in early days of violent 
feeling. 

9. Μοῖραι : Fates. Homer refers generally to but one Moira. (For 
the only exception, see Il. XXIV. 49.) Hesiod conceived of them as 
three, which was thereafter the recognized number. 

10. ὑπ᾽ ἀσπίδος, x. τ. Δ. : confirming the valiant heart beneath the 
shield when first the battle is joined. 

12, οὐ γάρ κως. . . ἐστίν : for it is not possible. 

13. el: used by the poets, where Attic prose would use ἄν. ἄνδρα : 
sub. of φυγεῖν. 

15. An apparent allusion to Agamemnon. 

16. ὃ μὲν. .. τὸν δέ: the one . . . the other. 


3 


4 


126 _ NOTES. 


PAGE 

17. ἥν τι πάθῃ: the expression is euphemistic, commonly referring 
to death. 

19. ἄξιος : ἀντάξιος is generally used with this significance: Jiv- 
ing, he is honored like a demigod. Notice the emphatic contrast of 
ζώων and θνήσκοντος, placed thus close together. As in all early war- 
fare, it is the individual hero who is of most consequence. This is the 
kind of courage which the poet seeks to rouse. 


TYRTAEUS. 


L 


THE poem is an exhortation to the Spartan youth to the defense of 
their fatherland, representing the different motives which should inspire 
them to valor. 


LINE 1. Τεθνάμεναι, from its emphatic position, is made the centre 5 
of thought for the first lines. The arrangement is throughout quite 
admirable. προμάχοισι : the foremost warriors were the hoplites, who 
were most honorable, both as soldiers and citizens. 

2. περί with dative is frequent in Homer, but rare in prose ; here, 
in behalf of. 

8. αὐτοῦ = ἑαντοῦ. 

4, πτωχεύειν, to beg; a very strong word; more so than resly 
below. Even with straitened means one is like an enemy ; how much 
worse to have nothing ! 

8. εἴκων : driven by. 

9. κατά, join with ἐλέγχει : degrades the beautiful form. 

13. θυμῷ : with courage. 6 

14, ψυχέων is equivalent to fw7s. 

16. φυγῆς (α. 171, 1; H. 574, b). φόβου : flight. This is the earlier 
meaning of the word ; the later signification was fear, but differed from 
δέος as referring more to the expression of fear. 

18. μηδὲ φιλοψνχεῖτε : be regardless of life. 

19. wv, x. τ. A. : whose libs are no longer nimble. 

20. καταλείποντες : the κατά in composition greatly emphasizes the 
meaning of the word. Tepapéus, as an expression of honor, repeats the 
idea of παλαιοτέρους, pointing out with additional emphasis their claim 
to respect. The word properly refers to the dignified appearance of age, 
though later it was used like yepacés. 

21. αἰσχρόν: a word of strong meaning, in an emphatic position ; 


TYRTAEUS. 127 

< PAGE 
- φσοῦτο anticipates κεῖσθαι. μετά, among, used with dative only in 
poetry ; mostly confined to epic poetry. 

22. νέων (G. 182, 2; H. 589). 

25. Covering with modest hand his bleeding wound. The line is 
incapable of translation. φίλος was used by the ancient Greeks as a 
stronges possessive pronoun, somewhat as the modern German uses the 
adjective lieb, : 

26. vepeonréy, though singular, is used with rd. ἰδεῖν depends upon 
it, and the two words form one idea. 

27. χρόα γυμνωθέντα : with body stripped. Connect with ἔχοντα. 
πάντα : altogether. 

28. ὄφρα : while. ἔχῃ : understand τις, from νέοισι. 

29. ἀνδράσι: for men to behold with admiration, but women with 
love. 

81. εὖ διαβάς : standing firm. 


II. 


Line 1. ᾿Αλλὰ... γάρ : the conjunctions are joined, as if to direct 
the thought to an implied exhortation preceding : Never yield, but be 
bold, for. Ἡρακλῆος : the Dorians occupied Sparta under the lead- 
ership of the Heraclidae. 

2. οὔ πω, x. τ. Δ. : Zeus has not yet withdrawn his favor. 

8. φοβεῖσθε (cf. 1, 16). 

5. ἐχθράν : considering life your enemy, and counting dark death your 
friend (cf. John’s Gospel, xii. 25, ὁ μισῶν τὴν ψνχήν). 

7. ἀΐδηλα : destroying. ? 

8. ἐδάητε : aor. pass. from δάω. 

9. hevydvreay . .. διωκόντων (G. 171, 2; H. 574): you have had 
frequent experience of flight and pursuit. 

10. εἰς κόρον, x. τ. A. : you have been in them to satiety. Liddell and 
Scott translate, ‘‘To push till disgust ensues.” 

11. γάρ: refers back to the direct exhortation of verse 4. 

13. waupérepor. Notice force of comparative, contrasted with the 
following πᾶσα : fewer die but they save from death the people behind 
them. 

14. τρεσσάντων : the verb rpéw means usually to tremble with fear. 
Among the Spartans, ὁ τρέσας was the inglorious title of the runaway. 

15. οὐδεὶς, x. τ. Δ. : 20 one could ever complete the list, repeating all 
the evils which befall a man, tf he suffers disgrace. 

17. ὄπισθε, used as an adverb; as preposition, it governs the genitive. 
δαΐζειν : connect with ἀργαλέον : grievous tt is, if one wounds him. 


128 ~ NOTES. 


PAGE 


20. νῶτον (6. 160, 1; H. 549). 


23, μηρούς, x. τ. Δ. : the shield, as used in the carliest times, was 7 


large enough to cover the whole man (cf. Dict. Ant., art. CLIPEUS). 

44. γαστρί : the hollow of the shield. 

25. δεξιτερῇ : the employment of the left hand has been pointed 
out in line 24. ἐν χειρί : the use of the preposition, rather than a mere 
dative of instrument, strengthens the idea of grasping. 

26. λόφον : the crest of the helmet was formed commonly of horse- 
hair, arranged so as to look imposing and terrible (cf. Hom. Il. VI. 469, 
and III. $37). 

80. οὐτάζων : fighting hand-to-hand. 

82. ἐν δέ, adverbial: moreover. This adverbial use of prepositions 
is common in Homer, but grows more rare as we approach the Attic 
standard. They are very commonly joined with δέ, λόφῳ (H. 544, b). 

35. γυμνῆτες : light-armed troops. At Sparta they were made up 
from the Helots, who furnished servants, attendants, and light-armed 
soldiers. Their protection seems to have been made merely from skins, 
or leather, or even cloth; they fought with darts, stones, bows and 
arrows, or slings. The hoplites, on the contrary, were drawn up in the 
form of a phalanx, with swords and long spears. 

37. αὐτούς : the enemy. 

38. πανόπλοισι : πλησίον is more commonly joined with the geni- 
tive. The dative seems to be used as implying not merely nearness, but 
approach. 


II. 


THEME: Only bravery deserves honor. 


LINE 1. μνησαίμην : the conditional clause appears in verse 11. ἐν 
λόγῳ τίθεσθαι = ἐπαινεῖν. 

2. ἀρετῆς (G. 173, 1; H. 577, a). 

8. Κυκλώπων : ancient mythology gives various accounts of the 
Cyclops ; but whether treated as the Titans, sons of Οὐρανός and Γαῖα, 
or as the giant shepherds of the Odyssey, sprung from Poseidon, they 
are always recognized as monsters of great power. 

4, θέων : to be swift of foot was an heroic accomplishment among 
the Greeks, 

4. Θρηΐκιον Βορέην : Boreas was said to dwell in a cave on Mount 
Haemus, in Thrace. 

5. Τιθωνοῖο : Tithonus was the beautiful lover of "Hos, at whose 
prayer he was endowed by Zeus with immortality. φυήν : properly 
growth, generally used of the human figure. 





TYRTAEUS. 129 


PaGE 


6. Mew: the fabled king of Phrygia, whose wealth was proverbial 8 
through all antiquity. Kivipes: a king of Cyprus, to whom Apollo 
gave great riches. μάλιον == μᾶλλον». 

7. Pelops could be regarded as excelling in all the chief attributes 
of royalty, — an origin on both sides traced immediately from the gods ; 
vast wealth, which he was supposed to have brought with him from the 
East ; extensive dominion, which resulted in his giving a name to the 
Peloponnesus. 

8. ᾿Αδρήστον : the adventures of the heroes who fought against 
Thebes were only less famous in Greek poetry than the struggles before 
the walls of Troy. Among the Seven who first undertook this far- 
famed expedition, and again among their sons, the Ἑπέγονοι, who re- 
trieved the disaster of their fathers, Adrastus was the leading spirit ; at 
once the Agamemnon and the Nestor of the invaders. It was through 
his persuasion that the sons of the unfortunate heroes who perished in 
the first war undertook the second expedition. 

9. θούριδος : the masculine form of the adjective θοῦρος is especially 
an epithet of Ares (cf. 1. 34) ; the feminine form, as here, is especially 
frequent with ἀλκή, intensifying the idea of energetic physical force. 

10. Introduced as anticipating 1. 20, 4. v. 

11. τετλαίη. . . ὁρῶν : rAdw is generally followed by an infinitive. 
Here, however, as usually in such cases, where a double construction is 
admissible, there is a difference in the meaning. The infinitive con- 
nects itself more closely with the verb, in which case rAdw takes a 
meaning which requires the subordinate verb to complete ; as fo venture, 
to undertake. The participle throws its force more on the subject of the 
verb, and rerAaly has a complete meaning by itself; i.e. to stand fast, to 
keep one’s courage. 

12. dpéyouro : attack. The force of μή continues. 

13. ἄεθλον : the value of the prize at the Greek games is well 
known. 

, 14. φέρειν : the infinitive with an adjective is quite common in Greek 
and is used in the active or middle, even in cases where the passive 
would seem more natural (cf. Greek Moods and Tenses, 93, 2). 

16. ὅς τις ἀνήρ = ἀνήρ τις ὅς. SvaBds: standing firm. μένῃ : ἄν 
is omitted (H. 759). 

17. ἐπί : join with λάθηται. 

18. παρθέμενος : hazarding (cf. Hom. Od. II. 287; IX. 255). 

20. γίγνεται, from its radical meaning of becoming, gains with ad- 
jectives like ἀγαθός, καλός, x. τ. X., the signification of proving one’s 
self. It is thus largely used in Herodotus. 


130 ᾿ NOTES. 
PaGE 

21. ἔτρεψε : gnomic aorist (G. 205, 2; H. 707). 

22. ἔσχοθε : checks, an aor. form (v. L. & S., sub oye). 9 

25-28. The good soldier has his armor where it belongs, and is 
smitten through his mail and through his breast. πολλὰ... ἐληλα- 
μένοι : struck with many blows. 

26. πρόσθεν : in front. Token of bravery, as the wound in the 
back was always the sign of the coward. 

28. κέκηδε, perf. with pres. signification : is distressed. 

29-30. As attention to the rites of burial was one of the most sacred 
duties among the Greeks, so honors to the heroic dead were paid with 
double carefulness. The mounds and sepulchres, the funeral orations, 
and the representations of art, were all employed to call attention to the 
glory of a patriotic death. The honor of the brave man descended to 
his heirs ; so the τύμβος and παῖδες represent the two elements of the 
Greek conception of enduring fame and influence. 

35. τανηλεγέος : long-lamented (v. Autenrieth’s Homeric Dic., sub 
voc.; cf. Hom. 1]. VIII. 70, δύο xijpe τανηλεγέος θανάτοιο; so Odys. 
II. 100. It is always an epithet of θάνατος. 

36. αἰχμῆς εὖχος : glory in battle. 

38. παθών : having enjoyed. πάσχω, to get this meaning, must be 
joined as here with another word suggesting it. 

40. βλάπταιν : to defraud. 

41. ol κατ᾽ αὐτόν : his equals, — κατά suggesting similarity. 

42. εἴκουσ᾽ ἐκ χώρης : give place. To give place to the aged was 
one of the most prominent moral laws at Sparta. There was therefore 
especial honor in receiving respect from one’s elders. 


IV. 


LINE 2. πολιητᾶν : The warrior class, that is, men of pure Dorian 
descent, made up the citizens at Sparta. 


4, Supply δεξιᾷ δέ, corresponding to λαιᾷ μέν. 10 


MIMNERMUS. 


I. 


ΝΝάννω : a beautiful flute-player, the object of his passion. The frag- 
ment characterizes a life without love as utterly gloomy, and ending in 
a burdensome old age. 


MIMNERMUS. 131 


PAGE 
LINE 1. χρνσῆςφ : the epithet is borrowed from Homer (v. IL III. 10 


64; Od. VIII. 887). 

2. Observe the use of optative, suggesting an idea which it is not 
expected will be realized. The opt. expresses a wish [G. 251, 1; 
H. 721, 1; v. Moods and Tenses, 82 ; and for μέλοι, 34, 1 (a.)]. 

4. εἰ has a causal force. 


6. αἰσχρὸν καὶ κακόν : ugly and wretched. No trial was greater 11 


to a Greek than the logs of all beauty. 

7. ἀμφί : connect with relpover. 

10. θεός, without the article: a thoroughly monotheistic form of 
expression. 


II. Tee THREATENING SHORTNESS OF LIFE. 


Line 2. Αὐγῇς : dative. αὔξεται : subject is φύλλα. 

8. πήχνιον ἐπὶ χρόνον : for a span (cf. St. Matthew vi. 27). 

4. εἰδότες, x. τ. λ.: knowing neither the evil nor the good which the 
gods have in store for us. πρός joined with the gen. has an extensive 
use with personal nouns to denote authorship, or to signify those from 
whom or at whose hands we receive any thing. 

5. Kapes : the Fates presiding over man’s destiny, differing from 
Μοῖρα, as being always associated with evil ; so generally referring to 
death, and especially associated with violent death. Thus Achilles 
speaks of his two Κῆρας (Il. IX. 411). 

7. plvuv@a : adv. used for pred. adj. 

8. The youth-time vanishes like the passing away of the sunbeam. 

9. παραμείψεται, for παραμείψητα. ὥρης: a season, and 80 a 
season or period in life; thus it came to be used for youth as the 
spring or prime of life. τέλος ὥρης : the end of spring-time. Ὁ 

10. (Cf. Herodotus, I. 31, διέδεξέ τε ἐν τούτοισι ὁ θεὸς, ὡς ἄμεινον εἴη 
ἀνθρώπῳ τεθνάναι, μᾶλλον ἢ ζώειν.) τεθνᾶναι is used as expressing com- 
pleted action, to denote the state of death ; to be dead. 

12. πενίηφ : not properly extreme poverty, which is ἔνδεια, or rrw- 
xela, but, like Latin paupertas, narrow means. 

13. ἄλλος δέ refers back to 1. 11, ἄλλοτε, with which μέν is 
omitted. 

14. ᾿Αἴδην: the use of the word, as here, referring to a place, 
belongs to the later Greek. Homer uses the noun simply as name of 
a person, the place being represented by the gen. with οἶκος understood. 
Gradually it became established as simply the name of a place. 

16. μὴ διδοῖ (Moods and Tenses, 62, N. 2). 


132 _ NOTES. 


III. THe SHORTNESS OF THE SEASON OF YOUTH. 


PaGE 


LINE 2. πτοιῶμαι: 7 am dismayed. The word expresses both 
excitement and fear. : 

3. ἐπεὶ, «. τ. d.: but would that it continued longer. 

4. ὀλιγοχρόνιον (G. 138 (c).; H. 522). The proximity of ὄναρ 
helps to attract it into the neuter. 

7. τιθεῖ : renders ; for form, v. H. 401, Ὁ. h. 


8. ἀμφιχνθέν : agrees with γῆρας. 


1V. SyMPATHY OF THE POET FoR THE TOILING SUN, BECAUSE OF 
Η18 UNCEASING LABORS. 


In this, in connection with the other fragments, the reader will 
notice at once the characteristics and tendency of Mimnermus: pen- 
siveness ; sadness ; a sort of moral indolence, shrinking from pres- 
ent evils and future fears, — these are his prominent traits. 


Line 5. Not even the night brings rest. It was the theory of the 
ancients that the sun rode back in the night behind the horizon, to 
recommence in the morning his daily movement over the earth. His 
journey by night was said to be made in a golden boat, the work of 
Hephaestus. By other authorities, he was spoken of as accomplish- 
ing this journey slumbering in a golden bed (εὐνή) (Athenaeus, 
ΧΙ. 469-70). 

6. κοιΐλη = κοίλη, as ὁμοῖος has a kindred form, ὁμοίϊος. 

7. χρυσοῦ, gen. of material (G. 167, 4; H. 560). ὑπόπτερος : with 
wings, instead of sails. ἄκρον ὕδωρ : the surfuce of the water. 

8. ‘EoueplSev: they dwelt on an island on the western edge of the 
world. 

9. Αἰθιόπων : they dwelt partly in the extreme East and partly in 
the extreme West (Od. I. 23). 

10. ὄφρα : until. 

11, ὀχέων : the wagon in which he drives his daily course. 


SOLON. 


I. SALAMIS. 


LINE 1. Solon feigned himself mad, and recited this poem, repre- 
senting himself as a herald from Salamis, summoning the people to 


11 


12 





SOLON. 133 
PAGE 
recover the island. Avrés is used in manifest reference to his bold- 12 
ness in undertaking the work, and venturing to appear before the 
people. 
2. Fashioning with arrangement of words a song, instead of a 13 
speech, 
II. 
THE bitterness of the conflict through which they had passed, and 
the disorganized condition of Athens, can be well imagined from the 
circumstances which are reférred to. 
LinE 1. τότε: if Salamis were relinquished. 14 


2. PodéyavGpos and Zlx.ves were two small islands in the south- 
ern part of the Zgean, north of Crete. 

5. ἴομεν : the mode-vowel is shortened, and the stem-vowel length- 
ened by a sort of transfer of quantity, to form a dactyl. 


III. ADMONITIONS TO THE ATHENIANS. 


AN address to the Athenians, apparently belonging to the early 
years of Solon’s political activity, lamenting the peril of the State, 
through the selfishness and injustice of the citizens. 


LINE 1. κατὰ . .. αἶσαν : the words together form a common 
phrase. 

3. τοῖος agreeing, as here, with the adjective, intensifies its mean- 
ing (cf. Hom. 1]. V. 828; Od. 11. 286). ἐπίσκοπος : guardian deity. 

5. μεγάλην : the city was great, had marked elements of success 
and power, even in Solon’s time. ἀφραδίῃσιν : the dative plural is 
Homeric, as he employs only that case, except that he once introduces 
the dat. sing., and once also we have δέ agpading, Od. 19, 523. 

6. χρήμασι πειθόμενοι : tempted by lust for gain. πειθόμενοι sug- 
geste the idea of yielding to persuasion. The great danger which had 
to be met was the oppression of wealthy classes, —aoroi, 

7. οἷσιν, κ. τ. λ.: to whom it remains to suffer many woes, for their 
‘unbridled wantonness. 

10. δαιτός : connect with ἡσυχίῃ. At Athens, according to 
Xenophon, there were more festivals than in all the rest of Greece. 
Through the arrangement of the liturgies, they were a means of sat- 
isfying the poor at the expense of the rich. The feasts become a pow- 
erful influence for keeping the people contented, as they were also an 
instrument of bribery in the hands of the demagogues (cf. Smith’s 

Dict. of Ant., art. HESTIAsIs; also, art. ERANI). 


134 NOTES. 
PaGE 

18, ἐφ᾽ ἁρπαγῇ : even to robbery. ἐπί expresses the extent towhich 14 
it is carried. 

16. τῷ χρόνῳ: tn time; at last. ἦλθε: gnomic aor. (G. 205, 2; 

H. 707). 

20. ἡλικίην : the civil war was especially destructive to the youth. 15 
(cf. Horace, “δια Juventus,” Lib. I. car. 11. 24). 

21. ἐκ δνσμενέων : by these hostile parties. ἐκ, as usual, marks the 
source. δυσμενέων refers to the individuals whose selfish ambition was 
threatening the safety of the state. 

22. συνόδοις : societies formed for social and political purposes, 
such as were quite abundant at Athens, They were often abused for 
unjust purposes. 

23. στρέφεται : are rife. δέ : moreover. 

24. The severity of the law, before Solon’s reformation of the code, 
was so great as to give the creditor unlimited power. The poor citi- 
zens were being sold and driven into foreign lands. 

26. βίᾳ : per force. 2 “ 

27. οἴκαδ᾽ ἑκάστῳ : home to cach one. 

28. No longer will the house-doors keep it out. 

30. εἰ (G. 223, N. 2; H. 747, Ὁ, and 874, 1). 

36. abalve, x. τ. r.: causes the buds of mischiéf to wither in their 
growth. The benefits of edvopla, here referred to, will be better appre- 
ciated as we remember how often the Greek cities had to call in the 
priest or bard to allay excitement and disorder. 


IV. DEFENCE OF THE AUTHOR’s LAWs. 


LINE 1. Δήμῳ: the commous, the mass of the people, in contra- 
distinction from the dyyrol, referred to afterward. ἐπαρκεῖ : is suffi- 
cient = ἀπαρκεῖ. 

2. ἐπορεξάμενος : nor adding anything. 

3. χρήμασι (6. 188, N. 1; H. 609). 16 

4. ἀεικὲς ἔχειν : that they may suffer nothing unseemly. 


V. WRITTEN TO THE ATHENIANS AFTER PISISTRATUS HAD 
USURPED THE GOVERNMENT. 


LINE 1. κακότητα : baseness. 

2. Do not ascribe any part in these to the gods. 

3. τούτους: 1.6. tyrants. ῥύματα : the body-guard given to Pisis- 
tratus by the citizens. 


SOLON. 


135 


PAGE 


5. ὑμέων, x. τ΄ Δ, : cach one of you by himself walks as cautiously 
as a fox, and yet in your common action your understanding comes to 
naught, ἀλώπεκος : the fox was, if possible, more thoroughly the 
symbol of cunning among the ancients than in our times. The phrase 
is manifestly proverbial. 

7. ὁρᾶτε : contrasted with βλέπειν : you are looking at... you do 
not regard at all (οὐδέν). 


VI. ADMONITIONS ADDRESSED TO HIMSELF. 


1. Μνημοσύνης : the goddess of memory was according to Greek 
imagination the mother of the Muses. 

2. pot: the use of the dative gives to the verb the idea of compli- 
ance : hear and yield to. 

5. εἶναι γλνυκὸν, «. τ. 4., depends upon δότε. This sentiment reap- 
pears frequently in Greek authors as representing the received standard 
of righteousness. Cf. Matt. v. 43: ‘‘Ye have heard ‘that it hath been 
said, Thou shalt love thy neighbor and hate thine enemy.” 

: To these an object of reverence, to those of terror. 

8. δίκη: righteous penalty. 

9. πλοῦτον : inverted assimilation or attraction (G. 153, N. 4; 

H. 817). 

10. ἐκ νεάτου, x. τ. Δ. : from lowest depth to highest summit. 

11. ὑφ᾽ ὕβριος : ὑπό is thus used with active verbs where a passive 
is to be supplied, i.e. which men honor because led by riotous feeling. 

12. ἀλλ᾽, x. τ. X.: The figure is a striking one. Wealth gained by 
unjust deeds is like an unwilling slave always ready to break away 
and disappear. πειθόμενος : the passive of πείθω strengthens its nat- 
ural significance, to be persuaded, and means to be obedient to, to be 
under the sway of. 

13. ἄτη: evil. This word is really incapable of translation, as its 
personified use among the Greeks gave it a vast variety of associated 
ideas. “Ary became the goddess of mischief, hurled from heaven for 
injuries done to Zeus himself, and making herself the author or aggra- 
vator of all the blind and rash actions, and largely even of the suffer- 
ings, of mankind (cf. Hom. I]. XIX. 91 and [X. 502). ἀναμίσγεται 
governs τῷ πλούτῳ understood. 

14. ἀρχή : supply ἄτης. 

15. φλαύρη : insignificant. 

16. δήν : adverb in predicate instead of adjective. 

17. ‘* But Zeus looks to the end of each life, and suddenly scatters the 


16 


17 


136 _ NOTES. 

PAGE 
evil-doers as the wind of spring quickly scatters the clouds.” διεσκέδασεν 17 
belongs in translating to both clauses. 

22. ἔθηκεν, like διεσκέδασεν, gnomic aorist. 

25. τοιαύτη refers back to Gore. οὐδ᾽ ἐφ᾽, x. τ. Δ. : Not in each 
case does he prove, like α mortal, ‘‘ quick to anger.” We have here 
the evidence of thought on the old problem of the delay of punish- 
ment for the wicked. 

27. διαμπερές : strengthens αἰεί : ‘‘ forever and aye” (cf. Liddell and 
Scott, sub w) 

28. πάντως, x. τ. A. : he is at length exposed exactly as he is. 

82. If the father should escape, the curse remained for the children 
and children’s children. This doctrine was very prominent in Greek 
theology, being brought out with still greater distinctness in the 
tragedies. 

85. ἄχρι τούτον : up to this point : till then, 

87. xdons: καὶ ὅστις. 18 

41. wevins: like Latin paupertas, narrow means, not abject 
poverty. 

42. κτήσασθαι : The following passage illustrates very strikingly 
the eagerness for wealth already existing in Athens, a fact which is 
proved even more fully by the troubles which led to the establishment 
of Solon’s government and constitution. We have still another sug- 
gestion of the estimate placed upon wealth in the fact that Solon 
divided the people into classes according to their income. 

43, κατὰ πόντον : some idea of the naval condition of Athens at 
this time may be gathered from the fact that Solon obliged each nau- 
crary (old divisions, probably local, forty-eight in number) to provide 
one ship of war. 

45. ly@vdevr’ : connect with πόντον. 

46. φειδωλήν : this word, or rather φειδώ, its original, is used 
especially of property ; he spares not his life that he may have wealth 
to spare. φειδωλήν with θέμενος is a simple periphrasis for φειδόμενος. 

47. ἄλλος, x. τ. A.: here, as in the following clauses, δέ correla- - 
tive with μέν (1. 43) is omitted. 

48. τοῖσιν = ἶ οἷσιν, those who. 

49. ᾿Αθηναίη and Ἥφαιστος divided between them the lighter and 
heavier arts. 

51. Sapa: (G. 197, N. 2; H. 553, a). 

52. σοφίης μέτρον : ‘perfect wisdom.” ἱμερτῆς: ‘with charming 
expression.” 

53. ἔθηκεν : makes or appoints. 

55. @, x. τ. λ. : the gods work with him to fulfil his words. 


XENOPHANES. 


137 


PAGE 


57. [Lausvosthe god of healing (Il. V. 89: in Homer 9). The name 
is used later as surname of Asclepius, and as an epithet of Apollo. 

58. These reach no sure result. 

61. But touching with the hands one who is afflicted with grievous 
and troublesome disease, he restores him at once to health. The argu- 
ment is simply summed up with the strong comparison, pointing back 
to 1. 87. The labors of prudence may all fail, the blessing of heaven 
may give an unexpected relief. 

66. ἡ = ποῖ. Nor does any one know from the commencement of his 
undertaking where it will end. 

67. eb: the proper meaning of εὖ épdew is that of εὖ ποιεῖν rather 
than of εὖ πράσσειν, and it should be retained here: seeking to be of 
advantage. οὐ προνοήσας : without anticipating u falls, &. 

71. πεφασμένον : stated, fixed. The danger lies in the success 
itself, never gaining satisfaction, but leading to wantonness (Apis). 

72. βίον : wealth, abundance of living. 

75. αὐτῶν : sc. κερδῶν. Compare the familiar New Testament 
maxim, 1 Tim. vi. 10. 

76. ἄλλοτε ἄλλος ἔχει : i.e. it wanders from one to another. 


Vil. 


Ir illustrates the manner in which the lines of these gnomic poets 
were confused as to their authorship, in their extended use in the 
schools, that these lines also appear in the elegiacs of Theognis. 


LINE 3. ἀρετῆς : gen. of price with διαμειψόμεθα : verb of ex- 
changing. 


XENOPHANES. 


I. THe Symposium. 


Linz 1. It was after the dinner that the Greeks were in the habit of 
enjoying their wine. (See Dict. Ant. art. Symposium.) The poet in- 
troduces us to the scene just at the time when the drinking is about to 
begin. The selection is of especial interest as illustrating how Greek 
taste was being cultivated to the higher standard where improving 
conversation was especially valued in connection with the symposium. 


2. ἀμφυτιθεῖ for ἀμφιτίθησι, as if from τιθέω. Supply subject ἄλλος 
μέν, correlative with ἄλλος dé. στεφάνους, the garlands and ointments 
were an essential element in the ancient feast. 


18 


19 


20 


138 NOTES. 


PAGE 
4. Hperovas: good cheer. 
δ. ἄλλοι : aside from that which is in the κρατήρ. δὲ οὔ, «.7r.r., 20 
“* which promises not to fail.” 


6. ἄνθεος: (G. 171, 2; H. 576). It thus represents the part which 
causes the odor. The ἄνθος is the bead or crust of the wine. 


ὀσδόμενος for ὀζόμενο:. 
7. ἀγνήν : sacred ; 80 called because the λιβανωτός was so generally 


employed for incense burning in religious service. “ἢ 

8. ὕδωρ: the wine was universally mixed with water before drink- 
ing, and even to take half wine was considered injurious ; to drink it 
without mixing was regarded as barbarous. The water was commonly 
though not universally cold, and sometimes the wine was artificially 
cooled in the ψυκτήρ. 

9. ξανθοί: a most peculiar epithet for ἄρτοι, but it was a favorite 
adjective with the Greeks. It was perhaps borrowed as being an epithet 
of Δημήτηρ. yepaph τράπεζα, table of honor. 

11. βωμός: an altar decked with flowers for the libations. ἀν for 
dvd. 

12. ἀμφὶ: ἔχει : lit., to encompass, to fill. The prominent idea in 
μολπή is dancing, and it therefore signifies joy and merriment. 

14. μύθοις. . . Adyous: μῦθος is applied to poetic thought and ex- 
pression; λόγος to historic statement. 

16. ταῦτα, x. τ. X.: for this truly (ὧν) 1s the more natural duty. 

17. πίνειν depends upon χρή, |. 13; 80 also alveiy. 

18, προπόλον: the attendant servant. μὴ wavy ynpaddos: if not 21 
too far advanced in age. ) 

19. ὃς ἐσθλὰ, κ. τ. Δ. : who talks of excellent things over the wine. 
Moral and political topics, rather than ancient fables, should be the 
subject of conversation. The philosopher appears here in our author, 
branding the old myths as a meaningless creation of antiquity. 

23. roig: demonstrative, neuter. It is not until we reach the Attic 
that the use of the article becomes fully established. 

24, θεῶν προμηθείην: respect for the gods. 


II. 


“THE poem is ἃ warning against the danger of over-estimating phy- 
sical qualities at the expense of more noble traits. 


LINE 1, ταχυτῆτι ποδῶν : the Greek stadium was originally ar- 
ranged simply for the foot-race, and this always continued to be the 
prominent feature of the games. 





XENOPHANES. 


139 


PAGE 


2. πενταθλεύων : the pentathlon derived its name as consisting 
of five distinct games in one. There is not perfect agreement among 
authorities as to the combination, but the following has been accepted 
by very prominent scholars, viz.: 1, ἅλμα, leaping; 2, δρόμος, the foot- 
race; 8, δίσκος, throwing the discus; 4, ἀκόντισις, throwing the spear ; 
5, πάλη, wrestling. The pentathlon became thus the centre of special 
interest in the festivals, and the wévra@Ao were considered the best 
developed of all the athletes. Διὸς τέμενος, the sacred field of Zeus. 

3. Πίσαο : nom. Πίσης, a smal] stream near Olympia. ᾿Ολυμπίῃ: 
there was no town there: it was a sacred grove, within and around 
which were the temples, and near by was the celebrated stadium where 
the great games were celebrated. 

4. ἔχων: understanding. 

5. ἄεθλον : contest, sc. ἔχων. παγκράτιον : combination of wrestling 
and boxing, a contest which was an especially severe tax upon the 
physical strength and endurance, hence δεινόν. 

6-9. xuBpérepos . . . προεδρίην . .“% σῖτα... δῶρον: the victor 
in any of the great games was rewarded with an accumulation of 
honors: he was publicly crowned ; his statue was in many cases erected 
in an honorable position among those of the great men of the state; he 
entered his native city in triumph; they even broke down their walls 
to give him entrance, in token that his prowess was better than fortifi- 
cations; he was awarded a front seat (προεδρία) in all the public games 
and spectacles, and received a seat at the public table in the Pryta- 
neum, being still further rewarded by Solon’s laws with a gift of five 
hundred drachmae. It is a significant fact that Greek invention was 
hardly more severely taxed for any other purpose than to invent ade- 
quate honors for the conqueror in the Greek games. 

10. ὕπποισιν: the allusion to this method of gaining the victory is 
placed last, both because it was esteemed honorable,— a contest in 
which only princes and nobles could engage, — and still more because 
it emphasizes the contrast which he wishes to present to the mind. 
Even though with horses one should gain these honors, he is not so 
worthy as I. (Compare Plato Apol. of Soc. Chap. XXYVI.) 

18. GAN εἰκῆ : but it is very inconsiderately that the judgment is 
formed, i.e. giving such honor to the physical. 

15. wherns ... πενταθλεῖν. .. παλαισμοσύνην ... ταχντῆτι: 
the construction changes with poetic freedom and license; all depend 
upon ἀγαθός. 

17. τό: though neuter, refers, to ταχυτῆτι (G. 138, N. 4; H. 528). 

18. ῥώμης : connect with ἀγῶνι. 

22. puxovs, the secret hidden apartments, 80 treasure chambers. 


21 


22 


140 . NOTES. 


THEOGNIS. 
Paap 


THE poem, it will be found, includes many passages which doubt- 22 
less belong to other authors. These verses were probably combined 
for study in the schools, being valuable for their moral instruction. 


LinE 1. ἄνα: voc. for ἄναξ. This form is exceptional, used only as 23 
here in phrase ὦ ἄνα (cont. da) and Ζεῦ ἄνα, and only as an address 
to the gods. 

2. The final syllable of ἀρχόμενος receives the ictus of the verse 
as if long. 

5. Φοῖβε: Apollo, as pre-eminently the central divinity of Dorian 
worship, and apparently standing in a peculiar relation to Megara, is 
first and especially invoked. 

6. φοίνικος: (α. 171; H. 574, Ὁ). It was under a palm-tree, beside 
the circular lake (λίμνη) of Delos, that Apollo and Diana were born; 
the sacred palm-tree seems therefore always to have been preserved at 
Delos (cf. Hom. Od. VI. 163). The palm-tree had male and female 
forms, hence ῥαδινῆς, fem. 

8. ἀπειρεσίη : literally boundless. Buchholz interprets it as re- 
ferring to the circular form of the island ; it is perhaps better rendered 
with an adverbial signification : was filled in its complete circuit. 

9. ὀδμῆς : (G. 172, 1; H. 575). ἐγέλασσε δὲ γαῖα : the same 
expression appears in Homer in connection with the description of the 
marshalling of the Greeks (11. XIX. 362). 


γέλασσε δὲ πᾶσα περὶ χθὼν 
χαλκοῦ ὑπὸ στεροπῆς. 


The figure is also not unfamiliar to the Homeric Hymns (cf. Cer. 14; 
Apoll. 118). 

11. θηροφόνη : compound adjectives are generally declined with 
two terminations: here by exception we have a regular feminine 
form. ἣν . .. εἴσατο refers to the setting up of the statue of the 
goddess, and the establishment of her worship in Megara. This was 
done by Agamemnon on his way to Troy. According to one form of 
the story he took Calchas, the seer, from Megara. 

13. pot: (cf. Solon VI. 2, N.). 24 

15. Χάριτες : goddesses invoked as presiding over festive joy, and 
lending beauty to all social and moral life. They were regarded as 
intimately associated with the Muses. Κάδμον : after the series of 
trials which befell Cadmus, Harmonia was given to him by Zeus as 


THEOGNIS. 


141 


PAGE 


his wife, and the Olympian deities honored the marriage with their 
presence. 

16. deloare : for ἤσατε. 

17. ὅττι καλόν, φίλον ἐστί: This was apparently a proverbial 
_ maxim of coasiderable popularity. We find it again in Euripides : 
ὅτι καλὸν φίλον ἀεί. Bacchae, 881. 

19. σοφιζομένῳ : speaking wisely. σφρηγίς : the danger of suffer- 
ing from plagiarism was even greater among the ancients than now. 
It perhaps refers particularly, as Hartung suggests, to the form of 
address, the name Κύρνε appearing in the verses ; this was to be the 
standing proof of the authorship: perhaps to the whole introductory 
passage. 

21. τοὐσθλοῦ : (G. 178 ; H. 578, Ὁ). 

22. Θεύγνιδος : Ionic for Θεόγνιδος. 

25. Πολυπαΐδη : son of Polypas ; patronymic referring to Κύρνος. 

27. εὖ φρονέων : prudently. 

29. πέπννο : for πέπνυσο, perf. imp. fr. πέπνυμαι. αἰσχροῖσιν ἐπ᾽ 
ἔργμασι: by disgraceful deeds. 

30. ἕλκεο : gather for yourself. 

32. τῶν ἀγαθῶν : the good in the eyes of Theognis are, generally 
speaking, only the noble: his political prejudice against the multi- 
tude is very strong. It is still further to be noticed that in this early 
age these adjectives had only partially obtained their later moral 
meaning. ἔχεο, cliny to it, governs the gen. (see H. 574, b). 

84. δύναμις : moral strength, i.e. that kind of power which he felt 
belonged to the higher class. 

35. ἐσθλῶν depends on ἀπό following. 

39. The personal feeling of Theognis comes out plainly in his 
remarks upon the state. In the strife of factions he had been 
unfortunate. 

41. ἀστοί: the use of the word seems peculiar, for we are accus- 
tomed to find it more broad in its meaning than οἱ ἀγαθοί or even 
ol πολῖται Here, however, it must refer to the nobles: the commons 
were too low to be reckoned by Theognis. 

45. δίκας ἀδίκοισι διδῶσιν : they surrender the law into the hands 
of the unjust. 

49. εὖτ᾽ ἄν : whenever. 

50. κέρδεα : gains which can be acquired only in connection with 
public misfortune. 

53. Only a short time before Theognis, the condition of the Mega- 
rian peasantry had been very low. They had at length, however, in 
connection with the convulsions of which Theognis complains, made 


24 


25 


142 ' NOTES. 


PAGE 
themselves felt in the state. This was quite unendurable to the aris- 25 
tocratic notions of the poet. 

55. δορὰς αἰγών : the διφθέρα is frequently alluded to by Greek 
authors as the common dress of country people. 

° 56. Qadhor: suggesting not only their uncouthness, but their 
cowardice. 

57. ἀγαθοί : i.e. because they govern the state. 

62. ἐκ θυμοῦ : contrasted with ἀπὸ γλώσσης. 26 

66. Se’ = ἔπεστι. 

68. μηκέτι σωζόμενοι : past recovery. 

69. χρυσοῦ re wal, «. τ. X.: to be valued as highly as gold and 
silver. 

72. γινομένονς : proving themselves ; a frequent meaning of γίγνομαι 
with an adj. 

76. οὖς... ph: not s0 many that one ship would not carry them 
all, 

78. Notice that κέρδος is the subject. 

79. ἔχε: read as if ἔχων : while you have. 

81. θέμενος : making. 

83. δίχα : used like an indeclinable adjective, doubtful. 27 

87. ἑταῖρος ἀνὴρ φίλος : companion and friend. 

90. ὀργήν : acc. of spec. with βαρύν, unpleasant in character. 

92. καί wor’, x. τ. λ. : and some time in the future you will remem- 
ber me, i.e. have good cause to think of me. 

94. ὄφελος : (of) what use? This noun is used only in the nomi- 
native. This is the ordinary construction of the earlier Greek, with 
ὄφελος in apposition with the subject; later the genitive depending 
upon it was much used. 

96. ἔσθλον : good luck. τοῦ -Ξ αὐτοῦ. μεταδοῦν : for μεταδοῦναι, 
neither would he be willing to share ut. 

97. It is an idle favor for one to do well for the base. ἔρδειν is 
construed as usual with accusative of person, though sometimes it has 
a dative. 

98. ἴσον : like, the same as. πόντον, κ. τ. X.: the waters of the 
hoary sea. 

103. ἐλαφρίζουνσι : make light of. 

104. μνῆμα = μνήμην, memory. 

106. εὐλαβίης = εὐλάβειας : nothing else is of more consequence 
than caution. 

118. οὐ γὰρ Av εἰδείης : for you cannot tell. The optative with 28 
ἄν is closely allied to the future in significance. 

114. πρὶν πειρηθείης. πρίν takes the mode of a conditional rela- 


THEOGNIS. 143 

PAGE 

tive (G. 240, 2; Moods and Tenses, 67). πρίν is thus used with the 28 
subjunctive and optative almost entirely after negative expressions. 

115. ὥσπερ, x. τ. Δ. : just as when you go to market, You cannot 
judge of men as of salable wares. 

116. ἰδέαι : outward appearance. 

118. rots (G. 184, N. 1; H. 596): for those who care for holy right. 

122. γίνεται : ts coming to. 

125. ὅσσ᾽ ἐθέλῃσιν : conditional relative, with ἄν omitted (G. 234; 

H. 759). 

126. χαλεπῆς, x. τ. Δ. : the limit of burdensome helplessness, OQb- 
serve that πείρατα is the subject. 

130. θνητῶν : depends on οὐδείς. ἔλαθεν : aor. to deny a single 
instance, — no mortal ever escaped notice. 

131. βούλεο : choose rather. 

132. πασάμενος : from πάομαι, to acquire. 

133. συλλήβδην : in brief. 29 

134, ἀγαθός : we can thus trace how a larger moral significance 
was finding its way into this word. : 

188. πρόφερε : reproach with. 

139. τάλαντον : the scale with which Zeus weighed out the fates of 
men : for Zeus causes the balance to fall now in one way and again in 
another. This is a sentiment which constantly recurs. The Greeks, 
from the violence of their political changes, and their peculiar sensi- 
tiveness, suffered intensely from these sudden changes of fortune. 

141. phwore .. . ἀγορᾶσθαι, x. τ. A. : never speak boastingly. 

143. τὸ δ᾽ ἀτρεκές : exactly, completely. 

145. ὃν καὶ : ὅν is here demonstrative. 

146. οὐδεμία : of no account. 

150. καὶ γήρως : even more than hoary age. Supply μᾶλλον from 
the preceding μάλιστα. 

152. ῥίπτειν : understand ἑαυτόν. 

156. δίζησθαι : we can notice how strongly the mercantile idea was 80 
getting hold of the Greeks. The fortune was not to be retrieved at 
home, but in trade and commerce abroad. This new sentiment grows 
up, partly causing and partly caused by the influx of wealth. 

158. καί τις, x. τ. λ. : and each one wishes they should be connected 
with excellent breeds. 

159. κακὴν κακοῦ : base-borndaughter of base-born man. κακήν, 98 
also ἐσθλός, is used with referenceto the social rank of the parties. 

160. διδῷ : refers for its subject to κακήν. 

163. ἐκ κακοῦ : the noble takes a wife from a base-born family. 

167. αὐτός: a general case stated as a particular, the man himself, 


144 . NOTES, 


‘PAGE 


168. παθόμενος : (cf. Solon VI. 12, note). 

170. ἐντύει μιν : urges him on. 

171. We have here a revelation of the hope of the old nobles of 
these times that the suddenly accumulated wealth of the cae 
would vanish as rapidly as it had been gained. 

172. καθαρώς : without guilt. 

173. παρὰ καιρόν. violating right. παρά, from its signification 
of passing by, gains also the meaning of going beyond, and so of 
violating. 

176. éyevro: Epic and Doric for evden (G. 205, 2; H. 707). 
ὑπερέσχε : Keeps the control. 

177. τάδε refers forward to the idea suggested in the following 
lines (H. 679). ἐπ᾽ αὐτοῦ. . . πρήγματος: in immediate connection 
with the deed itself. 

179. One pays the penalty himself; another dies too soon, but 
leaves the curse upon his children. 

183. ποικίλον ἦθος: it is to be remembered that the elegiacs of 
Theognis were a prominent subject of study in the Greek schools. 
The marked variety of moral precepts contained in them is certainly 
noticeable, especially as we are reminded how versatile were the talents 
which the Greeks thus developed. In this connection it is not unin- 
teresting to compare Juvenal’s description of the Greek at Rome (Sat. 
ITT. 75, ff.). 

185. Πουλύπον: the polypus was a sea animal of changeable color. 

186. ἰδεῖν : depends upon τοῖος. 

189. δοκέει: thinks. 

195. The poet enters here upon a prophecy of the fame which he 
will give to Kurnos by his poetry. It reminds one very forcibly of 
similar verses by Horace. 

199. αὐλίσκοισι : the natural accompaniment of the elegies was 
the pipe. 

200. edxoopws modifies the adj.: lovely in gracefulness. 

204. ἄφθιτον : connect with ὄνομα. 

208. ἰοστεφάνων: in Homer, an epithet of Aphrodite. 

209. ἀοιδή : pred. with ἔσσῃ, and may also be taken as furnishing 
the subject for μέμηλε. . 

211. Theognis was unfortunate and complaining, and evidently felt 
wronged by a lack of attention and respect on the part of Kurnos. 

213. It is suggested that this is an epigram from the temple at 
Delphi. It seems evident that it was a well-known quotation. 

215. ἴσως ra μὲν ἄλλα : in other respects with equality. 

217. Savdrov... νούσων : these genitives are used as if dependent 


30 


31 


82 





THEOGNIS. 145 

PAGE 

on a comparative, but finally πονηρότατον is made superlative, to cor- 32 
respond with κάκιστον. 

220. ἐγκάταθῃς : the subjunctive following thus in close connection 
with the optative is unusual, but it enlivens the expression by im- 
porting a suggestion of probability, and so of reality; nay, even; you 
may amass wealth. 

222. πτωχόν : we mark the change from an ancient, perhaps tra- 
ditional state of society, when strangers and beggars were from Zeus ; 
cf. Od. VI. 208. 

223. ἐκ γαστρός : froth infancy. 

226. κείνους : sc. ἄνδρας κακούς. 

228. τολμᾷ: Keeps his courage. 

230. κακίην ... κατέχειν : restrain his bad temper. κακία isthe 33 
cowardice and baseness considered appropriate to an ignoble life. 

231. ἀπολέσσαι : not to be taken literally, but with reference to 
feeling. Do not be mortally offended. 

235. ἕπονται : belong naturally to. 

236. The gods punish transgressions: men must endure them. 

238. We have here an evident reference, with some bitterness, to 
the democratic leaders, at whose hands Theognis and his friends had 
suffered. There was a constant redistribution of property in connec- 
tion with these political conflicts of the Greeks. 

241. τίσιν: ability to reward. of pe φιλεῦσιν, simply epexegetical 
of φίλων. 

242. δννησόμενον : for infinitive, and to be more powerful than my 
enemies. 

244. ἀποτισάμενον : when I had fully repaid all, 

245. καίριον : here an adj. of two terminations. 

246. ἀντὶ κακῶν : in place of and in return for my troubles. 

248. δοίην, x. τ. λ. : let me give trouble in return for my troubles, 

249. aloa seems to be used like κατ᾽ aloav, fitting. lowe. . 34 


ἀνδρῶν : vengeance upon the men. 

251. κύων : the simile is evidently used as well known in popular 
language for an emphatic expression of destitution. 

253. τῶν (sc. συλησάντων) εἴη : would it were possible | 

255. κακοῖσιν supply χαίρειν (G. 188, 1; H. 611, a). 

256. τούτων : (G. 170, 2; H. 574). 

257. &: out of, and so denoting transition, instead of. 

258. ἐκδῦναι: intrans, 2d aor. inf. from ἐκδύω or ἐκδύνω, to come 
out, to escape. 

261. Οὐδενὸς ἀνθρώπων κακίων : inferior to no man, i.e. better 
than any other. 





146 NOTES. 
PAGE 

265. μολίβδῳ χρυσός : as gold by the side of lead. Gold wasthus -33 
tried by rubbing it upon the Lydian stone (so called because found in 
Lydia), which was known as βάσανος. The metal was judged by the 
marks which it left on this touchstone. 

266. dweprepins .. . λόγος = ὑπερτερίη : pre-eminence. 

267. θύραι. . . ἀρμόδιαι : the doors in Greek houses were made, 
almost without exception, in the folding form, so that the words re- 
ferring to them are generally plural. 

268. ἀμέλητα: for which they ought not to care. 

269. τὸ κακὸν κατακείμενον : used instead of the infinitive and im- 
personal construction: for often τέ is better that evil should be treas- 
ured up within, but that which is good ἐξ is better should come forth than 
that which is evil. 

271. ἐπιχθονίοισιν : (G. 184, 8, and 185; H. 597). 35 

274. ἐπαμησάμενον: having gathered, seldom used of the dead 
themselves. For the sentiment of these lines compare Cic. Tusc. Dis. 
B. 1, Ch. XLVIII. ‘‘ Affertur etiam de Sileno fabella quaedam, qui, 
quum, a Mida captus esset, hoc ei muneris pro sua missione dedisse 
scribitur: docuisse regem, non nasci homini longe optimum esse ; 
proximum autem, quam primum mori,” etc. . 

277. ᾧ : the antecedent is τοῦτο : how. 

278. ᾿Ασκληπιάδαις : taken from the name of several very early 
Greek physicians, and so was a sort of recognized title for a family, or 
school, of pre-eminent fame in the medical art. 

279. ἰᾶσθαι : fo cure ; in its original meaning the word only applied 
to wounds and external hurts. 

281. ποιητόν.... ἔνθετον : the verbal in ros denotes possibility, if 
understanding could be manufactured, and placed within a man. 

285. ἀπρήκτοισι agrees with χρήμασι, impossible gains. 

287. Exercise yourself in virtue. 

288. & .. . ἔῃ: conditional relative, dy omitted. ὅτε = quod- 
cunque, si quod. Notice the effect of the subjunctive, marking 
the antecedent as indefinite. 

289. The following passage is in a different style of thought, and 
manifestly does not belong to Theognis. The first eight lines are also 
attributed to Evenus, as line 294 is quoted as his, 

292. θωρηχθέντα: this verb had come to be used quite generally in 
popular language as expressive of drunkenness. Even the οἴνῳ was 
often omitted. It must have come into use as suggesting the unmea- 
sured power of wine. All languages seem to multiply euphemisms 
for drunkenness. 

295. οἰνοχοείτω: subject unexpressed to give an indefinite force. 36 
Supply οἰνοχόος. 


THEOGNIS. 


147 


PAGE 


296. od πάσας γύκτας γίνεται: 2 does not happen to him every 
night. ἁβρὰ παθεῖν: to indulge in pleasure. 

299. οἶνος χαριέστατος πεπόσθαι = χαριέστατον οἶνον πεπόσθαι. 
800. οὔτε. . . μεθύω : excessive drinking was repulsive to Greek 
taste. ᾿ 

802. καρτερός: master. 

808. ἀπάλαμνα: impracticable, foolish. εἴδεται: seems. 

804. he is ashamed at nothing when he is drunk. 

808. ὥστε: like. λάτριν ἐφημέριον: day-laborer. 

809. σὺ δὲ, x. τ. λ.: you always repeat carelessly that customary ex- 
pression “ Fill up.” 

811. ἡ μέν, sc. κύλιξ : one cup ts to friendship. This illustration 
of the Greek method of drinking and conducting the symposium is 
very suggestive. πρόκειται : is agreed upon before, i.e. as part of an 
appointment or a wager. 

817. τόν : sc. οἶνον. 

$19. κακόν: (6. 188; N. 2, α; H. 522). 

323. Kexdfobar . .  παρέζεσθαι : connect with χρεών. We find 
here again a suggestion of the later Greek ideal, that the highest at- 
traction of the symposium should be quiet intellectual conversation. 
Compare Xenophanes (page 21). 

325. συνιεῖν: old form of pres. inf. from συνίημι. τοῦ refers to 
ἄνδρα ἐπιστάμενον. 

827. Τολμᾶν, x. τ. X.: one ought to meet with endurance what the 
gods impose upon men, to bear with ease the lot of either fortune. 

329. dow: imp. from ἀσάομαι. 

331. λιμοῦ = 4 λιμός. κόρος denotes satiety, and, in its derived 
significance, the insolence which springs from wealth: it carries its 
double signification here. 

335. ὅτῳ ἀνδρί : that man to whom. 

340. αὐτός for ὁ αὐτός. 

842. ἀτηρός : for the hasty man becomes the victim of Ate. 

343. κίνδυνος : hazard, or apprehension. Hope and fear are singled 
out as the two elements which disquiet the life. 

345. wap’ δόξαν τε καὶ ἐλπίδα : beyond hope and expectation. 

346. βουλαῖς δέ: while good plans fail to be fulfilled. We are 
constantly reminded that Theognis lived in an age of disappointments, 
and he cannot refrain from being cynical. 

350. θυμόν : acc. by synecdoche. 

354. per’ ἀνθρώπων : among men, i.e. in my contact with men. 

356. ἀνδρός : (G. 169; H. 572, e). 

857. In the following lines, the condition of the state is described 


36 


37 


38 


148 NOTES. 


PaGE 


under the figure of a ship in distress. It was a favorite illustration in 
aucient as in modern times ; we find it in Alcaeus, and again in Hor- 
ace. This selection again (fifteen lines) is also attributed to Evenus. 
οἷά wep ἦδαν : according to my knowledge. 

359. παρέρχονται : sc. ol ἀγαθοί. 

861. καθ᾽ ἱστία... βαλόντες : this is an unusual use of καταβάλλω, 
to denote the lowering of the sail, which is generally expressed by 
καθελεῖν or στέλλεσθαι. καταβάλλω is employed here to suggest haste 
and suddenness. 

862. Μηλῶν ἐκ πόντον : the Hgean sea, or rather, that part of it 
above the island of Melos. 

868. ἀντλεῖν : tobale. The ancient ships were so small that it was 
difficult to keep them from filling in rough weather. 

364. ἀμφοτέρων τοίχων: both the sides of the ship. 

365. of” EpSover: as they act, i.e. acting as they do. κυβερνήτην 
refers to the oligarchical party collectively, or some representative of 
the aristocrats, whom, though a tyrant, Theognis would esteem as the 
salvation of the state. 

368. δασμός: the division of spoils; referring to the property 
which was gained in these revolutions by confiscation, and which be- 
longed to the public, though it was apt to be of especial benefit to a 
few favored ones. ἐς τὸ μέσον, the spoil in war was originally placed 
in the midst of the army to be fairly divided: so these words get the 
meaning of ‘‘ impartially.” 

369. φορτηγοί : the word is very suggestive of aristocratic feeling : 
the φορτηγοί are κακοί. 

370. κατὰ... πίῃ: engulf. 

371. ἠνίχθω : perf. imp. 3d pers., from alsicow: let this be spoken 
ina riddic. τοῖς ἀγαθοῖσιν : for the good, i.e. the nobles. 

878. of δέ: on the other hand, some seek nobility, i.e. the aristo- 
cratic party, who alone had culture, but were reduced to poverty. 

375. Inability (to do) confronts them both. ἔρδειν depends on 
ἀμηχανίη. 

876. χρήματα : the lack of means. Similarly νόος. 

378. δίκην εἰπεῖν : witer judgment. 

380. ἐσθλά : prosperity. 


383. Πλήθει : in the estimation of the multitude (G. 184; N. 5;. 


H. 601, 5). 

384. τῶν δ᾽ ἄλλων : there is no advantage in any thing else. ἣν is 
used in the imperfect, denoting a fact learned from experience. This 
tense is not unfrequently thus used, especially joined with dpa, to sug- 
gest that a previous misconception has been corrected ; cf. Goodwin’s 
Moods and Tenses, 11 N. 6, 


38 


99 


40 





THEOGNIS. 


149 


PAGE 


385. σωφροσύνη : discretion. The word describes both the wisdom 
and moderation which belongs to the perfect judge. Rhadamanthus, 
for his unswerving justice, was made a judge in the lower regions. 

386. Sisyphus was said before his death to have requested his wife 
not to bury him. Then, after reaching the lower world, he complained 
to Pluto or Persephone of his wife’s neglect, and obtained permission 
to return, in order to punish her. Having regained his liberty, he 
refused to return to Hades, until he was forcibly carried back by 
Hermes. 

389. Who (Persephone) brings forgetfulness to mortals, robbing them 
of their senses. 

391. ἀμφικαλύψῃ : sub. dependent on hypothetical relative with- 
out ἄν (G. 284; H. 759). 

393. παραμείψεται : subjunctive, with shortened mode vowel. And 
shall pass the dark gates which restrain the souls of the aes even 
against their will. 

396. σφῇσι : from odds, dat. plur. fem. 

398. cf. Il. I. 247-249, 11. 370, VII. 325. 

399. ‘Apwuey: (snatchers) any person who suddenly disappeared 
was regarded as the prey of the Harpies. In their sudden attacks 
upon mortals, they became emblematic of startling swiftness. 

400. ἄφαρ: sudden, quick. The use of εἰμί with an adverb is un- 
usual. The two words must be taken together as forming one con- 
ception. 

403. ἀνθρώπων ἔλαχον : won possession of men. The idea is a 
suggestive one of representing cares as winged (Theognis is imitated 
‘ in this by Horace) and as having various hues. 

405. φίλα : the plural is used for the singular with the impersonal 
subject, a construction which is peculiar, but not entirely contrary 
to usage, especially when there are different thoughts in the mind of 
the writer. The thought is marked as twofold; Let wicked men go 
on in their sin, but do not let their punishment descend upon their 
innocent children. 

407. ἀθειρής : the reading is doubtful, and this word isa conjecture 
of Bergk. Itis from the same root as ἀθερίζω, to slight, and hence, 
may be rendered with haughtiness. 

411. παῖδες : is attracted into the relative clause, though it is to be 
read as also subject of ἀντιτένειν. . 

415. ὁ... ἕρδων: the transgressor. 

418. ὅστις : the relative is indefinite, and the sentence is therefore 
regarded as conditional, putting its verb in the subjunctive. 

419, κατέχων : compassing, being guilty of. 


40 


41 


150 NOTES. 


Pace 


426. τρύχονται : indicative, to represent an actual fact. 

429. dg δὲ τελεντὴν, x. τ. d.: in the end you will give praise that 
you obey. . 

481, 432. ὑπειρέχοι χεῖρα: hold his hand over in protection. 

432. ἐπί denotes purpose. 

433. Apollo was not merely the especial protector of Megara and 
the Dorian states, but was universally worshiped as the helping god, 
to ward off evils. 

436. σπονδὰς θεοῖσιν ἀρεσσὰμενοι: making satisfactory offerings 
to the gods. ἀρέσκω is more usually construed with an acc. of per- 
son and dat. of thing. 

488. Μήδων : there are no data by which we can connect this ref- 
erence, or that in line 445, to any particular threatening of the 
Medes. Theognis was a contemporary of Cyrus. 

448. Alcathous, the son of Pelops, restored the walls of Megara, 
and was assisted, according to tradition, by Apollo. πόλιν ἄκρην = 
ἀκρόπολιν». 

445. αὐτός : now also. 

446. wédevs (Doric) = πόλιος. ἵνα σοι, x. τ. Δ... the common idea 
of the Greeks with regard to religion, is illustrated here: it is a mat- 
ter of trade, —so much attention, so many offerings, to receive an 
adequate return. 

451. στάσιν : the dissensions of the Greeks at this time, as later, 
rendered them liable to be overwhelmed by foreign invaders. 

454. Εὐβοίης : the soil of Eubcea was in many places very rich, and 
especially adapted to vine culture; cf. πολυστάφυλον ᾿Ἰστίαιαν (Hom. 
Il. 11. 537). 

455. Etpéra (Doric) = Εὐρώτου. 

456. ἐφίλευν = ἐφίλουν : entertained with hospitality. 

457. ἐκείνων : gen. of source. 

460. πᾶσιν ἁδών: having satisfied everybody. ᾿Αἴδεω, sc. οἶκον 


(H. 509, b.). 
464. χρῆμεν : this reading is suggested by Bergk as a plural of the 
verb χρῆμι. . . χρῆμεν φυλασσέμεναι, we desire that a θεωρός should 


be careful. The suggestion seems to imply that Kurnos had been ap- 
pointed on such an embassy to the oracle. 

465. Πνθῶνι --- Πυθοῖ : dat. of place. 

471. ἀπό : connect with γηράσκοντας. 

472. ὥρη : regard. 

473, γένηται : supply τὶς as subject. 

474. τοντάκιφ (poetic) = rére. tuev: supply καιρός ἐστιν, or some 
similar expression. 


41 


42 


43 


THEOGNIS. 151 
Pace 

475. These lines are attributed by Hartung to Solon. ériBa= 43 
ἐπίβηθι. δήμῳ : common people. The emphasis is on the noun, as 
well as on the adjective. 

477. φιλοδέσποτον: slavish. The irritation of Theognis against 
the commons for asserting their rights is thus constantly reappearing. 

He is probably a fair representative of the aristocratic feeling of the 
age. 

480. μαλθακὰ κωτίλλων : coaxing with soft promises. 44 

481. φίλων : connect with ris. δειλόν : misfortune. 

486. ὅς: sc. ὄλβος. οὐδὲν ἐών : worthless in itself. 

487. ἀρετῆς: virtue and valor were synonymous according to the 
conception of the ancients. 

488. σαοῖ = σώζει, from cadw. 

490. χάλκεος : this adjective appears also in Homer as an epithet of 
οὐρανός, in connection with the ancient idea of the strength and firm- 
ness of the heavens. 

493. #Ba: be joyous ; literally, be youthful. 

495. Τ᾿ηὐγέτοιο : Taygetus, between Laconia and Messenia. The 
region was wild and woody, being considered a favorite haunt of. 
Diana. 

497. @edripos : apparently a friendly dependant of Theognis, as 
the description hardly fits a slave. 

498. ἐπάγων : i.e. for the vines, 

., 499. rod: (G. 170, 2; H. 574). 

500. Owpnx Gels: cf. 1. 292, being filled with wine you will be more 
cheerful. 

502. κωμάζοιμι i is used to express purpose, adapting its mood to the 45 


previous optative. 

503. ὁ μέν. .. ὁ δέ: one man . . . another. 

506. ὀργὴν καὶ ῥνθμὸν καὶ τρόπον : femperament and disposition 
and habits. 

508. ἐνθέμενοι θυμὸν ἐφημέριον : having adopted a shifting mind. 

510. For in fact I myself in many cases failed in cong IL 
praised you before I thoroughly understood your nature. 

511. ἔφθην (G. 279, 2; H. 801, 5)... σοῦ : not to be en 
as referring personally to Kurnos, but aed to individualize general 
cases. | 

512. νῦν δ᾽ ἤδη, x. τ. A.: Now forthwith like a ship I flee away. 
The ship is selected for the figure because of the impression of swift- 
ness and power which its movement gives. 

513. ἐπὶ... καλύψῃ. 

514. καταβῇ : ὅς supplied from ὅν, 


152 NOTES. 


PAGE 


516. dvampdpeves : receiving, i.e. drinking. 

517. κραδίην εὖ πείσομαι: J will enjoy myself. ἐλαφρὰ γούνατα 
and κοφαλήν are to be taken as the symbols on the one hand of active, 
on the other of conscious, intelligent, life. ὄφρα τε: as long as. 

520. σπούδον : imp. ἀμφότερα strengthens the τε... . re. 

521. παρὰ κρητῆρι : over the wine. 

523. καταθόμεθα θυμόν : let us occupy the mind, i.e. rejoice in. 

524. φέρῃ: sc. θυμός. 

527. Sepwredov πόνον : toil of war. The noun is used in a per- 
sonified sense ; otherwise the adjective would be inappropriate, signi- 
fying spear-brandishing. 

528. vrepwépeves : rejoicing lo hasten over. 

529. Elway ὑποτίθεσθαι : to give common advice, make a general 
czhortation. From its origin the verb has nearly the significance of 
Eng. ‘‘suggest.” The meaning is shown in the noun ὑποθῆκαι. 

581. τῶν αὐτοῦ, κ. τ. Δ. : to get the good of his possessions. ἀνηβᾶν 
δίς : to gain a second youth-time. 

532. οὐ πέλεται: tf is nol possible. 

533. ἐπί : connect with the verb, — ἐπελέγχει, brings to dishonor. 

534. ἅπτεται : i.e. in whitening the hair. 

536. τοῦ ἀγαθοῦ παλάμη : objective genitive. The accomplishment 
of good ts difficult. 

537. κακοῖσιν : supply ἐν. 

538. δειλῶν : base-born. ὀξντέρη : more passionate. 

545. ἀγαθόν : connect with ἄνδρα, referring to the noble again as 
being brave and strong. χαλεπώτατον : most dangerous. 

548. ἄστρον καὶ κυνός = κυνάστρου. 

549. καλὰ λέγοντες : οἵ. 1. 828, note. 

550. ἔπειτα : hereafter, by and by. 

553. Do not by your haste get into evil. πράττω naturally has 
this meaning of passing through a certain condition. 

555. πέτεται : is feeble, volatile. 

557. ὀργήν : character. 

559. κατακρύψαντες ἔχονσιν : keep concealed. 

560. rol δέ = ἶ οἱ δέ. 

561. This couplet is entirely in the spirit of Mimnermus, and is 
attributed to him by Hartung. 

562. κλαίονσι : transitive, Zament. 

567. Κάστορ καὶ ΙΠολύδευκες ; the Dioscuri were appealed to as 
the helping gods, and also as presiding over laws of hospitality and 
friendship. 


45 


46 


47 


571, 572. Μάγνητας, Κολοφῶνα, Σμύρνην. Magnesia may be the 48 


THEOGNIS. 153 
PAGE 
city destroyed by the Cimmerians ; on the other hand, Gygesis spoken 48 
of as destroying a Magnesia, perhaps the one on Mt. Sipylus. Herodotus 
mentions Gyges as capturing Colophon, and Ardys as conquering 
Smyrna (Her. I. 14, 16). The last named is also referred to in his- 
tory as destroyed by a later king of the same family, and lying deso- 
late for about four centuries. The whole account is however subject 
to many doubts, 

576. ἐκ κακοῦ : from a base-born family. 

577. er ἀλλήλοισι : this is the usual construction with yeddw, 
though sometimes that verb is transitive. 

579. Πλοῦτε: the god of wealth, said to have been rendered blind 
by Zeus, so as to distribute his gifts without regard to merit. 

581. μέτρον : full measure, prime. 

583. ζώοιμι : cf. 1. 501. 

586. ἤἦλνθεν ἐξαναδύς : went down and returned. 

588. Πηνελόπης ἔμφρων : the two words are brought together as 
implying that his prudence and trustiness were especially proved in 
connection with Penelope. 

590. γῆς. . . μυχούς : ἐπιβαίνω is properly used both with the 
gen. and acc. The case seems to be changed to suggest the power 
with which he seized upon the dread apartments of his house. The 
adj. δειμαλέους is appropriate, because they were in possession οἵ his 
enemies. 

591. ᾿Ελπίς : personified goddess of hope. Compare the similar 
myth of Pandora and her box. 

593, 594. Πίστις... Σωφροσύνη : these are of course human 49 
qualities personified as divinities. Πίστις is used in the subjective 
sense of reliability, honesty, good faith. σωφροσύνη is the combination 
of those qualities which make a trustworthy man, including moderation 
and prudence, literally sound-mindedness. 

594. Χάριτες : the Graces are the goddesses who lend to life the 
charms of gentleness and culture, with especial reference to social life. 

600. εὐσεβέων περί : with reverence toward. προσμενέτω : wait 
upon. 

603. φραζέσθω : let him mark. σκολιόν : crooked, unrighteous. 

606. Establishing base covenants for disgraceful deeds. 

611. καταθήσειν : to lay up. 

612. Doing good to noble men, you will get the best treasure. 

614. γνώμη πείρατα παντὸς ἔχει. Understanding holds all issues. 

617. tev: gen. possess. ; the antecedent is βροτοῖσι : for whom 
there is nothing worse. 

620. πεῖραν μεγίστην ἔχοις : you would give the highest proof. δ0 
Hartung reads πείρατ᾽ ἔχοις. 


154 NOTES. 


PAGE 


622. εἴργα μήθ᾽ : μή is usually added to épyw in the sense of to pre- 
vent, before an infinitive. 

624. οὐ wyeorg .. . γίνεται : i is no cause for anger. This 
phrase is regularly joined with an infinitive (κατακλῖναιλ. 

626. εἰ μὴ μοῖρ᾽ : unless fate shall place a limit to the misfortune. 

628. BovAdpeves : at will. 

631. ἀσπάλαθοι : a prickly shrub used sometimes even for tor- 
turing. 

632. The idea is that it makes no difference whether the couch is 
hard or soft. 

634. κρύψαι : should conceal ; i.e. should furnish a cloak for our 
sins. 

637. καί μοι κραδίην : and it smote my sad heart. 

640. The readings here are very variable. After considerable hesi- 
tation I have adopted that of Hertzberg. Buchholz reads, τῆς ἀμῆς 
μνηστῆς, but as hardly two authorities read alike it seems a fair case 
for freedom of choice. Bergk reads from the codices, τῆς ἄλλης 
μνηστῆ. 

642. ᾿Αργνρί refers to the rich but base plebeian party. σοὶ μὲν, 
x. τ᾿ Xu: for the slave's position belongs to you. 

646. Δηθαίῳ πεδίῳ : situated in the plain of forgetfulness ; 1.6. we 
are to be prosperous in forgetting. 

650. ἀληθοσύνης : connect with μάρτυς. 


ARCHILOCHUS. 


I. 


Ir was the desire of Archilochus that his countrymen should colo- 
nize in Siris (probably a Thracian locality, see Herodotus VIII. 115, 
and V. 15), but it was their decision to settle in Thasos. The frag- 
ment expresses the disgust of the poet over the appearance of the 
country. 


LINE 1. paxes: properly the ridge along the backbone of a beast. 
2. ὕλης : gen.; depends upon ἐπιστεφής, from the idea of fullness. 


II. 


THis fragment is alluded to by Aristotle (Rhet. iii. 17) as contain- 
ing words put into the mouth of Charon, a mechanic of Thasos. No- 
thing more is known of its connection, 


50 


51 


56 


ARCHILOCHUS. 


155 


PaGE 
Line 1. Γύγεω: Gyges dethroned Candaules, and succeeded him 656 


as king of Lydia (v. Herod, i. 8-14). His wealth became proverbial. 

2. tAAos: still refers to Γύγεω ; desire lo emulate him. It is dis- 
tinguished from φθόνος as denoting a more noble passion. 

3. In the scanning of this line, « in both θεῶν and ἐρέω are drawn 
together by synizesis. The second foot in the verse is a tribrach. 
τυραννίδος : this is referred to as the earliest known usage of the word. 
These were the times in which it originated. 


III. 


LinE 1. τιθεῖν, inf. for imp.: leave all to the gods. The infini- 
tive expresses less of command, but more of conviction and feeling 
than the imperative. 

ὃ. καὶ μάλ’ εὖ, x. τ. λ.: and lay prostrate those who have been well 
established. 

5. πλανᾶται : subject is general. One wanders in beggary, be- 
wildered in mind. 


IV. 


THE fragment is descriptive of the desirable military leader, written 
apparently with reference to some unworthy aspirant. 


LINE 2. γαῦρον : exulting in. ὑπεξνρημένον : from ὑποξυράω. 
3, 4. περὶ xvfpas... ponds: bow-legged. | 


V. 


LINE 2. ἀλέξευ = dddtov. Svopevav, connect with ἐναντίον : pre- 
senting a bold front against the enemy. 

8. δοκοῖσιν : spears. 

6. xaprotow ... κακοῖσιν: (6. 188, 1; H. 611, a). 

7. γίγνωσκε, x. τ΄ As: recognize the conditions in which men are 
placed. 


VI. 


Linge 1. Nothing can be unexpected nor be declared impossible. | 


It is suggested that this fragment may be intended to convey the 
words of Lycambes in his annoyance over the attacks of Archilochus. 
It is so alluded to by Aristotle, Rhet. III. 17. 


- 


57 





156 NOTES. 
PAGE 
4. λάμποντος : this verse uses irregularly a spondee in the third 57 
foot. 
5. ἐκ τοῦ: sc. χρόνον. 
6. ὑμῶν: gen. part. with μηδείς, let no one ever wonder at what he 
sees. 


VII. 


Lin 1. "Ewvadlow : a god whose attributes were nearly identical 
with those of “Apys, and who was often confounded with him. 
2. καί : used as correlative with μέν. 


VIII. ° 


LINE 1. πατρώϊος : Archilochus would have received from his 
father both wealth and position. It was his own unfortunate temper 
which stood in the way of his happiness. 


ΙΧ. 


LINE 1. sc. ἐστί. μᾶζα : ἃ cheap barley-cake, a common form of 58 
food for the lower classes. μεμαγμένη : Aristophanes plays (Eq. ὅδ) 
upon the similarity of this word to eee there is perhaps the | 
same thought here. 


X. 


Line 1. The κώθων seems to have been a broad-bottomed earthen 
mug or cup, especially popular with soldiers and sailors. σέλματα : 
benches. 

3. ἄγρει : lake, draw. 

XI. 

In a conflict with the Saii, a Thracian people, the poet confesses 
that he abandoned his shield, and fled to save his life. - The frankness 
of the confession is especially characteristic of Archilochus (see His- 
torical Introduction). We might almost conclude that this sort of 
conduct became fashionable among poets, as Alcaeus and Horace each 
make a similar confession. 


Dine 2. οὐκ ἐθέλων : against my will, ie. as being hard-pressed. 

8. θανάτον τέλος : poetic for θάνατον. 

4. ἐῤῥέτω : let it go. This verb is often thus used in the impera- 
tive in expressions of impatience. 


SIMONIDES OF AMORGOS. 157 


XII. 
PAGE 


THE Pericles who is addressed in the poem, of which we have here 58 
only three short fragments, seems to have been a citizen of Paros. 
The poem is a lamentation over fellow-citizens and friends who had 
perished at sea, and an exhortation to patience as the only solace. 


LINE 2. μεμφόμενος : dewailing. θαλίῃς : in feasts. οὐδέ : fol- 
lowing οὔτε is unusual, but it gives special emphasis to the second 
member of the clause (H. 859, a). πόλις : the city at large, the state, 
in contradistinction to (ris ἀστῶν) any individual citizen. 

3. τοίους, x. τ. Δ. : for the wave of the loud-resounding sea has 
rolled over those so bound to us, and our breasts are swollen with grief. 

6. ἐπί: join with verb. : 

7. ἄλλοτε, x. τ. Δ. : sometimes one, sometimes another, meets with 
such sorrow. τόδε might be taken as referring directly to κῦμα, 
though with a more general meaning. 

10. ἀπωσάμενοι : connect with rAfire: endure to put aside. 


XIII. 


Koptrrepev : exhortation to bury the dead which are washed 59 
ashore (Ποσειδάωνος . . . Sepa). 


XIV. 
LINE 2. ἐφέπων : attending. 


SIMONIDES OF AMORGOS. 


J. 


THE subject is the vast variety of dangers which threaten men. 
We can find here something of that same phase of thought which led 
to those grand portrayals of fate which we meet in the later tragedy. 


LinE 1. τέλος : destiny. 

2. ὅπη θέλει: as he will; the indicative points to the existing con- 
dition in which he has actually arranged them. 

4, 484: equivalent to ola 54. This meaning for the relative is not 
unusual, 





158 NOTES. 


PAGE 


6. ἐπεικειθοίη : confidence. 

7. It is always the hope that the future will bring what is desired. 

9. οὐδεὶς ὅστις οὐ : everybody. 

12. ἵκηται : the subjunctive contains as usual something of an ex- 
pression of probability ; the object may be gained, but too late for 
enjoyment. 

14. ᾿Αἴδης : the god of the lower world ; later the euphemistic 
name Πλούτων (wealth-giver) was preferred. ὑπὸ χθονόξ: notice the 
idea of permanence expressed by ὑπό with gen. He sends them and 
keeps them there. 

18. δνστήνῳ : abominable. The human mind revolts from such 
an end, and it is universally regarded as accursed. 

20. οὕτω, x. τ. Δ. : no lol is free from evil. - 

21. κῆρα : fates. Always as evil, generally as bringing violent 
death. , 

22. ἐστίν : takes singular from neuter πήματα, its nearest subject. 

23. οὐκ ἂν... ἐρῷμεν : we would not be absorbed in (in love with) 
our misfortuncs, nor be tormented by having our minds upon our woes. 

24. txovres: the compound verb ἐπέχω is more common in this 
sense, being used with διάνοιαν, γρώμην, νοῦν, or alone. 


Il. 


THIs piece is to be especially valued for the glimpses of ancient life 
which are given in it, especially as it evidently refers to people of the 
middlé class, of whom it is most interesting to know, and most difficult 
to obtain information. It isa somewhat comical composition, arranging 
women in various classes according to their alleged origin. Thus Zeus 
is supposed to have formed them from swine, from foxes, from dogs, 
and from other sources, according to the character which is to be 
found in each. The piece is composed with considerable humor, and 
we must beware of interpreting into it a bitterness which is foreign to 
it, as well as of mixing modern associations with the types which are 
used, 


LINE 1. Χωρίς: of a variable nature. The adverb is used as an 
indeclinable adjective. 

2. τὰ πρῶτα : in the beginning. 

8. τῇ : the dative depends on κεῖται: with whom all things lie 
disordered about the house, covered with filth. 

6. κοπρίῃσιν : the use of the plural intensifies the expression : as 
we say, quantities of dirt. mealvera:: fattens herself. The word 


60 


SIMONIDES OF AMORGOS. 


159 


PAGE 


carries with it important moral associations, she grows coarse and 
wanton. 

7. ἀλιτρῆς : crafty. It combines the idea both of cunning and of 
wickedness. ἔθηκε = ἐποίησε or ἐποιήσατο. 

8. κακῶν... τῶν ἀμεινόνων : depend upon οὐδέν. 

10. The one of these (i.e. the good) she calls evil, and the other she 
calls good, εἶπε: gnomic aorist (G. 205, 2; H. 707). 

11. ὀργὴν δ᾽, x. τ. Δ. : at one time she has one humor ; at another, 
another. 

12. τὴν δ᾽: sc. θεὸς ἔθηκε. atrophropa: the very mother over again 
(her mother’s own child). The dog was the symbol of shameless med- 
dlesomeness. 

15. λέληκεν : gnomic perf. with present signification (G. 205, 3). 
Av καὶ μηδὲν᾽, κι τ. A.: even though she 8668 not a single soul. 

18. οὐδ᾽ ἂν μειλίχως μνθεύμενος : nor by soft words would he 
check her. The verb παύσειε is to be supplied. 

20. But without cessation she keeps up an uncontrollable howling. 
It will be noticed here, as throughout the whole piece, that women are 
not represented as kept in strict seclusion, but they take part with 
considerable freedom in social life. 

22. πηρόν : stupid. The earthy origin suggests mental heaviness. 

24. Only one kind of work does she understand, and that is how 
to eat. 

25, 26. She does not know enough even to come to the fire when it 
is cold. 

27. τὴν δ᾽ ἐκ, x. τ. A. : and one God made from the sea; she thinks 
two ways in her mind. 

82. τὴν : sc. ἡμέραν. ἀἄἀνεκτὸς, x. τ. r.: she is unendurable, even 
to the sight, nor can you approach her. The infinitives depend upon 
ἀνεκτός. 

35, 36. She becomes rude and hateful to ali alike, both friends and 
foes. 

38. ἀπήμων: unharmful. 

41. ταύτῃ instead of οὕτω, corresponding to ὥσπερ. 

42. ἀλλοίην : sometimes one, sometimes another ; variable. 

43. ὄνου : the ass is the subject of as many proverbs in Greek as 
in other languages. It symbolized stupidity, clumsiness, and obsti- 
nacy ; sometimes even brutality. 

44-46. 4 σύν τ᾽ ἀνάγκῃ, κ. τ. Δ. : who from necessity and with 
rebukes only with difficulty contents herself with every thing, and works 
out what is pleasing (i.e. to her husband). 


60 


61 


62 





160 NOTES. 


PAGE 
45. ὧν for οὖν. wovhearto: the omission of the augment is most 62 


unusual in Ionic poetry. 

46. τόφρα : meanwhile. 

47. προνύξ, προῆμαρ : by night and by day; always. 

49. ὁντινῶν = ὄντινα οὖν : any whatsoever. 

51. ἐπίμερον : Ionic for ἐφίέμερον. 

56. ἄθυστα : unconsecrated, as the sacrifice was preliminary to the 
feast. 

57. ἵπποι : suggestive of pride and display. 

58. ἡ δούλι᾽ : she turns her back upon servile work and toil. 

59. péAns: the hand-mill was an indispensable article of farniture 
in the ancient household, and it fell to the women to work it, though 
in the more wealthy establishments the duty was transferred to slaves 
(cf. Od. VII. 104, XX. 105-109; Matt. XXIV. 41), It is evidently 
a simple state of society which Simonides presents to us. 


62. ἀνάγκῃ, x. τ. A. : she makes her husband show her favor. even 


against his will. 

68. ἀπό: join with λοῦται. 

64. Sle, ἄλλοτε τρίς : again and again. Usually the Greeks bathed 
before the principal meal of the day. For her the ordinary. washings 
were not enough. 

66. βαθεῖαν : thick. The Ionians, both men and women, seem to 
have worn their hair long, and the latter decked it with head-dresses, 
adorned with colors and pieses of metal. Flowers were for special 
festal occasions. 

68. re... ἔχοντι : her husband. | 

69. apannae: a sovereign. τύραννος was the title of the rulers who 
gained absolute power in the. Greek states through the dissensions 
between the nobles and the people, generally by alliance with the 
democratic elements. The βασιλεύς had hereditary power. : 

70. ὅστις : who is dazzled in mind by such attractions. 


71. m@hxov: noted both for its ugliness and trickery. τοῦτο. 
refers to τήν, but takes the gender of the pee κακόν. It is natu-, 


rally somewhat contemptuous. 

76. ἄπυγος, αὐτόκωλος : with no figure, mere skin and bones. 

79. οὐδέ of γέλως μέλει : nor does she care for laughter. : 

80. εὖ τινα ἔρδειν : to be of advantage to any one. ἀλλὰ τοῦθ᾽ 
δρᾷ : but she looks out for this. 

81. τοῦτο, contrary to ordinary usage, refers to what follows. 

88, τήν τις, «x. τ. AX. : any one is fortunate who gets this one. 


85. θάλλει, κι 7.0. : the means of life abound, and grow larger - 


63 





SIMONIDES OF AMORGOS. 


161 


PAGE 


through her diligence. ᾿ θάλλει carries with it the idea of rich and flour- 
ishing abundance. 

86. φίλη: loving. 

89. ἀμφιδέδρομεν : gnomic perfect, as if pointing to a recognized 
instance. The poem might well have closed at this point, as these 
last ten lines both in their sentiments and in their general style and 
expression are far superior to all the rest. It has indeed been sug- 
gested that the remainder really belongs to another composition. (See 
Mare. Literature of Ancient Greece, Vol. III. p. 182.) . 

95. They are intended for evil, and will continue to be for evil. 

99. οὐ γάρ, κ. τ. 2d. : ee eg ee 
the whole day, whoever is united with a woman. 

101. οὐδ᾽ αἶψα : with dificulty, scarcely. 

104. μοῖραν. .. χάριν : adv. acc. χάριν was originally used in 
this way, or in apposition to the sentence, and so gradually assumed 
nearly the province of a preposition. μοῖραν imitates the construction 
of xdpw. Translate, by the gift of God or the favor of man. 

105. εὑροῦσα : finding some cause for blame she equips herself for 
strife. 

110. κεχηνότος : from χαίνω : as sign of freedom from suspicion. 
When the man suspects nothing. The sentence is unfinished, the 
aposiopesis allowing imagination to suggest the evil. The neighbors 
exult seeing how he also is deceived. 

112. τὴν ἢν: his own, 

117. ἐξ οὗτε : sc. χρόνου : from the time when. 

118. γνναικός : i.e, Helen, referring to the Trojan war. | 


63 


64 


162 NOTES. 


SAPPHO. 


ΤῊΣ dialectic peculiarities of Sappho and Alcaeus will receive brief 
notice as they occur. For the sake, however, of giving a more complete 
idea of their language, we insert the following table, pointing out the 
more prominent variations of the Aeolic dialect. Some of these inter- 
changes are but rarely found, and the consonants are naturally more 
fixed than the vowels. 








VowELs. CONSONANTS. 
Attic. Aeolic. Attic. Aeolic. 

a. αι. β. ¥- 
a. 0, ν. Υ. 8. 
a. ἅ, especially before 8. ῖ, B, A. 

ἃ vowel. t- oo, TT. 
ε. α, ο. θ. -, >. 
ει. οι, ἢ, a. «, before λ, ρ. 

a liquid, which is μ- -- 

then doubled. ε, -- Ke 
ι, ε, ἢ. σ. τ, ὃ, ρ, ψ. 
ἢ. α, αι. T. --. 
ο αν, OV. >. a. 
οι. ο. χ- κι 
ov. εν, @, οι. 
ν. ο, ον. 
ω. ν. 


In the aorist participle, a frequently becomes ac; and ov changes to 
οἱ in contractions resulting from dropping ». Accusatives take the ending 
ais and os, ace and owe being used for the dative. Noticeable, also, 
is a fondness for doubling o and μ, and for the use of the smooth breath- 
ing. When » follows a long vowel or dipththong, this is shortened and 
y is doubled. 





SAPPHO. 168 


I. Ope To APHRODITE. 
Pacer 


LINE 1. Ποικιλόθρον᾽ : suggested, probably, by her throne in the 68 
temple at Mytilene. 

2. δολόπλοκε: weaving wiles; the adj. ia peculiar t> this passage. 

8. ἄσαισι, from don: distress, ὀνίαισι = ἀνίαισι. 

4. θῦμον: notice accent. The Aeolic dialect tended to throw the 
accent back in words of two or more syllables, confining the accented 
ultima to prepositions and conjunctions. 

5. τυῖδε (for τῇδε ) here = δεῦρο. πότα ---πότε. κἀτέρωτα (for 
καὶ ἑτέρωθι) : at any other time. 

6. atSes: gen. (for αὐδοῦς) from αὔδω Ξε αὐδή. ἀΐοισα -««- dioica. 
πήλνι = τηλόσε. 

7. ἔκλνεξ : you attended to my call. λίποισα = λιποῦσα. 

11. ὠράνω : for οὐρανοῦ. 

12. μέσσω: for μέσου. 

18. τύ Ξ-Ξ- σύ. 

14. μειδιάσαισι, from μειδιάω : for μειδάω. 

15. ἥρέ: for ἤρεο τα ἦρον. δηῦτε--- δὴ αὖτε. κὄττι: andwhy. 6069 

16. κάλημι : Acol. for καλέω. 

18. τίνα. .. Πείθω : whom do you wish Peitho to bring ? 

19. pats: iota not subscribed for μᾷς. Notice the sudden change 
from 1st to 2d person, and the air of ease and flexibility thus im- 
parted to the style. 

20. Ψάκφο: Acol. forZargot. ἀδικήει = ἀδικεῖ. 

21. καὶ γὰρ al, x. τ. X.: and I will bring aid, for if she flces thee, 
she shall soon pursue, . 

23. φίλει: notice Aeolic recessive accent. 

24. κωὐκ ἐθέλοισα : even though against her will. 

26. μεριμνᾶν : Aeol. gen. plur. 

27. ἱμέῤῥει: Aecol. for ἱμείρει, as Aeolic forms in general substitute 
epp for ecp in the middle of a word. 

28. ἔσσο = ἴσθι. 


II. ADDRESS TO A BELOVED MAIDEN. 
Tas poem is translated by Catullus. 


LINE 1. κῆνος = κεῖνος: it is to be taken in a general, rather 
than a particular, sense. Any one, yet it is used as if with a definite 
application, as the relative clause has the indicative. ἴσος θέοισιν : 
happy as the gods. 


164 NOTES. 
PAGE 

2. ἔμμεν -ο εἶναι. ὥνηρ = ὁ ἄνηρ. 69 

8. ἰζάνε : the Aeoli¢ generally. preferred the smooth breathing, or 
the digamma, in place of the rough. φωνείσας and γελαίσας, gen. 
sing. as if from yu-forms. 

δ. τό : dem. This causes my heart to utter. 

7. εὔιδον = εἶδον : v arises from the digamma (ἴδ = Lat. vid Le. 
video). The aorist form is used with a gnomic sense, to represent. 
a general truth by a particular instance. βροχέως = Apaxéws. - 
Translate, Forthwith when I look upon thee, not a sound any longer 
escapes me. 

8. εἴκει == ἥκει. 

9. nap... ἔαγε, from κατάγνυμι : was silenced. 

10. ὁπαδεδρόμακεν = ὑποδεδρόμηκεν. oa 

11. Swwa = ὄμμα. ὄὅρημι = ὁράω. meets: 3d plur. Aeol. 

18. ἴδρως : feni. in Aeol. 

14. χλωροτέρα: 7 turn paler than the withered grass. 70 

15. τεθνάκην = τεθνηκέναι. ὀλίγω ᾿πιδεύην : Acol. inf. The verb 
appears otherwise in mid. ἐπιδεύομαι. It is here equivalent to the 
Attic ὀλέγου δεῖν. Many authorities read here ᾽τιδεύσην (fut.), which 
is the form given by Liddell and Scott, but Bergk reads as we have 
given it. So also Hartung. 

16. ἄλλα, i.e. ἡλεή = de mens (Bergk). 

17. τόλματον = τολμητόν. 


ΠῚ. 


LINE 2. ἀποκρύπτοισι = ἀποκρύπτουσι. 

4. ἀργυρέα : feminine, agreeing with σελάνα. The reading is quite 
uncertain: the brackets with ἀργυρέα are Bergk’s, while Hartung 
omits αὔγαν. 


IV. 


ΠΙΝΕ 1. ψῦχρον -ΞΞ τὸ ψῦχος ; coolness. ὕσδων : froma form ὕσδος 
for ὅσδος == ὄζος. 


Vv. 


LinE 1. Κύπρι: a popular name for Aphrodite, because her wor- 
ship was first established in Cyprus, and this island was considered her 
favorite abode. 

3. συμμεμιγμένον : joined with. 


ALCAEUS. 165 


VI. 


PAGE 
THIs is the reply of Sappho to the address of Alcaeus (Alcaeus V). 70 


ue 1. Hes = εἶχες. 
. ἐκύκα : if your tongue did not feel impelled to speak some evil. 
ri GAN’ Orcyes: but you would have spoken out your honorable 


thought. 
IX, 
LINE 1. φέρεις : thou bringest. . 71 
2. atws = Hus. 


This selection is imitated by Byron (Don Juan, Canto III. cvii.). 


ie ᾧ a . ALCAEUS. 


I. 
Desckirtion of his hall ornamented with armor. 
LINE 1. πᾶσα, x. τ. A.: all the house is adorned in honor of . 
Ares, 
2. ᾿κυνίαισι --Ξ- κυνέαισι. καττᾶν = καθ᾿ ὦν. ἵππιοι λόφοι: th 
ancient lielmet was surmounted by a crest, formed usually of horse- 
hair, which added greatly to the i imposing appearance of the warrior. 
cf. Il. III: 887, δεινὸν δὲ λόφος καθύπερθεν ἕνευεν. 

8. πασσάλοις : Aeol. acc. : 

4. κρύπτοισιν = κρύπτουσιν : and shining greaves of bronze, hang- 
ing over pegs, conceal them from sight. κνάμιδες shortens its penult | 
contrary to its usual quantity. ἰσχύρω = ἰσχυροῦ. a == βέλεος. 

δ. κατ᾽ : connect with βεβλήμεναι. ΕΝ 

8. Χαλκίδικαι : Chalcis, in Euboea, received its name from the 
copper mines in its vicinity. According to'a very old tradition among _ 
the Greeks, copper was first discovered there. σπάθαι : swords, 


7. ἔργον : war. 
II. 


Tue perils of the state depicted under the figure of a storm-tossed 
ship... a 


166 NOTES. 
PAGE 
Line 1. ἀσννέτημι = ἀσυνετέω: I do not understand. στάσιν: 73 
the condition. 
2. τὸ μὲν... τὸ δέ: in part from this side, .. . in part from that. 
8. ἄμμος = ἡμεῖς. 
5. μοχθεῦντες. .. para: sore distressed, 
6. wep... ἔχει, tmnesis, = ὑπερέχει ; already the water rises above 
the mast-stay. 
7. λαῖφοι : sail. wav: Aeol. for πᾶν. ζάδηλον = διάδηλον : 
rent. 
8. λάκιδεςξ : supply εἰσίν. 
9. χόλαισι = χαλῶσι : fail. 


Hil. 


1, μεθύσθην = μεθυσθῆναι. πρὸς βίαν : with force, i.e. with a 
will. 

2. Mupowros: the στασιωτικά of Alcaeus were all directed against 
his political opponents, whom he branded as usurping, or attempting 
to usurp, tyrannical power. Myrsilus was one of these leaders of the 
opposite, or popular, faction. 


IV. 


ANTIMENIDAS, to whom this poem is written, was the brother of 
Alcaeus, who, after being expelled from his native land, entered the 
service of the king of Babylon. In recognition of his valor Antimeni- 
das there received the sword with ivory hilt inlaid with gold alluded 
to in this fragment. According to the received dates, it would seem 
that the Babylonian king must have been the distinguished Nebu- 
chadnezzar. 


Line 1. ἐλεφαντίναν, «x. τ. λ.: works of art in gold and ivory be- 
came afterward exceedingly popular among the Greeks. This sword 
would, of course, be taken as a special prize from the wealth of the 
East. The passage, therefore, illustrates the early admiration for this 
kind of work. 

4. σνμμάχεις takes the Aecolic recessive accent. ῥύσαο, sc. αὐτοῦς. 

6. μίαν, sc. radaloray: lacking only a single palm of five cubits. 


V. 


THE address of Alcaeus to Sappho, to which Sappho VI. is the 
reply. 


ALCAEUS. 167 


a Page 
THE fragments which follow seem to have belonged to the class of 73 
odes known as σκόλια. They were informal banquet songs, paroenia 
(παροίνια), originally extemporized in succession by the feasting poets, 
and deriving their name, perhaps, from the freedom and irregularities 
allowed in the versification. The ode from which this fragment is 
taken was imitated by Horace (Car. I. 9). 


Ling 1. da: we see how the more conimon impersonal use of this 74 
verb arose from the omission, in later Greek, of the suhject which is 
here expressed. ὀράνω == οὐρανοῦ. 

3. κάββαλλε = κατάβαλε: Horace renders, frigus dissolve. 
ἐπὶ τίθεις : heaping up. 

4. ἐν δὲ κίρναιᾳ = ἐγκίρνας δέ. 

6. ἑσσάμενος : I havo written thus with Hartung rather than leave 
the line imperfect, as does Bergk : ‘‘having prepared soft wool (a cush- 
ion) for the head.” γνόφαλλον = γνάφαλλον or κνάφαλλον. 


Vil. 


LINE 1. éwerpéwny, Aool. inf. for ἐπιτρέπεν. θῦμον (the recessive 
accent is Acolic), object of ἐπιτρέπην. 


2. προκόψομεν, x. τ᾿ .: for we gain no advantage by troubling 
ourselves. ὠσάμενοι, from dodw. 


3. Βύκχι = βάκχε. 
4. μεθύσθην = μεθυσθῆναι. 
VIL. 


Line 1. ἀνήτω : gen. from ἄνητον = ἄνηθον. ϑέραισιν : from δέρη. 
2. πῳθέτω = περιθέτω. πλέκταιῃ = πλέκτας. 


3. Te = τοῦ. 
IX. 
THE weakness of the state in enduring Pittacus, 


LINE 2. ἀχόλω == ἀχόλου : meek, submissive. 
3. ἀόλλεες : wilh one accord, 


X. 


LINE 1. λύχνον : it was a violation of orderly habits to drink in 
the middle of the day. δάκτυλος ἁμέρα : ‘the day is but a Anyer's 
breadth.” The δάκτυλος was the shortest Greek measure of length. 


168 NOTES. 


PAGE 


2. καδ δ᾽ Gaps, x. τ. X.: distribute the generous, highly-wrought 
cups, dear youth. dre: the true reading is a mere matter of con- 
jecture, and the editors differ widely.. If this reading of Buchholz is 
correct, the « mast be shortened from dfrys. 


74 


3. Lepéras : Semele was daughter of Cadmus, and mother of Diony- . 


sus. λαθικάδοα, froin λαθικηδήε: banishing care. 

4. κίρναιῃ = κίρνας. ἕνα καὶ δύο ; one part wine and two of wa- 
ter. To drink the mixture as strong even as half and half was con- 
sidered injurious among the Greeks. 


5. πλέαις = rhdas. κεφάλας: rim of the cup. a Ta aa let 


ane cup crowd close upon another. 


ΧΙ. 
Cf. Hor. Car. I. 18. 


ANACREON. 


Tue first fragment is a prayer to Artemis, and ἘΠῊΝ the two fol- - 


lowing belong to the same hymn. 
1. | 
Line 2. ξανθή: fair-haired. The light auburn, or golden hair, 
from its rarity in the South, was highly esteemed as an "τὼ ele- 
ment of beauty. 


4. ἐπί : notice the force of the dative with the prep., as signifying 
rest following the motion. «Δηθαίον : a river, in Asia Minor, flowing 


by Magnesia, and emptying into the Macander. -Hartung reads ef © 


. ἐγκατορᾷς, arguing that Anacreon had no connection with this 
region aud that the reference is to a favorite resort of the goddess. 
There are difficulties with either view of the case, but we assuredly 
know too little of the details of Anacreon’s life to say positively where 
* he may, or may not, have been. So I have not rejected the reading 
of Bergk. _ 

6. ἐγκαθόρα . .. xalpovora : graciously regard. 
8. ποιμαίνεις : govern, or rule over. Compare the ποιμὴν λαῶν of 
Homer. 


Ἢ II. 


PRAYER to Dionysus for the favor of Kleobulus. - 


75 


76 





ANACREON. 169 
PAGE 
LINE 1. ὦναξ : by crasis for ὦ ἄναξ. 76 


2. δαμάλης : Anacreon emphasizes, throughout, the power, rather 
than the sportiveness, of Love. 

3. πορφυρέη : the word is older than the Greek use of the color 
which it afterwards came to represent. Its early meaning seems to 


kave been associated with the dark gleaming of the rolling sea. It 


came gradually to be used of brighter colors, and even of the rainbow ; 
we may render it rosy, or radiant. 

4. ἐπιστρέφεαι : (lit. turn) but thou art wandering. 

7. δέ: Buchholz suggests that δέ emphasizes ἐπακούειν, as used 
imperatively ; it seems, however, also to emphasize κεχαρισμένης : but 
if the prayer is accepted, grant it. 

9. γένευ : Ionic for yévou ; cf. Δεύνυσε for Διόνυσε, and Κλευβούλῳ 
for Κλεοβούλῳ. " oo 

11. δέχεσθαι : depends on σύμβουλος... γένευ. 


ΠῚ. 


ΝΌΤΙΟΕ the change of cases in the proper name. 


IV. 


LINE 1. παρθένιον βλέπων : with maiden's glance. 
2. οὐ clas: art not noved. 


V. 


Line 1. Σφαίρῃ : The playing at ball together seems to be used 
as symbolical of love. The expression, therefore, ‘* ros challenges me 
to join in play,” signifies drawing together in love. ϑηῦτε = δὴ aire. 

3. vive: poetic Ionic for νεάνιδι ; the dative depends upon συμπαί- 
few, ποικιλοσαμβάλῳ = ποικιλοσανδάλῳ : an ‘Acolic form. 

5. evarirov==the Homeric ἐϊκτέμενος : well built: applied, as 
here, to an island, the idea is, filled with beautiful buildings. 

7. λευκή : gray. 

8. ἄλλην ; sc. κόμην. wpds δ᾽ ἄλλην τιγά == πρὸς δ᾽ ἄλλου τινὸς 
κόμην. ἘΠῚ τ : 

. ΥΙ. 
LINE 4. γηράλεοι : read as three syllables. 
7. ἀνασταλύζω : 7 weep. ; 
10. ἀργαλέη : three syllables. 
11. καὶ γὰρ ἑτοῖμον : for it is cerlain, 
12. μὴ ἀναβῆναι : synezesis (G. 10; H. 69). 


7 


78 





170 NOTES. 


VIL 
PAGE 


THE antiquity of this poem as really belonging to Anacreon is 78 
argued from the conception of Eros being more like that of the early 
ages. In later times, from about the age of Alexander the Great, he is 
represented usually as a wanton, playful boy. 


VIEL. 


Ling 8. wpowle: originally to drink before; then, ‘‘to drink to 
one's health,” or to challenge one in drinking, as they passed the cup 
from one to another. The Germans use the word vortrinken with 
the same significance. 

6. ἀναβασσαρέω = ἀναβακχεύω : to rage. 

7-10. μηκέτι... μελετῶμεν : the imitation by Horace (I. 27, 2) 
will be at once remembered. 

9. Σκνθικήν : the Scythians and Thracians were proverbial for the 
wildness of their revels. 

11. ὑποπίνοντες : drinking with moderation. 


ANACREONTEA. 


I. 


Line 2. ᾿Ανακρέων : nom. for voc. 

9. μᾶλλον : supply τοσούτῳ, correspondjng to ὅσῳ ; with ὅσῳ sup- 79 
ply μᾶλλον again. γέροντι: The γέρων was not in the most extreme 
old age, when he would be called πρεσβύτης, but above fifty, or there- 
abouts, so as to be past the pleasures of youth. 

11. Μοίρα was originally goddess of fate, good or evil ; then of 
evil lot ; so pre-eminently of death ; so τὰ Μοίρηφ = θάνατος. 


ΤΙ, 


LINE 1. τὰ Γύγεω: Gyges was the founder of the royal line of the 
Mermnadae in Lydia; his riches were proverbial (cf. Herod. I. 14). 
The use of the neuter article with the gen. gives a very indefinite force. 

-ew in Γύγεω are drawn together by synezesis. 

3. ζῆλος : properly differs from φθόνος as representing a worthy 80 

and noble desire. 





ANACREONTEA. 171 


PAGE 

6. ὑπήνην : properly the mustache, or rather the soft down which 80 
first appears upon the upper lip of the youth. Salves and ointments 
and garlands were always, among the Greeks and Romans, favorite 
accompaniments of feasting. 

11. ὡς : as long as. 

14. γοῦσος in ancient poetry was always an evil of divine send- 
ing, and the word carries with it, especially here as personified, much 
of this meaning. 


ΠῚ. 


Linz 1. θεούς : acc. after ἃ verb implied, i.e. ὄμνυμι, or one of simi- 
lar meaning. gol: ethical dative (G. 184, 8, N. 5; H. 599, 3). 

4. ᾿Αλκμαίων killed his mother, Eriphyle, and became mad, being 
persecuted by the Erinnyes. 

5. χὠ = καὶ ὁ, λενκόπονς : the adj. seems to be used to suggest 
the swift flight of Orestes from the furies. 

10. ἐμαίνετ᾽ Ἡρακλῆς : notice the neglect to aspirate r. There 
are several peculiarities thus to be noticed in these songs. Heracles, 
smitten with madness by Hera, slew with the bow of Iphitus his wife 
Megara and her children. 

11. κλονῶν is to be taken as governing the acc. with a sense simi- 
lar to that of κραδαίνων, for while it is not unprecedented for μαίνομαι 
to govern the acc. it would be too unnatural here. 

13. Alas, smitten with madness in his jealousy at losing the armor 8] 
of Achilles, finally slew himself with the sword which Hector pre- 
sented to him. 

14, per’ ἀσπίδος κραδαίνων : the shield of Ajax was especially 
celebrated (cf. Iliad VII. 219). 


IV. 


Line 1. σοί: the dat. of person with ποιέω is much less usual 
than the acc. 

8. ταρσά : wings; properly, from the form of the wicker crate, 
something broad and flat ; so the flat extended wing. 

6. Tereus was a king of the Thracians. He cut out the tongue of 
Philomela (who afterwards became, according to different accounts, a 
nightingale or a swallow), in order that she might not be able to betray 
his crime against her sister. 

7. ἐκεῖνος : the famous Tereus. pee properly used of harvest- 
ing ; here to cut οἱ. 


172 NOTES. 


V. 
PAGE 

Ling 1. "Ἔρωτα κήρινον : refers to waxen images, which were sold 81 
largely among the poorer classes, who could not afford works of art of 
more costly material. Golden statuettes of Eros were popular among 
the wealthy. ' 

2. ἐπώλει : imp. of attempted action (G. 200, N. 2; H. 702). 

4, πόσον : gen. of price. 

7. Ags: The old verb Adw is found only in this present form, λῶ, 82 
etc., which is Doric for θέλω. 

8. ἄν: (G. 216, N. 2; H. 741). An imperative of a verb of hear- 
ing, or of similar idea, is to be supplied before ὅπως ἄν. 

9. xaporéxvasg == κηροτέχνης. 

15. πύρωσον : inflame with love. 

16. taxhoy : fut. pass. from τήκω. κατά can be joined with it 
and φλογός be considered a gen. of cause. 


VL 


Ling 1. Κυβήβην: The mother goddess Rhea, though at length 
a unified conception, had many names (cf. Aesch. Prom. L. 210) ; 
among these is Κυβήβη, possibly a modified form from the same root 
as Κυβέλη, more likely a distinct name. Κυβήβην is object of βοῶντα. 

2. "Arnwv: the first priest of Cybele ; from his time onward her 
priests were all eunuchs. 

5. KAdpos was a town in Ionia where was a spring sacred to 
Apollo, of which the priests drank to become inspired ; hence λάλον, 
giving power of speech. Ky)dpou and Φοίβου can both be taken as con- 
nected with ὄχθαι. 


Vil. 


LInE 2. trae: imp. of attempted action (G. 200, N. 2; H. 702). 88 
4. &Bovdov ; inconsiderate in courting such an adversary. 
7. μάχῃ : προκαλέομαι is used quite as naturally with an inf., 
not unfrequently also with a noun and prep. ; the simple dat., however, 
is not unusual in poetry. προκαλεῖσθαι : fo challenge. 
10. The equipment of the Homeric hero is followed throughout, 
the breastplate, the two spears, and the shield of ox-hide (cf. the de- 
scription of the shield of Ajax, Il. VII. 220). 
14. εἶτ᾽ : the ordinary aspiration is omitted. 
15. εἰς : expresses purpose ; ‘‘ he sent himself for a weapon.” 





ANACREONTEA. 173 
PAGE 
16. καρδίης : μέσος governs the gen. from its partitive significa- 83 


tion, being equivalent in meaning to ἐν μέσῳ. 

17. ἔλυσεν . destroyed. 

19. βάλωμεν : deliberative subjunctive (G. 256 ; H. 720, c). 

20. μάχης (personified): ‘‘ when the baltle already holds me con- 
quered within.” 


VAI. 


LINE 2. κατειπεῖν : to declare; so to number. 

3. οἶδας : Ion. and Doric for οἷσθα. 

6. woe: shortened form for ποιῶ. 

10. Κορίνθον : the Acrocorinthus was consecrated to Aphrodite, 
and the city was universally celebrated for the attractions of love and 
beauty by which it tempted strangers. 

12. "Ayatys, «. τ. λ.: for tt (Corinth) belongs to Achaia where the 
women are beautiful. 

14, τίθει : observe the continued action implied in the present. 
Δεσβίονς : sc. ἔρωτας. 

15. καὶ μέχρι : and reaching even as far as. 

16. The inhabitants of Caria were a mixed race; so Caria and 
Rhodes are taken to represent the very frontiers of Greece. 

18. τί φής : the speaker is interrupted by the wondering λογιστής. 
ἐκηριώθης : a word whose meaning is hardly fixed ; the idea is that of 
being astonished : are you overwhelmed ἢ 


19. Σύρους : both Syria and Canopus on the Nile were famous for . 


their vicious allurements. 

20. πόθους : loves. 

21. ἅπαντ᾽ ἐχούσης : rich in all possessions. 

23. ἐποργιάζει : revels, πόλεσσιν would more regularly have ἐν. 

25. Γαδείρων : later Gades. Spain on the-one side, and India on 
the other, are taken as the limits of the known world. 

26. Βακτρίων : a people of Central Asia, north of the Hindoo Koosh 
mountains ; modern Bokhara. 


1X. 


LINE 2. πετᾶσαι : from πετάομαι for ποτάομαάι. 
3. μύρων : πνέω, to send forth an odor, is used with a gen. of the 
source of the odor. 


84 


5. ψεκάζεις : distill, Used with μύρων, though the genitiveisappro- 85 


priate only to πρέειξ, 


1:4 NOTES. 
PAGE 

6. Notice the position of δέ: properly it would be the second word 85 
in the clause; it can however be introduced later when the other 
words form a closely connected idea. 

11. Kw0fpy : Aphrodite. 

14. τοσαῦτα: has intensive furev. dm 80 serviceable. Pigeons 
have been messengers through all historic time, while the character of 
the dove has made it a peculiarly appropriate bearer of love tokens. 

18. It was peculia:ly recognized in the ancient world that the 
highest and most fitting reward for the faithful slave was to restere 
to him his freedom. 

21. πέτασθαι : from πέταμαι for πέτομαι. 

22. ὄρη : sc. κατ᾽ ὄρη. 

30. ἄν : the use of ἄν with the future ind. was common in Homer, ἢ 
and among the earlier poets, but went out of ordinary use before the 
time of Attic Greek : it represented a shade of meaning between the 
simple fut. and the opt. with ἄν (G. 208, 2; H. 710, b). 

37. xopévns : gen. after the comp. λαλιστέραν. The crow has 86 
always been famous for his noise, as Hesiod speaks of λακέρυξα κορώνη 
(Op. 745). 


X. 
THE poet's charge to the painter how to represent his lady. 


LINE 3. ἹῬοδίης : the Rhodian artists became very distinguished, 
though their fame belongs to a later age than Anacreon himself. 
κοίρανε : master. 

4. dere: (G. 232, 3; H. 757, 758). 

8. κηρός: wax was largely used by the ancients in the preparation 
of their colors, especially so in later times in the encaustic process 
which came into general use after the time of Alexander. (For fuller 
information, cf. Smith’s Dict. of Ant. art. Prcrura.) The particular 
method of painting referred to here can hardly be determined with 
positiveness, but is probably the encaustic. 

9. μύρον : gen. of sourcewith πνεούσας (cf. 1X. 3). 

10. ὅλης : the picture being in profile, only one side appears in full : 
this is ὅλη παρειά. 

11. πορφνυραῖσι : dark (cf. Anacreon II. 3, note). 

15. ἐχέτω, x. τ. A. : but let it (1.6. τὸ μεσόφρυον) have, like herself, 
the arch of the eyebrows imperceptibly mingling. 

18. νῦν : next; correlative to τὸ πρῶτον, 1. 6. 

20, 21. ἅμα... ἅμα : at once... aul, or partly... partly; the 


ANACREONTEA. 175 
PAGE 
δέ suggests an understood μέν in the preceding line, at once gleaming 86 
like the glance of γλαυκῶπις ᾿Αθήνη and languishing like the tender 
Aphrodite. To represent this characteristic of the goddess of Jove, her 
statues have the lower eyelid drawn up a little over the eye. 

24. Peitho is referred to by the poets as the daughter (Sappho 185, 87 
Bergk) or the companion of Aphrodite. 

25. φίλημα: προκαλεῖσθαι is used more commonly with a prep., πρός 
or εἰς ; here, however, with simple acc. ; in VII. 7 it appears with dat. 

31. σαρκῶν : gen. part. The plural of this noun is generally used, 
especially by the earlier writers, as representing the different parts or 
muscles of the body. 

82. ἔλέγχον : participle. 

33, ἀπέχει: it is enough, for I see her very self; soon thou wilt even 
speak. 


XI. 


Line 2, Βρομίον : epithet of Dionysus, therefore = οἴνου πιεῖν ; the 
infinitive is thus joined directly with δίδωμι to express purpose. 

4. προδοθείς : lit. betrayed, here exhausted. 

5. ἐκείνου : sc. Βρομίου. 

6. πνκάζω carries the double idea of entwining and crowning one’s 
self. It is more common in these songs in the latter sense, referring 
to the person. 

9. τίνι σκεπάζω : how can I protect myself ἢ 

10-15. But it moves with softest branchlets its delicate foliage, while 
a flowing fountain of persuasion allures to him. 

15. Πειθοῦς : gen. of connection, is nearly equivalent to an adjec- 88 
tive, ** persuasive fountain.” 


XII. 


Tue meter is dimeter Ionic a minore. It has, however, a long syl- 
lable in place of the first two shorts (H. 925). The idea lying at 
the basis of the poem is peculiarly suggestive. Love is made obedient 
to beauty only through the higher power of the Muses. Only mental 
and moral endowments hold an abiding sway. 


Xill. 


LINE 2, 8. πίνει γῆν ... πίνει αὔρας : that is, the moisture and 
vapors of the earth and air. 


176 NOTES. 


XIV. 
PaGE 


Linz 1, Ἡ Ταντάλου: Niobe, who was turned into stone upon Mt. 89 
Sipylus, in Lydia, originally belonging to Phrygia. 

2. ὄχθαις : the later form was masculine ὄχθος. 

8, 4. wats Πανδίονος : Procne, wife of Tereus, changed into a 
swallow. 

5. εἴην : opt. of wish. It is the desire of the poet that he also 
might undergo a transformation. 

8. dopys : φορέω differs from φέρω i in having a frequentative sense, 
ie. that you might habitually wear. 

10. χρῶτα : the construction is apposition or attraction, the word 
representing the part taking the same case as the whole. 


14. pdpyapoy : necklace of pearls. 


XV. 


Link 1. Afyav: celebrate in poetry. ᾿Ατρείδας : introduced as a 
standard epic subject. 

3. &: Doric form for ἡ. βάρβιτος: this instrument had properly 
a greater number of strings than the lyre, but here seems to be used as - 
equivalent to λύρα. The word appears in these songs far more fre- 
quently than λύρα. 

4. Ἔρωτα : ἠχεῖ governs an acc. of effect. The construction starts 
from a cognate acc. ἠχεῖ ὕμνον. 

9. ἔρωτας ἀντεφώνει : sounded love songs in response. 90 

10. χαίροιτε, x. τ. Δ. : we bid you farewell for the future. 


XVI. 


Line 1. κέρατα: ἅ in Homer, later variable ; here long. 
3. Aayeots: from λαγωός = λαγώς. 

4. χάσμα ὀδόντων : yawning jaws. 

5. τὸ γηκτόν : the power of swimming. 

8. For women it had nothing mre. 

10. ἁπασᾶν : Doric contraction instead of -ὧν. 

12. And one, by beauty, conquers both steel and fire. 


XVII. 


LINE 2. ἐτησίη : every year. It has the force of an adverb. 
5. Νεῖλον... Μέμφιν ; ἐπί goes with both nouns. 91 


AN ACREONTEA. 177 


PaGt 

8. Τόθος : the personified desire was constantly represented as the 91 
companion of Eros ; the one is nearly equivalent to the other. 

9. ἀκμήν = ἔτι : another is yel in the egg, and still another now 
half-hatched. 

18. ᾿Ερωτιδεῖς : a sort of patronymic form from “Epws. 

16. κύουσιν : bring forth. 

17. γένηται : (G. 256; H. 720, c). 

18, 19. For Tam not able, by shouting, to frighten away so many 
loves, This meaning for éxSodw is peculiar, but it seems the only fit- 
ting one. 


XVIII. 


LinE 1, 2. Θήβης... . Φρνγῶν : subjects of Epic verse. The for- 
mer was prominent as the birth-place of many heroic characters, as 
also for the wars of ‘‘ the seven,” and of the Epigoni, their descend- 
ants ; the latter is used, referring to the scenes of the Trojan war. 

6. orparés : the host of the beloved. 


XIX. 


LinE 1. ‘O ἀνὴρ, «. τ. \.: Hephaestus, whose favorite dwelling- 92 
place was the island of Lemnos. 

5. ἔβαπτε : as savages poison their arrows. 

8. ἐξ : coming from. It expresses a closely connected circumstance. 

18. Ares takes the shaft, but, tortured by its effects, begs to be 
relieved. This, however, Eros refuses. 


XX. 


2. ποίαις : for wéa:s from πόα, properly grass, but used also for 
small plants. 

8. στορέσαφ : reclining. προπίνειν : to drink to another, challeng- 
ing him to drink in return. It was generally done by drinking first 
(πρό), then passing the cup along. 

δ. παπύρῳ : having papyrus cord for a girdle. 

7, 8. For, like the wheel of a chariot, life rolls ἐμὰ on. 93 

9. ὀλίγη : agrees with κόνις. | 

10. ὀστέων λνθέντων : like the γυῖα λέλυντο of Homer. 

11. λίθον : among the rites in honor of the dead was not merely 
crowning, but anointing the grave and monument. 

12. χέειν : supply χοάς. μάταια, adv. = μάτην. 

13. ὡς : while. 


178 NOTES, 


ΧΧΙ. 


PaGE 


Ling 8. Beérov: Bootes, or Arcturus, is in immediate proximity 
to the Great Bear. The idea then is: as it begins its decline. 

δ. κέαται, lon. = κεῖνται. 

6. ἐπισταθείᾳ : stopping. 

7. ὀχῆας : the door of the ancient house was variously equipped 
and ornamented ; for description see Smith’s Dict. of Ant., art. JANUA. 
The knocking would be made with the metal rings upon the outside; 
or might perhaps refer to the shaking of the fastenings, to which ὀχεύς 
would properly refer. 

8. θύρας : the form was that of folding-doors. 

ὃ. κατά : connect with the verb. 

12. κἀσέληνον = καὶ ἀσέληνον. 

17. ἐσορῶ : pres. to make the description vivid, Lo. φέροντα " 
masc. as if παῖδα, preceded (cf. G. 188; N. 4; H. 528). 

19. ἱστίην : Ionic for ἑστίαν. 

20. ve: re . . . re would be nearly equivalent to μέν . . . δέ; by 
8 mixture of expressions, we find re . . - δέ, 

26. βραχεῖσα : participle. 

28. ἧπαρ : the liver, taken as the seat of feeling. 

31. κέρας : my bow. The Greek bow was made of horn (cf. Hom. 
11. 1V. 110). 


XXII. 


LINE 2. δενδρέων ἐπ᾽ ἄκρων : on the tree-tops. 

4. βασιλεὺς ὅπως: as ifa king, or as happy as a king. 

7. χὠπόσα == καὶ ὁπόσα : the meter of this line is quite transformed, 
the two shorts are contracted, and the arsis of the foot is filled by two 
shorts, thus: _ wuuUueusvu- 

9. ἀπὸ μηδενός: instead of dat. of inst., by no means doing harm. 
The cicadae were widely celebrated among the ancients, both in their 
customs and in their songs. The sound of these insects was always 
alluded to as particularly sweet ; the ancient Athenians wore golden 
cicadae as emblematic that they were αὐτόχθονες, it being granted 
that the insects were γηγενεῖς. 


XXIII. 
4, warayOels: stung. 
18. ἁ -- ἡ. 
14. The repetition of τό makes it more prominent in the mind and 
emphatic. Notice that the transitive and intransitive meanings of 
πονέω are brought together : the former is unusual. 


93 


94 


95 


96 


SIMONIDES OF CEOS. 179 


XXIV. 
PAGE 


Live 3. ἐκαρτέρουν φυλάττων: 1 should keep patiently on the 96 
watch. 

4, ἂν θανεῖν ἐπέλθῃ : if death should come suddenly upon me. 

11. προπέμπω : send forth. 

16. τελεῖν : to satisfy. 


SIMONIDES OF CEOS. 


I. 


ΤΙΧῈ 2. 4= ἡ; a Doric form, though they are very few in the 98 
writings of Simonides. 

8. Their burial mound is an altar; in place of loud lamentation, 
there is continued remembrance, while the deep grief is their public 
praise, The altars of the ancients, especially when they were pre- 
pared for unusual services in the open air, were frequently mounds of 
earth. 

4. ἐντάφιον is appropriate to whatever belongs to the burial ; it 
can be translated winding-sheet, though that will not express all the 
ideas which it suggests. 

6. οἰκέταν : dweller ; the idea is that they, in their sepulcher, give 
an unending abiding-place for Greek glory. This sepulcher has received 
the glory of Greece to dwell there. 

7. μαρτυρεῖ : the object is the previous sentence. 

9. κόσμον : adornment. 


II. 


Tats ode was written in honor of Scopas, the Thessalian tyrant, to 
celebrate his victory in the chariot race. It is peculiarly celebrated 
as being the poem with which is associated the story of the death of 
Scopas and his friends. The half of the song which, by its reference to 
the Dioscuri, roused the jealousy of the tyrant, has been lost. (See 
Smith’s Dict. of Biog. art. Stmonrpgs.) The morals of the poem are 
so peculiar that one can hardly fail to conjecture that it was arranged 
to fit its subject, though with something very like sarcasm in its sug- 
gestions. The theme is the impossibility of securing and maintaining 
goodness. 


180 NOTES. 
Pack 

LINE 1. ἀλαθέωε = ἀληθῶς. 99 

2. τετράγωνον, κ. τ. Δ. : perfect in hand and foot and mind. 

8. εἰδώς, x. 7. A. : at least respecting the law which is for the ad- 
vantage of the state. 

5. τῶν γὰρ, x. τ. Δ, : for the race of fools ts without end. 

7. τοῖσί re: relative. αἰσχρά : things disgracefully bad. 

8. Nor is the saying of Pittacus held by me to be inharmony. νέμω 
is here used with the signification of νομέζω. 

10. God alone would have this prerogative: it is impossible for a 
man not lo be evil when overwhelming distress comes upon him. 

11. ἀμάχανος is simply that which leaves no possible device 
open ; 80 inconceivable, immense, overwhelming. 

12. πράξαις (= πράξα:) εὖ : in prosperity. 

18, εἰ : supply a verb for the condition from πράξαις. 

14, τοὐπιπλεῖστον: ‘‘most continuously,” or ‘‘to the greatest 
extent,” 

15-17. Therefore, through desire for that which cannot be, I will 
never devote my allotted period of life to an empty hope, which can 
gain no accomplishment, namely for a blameless nan among ali as 
many of us as enjoy the fruit of the spacious earth. δίζημαι is a word 
which in its origin properly denotes a doubting state of mind (δίς, 

δύο) ; the meaning then becomes that of expectancy or desire. 

16. ἄπρακτον may be used in the sense of, that for which noth- 
ing can be done, which cannot be accomplished ; or it may mean, that 
which does nothing, and so vain or tdle. 

18. ἐπί : connect with εὑρών : lighting upon, discovering. 100 

19. ἐπαίνημι : Aecolic form for érawédw. 


III. 


Danak, with her infant child Perseus, was placed in a chest and 
cast into the sea by her father Acrisius, on account of an oracle which 
declared that the child would kill his grandfather. The ark floated 
to the island of Seriphos, where Danae and Perseus were rescued. 
The poem is the Lament of Danae. 


LinE 1. λάρνακι : a word of some indefiniteness, used even for 
Deucalion’s ark. It means commonly, however, a mere box. 
δαιδαλέᾳ: highly wrought, probably suggesting precious metals, 
though also used of wood. 

2. λίμνα : waters. 

ὃ. ἤριπεν : east down or overwhelmed ; this aorist is almost uni- 10] 
versally intransitive, but not so here. 


SIMONIDES OF CEOS. 


4, φίλαν : as in Homer, denotes merely possession. 

6. ἀωτεῖς : used of quiet restful sleep. fropt: used by Homer 
entirely in nom. or acc. 

7. δούρατι : properly a stick of timber, a beam ; here used for the 
whole craft. 

8. γνκτιλαμπεῖ : it is better to connect this with δούρατι, a craft 
which only the night illumines ; some, however, render it with δνόφῳ. 
σταλείς : sent out or borne along. 

9. βαθεῖαν : referring to the luxuriant beauty of the hair. The 
suggestion comes by tradition that at the time of his exposure Perseus 
was already three or four years old. | 

10, 11. κύματος . . . φθόγγων : gen. with ἀλέγεις (G. 171, 2; 
H. 576). 

12. πρόσωπον : in apposition with the subject. 

18. But if even that which is fearful were fearful to thee, thow 
wouldst lend a sensitive car to my words. 

18. σύγγνωθί μοι ὅτι : “‘forgive me that.” θαρσαλέον : over- 
confident expressions were supposed especially to draw down the ven- 
geance of the gods. 

19. τεκνόφι : gen. rexvdg: δίκαν : for the sake of the child, 


EPIGRAMS. 


THE number of epigrams left to us by Greek poets is very large, 
and they come from a vast variety of authors, as this type of literature 
always has a place. In large numbers of cases they were written as 
epitaphs, or monumental inscriptions in honor of the dead, in which 
cases they would be especially likely to gain remembrance and widely 
extended fame. Simonides had the fortune to live in the stirring 
period of the great wars of the Greeks with the Persians. His epi- 
grams thus became associated with the grandest efforts and sacrifices 
of his countrymen. 

We cannot always discover where each epigram was inscribed, nor 
be sure that all are attributed to their real authors. They have come 
to us in large classes of cases simply associated with certain names in 
the old collections known as the Greek Anthology. This authority, 
when unsupported, can hardly be relied on as better than a tradi- 
tion, and beyond the name of the author even the tradition gives 
little light. The epigrams of Simonides have, however, the advantage 
of belonging to an age of especial historical interest, and with especial 
sources of information. We give a few of those which are associated 
with his name, especially those relating to the Persian wars: 


181 


PAGE 
101 





182 NOTES. 


I. 


Lint 1. Δίρφνος : Dirphys was a mountain in Euboea. ὑπὸ 
«τυχί : under the shadow of the gorge, or within the gorge. The 
circumstances under which this epigram was written are uncertain. 


II. 


LINE 2. χρυσοφόρων : in early times, almost all of the gold of the 
Greeks came from the East, through the Persians. There is no proof 
of a gold coinage in Greece, certainly of any extent, before the time 
of Alexander the Great. 


ΤῊΣ following five belong to the Greeks who took part in the 
battle of Thermopylae. 


III. 


LINE 2. χιλιάδες téropes : this includes all the Peloponnesians, 
who at first guarded the pass, the greater part of them being after- 
wards dismissed by Leonidas (cf. Herod. VII. 202, 221). . 


IV. 


LINE 1. Μεγιστία : (Doric gen.) the soothsayer, an Acarnanian 
by birth, who refused to leave Leonidas. A separate monument, 
with this inscription, was erected to him. 

2. Σπφχειόν : the Sperchius is a small stream which enters the 
Sinus Maliacus just north of Thermopylae. 


VI. 
Link 3. τεθνᾶσι : the verb is used in the perfect with the sense : 
to be dead. 
VIII., IX, 


In behalf of the Corinthians who were killed and buried at 
Salamis. 


IX. LINE 1. ἀκμᾶς . . . ἐπὶ ξνροῦ : a sort of proverbial expres- 
sion, used repeatedly for extreme danger. 
4. ἥψαμεν : we attached to, loaded upon. 


PAGE 


102 


108 


104 


SIMONIDES OF CEOS. 


X. 


*A8andvrov: Adeimantus was the commander of the Corinthian 
fleet, in the war against Xerxes. He was charged by the Athenians 
with cowardly conduct (cf. Herod. VIII. 5, 59, 94), but seems to have 
sustained a good reputation among the most of the Greeks. It is fair 
to say that the Athenian accusation has rather the appearance of a 
hostile invention. 


XI, XII. 


THESE epigrams are associated with the battle of Eurymedon, in 
which Cimon defeated the Persians, first at sea, and then on the land, 
on the coast of Asia Minor. If the received dates are correct, these 
cannot belong to our Simonides, as these would bring the battle the 
year after his death. Some authorities, however, place the engage- 
ment earlier. 


XII. Line 1. ἐξ οὗ : sc. χρόνου. 

6. ἑκατὸν : in the first engagement at sea, Cimon captured two 
hundred ships ; he then followed the enemy to the land, and routed 
them, and, according to Plutarch, afterwards defeated a reinforcement 
of eighty Phoenician ships. 


XIII. 


EPITAPH upon a certain Leon, upon whose monument was a 
sculptured lion. It has even been conjectured that this was in- 
scribed upon the monument of Leonidas, as Herodotus (VII. 225) 
refers to the lion sculptured there. There is, however, no external 
evidence to sustain this view. There seems to have been ἃ fondness 
among the Greeks for the figure of a lion upon a soldier’s monument. 


LINE 1. ὃν, i.e. τὸν κάρτιστον : and I guard the strongest of mortals. 


XV., XVI. 
THESE are satiric epitaphs supposed to belong to Simonides. 
XV. Line 1. τῶν αὑτοῦ... ἀπολλυμένων : αὐ the death of one's 
own friends. 


XVI. Line 2. Timocreon of Rhodes was an athlete, and also 
something of a poet. He was a bitter enemy of Themistocles, and 


183 


PAGE 
104 


105 


184 NOTES. 

PAGE 
seems to have exercised his hatred pretty freely, including Simonides 105 
among its objects. ἀνθρώπονς : εἰπών governs two accusatives, one 
of the person and the other of the thing (cf. G. 165). κακὰ εἰπών : 
to defame. 


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