Rooms Design Presentation and Paper

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During quarantine, for many of us, our worlds became defined by the walls of our homes.Some of us began collecting plants- naming them and referring to them as our babies, others of us Marie Kondo’d our rooms- saying thank you and goodbye to possessions that no longer served us, others of us took up baking- nurturing sourdough starters like pets.However we did it, we made our homes into places that reflected our new aesthetics, values, and interests, and that conveyed a calm interior holding the chaos outside at bay.

Imagine you have a house with six rooms: a bedroom, a bathroom, a kitchen, a living room, a dining room, and either a basement or an attic.Assign one character from each of six texts we have read this semester (you will be leaving one text that we read out, you can choose which one) to each one of these rooms.This character will design the room to accommodate their tastes and the way they will use it.

Create a mood board for each room which includes a color scheme, a style of furniture, and any art that might be hanging on the walls, naming the mood board so I understand what room is being designed and who, ostensibly, is designing it so, for example, “Basement- an Omelian.”You could do this using a Google slide, PowerPoint, or Keynote.But it might also be cool to assemble these boards on a Pinterest account.After you assemble your six mood boards, write a 800-1000 word explanation of your choices regarding which character would design which room and why “they” made the choices they did.

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also by anne carson The Beauty of the Husband Men in the Off Hours Autobiography of Red Plainwater: Essays and Poetry Glass, Irony and God Eros the Bittersweet: An Essay Economy of the Unlost I F N O T, W I N T E R I F N O T, W I N T E R F R A G M E N T S O F S A P P H O t r a n s l a t e d b y ANNE CARSON vintage books a division of random house, inc. new york FIRST VINTAGE BOOKS EDITION, AUGUST 2003 Copyright © 2002 by Anne Carson All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York. Originally published in hardcover in the United States by Alfred A. Knopf, a division of Random House, Inc., New York, in 2002. Vintage and colophon are registered trademarks of Random House, Inc. Grateful acknowledgment is made to Em. Querido’s Uitgeverij B.V. for permission to reprint excerpts from Sappho et Alcaeus by Eva-Maria Voigt. Reprinted by permission of Em. Querido’s Uitgeverij B.V., Amsterdam. The Library of Congress has cataloged the Knopf edition as follows: Sappho. If not, winter : fragments of Sappho / translated by Anne Carson.—1st ed. p. cm. Poetry in English and Greek. isbn 0-375-41067-8 (alk. paper) 1. Sappho—Translations into English. 2. Lesbos Island (Greece)—Poetry. 3. Women—Greece—Poetry. I. Carson, Anne, 1950– II. Title. pa4408.e5 c37 2002 884'.01—dc21 2001050247 Vintage ISBN: 0-375-72451-6 Book design by Carol Devine Carson and Gabriele Wilson www.vintagebooks.com Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 for emmet robbins, beloved teacher contents introduction On Sappho ix O n t h e Te x t x On Marks and Lacks xi if not, winter notes who’s who 1 357 384 appendix: some exemplary testimonia 393 with special thanks to dorota dutsch introduction ON SAPPHO Sappho was a musician. Her poetry is lyric, that is, composed to be sung to the lyre. She addresses her lyre in one of her poems (fr. 118) and frequently mentions music, songs and singing. Ancient vase painters depict her with her instrument. Later writers ascribe to her three musical inventions: that of the plectron, an instrument for picking the lyre (Suda); that of the pektis, a particular kind of lyre (Athenaios Deipnosophistai 14.635b); and the mixolydian mode, an emotional mode also used by tragic poets, who learned it from Sappho (Aristoxenos cited by Plutarch On Music 16.113c). All Sappho’s music is lost. Sappho was also a poet. There is a fifth-century hydria in the National Museum of Athens that depicts Sappho, identified by name, reading from a papyrus. This is an ideal image; whether or not she herself was literate is unknown. But it seems likely that the words to her songs were written down during or soon after her lifetime and existed on papyrus rolls by the end of the fifth century B . C . On a papyrus roll the text is written in columns, without word division, punctuation or lineation. To read such a text is hard even when it comes to us in its entirety and most papyri don’t. Of the nine books of lyrics that Sappho is said to have composed, one poem has survived complete. All the rest are fragments. Sappho lived in the city of Mytilene on the island of Lesbos from about 630 B . C . It is not known when she died. Her exile to Sicily sometime between 604 and 595 B . C . is mentioned in an ancient inscription (the Parian Marble) but no reason for it is given. Biographical sources mention a mother, a father, a daughter, a husband and three brothers of Sappho. She appears to have devoted her life to composing songs; scholars in Alexandria collected them in nine books, of which the first book alone had 1320 lines. Most of this is lost. Her face was engraved on the coinage of Mytilene (see G. M. A. Richter, Portraits of the Greeks, I.70–72) and Hellenistic poets called her “the tenth Muse” or “the mortal Muse” (see Palatine Anthology 9.506 and 7.14). The general tenor of ancient opinion on her work is summarized by a remark of Strabo: ix Sappho [is] an amazing thing. For we know in all of recorded history not one woman who can even come close to rivaling her in the grace of her poetry. (13.2.3) Controversies about her personal ethics and way of life have taken up a lot of people’s time throughout the history of Sapphic scholarship. It seems that she knew and loved women as deeply as she did music. Can we leave the matter there? As Gertrude Stein says: She ought to be a very happy woman. Now we are able to recognize a photograph. We are able to get what we want. —“Marry Nettie,” Gertrude Stein Writings 1903–1932 (New York, 1999), 461 ON THE TEXT Breaks are always, and fatally, reinscribed in an old cloth that must continually, interminably be undone. —J. Derrida, Positions (Chicago, 1981), 24 In general the text of this translation is based on Sappho et Alcaeus: Fragmenta, edited by Eva-Maria Voigt (Amsterdam, 1971). I include all the fragments printed by Voigt of which at least one word is legible; on occasion I have assumed variants or conjectures from her apparatus into my translation and these are discussed below (see Notes). In translating I tried to put down all that can be read of each poem in the plainest language I could find, using where possible the same order of words and thoughts as Sappho did. I like to think that, the more I stand out of the way, the more Sappho shows through. This is an amiable fantasy (transparency of self) within which most translators labor. If light appears not ruining the eyes (as Sappho says) but strengthening, nourishing and watering —Aelius Aristides Orations 18.4 we undo a bit of the cloth. x ON MARKS AND LACKS Sappho’s fragments are of two kinds: those preserved on papyrus and those derived from citation in ancient authors. When translating texts read from papyri, I have used a single square bracket to give an impression of missing matter, so that ] or [ indicates destroyed papyrus or the presence of letters not quite legible somewhere in the line. It is not the case that every gap or illegibility is specifically indicated: this would render the page a blizzard of marks and inhibit reading. Brackets are an aesthetic gesture toward the papyrological event rather than an accurate record of it. I have not used brackets in translating passages, phrases or words whose existence depends on citation by ancient authors, since these are intentionally incomplete. I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp—brackets imply a free space of imaginal adventure. A duller load of silence surrounds the bits of Sappho cited by ancient scholiasts, grammarians, metricians, etc., who want a dab of poetry to decorate some proposition of their own and so adduce exempla without context. For instance, the second-century- A . D . grammarian Apollonios Dyskolos, who composed a treatise On Conjunctions in which he wished to make a point about the spelling of the interrogative particle in different dialects of ancient Greek, cites from Sappho this verse: Do I still long for my virginity? —Apollonios Dyskolos On Conjunctions 490 = Sappho fr. 107 Voigt Whose virginity? It would be nice to know whether this question comes from a wedding song (and so likely an impersonation of the voice of the bride) or not (and so possibly a personal remark of Sappho’s). Apollonios Dyskolos is not interested in such matters. Or consider the third-century-B . C . philosopher Chrysippos whose treatise On Negatives includes this negation from Sappho: Not one girl I think who looks on the light of the sun will ever have wisdom like this. —Chrysippos On Negatives 13 = Sappho fr. 56 Voigt xi Wisdom like what? And who is this girl? And why is Sappho praising her? Chrysippos is not concerned with anything except Sappho’s sequence of negative adverbs. There is also the second-century- A . D . lexicographer Pollux whose lexicon includes the following entry: A word beudos found in Sappho is the same as the word kimberikon which means a short transparent dress. —Pollux 7.49 = Sappho fr. 177 Voigt Who would not like to know more about this garment? But the curiosity of Pollux is strictly lexical. In translating such stranded verse I have sometimes manipulated its spacing on the page, to restore a hint of musicality or suggest syntactic motion. For example the sentence cited by Chrysippos becomes: not one girl I think who looks on the light of the sun will ever have wisdom like this This is a license undertaken in deference to a principle that Walter Benjamin calls “the intention toward language” of the original. He says The task of the translator consists in finding that intended effect upon the language into which he is translating which produces in it the echo of the original. . . . Unlike a work of literature, translation does not find itself in the center of the language forest but on the outside; it calls into it without entering, aiming at that single spot where the echo is able to give, in its own language, the reverberation of the work in the alien one. —W. Benjamin, “Die Aufgabe des Übersetzers,” originally a preface to Benjamin’s translation of Baudelaire (Heidelberg, 1923), 77 I am never quite sure how to hear Sappho’s echo but, now and again, reading these old citations, there is a tingle. So far we have looked at examples of citation without context. Still more haunting are instances of context without citation. Some wonderful night of Sappho’s life, not to say the prayer that it evoked, survives only as an allusion of the fourthcentury- A . D . orator Libanius: xii So if nothing prevented the Lesbian Sappho from praying that her night be made twice as long, let it be permitted me too to pray for something like this. —Libanius Orations 12.99 = Sappho fr. 197 Voigt Some song of Sappho’s that Solon heard sung by a boy is mentioned in an anecdote of Stobaios but Stobaios omits to tell us what song it was: Solon of Athens heard his nephew sing a song of Sappho’s over the wine and since he liked the song so much he asked the boy to teach it to him. When someone asked why he said, So that I may learn it then die. —Stobaios Florilegium 3.29.58 Some shrewd thinking of Sappho’s about death is paraphrased by Aristotle: Sappho says that to die is evil: so the gods judge. For they do not die. —Aristotle Rhetoric 1398b = Sappho fr. 201 Voigt As acts of deterrence these stories carry their own kind of thrill—at the inside edge where her words go missing, a sort of antipoem that condenses everything you ever wanted her to write—but they cannot be called texts of Sappho’s and so they are not included in this translation. xiii I F N O T, W I N T E R 1 PoÕiki lv ofroõn ajqanavt∆Afrovdita, v omai v ıe, paiÕ' Dõi Õv oı dolõovploke, liıı mhv mæÕ a[ıaiıi õmhdæ ojni av iıi davmna, povtnÕia, qu'õmon, ajllÕa; tui dv æ e[lõqæ, ai [ pota kajtevrwta ta;Õı e[maı au[õdaı aji ov iıa phvloi e[kÕlueı, pavtroõı de; dovmon li pv oiıa cÕruvıion h\lqõe ı a[rÕmæ ujpaıdeõuvxaiıa: kavloi dev ıæ a\gon w[Õkee ı ıtrou'õqoi peri ; ga'ı melai nv aı puvÕkna di nv õnente ı ptevræ ajpæ wjravnw ai q[ eroÕ ı dia; mev ııw: ai \Õya dæ ejxi kv oõnto: ıu; dæ, w\ mavkaira, meidiai õv ıai ıæ ajqanavtwi pro ıwvpwi h[Õreæ o[ttõi dhu\te pevponqa kw[tti dhÕu\te kõavlÕhõmmi kÕw[tti õmoi mavliıta qevlw gevne ıqai mÕainovlai õquvmwi: ti nv a dhu\te pei qv w ¥Õ ¥ı¥ avghn õejı ıa;n filovtata… ti ıv ıæ, w\ YavÕpfæ, õajdi kv hıi… 2 1 Deathless Aphrodite of the spangled mind, child of Zeus, who twists lures, I beg you do not break with hard pains, O lady, my heart but come here if ever before you caught my voice far off and listening left your father’s golden house and came, yoking your car. And fine birds brought you, quick sparrows over the black earth whipping their wings down the sky through midair— they arrived. But you, O blessed one, smiled in your deathless face and asked what (now again) I have suffered and why (now again) I am calling out and what I want to happen most of all in my crazy heart. Whom should I persuade (now again) to lead you back into her love? Who, O Sappho, is wronging you? 3 kaÕi ; gõa;r ai j feuvgei, tacevwı diwvxei, ai j de; dw'ra mh; devketæ, ajlla; dwvıei, ai j de; mh; fi lv ei, tacevw ı filhvıei kwujk ejqevloi ıa. e[lqe moi kai ; nu'n, calevpan de; lu'ıon ejk meri mv nan, o[ııa dev moi tevle ııai qu'moı i mj evrrei, tevle ıon, ıu; dæ au[ta ıuvmmacoı e[ııo. 4 For if she flees, soon she will pursue. If she refuses gifts, rather will she give them. If she does not love, soon she will love even unwilling. Come to me now: loose me from hard care and all my heart longs to accomplish, accomplish. You be my ally. 5 2 º ∂∂anoqen katiouªı|deurummekrhteı≥ ip≥ª∂ºrµª a[gnon o[pp≥ªai º|∂ nau'on º| cavrien me;n a[l ıoı mali ªv anº,| b≥w'moi dæ e[ãnÃi qumiavme— noi ªliº|b≥anwvtwãiÃ: ejn dæ u[dwr yu'croõnÕ| kelavdei diæ u[ ıdwn mali vnwn,| brovdoiıi de; pai ı' oj cw'roı ejıki|v aıtæ, aiqj uııomevnwn de; fuvllwn| kw'ma katairion: ejn de; lei vmwn| i pj ≥p≥ovbotoı tevqale tw≥t∂∂∂(∂)rin|noiı a[nqe ıin, ai j ãdæà a[htai mevlli|ca pnªevoºi ıin ª ª º e[nqa dh; ıu; ıu.an| e[loi ıa Kuvpri cruıi vaiıin ejn ku|li kv e ııin a[brwı ãojÃmãmeÃmei |v cmenon qali av iıi| nevktar oinj ocovei ıa 6 2 ] here to me from Krete to this holy temple where is your graceful grove of apple trees and altars smoking with frankincense. And in it cold water makes a clear sound through apple branches and with roses the whole place is shadowed and down from radiant-shaking leaves sleep comes dropping. And in it a horse meadow has come into bloom with spring flowers and breezes like honey are blowing [ ] In this place you Kypris taking up in gold cups delicately nectar mingled with festivities: pour. 7 3 ºdwvıhn klºuvtwn mevntæ ejpª kºavlwn ka[ılwn, ıªµ ∂vºloiı, luvphı tevmª ºmæ o[neidoı ºoidhvıaiı∂ ejpita≥ª º∂van, a[ıaio∂ to; ga;r ∂ª ºmon oujkou[tw m≥ª º diavkhtai, ºmh≥d≥ª º∂aze, ºcµiı, ıuni vhmªi º∂hı kakovtatoªı ºmen ºn ajtevraiı meª ºh frevnaı, eu[ª ºa≥toiı makaª º ºa≥ª 8 3 ]to give ]yet of the glorious ]of the beautiful and good, you ]of pain [me ]blame ]swollen ]you take your fill. For [my thinking ]not thus ]is arranged ]nor all night long] I am aware ]of evildoing ] ]other ]minds ]blessed ones ] ] 9 4 ºq≥e qu'mon ºmi pavmpan º duvnamai, º ºaı ken h\ moi ºıµantilavmphn ºl≥on provıwpon. º ºgµcroiı? qeiı, º vª∂∂ºroıµ 10 4 ]heart ]absolutely ]I can ] ]would be for me ]to shine in answer ]face ] ]having been stained ] 11 5 Kuvpri kai º; Nhrhvi d> eı, ajblavbhªn moi to;n kaıi vºgnhton dªovºte tui dv æ i k[ eıqaªi kw[ııa Ûºo≥i ≥ quvmwãià ke qevlh gevneıqai pavnta teºlevıqhn, o[ııa de; prºovıqæ a[mbrote pavnta lu'ıaªi kai ; fi lv oiıºi Ûoiı' i cavran gevneıqai ∂∂∂∂∂∂∂ e[ºcqroiıi, gevnoito dæ a[mmi ∂∂∂∂∂∂mºhdæ ei\ı: ta;n kaıigºnhvtan de; qevloi povhıqai ºti mv aı, ªojnºi av n de; luvgran ºotoiıi pªavºroiqæ ajceuvwn º∂na º∂eiıai ?wªnº to; kevgcrw ºlepagµª∂∂(∂v)ºai poli tv an ºllwıµª∂∂∂ºnhke dæ au\tæ ouj ºkrwª º ºonaikª ºeoª º∂i º∂∂ª∂ºn: ıu; ªdºe; ≥ Kuvp≥ªriº∂∂ª∂∂(∂)ºna ºqemªevnºa kavkan ª ºi. 12 5 O Kypris and Nereids, undamaged I pray you grant my brother to arrive here. And all that in his heart he wants to be, make it be. And all the wrong he did before, loose it. Make him a joy to his friends, a pain to his enemies and let there exist for us not one single further sorrow. May he willingly give his sister her portion of honor, but sad pain ]grieving for the past ] ]millet seed ]of the citizens ]once again no ] ] ]but you Kypris ]setting aside evil [ ] 13 6 wjı da∂ª kak≥k≥ª atriª kta≥∂ª ∂º∂ª qaª Çtei 'cª wjı idj w≥ª t a≥ ;ı ejt∂ª potnia∂ª cruıop≥ª kappoª ∂anmª k≥a'ra∂ª º∂ª 14 6 so ] ] ] ] ] Go [ so we may see [ ] lady of gold arms [ ] ] doom ] 15 7 Dwri ºv cµaı∂ª∂∂∂∂∂º∂ª ºkhn kevl ≥et≥ æ, ouj g aµ rµ ª ºa≥iı ºkavnhn ajgeµ r≥ wci av ≥ª ºmmenæ o[an ne ov≥ ≥iıiª º∂an fªiºlª∂∂∂∂∂∂º∂ª ºm≥a∂ ª 16 7 ]Doricha’s ]gives orders, for not ] ]top pride ]like young men ]beloved ] 17 8 º∂n∂o≥∂ª ºa≥≥mf∂ª ıo∂ª Aºtqi: [ º∂nevfª º ª 18 8 ] ] ]Atthis for you ] ] 19 9 ºa≥rkµ aleioitaıe∂ª ºpan oujkechª ºer ejovrtan ºman ª H [ ºrai teleª º∂wnevmª º∂∂ a\ı a[∂ª ºuıai ª º∂oıde ≥ª ºn∂ª 20 9 ]invites ]all not ]feast ]for Hera ] ]as long as ] ] ] 21 12 º∂∂∂ª ºıqµ e∂ª º ª ºn o≥ ≥hm≥ª º∂apedª ∂vº∂hneoª º ª º∂∂rµiı∂ª º∂i¥fª 22 12 ] ] ] ]thought ]barefoot ] ] ] ] 23 15a and 15b ºa≥ mavkai ≥ªr ºeu≥ plo∂:ª º∂atoıkaª º ºoıqæª ºbrotekhª ºataiıµª ºne≥ m≥ª º∂uvcai li∂ª ºen≥ oı klª º∂ª º Kuvºpri kaªi v ıºe piªkrot∂v∂ºa≥n ejpeuvrªoi mhºde; kaucavıªaºi¥to tovdæ ejnnevªpoiıa Dºw≥ri vca to; deuvªtºeron wjı poqeª ºeron h\lqe. 24 15a and 15b ]blessed ] ] ] to loose all the wrongs he did before ] ]by luck of the harbor ] Kypris, and may she find you very bitter and not go boasting—that Doricha— how he came a second time ]to love’s desire. 25 16 Oºi j me;n ipj phvwn ıtrovton, oi j de; pevıdwn, oi j de; navwn fai ı' æ ejpªiº; ga'n mevlaiªnºan e[ºmmenai kavlliıton, e[gw de; kh'næ o[t— tw tiı e[ratai: pavºgcu dæ eu[mareı ıuvneton povhıai pºavnti tªoºu t≥' æ, aj ga;r povlu perıke qv≥ o≥ ≥i¥ıaµ k≥avl ≥lo≥ıµ ªajnqºrµwvpwn ∆Elevna ªto;ºn a[ndra t o≥ ;n ≥ ª arºi¥ıton k≥allªi pv oiºıæµ e[ba æı Troi a? n plevoi¥ªıaµ kwujdªe; paº i d' oı oujde; fi lv wn toªkºhvwn p≥avªmpanº ejmnavıqãhÃ, ajlla; paravg µa≥g µæ a≥u[tan ; ºıan ºampton ga;r ª º∂∂∂kouvfwıtª ºoh∂ª∂ºn ≥ ∂∂ºm≥e ≥ nu'n ∆Anaktori ªv aı ojºn e≥ v≥mnaiıæ oujº pareoi ıv aı, 26 16 Some men say an army of horse and some men say an army on foot and some men say an army of ships is the most beautiful thing on the black earth. But I say it is what you love. Easy to make this understood by all. For she who overcame everyone in beauty (Helen) left her fine husband behind and went sailing to Troy. Not for her children nor her dear parents had she a thought, no— ]led her astray ]for ]lightly ]reminded me now of Anaktoria who is gone. 27 ta'º ı ãkÃe bolloi vman e[ratovn te ba'ma kajmavrucma lavmpron i d[ hn proıwvpw h] ta; Luvdwn a[rmata kajn o[ploiıi peıdomºavcentaı. º∂men ouj duvnaton gevne ıqai º∂n ajnqrwpª∂∂(∂) pºedevchn dæ a[ra ıqai ª º ª º ª º ª º ª º proıª wj≥ ıdª ∂∂º∂ª ∂º∂ª∂ºw≥l ≥∂ª tæ ejx ajdokhvªtw. 28 I would rather see her lovely step and the motion of light on her face than chariots of Lydians or ranks of footsoldiers in arms. ]not possible to happen ]to pray for a share ] ] ] ] ] toward[ ] ] ] out of the unexpected. 29 17 Plavıion dh mª \Hra ıa; cª Povtniæ ta;n ajravtan ∆Atªrevidai klh~-º toi baıi lv he ı: ejktelevııanteı mª prw'ta me;n peri¥∂ª tui dv æ ajpormavqenªte ı oujk ejduvnanto prin; ıe; kai ; Di væ ajntª kai ; Quwvnaı imj e ≥ª nu'n de; kª ka;t to; pal≥ª a[gna kai ; ka≥ª pºarqªen ajºmfi∂ª ª º ª º ∂ª∂º∂nilª e[mmena≥ªi ª?ºrµ( j) ajpi kv eªıqai. 30 17 Close to me now as I pray, lady Hera, may your gracious form appear, to which the sons of Atreus prayed, glorious kings. They won very many prizes first at Troy then on the sea and set out for here but could not complete the road until they called on you and Zeus of suppliants and Thyone’s lovely child. Now be gentle and help me too as of old[ Holy and beautiful maiden around[ ] ] ] to be ]to arrive. 31 18 ãPÃavn kedª ãejÃnnevphnª glw' ııa mª muqologh≥ª ka\ndri ∂ª meıdonª 32 18 Pan to tell[ tongue[ to tell tales[ and for a man greater[ 33 19 º ºmenoiıaª ºqæ ejn quvoiıiª º e[coiıan e[ılª º ºei de; baiıaª ºuj ga;r i[dmenª ºin e[rgwn º ºdæ ujpi ıv ıw ª kºajpikudª ºtodæ eip[ hª 34 19 ] ]waiting ]in sacrifices ]having good ] ]but going ]for we know ]of works ] ]after ]and toward ]says this 35 20 ºepi ≥eı≥ maª ºe, gavnoı de; kai¥ ∂∂ª º tºuvcai ıu;n e[ılai li ºv m≥enoı krevthıai gºa'ı melai nv aı º ºevloiıi nau'tai º m≥egavlaiı ajhvtaiªı ºa kajpi ; cevrıw º ºv≥ moqen plevoi∂ª ºde ta; fovrtiæ eikj ª ºnatimæ ejpei ; k∂ª º ºrevonti povll ≥∂∂ª ºaidevka≥ª ºei º º i¥n e[rga º cevrıw ª º∂a º ∂vº∂∂ª 36 20 ] ]gladness and ] ]with good luck ]to gain the harbor ]of black earth ] ]sailors ]in big blasts of wind ]upon dry land ] ]sail ]the freight ]when ] ]many ] ] ] ]works ]dry land ] ] ] 37 21 º º∂epabolhıµª ºa≥ndæ o[lofun ª∂∂∂∂ºe ≥∂ º tromevroiı p∂ª∂∂ºa≥lla º º crova gh'raı h[dh ºn ajmfibavıkei ºı pevtatai diwvkwn º ºtaı ajgauvaı ºea≥ , lavboiıa ºõa[eiıon a[mmi õta;n i oj vkolponÕ º ºrµwn mavliıta ºaı pªlºavnatai 38 21 ] ] ]pity ]trembling ] ]flesh by now old age ]covers ]flies in pursuit ] ]noble ]taking ]sing to us the one with violets in her lap ]mostly ]goes astray 39 22 ºbla∂ª ºergon, ∂∂læa∂∂ª ºn rjevqoı dokim≥ª ºhıqai ºn ≥ aujavdhn c∂ª dºe; mhv, cei vmwnª º∂oiıanalgea∂ª ºde ∂º∂e ≥∂ª∂∂∂∂º∂ª∂∂∂kºevlomai ı∂ª ∂∂º∂gula∂ª∂∂∂ºa≥nqi lavboi ıa∂a∂ª pa'ºktin, a\ıµ ıe dhu\te povqoı t¥∂ª ajmfipovtatai ta;n kavlan: aj ga;r katavgwgiı au[t a≥ ª ejptovai ıæ i d[ oi ıan, e[gw de; cai rv w, kai ; gµa;r au[t¥a dhv po≥ªtæº ejmemfª Kºuprogevnªha wj≥ı a[rama≥ªi tou'to tw'ª bºovlloma≥ªi 40 22 ] ]work ]face ] ] if not, winter ]no pain ] ]I bid you sing of Gongyla, Abanthis, taking up your lyre as (now again) longing floats around you, you beauty. For her dress when you saw it stirred you. And I rejoice. In fact she herself once blamed me Kyprogeneia because I prayed this word: I want 41 23 ºe[rwtoı hj l ≥p ≥ª º anºtion eiıj i dv wıª º ∆Ermiovna teauªta º xavnqai dæ ∆Elevnai ıæ eij ıv ªkºhn ºkeı º∂iı qnavtaiı, tovde dæ iı[ ªqi,º ta;i ıa'i ºpai ıv an kev me ta;n meri vmnan ºl≥aiıæ ajntidª∂∂º vª∂ºa≥qoiı de;≥ º ºtaı o[cqoiı ºtain panºnuci ıv ªdºhn º ª 42 23 ]of desire ] ]for when I look at you ]such a Hermione ]and to yellowhaired Helen I liken you ] ]among mortal women, know this ]from every care ]you could release me ] ]dewy riverbanks ]to last all night long ] [ 43 24a ºanavga≥ª º∂ª ºemnavıeıqæ ajª kºai ; gµa;r a[mmeı ejn neovªtati tau~ t≥ ¥ æ ªejºpovhmmen: po≥vl≥l≥a≥ ªmºe;n ga;r kai ; kavªla ∂∂∂h≥∂ª ºmen, poliª ∂mme ≥ª∂ºoª∂ºei av iı d≥ª ∂º∂∂ª∂º∂∂ª 24c ºnqaª zºwvomªen ºw≥: n∂∂ª ºenantª ºa≥pavppª tºovlmanª ºanqrwª ºonecª ºpaiıa≥ª 44 24a ] ]you will remember ]for we in our youth did these things yes many and beautiful things ] ] ] 24c ] ]we live ] the opposite ] daring ] ] ] 45 24d º∂evdafoª ºa≥ikateª ºanevlo≥ª º º∂ ª º∂ai lºeptofwvnª º∂ea≥∂ª 46 24d ] ] ] ] ] ]in a thin voice ] 47 25 ºgme∂ª ºprolipª ºnua'ıepª a[ºbra: ejºglavqanæ ejıªµ ºhımeqa≥ª ºn≥unqalaª 48 25 ] ]quit ] ]luxurious woman ] ] ] 49 26 ºqamevwª o[Õttinaõı ga;r eu\ qevw, kh'noi v me mavÕl≥iıta pavªntwn ıi nv ontaÕi ≥ º ajlemavtª º ≥gonwm≥ª º∂i ≥mæ ouj prª ºai º ıev, qevlwª ºto pavqhª º∂an, e g[ w dæ em[ æ õau[tai tou'to ıuvÕnoida º∂ª∂º∂toiıª∂∂∂º∂ª ºenamª º∂ª∂º∂ ª 50 26 ]frequently ]for those I treat well are the ones who most of all ]harm me ]crazy ] ] ] ]you, I want ]to suffer ]in myself I am aware of this ] ] ] 51 27 ºk≥aip≥ª º∂ª∂º∂ª∂ºn≥oıª ºıi: ∂∂∂º ≥ kai ; ga;r d≥h; ıu; paviı potª ∂∂∂ºi¥kh≥ ı mevlpeıqæ a[gi tau'taª ∂∂º zavlexai, ka[mmæ ajpu; twdekª a[ºdra cavriııai: ıºtei cv omen ga;r ejı gavmon: eu\ deª kaºi ; ıu; tou'tæ, ajllæ o[tti tavciıtaª paºrµªqºevnoiı a[pªpºempe, qevoiª ºen e[coien º o[doıµ mªevºgan eiıj [Olªumpon ajºnqrwªp 52 ºai kv ∂ª 27 ] ] ] ]yes you a child once ]come sing these things ]talk to us, give us your grace for we go to a wedding: and surely you know this, but as soon as possible send the girls away, may gods have ]road to great Olympos ]for men 53 29a º∂i¥w≥nª ºm≥etv riaka≥ª bºa≥vqu dou∂ª ºa≥n ≥ª 29b º ºantame ª≥ º∂i¥ povtniaª ºa≥yatª ºo≥n 54 29a ] ] deep sound ] 29b ] ] lady ] ] 55 29c ºpeplª º∂iª∂ºorµm≥oiıª∂ºt e≥ ≥ª º∂ª∂∂∂º∂ª∂ºw≥ º∂aª∂∂∂º∂ª∂∂ºa≥p≥oi¥ª º∂wª∂∂∂∂ºt ª≥ º∂i¥g µo≥ª∂∂∂º∂∂ª∂∂∂∂∂∂º∂ª º∂ º∂ª∂ºlm≥ª º∂ª∂º∂ª ºnt≥ e G≥ov≥rµg µo≥i¥ ∂ª∂º∂ª ºde: ª º∂∂ª∂∂º∂ª º∂m∂ª 56 29c ]robes ]necklaces ] ] ] ] ] ] ]for Gorgo ] ] 57 29h º ª º∂oiıa≥ª∂º. Gºuvrinnoi º∂autan º ºıæ eo[ iıan ºloiıa º∂ª 58 29h ] ] for Gyrinno ] ] ] ] ] 59 30 nuvktª∂∂∂º∂ª pavrqenoi dª pannuciıv doi¥ªıºa≥i¥ª ıa;n ajei dv oiıµªiºn fªilovtata kai ; nuvm— faı ioj kovlpw. ajllæ ejgevrqei≥ ¥ ı, hji q> ªe ıtei 'ce ıoi ı; ujmavlik≥ªaı h[per o[ııon aj ligµuvfw≥ªnoı u[pnon ªi º[ dwmen. 60 30 night[ girls all night long might sing of the love between you and the bride with violets in her lap wake! and go call the young men so that no more than the bird with piercing voice shall we sleep 61 31 Fai nv etai v moi kh'noı iı[ oı qevoiıin e[mmenæ w[nhr, o[ttiı ejnavntiovı toi iıj davnei kai ; plavıion a\du fwnei -v ıaı ujpakouvei kai ; gelai ıv aı imj evroen, tov mæ h\ ma;n kardi van ejn ıthvqeıin ejptovaiıen: wjı ga;r ãe[ıà ıæ i d[ w brovceæ w[ı me fwvnhıæ oujde;n et[ æ ei [kei, ajlla; kam me;n glw'ııa e[age, levpton dæ au[tika crw'i pu'r ujpadedrovmaken, ojppavteııi dæ oujde;n o[rhmmæ, ejpibrovmeiıi dæ a[kouai, evkade mæ i d[ rwı kakcevetai, trovmoı de; paiı' an a[grei, clwrotõevra de; pÕoi av ı e[mmi, teqõnavkhn dæ ojÕli gv w æpideõuvhı faÕi vnomæ e[mæ au[t ª≥ ai. ajlla; pa;n tovlmaton, epj ei ; kai ; pevnhta 62 31 He seems to me equal to gods that man whoever he is who opposite you sits and listens close to your sweet speaking and lovely laughing—oh it puts the heart in my chest on wings for when I look at you, even a moment, no speaking is left in me no: tongue breaks and thin fire is racing under skin and in eyes no sight and drumming fills ears and cold sweat holds me and shaking grips me all, greener than grass I am and dead—or almost I seem to me. But all is to be dared, because even a person of poverty 63 32 ai [ me timi av n ejpovhıan e[rga ta; ıfa; doiı' ai 64 32 who honored me by giving their works 65 33 aiq[ æ e[gw, cruıoıtevfanæ ∆Afrovdita, tovnde to;n pavlon lacoi vhn 66 33 if only I, O goldcrowned Aphrodite, could win this lot 67 34 a[ıtereı men; ajmfi ; kavlan ıelavnnan a]y ajpukruvptoiıi favennon ei\doı o[ppota plhvqoiıa mavliıta lavmph ga'n ajrguri av 68 34 stars around the beautiful moon hide back their luminous form whenever all full she shines on the earth silvery 69 35 h[ ıe Kuvproı h] Pavfoı h] Pavnormoı 70 35 you either Kypros or Paphos or Panormos 71 36 kai ; poqhvw kai ; mavomai 72 36 I long and seek after 73 37 ka;t e[mon ıtavlugmon to;n dæ ejpiplavzontæ a[nemoi fevroien kai ; melevdwnai 74 37 in my dripping (pain) the blamer may winds and terrors carry him off 75 38 o[ptaiı a[mme 76 38 you burn me 77 39 povdaãıà de; poi kv iloı mavılhı ejkavlupte, Luvdion kavlon e[rgon 78 39 the feet by spangled straps covered beautiful Lydian work 79 40 ıoi ; dæ e g[ w leuvkaı epidwmon ai \goı kajpilei yv w toi 80 40 but I to you of a white goat and I will pour wine over 81 41 taiı; kavlaiıæ u[mmin ãto;à novhmma tw\mon ouj diavmeipton 82 41 for you beautiful ones my thought is not changeable 83 42 taiı' i yu'croı men; eg[ ento qu'moı pa;r dæ i [eiıi ta; ptevra 84 42 their heart grew cold they let their wings down 85 43 ºa≥i ≥: º ºl≥et≥ ≥ai¥ º ·k‚aloı º∂ a[kala klovnei º kavmatoı frevna ºe ≥ k≥atiıdavneªiº º ajllæ a[gitæ, w\ fi lv ai, º, a[gci ga;r ajmevra. 86 43 ] ] ] ]beautiful he ]stirs up still things ]exhaustion the mind ]settles down ]but come O beloveds ]for day is near 87 44 Kupro≥∂ª ka'rux h\lqe ≥ qe ª≥ ºaıµ: ºele ª≥ ∂∂∂º∂qeiı “Idaoı tadeka∂∂∂fª∂∂º∂iı tavcuı a[ggeloı tavı tæ a[llaı ∆Aıi av ı ∂ª∂ºde∂an klevoı a[fqiton: “Ektwr kai ; ıunevtairµªoºi a[goµ i¥ ı æ ejlikwvpida Qhvbaı ejx iej vraı Plaki av ı tæ ajp≥æ ªaji º> nãnÃavw a[bran ∆Andromavcan ejni ; nau'ıin ejpæ a[lmuron povnton: povlla dæ ªejli ºv gmata cruvıia ka[mmata porfuvrªaº katau?tªmeºna, poi kv≥ i≥ ¥ læ ajquvrmata, ajrguvra≥ tæ≥ ajnav≥rõiÕq≥ma õpothvÕrõiaÕ kajlevfaiı. w]ı ei\pæ: ojtralevwı dæ ajnovrouıe pavtªhºrµ fi lv oı: favma dæ h\lqe kata; pt o≥ vlin eujruvco≥rµo≥n fi lv oiı. au[tikæ ∆Ili av dai ıati nv aiªıº ujpæ ejutrovcoiı a\gon aimj iovnoiı, ej≥p≥ªevºbaine de; pai ı' o[cloı gunai kv wn tæ a[ma parqeni kv aªnº t∂∂ª∂∂º∂ıfuvrwn, cw'riı dæ au\ Peravmoio qugªaºtreıª i[ppªoiıº dæ a[ndreı u[pagon ujpæ a[rµªmata pª ºeı hji qv e≥ oi, megavlwªıºti d≥ª dª º∂ ajni ov coi fª∂∂∂∂∂º∂ª p≥ª vºxa∂oª 88 44 Kypros herald came Idaos swift messenger ] and of the rest of Asia imperishable fame. Hektor and his men are bringing a glancing girl from holy Thebe and from onflowing Plakia— delicate Andromache on ships over the salt sea. And many gold bracelets and purple perfumed clothes, painted toys, and silver cups innumerable and ivory. So he spoke. And at once the dear father rose up. And news went through the wide town to friends. Then sons of Ilos led mules beneath fine-running carts and up climbed a whole crowd of women and maidens with tapering ankles, but separately the daughters of Priam [ And young men led horses under chariots [ ]in great style ]charioteers ] 89 i º[ keloi qevoiªı º a[gnon ajolªle ºnon ejı I[ lioªn õo[≥rµmat ≥a≥i¥Õª õau\loı dæ ajduªmºevlhıÕµ ª ºtæ ojnemi gv nuªto õkai ; yªovºfoªı kºrotavlÕªwn ºwı dæ a[ra pavrªqenoi õa[eidon mevloı a[gn≥Õªon, i[kaºne dæ ejı a≥i q[¥ ª≥ era õa[cw qeıpeıi av ≥ gel≥Õª õpavntai dæ h\ı ka;t o[doÕªiı õkravthreı| fi av lai v tæ ojÕª∂∂∂ºuedeª∂∂º∂∂eakª∂º∂ª õmuvrra ka|i ; kaıi av li bv Õanovı tæ ojnemei vcnuto õguvnaikeı dæ ejlevluıdoÕn o[ıai progenevıteraªi õpavnteı dæ a[ndreı ejpÕhvraton ia[ con o[rqion õpavonæ ojnkalevonteıÕ jEkavbolon eujluvran õu[mnhn dæ E [ ktora kæ AnÕdromav j can qeoãeÃikevloªiı. 90 ]like to gods ]holy all together set out for Ilios and sweetflowing flute and kithara were mingled with the clip of castanets and piercingly then the maidens sang a holy song and straight up the air went amazing sound [ and everywhere in the roads was [ bowls and cups [ myrrh and cassia and frankincense were mingled. And all the elder women shouted aloud and all the men cried out a lovely song calling on Paon farshooting god of the lyre, and they were singing a hymn for Hektor and Andromache like to gods. 91 44Aa ºıanoreıµ∂∂ª Foi bv wi cruıokovºv m≥ai to;n e[tikte Kovw ∂ª mi gv eiı(a) Krºoni dv ai megalwnuvmw≥ãi Ã. ı de; qevwnº mevgan o[rkon ajpwvmoıe Artemi [ kefavºlan: a[i > pavrqenoı e[ııomai º∂wn ojrevwn koruvfa≥iı≥ æ ep[ i ºd≥e neu'ıon e[man cavrin: evneuºıeµ qevwn makavrwn pavthr: ejlafavbºolon ajgrotevran qevo≥i º∂ıin ejpwnuvmion mevga: ºeroı oujdavma pi lv natai: º∂ª∂º∂∂∂m≥a≥fovbeª∂∂ºev≥rµw: 44Ab e≥jmmª kai¥∂ª rµ∂e∂ª w∂∂∂ ª Moiıan ajglaª povei kai ; Cari tv wn≥ ª bradi nv oiı ejpeb.ª j qe.ª o[rgaı mh; pilav q≥na≥ vtoiıin: ped. vcª ºd≥ali wv ª 92 44Aa ] for goldhaired Phoibos whom Koos’ daughter bore after she mingled with Kronos’ highnamed son. But Artemis swore the great oath of the gods: By your head! forever virgin shall I be ]untamed on solitary mountains ]Come, nod yes to this for my sake! So she spoke. Then the father of blessed gods nodded yes. Virgin deershooter wild one the gods call her as her name. ]Eros comes nowhere near her ] 44Ab [ [ [ [ of the Muses [ makes and of the Graces [ with slender [ for mortals: there is a share [ ] 93 45 a\ı qevletæ u[mmeı 94 45 as long as you want 95 46 e[gw dæ ejpi ; molqavkan tuvlan ãkaÃıpolevw mevlea: ka]n me;n tetuvlagkaı ajıpovlea 96 46 and I on a soft pillow will lay down my limbs 97 47 “Eroı dæ ejti nv axev ãmoi à frevnaı, wjı a[nemoı ka;t o[roı druvıin ejmpevtwn 98 47 Eros shook my mind like a mountain wind falling on oak trees 99 48 h\lqeı e[gw dev ıæ ejmaiovman, o]n dæ e[yuxaı e[man frevna kaiomevnan povqwi 100 48 you came and I was crazy for you and you cooled my mind that burned with longing 101 49 jHravman me;n e[gw ıevqen, “Atqi, pavlai potav ımi kv ra moi paviı e[mmenæ ejfai nv eo ka[cariı 102 49 I loved you, Atthis, once long ago a little child you seemed to me and graceless 103 50 oj me;n ga;r kavloı o[ııon i d[ hn pevletai ãkavloıÃ, oj de; ka[gaqoı au[tika kai ; kavloı e[ıãıe Ãtai. 104 50 For the man who is beautiful is beautiful to see but the good man will at once also beautiful be. 105 51 oujk oi\dæ o[tti qevw: duvo moi ta; nohvmata 106 51 I don’t know what to do two states of mind in me 107 52 yauvhn dæ ouj doki mv wmæ ojravnw duıpaceva 108 52 I would not think to touch the sky with two arms 109 53 Brodopavceeı a[gnai Cavriteı, deu'te Di ov ı kovrai 110 53 pure Graces with arms like roses come here daughters of Zeus 111 54 e[lqontæ ejx ojravnw porfuri av n perqevmenon clavmun 112 54 having come from heaven wrapped in a purple cloak 113 55 katqavnoiıa de; kei ıv hi oujdev pota mnamoıuvna ıevqen eı[ ıetæ oujde; pokæ u[ıteron: ouj ga;r pedevchiı brovdwn tw;n ejk Pieri av ı, ajllæ ajfavnhı kajn ∆Ai dv a dovmwi foitavıhiı pedæ ajmauvrwn nekuvwn ejkpepotamevna. 114 55 Dead you will lie and never memory of you will there be nor desire into the aftertime—for you do not share in the roses of Pieria, but invisible too in Hades’ house you will go your way among dim shapes. Having been breathed out. 115 56 oujdæ ia[ n doki mv wmi proıi dv oiıan favoı ajli wv eı[ ıeıqai ıofi av n pavrqenon eiıj oujdevna pw crovnon teauvtan 116 56 not one girl I think who looks on the light of the sun will ever have wisdom like this 117 57 ti ıv dæ ajgroi ?wtiı qevlgei novon ajgroi ?wtin ejpemmevna ıtovlan oujk ejpiıtamevna ta; bravkeæ e[lkhn ejpi ; tw;n ıfuvrwn… 118 57 what country girl seduces your wits wearing a country dress not knowing how to pull the cloth to her ankles? 119 58 º∂ª º∂daª º º∂a ºuv≥goiıa≥ª º∂ª∂∂º∂∂ª ºi¥davcqhn ºcµu qª∂vºo≥i¥ª∂ºallª∂∂∂∂∂∂∂ºuvtan º∂cqo∂ª∂ºati ∂v ª∂∂∂∂∂ºeiıa ºmevna tanª∂∂∂∂wvºnumovn ıe ≥ ºni qh'tai ıtªuvºmaªtiº prov≥koyin ºpwn kavla dw'ra pai 'deı ∂ºfilavoidon liguvran celuvnnan pavºnta crova gh'raı h[dh leu~kai v tæ ejgevnoºnto tri cv eı ejk melai nv an ºa≥i¥, govna dæ ªoºuj fevroiıi ºhıqæ iı[ a nebri ov iıin ajºl≥la; ti v ken poei vhn… º ouj duvnaton gevneıqai º brodovpacun Au[wn e[ıºcata ga'ı fevroiıaª ºo≥n u[mwı e[maryeª ºavtan a[koitin ºi¥mevnan nomiıv dei ºaiı ojpavıdoi õe[gw de; fi lv hmmæ ajbroıuvnan,Õ º tou'to kai v moi to; lavõmpron e[rwı ajeli wv kai ; to; kavÕlon levõlÕogce. 120 º 58 ] ] ] ] ]running away ]bitten ] ] ]you ]makes a way with the mouth ]beautiful gifts children ]songdelighting clearsounding lyre ]all my skin old age already hair turned white after black ]knees do not carry ]like fawns ]but what could I do? ]not possible to become ]Dawn with arms of roses ]bringing to the ends of the earth ]yet seized ]wife ]imagines ]might bestow But I love delicacy and this to me— the brilliance and beauty of the sun—desire has allotted. 121 59 jEpinª º∂ª∂∂∂ºn≥ov∂ª fi lv ei∂ª kainª 122 59 ] loves new 123 60 ºtuvcoiıa º qevlæ wntapaiıv an tevºl≥eıon novhmma ºevtwn kavlhmi º peda; qu'mon ai \ya o[ºııµ a tuvchn qelhvıhªı ºr e[moi mavceıqaªi cºlidavnaãi à pi vqeiıaª ºi, ıu; dæ eu\ ga;r oi ı\ qa ºevtei taª∂º∂le∂∂ ºkl≥aıª 124 60 ]having encountered ]wants ]accomplish the plan ]I call out ]to the heart at once ]all that you wish to win ]to fight for me ]by the wanton one persuaded ]but yes you know well ] ] 125 61 eg[ ent¥ ∂ª ouj gavr kªe 126 61 they became [ for not 127 62 jEptavxateª≥ davfnaı o[ta≥ª pa;n dæ a[dionª h] kh'non ejloª kai ; taiı' i me;n aj≥ª ojdoi pv oroı a[nª∂∂∂∂º∂∂ª muvgiı dev potæ eiıj avion: ejkl≥ª yuvca dæ ajgapavtaıu∂ª∂v tevauta de; nu'n e[mm≥ª i k[ eıqæ ajganaª ef[ qate: kavlanª tav tæ e[mmata ka≥ª 128 62 You cowered [ laurel tree [ but everything sweeter [ than that [ and for them [ traveler [ But I scarcely ever listened [ soul beloved [ and such now [ to arrive kindly [ You got there first: beautiful [ and the clothes [ 129 63 “Onoire melainaª fªoºi vtaiı, o[ta tæ u[pnoı ª gluvkuıµ q≥ªevºo≥ı, h\ dei 'næ ojni vaı mª za; cw'riı e[chn ta;n dunamª e[lpiı dev mæ ec[ ei mh; pedevchªn mhde;n makavrwn ejl ≥ª o≥uj≥ gavr kæ eo[ n ou[twª∂∂v ajquvrmata ka∂ª gevnoito dev moiª toiı; pavntaª 130 63 dream of black [ you come roaming and when sleep [ sweet god, terribly from pain [ to hold the strength separate [ but I expect not to share [ nothing of the blessed ones [ for I would not be like this [ toys [ but may it happen to me [ all [ 131 64a 64b ºl≥ak≥ª º º∂aª ºni ∂v ª ºai gv aª aºli kv eııµ iª º∂do∂ª º º ºpai vdwnª ºdho≥n º º ºqentª º∂qevoiıªµ ºn ai ı[ crª º ºa moi ª' ºtetiª 132 ª 64a and b ] ] ] goat ]for comrades ] ]of children ] ] ] ] ]to gods ]ugly ] ]Muse ] 133 65 ∂∂∂∂∂º∂∂∂aª ∂∂∂∂∂ºromeª ∂∂∂∂∂º∂elaı≥ª ∂rot ≥hvnnemeª Yavpfoi, ıefi lv ª Kuvprwi¥ b≥ªaºıi lv ª k≥ai vtoi mevga d∂ª o[ºııoiı faevqwn ≥ ª pavntai klevoı ª kai v ıæ enj n ∆Acevrªont ∂∂ª∂∂∂∂∂∂ºn p≥ ≥ª 134 65 ] ] ] ] to Sappho, you [ in Kypros queen [ and yet greatly [ to all on whom the blazing [ everywhere glory [ and you in Acheron’s ] 135 67a ∂∂ºwn ma∂ª kºai ; tou'tæ epj ike∂ª dºai vmwn ojlof∂ª ouj ma;n ejfi lv hıªµ nu'n dæ en[ nekaª to; dæ ait[ ion oujtª o≥ujde;n povluª∂º∂ª ≥ºudæ ª∂[ 67b º∂oudeª ºt ≥auta∂ª ºlaiıimª ºplhvoni ≥ª ºæ ajmfª º∂ıqeo∂ª ºevr≥ wı∂ª 136 67a ] and this [ ruinous god [ I swear did not love [ but now because [ and the reason neither [ nothing much [ [ 67b ]nor ]these ] ]more ]around ] ]desire 137 68a ºi ≥ gavr mæ ajpu; ta;ı e∂j ª u[ºmwı dæ eg[ enªto º iı[ an qevoiıin ºaıan ajli tv raª ∆Anºdromevdanª∂º∂axª ºarª∂∂∂º∂a m≥av≥ka≥ªirºa ºeo≥ n de; trovpon aª∂º∂uvnhª º k≥ovro≥n ouj katiıcµe∂ª ºk≥aª∂∂∂∂∂º∂ Tundari dv aiªı ºaıuª∂º∂∂∂kaª∂º cari ventæ aj∂ª ºkæ a[dolon ªmºhkevti ıunª º Megavra∂ª∂∂ºn a≥ ª∂∂∂ºaª 68b º∂∂∂∂fª º∂ª∂ºæquvra∂ª ºm≥oi cavle∂ª ºdekuvª º∂opavlhn o[l≥ª ºeª 138 68a ]for me away from ]yet turned out to be ]her like gods ]sinful ]Andromeda ]blessed one ]way ]did not restrain excess ]Tyndarids ]gracious ]innocent no longer ]Megara 68b ] ]playing ]for me harsh ] ] ] 139 69 ºe∂∂ª∂ºt ≥egamª ºaı ajli vtraª ºevtæ aujª 140 69 ] ]sinful ] 141 70 ºa≥m≥∂l∂ª ºnamª ºn ≥ dæ ei \mæ eª ºrµıomevnª ºlikæ ujpaª º∂∂∂ª∂ºbaª ºıµ gµa;r ejp≥ auª º mavn kæ ajpu≥qu≥ ıªµ ºarmoni av ı d≥ª ºaqhn covron, a[aª ºd≥e li gv ha∂ª ºatovn ıfi ≥ª º pavnteııiª ºepª∂º∂ª 142 70 ] ] ]I will go ] ] ] ]for ] ]of Harmonia ]dance ]clearsounding ] ]to all ] 143 71 ºmiııe Mi kv a ºelaª∂ ∂ajlºlav ıæ e g[ wujk ejavıw ºn ≥ filovtªatæº h[leo Penqilhvan ª≥ ºda ka≥ªkovºtropæ, a[mmaª º mevl≥ªoıº ti gluvkeron∂ª ºa mellicovfwnªoı ºdei, li vgurai dæ a[hª º droıªovºeııaª 144 71 ]you Mika ]but I will not allow you ]you chose the love of Penthelids ]evilturning ]some sweet song ]in honey voice ]piercing breezes ]wet with dew 145 73a ºnb≥ ∂ª∂º∂ª∂ºu≥ ºa ºan ∆Afrodiªta ajºduvlogoi dæ ejrª ºb≥alloi aºiıµ e[coiıa º∂evn≥ a qaaıªı ºavllei ºaı eej vrıaı ª 146 73a ] ] ]Aphrodite ]sweetworded desires ]throw ]holding ]sits ] ]dews 147 74a ºwn e[kaª 74b ºaª 74c º∂ª ºaipovlª ºpoqo≥ª ºaı id[ rwª ºm∂ª º∂wvba≥ª º∂uzaµ d∂ª ºbrodoª ºi ≥nª ºo≥nqª ºfµaimª 148 74a 74b 74c ] ] ] ]goatherd ]longing ]sweat ] ] ] ]roses ] ] ] 149 76 ºan ≥ pa≥ª teºlevıeie k≥ª ºi vh lelaª ºe qevlwª ºechnª ºh≥: e[fa∂ª ºali kv ª 150 76 ] ]might accomplish ] ]I want ]to hold ]said ] 151 78 º∂onauª ºhn oujdeª ºhı im[ erª º∂ai dæ a[maª º∂anqoı:ª i º[ meronª ºeterpª 152 78 ] ]nor ]desire ]but all at once ]blossom ]desire ]took delight 153 80 º∂ª º∂t o≥ ıeı∂ª ºpantaª ºi ≥ dæ ajtevraª ºlokaª º∂ª 154 80 ] ] ]all ]but different ]hair ] 155 81 ºapuvqeı∂ª ºciıtal≥ª ºem≥ ≥pª ıu; de; ıtefavnoiı, w\ Di kv a, pÕevrqeıõqæ ejravtoiı fovbaiıin o[rpakaı ajnhvtw ıunãaÃÕevõrrÕaiıµõæ ajpavlaiıi cevrıin: eujavnqea ga;r pevletai kai ; Cavriteı mavkairaãi à ma'llon proterhn, ajıtefanwvtoiıi dæ ajpuıtrevfontai. 156 81 ]despise ]quick as possible ] But you, O Dika, bind your hair with lovely crowns, tying stems of anise together in your soft hands. For the blessed Graces prefer to look on one who wears flowers and turn away from those without a crown. 157 82a Eujmorfotevra Mnaıidi kv a ta;ı ajpavlaı Guri nv nwı 82b kai vtæ eªj mhdenª nu'n dæ ajª mh; bovlle ª≥ eujºmorfo≥ªtevra 158 82a Mnasidika more finely shaped than soft Gyrinno 82b and if [ nothing [ but now [ don’t [ more finely shaped 159 83 º∂ai ∂v ª ºlæ au\qi meª ºnwvmeqæ ojª º dhu\tæ ejpitª ºevnthdem≥ª º∂a ga;r ejkavª º∂ª∂º∂ª 160 83 ] ]right here ] ](now again) ] ]for ] 161 84 º∂aiıª º∂ikipª ºw≥n kª∂∂º∂ª∂?ºi vnaª ºtonovne∂ª ∂? º∂≥oıe ª≥ ºavbroiı ejpicª?ºh≥mª ºan ∆Artemi¥ ª ºnablª 162 84 ] ] ] ]reproach ]delicate ]Artemis ] 163 85a 85b º∂∂ ºpavmena≥ª ºt æ≥ w[ıtæ oj pevlhª ∂;ºlbon ºakan ıµov≥ª ºakouvhn ºa≥utv an ≥ 164 85a 85b ] ] ]prosperous ]like an old man ]to listen ] ] 165 86 º∂akavla∂ª º a≥i gj≥ iovcw l≥a≥ª º∂ K≥ u≥qevrhæ eu≥ jc≥ µomª ºo≥n e[coiıa qu'mo≥ªn klºu'qi v m≥æ a[raı ai [ pªota kajtevrwta ºaı p≥rµoli pv oiıµa kª º∂ pedæ e[man iwj vª º∂n ca≥levpai∂ª 166 86 ]quiet ]with an aegis ]Kytherea I pray ]holding the heart ]hear my prayer if ever at other times ]forsaking ]toward my ]harsh 167 87a ºamm≥ª ºi ≥ka∂ª ºpoiıv aiª ºk≥lehdon≥ª º∂plokamª ºeı≥ dæ aj≥maª º ajnqrwvpª º∂umainª ºt ≥ek≥aip≥ª 87b mºerimnaª ºgµhn ª ºa≥i ≥ko≥ª ºai ª 87c ª∂ºdw∂ª t ≥ov≥lmª 168 87a ] ] ] ]rumor ]hair ]at the same time ]man ] ] 87b ]anxiety ]ground ] ] 87c ] ]daring 169 87d º º ºeı≥ qa ºrpon a[ban º ºeıqai: º º∂ º º 170 87d ] ] ] ] youth ] ] ] ] ] ] 171 87e ºefi ≥∂ª bºa≥ıilhµ∂ª ºegad∂ª º∂oı∂ª 87f ∂vºdhª ∂vºk≥wıaª ºn: ıoiª º∂dhk∂ª ºeıiµ ≥p≥p≥ª º∂a≥l∂ª º∂eııaª º∂ª∂º∂ª 172 87e ] ]queen ] ] 87f ] ] ]to you ] ]horse ] ] ] 173 88a º∂ª ºn≥ prµo≥∂∂ª ºnwı pro;ı povt ≥ª º∂aton cavlaª º∂qevl≥ oiı: oujdu≥ª º∂aıdoiıæ ojligaª º∂evna fevreıqaªi 88b º∂fi ≥a≥ tiıµ∂∂∂ª ejmª to≥u '≥ª kª º∂dæ a[dion eiıj orª oº iı\ qa kau[ta: levºl≥aqæ ajlloniavª ıeª º∂an: ti ≥radª hjª ºa≥i v≥ tiı ei [poi ajª º∂ıan: e g[ w te garª filh≥ª ºm≥æ a\ı ken e[nh mæª ka'l∂ª eıj t∂ª ∂ºcµa≥ª ºa≥i melhvıhn: ºfi lv a fai 'mæ ejcuvra ge ª≥v neıqai ºenaª∂ºaiı: ajt ª≥ º∂∂dæ ojni av rµªoºıµ ª 174 88a ] ]in front ]toward ]loosen ]you would be willing ]slight ]to be carried 88b ]someone ]me ]more sweetly ] ]and you yourself know ] ]forgot ]you ] ] ]someone would say ] ]and yes I shall love ]as long as there is in me ] ]will be a care ] ]I say I have been a strong lover ] ] ]painful 175 º∂pi kv roı u[mª º∂ª∂ºta≥∂qa'd≥ª º∂a≥ tovde dæ iı[ µ ªq(i) º∂w[tti ıæ e∂j ª ºa filhvıwª ºt ≥w t ≥i¥ loª ºııon ga;r ∂ª ºıqµ ai belevwªn º∂∂ª 176 ]bitter ] ]and know this ]whatever you ]I shall love ] ]for ]of weapons ] 177 91 ajıarotevraı oujdavma pw Eir[ ana, ıevqen tuvcoiıan 178 91 never more damaging O Eirana have I encountered you 179 92 ª ª p≥e ª≥ krª∂∂∂∂∂∂∂∂∂ºperª pevplonª∂∂∂ºp≥u≥ıµcµª kai ; kl≥eª≥ ∂∂ºıawª krokoentaª pevplon porfuªr∂∂∂∂∂∂∂∂ºd≥exw≥ª∂º clainai perıªµ ıtevfanoi perª kalª∂ºo≥ııµ aµ ≥m≥ª fruª porfªur t ≥a≥p≥a≥ª ª pª 180 92 ] ] ] ] robe and colored with saffron purple robe cloaks crowns beautiful ] purple rugs ] ] 181 93 ºiı∂∂∂eg ºw ºmoiı ºa≥li av n ≥ e[c≥ w º parqevnw≥n ≥ 182 93 ] ] ] ]I have ]of girls 183 94 teqnavkhn dæ ajdovlwı qevlw: a[ me yiıdomevna kateli vmpanen povlla kai ; tovdæ ee[ ipev≥ ªmoi: w[imæ wjı dei n' a pepªovnqºamen, Yavpfæ, h\ mavn ıæ ajevkoiıæ ajpulimpavnw. ta;n dæ e g[ w tavdæ ajmeibovman: cai rv oiıæ e[rceo ka[meqen mevmnaiıæ, oiı\ qa ga;r w[ı ãıÃe pedhvpomen: ai j de; mhv, ajllav ıæ e g[ w qevlw o[mnaiıai ª∂∂∂(∂)º∂ª∂∂(∂)º∂ea≥ i oj≥ıµª º kai ; kavlæ epj avıcomen: pov≥ªlloiı ga;r ıtefavnºoiı iw[ n kai ; brªovdwn ∂∂∂ºki wv n tæ u[moi ka ≥ ≥ª º pa;r em[ oi pãeÃreqhvkaão à kai ; pov≥õllaiı ujpaÕquvmidaı plevkõtaiı ajmfæ ajÕpavlai devrai ajnqevwn ejª≥ º pepohmevnaiı. 184 94 I simply want to be dead. Weeping she left me with many tears and said this: Oh how badly things have turned out for us. Sappho, I swear, against my will I leave you. And I answered her: Rejoice, go and remember me. For you know how we cherished you. But if not, I want to remind you ]and beautiful times we had. For many crowns of violets and roses ]at my side you put on and many woven garlands made of flowers around your soft throat. 185 kai ; p∂∂∂∂∂ª º∂ muvrwi brenqei vwi ∂≥ ª ºrµuª∂∂ºn exj alãeÃiVyao ka≥ªi ; õbaıÕºi ≥lhi vwi kai ; ıtrwvmnªan ejºpi ; molqavkan ajpavlan parµª ºo≥nw≥ n exj i vhı povqo≥ªn º∂ni dv wn kwu[te tiıª ou[ºt e≥ ≥ ti i \ron oujdæ ujª º e[pletæ o[pp≥ªoqen a[mºmeı ajpevıkomen, oujk a[lıoı ∂ª º∂roı ºyofoı º∂∂∂oidiai 186 And with sweet oil costly you anointed yourself and on a soft bed delicate you would let loose your longing and neither any[ ]nor any holy place nor was there from which we were absent no grove[ ]no dance ]no sound [ 187 95 ∂ouª h\≥ræ ajª dhrat∂ª Goggula∂ª h\ ti ıa'mæ ejqe∂ª paiıi mavliıta∂ª maı gæ ei≥ ı[ ≥ hlqæ ejp∂ª ei \pon: w\ devıpotæ, ejp∂ª oºuj ma; ga;r mavkairan ≥ ª oºujde;n a[domæ e[parqæ ajgaª katqavnhn dæ im[ erovı tiı ªe[cei me kai ; lwti nv oiı droıoventaı ªo[cµªqºoiı id[ hn ∆Acerª ≥º∂∂deıaid∂ª ∂º∂nd≥ etonª≥ mhtiıµeª≥ 188 95 not ] ] Gongyla surely a sign for children mostly came in [ I said, O master I swear no I take no pleasure but a kind of yearning has hold of me—to die and to look upon the dewy lotus banks of Acheron ] ] ] 189 96 ºıard∂ª∂∂º povlºlaki tui vde ≥ ª∂ºwn e[coiıa wjıp∂ª∂∂∂º∂wvomen, ∂ª∂∂∂º∂∂cª∂∂º ıe qeaıikelan ajri- gnwta, ıa'i de; mavliıtæ e[caire movlpai ≥: nu'n de; Luvdaiıin ejmprevpetai gunai -v keııin w[ı potæ ajeli wv duvntoı aj brododavktuloı ãıelavnnaà pavnta perãrÃevcoiıæ a[ıtra: favoı dæ ejpi -v ıcei qavlaııan ejpæ ajlmuvran iı[ wı kai ; poluanqevmoiı ajrouvraiı: aj dæ ãej Ãevrıa kavla kevcutai, teqavlaiıi de; brovda ka[palæ a[nqruıka kai ; meli lv wtoı ajnqemwvdhı: povlla de; zafoi tv aiıæ ajgavnaı ejpimnavıqeiıæ “Atqidoı imj evrwi levptan poi frevna kª∂ºr∂∂∂ bovrhtai: 190 96 ]Sardis often turning her thoughts here ] you like a goddess and in your song most of all she rejoiced. But now she is conspicuous among Lydian women as sometimes at sunset the rosyfingered moon surpasses all the stars. And her light stretches over salt sea equally and flowerdeep fields. And the beautiful dew is poured out and roses bloom and frail chervil and flowering sweetclover. But she goes back and forth remembering gentle Atthis and in longing she bites her tender mind 191 kh'qi dæ e l[ qhn ajmm∂ª∂∂º∂∂iıa tov≥dæ ouj nwntaª∂∂ºuıto≥num≥ª∂∂(∂)º povluı garuvei ≥ ª∂∂(∂)ºalonª≥ ∂∂∂∂∂(∂)ºt ≥o≥ mevııon: eºu[≥marªeı mºe;n≥ ouj∂a∂mi qevaiıi movrfan ejphvªratºon ejxiıv wıq≥ai ıuª∂∂ºrµo≥ı e[chãiÃıqaª∂∂∂º∂ni dv hon ª ºto≥ª∂∂∂(∂)ºratimalª º∂eroı kai ; dª∂ºm≥ª kam≥ª ºoı ∆Afrodi tv a º nevktar e[ceuæ ajpu; cruıi av ı ª ºn≥an º cevrıi Pei vqw ∂∂∂(∂)ºapourµª ª ºqª∂∂ºh≥ıenh ª ºakiı ª ª º∂∂∂∂∂∂ai ºeı to; Geraiıv tion ª ºn ≥ fi lv ai ºu≥ıton oujdenoª ª ª ºeron ixj oªm 192 But to go there ]much talks[ Not easy for us to equal goddesses in lovely form ] ] ]desire and[ ]Aphrodite ]nectar poured from gold ]with hands Persuasion ] ] ] ]into the Geraistion ]beloveds ]of none ]into desire I shall come 193 98a ∂∂º∂qoı: aj gavr m ej gj evnna≥ªt ıºf a~µ ı ejpæ ajliki av ı mevgªan kºovımon ai [ tiı e[ch fovbaãiÃıªµ p≥orfuvrµwi katelixamevªna e[m≥ menai mav≥la tou'to∂ª aj≥lla xanqotevraãi Ãı e[chª t ≥aãi ;Ãı kovmaãi Ãı davi d> oı profªµ ıºtefavnoiıin ejparti av ªiı aj≥nqevwn erj iqalevwn: ª mºi ≥travnan dæ ajrti wv ı klª p≥oiki lv an ajpu; Çardi wv ªn ∂∂∂º∂aoni av ı povl{e}iı ª 194 98a ]for my mother in her youth it was a great ornament if someone had hair bound with purple— a very great ornament indeed But for the one who has hair yellower than a pinetorch crowns of blooming flowers and just lately a headbinder spangled from Sardis ]cities 195 98b ıoi ; dæ e g[ w Klevi poiki lv an ª oujk e[cw — povqen e[ııetai… — ª mitravnãanÃ: ajlla; tw;i Mutilhnavwi ª º∂ª pai∂a∂eion e[chn po∂ª ai kj e∂≥ h≥ poikilaık∂∂∂(∂) ª tau'ta ta;ı Kleanaktida≥ª fuvgaı∂µ ∂iı≥ apoliıecei mnavmatæ: ≥id[ e ga;r ai \na dievrrue≥ªn 196 98b but for you Kleis I have no spangled—where would I get it?— headbinder: yet the Mytilinean[ ][ ]to hold ]spangled these things of the Kleanaktidai exile memories terribly leaked away 197 100 ajmfi ; dæ a[broiıæ ã à laıi ov iıæ eu\ ãÛæà ejpuvkaııen 198 100 and with delicate woven cloths covered her up well 199 101 cerrovmaktra de; kaggovnwn porfuvrai katautamenajtatimavıeiı e[pemyæ ajpu; Fwkavaı dw'ra ti vmia kaggovnwn 200 101 handcloths purple she sent from Phokaia valuable gifts 201 102 Gluvkha ma'ter, ou[ toi duvnamai krevkhn to;n iı[ ton povqwi davmeiıa pai d' oı bradi vnan diæ ∆Afrodi vtan 202 102 sweet mother I cannot work the loom I am broken with longing for a boy by slender Aphrodite 203 103 º∂en to; ga;r ejnnepeª∂ºh pro≥bª≥ º∂ate ta;n eu[poda nuvmfan ª ºt ≥a pai d' a K≥rµo≥ni vda ta;n ioj vkªolpºon ª º∂ıµ o[rgan qemevna ta;n ioj vkªolºp≥oı aª º∂∂a[gnai Cavriteı Pievridevªı teº Moi ª' ıai º∂ª∂ o[º µp≥p≥otæ ajoidai fre nv ≥ ª∂∂∂ºan∂ª ºıµaioiıa liguvran ªajoi ºv dan gavºmbron, a[ıaroi gµa;rµ u≥mj ali¥ kª ºıe fovbaiıiãnà qemevna≥ luvra∂ª º∂∂h cruıopevdi¥ l ≥ªoºı Au[wı ª 204 103 ]yes tell ]the bride with beautiful feet ]child of Kronos with violets in her lap ]setting aside anger the one with violets in her lap ]pure Graces and Pierian Muses ]whenever songs, the mind ]listening to a clear song ]bridegroom ]her hair placing the lyre ]Dawn with gold sandals 205 103Aa º ımikrª ºqhn ta;n ıfª ºoiı pollaª º prig; ga≥ª ºoi povllaiıªµ º tw;n ıfw'ªn º wjdamel≥ª º cei ≥ª º Govrg µ 103Ab eiıj≥ µ Kupª i¥ — —∂ª — — — tª — — — wgµª — 206 103Aa ]small ] ]many ] ]many ]their ] ] ] ]Gorgo 103Ab to Kypris ] ] ] ] 207 103B ºrhon qalavmw t ≥wdeı≥ª ºi ı≥ eu[poda nuvmfan ajbª≥ º∂nundª ºn moi:ª ºaı ge∂≥ ª 208 103B ]of the chamber ]bride with beautiful feet ]now ]for me ] 209 103Ca ºprolª ºferhnª≥ º∂ideqelª Arºcµ j eavnaııaª ºdhvpotæ ojnaª ºnaıamevnª ºen ejphratª ºnª 103Cb ºa∂ª e[ºkluon eª ºrµann∂≥ ∂deı dª paºrqenikaiı∂ª º∂mª º∂ª 210 103Ca ] ]to carry ] ]Archeanassa ]once ] ]in lovely ] 103Cb ] ]they heard ] ]maidens ] ] 211 104a “Eıpere pavnta fevrhiı o[ıa fai vnoliı ejıkevdaıæ Au[wı, fevrhiı o[in, fevrhiı ai \ga, fevrhiı a[pu mavteri pai d' a. 104b ajıtevrwn pavntwn oj kavlliıtoı 212 104a Evening you gather back all that dazzling dawn has put asunder: you gather a lamb gather a kid gather a child to its mother 104b of all stars the most beautiful 213 105a oi \on to; glukuvmalon ejreuvqetai a[krwi ejpæ u[ıdwi, a[kron ejpæ ajkrotavtwi, lelavqonto de; malodrovpheı: ouj ma;n ejklelavqontæ, ajllæ oujk ejduvnantæ ejpi kv eıqai 105b oia[ n ta;n ujavkinqon ejn w[reıi poi vmeneı a[ndreı povııi kataıtei vboiıi, cavmai dev te povrfuron a[nqoı 214 105a as the sweetapple reddens on a high branch high on the highest branch and the applepickers forgot— no, not forgot: were unable to reach 105b like the hyacinth in the mountains that shepherd men with their feet trample down and on the ground the purple flower 215 106 pevrrocoı, wjı o[tæ a[oidoı oj Levıbioı ajllodavpoiıin 216 106 outstanding as the Lesbian singer compared to those elsewhere 217 107 h\ræ et[ i parqeni vaı ejpibavllomai… 218 107 do I still yearn for my virginity? 219 108 w\ kavla, w\ cari veııa kovra 220 108 O beautiful O graceful one 221 109 dwvıomen, h\ıi pavthr 222 109 we shall give, says father 223 110 Qurwvrwi povdeı ejptorovguioi, ta; de; ıavmbala pempeboveia, piıı v uggoi de; devkæ ejxepovnhıan 224 110 the doorkeeper’s feet are seven armlengths long five oxhides for his sandals ten shoemakers worked on them 225 111 I[ yoi dh; to; mevlaqron, ujmhvnaon: ajevrrete, tevktoneı a[ndreı: ujmhvnaon. gavmbroı (eiıj )evrcetai iı\ oı “Areui, ãujmhvnaon,à a[ndroı megavlw povlu mevıdwn. ãujmhvnaon.à 226 111 up with the roof ! Hymenaios— lift it, carpenters! Hymenaios— the bridegroom is coming in equal to Ares, Hymenaios— much bigger than a big man! Hymenaios! 227 112 [Olbie gavmbre, ıoi ; me;n dh; gavmoı wjı a[rao ejktetevleıtæ, e[chiı de; pavrqenon, a]n a[rao. ıoi ; cavrien me;n ei d\ oı, o[ppata ãdæ ∂∂∂∂à mevllicæ, er[ oı dæ ejpæ imj evrtwi kevcutai proıwvpwi ã∂∂∂∂∂∂∂∂∂∂∂∂∂∂à teti vmakæ e[xocav ıæ ∆Afrodi vta 228 112 blest bridegroom, your marriage just as you prayed has been accomplished and you have the bride for whom you prayed gracious your form and your eyes as honey: desire is poured upon your lovely face Aphrodite has honored you exceedingly 229 113 ouj ga;r ajtevra nu'n paviı, w\ gavmbre, teauvta 230 113 for no other girl O bridegroom such as this one now 231 114 parqeni va, parqeni va, poi ' me li vpoiıæ ajãp Ãoi vchi… oujkevti h[xw pro;ı ıev, oujkevti h[xw 232 114 virginity virginity where are you gone leaving me behind? no longer will I come to you no longer will I come 233 115 Ti wv i ıæ, w\ fi vle gavmbre, kavlwı ejikavıdw… o[rpaki bradi vnwi ıe mavliıtæ ejikavıdw 234 115 to what O beloved bridegroom may I compare you? to a slender sapling most of all do I compare you 235 116 cai 're, nuvmfa, cai 're, ti vmie gavmbre, povlla 236 116 farewell bride farewell much-honored bridegroom 237 117 cai vroiı aj nuvmfa, cairevtw dæ oj gavmbroı 117A xoavnwn proquvrwn 117B E [ ıperæ uÔmhvnaon w\ to;n Adwv j nion 238 117 may you fare well bride and let the bridegroom fare well 117A of polished doors 117B evening, sing Hymenaios O the song of Adonis 239 118 a[gi dh; cevlu di a' moi levge fwnaveııa de; gi vnew 240 118 yes! radiant lyre speak to me become a voice 241 119 aimj ituvbion ıtavlaııon 242 119 cloth dripping 243 120 ajllav tiı oujk e[mmi paligkovtwn o[rgan, ajllæ ajbavkhn ta;n frevnæ e[cw 244 120 but I am not someone who likes to wound rather I have a quiet mind 245 121 ajllæ e[wn fi lv oı a[mmin levcoı a[rnuıo newvteron: ouj ga;r tlavıomæ e[gw ıuvn ãtæà oik[ hn e[ııa geraitevra 246 121 but if you love us choose a younger bed for I cannot bear to live with you when I am the older one 247 122 a[nqeæ ajmevrgoiıan pai d' æ a[gan ajpavlan 248 122 gathering flowers so very delicate a girl 249 123 ajrti vwı me;n aj cruıopevdiloı Au[wı 250 123 just now goldsandaled Dawn 251 124 au[ta de; ıu; Kalliovpa 252 124 and you yourself Kalliope 253 125 autaovra ejıtefanaplovkhn 254 125 I used to weave crowns 255 126 dauvoiı( æ ) ajpavlaı etj aãi Ãv raı enj ıthvqeıin 256 126 may you sleep on the breast of your delicate friend 257 127 Deu'ro dhu\te Moiı' ai cruvıion li pv oiıai 258 127 here (once again) Muses leaving the gold 259 128 Deu'tev nun a[brai Cavriteı kalli vkomoi v te Moi ı' ai 260 128 here now tender Graces and Muses with beautiful hair 261 129a e[meqen dæ e[chiıqa lavqan 129b h[ tinæ a[llon ajnqrwvpwn e[meqen fi lv hıqa 262 129a but me you have forgotten 129b or you love some man more than me 263 130 “Eroı dhu\tev mæ oj luıimevlhı dovnei, glukuvpikron ajmavcanon o[rpeton 264 130 Eros the melter of limbs (now again) stirs me— sweetbitter unmanageable creature who steals in 265 131 “Atqi, ıoi ; dæ e[meqen me;n ajphvcqeto frontiıv dhn, ejpi ; dæ ∆Andromevdan povthãi à 266 131 Atthis, to you it has become hateful to think of me and you fly to Andromeda 267 132 E [ ıti moi kavla paviı cruıi voiıin ajnqevmoiıin ejmfevrhãnà e[coiıa movrfan Kleviı ã à ajgapavta, ajnti ; ta'ı e[gwujde; Ludi van paiı' an oujdæ ejravnnan 268 132 I have a beautiful child who is like golden flowers in form, darling Kleis in exchange for whom I would not all Lydia or lovely 269 133 E [ cei me;n ∆Andromevda kavlan ajmoi vban Yavpfoi, ti v ta;n poluvolbon ∆Afrodi vtan∂∂∂∂… 270 133 Andromeda has a fine exchange Sappho, why? Aphrodite giver of blessings 271 134 Za; ã.à ejlexavman o[nar Kuprogenha 272 134 I conversed with you in a dream Kyprogeneia 273 135 Ti v me Pandi ov niı, w\ Eir[ ana, celi vdwn∂∂∂∂… 274 135 why does Pandion’s daughter O Eirana the swallow 275 136 h\roı a[ggeloı imj erovfwnoı ajhvdwn 276 136 messenger of spring nightingale with a voice of longing 277 137 qevlw ti v tæ eip[ hn, ajllav me kwluvei aid[ wı ∂∂∂ ∂∂∂∂∂∂∂∂∂∂∂∂∂ ªai j dæ h\ceı e[ılwn im[ eron h] kavlwn kai ; mhv ti v tæ eip[ hn glw'ııæ ejkuvka kavkon, aid[ wı kevn ıe oujk h\cen o[ppatæ, ~ dikai vwº ajllæ e[legeı peri ; tw 278 137 I want to say something but shame prevents me yet if you had a desire for good or beautiful things and your tongue were not concocting some evil to say, shame would not hold down your eyes but rather you would speak about what is just 279 138 ıta'qi ka[nta fi lv oı kai ; ta;n ejpæ o[ııoiıæ ojmpevtaıon cavrin 280 138 stand to face me beloved and open out the grace of your eyes 281 140 Katqnavıkei, Kuqevrhæ, a[broı “Adwniı: ti v ke qei 'men… kattuvpteıqe, kovrai, kai ; katerei kv eıqe ci vtwnaı 282 140 delicate Adonis is dying Kythereia what should we do? strike yourselves maidens and tear your garments 283 141 kh' dæ ajmbroıi vaı me;n kravthr ejkevkratæ “Ermaiı dæ e[lwn o[lpin qevoiıæ ejoinocovhıe. kh'noi dæ a[ra pavnteı karcavıiæ h\con ka[leibon: ajravıanto de; pavmpan e[ıla gavmbrwi 284 141 but there a bowl of ambrosia had been mixed and Hermes taking the jug poured wine for the gods and then they all held cups and poured libation and prayed every good thing for the bridegroom 285 142 Lavtw kai ; Niovba mavla me;n fi lv ai h\ıan e[tairai 286 142 Leto and Niobe were beloved friends 287 143 cruvıeioi ãdæà ejrevbinqoi ejpæ aji o> vnwn ejfuvonto 288 143 and gold chickpeas were growing on the banks 289 144 mavla dh; kekorhmevnoiı Govrgwı 290 144 to those who have quite had their fill of Gorgo 291 145 mh; ki nv h cevradoı 292 145 do not move stones 293 146 mhvte moi mevli mhvte mevliııa 294 146 neither for me honey nor the honey bee 295 147 mnavıe ıqai v tina faã i 'Ãmi kai ; e{teron ajmmevwn 296 147 someone will remember us I say even in another time 297 148 oj plou'toı a[neu ajrevtaı oujk ajıi vnhı pavroikoı aj dæ ajmfotevrwn kra'ıiı eujdaimoni vaı e[cei to; a[kron 298 148 wealth without virtue is no harmless neighbor but a mixture of both attains the height of happiness 299 149 o[ta pavnnucoı a[ıfi katavgrei 300 149 when all night long it pulls them down 301 150 ouj ga;r qevmiı ejn moiıopovlwn ãdovmwi à qrh'non e[mmenæ ã∂∂∂∂∂∂∂à ou[ kæ a[mmi prevpoi tavde 302 150 for it is not right in a house of the Muses that there be lament this would not become us 303 151 ojfqavlmoiı de; mevlaiı nuvktoı a[wroı 304 151 and on the eyes black sleep of night 305 152 pantodavpaiıãi à memãeÃicmevna croi av iıin 306 152 mingled with all kinds of colors 307 153 pavrqenon ajduvfwnon 308 153 girl sweetvoiced 309 154 Plhvrhı me;n ejfai nv etæ aj ıelavnãnÃa, ai j dæ wjı peri ; bw'mon ejıtavqhıan 310 154 full appeared the moon and when they around the altar took their places 311 155 povlla moi ta;n Pwluanavktida pai d' a cai rv hn 312 155 a very long farewell to the child of Polyanaktides 313 156 povlu pavktidoı ajdumeleıtevra cruvıw cruıotevra 314 156 far more sweetsounding than a lyre golder than gold 315 157 povtnia Au[wı 316 157 lady Dawn 317 158 ıkidnamevnaı ejn ıthvqeıin o[rgaı mayulavkan glw'ııan pefuvlacqai 318 158 with anger spreading in the chest to guard against a vainly barking tongue 319 159 ıuv te ka\moı qeravpwn “Eroı 320 159 both you and my servant Eros 321 160 tavde nu'n ejtai rv aiı taiı; e[maiı tevrpna kavlwı ajeiıv w 322 160 these things now for my companions I shall sing beautifully 323 161 tandefulavııete ejnneª∂∂ºoi gµavmbroi ª∂∂∂∂∂ºu≥ poli vwn baıi vlheı 324 161 guard her bridegrooms kings of cities 325 162 ti voiıin ojfqavlmoiıi(n)… 326 162 with what eyes? 327 163 to; mevlhma tw\mon 328 163 my darling one 329 164 to;n Ûo;n pai d' a kavlei 330 164 she summons her son 331 165 fai vnetai v Ûoi kh'noı 332 165 that man seems to himself 333 166 faiı' i dhv pota Lhvdan ujaki vnqinon ã∂∂∂à w[i o> n eu[rhn pepukavdmenon 334 166 they say Leda once found a hyacinth-colored egg hidden 335 167 wji vw povlu leukovteron 336 167 whiter by far than an egg 337 168 w\ to;n “Adwnin 338 168 O for Adonis 339 168A Gevllwı paidofilwtevra 340 168A who loves children more than Gello 341 168B Devduke me;n aj ıelavnna kai ; Plhi ?adeı: mevıai de; nuvkteı, para; dæ e[rcetæ w[ra, e[gw de; movna kateuvdw. 342 168B Moon has set and Pleiades: middle night, the hour goes by, alone I lie. 343 168C poiki lv letai me;n gai a' poluıtevfanoı 344 168C spangled is the earth with her crowns 345 169 ajgagoi vhn 169A ajqrhvmata 170 Aig[ a 171 a[kakoı 172 ajlgeıi dv wroı 346 169 I would lead 169A wedding gifts 170 Aiga 171 non-evil 172 paingiver 347 173 ajmamavxud(-oı, -eı) 174 ªajmavraº 175 au[a 176 bavrbitoı. bavrwmoı. bavrmoı. 177 beu'doı 348 173 a vine that grows up trees 174 channel 175 dawn 176 lyre lyre lyre 177 transparent dress 349 179 gruvta 180 “Ektwr 181 zavbaton 182 i oj i vhn 183 katwvrhı / katavrhı 350 179 makeup bag 180 holder 181 crossable 182 I might go 183 downrushing 351 184 ki vndun 185 meli vfwnoı 186 mhvdei >a 187 Moiıavwn 188 muqovplokoı 352 184 danger 185 honeyvoiced 186 Medeia 187 of the Muses 188 mythweaver 353 189 ni vtron 190 polui vdridi 191 ıevlinãnÃa 192 cruıaıtravgaloi fi valai 354 189 soda 190 manyskilled 191 celery 192 gold anklebone cups 355 NOTES 1.1 “of the spangled mind”: two different readings of the first word of Sappho’s first fragment have descended to us from antiquity: poikilothron’ (printed by Lobel, Page, Campbell and Voigt) and poikilophron (printed here). The word is a compound adjective, used as an epithet of Aphrodite to identify either her “chair” (thron-) or her “mind” (phron-) as poikilos: “many-colored, spotted, dappled, variegated, intricate, embroidered, inlaid, highly wrought, complicated, changeful, diverse, abstruse, ambiguous, subtle.” Now certainly the annals of ancient furniture include some fancy chairs, especially when gods sit on them; and initial mention of her throne provides an elegant point of departure for the downrush of Aphrodite’s next motion. On the other hand, it is Aphrodite’s agile mind that seems to be at play in the rest of the poem and, since compounds of thron- are common enough in Greek poetry to make this word predictable, perhaps Sappho relied on our ear to supply the chair while she went on to spangle the mind. Other examples of the adjective poikilos or its compounds occur in Sappho frr. 39.2, 44.9, 98a11, 98b1, 98b6; cf. also Alkaios fr. 345.2 (of a bird’s throat) and fr. 69.7 (of a man with a mind like a fox). 1.15, 16, 18 “(now again)”: the parentheses are not Sappho’s but I want to mark her use of the temporal adverb dēute. It is probably no accident that, in a poem about the cyclical patterns of erotic experience, this adverb of repetition is given three times. (Also repeated are the adjective that characterizes Aphrodite’s relation to time—“deathless,” occurring twice; Aphrodite’s questions to Sappho, refracted four ways; and Aphrodite’s final erotic rule, given three formulations.) The adverb is a compound of two words, dē and aute, contracted for euphonic reasons into dēute. Dē is a particle signifying vividly that some event is taking place in the present moment; it strikes a note of powerful alert emotion (sometimes with a tinge of irony or skepticism), like English “Well now!” Aute is an adverb that peers past the present moment to a series of repeated actions stretching behind; it intercepts the new and binds it into history, as if to say “Not for the first time!” Sappho’s “(now again)” does more than mark repetition as a theme of her poem, it 357 instantiates the difference between mortal and immortal perspectives on this painful feature of erotic life: Sappho is stuck in the pain of the “now,” Aphrodite calmly surveys a larger pattern of “agains.” For other instances of the adverb dēute in Sappho see frr. 22.11; 83.4; 127; 130.1. 1.18–24 Sappho’s reverie goes transparent at the center when she shifts midverse to direct speech of Aphrodite. There is an eerie casualness to the immortal voice simply present within Sappho’s own, which some translators modify with quotation marks or italics. This poem is cast in the form of a hymn or prayer, how straightforwardly is hard to say. Hymnic features include the opening catalogue of divine epithets, central reverie concerned with former epiphanies of the god, repetition of a plea at the beginning and the end (“come here . . . come to me”). For other literary examples of prayers see Homer Iliad 5.116ff; 10.284ff; 16.233ff; Pindar Isthmians 6.42ff; Sophokles Oedipus the King 163ff; Aristophanes Thesmophoriazousai 1156ff. 2.1 “here”: adverb of place that means “hither, to this place” with verbs of motion or “here, in this place” with verbs of rest, often used as an interjection “Come on! Here now!” when followed by an imperative verb. Notice that the imperative verb evoked by this adverb, for which the whole poem with its slow weight of onomatopoeically accumulating clauses seems to be waiting, does not arrive until the very last word: “pour” (16). Arrival is the issue, for it sanctifies waiting: attente de Dieu. The poem is a hymn of the type called “kletic,” that is, a calling hymn, an invocation to god to come from where she is to where we are. Such a hymn typically names both of these places, setting its invocation in between so as to measure the difference—a difference exploded as soon as the hymn achieves its aim. Inherent in the rationale of a kletic hymn, then, is an emptiness or distance that it is the function of the hymn to mark by an act of attention. Sappho suspends attention between adverb at the beginning and verb at the end: the effect is uncanny—as if creation could be seen waiting for an event that is already perpetually here. There is no clear boundary between far and near; there is no climactic moment of god’s arrival. Sappho renders a set of conditions that at the beginning depend on Aphrodite’s absence but by the end include her presence—impossible drop that saturates the world. “God can only be present in creation under the form of absence,” says Simone Weil, in Gravity and Grace, translated by Arthur Wills (Lincoln, Nebraska, 1997), 162. 358 2.8 “sleep”: kōma is a noun used in the Hippokratic texts of the lethargic state called “coma” yet not originally a medical term. This is the profound, weird, sexual sleep that enwraps Zeus after love with Hera (Homer Iliad 14.359); this is the punishing, unbreathing stupor imposed for a year on any god who breaks an oath (Hesiod Theogony 798); this is the trance of attention induced by listening to music of the lyre (Pindar Pythians 1.12); this is the deep religious stillness described by Gregory of Nazianzus in a Christian poem from the fourth century A . D . that appears to be modeled on Sappho’s, for Gregory imagines himself awaiting his god in a garden: Breezes whispered . . . lavishing beautiful sleep [koma] from the tops of the trees on my heart so very weary. —Patrologia graeca 37, ed. J. P. Migne (Paris, 1862), 755ff. Otherworldliness is intensified in Sappho’s poem by the synaesthetic quality of her kōma—dropping from leaves set in motion by a shiver of light over the tree: Sappho’s adjective aithussomenon (“radiant-shaking,” 7) blends visual and tactile perceptions with a sound of rushing emptiness. 2.14 “gold cups”: not mortal tableware, nor is nectar a beverage normally enjoyed by any but gods (along with ambrosia, e.g., Odyssey 5.92–4). 3.11 “all night long”: if this reading (Diehl’s 1923 conjecture) is correct, Sappho may be pursuing her own night thoughts (Diehl thinks these thoughts concern her brother: cf. frr. 5, 7, 15) or else participating in a nocturnal ritual. Allnight rites (pannuchides) were a feature of ancient Greek worship and turn up in literature, for example, Euripides describes a chorus invoking Athena: On the windy mountain ridge shrill voices of girls echo to the beat all night of feet dancing. —Heraklaidai 777–8. See also Sappho frr. 23.13, 30.3, 149; and H. W. Parke, Festivals of the Athenians (London, 1977), 49. 359 Secular reasons for insomnia may also be part of the Sapphic tradition, according to the fourth-century A . D . orator Libanius: So if nothing prevented the Lesbian Sappho from praying that her night be made twice as long, let it be permitted me too to pray for something like this. —Libanius Orations 12.99 = Sappho fr. 197 Voigt Libanius doesn’t say why Sappho made this prayer but it brings to mind a passage of Homer’s Odyssey, where Athene “slows down the night” for the newly reunited Odysseus and Penelope by stalling the horses of Dawn on the edge of Ocean (23.242–6; cf. also the battle of Amorites and Israelites in Joshua 10.13). 4.9 “having been stained”: depending on how the first letter of this word is restored it may mean also “having been touched on the surface, caressed” or “having been tainted, defiled.” 5.2 “brother”: ancient sources name three brothers of Sappho, of whom the eldest, Charaxos, made himself notorious by his pursuit of a courtesan (Rhodopis) not mentioned in this poem but see below frr. 7 and 15. 7.1 “Doricha”: ancient sources suggest this is one name of a courtesan favored by Sappho’s brother Charaxos. Herodotos relates: Rhodopis arrived in Egypt . . . to ply her trade but was redeemed at a high price by a man from Mytilene—Charaxos, brother of the poet Sappho. . . . And when Charaxos returned to Mytilene after liberating Rhodopis Sappho rebuked him severely in a poem. (2.134ff) Strabo adds: The woman whom Herodotos calls Rhodopis is named Doricha by Sappho. (17.1.33) So too Athenaios: Naukratis attracted celebrity prostitutes, like Doricha, who was the beloved of Sappho’s brother Charaxos and whom Sappho attacked in verse on the 360 grounds that she got a lot of money out of Charaxos. . . . But Herodotos calls her Rhodopis. (13.596b–d) And an epigrammatist of the Hellenistic period wrote this poem about her: Doricha, your bones fell asleep long ago and your hair and the perfume-breathing cloth in which you once wrapped graceful Charaxos, close by his flesh, when you drank the dawn. But the singing white pages of Sappho’s love songs live on and will live on. Blessed is your name which Naukratis is to guard so long as a Nile boat sails the salt sea. —Posidippos xvii The Greek Anthology Gow-Page Rhodopis (“face like a rose”) could be a professional name that Sappho scruples to use. 8.3 “Atthis”: Sappho’s relationship with Atthis was controversial, according to the ancient lexicographer: Sappho had three companions and friends, Atthis, Telesippa, Megara. Through her relations with them she got a reputation for shameful love. —Suda s.v. Sappho Maximus of Tyre reads the matter philosophically: The eros of the Lesbian woman—what else could it be than the Sokratic art of love? For they seem to me to have practiced love each after their own fashion, she the love of women and he the love of men. They both said they loved many and were captured by all things beautiful. What Alkibiades and Charmides and Phaidros were to Sokrates, Gyrinna and Atthis and Anaktoria were to the Lesbian woman. And what the rival artists Prodykos and Gorgias and Thrasymachos and Protagoras were to Sokrates, Gorgo and Andromeda were to Sappho. Sometimes she rebukes them, sometimes she interrogates them and she makes use of irony just like Sokrates. —Orations 18.9 See also Sappho frr. 49, 96, 131. 361 16.1–4 “some men say . . . some men say . . . some men say . . . but I say”: Sappho begins with a rhetorical device called a priamel, whose function is to focus attention and to praise. The priamel’s typical structure is a list of three items followed by a fourth that is different and better. Sappho’s list marshals three stately masculine opinions, then curves into dissent. Her dissent will solidify as Helen in the next stanza. On the priamel see B. Snell, The Discovery of the Mind, translated by T. G. Rosenmeyer (Cambridge, Mass., 1953), 47–50; A. P. Burnett, Three Archaic Poets: Archilochus, Alcaeus, Sappho (Cambridge, Mass., 1983), 281–5; W. H. Race, The Classical Priamel from Homer to Boethius (Leiden, 1982); J. J. Winkler, The Constraints of Desire (New York, 1990), 176–7; and cf. Bakkhylides 3.85–92; Pindar Olympians 1.1–7; Plato Lysis 211d–e; Tyrtaios 9.1–14 West. 16.12–16 Because of the corruption of these central verses it is impossible to say who led Helen astray (could be Aphrodite, Eros, or some principle of delusion like Atē) or how Sappho managed the transition from Helen to Anaktoria “who is gone.” It is a restless and strangely baited poem that seems to gather its logic into itself rather than pay it out. Rather like Helen. Beauty comes out of unexpectedness, and stares at us, “as though we were the ones who’d made a mistake,” as Yannis Ritsos says in a poem “Expected and Unexpected” in Ritsos in Parentheses, translated by E. Keeley (Princeton, 1979), 160–1. 17.2 Hera, sister and wife of Zeus, was worshipped on Lesbos at a sanctuary in or near Mytilene. The poet Alkaios, Sappho’s contemporary and fellow-Lesbian, also mentions this shrine and its trinitarian worship of Zeus, Hera and Dionysos (=Thyone’s child): see Alkaios fr. 129. According to a Homeric scholiast (on Iliad 9.129) the shrine of Hera was the site of an annual beauty contest for Lesbian women, to which Alkaios refers in fr. 130. There is also an anonymous epigram in the Palatine Anthology that praises this site: Come to the radiant precinct of bullfaced Hera, Lesbian women, make your delicate feet turn. There set up beautiful dancing and your leader will be Sappho with a gold lyre in her hands. Lucky ones in the glad dance: surely you will think you hear Kalliope’s own sweet singing. —Palatine Anthology 9.189 362 18.1 “Pan”: capitalized, the first word of this fragment is Pan the god of goats, wild space, pipes and the silence of noon. Uncapitalized it is pan, which can be a noun (“everything”) or an adjective (“every, all”) or an adverb (“altogether, wholly”). Capitalization is an editorial decision: codices before the ninth century were generally written entirely in majuscule script. 21.6 “old age”: Sappho treats this theme also in fr. 58 below. Commentators differ on whether to understand the speaker’s chagrin as erotic, or as a professional worry on the part of a chorus leader no longer able to whirl about with the choirs of girls (as Alkman complains in his fr. 26), or as a mythic topos elaborated for its own sake. 21.13 “with violets in her lap”: I do not know what this adjective means exactly. It is composed of the word ion, “violet” (which can also mean “purple” or “dark” or “like violets”) and the word kolpos, “bosom, lap, womb; fold formed by a loose garment; any hollow.” In Sappho it is an epithet of brides and of a goddess: see frr. 30.5, 103.3 and 103.4. 22.10 The name Gongyla is missing its first two letters at the beginning of this verse but appears in full in fr. 95.4 and also shows up in a second-century- A . D . papyrus commentary on Sappho that identifies Gongyla as “yoke-mate” (synzyx) of a woman named Gorgo (see fr. 213, 213a and 214a Voigt). No one knows what a yoke-mate is precisely. Yoking is a common figure for marriage; there is a cognate verb (syndyazein) that means “to unite in wedlock” and a cognate noun that means “wife” when used of females but simply “comrade” when applied to males. There is also an abstract noun (syzygia) used by Euripides of a collaboration between Muses and Graces in choral song (Herakles Mad 673). Gongyla of Kolophon is named by the Suda as a pupil of Sappho along with Anagora of Miletos and Eunika of Salamis. 22.11 “(now again)”: See above fr. 1 and below fr. 130. 31.9 “tongue breaks”: the transmitted text contains a hiatus (conjunction of two open vowels) between “tongue” (glōssa) and “breaks” (eage) that contravenes the rules of Greek metrics and convinces most editors to mark the verse as corrupt. On 363 the other hand, the hiatus creates a ragged sound that may be meant to suggest breakdown. For various ways of reading Sappho’s broken tongue, see G. Nagy, Comparative Studies in Greek and Indic Meter (Cambridge, Mass., 1974), 45; D. O’Higgins, “Sappho’s Splintered Tongue,” American Journal of Philology 111 (1990), 156–67; Y. Prins, Victorian Sappho (Princeton, 1999), 28–73; J. Svenbro, Phrasikleia, translated by J. Lloyd (Ithaca, 1993), 152. 31.17 The poem has been preserved for us by the ancient literary critic Longinus (On the Sublime 10.1–3), who quotes four complete Sapphic stanzas, then the first verse of what looks like a fifth stanza, then breaks off, no one knows why. Sappho’s account of the symptoms of desire attains a unity of music and sense in vv. 1–16, framed by verbs of seeming (“he seems to me,” “I seem to me”), so if the seventeenth verse is authentic it must represent an entirely new thought. It is worth noting that Catullus’ translation of the poem into Latin includes, at just this point, an entirely new thought. Longinus’ admiration for Sappho’s poem is keen. He finds in it an example of a certain mode of sublimity, which is able to select the most extreme sensations of an event and combine these together “as if into one body,” as he says (On the Sublime 10.1). He elaborates: Are you not amazed at how she researches all at once the soul the body the ears the tongue the eyes the skin all as if they had departed from her and belong to someone else? And contradictorily in one instant she chills, she burns, is crazy and sensible, for she is in terror or almost dead. So that no single passion is apparent in her but a confluence of passions. And her selection (as I said) of the most important elements and her combination of these into a whole achieves excellence. —On the Sublime 10.3 Sappho’s body falls apart, Longinus’ body comes together: drastic contract of the sublime. 34.5 “silvery”: the adjective is not part of the text of this poem as quoted (vv. 1–4) by the grammarian Eustathios in his commentary on Iliad 8.555, but has been added because the Roman emperor Julian refers to the poem in a letter to the sophist Hekebolios: 364 Sappho . . . says the moon is silver and so hides the other stars from view. —Julian Epistles 387a On Julian cf. frr. 48, 163 and note to fr. 140 below. 37 These two bits of text are cited as Sappho’s by the Etymologicum Genuinum in a discussion of words for pain: “And the Aeolic writers call pain a dripping . . . because it drips and flows.” For “dripping” Sappho has the noun stalygmon, cognate with the verb stazei (“drips”) used by Aeschylus in a passage of Agamemnon where the chorus is describing its own nocturnal anxiety: And it drips in sleep before my heart the grief-remembering pain. (179–80) We might compare this physiology of pain with the sensations noted by Hamm in Beckett’s Endgame: There’s something dripping in my head. (Pause.) A heart in my head. There’s something dripping in my head, ever since the fontanelles. (Stifled hilarity of Nagg.) Splash, splash, always on the same spot. —Samuel Beckett, Endgame (New York, 1958), 18 and 50. 38 Translation of this fragment raises the problem of pronouns in Sappho. Her Greek text actually says “us” not “me.” Slippage between singular and plural in pronouns of the first person is not uncommon in ancient poetry; the traditional explanation is that much of this poetry was choral in origin, that is, performed by a chorus of voices who collectively impersonate the voice that speaks in the poem. A glance at Sappho’s fragments 5, 21, 24a, 94, 96, 147, 150, all of which employ a first-person-plural pronoun where the modern ear expects singular, will show the extent of the phenomenon. I translate “us” as “us” in all those other examples. But the fragile heat of fr. 38 seems to me to evaporate entirely without a bit of intervention. 365 On the other hand, I may be reading this sentence all wrong. Erotic fire has a history, not only in Sappho (see fr. 48) but also in later lyric poets (e.g., Anakreon fr. 413 PMG and Pindar Pythians 4. 219). The verb I have rendered as “burn” can also be translated “bake, roast, broil, boil” and so suggest a concrete figure for the “cooking” of passion that is to be found in Hellenistic literature, e.g., in an epigram of Meleager who pictures Eros as “cook of the soul” (Palatine Anthology 12.92.7–8; cf. also Theokritos Idylls 7.55 and Kallimachos Epigrams 43.5). If burning means cooking and “you” is Eros, this becomes a very different poem—a cry to the god who plays with fire from the community of souls subjected to its heat. Further on the phenomenology of desire in Sappho see G. Lanata “Sul linguaggio amoroso di Saffo,” Quaderni urbinati di cultura classica 2 (1966), 63–79, translated by W. Robins in E. Greene, ed., Reading Sappho (Berkeley, 1996), 11–25. 44 In narrating a story from the Trojan War saga Sappho chooses an episode not included in the Iliad—the homecoming of Hektor with his bride Andromache. She adopts a version of Homer’s (dactylic) meter as well as certain epic features of diction, spelling, scansion and syntax, mingling these with real details from the Lesbos of her own time like myrrh, cassia, frankincense and castanets. Some editors have thought this song about a wedding was composed to be sung at a wedding. See C. Calame, Les choeurs de jeunes filles en Grèce archaïque (Rome, 1977), 1.160–3; H. Fränkel, Early Greek Poetry and Philosophy, translated by M. Hadas and J. Willis (New York, 1973), 174–6; F. Lasserre, Sappho, une autre lecture (Padua, 1989), 26–36. 44Aa and 44Ab Originally Lobel thought these fragments from a papyrus written in the second or third century A . D . should be assigned to Alkaios; other editors detect Sappho. 46 This fragment is cited by Herodian in his treatise On Anomalous Words because it contains a perky word for “cushion.” 47 This fragment has been reconstructed by Lobel from a paraphrase in Maximus of Tyre, who compares Sappho to Sokrates as an eroticist (Orations 18.9). 366 48 The Roman emperor Julian cites this sentence in a letter that begins: You came yes you did—thanks to your letter you arrived even though you were absent. —Epistles 240 b–c Julian’s letter is addressed to Iamblichos, chief exponent of the Syrian school of neoplatonism, and is regarded as apocryphal because Iamblichos will have died when Julian was a child. More interesting is the problem of erotic temperature raised by emendations to the text of the main verb in the second line, which appears as ephylaxas (“you guarded, kept safe”) in the codices—a reading that is unmetrical and therefore emended either to ephlexas (“you inflamed”: Wesseling) or epsyxas (“you cooled”: Thomas). 49 The first verse is cited by Hephaistion in his Handbook on meters (7.7) as an example of dactylic pentameter, the second verse by Plutarch in his treatise On Love (751d) as an example of a remark to a girl too young for marriage. A third citation by the grammarian Terentianus Maurus suggests the two verses go together. 50 Galen commends this sentiment in his Exhortation to Learning (8.16): So since we know the ripeness of youth is like spring flowers and brings brief pleasure, admire Sappho for saying . . . 51 Chrysippos cites this sentence in his treatise On Negatives (23). Bruno Snell’s by now notorious discovery of The Discovery of the Mind in this Sapphic fragment is still worth considering for its irritant value. The Discovery of the Mind, translated by T. G. Rosenmeyer (Cambridge, Mass., 1953). 52 Herodian’s citation of this sentence in his treatise On Anomalous Words ends with some letters no longer legible that may be something like “with my two arms.” 53 The Graces (Charites in Greek, derived from charis: “grace”) are three in number, embodiments of beauty or charm, companions of the Muses and attendants of Aphrodite. 367 54 Pollux cites this phrase in his Onomastikon (10.124) for its use of a new word for “cloak” (chlamys) and also reports that Sappho is talking here about Eros. 55.2–3 “the roses of Pieria”: Pieria is a mountainous region in northern Greece which was believed to be the birthplace of the Muses; the works of the Muses— music, dance, poetry, learning, culture—are symbolized by their roses. Plutarch tells us this poem was addressed to a woman wealthy but amousos (“without the Muses,” indifferent to their works). But the works of the Muses are also the substance of memory. Sappho’s poem threatens the woman with an obliteration which it then enacts by not naming her. 55.3 “too”: Sappho’s word kan is a contraction of kai + en for metrical purpose (to save a beat of time) but its effect is also conceptual—to syncopate some woman’s posthumous nonentity upon her present life without roses. 55.1–4 “Dead. . . . Having been breathed out”: a participle in the aorist tense (katthanoisa) begins the poem and a participle in the perfect tense (ekpepotamena) ends it. The aorist tense expresses past action as a point of fact; the perfect tense renders past action whose effect continues into the future; so does Sappho’s poem softly exhale some woman from the point of death into an infinitely featureless eternity. Cognate with words for wings, flying, fluttering and breath, the participle ekpepotamena, with its spatter of plosives and final open vowel, sounds like the escape of a soul into nothingness. 56 Chrysippos cites these lines (as prose) in his treatise On Negatives (13). The word translated “wisdom” (sophia) may connote “skill” or “learning” of any kind—possibly poetic skill. 57 Amid a collection of sartorial anecdotes Athenaios cites the first and third lines of this fragment, informing us that Sappho is making fun of Andromeda as Plato does of “men who do not know how to throw their cloak over their shoulder from left to right nor how to put words together in proper harmony for praising gods and men” (Theaetetus 175e; Deipnosophistai 21b–c). The second verse of the fragment comes from Maximus of Tyre (Orations 18.9), who compares Sappho’s comment on Andromeda with Sokrates’ satire of the sophists’ fashion sense 368 (schēma) and habit of reclining (kataklisis). For Andromeda see fr. 68a and note on fr. 8 above. 58.25 “delicacy” (abrosynē): could also be translated “fineness,” “luxuriance,” “daintiness” or “refined sensuality.” In the late sixth century B . C . the word came to designate a certain kind of luxurious “eastern” lifestyle cultivated by an aristocratic elite that wished to distinguish itself this way. In other poems Sappho uses the cognate adjective or adverb to describe Adonis (fr. 140), the Graces (fr. 128), Andromache (fr. 44.7), linen (fr. 100), a woman (25.4), the action of pouring nectar (2.14). See L. Kurke, “The Politics of aJ b rosuv n h in Archaic Greece,” Classical Antiquity 11 (1992), 90–121. 58.25–6: These words may also be construed to mean: But I love delicacy [ ] this and desire for the sun has won me brilliance and beauty. The question remains, What is the relevance of either “desire for the sun” or “beauty of the sun” here? It has been suggested that the poem refers to the myth of Tithonos, a young man so desirable that the goddess of Dawn (Auos or Eos) fell in love with him and rapt him away to the ends of the earth. She then asked Zeus to give him immortal life but forgot to request immortal youth, so Tithonos aged forever. See E. Stehle, “Sappho’s Gaze: Fantasies of a Goddess and a Young Man,” differences 2 (1990), 88–125; G. Nagy, “Phaethon, Sappho’s Phaon and the White Rock of Leukas,” Harvard Studies in Classical Philology 77 (1973), 137–77. 68a.5 and 68a.12 For Andromeda and Megara see note on fr. 8 above. 81 Parts of three verses at the beginning are transmitted on papyrus; the rest is cited by Athenaios in a discussion of the use of garlands (Deipnosophistai 15.674e). 82a and 82b In his metrical Handbook of the second century A . D . Hephaistion cites the phrase “Mnasidika more finely shaped than soft Gyrinno” as an example of acatalectic tetrameter (=82a). About a thousand years later this same phrase 369 turned up on a papyrus along with the beginnings of four other verses (=82b). For Gyrinno (if she is the same person as Gyrinna) see note on fr. 8 above. 91 Some editors think these words cited by Hephaistion in his metrical Handbook (11.5) are actually the first verse of fr. 60 above. Eirana is either a woman’s name or the word for “peace.” If it is “peace” Sappho is presumably talking about erotic warfare (note fr. 60 contains the verb “to fight”). 94.1 “to be dead” or “to have died”: the poem’s first word is a perfect active infinitive denoting a past action (death) that slides into the present (as death wish). Sliding from past to present, from present to past, is Sappho’s method in this poem and she seems to offer it (the sliding screen of memory) as a consolation to the woman who weeps while going. Because the beginning of the poem is lost, as the metrical scheme indicates, it remains unclear whether it is Sappho or the weeping woman who wishes for death. See G. Lanata, “Sul linguaggio amoroso di Saffo,” Quaderni urbinati di cultura classica 2 (1966), 63–79, translated by W. Robins in E. Greene, ed., Reading Sappho (Berkeley, 1996), 19–20; T. McEvilley, “Sappho Fr. 94,” Phoenix 25 (1971), 1–11; E. Robbins, “Who’s Dying in Sappho Fr. 94?” Phoenix 44 (1990), 111–21; J. M. Snyder, The Woman and the Lyre (Carbondale, 1989), 26. 95.7 In between “mostly” and “came in” are traces of letters that might be reconstructed to form the name of Hermes, who traditionally guided souls to the land of the dead. 95.11–13 “yearning . . .”: Sappho associates desire with death in fr. 31.15–16 and fr. 94.1 above; cf. also Anakreon’s erotic complaint “may I die as I can find no other loosening from these pains” (fr. 411 PMG); Alkman’s description of desire as a “more melting than sleep or death” (fr. 3.61–2 PMG); Oedipus’ “longing to look upon the hearth of my father underground” (Sophokles Oedipus at Colonus 1725–7). 96.1 “Sardis”: capital city of the rich kingdom of Lydia in Asia Minor, Sardis was a commercial center and said to be the place where coinage was invented. 370 96.3 “you”: compare this triangular reverie of moonlit women with that of Emily Dickinson’s letter to Susan Gilbert, October 9, 1851: I wept a tear here, Susie, on purpose for you—because this “sweet silver moon” smiles in on me and Vinnie, and then it goes so far before it gets to you—and then you never told me if there was any moon in Baltimore—and how do I know Susie—that you see her sweet face at all? She looks like a fairy tonight, sailing around the sky in a little silver gondola with stars for gondoliers. I asked her to let me ride a little while ago—and told her I would get out when she got as far as Baltimore, but she only smiled to herself and went sailing on. I think she was quite ungenerous—but I have learned the lesson and shant ever ask her again. To day it rained at home—sometimes it rained so hard that I fancied you could hear it’s patter—patter, patter, as it fell upon the leaves—and the fancy pleased me so, that I sat and listened to it—and watched it earnestly. Did you hear it Susie—or was it only fancy? Bye and bye the sun came out—just in time to bid us goodnight, and as I told you sometime, the moon is shining now. It is such an evening Susie, as you and I would walk and have such pleasant musings, if you were only here—perhaps we would have a “Reverie” after the form of “Ik Marvel”, indeed I do not know why it would’nt be just as charming as of that lonely Bachelor, smoking his cigar—and it would be far more profitable as “Marvel” only marvelled, and you and I would try to make a little destiny to have for our own. —Letters of Emily Dickinson 1.143–4 More explicitly than Sappho, Emily Dickinson evokes the dripping fecundity of daylight as foil for the mind’s voyaging at night. Almost comically, she personifies the moon as chief navigator of the liquid thoughts that women like to share in the dark, in writing. And perhaps Ik Marvel (a ...
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OUTLINE –Rooms Design
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➢ Imagine you have a house with six rooms: a bedroom, a bathroom, a kitchen, a living
room, a dining room, and either a basement or an attic.Assign one character from each of
six texts we have read this semester (you will be leaving one text that we read out, you
can choose which one) to each one of these rooms.This character will design the room to
accommodate their tastes and the way they will use it.
➢ Create a mood board for each room which includes a color scheme, a style of furniture,
and any art that might be hanging on the walls, naming the mood board so I understand
what room is being designed and who, ostensibly, is designing it so, for example,
“Basement- an Omelian.”You could do this using a Google slide, PowerPoint, or
Keynote.But it might also be cool to assemble these boards on a Pinterest account.After
you assemble your six mood boards, write a 800-1000 word explanation of your choices
regarding which character would design which room and why “they” made the choices
they did.
References
All original work except where referenced, APA format by default.


Running head: ROOMS DESIGN

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Rooms Design

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ROOMS DESIGN

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Rooms Design

Every house owner wants to create the best impression of their home. The rooms' design
should be magnificent, functional, and make one feel at home. My house of six rooms, the
bedroom, bathroom, kitchen, living room, dining room, and attic, require interior design.
Fortunately, there are characters in charge of interior design, including the miserable child from
Omelas, Sappho, Nadia, Noah, Pheidipiddes, and Lysistrata. Based on their style and personality,
each character will design a room in the house to accommodate their tastes and how they would
use it.
The miserable child from the text ‘The ones who walk away from Omelas’ is responsible
for the attic’s design. For a comfortable standing position in the attic, the child has the ceiling's
slope at 90”. By fitting a front window, there is the entry of natural light and more ventilation.
The attic features a massive bed with a subtle wood finish and a table by the window, and a
chair. In addition, the child fits in an open, plastic HID high-bay luminaire as lighting. The child
settles for a classic wooden ceiling. The floor includes beautiful rugs with the bed sitting on it.
The child experienced miserable living conditions such as inadequate lighting, a foul-smelling
room, no bed or chair to provide rest (Le Guin, 2017). The well-designed attic will serve as a
cozy dwelling place for the child. There is a lot of light seeping through, a fresh atmosphere, a
comfortable bed to lie on, and a table to do his studies. He has a place he can call home.
Sappho from ‘If Not, Winter’ is in charge of designing the bedroom. Sappho settles for a
monochromatic color scheme with a combination of warm red and white to s...


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