Greek Poetry Every Day

Gilbert Murray, A History of Ancient Literature (Preface):

To read and re-read the scanty remains now left to us of the Literature of Ancient Greece, is a pleasant and not a laborious task; nor is that task greatly increased by the inclusion of the ‘Scholia’ or ancient commentaries. But modern scholarship has been prolific in the making of books; and as regards this department of my subject, I must frankly accept the verdict passed by a German critic upon a historian of vastly wider erudition than mine,and confess that I ‘stand helpless before the mass of my material.’ To be more precise, I believe that in the domain of Epic, Lyric, and Tragic Poetry, I am fairly familiar with the researches of recent years; and I have endeavoured to read the more celebrated books on Prose and Comic Poetry. Periodical literature is notoriously hard to control; but I hope that comparatively few articles of importance in the last twenty volumes of the Hermes, the Rheinisches Museum, the Philologus, and the English Classical Journals, have escaped my consideration. More than this I have but rarely attempted.

If under these circumstances I have nevertheless sat down to write a History of Greek Literature, and have even ventured to address myself to scholars as well as to the general public, my reason is that, after all, such knowledge of Greek literature as I possess has been of enormous value and interest to me; that for the last ten years at least, hardly a day has passed on which Greek poetry has not occupied a large part of my thoughts, hardly one deep or valuable emotion has come into my life which has not been either caused, or interpreted, or bettered by Greek poetry. This is doubtless part of the ordinary narrowing of the specialist, the one-sided sensitiveness in which he finds at, once his sacrifice and his reward; but it is usually, perhaps, the thing that justifies a man in writing.

What Was the Name of Odysseus’ City?

Plutarch Greek Questions, 301d

“Why was the Ithakans’ city named Alalkomenai? The reason is that Antikleia was raped by Sisyphus when she was a virgin and conceived Odysseus. This story is told by many. But Istros the Alexandrian reports in his Commentaries  that she had been betrothed to Laertes and gave birth to Odysseus as she was being taken to him near the Alalkomeneion. For this reason, Istros reports that they called the city in Ithaka this, introducing the name as they would from a mother-city.”

πόθεν ἡ τῶν ᾽Ιθακησίων πόλις ᾽Αλαλκομεναὶ προσηγορεύθη; διὰ τὸ τὴν ᾽Αντίκλειαν ὑπὸ Σισύφου βιασθεῖσαν ἐν τῆι παρθενίαι τὸν ᾽Οδυσσέα συλλαβεῖν· ὑπὸ πλειόνων δ᾽ ἐστὶν εἰρημένον. ῎Ιστρος δὲ ὁ ᾽Αλεξανδρεὺς ἐν ῾Υπομνήμασι προσιστόρηκεν, ὅτι τῶι Λαέρτηι δοθεῖσα πρὸς γάμον καὶ ἀναγομένη περὶ τὸ ᾽Αλαλκομένειον ἐν τῆι Βοιωτίαι τὸν ᾽Οδυσσέα τέκοι· καὶ διὰ τοῦτο ἐκεῖνος ὥσπερ μητροπόλεως ἀναφέρων τοὐνομα τὴν ἐν ᾽Ιθάκηι πόλιν οὕτω φησὶ προσαγορεύεσθαι.

For sources  Odysseus as the son of Sisyphos, see Aeschylus, fr. 175; Sophocles Ajax 190; Philoktetes 416–17; Euripides Iphigena Aul 524

Sisyphus depicted on a black-figure amphora vase
Sisyphus. You thought that was a stone? By Swing Painter – User:Bibi Saint-Pol, own work, 2007-02-13, Public Domain,

In the Odyssey we find what seems to be a formulaic combination of three islands near Ithaca. When Odysseus describes where he’s from, he names his home and then adds (9.23-4):

“Many islands are inhabited right near each other
Doulikhion, Samê, and forest-covered Zakunthos.”

πολλαὶ ναιετάουσι μάλα σχεδὸν ἀλλήλῃσι,
Δουλίχιόν τε Σάμη τε καὶ ὑλήεσσα Ζάκυνθος.

And earlier during his discussion with Telemachus, Odysseus hears the suitors similarly described as (16.122-125; cf. 19.130-1):

“However so many of the best men who rule among the islands,
Doulikhion, Samê, and forest-covered Zakunthos.
Alongside all the men who lord over steep Ithaka—
This many men are wooing my mother and ruining my home”

ὅσσοι γὰρ νήσοισιν ἐπικρατέουσιν ἄριστοι,
Δουλιχίῳ τε Σάμῃ τε καὶ ὑλήεντι Ζακύνθῳ,
ἠδ’ ὅσσοι κραναὴν ᾿Ιθάκην κάτα κοιρανέουσι,
τόσσοι μητέρ’ ἐμὴν μνῶνται, τρύχουσι δὲ οἶκον.

Continue reading “What Was the Name of Odysseus’ City?”

Play, Laugh, Dance. Die.

Anacreonta 40

“Since I was made to journey
A mortal down life’s road
I can see how much time has passed
But not how much is left to go.

My worried thoughts, that’s enough–
Let’s have no business between us.

Before I meet my end,
I’m going to play, laugh and dance
With Luiaos, my pretty friend.”

ἐπειδὴ βροτὸς ἐτεύχθην
βιότου τρίβον ὁδεύειν,
χρόνον ἔγνων ὃν παρῆλθον,
ὃν δ᾿ ἔχω δραμεῖν οὐκ οἶδα.
† μέθετέ με, φροντίδες· †
μηδέν μοι χὔμιν ἔστω.
πρὶν ἐμὲ φθάσῃ τὸ τέλος,
παίξω, γελάσω, χορεύσω
μετὰ τοῦ καλοῦ Λυαίου.

oil painting, somewhat impressionistic. Figures in foreground working on road
Karoly Patko, “Road Construction” 1928

Better Drunk Than Dead

Anacreonta 48

“Bring me a cup, son.
It is much better that I lie here
drunk instead of dead.”

φέρε μοι κύπελλον, ὦ παῖ·
μεθύοντα γάρ με κεῖσθαι
πολὺ κρεῖσσον ἢ θανόντα.

Anacreonta 52b

“The hair on my head is gray.
Boy, give me water, add some wine
Make my heart numb

Soon you will cover me, no longer alive
There’s nothing the dead desire.”

πολιαὶ στέφουσι κάραν·
δὸς ὕδωρ, βάλ᾿ οἶνον, ὦ παῖ·
τὴν ψυχήν μου κάρωσον.
βραχὺ μὴ ζῶντα καλύπτεις.
ὁ θανὼν οὐκ ἐπιθυμεῖ.

Section of an illuminated manuscript. Wrtingi at top, one drunk figure on his back, another facing him holding his head
Illumination from AM 147 4to of two intoxicated 15th century Icelanders

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Judging on Aspiration not Failure

Aelius Aristedes, Reply to Plato 259-260

“Some of them certainly corrupted people while others blasphemed the gods; there were those who gave speeches which would have been better unsaid and others who produced more audacity than good sense. But it may not be the best to say that if some people use the excuse of philosophy and become scoundrels who are no better than most people or, by Zeus, even more clever at doing evil, then we should dishonor philosophy, provided that philosophy is not doing these sorts of things. Instead, we must use these things as evidence against them, that they have failed at philosophy.

In the same way, it does not make oratory worse if some people use blandishment or abuse, but we must recognize in this that they are bad at rhetoric just as the other people fail at philosophy, they all use the excuse of the noblest action to furnish themselves with the opportunity to do evil.

It would be odd if we were to judge actions of cobblers and carpenters not from their mistakes but instead from examples where they did as well as humanly possible, but we evaluate oratory not just from its greatest accomplishments, but instead according to those who do the opposite of what oratory intends.”

ὧν οἱ μὲν διέφθειραν δήπου τινάς, οἱ δ’ ἐβλασφήμησαν περὶ θεούς, οἱ δὲ λόγους ἄλλους τινὰς εἶπον, οὓς οὐκ ἄμεινον ἦν ὅλως, οἱ δὲ αὐθαδείας πλέον ἢ φρονήσεως εἰσηνέγκαντο. ἀλλὰ μὴ οὕτω βέλτιον ᾖ λέγειν, ὅτι οὐκ, εἴ τινες φιλοσοφίας προβλήματι χρώμενοι φαῦλοι καὶ μηδὲν βελτίους τῶν πολλῶν γεγόνασιν, ἢ νὴ Δία καὶ δεινότεροι κακουργεῖν, οὐ διὰ ταῦτα ἀτιμαστέον φιλοσοφίαν, ἕως ἂν φιλοσοφία μὴ τὸ τὰ τοιαῦτα ποιεῖν ᾖ, ἀλλ’ αὐτοῖς τούτοις τεκμηρίοις χρηστέον κατ’ ἐκείνων, ὅτι διημαρτήκασι φιλοσοφίας. οὐδὲ εἴ τινες, οἶμαι, κολακεύουσιν ἢ συκοφαντοῦσιν, χείρω τοῦτο ποιεῖ ῥητορικήν, ἀλλ’ ἡμαρτηκότας αὐτοὺς ῥητορικῆς ταύτῃ γε ταῦτα δεῖ δοκεῖν, ὥσπερ ἐκείνους φιλοσοφίας, ἐπὶ τῷ τοῦ καλλίστου προσχήματι τὴν τοῦ κακουργεῖν ἄδειαν ἑαυτοῖς ἐκπορίζοντας. ἄτοπον δ’ ἂν εἴη, εἰ τὰ μὲν τῶν σκυτοτόμων καὶ τῶν τεκτόνων ἔργα μὴ ἐξ ὧν ἂν διαμάρτωσι κρινοῦμεν, ἀλλ’ ἐξ ὧν ἂν ὡς δυνατὸν μάλιστα τύχωσιν, ῥητορικὴν δ’ οὐ μόνον οὐκ ἐκ τῶν κάλλιστα αὐτὴν ἀποτελεσάντων κρινοῦμεν, ἀλλὰ καὶ ἐκ τῶν αὐτὰ τἀναντία πραττόντων οἷς ἡ ῥητορικὴ βούλεται.

 

Image result for medieval manuscript cobbler
Ott Norlinger (1476) from the Hausbuch of the Mendelschen Zwolfbruderstiftung (Neurenberg, Germany). Folio 96 recto

Death Takes No Bribes

Anacreonta 36

“If wealth could give mortals life
in exchange for gold,
I would work hard on saving it,
So when Death came for me,
It could take payment and move on.

But if it is impossible for mortals
To purchase any more of life,
Why do I groan pointlessly?
And why do I mourn out loud?

Since death cannot be bought,
What use is gold to me?

I want to drink,
To drink sweet wine,
To spend time with my friends
And to honor Aphrodite
On downy beds.”

ὁ Πλοῦτος εἴ γε χρυσοῦ
τὸ ζῆν παρεῖχε θνητοῖς,
ἐκαρτέρουν φυλάττων,
ἵν᾿, ἂν Θάνατος ἐπέλθῃ,
λάβῃ τι καὶ παρέλθῃ.
εἰ δ᾿ οὖν μὴ τὸ πρίασθαι
τὸ ζῆν ἔνεστι θνητοῖς,
τί καὶ μάτην στενάζω;
τί καὶ γόους προπέμπω;
θανεῖν γὰρ εἰ πέπρωται,
τί χρυσὸς ὠφελεῖ με;
ἐμοὶ γένοιτο πίνειν,
πιόντι δ᾿ οἶνον ἡδὺν
ἐμοῖς φίλοις συνεῖναι,
ἐν δ᾿ ἁπαλαῖσι κοίταις
τελεῖν τὰν Ἀφροδίταν.

A still life oil painting. There is a skull prominently in the center, on top of money bags with documents protuding from below. on the left is a violin
N. L. Peschier, “Skull, Money Bags, and Documents” 1661

Betrayed by This Heat

Anacreonta 18

“Ladies, please give me
Give me wine to drink without pausing–
I am betrayed by the heat
And already whining out loud.

Give me garlands of his flowers
Give them to me so I can
Bind them closely to my roasted brow.

Yet, my heart, what can I use
To keep off the heat of my loves?

I will settle along the shade of Bathullos
That tree is pretty.
It lets tender locks sway
At the end of the softest branches.

Nearby a spring flows
Whispering persuasively.

Who upon seeing such a refuge
Could ever pass it by?”

δότε μοι, δότ᾿, ὦ γυναῖκες,
Βρομίου πιεῖν ἀμυστί·
ἀπὸ καύματος γὰρ ἤδη
προδοθεὶς ἀναστενάζω.

δότε δ᾿ ἀνθέων ἐκείνου
στεφάνους, δόθ᾿, ὡς πυκάζω
τὰ μέτωπά μου᾿ πίκαυτα·

τὸ δὲ καῦμα τῶν Ἐρώτων,
κραδίη, τίνι σκεπάζω;

παρὰ τὴν σκιὴν Βαθύλλου
καθίσω· καλὸν τὸ δένδρον,
ἁπαλὰς δ᾿ ἔσεισε χαίτας
μαλακωτάτῳ κλαδίσκῳ·
παρὰ δ᾿ αὐτὸν †ἐρεθίζει†
πηγὴ ῥέουσα πειθοῦς.
τίς ἄν οὖν ὁρῶν παρέλθοι
καταγώγιον τοιοῦτο;

Inside of a drinking krater–a mixing bowl for wine. This is a black vase with a red figure in the middle. The figure is a nude man with his head and shoulders in a giant wine jar

No Love For Troy and Thebes

Anacreonta 26

“You tell stories of Thebes
And the tales of Troy too,
But I sing about my defeats.

No horse destroyed me
Nor infantry, nor ships,
But a strange new enemy,
Assaulting me with his gaze.”

σὺ μὲν λέγεις τὰ Θήβης,
ὁ δ᾿ αὖ Φρυγῶν ἀυτάς,
ἐγὼ δ᾿ ἐμὰς ἁλώσεις.

οὐχ ἵππος ὤλεσέν με,
οὐ πεζός, οὐχὶ νῆες,
στρατὸς δὲ καινὸς ἄλλος
ἀπ᾿ ὀμμάτων με βάλλων.

Anacreonta 23

“I want to speak of the Atreides,
And I want to sing about Cadmos,
But the sound of my strings
Echoes only with Love.

Just yesterday I changed my strings
And then the whole lyre
And I was trying to sing
The labors of Herakles
But the lyre returned
Only the sound of Love.

Goodbye, heroes
For the rest of my time
My lyre sings only tales of Love”

θέλω λέγειν Ἀτρείδας,
θέλω δὲ Κάδμον ᾄδειν,
ἁ βάρβιτος δὲ χορδαῖς
Ἔρωτα μοῦνον ἠχεῖ.

ἤμειψα νεῦρα πρώην
καὶ τὴν λύρην ἅπασαν·
κἀγὼ μὲν ᾖδον ἄθλους
Ἡρακλέους· λύρη δὲ
Ἔρωτας ἀντεφώνει.

χαίροιτε λοιπὸν ἡμῖν,
ἥρωες· ἡ λύρη γὰρ
μόνους Ἔρωτας ᾄδει.

 

Both of these poems use Troy and Thebes as metonyms for poetic traditions. The second is even more associative, substituting family names for the locations. In both cases, the contrast is between heroic tales of war and the subjects appropriate to lyric songs (love, etc). Troy and Thebes show up as the primary location for the death of the race of heroes in Hesiod too:

 

Hesiod, Works and Days, 158-165:

“Kronos’ son Zeus made a better and more just third race,
the divine generation of heroic men who are called
hemitheoi, the earlier generation on the boundless earth.
And then evil war and dread conflict wiped them out,
some of them under seven-gated Thebes, the Cadmean land,
where they struggled over the flocks of Oedipus,
and leading others in ships for booty across the sea
at Troy, for the sake of well-tressed Helen.”

Ζεὺς Κρονίδης ποίησε, δικαιότερον καὶ ἄρειον,
ἀνδρῶν ἡρώων θεῖον γένος, οἳ καλέονται
ἡμίθεοι, προτέρη γενεὴ κατ’ ἀπείρονα γαῖαν.
καὶ τοὺς μὲν πόλεμός τε κακὸς καὶ φύλοπις αἰνὴ
τοὺς μὲν ὑφ’ ἑπταπύλῳ Θήβῃ, Καδμηίδι γαίῃ,
ὤλεσε μαρναμένους μήλων ἕνεκ’ Οἰδιπόδαο,
τοὺς δὲ καὶ ἐν νήεσσιν ὑπὲρ μέγα λαῖτμα θαλάσσης
ἐς Τροίην ἀγαγὼν ῾Ελένης ἕνεκ’ ἠυκόμοιο.

Elton Barker and I talk about this passage and its implications for Greek poetics a lot in Homer’s Thebes, available for free from the Center for Hellenic Studies.

Picture of a fragment of a vase. White vase with orange/red ink. Image in center is a line drawing of a lyre with plant life on the side. There are thick borders at the top and bottom
Krater with lyre player. Nafplion, Evangelistria, chamber tomb IV, 1350-1250 BC. Detail. Archaeological Museum of Nafplio.

Cicero and Caesar: Destroyers of Latin Education

Edmund Wilson, Reflections on the Teaching of Latin:

It is still possible for a student to- day, as it was forty years ago, to have been through four or five years of Latin and yet, as I have recently had a chance to note, not to have learned, for example, the words for the commonest colors and animals, the parts of the body and the seasons of the year. Why?

The answer is: Caesar and Cicero – the military vocabulary of the one, the highfalutin rhetoric of the other. And what is the reason for prescribing these writers? The answer to this is that Caesar, at some now remote point of the past, was selected as the only example of classical Latin prose that was simple and straight-forward enough for a schoolboy to make his way through, and that Cicero represented the ideal of Latin diction at a time when it was thought essential for every educated man to write Latin. And why the years of grinding at grammar at the expense of learning to read? This is a part of the ancient tradition of abstract intellectual discipline. The justification for it is the same as the justification for piling problems of algebra on students who have no mathematical interests and will never have occasion to use algebra. Both at worst have a minimum of practical use. Latin syntax does give us some training in the relation of words in a sentence, as algebra gives us some idea of what is involved in mathematical method; but there is nevertheless a fallacy in this old ideal. It strikes us as rather monstrous when we read about how Karl Marx, that intellectual prodigy, used to exercise his mental muscles by committing to memory whole pages of languages he did not understand; yet actually our teaching of Latin inflicts something not very different. The student is made to memorize pages of declensions, conjugations, and rules for grammatical constructions that mean little or nothing to him as language.

Does the minimum of real Latin that he acquires in this way serve any useful purpose in later life? The lawyer hardly needs this instruction to pick up the Latin phrases of the law; the student in most scientific fields can learn the terminology of his subject without worrying about Cicero and Caesar.

Caesar, Cicero and 'The Best and Most Vigilant Consulship' « The ...

Get Drunk and Dance

Anacreonta 38

“Let us drink wine happily
And toast Bacchus with songs,
That inventor of choral performances,
The lover of all music.

He shares the life of the Loves-
Kythera loves him too
Drunkenness was born thanks to him;
Grace was born thanks to him.
Grief takes a break when he’s around.
Pain goes to sleep too.

So once the drink is mixed,
Have the cute boys take it around.
Then grief has run away,
Mixed in with the wind-driven squall.

Let’s take a drink, then.
Let’s take a break from our worries.
What benefit is there from
Stressing over our pains?

How can we know the future?
Life is unclear to mortal-kind.

I want to get drunk and dance.
I want to douse myself in perfume and play
With handsome men
And pretty women too.”

ἱλαροὶ πίωμεν οἶνον,
ἀναμέλψομεν δὲ Βάκχον,
τὸν ἐφευρετὰν χορείας,
τὸν ὅλας ποθοῦντα μολπάς,
τὸν ὁμότροπον Ἐρώτων,
τὸν ἐρώμενον Κυθήρης,
δι᾿ ὃν ἡ Μέθη λοχεύθη,
δι᾿ ὃν ἡ Χάρις ἐτέχθη,
δι᾿ ὃν ἀμπαύεται Λύπα,
δι᾿ ὃν εὐνάζετ᾿ Ἀνία.

τὸ μὲν οὖν πῶμα κερασθὲν
ἁπαλοὶ φέρουσι παῖδες,
τὸ δ᾿ ἄχος πέφευγε μιχθὲν
ἀνεμοτρόφῳ θυέλλῃ·

τὸ μὲν οὖν πῶμα λάβωμεν,
τὰς δὲ φροντίδας μεθῶμεν·
τί γάρ ἐστί σοι <τὸ> κέρδος
ὀδυνωμένῳ μερίμναις;

πόθεν οἴδαμεν τὸ μέλλον;
ὁ βίος βροτοῖς ἄδηλος·
μεθύων θέλω χορεύειν,
μεμυρισμένος τε παίζειν
[μετὰ τῶν καλῶν ἐφήβων]
μετὰ καὶ καλῶν γυναικῶν.

Fragment of a wall painting with the followers. Color is faded and drawings are line drawings with some color. There are about 12 figures at various stages of drinking, partying, and dancing. In the middle is a nude woman
Painted plaster. Around 50 AD. Now in the British Museum, inv. 1873,0208.1.. Exhibition in the Gallo-Romeins Museum of Tongres.