Drink, Don’t Think About Tomorrow!

Anacreonta 8

“I don’t care about Gyges’ riches,
That Lord of Sardis–
Envy has never overtaken me
And I’m not jealous of tyrants.

I do care about
perfuming my hair
And weaving rose
Garlands to wear.

I care about today.
Who knows tomorrow?

So while the weather’s still good
Drink and dice and
Pour out some Luaios.
Before some disease comes to say
You can’t drink any longer.”

οὔ μοι μέλει τὰ Γύγεω,
τοῦ Σάρδεων ἄνακτος·
οὐδ᾿ εἷλέ πώ με ζῆλος,
οὐδὲ φθονῶ τυράννοις.

ἐμοὶ μέλει μύροισιν
καταβρέχειν ὑπήνην,
ἐμοὶ μέλει ῥόδοισιν
καταστέφειν κάρηνα·

τὸ σήμερον μέλει μοι,
τὸ δ᾿ αὔριον τίς οἶδεν;

ὡς οὖν ἔτ᾿ εὔδι᾿ ἔστιν,
καὶ πῖνε καὶ κύβευε
καὶ σπένδε τῷ Λυαίῳ,
μὴ νοῦσος, ἤν τις ἔλθῃ,
λέγῃ, ‘σὲ μὴ δεῖ πίνειν.


“Is that all there is ?” , by Erik Pevernagie, oil on canvas

Cupmaker, Cupmaker, Make Me a Cup

Anacreonta 4

‘Hephaestus, work your silver,
But don’t make me armor
–what good am I in battles!–
Just a hollow cup–
As deep as you can make it.

Don’t decorate it with stars
Or the Wagon, or dark Orion,
I don’t care about the Pleiades
Or the pretty Ploughman.

Cover it with vines for me
And grapes clinging to them
And Mainads at their harvest.

Add a wine press
And people treading grapes
As satyrs laugh along
With golden Loves
And Aphrodite grinning.

Together there with pretty Luaias,
Love and Aphrodite”

τὸν ἄργυρον τορεύων
Ἥφαιστέ μοι ποίησον
πανοπλίαν μὲν οὐχί·
τί γὰρ μάχαισι κἀμοί;

ποτήριον δὲ κοῖλον
ὅσον δύνῃ βαθύνας.
ποίει δέ μοι κατ᾿ αὐτοῦ
μήτ᾿ ἄστρα μήτ᾿ Ἅμαξαν,
μὴ στυγνὸν Ὠρίωνα.

τί Πλειάδων μέλει μοι,
τί γὰρ καλοῦ Βοώτου;
ποίησον ἀμπέλους μοι
καὶ βότρυας κατ᾿ αὐτῶν
καὶ μαινάδας τρυγώσας,

ποίει δὲ ληνὸν οἴνου,
ληνοβάτας πατοῦντας,
τοὺς σατύρους γελῶντας
καὶ χρυσοῦς τοὺς Ἔρωτας
καὶ Κυθέρην γελῶσαν

ὁμοῦ καλῷ Λυαίῳ,
Ἔρωτα κἀφροδίτην.

Anacreonta 5

“Clever craftsman, make
A springtime cup already
The seasons are bringing us
The pleasure of the first roses
So work that silver
And make me a pleasing cup.

I am asking you for rites
Not to sketch a foreign tale
Nor one of flight.

But put Zeus’ offspring there
Sacred Bacchus on our side.
Add in Kypris to initiate the drinking,
Clapping out songs for weddings

Carve near unarmed Loves
And laughing Graces.
Add pretty young people
Under spreading vines
Full of grapes,
Unless Apollo is lurking there too.”

καλλιτέχνα, τόρευσον
ἔαρος κύπελλον ἤδη·
τὰ πρῶτ᾿ ἡμῖν τὰ τερπνὰ
ῥόδα φέρουσιν Ὧραι·
ἀργύρεον δ᾿ ἁπλώσας
ποτὸν ποίει μοι τερπνόν.

τῶν τελετῶν παραινῶ
μὴ ξένον μοι τορεύσῃς,
μὴ φευκτὸν ἱστόρημα·

μᾶλλον ποίει Διὸς γόνον,
Βάκχον Εὔιον ἡμῖν.
μύστις νάματος ᾖ Κύπρις
ὑμεναίους κροτοῦσα·
χάρασσ᾿ Ἔρωτας ἀνόπλους

καὶ Χάριτας γελώσας·
ὑπ᾿ ἄμπελον εὐπέταλον
εὐβότρυον κομῶσαν
σύναπτε κούρους εὐπρεπεῖς,
ἂν μὴ Φοῖβος ἀθύρῃ.

Large handle-less kantharos, Etruria (Italy), 600-550 BCE

Put Those Cares to Sleep!

Anacreonta, 45

“When I drink wine,
My worries go to sleep.
Why care about work?
Why care about grief?
What do my anxieties matter to me?

I have to die, even if I don’t want to.
Why do I go back and forth over life?

Let’s drink the wine
Fine Lyaeus’ wine.
When we drink together
Our worries all go to sleep.”

ὅταν πίνω τὸν οἶνον,
εὕδουσιν αἱ μέριμναι.
τί μοι πόνων, τί μοι γόων,
τί μοι μέλει μεριμνῶν;
θανεῖν με δεῖ, κἂν μὴ θέλω·
τί τὸν βίον πλανῶμαι;
πίωμεν οὖν τὸν οἶνον
τὸν τοῦ καλοῦ Λυαίου·
σὺν τῷ δὲ πίνειν ἡμᾶς
εὕδουσιν αἱ μέριμναι.

Karel van Mander III, “Man drinking beer from a tankard” c. 1635

Old Drunks On the Dance Floor

Anacreonta 47

“I might be an old man
But I drink more than these kids.
And if you ask me to dance,
I make like Silenus
Dancing in the middle of the floor
Holding my flask like a scepter.
Since my fennel-stalk is weak.

Anyone want to fight?
Let him come out and try me.

Mix the honey-sweet wine
In the cup, Son,
And bring it to me.”

ἐγὼ γέρων μέν εἰμι,
νέων πλέον δὲ πίνω·
κἂν δεήσῃ με χορεύειν,
Σειληνὸν ἐν μέσοισι
μιμούμενος χορεύσω
σκῆπτρὸν ἔχων τὸν ἀσκόν·
ὁ νάρθηξ δ᾿ οὐδέν ἐστιν.
ὁ μὲν θέλων μάχεσθαι
παρέστω καὶ μαχέσθω.
ἐμοὶ κύπελλον, ὦ παῖ,
μελίχρουν οἶνον ἡδὺν
ἐγκεράσας φόρησον.

Peter Paul Reubens, “Drunken Silenus” 1618

Drink Your Vergil!

Pietro Bembo, Letter to Pico della Mirandola (1530)

We cannot say the same thing about Vergil, namely, that he is fit to be emulated by everyone who takes pleasure in his poems. For those who write elegies or lyric poems, or those who are held by an enthusiasm for writing comedies or tragedies, will find very little help from the Vergilian structure, meter, or poetic program. Rather, they should imitate those whom they consider to be the chief poets in each individual genre of writing, and should give themselves wholly to the project of following them and even overcoming them. To be sure, I myself have done this. In writing my elegies, I imitated the poet who seemed to me to be the best in that genre. But for the poet who commits himself to heroic verse, then surely Vergil is to be learned, drunk in, and expressed as much as possible, as I had once personally told you was my opinion on the matter.

Pietro Bembo - Wikipedia

De Virgilio vero non idem possumus dicere, ut idoneus sit, quem, qui carminibus delectantur, imitari omnes queant. Neque enim qui aut elegos aut lyricos conficiunt versus, quique vel comoediarum vel tragoediarum scribendarum studio detinentur, horum ullos Virgiliana carminum structura, numerus, ratio ipsa multum iuvabit. Sed imitentur ii quidem eos quos habent principes singulis in scriptorum generibus singulos atque illis assequendis superandisque dedant. Quod profecto nos aliquando fecimus, ut in elegis pangendis, qui optimus eo in genere poematis nobis visus est, eum imitaremur. Heroicis autem conscribendis carminibus qui se dederit, huic certe erit Virgilius ediscendus, ebibendus et quam maxime fieri poterit exprimendus, quemadmodum coram tibi dixeram mihi videri.

Declaring War on the Morning Birds

Anacreonta 10

“What do you want me to do with you,
What’s left, chatty bird?
Should I grab your light wings
And take my scissors to them?
Or should I take out your tongue
Like that Tereus?

Why do you steal Bathyllus
From my sweet dreams
With your good-morning songs?”

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

ἢ μᾶλλον ἔνδοθέν σευ
τὴν γλῶσσαν, ὡς ὁ Τηρεὺς
ἐκεῖνος, ἐκθερίξω;
τί μευ καλῶν ὀνείρων

ὑπορθρίαισι φωναῖς
ἀφήρπασας Βάθυλλον;

Dawn at Rhine river foreland at Huissen with hundreds of gooses in the air

To His Own Drunk Self, a Song

Anacreonta 9: To His Own Drunk Self [εἰς ἑαυτὸν μεμεθυσμένον]

“Dear gods, let me drink,
Let me drink without pausing.
I want to go crazy, I do.

Alkmaion went crazy
And so did white-footed Orestes,
After they killed their mothers.

I haven’t killed anyone
drinking my red wine
I want to go crazy, I do.

Herakles went crazy once
Shaking his awful quiver
And Iphitus’ bow.
Ajax went crazy too
Holding up Hektor’s sword
With his shield.

I have this little cup
And this crown on my hair.
Not a bow or a sword.
I want to go crazy, I do.”

ἄφες με, τοὺς θεούς σοι,
πιεῖν, πιεῖν ἀμυστί·
θέλω, θέλω μανῆναι.
ἐμαίνετ᾿ Ἀλκμαίων τε
χὠ λευκόπους Ὀρέστης
τὰς μητέρας κτανόντες·
ἐγὼ δὲ μηδένα κτάς,
πιὼν δ᾿ ἐρυθρὸν οἶνον
θέλω, θέλω μανῆναι.

ἐμαίνετ᾿ Ἡρακλῆς πρὶν
δεινὴν κλονῶν φαρέτρην
καὶ τόξον Ἰφίτειον.
ἐμαίνετο πρὶν Αἴας
μετ᾿ ἀσπίδος κραδαίνων
τὴν Ἕκτορος μάχαιραν·

ἐγὼ δ᾿ ἔχων κύπελλον
καὶ στέμμα τοῦτο χαίτης,
οὐ τόξον, οὐ μάχαιραν,
θέλω, θέλω μανῆναι.

Drunken Hercules. A detail from the Baccanalia mosaic, Tsipory.

Stop Talking Like a Professor

Erasmus, Adagia 1.39:

Less Cultivated and More Clearly:

Indeed, that phrase is put less elegantly by the Greeks, but it has the same force: Ἀμαθέστερον καὶ σαφέστερον εἰπέ [speak less learnedly and more clearly], which is found in Gellius as well. He says,

‘For you know, I think, that ancient and commonly circulated phrase, Ἀμαθέστερον καὶ σαφέστερον εἰπέ,’

that is, Speak less learnedly and more plainly, and say it more openly and clearly. It appears to be taken from from a comedy of Aristophanes, titled Βάτραχοι, that is, The Frogs:

Ἀμαθέστερον πως εἰπὲ καὶ σαφέστερον,

that is, Speak less learnedly and more clearly. In this song, Bacchus chides the obscurity of Euripides, who had proposed something or other with insufficient lucidity. Suidas and an interpreter advise us that there is a proverb underlying it, which runs:

Σαφέστερόν μοι κἀμαθέστερον φράσον,

that is, Speak to me more openly and less learnedly. I suspect that it was taken from the fact that in antiquity, those sophists (as they call them) were accustomed to exert a fair amount of labor in covering over the mysteries of wisdom with certain enigmatical entanglements, clearly with the intention of keeping the profane mob not yet initiated into the sacred secrets of philosophy from following it. Nay, even today, some professors of philosophy and theology, when they are about to relate what any little old lady or workman might say, tangle and wrap up the matter with little spikes and portents of words so that they will seem learned. Thus Plato with his numbers obscured his own philosophy. Thus Aristotle, with all of his learned collections, made a lot of things more obscure.

640px-Frogs_of_Aristophanes_Playbill

RVDIVS AC PLANIVS     

Inelegantius quidem est illud apud Graecos, sed idem tamen pollet: Ἀμαθέστερον καὶ σαφέστερον εἰπέ, quod apud eundem refertur Gellium.

Nosti enim, inquit, credo, verbum illud vetus et peruulgatum, μαθέστερον εἰπὲ καὶ σαφέστερον,

id est Indoctius rudiusque quodammodo loquere et apertius ac clarius fare. Sumptum apparet ex Aristophanis comoedia, cui titulus Βάτραχοι, id est Ranae:

Ἀμαθέστερον πως εἰπὲ καὶ σαφέστερον,

id est  Indoctius proloquitor atque clarius. Quo carmine Bacchus Euripidis obscuritatem taxat, qui nescio quid parum dilucide proposuerat. Suidas et interpres admonent subesse prouerbium, quod hunc ad modum feratur:

Σαφέστερόν μοι κἀμαθέστερον φράσον,

id est  Apertius mihi loquere atque indoctius. Suspicor inde sumptum, quod antiquitus illi σοφοί, quos vocant, soleant mysteria sapientiae quibusdam aenigmatum inuolucris data opera obtegere, videlicet ne prophana turba ac nondum philosophiae sacris initiata posset assequi. Quin et hodie nonnulli philosophiae ac theologiae professores, cum ea quandoque tradant, quae quaeuis muliercula aut cerdo dicturus sit, tamen quo docti videantur, rem spinis quibusdam ac verborum portentis implicant et inuoluunt. Sic Plato numeris suis obscurauit suam philosophiam. Sic Aristoteles multa mathematicis collationibus reddidit obscuriora.

 

 

Homer’s Lyre and the Lyric Muse

Anacreonta 2

“Give me Homer’s lyre
Without its bloody strings–
Hand me cups of laws
mixed with rules for things.

That way, I will dance when I’m drunk
wisely out of my mind,
I will sing to the fingers playing
And shout the songs for drinking
Just give me Homer’s lyre
Without its bloody strings.”

δότε μοι λύρην Ὁμήρου
φονίης ἄνευθε χορδῆς,
φέρε μοι κύπελλα θεσμῶν,
φέρε μοι νόμους κεράσσας,

μεθύων ὅπως χορεύσω,
ὑπὸ σώφρονος δὲ λύσσης
μετὰ βαρβίτων ἀείδων
τὸ παροίνιον βοήσω.
δότε μοι λύρην Ὁμήρου
φονίης ἄνευθε χορδῆς.

Anacreonta 3

“Come here, best of painters
Listen to the Lyric muse!
Paint cities first
Happy ones, laughing ones,
And Bacchantes at play,
Breathing into their double pipes.
Then if the wax can manage,
Trace out the lovers’ ways.”

ἄγε, ζωγράφων ἄριστε,
λυρικῆς ἄκουε Μούσης·
γράφε τὰς πόλεις τὸ πρῶτον
ἱλαράς τε καὶ γελώσας,
φιλοπαίγμονάς τε Βάκχας
†ἑτεροπνόους ἐναύλους·†
ὁ δὲ κηρὸς ἂν δύναιτο,
γράφε καὶ νόμους φιλούντων.

Peter Paul Reubens “Minerva protects Pax from Mars” 1629/30

We Deserve More Praise For Our Latin

Gianfrancesco Pico, Letter to Pietro Bembo:

To be sure, both Greek and Latin were effectively innate to the ancients, but we must seek these languages from their books, and thus we should receive a greater accession of legitimate praise for learning them. For they, even if they were unwilling, spoke Greek in Greece and Latin in Italy; but we Italians who speak Latin (not to mention Greek) have earned and acquired that skill through our industry. Thus it will happen that, should our age happen to get a fair judge of these matters, those who now speak even in a fairly middling way will be justly preferred to those outstanding champions of old, since the men of today, having had commerce with the Goths, Vandals, and the Huns, yet retain that ancient mode of speech worn down by so many centuries, or at any rate they attempt to retain it through continual imitation, in which pursuit there is perchance a marvelous – nay, even excessive mental subtlety.

Detail from one of the graffiti images

Lingua certe veteribus illis cum Graeca tum Latina quasi nativa adfuit, quam ab eorum libris petere nos oportet, quibus maior ea de re legitimae laudis accesio. Illi enim vel nolentes et in Hellade Graece et in Italia Latine loquebantur; nobis Italis qui Latine loquamur, nedum Graece, id nostra est partum et elaboratum industria. Inde fiet aequum rerum aestimatorem si sortiatur nostra aetas, posse eos qui nunc mediocriter loquuntur praecipuis illis et antesignanis iure praeferri, qui scilicet inter Gothos, Vandalos, Hunnosque versati priscam illam et tot saeculis abolitam dicendi rationem aut teneant aut tenere conentur imitatione continua, qua etiam in re mira subtilitas et forte nimia.