Cicero vs. Kickero

James Hilton – Good-Bye, Mr. Chips:

At last Chips had something tangible that he could tackle. “Oh, THAT!” he answered, scornfully. “Well, I—umph—I admit that I don’t agree with the new pronunciation. I never did. Umph—a lot of nonsense, in my opinion. Making boys say ‘Kickero’ at school when— umph—for the rest of their lives they’ll say ‘Cicero’—if they ever—umph—say it at all. And instead of ‘vicissim’— God bless my soul—you’d make them say, ‘We kiss ‘im’! Umph— umph!” And he chuckled momentarily, forgetting that he was in Ralston’s study and not in his own friendly form room.

“Well, there you are, Mr. Chipping—that’s just an example of what I complain of. You hold one opinion and I hold another, and, since you decline to give way, there can’t very well be any alternative. I aim to make Brookfield a thoroughly up-to-date school. I’m a science man myself, but for all that I have no objection to the classics—provided that they are taught efficiently. Because they are dead languages is no reason why they should be dealt with in a dead educational technique. I understand, Mr. Chipping, that your Latin and Greek lessons are exactly the same as they were when I began here ten years ago?”

Chips answered, slowly and with pride: “For that matter—umph —they are the same as when your predecessor—Mr. Meldrum —came here, and that—umph—was thirty-eight years ago. We began here, Mr. Meldrum and I—in—umph—in 1870. And it was—um—Mr. Meldrum’s predecessor, Mr. Wetherby—who first approved my syllabus. ‘You’ll take the Cicero for the fourth,’ he said to me. Cicero, too—not Kickero!”

“And worst of all, he wouldn’t even say my name correctly!”

Medicae: Women Doctors from the Roman Empire

Some more Non-Elite Latin from the tireless Brandon Conley

  1. AE 1937, 0017.
inscription for blog
(Image from EDH)

Hic iacet Sarman/na medica vixit / pl(us) m(inus) an(nos) LXX Pientius / Pientinus fili(us) et / Honorata norus / titolum posuerunt / in pace

“Here lies Sarmana the doctor. She lived around 70 years. Pientius, her son Pientinus, and daughter-in-law Honorata placed this monument. In peace.”

 

  1. AE 2001, 00263

C(aius) Naevius C(ai) l(ibertus) Phi[lippus] / medicus chirurg(us) / Naevia C(ai) l(iberta) Clara / medica philolog(a) / in fro(nte) ped(es) XI s(emis) / in agr(o) ped(es) XVI

“Gaius Naevius Philippus, freedman of Gaius, doctor and surgeon. Naevia Clara, freedwoman of Gaius, doctor and scholar. (Tomb size) 11.5 feet wide, 16 feet deep.”

 

  1. CIL 1.497
Arachne
(Image from Arachne)

D(is) M(anibus) s(acrum) / Iuliae Saturninae / ann(orum) XXXXV / uxori incompara/bili me[dic]ae optimae / mulieri sanctissimae / Cassius Philippus / maritus ob meritis / h(ic) s(ita) e(st) s(it) t(ibi) t(erra) l(evis)

“A sacred rite to the spirits of the dead. To Julia Saturnina, age 45, an incomparable wife, the best doctor, the most noble woman. Gaius Philippus, her husband, (made this) for her merits. She is buried here. May the earth be light on you.”

 

  1. CIL 6.09616

D(is) M(anibus) / Terentiae / Niceni Terentiae / Primaes medicas li/bertae fecerunt / Mussius Antiochus / et Mussia Dionysia / fil(ii) m(atri) b(ene) m(erenti)

“To the spirits of the dead. To Terentia of Nicaea, freedwoman of the doctor Terentia Prima. Mussius Antiochus and Mussia Dionysia, her children, made this for their well-deserving mother.”

  1. CIL 13.02019
EDCS
(Image from EDCS)

Metilia Donata medic[a] / de sua pecunia dedit / l(ocus) d(atus) d(ecreto) d(ecurionum)

“Metilia Donata, a doctor, gave this with her own money. This spot was given by decree of the decurions.”

  1. CIL 11.06394

…xia viva fecit / Tutilia Cn(aei) Tutili leib(erta) / Menotia hoc moniment(um) / fecit Octavia[e] Auli l(ibertae) / Artimisiae medicae

…(?) “Tutilia Menotia, freedwoman of Gnaeus Tutilus, made this monument for the doctor Octavia Artemisia, freedwoman of Aulus.”

Septicia’s Second Marriage and Final Testament

Valerius Maximus, Famous Words and Deeds, 7.7.4

“Septicia as well, the mother of Ariminum’s Trachali, because she was angry with her sons, married Publicius who was already old, even though she could no longer have children, as an insult against them. Then she took both of them out of her will.  When they appealed to him, the divine Augustus criticized both the woman’s marriage and her final allotments. He ordered that the sons have their mother’s inheritance and the dowry since she had not begun the marriage for the purpose of having children.

If Fairness herself were to judge this affair, could she have come up with a more just or more substantial opinion? You spurn the children you bore, make a sterile marriage, make a mess of a final will because of your malicious spirit, and you don’t blush to hand all your wealth over to a man whose body you climb under even when it has already been laid out like a corpse? So, since you acted like this, you are struck by divine lightning even among the damned!”

Septicia quoque, mater Trachalorum Ariminensium, irata filiis, in contumeliam eorum, cum iam parere non posset, Publicio seni admodum nupsit, testamento etiam utrumque praeteriit. a quibus aditus divus Augustus et nuptias mulieris et suprema iudicia improbavit: nam hereditatem maternam filios habere iussit, dotem, quia non creandorum liberorum causa coniugium intercesserat, virum retinere vetuit. si ipsa Aequitas hac de re cognosceret, potuitne iustius aut gravius pronuntiare? spernis quos genuisti, nubis effeta, testamenti ordinem malevolo animo confundis, neque erubescis ei totum patrimonium addicere cuius pollincto iam corpori marcidam senectutem tuam substravisti. ergo dum sic te geris, ad inferos usque caelesti fulmine adflata es.

Related image
Marriage scene on a sarcophagus

 

It’s Not Greek To You

Lucian, having been caught employing a word incorrectly, responds to his critic in overblown terms and suggests that his rustic illiteracy prevented his understanding:

Lucian, Pseudologistes (§14):

“Alright then,” someone might say, “but some ancient words are spoken today and some are not – in particular, we avoid those which are not common to many people, so that we don’t disturb their hearing and wound their ears.” For my part, my good man, I messed up in saying that about you and to you. I should have, indeed should have used the old ways of the Paphlagonians or Cappadocians or Bactrians to talk to you, so that you could understand what I was saying and maybe even find it pleasant. But I think that it’s right to interact with other Greeks using the Greek language.

Ἔστω, φησί τις, ἀλλὰ καὶ τῶν παλαιῶν ὀνομάτων τὰ μὲν λεκτέα, τὰ δ οὔ, ὁπόσα αὐτῶν μὴ συνήθη τοῖς πολλοῖς, ὡς μὴ ταράττοιμεν τὰς ἀκοὰς καὶ τιτρώσκοιμεν τῶν συνόντων τὰ ὦτα. ἐγὼ δέ, ὦ βέλτιστε, πρὸς μὲν σὲ ἴσως ταῦτα περὶ σοῦ εἰπὼν ἥμαρτον· ἐχρῆν γὰρ ἐχρῆν ἢ κατὰ Παφλαγόνων ἢ Καππαδοκῶν ἢ Βακτρίων πάτρια διαλέγεσθαί σοι, ὡς ἐκμάθῃς τὰ λεγόμενα καὶ σοὶ ἀκούειν ᾖ ἡδέα. τοῖς δ’ ἄλλοις Ἕλλησιν οἶμαι καθ Ἑλλάδα γλῶτταν συνεῖναι χρή. εἶτα καὶ τῶν Ἀττικῶν κατὰ χρόνους τινὰς πολλὰ ἐντρεψάντων τῆς αὑτῶν φωνῆς, τοῦτο ἐν τοῖς μάλιστα τὸ ὄνομα διετέλεσεν οὕτως ἀεὶ καὶ πρὸς ἁπάντων αὐτῶν λεγόμενον.

The Original Virgin Suicides

Here’s an anecdote that is chilling and a bit upsetting. CW: it contains misogyny as well as reference to suicide clusters. In general, this reminded me of the suicide clusters in Silicon Valley discussed widely a few years ago. But–and I think this is more important–it also points to groups of suicide as an attempt to wrest agency in response to desperation, a lack of agency, and marginalization.

Aulus Gellius, Varia Historia 15.10

“In his first of the books On the Soul, Plutarch included the following tale when he was commenting on maladies which afflict human minds. He said that there were maiden girls of Milesian families who at a certain time suddenly and without almost any clear reason made a plan to die and that many killed themselves by hanging.

When this became more common in following days and there was no treatment to be found for the spirits of those who were dedicated to dying, The Milesians decreed that all maidens who would die by hanging their bodies would be taken out to burial completely naked except for the rope by which they were hanged. After this was decreed, the maidens did not seek suicide only because they were frightened by the thought of so shameful a funeral.”

Plutarchus in librorum quos περὶ ψυχῆς inscripsit primo cum de morbis dissereret in animos hominum incidentibus, virgines dixit Milesii nominis, fere quot tum in ea civitate erant, repente sine ulla evidenti causa voluntatem cepisse obeundae mortis ac deinde plurimas vitam suspendio amississe. id cum accideret in dies crebrius neque animis earum mori perseverantium medicina adhiberi quiret, decrevisse Milesios ut virgines, quae corporibus suspensis demortuae forent, ut hae omnes nudae cum eodem laqueo quo essent praevinctae efferrentur. post id decretum virgines voluntariam mortem non petisse pudore solo deterritas tam inhonesti funeris.

Suicides of public figures cause disbelief because of our cultural misconceptions about depression and about the importance of material wealth and fame to our well-being. While some clusters of suicide can be understood as a reflex of the “threshold problem”, we fail to see the whole picture if we do not also see that human well-being is connected to a sense of agency and belonging. Galen, in writing about depression, notes that melancholy can make us desire that which we fear.

Galen, De Locis Affectis 8.190-191

“But there are ten thousand other fantasies. The melancholic differ from one another, but even though they all exhibit fear, despair, blaming of life and hatred for people, they do not all want to die. For some, fear of death is the principle source of their depression. Some will seem paradoxical to you because they fear death and desire death at the same time.”

ἄλλα τε μυρία τοιαῦτα φαντασιοῦνται. διαφέρονται δὲ ἀλλήλων οἱ μελαγχολικοὶ, τὸ μὲν φοβεῖσθαι καὶ δυσθυμεῖν καὶ μέμφεσθαι τῇ ζωῇ καὶ μισεῖν τοὺς ἀνθρώπους ἅπαντες ἔχοντες, ἀποθανεῖν δ’ ἐπιθυμοῦντες οὐ πάντες, ἀλλ’ ἔστιν ἐνίοις αὐτῶν αὐτὸ δὴ τοῦτο κεφάλαιον τῆς μελαγχολίας, τὸ περὶ τοῦ θανάτου δέος· ἔνιοι δὲ ἀλλόκοτοί σοι δόξουσιν, ἅμα τε καὶ δεδιέναι τὸν θάνατον καὶ θανατᾷν.

In thinking about the impact of agency and belonging on our sense of well-being and relationship to death, I have been significantly influence by this book:

Sheldon Solomon, Jeff Greenberg and Tom Pyszczynski. The Worm at the Core: On the Role of Death in Life. London: Allen Lane, 2015.

Related image
Picture found here

If you or someone you know feel alone, uncertain, depressed or for any reason cannot find enough joy and hope to think life is worth it, please reach out to someone. The suicide prevention hotline has a website, a phone number (1-800-273-8255), and a chat line. And if we can help you find some tether to the continuity of human experience through the Classics or a word, please don’t hesitate to ask.

An Immortal Soul and a Pious Poet: Another Poem by Julia Balbilla

Julia Balbilla, Epigram 991 [from Kaibel 1878 with supplements from Rosenmeyer 2008]

In Memnonis crure sinistro. C. I. 4730 coll. Add. III p. 1202 sq.

“When I was near Memnon with August Sabina:

Child of Dawn and noble Tithonos,
Seated before Zeus’s city of Thebes
Or, Amenoth, Egyptian King, as the priests name you
The ones who know the ancient stories

Greet us and speak out to show your welcome, Memnon,
To the revered wife of Lord Hadrian.
A barbarian man lopped off your tongue and ears
That atheist Kambyses, but he paid the price
With a painful death under the same pitiful blade
He used to kill divine Apis.

But I do not believe that this statue of yours could ever be destroyed
And I cherish in my thoughts a soul immortal for all time.
This is because my parents and grandparents were reverent,
Wise Balbillus and the king Antiochus.
Balbillus was my Queen mother’s father
And King Antiochus was my father’s father.

I too have been allotted noble blood from their people—
And these are the words from reverent me, Balbilla.”

῞Οτε σὺν τῆι Σεβαστῆι Σαβείνηι ἐγενόμην παρὰ τῶι Μέμνονι.

Αὔως καὶ γεράρω, Μέμνον, πάι Τιθώνοιο,
Θηβάας θάσσων ἄντα Δίος πόλιος,
ἢ ᾿Αμένωθ, βασίλευ Αἰγύπτιε, τὼς ἐνέποισιν
ἴρηες μύθων τῶν παλάων ἴδριες.

Χαῖρε καὶ αὐδάσαις πρόφρων ἔμε [δέχνυσο, Μέμνον,
τὰν σέµναν ἄλοχον κοιράνω ῾¬Αδριάνω.
γλῶσσαν μέν τοι τ[μ]ᾶξ[ε (καὶ ὤατα βάρβαρος ἄνηρ
Καμβύσαις ἄθεος–τῶ λύγρῳ θανάτῳ
δῶκέν τοι ποίναν τῶ σῶ οἰκτ[ίρματος ἠδ’ ἇς
τῷ νήλας ῏Απιν κάκτανε τὸν θέιον.

ἄλλ’ ἔγω οὐ δοκίμωμι σέθεν τό [γε θῆον ὄλεσθαι,
ψύχαν δ’ ἀθανάταν, ἄ[φθιτε], σῶ[σδες ἄι.
εὐσέβεες γὰρ ἔμοι γένεται σέ[πτας ἀπὸ ῥίσδας
Βάλβιλλός τε σόφος κἀντίοχος [προπάτωρ·

Βάλβιλλος γένετ’ ἐκ μᾶτρος βασιλήιδος ῎Ακ[μας,
τῶ πάτερος δὲ πάτηρ ᾿Αντίοχος βασίλευς·
κήνων ἐκ γενέας κἄγω λόχον αἶμα τὸ κᾶλον,
Βαλβίλλας δ’ ἔμεθεν γρόπτα τόδ’ εὐσέβ[εος.

Colossi of Memnon

Rosenmeyer, P. (2008). Greek Verse Inscriptions in Roman Egypt: Julia Balbilla’s Sapphic Voice. Classical Antiquity, 27(2), 334-358.

Brennan, T. (1998). “The Poets Julia Balbilla and Damo at the Colossus of Memnon”. Classical World, 91(4), 215.

Plant, I., & Plant, Ian Michael. (2004). Women writers of ancient Greece and Rome : An anthology (University of Oklahoma Press ed.). Norman: University of Oklahoma Press.

Memnon’s Speaking Stone: Two Poems by Julia Balbilla

Julia Balbilla is a Roman poet from the time of Hadrian. She composed Greek verse. For more of her poems see Rosenmeyer 2008 below and Brennan 1998 for additional historical context

Julia Balbilla, Two Poems

In Memnonis pede sinistro. C. I. 4727 coll. Add. III p. 1202.

“I, Balbilla, heard from the stone when it spoke
Either the divine voice of Memnon or Phamenoth.
I came here alongside my beautiful queen Sabina,
as the sun kept its course in the first hour.
In the fifteenth year of Hadrian’s reign
When Hathyr had made its twenty-fourth day,
It was on the twenty-fifth day of the month of Hathyr.

῎Εκλυον αὐδάσαντος ἐγὼ ‘πὺ λίθω Βάλβιλλα
φώνας τᾶς θείας Μέμνονος ἢ Φαμένωθ·
ἦνθον ὔμοι δ’ ἐράται βασιλήιδι τυῖδε Σαβίνναι,
ὤρας δὲ πρώτας ἄλιος ἦχε δρόμος,

κοιράνω ᾿Αδριάνω πέμπτωι δεκότωι δ’ ἐνιαύτωι,
φῶτ]α δ’ ἔχεσκεν ῎Αθυρ εἴκοσι καὶ πέσυρα·
εἰκόστωι πέμπτωι δ’ ἄματι μῆνος ῎Αθυρ.

In Memnonis crure sinistro. C. I. 4725 coll. Add. III p. 1201 sq.

“Julia Balbilla [wrote this]
When August Hadrian heard Memnon

I’ve learned that the Egyptian Memnon, bronzed by
The bright sun, sounds out from a Theban stone.
When he gazed upon Hadrian, the kingliest king
He addressed him as much as he could before the light of the sun.

But as Titan was driving through the sky on white horses
Holding the second part of the day in shadow,
Memnon’s voice rang out again like struck bronze,
High-pitched: and he let loose a third sound greeting.

And then Lord Hadrian hailed Memnon in return
And left on this column for future generations to see
Inscribed verses telling of everything he saw and heard.
And it was clear to everyone how much the gods love him.

᾿Ιουλίας Βαλβίλλης, ὅτε ἤκουσε τοῦ Μέμνονος ὁ σεβαστὸς
᾿Αδριανός.

Μέμνονα πυνθανόμαν Αἰγύπτιον, ἀλίω αὔγαι
αἰθόμενον, φώνην Θηβαίκω ‘πὺ λίθω·
᾿Αδρίανον δ’ ἐςίδων, τὸν παμβασίληα πρὶν αὐγὰς
ἀελίω χαίρην εἶπέ [v]οι ὠς δύνοτον·

Τίταν δ’ ὄττ’ ἐλάων λεύκοισι δι’ αἴθερος ἴπποις
ἐ]ν σκίαι ὠράων δεύτερον ἦχε μέτρον,
ὠς χάλκοιο τυπέντος ἴη Μέμνων πάλιν αὔδαν
ὀξύτονον· χαίρων καὶ τρίτον ἆχον ἴη.

κοίρανος ᾿Αδρίανος χ[ήρ]αις δ’ ἀσπάσσατο καὖτος
Μέμνονα. κἀ[πιθέμαν] καλλ[ιλό]γοισι πόνοις
γρόππατα σαμαίνο[ν]τά τ’ ὄσ’ εὔιδε κὤσσ’ ἐςάκουσε·
δᾶλον παῖσι δ’ ἔγε[ν]τ’ ὤς [v]ε φίλ[ε]ισι θέοι.

Antonio Beato, Colosses de Memnon

Rosenmeyer, P. (2008). Greek Verse Inscriptions in Roman Egypt: Julia Balbilla’s Sapphic Voice. Classical Antiquity, 27(2), 334-358.

Brennan, T. (1998). “The Poets Julia Balbilla and Damo at the Colossus of Memnon”. Classical World, 91(4), 215.

Plant, I., & Plant, Ian Michael. (2004). Women writers of ancient Greece and Rome : An anthology (University of Oklahoma Press ed.). Norman: University of Oklahoma Press.

 

Hades’ Newest Bride: A Remarkable Epitaph

This poem actually inspired me to type “just wow” when I was looking through the PHI Epigraphic Database.

CIRB 130 from the N. Black Sea ca. 50 BC-50 AD — GVI 1989

“Theophilê Hekataiou gives her greeting.

They were wooing me, Theiophilê the short-lived daughter of
Hekataios, those young men [seeking] a maiden for marriage.
But Hades seized me first, since he was longing for me
When he saw a Persephone better than Persephone.

[….]

And when the message is carved on the stone
He weeps for the girl, Theiophilê the Sinopian,
Whose father, Hekataios, gave the torch-holding bride-to-be
To Hades and not a marriage.

[…]

Maiden Theiophilê, no marriage awaits you, but a land
With no return; not as the bride of Menophilos,
But as a partner in Persephone’s bed. Your father Hekataios
Now has only the name of the pitiable lost girl.

And as he looks on your shape in stone he sees
The unfulfilled hopes Fate wrongly buried in the ground.

Theiophilê, a girl allotted beauty envied by mortals,
A tenth Muse, a Grace for marriage’s age,
A perfect example of prudence.
Hades did not throw his dark hands around you.

No, Pluto lit the flames for the wedding torches
With his lamp, welcoming a most desired mate.

Parents, stop your laments now, stop your grieving,
Theiophilê has found an immortal bed.”

1           Θεοφίλη Ἑκαταίου, / χαῖρε.
Θειοφίλην με θύγατρα μινυνθαδίην Ἑκαταίου
ἐμνώοντο, γάμωι παρθένον ἠΐθεοι,
5 ἔφθασε δ’ ἁρπάξας Ἀΐδης, ἠράσσατο γάρ μευ,
Φερσεφόνας ἐσιδὼν κρέσσονα Φερσεφόναν.
6a ———

7 καὶ γράμμα πέτρης ἐκγλυφὲν στηλίτιδος
κόρην δακρύει Θεοφίλην Σινωπίδα
τὰς μελλονύμφους ἧς πατὴρ δαιδουχίας
10   Ἑκαταῖος Ἅιδηι καὶ οὐ γάμωι συνάρμοσεν.
10a ———

11 παρθένε Θειοφίλα, σὲ μὲν οὐ γάμος, ἀλλ’ ἀδίαυλος
χῶρος ἔχει νύμφη δ’ οὐκέτι Μηνοφίλου,
[ἀ]λλὰ Κόρης σύλλεκτρος· ὁ δὲ σπείρας Ἑκαταῖος
οὔνομα δυστήνου μοῦνον ἔχει φθιμένης,
15 [μ]ορφὰν δ’ ἐν πέτραι λεύ<σ>σει σέο τὰς δ’ ἀτελέστους
ἐλπίδας οὐχ ὁσίη Μοῖρα κατεχθόνισεν.

τὴν κάλλος ζηλωτὸν ἐνὶ θνατοῖσι λαχοῦσαν
Θειοφίλην, Μουσῶν τὴν δεκάτην, Χάριτα,
πρὸς γάμον ὡραίαν, τὴν σωφροσύνης ὑπόδειγμα,
20   οὐκ Ἀΐδας ζοφεραῖς ἀμφέβαλεν παλάμαις,

Πλούτων δ’ εἰς θαλάμους τὰ γαμήλια λαμπάδι φέγγη
ἇψε, ποθεινοτάτην δεξάμενος γαμέτιν.
[ὦ γ]ονέες, θρήνων νῦν λήξατε, παύετ’ ὀδυρμῶν·
Θειοφίλη λέκτρων ἀθανάτων ἔτυχεν.

Image result for hades persephone grave relief
A relief of Persephone and Hades from the Hierapolis Archaeological Museum

Praksô, the Samian, Gone at 22

ΑΜΥΝΤΑΣ [P. Oxy.iv. 1904, no. 662, p. 64. ]

“Tell me, woman, who are you and who is your father?
Tell me what kind of terrible sickness you died from.

My name is Praksô, the Samian, Friend.
I was an offspring of Kalliteleus, but I died in childbirth.

Who provided this tomb? Theokritos, the man
They married me to. What age did you make to?

I was three times seven plus one. Were you childless?
No, I left a three-year old behind at home.”

(1)φράζε, γύναι, τίς ἐοῦσα καὶ ἐκ τίνος, εἰπέτε πάτρην,
καὶ ποίας ἔθανες νούσου ὑπ᾿ ἀργαλέης.
οὔνομα μὲν Πραξὼ Σαμίη, ξένε, ἐκ δὲ γονῆος
Καλλιτέλευς γενόμαν, ἀλλ᾿ ἔθανον τοκετῶι.
τίς δὲ τάφον στάλωσε; Θεόκριτος, ὧι με σύνευνον
ἀνδρὶ δόσαν. ποίην δ᾿ ἦλθες ἐς ἡλικίην;
ἑπταέτις τρὶς ἑνὸς γενόμαν ἔτι. ἦ ῥά γ᾿ ἄτεκνος;
οὔκ, ἀλλὰ τριετῆ παῖδα δόμωι λιπόμαν

The funerary stele of Thrasea and Euandria, c. 365 BC

Mattia, Daughter of Mattios and Eutukhia

IC II x 20 Crete, early Rom. Imp. period

“Mattia, the daughter of Loukios, says hello:

Hades stole away this pretty girl because of her beauty and form
Suddenly, this girl most desirable to all people alive.
Mattios fathered me and my mother Eutukhia
Nursed me. I have died at twelve years old, unmarried.

My name is Mattia, and now that I have left the light
I lie hidden in the dark chamber of Persephone.
I left a lifetime’s grief for my father and mother
Who will have many tears for the rest of time.”

[Μ]αττία Λουκίου θυγάτηρ
χαῖρε.
κάλλει καὶ μορφᾶι τὰν ε[ὐῶ]πα̣ ἥρπ̣α̣σ̣εν Ἅϊδας
αἰφνιδίως ζωοῖς πᾶσι ποθεινοτάταν,
Μάττιος ἃν ἐφύτευσε πατήρ, μάτηρ δ̣’ ἀτίτ[η]λ̣εν
Εὐτυχία· θνάσκω δωδεχέτης ἄ[γ]αμος,

Ματτία οὔνομα ἐοῦσα, λιποῦσα δὲ φ[ῶς] ὑπὸ [κ]ε̣[ύ]θη
[κεῖ]μαι Φερσεφόνας ἐν νυχίωι θαλάμωι,
πατρί τε καὶ τᾶι ματρὶ λιποῦσ’ [αἰώ]νιον ἄλγος
[τᾶ]ι πολυδακρύτωι εἰς τὸν ἅπαντα χρόνον.

Marble funerary statues of a maiden and a little girl, ,Stone Sculpture
Marble Funerary Statues from the MET