An Epitaph for Anacreon; and Some of His Poems

Greek Anthology 7.26, Antipater of Sidon

“Stranger passing by the humble grave of Anakreon,
If my books were of any use to you,
Pour some wine on my ashes, pour it out in drops
So that my bones can smile, refreshed a bit by wine,
so I, who loved the shouting raves of Dionysus,
so I, who was a partner of music matched to drink,
may not lie dead apart from Bacchus in this place below,
the land which all the race of mortals one day must know.”

Ξεῖνε, τάφον παρὰ λιτὸν ᾿Ανακρείοντος ἀμείβων,
εἴ τί τοι ἐκ βίβλων ἦλθεν ἐμῶν ὄφελος,
σπεῖσον ἐμῇ σποδιῇ, σπεῖσον γάνος, ὄφρα κεν οἴνῳ
ὀστέα γηθήσῃ τἀμὰ νοτιζόμενα,
ὡς ὁ Διωνύσου μεμελημένος εὐάσι κώμοις,
ὡς ὁ φιλακρήτου σύντροφος ἁρμονίης
μηδὲ καταφθίμενος Βάκχου δίχα τοῦτον ὑποίσω
τὸν γενεῇ μερόπων χῶρον ὀφειλόμενον.

Fr. 395

“Hades’ hall is horrifying
And the passage there is hard.
Worse: it is decided that
who ventures there does not return.”

Ἀίδεω γάρ ἐστι δεινὸς
μυχός, ἀργαλῆ δ᾿ ες αὐτὸν
κάτοδος. και γὰρ ἐτοῖμον
καταβάντι μὴ ἀναβῆναι

Anacreon. Marble. Roman copy of the 2nd century A.D. after a Greek original of the 5th century B.C. Inv. No. 491. Copenhagen, New Carlsberg Glyptotek.

Anacreon fr. 2

“I don’t love the man who while drinking next to a full cup
Talks about conflicts and lamentable war.
But whoever mixes the shining gifts of Aphrodite and the Muses
Let him keep in mind loving, good cheer.”

οὐ φιλέω, ὃς κρητῆρι παρὰ πλέωι οἰνοποτάζων
νείκεα καὶ πόλεμον δακρυόεντα λέγει,
ἀλλ’ ὅστις Μουσέων τε καὶ ἀγλαὰ δῶρ’ ᾿Αφροδίτης
συμμίσγων ἐρατῆς μνήσκεται εὐφροσύνης.

Fr. 428

“I love and again do not love
I am insane and yet sane too”

ἐρέω τε δηὖτε κοὐκ ἐρέω
καὶ μαίνομαι κοὐ μαίνομαι

Fragmentary Friday: Nemesis, Helen’s Other Mother

Pausanias, 1.33.7

“The Greeks claim that Nemesis was Helen’s mother and that Leda nursed her and raised her.”

Ἑλένῃ Νέμεσιν μητέρα εἶναι λέγουσιν Ἕλληνες, Λήδαν δὲ μαστὸν ἐπισχεῖν αὐτῇ καὶ θρέψαι

Scholia to Lykophron 88

“Zeus made himself look like a swan and joined Nemesis near the river Ocean. From this union, she laid an egg which Leda received, warmed, and then bore Helen and the Dioscouri”

κύκνῳ ἀπεικασθεὶς ὁ Ζεὺς Νεμέσει τῇ ᾿Ωκεανοῦ συνῆλθεν, ἐξ ἧς γεννᾶται ᾠόν, ὅπερ λαβοῦσα ἡ Λήδα ἐθέρμαινε καὶ ἔτεκε τὴν ῾Ελένην καὶ τοὺς Διοσκούρους.

Scholia to Callimachus’s Hymns 3.232

“Ramnos is a deme in Attica where Zeus slept with Nemesis who then produced an egg which Leda found, warmed and which produced in turn the Dioscuri and Helen.”

<῾Ραμνουσίδι:> ῾Ραμνοῦς δῆμος ᾿Αττικῆς, ἔνθα τῇ Νεμέσει ὁ Ζεὺς συνεκαθεύδησεν, ἥτις ἔτεκεν ᾠόν, ὅπερ εὑροῦσα ἡ Λήδα ἐθέρμανε καὶ ἐξέβαλε τοὺς Διοσκούρους καὶ τὴν ῾Ελένην.

Leda egg

The fragmentary poem from the  epic cycle dubbed the Cypria was attributed to lesser known poets like Stasinus and Hegesias by ancient authors. Its name, however, comes from the fact that it was largely believed to be composed in Cyprus (or by a Cypriot poet traveling abroad).

The first fragment of the poem tends to be its most well-known since it places the Trojan War in a context of global discussion and echoes the Iliad in making this all part of Zeus’ plan. But the ninth fragment has some frightening details. First, it alleges that Helen is not the daughter of Zeus and Leda (of the swan scene) but instead is the offspring of Zeus and the unwilling goddess Nemesis. Second, it shows Zeus pursuing her all over the earth no matter what form she took.

Cypria, Fr. 9 Benarbé [fr 10. West 2013]

“After them [he?] bore a wonder to mortals, a third child Helen—
Fine-haired Nemesis gave birth to her after having sex
With Zeus, the king of the gods, under forceful compulsion.
For she was not willing to have sex with Kronos’ son
Father Zeus, since her mind rushed with shame and opposition [nemesis].
She fled over the earth and the dark, barren sea,
But Zeus pursued her—and he longed to catch her in his heart.
At one time along the waves of the much-resounding sea,
He broke through the water as she took the form of a fish—
At another he followed her through the river Ocean to the ends of the earth.
Again, across the much-nourishing land. She became all the terrible
Beasts, the many the land raises up, in trying to escape him.”

τοὺς δὲ μέτα τριτάτην ῾Ελένην τέκε θαῦμα βροτοῖσι·
τήν ποτε καλλίκομος Νέμεσις φιλότητι μιγεῖσα
Ζηνὶ θεῶν βασιλῆϊ τέκε κρατερῆς ὑπ’ ἀνάγκης·
φεῦγε γὰρ οὐδ’ ἔθελεν μιχθήμεναι ἐν φιλότητι
πατρὶ Διὶ Κρονίωνι· ἐτείρετο γὰρ φρένας αἰδοῖ
καὶ νεμέσει· κατὰ γῆν δὲ καὶ ἀτρύγετον μέλαν ὕδωρ
φεῦγε, Ζεὺς δ’ ἐδίωκε—λαβεῖν δ’ ἐλιλαίετο θυμῶι—
ἄλλοτε μὲν κατὰ κῦμα πολυφλοίσβοιο θαλάσσης
ἰχθύι εἰδομένην πόντον πολὺν ἐξοροθύνων,
ἄλλοτ’ ἀν’ ᾿Ωκεανὸν ποταμὸν καὶ πείρατα γαίης,
ἄλλοτ’ ἀν’ ἤπειρον πολυβώλακα· γίγνετο δ’ αἰνὰ
θηρί’, ὅσ’ ἤπειρος πολλὰ τρέφει, ὄφρα φύγοι νιν.

As West (2013, 81-83) points out, there is some motif transference going on here in the fragment. For one, in many testimonia Thetis is said to change shapes to elude Peleus. In addition, we know the popular account of Zeus changing into a swan [or goose] to seduce Leda. Finally, Nemesis—as a concept and less as a character—is often associated with Helen’s behavior. She receives “nemesis and shame” for her actions. Much of this may linger in the mythopoetic background when the leaders of the Trojans declare upon seeing her again in the Iliad “there’s no nemesis for the Trojans and Achaeans, that they suffered pain for so long for this kind of woman….” (οὐ νέμεσις Τρῶας καὶ ἐϋκνήμιδας ᾿Αχαιοὺς
τοιῇδ’ ἀμφὶ γυναικὶ πολὺν χρόνον ἄλγεα πάσχειν).

But other accounts have Zeus changing to match Nemesis as well. Apollodorus (3.10.7) attempts to harmonize the two accounts:

“Some allege that Helen is the daughter of Nemesis and Zeus and that when she was fleeing Zeus’ sexual advance she changed her shape into a goose and that Zeus matched her and approached her as a swan. She produced an egg from this intercourse—people say that some shepherd found this egg in a thicket, fetched it and gave it to Leda who placed it in a box where she guarded it. When, after some time, it hatched and produced Helen, Leda raised her as her own daughter.”

λέγουσι δὲ ἔνιοι Νεμέσεως ῾Ελένην εἶναι καὶ Διός. ταύτην γὰρ τὴν Διὸς φεύγουσαν συνουσίαν εἰς χῆνα τὴν μορφὴν μεταβαλεῖν, ὁμοιωθέντα δὲ καὶ Δία κύκνῳ συνελθεῖν· τὴν δὲ ᾠὸν ἐκ τῆς συνουσίας ἀποτεκεῖν, τοῦτο δὲ ἐν τοῖς ἄλσεσιν εὑρόντα τινὰ ποιμένα Λήδᾳ κομίσαντα δοῦναι, τὴν δὲ καταθεμένην εἰς λάρνακα φυλάσσειν, καὶ χρόνῳ καθήκοντι γεννηθεῖσαν ῾Ελένην ὡς ἐξ αὑτῆς θυγατέρα τρέφειν…

Helen

Epigram Excitement: Odysseus Sees His Mom

According to the Greek Anthology there was a temple to Apollônis, the mother of Attalos and Eumenes, at Cyzicos. The temple had at least nineteen epigrams inscribed on columns with accompanying relief images. All of the epigrams have mothers from myth and poetry as their subjects. The Eighth Epigram is on Odysseus’ mother Antikleia.

On the eighth tablet is the underworld visit of Odysseus. He addressed is own mother and asked her for news of his home (Greek Anthology 3.8)

“Wise-minded mother of Odysseus, Antikleia
You didn’t welcome your son home to Ithaka while alive.
Instead, he is shocked when his glance falls upon his sweet mother
Now wandering along the banks of Akheron.”

᾿Εν τῷ Η ἡ τοῦ ᾿Οδυσσέως νεκυομαντεία• καθέστηκεν τὴν ἰδίαν μητέρα ᾿Αντίκλειαν περὶ τῶν κατὰ τὸν οἶκον ἀνακρίνων

Μᾶτερ ᾿Οδυσσῆος πινυτόφρονος, ᾿Αντίκλεια,
ζῶσα μὲν εἰς ᾿Ιθάκην οὐχ ὑπέδεξο πάιν•
ἀλλά σε νῦν ᾿Αχέροντος ἐπὶ ῥηγμῖσι γεγῶσαν
θαμβεῖ, ἀνὰ γλυκερὰν ματέρα δερκόμενος.

Of course, this scene plays upon book 11 of the Odyssey doubly: the image recalls Odysseus describing his mother in the Odyssey and it also plays upon the Odyssey’s catalogue of heroic mothers motif, which it in turn shares with the fragmentary Hesiodic Catalogue Of Women.

11.84-89
“Then came the spirit of my mother who had passed away,
The daughter of great-hearted Autolykos, Antikleia
Whom I left alive when I went to sacred Troy.
When I saw her I cried and pitied her in my heart,
But I could not allow her to come forward to touch
The blood before I had learned from Teiresias.”

ἦλθε δ’ ἐπὶ ψυχὴ μητρὸς κατατεθνηυίης,
Αὐτολύκου θυγάτηρ μεγαλήτορος ᾿Αντίκλεια,
τὴν ζωὴν κατέλειπον ἰὼν εἰς ῎Ιλιον ἱρήν.
τὴν μὲν ἐγὼ δάκρυσα ἰδὼν ἐλέησά τε θυμῷ•
ἀλλ’ οὐδ’ ὧς εἴων προτέρην, πυκινόν περ ἀχεύων,
αἵματος ἄσσον ἴμεν πρὶν Τειρεσίαο πυθέσθαι.

Attalos, Eumenes and Apollônis? These were members of the Attalid clan who ruled from Pergamon during the Hellenistic period (after 241 BCE). Attalus I married Apollônis who was from Cyzicos.

More Byzantine Etymologies: Kas(s)andra

 

From the introduction to the Scholia to Lykophron’s Alexandra by John Tzetzes and his brother Isaac:

“That is a sufficient beginning. Let us talk now about the title. Why did Lykophron call this poem the Alexandra? It stands apart from the rest of his collective writings. For I said before that he wrote many plays in the tragic form. The name Kasandra is said to derive from “manly helmet” [kasis + anêr] Hektor has—and is written in the Aeolic dialect with two sigmas. Alexandra is from avoiding or fleeing the company of men [aluksô+andras] or otherwise from warding off and helping men [aleksô+andras] and human beings through oracles. But these things are rather [cold?]; still, we have to record them because there are fools who are at a loss about these trifles. Here’s another: what is the reason that he is called Lykophron? They say it is because he is riddling and cunning; wolves are also wise, you see.”

᾿Αλλὰ ταῦτα μὲν ἀρκούντως ἐρρέθη, λέξωμεν δὲ καὶ  περὶ τῆς ἐπιγραφῆς· διὰ τί Λυκόφρονος ᾿Αλεξάνδρα ἐπεγράφη τὸ παρὸν ποίημα; πρὸς ἀντιδιαστολὴν τῶν λοιπῶν τοῦ Λυκόφρονος συγγραμμάτων· εἶπον γὰρ ὅτι ξδ′ ἢ μϚ′ τραγωδιῶν ἐποίησε δράματα. Κασάνδρα δὲ λέγεται παρὰ τὸ κάσιν ἀνδρεῖον ἔχειν τὸν ῞Εκτορα αἰολικῶς δὲ γράφεται διὰ δύο ςσ ᾿Αλεξάνδρα δὲ ἢ παρὰ τὸ ἀλύξαι καὶ ἐκφυγεῖν τὴν τῶν ἀνδρῶν συνουσίαν ἢ παρὰ τὸ ἀλέξειν καὶ βοηθεῖν τοῖς ἀνδράσιν ἤτοι τοῖς ἀνθρώποις διὰ τῶν χρησμῶν. ταῦτα δὲ καὶ ψυχρά εἰσιν, ὅμως διά τινας τῶν μωρῶν τῶν τοιαῦτα λῆρα ἀπορούντων γραπτέον καὶ ταῦτα. *ὡς* καὶ τὸ διὰ τί λέγεται Λυκόφρων; διὰ τὸ αἰνιγματωδῶς καὶ πανούργως λέγειν· καὶ γὰρ οἱ λύκοι πανοῦργοι.Cassandra

What is Love? Philodemus and Mimnermus Get old and Throw Down

Philodemus, Greek Anthology. 5.112; Mimnermus. fr 1

 

“I was in love—who wasn’t? I partied. Who didn’t?
But what made me crazy? Was it a god?
Let him go. For now in place of my dark hair
I am growing gray, announcing the age of ‘knowing better’.
When it was the time to play, we played. Now the time is done,
We will reach for more elevated thought.”

᾿Ηράσθην• τίς δ’ οὐχί; κεκώμακα• τίς δ’ ἀμύητος
κώμων; ἀλλ’ ἐμάνην• ἐκ τίνος; οὐχὶ θεοῦ;
ἐρρίφθω• πολιὴ γὰρ ἐπείγεται ἀντὶ μελαίνης
θρὶξ ἤδη, συνετῆς ἄγγελος ἡλικίης.
καὶ παίζειν ὅτε καιρός, ἐπαίξαμεν• ἡνίκα καιρὸς
οὐκέτι, λωιτέρης φροντίδος ἁψόμεθα.

Perhaps Philodemos is trying to argue against the wisdom of Mimnermus (fr. 1):

“What is life? What enjoyment is there without golden Aphrodite?
May I die when these things no longer interest me…”

τίς δὲ βίος, τί δὲ τερπνὸν ἄτερ χρυσῆς ᾿Αφροδίτης;
τεθναίην, ὅτε μοι μηκέτι ταῦτα μέλοι,

Valentine’s Day PSA: Zeus Can Change His Shape; The Rest of Us Pay (For Sex)

LEda

Earlier today I posted some epigrams on Danae. I left this one out because it has Leda and swans in it too!

Bassos, Greek Anthology 5.125

“I will never rain down in gold. Someone else might
Become a bull or a sweet-voiced swan by the shore.
Let Zeus keep these games for himself. I will not fly,
But I will give these two obols to Korinna, my girl.”

Οὐ μέλλω ῥεύσειν χρυσός ποτε• βοῦς δὲ γένοιτο
ἄλλος χὠ μελίθρους κύκνος ἐπῃόνιος.
Ζηνὶ φυλασσέσθω τάδε παίγνια• τῇ δὲ Κορίννῃ
τοὺς ὀβολοὺς δώσω τοὺς δύο κοὐ πέτομαι.

A Hellenistic Lament for Odysseus

“Poor man—it would have been better for you to remain at home,
Driving oxen and keeping the working donkey
Still under the yoke alongside them.
Better to languish in your pretended madness
than to endure the limits of such great pains.”

ὦ σχέτλι’, ὥς σοι κρεῖσσον ἦν μίμνειν πάτρᾳ
βοηλατοῦντα καὶ τὸν ἐργάτην μύκλον
κάνθων’ ὑπὸ ζεύγλαισι μεσσαβοῦν ἔτι
πλασταῖσι λύσσης μηχαναῖς οἰστρημένον
ἢ τηλικῶνδε πεῖραν ὀτλῆσαι κακῶν.

Lykophron is a bit strange and quite obscure, but this bit is nice. In some traditions, Odysseus acted crazy and plowed his field in circles (until, with a threat to his infant son Telemachus, he was shown to be faking it). According to Lykophron, the odd thing is that he yoked a donkey in with the oxen. Obviously, some things get lost in the cultural translations.

Before Redbull, Eros Gave You Wings: Alcaeus, Plato and Homer

According to a Hellenistic collection, the poet Alcaeus complained of the onslaught of the erotic god:

Greek Anthology, 5. 10 (Attributed to Alcaeus of Messene)

“I hate Love [Eros]. Why doesn’t the overwhelming god attack
wild beasts instead of shooting arrows at my heart?
What good is it for a god to burn out a man? What is the rite
that has him pin me and take a prize from my head?”

᾿Εχθαίρω τὸν ῎Ερωτα. τί γὰρ βαρὺς οὐκ ἐπὶ θῆρας
ὄρνυται, ἀλλ’ ἐπ’ ἐμὴν ἰοβολεῖ κραδίην;
τί πλέον, εἰ θεὸς ἄνδρα καταφλέγει; ἢ τί τὸ σεμνὸν
δῃώσας ἀπ’ ἐμῆς ἆθλον ἔχει κεφαλῆς;

From theoi.com
From theoi.com

 Eros’ wings seem to have rather ancient provenance–the arrows may come in later:

Plato, Phaedrus 242b (= Fr. 1 of Homeric Epikikhlides?)

“I believe that some of the Homeridai quote from their epic repositories two lines concerning Eros—one of which is very offensive and not especially metrical. For they sing thus:

“The mortals call Eros the flying one and the gods
call him Pteros [Winged] because he makes you grow wings.”

It is just as easy to believe them as it is not….”

λέγουσι δὲ οἶμαί τινες ῾Ομηριδῶν ἐκ τῶν ἀποθέτων ἐπῶν δύο ἔπη εἰς τὸν ῎Ερωτα, ὧν τὸ ἕτερον ὑβριστικὸν πάνυ καὶ οὐ σφόδρα τι ἔμμετρον· ὑμνοῦσι δὲ ὧδε—

τὸν δ’ ἤτοι θνητοὶ μὲν ῎Ερωτα καλοῦσι ποτηνόν,
ἀθάνατοι δὲ Πτέρωτα, διὰ πτεροφύτορ’ ἀνάγκην.
τούτοις δὴ ἔξεστι μὲν πείθεσθαι, ἔξεστιν δὲ μή·

[The Epikikhlides is a hexameter poem attributed to Homer by Athenaeus 65a, 639a. The Pseudo-Herodotean Life of Homer numbers the Epikikhlides among Homer’s ‘playful’ poems (ta paignia)].

Pssst, Man Near My Grave, You Probably Know Me: Callimachus, Epigram 21

“Whoever you are to put a foot near my grave, know me:
The child and the father of Kallimakhos of Cyrene.
You likely know both: One led the arms of his fatherland
And the other sang songs stronger than envy.
Don’t scoff at this: for whichever children the Muses
See at birth, they never abandon as friends when they’re old.”

῞Οστις ἐμὸν παρὰ σῆμα φέρεις πόδα, Καλλιμάχου με
ἴσθι Κυρηναίου παῖδά τε καὶ γενέτην.
εἰδείης δ’ ἄμφω κεν• ὁ μέν κοτε πατρίδος ὅπλων
ἦρξεν, ὁ δ’ ἤεισεν κρέσσονα βασκανίης.
[οὐ νέμεσις• Μοῦσαι γὰρ ὅσους ἴδον ὄμματι παῖδας
†ἄχρι βίου† πολιοὺς οὐκ ἀπέθεντο φίλους.]

Callimachus, Epigram 28: I Hate Cyclic Poetry, and Everything Else too…

“I hate the cyclic poem and I don’t enjoy
The road that goes too far this way and that.
I despise as well the loved one who wanders—I
Don’t drink from just any stream: I loathe all common things.
Yes, Lysanius, you are fine—but before I say that clearly
Some Echo says “he belongs to another”.

᾿Εχθαίρω τὸ ποίημα τὸ κυκλικόν, οὐδὲ κελεύθῳ
χαίρω, τίς πολλοὺς ὧδε καὶ ὧδε φέρει•
μισέω καὶ περίφοιτον ἐρώμενον, οὐδ’ ἀπὸ κρήνης
πίνω• σικχαίνω πάντα τὰ δημόσια.
Λυσανίη, σὺ δὲ ναίχι καλὸς καλός—ἀλλὰ πρὶν εἰπεῖν
τοῦτο σαφῶς, ᾿Ηχώ φησί τις• ‘ἄλλος ἔχει.’

This poem, with its original reference to what many scholars consider the poems of the epic cycle has furnished much ammunition to the same scholars who wish to argue that Callimachus (and others) looked down on these poems. To be fair, in this poem Callimachus seems to hate everything–he uses four different ways to express his disdain (and that variation is Hellenistic as anything else). But he seems to be so angry (if we can believe this isn’t just a conceit of a poem) because a pretty boy is already taken…

In the light of unrequited love, doesn’t everything look a bit dimmer and sordid?