Celebrations and Healing

Pindar, Nemean 4. 1-8

“A celebration is the best medicine
For labors completed well, and yet
Songs, those wise daughters of the Muses,
Bewitch our minds when they touch them.

Not even hot water makes the limbs as supple
As praise can when it’s partnered with a lyre.
For the word lives a longer life than deeds,
At least the one the tongue lures from the depths of thought
With the Graces’ good fortune.”

Ἄριστος εὐφροσύνα πόνων κεκριμένων
ἰατρός· αἱ δὲ σοφαί
Μοισᾶν θύγατρες ἀοιδαὶ θέλξαν νιν ἁπτόμεναι.
οὐδὲ θερμὸν ὕδωρ τόσον γε μαλθακὰ τεύχει
γυῖα, τόσσον εὐλογία φόρμιγγι συνάορος.
ῥῆμα δ᾿ ἐργμάτων χρονιώτερον βιοτεύει,
ὅ τι κε οὺν Χαρίτων τύχᾳ
γλῶσσα φρενὸς ἐξέλοι βαθείας.

Oil painting of a 18th century tavern scene. A man in the center plays a lite, there are drinkers and revelers all around. There are some dogs too
Luis Ricardo Falero, 1880, “A Day in a Tavern”

A Wandering Ship of Songs

Pindar, Nemean 3.28-33

“Oh, my heart, to what foreign shore
Are you turning my ship?
I want you to bring the Muse to Aiakos and his kin.

The heart of justice follows the principle “praise the good”–
Yet, lusts for different tales are not better for a man to endure.
Look for these at home.

You have earned the proper place
Of singing something sweet.”

θυμέ, τίνα πρὸς ἀλλοδαπάν
ἄκραν ἐμὸν πλόον παραμείβεαι;
Αἰακῷ σε φαμὶ γένει τε Μοῖσαν φέρειν.
ἕπεται δὲ λόγῳ δίκας ἄωτος, “ἐσλὸν αἰνεῖν,”

οὐδ᾿ ἀλλοτρίων ἔρωτες ἀνδρὶ φέρειν κρέσσονες·
οἴκοθεν μάτευε. ποτίφορον δὲ κόσμον ἔλαχες
γλυκύ τι γαρυέμεν.

Black figure vase of ship with large bearded figure reclined. Sail is white and unfurled. Dolphins leap around the edge
Black figure Kylix (drinking cup) depicting Dionysus crossing the sea, ca. 530 BC, Staatliche Antikensammlungen, Munich

Words and Glory

Pindar, Nemean 6.28-30

“Come, Muse, send straight to that house
A glorifying wind of words .
For when men have passed away
Songs and words preserve their noble deeds…”

εὔθυν᾿ ἐπὶ τοῦτον, ἄγε, Μοῖσα,
οὖρον ἐπέων
εὐκλέα· παροιχομένων γὰρ ἀνέρων
ἀοιδαὶ καὶ λόγοι τὰ καλά σφιν ἔργ᾿ ἐκόμισαν

Bacchylides, Ode 5. 195-197

“I am easily convinced to send
A glorifying word to Hiero, one [not outside] the path—
For this is how the roots of good things grow full
And may Zeus, the greatest father, safeguard them
Immoveable in peace.”

Πείθομαι εὐμαρέως εὐ-
κλέα κελεύθου γλῶσσαν οὐ[]
πέμπειν ῾Ιέρωνι· τόθεν γὰ[ρ]
πυθμένες θάλλουσιν ἐσθλ[ῶν,]
τοὺς ὁ μεγιστοπάτωρ
Ζεὺς ἀκινήτους ἐν εἰρήν[ᾳ φυλάσσοι.]

A watercolor painting with mountains in the background capped by swirling winds and white-capped waves in the foreground
“Wind Mountain”, watercolor painting by James W. Alden (ca 1860)

A Many-Headed Song and Human Happiness

Pindar, Pythian 12.17-32

“Yet when the maiden [Athena] rescued that dear man [Perseus]
From his labors, she composed a song with every note of the pipes,
So she might recall the resounding wail elicited from *Euryale’s
Gasping cheeks with musical instruments.

The goddess created this, but she made it for mortal men to possess
And she named it the tune of many heads,
The well-famed reminder of the contests that attract people,
The sound that issues through fine bronze and reeds
That grow near to the city of beautiful dancing grounds,
The city of the Graces, in the precinct of Kephisos, trusty audiences for dancers.

If humankind has any happiness at all, it never shows up
Without hard work. But what is fated cannot be escaped–
A god will make it happen, maybe today, but
There will be a time that finds someone completely surprised
And give them one thing, but not yet another.”

… ἀλλ᾿ ἐπεὶ ἐκ τούτων φίλον ἄνδρα πόνων
ἐρρύσατο παρθένος αὐλῶν τεῦχε πάμφωνον μέλος,
ὄφρα τὸν εὐρυάλας ἐκ καρπαλιμᾶν γενύων
χριμφθέντα σὺν ἔντεσι μιμήσαιτ᾿ ἐρικλάγκταν γόον.
εὗρεν θεός· ἀλλά νιν εὑροῖσ᾿ ἀνδράσι θνατοῖς ἔχειν,
ὠνύμασεν κεφαλᾶν πολλᾶν νόμον,
εὐκλεᾶ λαοσσόων μναστῆρ᾿ ἀγώνων,

΄λεπτοῦ διανισόμενον χαλκοῦ θαμὰ καὶ δονάκων,
τοὶ παρὰ καλλίχορον ναίοισι πόλιν Χαρίτων
Καφισίδος ἐν τεμένει, πιστοὶ χορευτᾶν μάρτυρες.
εἰ δέ τις ὄλβος ἐν ἀνθρώποισιν, ἄνευ καμάτου
οὐ φαίνεται· ἐκ δὲ τελευτάσει νιν ἤτοι σάμερον
δαίμων—τὸ δὲ μόρσιμον οὐ παρφυκτόν—ἀλλ᾿ ἔσται χρόνος
οὗτος, ὃ καί τιν᾿ ἀελπτίᾳ βαλών
ἔμπαλιν γνώμας τὸ μὲν δώσει, τὸ δ᾿ οὔπω.

*One of Medusa’s sisters

Schol. In Pind. P 12. 39a

She invented an aulos melody and handed it over for humans and named it the “many headed song”. This is because there were many hissing heads of snakes around [Euryale’s] head.

Some people call this many-headed and explain that there were fifty men in the chose that performed the song as an aulete led them. Others claim that the heads are preludes. They claim that an ode is made up of many preludes and that Olympos was the first to invent them”

ἀλλά νιν εὑροῖσα: ἀλλ’ εὑροῦσα τὸ τοῦ αὐλοῦ μέλος μετέδωκε τοῖς ἀνθρώποις ἔχειν, καὶ ὠνόμασε τὸ μέλος πολυκέφαλον νόμον· ἐπεὶ καὶ αἱ τῶν δρακόντων πλείους ἦσαν κεφαλαὶ αἱ συρίξασαι· ὧν κατὰ μίμησιν συνέθηκε. τινὲς δὲ πολυκέφαλον, φασὶν, εἶπεν, ἐπειδὴ πεντήκοντα ἦσαν ἄνδρες, ἐξ ὧν ὁ χορὸς συνεστὼς προκαταρχομένου τοῦ αὐλητοῦ τὸ μέλος προεφέρετο. οἱ δὲ κεφαλὰς ἀκούουσι τὰ προοίμια. ᾠδὴ οὖν διὰ πολλῶν προοιμίων συνεστῶσα, ἣν λέγουσι τὸν ῎Ολυμπον πρῶτον εὑρηκέναι.

he frieze illustrates human desire for happiness in a suffering and tempestuous world in which one contends not only with external evil forces but also with internal weaknesses. The viewer follows this journey of discovery in a stunning visual and linear fashion. It begins gently with the floating female Genii searching the Earth but soon follows the dark, sinister-looking storm-wind giant, Typhoeus, his three Gorgon daughters and images representing sickness, madness, death, lust and wantonness above and to the right. Thence appears the knight in shining armour who offers hope due to his own ambition and sympathy for the pleading, suffering humans. The journey ends in the discovery of joy by means of the arts and contentment is represented in the close embrace of a kiss. Thus, the frieze expounds psychological human yearning, ultimately satisfied through individual and communal searching and the beauty of the arts coupled with love and companionship.
Gustav Klimt, “The Hostile Powers, the Titan Typhoeus, the Three Gorgons” 1901

The Bloom of Good Government, A Song

Pindar, Paeans Fr. 52a [= P. Oxy. 841 (5, 1908) [ΘΗΒΑΙΟΙΣ]]

“Before the painful onset of old age,
Let everyone shelter a heart free of anger
In happiness within measure,
Once they have seen
The strength safeguarded in their home.

Iē, Iē! now the Full Year
And the Seasons, Themis’ offspring,
Have arrived at the horse-whipping city of Thebes,
Bearing a garland-loving banquet for Apollo.

May Paian crown the offspring of these people
With the blooms of good government for a long time.”

πρὶν ὀδυνηρὰ γήραος σ̣[. . . . . μ]ο̣λεῖν,
πρίν τις εὐθυμίᾳ σκιαζέτω
νόημ᾿ ἄκοτον ἐπὶ μέτρα, ἀδών
δύναμιν οἰκόθετον.

ἰ]ὴ ἰή, νῦν ὁ παντελὴς Ἐνιαυτός
Ὧρα[ί] τε Θεμίγονοι
πλάξ]ιππον ἄστυ Θήβας ἐπῆλθον
Ἀπόλ]λωνι δαῖτα φιλησιστέφανον ἄγοντες·
Παιὰ]ν δὲ λαῶν γενεὰν δαρὸν ἐρέπτοι
σαό]φρόνος ἄνθεσιν εὐνομίας.

Figure in toga/robes looking up t o the left while holding on to a marble column. Oil painting.
Paolo Veronese, Good Government. 1551/2

Give Us Something Big, A Folk Song

Folk Songs, LCL fr. 848 (=Athen. 8. 360b–d)

“The swallow has come, has come,
Bringing us the best weather
The most wonderful time of the year,
White on its stomach and
White on its back–
Why don’t you toss out
From your well-stocked house
A cup of wine,
And a basket of cheese and wheat?
That bird won’t decline
A bit of flatbread either.

Should we leave or take something?
If you’re going to give us something, great!
If not, we won’t leave you alone.
We will steal your door
Or maybe your threshold or
Your wife who is sitting indoors.
She’s small. We’ll carry her easily.

Would you give us something? Could you give us something big?
Open up, open the door to the swallow.
We aren’t old men, but little kids.”

ἦλθ᾿ ἦλθε χελιδὼν
καλὰς ὥρας ἄγουσα
καὶ καλοὺς ἐνιαυτούς,
ἐπὶ γαστέρα λευκά
κἀπὶ νῶτα μέλαινα.
παλάθαν οὐ προκυκλεῖς
ἐκ πίονος οἴκου
οἴνου τε δέπαστρον
τυροῦ τε κάνυστρον
καὶ πυρῶν; ἁ χελιδών
καὶ λεκιθίταν οὐκ ἀπωθεῖται.
πότερ᾿ ἀπίωμες ἢ λαβώμεθα;
εἰ μέν τι δώσεις· εἰ δὲ μή, οὐκ ἐάσομες·
ἢ τὰν θύραν φέρωμες;ἢ τὸ ὑπέρθυρον
ἢ τὰν γυναῖκα τὰν ἔσω καθημέναν·
μικρὰ μέν ἐστι, ῥᾳδίως νιν οἴσομες.
ἂν δή τι φέρῃς, μέγα δή τι φέροις·
ἄνοιγ᾿ ἄνοιγε τὰν θύραν χελιδόνι·
οὐ γὰρ γέροντές ἐσμεν, ἀλλὰ παιδία.

A close up of a swallow sitting on a twig

An Archaic Love Song

Sophocles, Antigone, 781-800.

Love, unbeatable in war,
Love, who ravishes wealth,
Who in the soft cheeks
Of girls keeps vigil,
And who roams the seas
And rustic hideaways:
Gods can’t elude you,
Nor can mortal men.
Who admits you goes mad.

You wrench just men’s minds
Into shameful wrongs.
(This family strife between men,
It’s you who stirred it.)
Desire, clear in the eyes
Of a fetching bride, prevails.
Desire reigns
Beside the great laws.
Irresistible god
Aphrodite frolics.

Ἔρως ἀνίκατε μάχαν,
Ἔρως, ὃς ἐν κτήμασι πίπτεις,
ὃς ἐν μαλακαῖς παρειαῖς
νεάνιδος ἐννυχεύεις,
φοιτᾷς δʼ ὑπερπόντιος ἔν τʼ
ἀγρονόμοις αὐλαῖς·
καί σʼ οὔτʼ ἀθανάτων φύξιμος οὐδεὶς
οὔθʼ ἁμερίων σέ γʼ ἀν-
θρώπων. ὁ δʼ ἔχων μέμηνεν.

σὺ καὶ δικαίων ἀδίκους
φρένας παρασπᾷς ἐπὶ λώβᾳ·
σὺ καὶ τόδε νεῖκος ἀνδρῶν
ξύναιμον ἔχεις ταράξας·
νικᾷ δʼ ἐναργὴς βλεφάρων
ἵμερος εὐλέκτρου
νύμφας, τῶν μεγάλων πάρεδρος ἐν ἀρχαῖς
θεσμῶν. ἄμαχος γὰρ ἐμ-
παίζει θεὸς Ἀφροδίτα.

Tarnished bronze statuette: Nude venus holding hand of winged cupid
Aphrodite Spanking Eros.
c.1st Century BC. Bronze.
J. Paul Getty Museum.

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

Come, Be A Wise Guy Like Me

Epicharmea, fr. 2

“There are many kinds of useful notions in this book,
Against a friend or an enemy, when speaking in court or assembly
Addressing a scoundrel or someone good and noble, for a stranger
Or someone in a rage, for someone drunk, or violent
Or anything bad that happens–this book has a sharp point for them.

It also has wise sayings– whoever heeds them becomes
Better and readier for every situation.
You don’t need to say a lot, just one of these words.
Steer any subject to whichever one of them fits.

Even though I was ready for many things, I used to be blamed
Because I was long winded, and could not give my opinion concisely.
So I listened to this complaint and I composed this craft
So that anyone may say “Epicharmus was a smart dude.
He spoke many clever ideas in short verses and now
He is letting us try to speak briefly as he does too!”

Everyone who learns these things will appear to be wise,
He won’t talk nonsense ever, if he remembers every word.

If someone is annoyed by something in these words,
Not because he has acted wrongly or is in disagreement with them,
Let him know that it is a good misfortune to nurture a broadly-informed mind.”

τεῖδ᾿ ἔνεστι πολλὰ καὶ παν[τ]οῖα, τοῖς χρήσαιό κα,
ποτὶ φίλον, ποτ᾿ ἐχθρόν, ἐν δίκαι λέγων, ἐν ἁλίαι,
ποτὶ πονηρόν, ποτὶ καλόν τε κἀγαθόν, ποτὶ ξένον,
ποτὶ δύσηριν, ποτὶ πάροινον, ποτὶ βάναυσον,αἴτε τις
ἄλλ᾿ ἔχει κακόν τι, καὶ τούτοισι κέντρα τεῖδ᾿ ἔνο.

ἐν δὲ καὶ γνῶμαι σοφαὶ τεῖδ᾿, αἷσιν αἰπίθοιτό τις,
δεξιώτερός τέ κ᾿ εἴη βελτίων τ᾿ ἐς πά[ν]τ᾿ ἀνήρ.
κο]ὔτι πολλὰ δεῖ λέγειν, ἀλλ᾿ ἓν μόνον [τ]ούτων ἔπος,
ποττὸ πρᾶγμα περιφέροντα τῶνδ᾿ ἀεὶ τὸ συμφέρον.
αἰτίαν γὰρ ἦχον ὡς ἄλλως μὲν εἴην δεξιός,
μακρολόγος δ᾿ οὔ κα δυναίμαν ἐν β[ρ]αχεῖ γνώμα[ς λέγ]ειν.
ταῦτα δὴ ᾿γὼν εἰσακούσας συντίθημι τὰν τέχναν
τάνδ᾿, ὅπως εἴπηι τις, Ἐπίχαρμος σοφός τις ἐγένετο,
πόλλ᾿ ὃς εἶ]π᾿ ἀστεῖα καὶ παντοῖα καθ᾿ ἓν ἔπος [λέγων,
πεῖραν] αὐταυτοῦ διδοὺς ὡς καὶ β[ραχέα καλῶς λέγοι.
εὖ δὲ τάδ]ε μαθὼν ἅπας ἀνὴρ φαν[ήσεται σοφός,
οὐδὲ ληρ]ήσει ποτ᾿ οὐδέν, ἔπος ἅπ[αν μεμναμένος.
εἰ δὲ τὸν λαβ]όντα λυπήσει τι τῶνδ[ε τῶν λόγων,
οὔτι μὰν ἄσκεπτ]α δρῶντα τοῖσδ[έ θ᾿ ἧσσον ὁμότροπα,
ἀγαθὸν ἴστω σύμφ]ορόν τε πολυμαθῆ [νόον τρέφειν

poster of barnum and bailey circus
This is the greatest show

Exceptional in Wisdom and Deed: the Homeric Hymns to Artemis

Homeric Hymn to Artemis [9]

“Sing of Artemis, Muse, the far-shooter’s sister,
The archer maiden, Apollo’s playmate.
She has her horses drink from the reed-growing Meles,
Then drives her chariot quickly through Smyrna
To vine-growing Klaros, where Silverbow Apollo
Is seated, waiting for the far-shooting Archer.
Greetings to you and all goddesses with my song.
I begin to sing you and with your strength.
Now that I have begun, I turn to a different hymn.”

Ἄρτεμιν ὕμνει, Μοῦσα, κασιγνήτην Ἑκάτοιο,
παρθένον ἰοχέαιραν, ὁμότροφον Ἀπόλλωνος,
ἥ θ᾿ ἵππους ἄρσασα βαθυσχοίνοιο Μέλητος
ῥίμφα διὰ Σμύρνης παγχρύσεον ἅρμα διώκει
ἐς Κλάρον ἀμπελόεσσαν, ὅθ᾿ ἀργυρότοξος Ἀπόλλων
ἧσται μιμνάζων ἑκατηβόλον Ἰοχέαιραν.
καὶ σὺ μὲν οὕτω χαῖρε θεαί θ᾿ ἅμα πᾶσαι ἀοιδῆι·
αὐτὰρ ἐγὼ σέ τε πρῶτα καὶ ἐκ σέθεν ἄρχομ᾿ἀείδειν.
{σέο δ᾿ ἐγὼ ἀρξάμενος μεταβήσομαι ἄλλον ἐς
Ὕμνον.}

Homeric Hymn to Artemis [27]

“I am singing of glorious Artemis with her golden missile,
That reverent maiden, the deer-shooting archer,
The twin sister of Apollo, the god of the golden sword.

She delights in hunting through the shaded mountains
And the peaks shaped by winds, aiming her golden bow
And releasing deadly, sorrowful shots. The mountains
Tremble at her passing; the forests echo terribly
From the cries of the beasts. The earth itself bristles
Along with the fish-filled sea. But with her courageous heart
She takes every turn, bringing murder to the wild creatures.

But when the animal watcher, the archer, is pleased
And has lightened her mind, she packs up her bent bow
And returns to her dear brother’s great home,
Joining Phoebus Apollo in the rich realm of the Delphians,
To help guide the Muses and Graces in their beautiful dance.

That’s where she hangs up her back-curved bow and leaves
Her arrows, putting a gorgeous gown over her skin
And leading the chorus out to sing in immortal voices
A hymn for fine-ankled Leto, how she bore two children
By far the best of the immortals in wisdom and deeds.
Greetings, children of Zeus and fine-haired Leto.
I will keep you in my memory with another song too.”

Ἄρτεμιν ἀείδω χρυσηλάκατον κελαδεινήν,
παρθένον αἰδοίην ἐλαφηβόλον ἰοχέαιραν,
αὐτοκασιγνήτην χρυσαόρου Ἀπόλλωνος,
ἣ κατ᾿ ὄρη σκιόεντα καὶ ἄκριας ἠνεμοέσσας
ἄγρηι τερπομένη παγχρύσεα τόξα τιταίνει,
πέμπουσα στονόεντα βέλη· τρομέει δὲ κάρηνα
ὑψηλῶν ὀρέων, ἰαχεῖ δ᾿ ἔπι δάσκιος ὕλη
δεινὸν ὑπὸ κλαγγῆς θηρῶν, φρίσσει δέ τε γαῖα
πόντός τ᾿ ἰχθυόεις· ἣ δ᾿ ἄλκιμον ἦτορ ἔχουσα
πάντηι ἐπιστρέφεται θηρῶν ὀλέκουσα γενέθλην.
αὐτὰρ ἐπὴν τερφθῆι θηροσκόπος Ἰοχέαιρα,
εὐφρήνηι δὲ νόον, χαλάσασ᾿ εὐκαμπέα τόξα
ἔρχεται ἐς μέγα δῶμα κασιγνήτοιο φίλοιο
Φοίβου Ἀπόλλωνος, Δελφῶν ἐς πίονα δῆμον,
Μουσῶν καὶ Χαρίτων καλὸν χορὸν ἀρτυνέουσα.
ἔνθα κατακρεμάσασα παλίντονα τόξα καὶ ἰούς
ἡγεῖται, χαρίεντα περὶ χροῒ κόσμον ἔχουσα,
ἐξάρχουσα χορούς· αἳ δ᾿ ἀμβροσίην ὄπ᾿ ἰεῖσαι
ὑμνέουσιν Λητὼ καλλίσφυρον, ὡς τέκε παῖδας
ἀθανάτων βουλῆι τε καὶ ἔργμασιν ἔξοχ᾿ ἀρίστους.
χαίρετε, τέκνα Διὸς καὶ Λητοῦς ἠϋκόμοιο·
αὐτὰρ ἐγὼν ὑμέων <τε> καὶ ἄλλης μνήσομ᾿ ἀοιδῆς.

Red Fi=figure of Artemis holding a bow looking to the right
Red Figure vase with Artemis, München, Staatliche Antikensammlungen NI 7514

Artemis, A Magnificent Name

Sappho fr. 44a [=P. Fouad 239]

“(Phoebus with his golden locks, whom Coeus’ daughter
Bore after having sex with the great-named, high-cloud son of Kronos.

But Artemis swore the great oath of the gods:
“By your head, father, I will remain a maiden
unbroken, hunting over deserted mountain peaks.
Come, agree to this favor for me.”

So she spoke. And the father of the blessed gods assented.
Now gods and men call her the maiden huntress,
The shooter of deer, a magnificent name.
And that limb-loosener love never nears her.”

]σανορε . . [
Φοίβωι χρυσοκό]αι, τὸν ἔτικτε Κόω [όρα
μίγεισ᾿ ὐψινέφει Κρ]ονίδαι μεγαλωνύμι·
Ἄρτεμις δὲ θέων] μέγαν ὄρκον ἀπώμοσε·
νὴ τὰν σὰν κεφά]λαν, ἄϊ πάρθενος ἔσσομαι
ἄδμης οἰοπό]ων ὀρέων κορύφσ᾿ ἔπι
θηρεύοισ᾿· ἄγι καὶ τά]ε νεῦσον ἔμαν χάριν.
ὢς εἶπ᾿· αὐτὰρ ἔνευ]ε θέων μακάρων πάτηρ.
πάρθενον δ᾿ ἐλαφάβ]ολον ἀγροτέραν θέι
ἄνθρωποί τε κάλε]σιν ἐπωνύμιον μέγα.
κήναι λυσιμέλης] Ἔρος οὐδάμα πίλναται…

Carving with a figure facing forward. Somewhat rough with birds on either side. The head is large with large eyes. Represents Artemis as queen of the animals.
Artemis Orthia in the usual stance of Potnia Theron on an archaic ivory votive offering, (National Archaeological Museum of Athens)