Friday, 29 December 2017

Leopardi, the moon, and a hedge

You may already be wondering: Leopardi is Italian, so why is this post in English? Well, we've been on the moonlight theme lately, so it's a good place to have "Alla luna", by Leopardi, which I translated to both English and Chinese back in like Summer 2012, then I revised the Chinese on Dec 19 2017, and further revised it on Dec 26 2017 in the afternoon. Same goes for L'infinito, a far more well-known poem by Leopardi, which I thought wise to include in this post, to avoid either a completely out-of-theme post with just that or a post with just that to be placed who knew where. Writing this draft in the afternoon of Dec 29 2017 brought a couple extra tweaks: 在这些植物来沙沙 => 在这些植物中沙沙, and 而现在活着/的而它的声音。我思想这样 => 而现在活的/而他的声音。我的思想这样. Also, at some point, I changed "And sweet to me is shipwreck in this sea" to the present last line of the "infinito", I have no clue when though. So let's jump in!


O grazïosa luna, io mi rammento
Che, or volge l’anno, sovra questo colle
Io venia pien d’angoscia a rimirarti:
E tu pendevi allor su quella selva
Siccome or fai, che tutta la rischiari.
Ma nebuloso e tremulo dal pianto
Che mi sorgea sul ciglio, alle mie luci
Il tuo volto apparia, che travagliosa
Era mia vita: ed è, né cangia stile,
O mia diletta luna. E pur mi giova
La ricordanza, e il noverar l’etate
Del mio dolore. Oh come grato occorre
Nel tempo giovanil, quando ancor lungo
La speme e breve ha la memoria il corso,
Il rimembrar delle passate cose,
Ancor che triste, e che l’affanno duri!
O moon so full of grace, I can recall
That I, one year ago, upon this hill,
With anguish full, oft came to gaze on you:
And you did hang upon that forest then
As you do now, enlightening it all.
But cloudy then, and trembling for the tears
That rose upon my brow, unto my lights
Thy visage did appear, for full of grief
My life was then: and ’tis, nor changes style,
O my belovèd moon. And yet ’tis good
For me to that recall, and count the age
Of my great grieving. O how pleasing is
In the young age, when still a journey long
One’s hope doth face, a short one memory,
The reembodying of past events
However sad, with trouble still alive!

哦最优美的月亮,我好记得
我一年以前在这座小山上
内心充满着痛苦常来看妳:
妳也曾悬挂在那个森林上,
跟现在一样完全地阐明它。
但妳的脸为在眉头上出现
的泪水对我眼目那时显得
浑浊和颤抖,因为我的生活
充满痛苦:还这样,全没改变,
噢我亲爱的月亮。不过回忆
以及把我痛苦的时候数数
使我心情更好。哦在小时候,
当希望还能走长路,而回忆
还包围不太长的一段时候,
记得过去总使人多么愉快,
虽然记得还正继续的伤心。
Ó zuì yōuměi de yuèliàng, wǒ hǎo jìdé
Wǒ yī nián yǐqián zài zhè zuò xiǎoshān shàng
Nèixīn chōngmǎnzhe tòngkǔ cháng lái kàn nǐ:
Nǐ yě céng xuánguà zài nà ge sēnlín shàng,
Gēn xiànzài yīyàng wánquán de chǎnmíng tā.
Dàn nǐ de liǎn wèi zài méitóu shàng chūxiàn
De lèishuǐ duì wǒ yǎnmù nà shí xiǎndé
Húnzhuó hé chàndǒu, yīnwèi wǒ de shēnghuó
Chōngmǎn tòngkǔ: hái zhèyàng, quán méi gǎibiàn,
Ō wǒ qīn'ài de yuèliàng. Bùguò huíyì
Yǐjí bǎ wǒ tòngkǔ de shíhòu shù shù
Shǐ wǒ xīnqíng gèng hǎo. Ó zài xiǎoshíhòu,
Dāng xīwàng hái néng zǒu cháng lù, ér huíyì
Hái bāowéi bù tài cháng de yī duàn shíhòu,
Jìdé guòqù zǒng shǐ rén duōme yúkuài,
Suīrán jìdé hái zhèng jìxù de shāngxīn.
哦最优美的月亮,我好记得
我一年以前在这小山之上
心充满大痛苦时常来看妳:
妳又曾悬挂在那个森林上,
跟现在一样完全阐明着它。
但妳的脸为在眉头上出现
的泪水对我眼目那时显得
浑浊和颤抖,因为我的生活
充满痛苦:还这样,全没改变,
噢我亲爱的月亮。不过回忆
以及把我痛苦的时候数数
使我心情更好。哦在小时候,
当希望还能走长路,而回忆
还包围不太长的一段时候,
记得过去总使人多么愉快,
虽然记得还正继续的伤心。
Ó zuì yōuměi de yuèliàng, wǒ hǎo jìdé
Wǒ yī nián yǐqián zài zhè xiǎoshān zhī shàng
Xīn chōngmǎn dà tòngkǔ shí cháng lái kàn nǐ:
Nǐ yòu céng xuánguà zài nà ge sēnlín shàng,
Gēn xiànzài yīyàng wánquán chǎnmíngzhe tā.
Dàn nǐ de liǎn wèi zài méitóu shàng chūxiàn
De lèishuǐ duì wǒ yǎnmù nà shí xiǎndé
Húnzhuó hé chàndǒu, yīnwèi wǒ de shēnghuó
Chōngmǎn tòngkǔ: Hái zhèyàng, quán méi gǎibiàn,
Ō wǒ qīn'ài de yuèliàng. Bùguò huíyì
Yǐjí bǎ wǒ tòngkǔ de shíhòu shù shù
Shǐ wǒ xīnqíng gèng hǎo. Ó zài xiǎoshíhòu,
Dāng xīwàng hái néng zǒu cháng lù, ér huíyì
Hái bāowéi bù tài cháng de yīduàn shíhòu,
Jìdé guòqù zǒng shǐ rén duōme yúkuài,
Suīrán jìdé hái zhèng jìxù de shāngxīn.
哦最优美的月亮,我才记得
我一年以前在这小山之上
充满极度痛苦常来看见妳:
妳又曾悬挂在那个森林上
同就像此刻,并满的阐明它。
但妳的脸为在眉头上发现
的泪水对我的眼目看起来
混浊和颤抖,因为我的生活
充满痛苦:还是,并不变做法,
哦我亲爱的月亮。不过回忆
以及把我痛苦的时候数数
为我是好。哦多么的喜欢的
在年轻时候,当希望还把长
的旅行,回忆把短旅行拥有,
给过去的出来事新的身体,
虽然很悲伤,并痛苦还持续!
Ó zuì yōuměi de yuèliàng, wǒ cái jìde
Wǒ yī nián yǐqián zài zhè xiǎoshān zhī shàng
Chōngmǎn jídù tòngkǔ cháng lái kànjiàn nǐ:
Nǐ yòu céng xuánguà zài nàgè sēnlín shàng
Tóng jiùxiàng cǐkè, bìng mǎn de chǎnmíngzhe tā.
Dàn nǐ de liǎn wèi zài méitóu shàng fāxiàn
De lèishuǐ duì wǒ de yǎnmù kànqǐlái
Húnzhuó hé chàndǒu, yīnwèi wǒ de shēnghuó
Chōngmǎn tòngkǔ: hái shì, bìng bù biàn zuòfǎ,
Ó wǒ qīn’ài de yuèliàng. Bù guò huíyì
Yǐjí bǎ wǒ tòngkǔ de shíhou shùshù
Wèi wǒ shì hǎo. Ó duōme de xǐhuan de
Zài niánqīng shíhou, dāng xīwàng hái bǎ cháng
De lǚxíng, huíyì bǎ duǎn lǚxíng yǒngyǒu,
Gěi guòqù de chūláishì xīn de shēntǐ,
Suīrán hěn bēishāng, bìng tòngkǔ hái chíxù!




Sempre caro mi fu quest’ermo colle,
E questa siepe, che da tanta parte
De l’ultimo orizzonte il guardo esclude.
Ma sedendo e mirando, interminati
Spazi di là da quella, e sovrumani
Silenzi, e profondissima quïete
Io nel pensier mi fingo; ove per poco
Il cor non si spaura. E come il vento
Odo stormir tra queste piante, io quello
Infinito silenzio a questa voce
Vo comparando: e mi sovvien l’eterno,
E le morte stagioni, e la presente
E viva, e ’l suon di lei. Così tra questa
Immensità s’annega il pensier mio:
E ’l naufragar m’è dolce in questo mare.
This solitary hill to me has been
Forever dear, like this hedge, which doth close
So great part of the last horizon’s sight.
But sitting here and watching, in my thought
Beyond it endless space, and over-human
Silences, and the deepest quiet e’er
I for myself create; for little there
My heart gets not a fright. And as the wind
I hear a-rustling ’midst these plants, I do
Compare that silence infinite with this
Voice: the eternal comes then to my mind,
Along with the dead seasons, and the present
And living, and its sound. And thus in this
Immensity my thinking mind doth drown:
And sweet to me’s to sink among these waves.

我从来爱这座孤单的小山
以及这道树篱,因为它隐藏
最后的地平线很大的部分。
但坐着凝视着,在我思想里
为自己创造在它的那边的
无边的空间和超人的沉默
和最深的平静;而我的内心
在那儿几乎惊慌;而听到着风
在这些植物中沙沙,把那个
无边无际的沉默比作这里
的声音:永恒就入我思想里
跟已死去的时期而今活着的
而它的声音。我的思想这样
在这段无根无边中来溺水。
入这沧海里是甜蜜的下沉。
Wǒ cónglái ài zhè zuò gūdān de xiǎoshān
Yǐjí zhè dào shùlí, yīnwèi tā yǐncáng
Zuìhòu de dìpíngxiàn hěn dà de bùfèn.
Dàn zuòzhe níngshìzhe, zài wǒ sīxiǎng lǐ
Wèi zìjǐ chuàngzào zài tā de nèibiān de
Wúbiān de kōngjiān hé chāorén de chénmò
Hé zuìshēn de píngjìng; ér wǒ de nèixīn
Zài nàr jīhū jīnghuāng; ér tīngdàozhe fēng
Zài zhèxiē zhíwù zhōng shāshā, bǎ nà ge
Wúbiān wújì de chénmò bǐ zuò zhèlǐ
De shēngyīn: Yǒnghéng jiù rù wǒ sīxiǎng lǐ
Gēn yǐ sǐqù de shíqí ér jīn huó de
Ér tā de shēngyīn. Wǒ de sīxiǎng zhèyàng
Zài zhè duàn wú gēn wúbiān zhōng lái nìshuǐ.
Rù zhè cānghǎi lǐ shì tiánmì de xiàchén.
我一直曾爱孤单的这小山
以及这个树篱,因为它隐藏
最后的地平线很大的部分。
但坐着凝视着,在我思想里
为自己创造在它的那边的
无边的空间和超人的寂静
和最深的安静;而我的内心
在那儿几乎惊慌;而听到着风
在这些植物来沙沙,把那个
无边无际的寂静比作这里
的声音:永恒就入我思想里
跟已死去的时期而今活着
的而它的声音。我思想这样
在这段无根无边中来溺水。
在这沧海里为难为我甜蜜。
Wǒ yīzhí céng ài gūdān de zhè xiǎoshān
Yǐjí zhè ge shùlí, yīnwèi tā yǐncáng
Zuìhòu de dìpíngxiàn hěn dà de bùfèn.
Dàn zuòzhe níngshìzhe, zài wǒ sīxiǎng lǐ
Wèi zìjǐ chuàngzào zài tā de nèibiān de
Wúbiān de kōngjiān hé chāorén de jìjìng
Hé zuì shēn de ānjìng; ér wǒ de nèixīn
Zài nàr jīhū jīnghuāng; ér tīngdàozhe fēng
Zài zhèxiē zhíwù lái shāshā, bǎ nà ge
Wúbiān wújì de jìjìng bǐ zuò zhèlǐ
De shēngyīn: Yǒnghéng jiù rù wǒ sīxiǎng lǐ
Gēn yǐ sǐqù de shíqí ér jīn huózhe
De ér tā de shēngyīn. Wǒ sīxiǎng zhèyàng
Zài zhè duàn wúgēn wúbiān zhōng lái nìshuǐ.
Zài zhè cānghǎi lǐ wéinán wéi wǒ tiánmì.
我一直曾爱孤单的这小山
以及这个把最后的地平线
的这么大的部分藏的树篱。
但坐着凝视着,把无边无际
的空间在它的那边和超人
的寂静和最最深深的安静
思想之中创造;并那里几乎
我心在很害怕。并当我听到
风在这植物中的沙沙,把那
无根极大的寂静比作这里
的声音:永恒又来我头脑里
和曾死亡的时期和此刻的
生活的和它音。这样在这个
无边无际中我的思想淹死:
并海难为我在这海是甜蜜。
Wǒ yīzhí céng ài gūdān de zhè xiǎoshān
Yǐjí zhè ge bǎ zuìhòu de dìpíngxiàn
De zhème dà de bùfèn cáng de shùlí.
Dàn zuòzhe níngshìzhe, bǎ wúbiān-wújì
De kōngjiān zài tā de nà biān hé chāorén
De jìjìng hé zuì zuì shēnshēn de ānjìng
Sīxiǎng zhī zhōng chuàngzào; bìng nàlǐ jīhū
Wǒ xīn zài hěn hàipà. Bìng dāng wǒ tīng dào
Fēng zài zhè zhíwù zhōng de shāshā, bǎ nà
Wúgēn jí dà de jìjìng bǐzuò zhèlǐ
De shēngyīn: yǒnghéng yòu lái wǒ tóunǎo lǐ
Hé céng sǐwáng de shíqí hé cǐkè de
Shēnghuó de hé tā yīn. Zhèyàng zài zhè ge
Wúbiān-wújì zhōng wǒ de sīxiǎng yānsǐ:
Bìng hǎinàn wèi wǒ zài zhè hǎi shì tiánmì.

Tuesday, 26 December 2017

O Atthis!

Today we have a wonderful poem by Sappho, whose source is a nightmarishly holey and faint papyrus which I deciphered long ago and recorded all the notes to into a total of ~4 hours of audio, which I have no time to trancribe, and that is why the critical note is gonna be a spoiler with an extract from my Paracritical Note (if you know enough Italian and dare to venture into that thing, you are welcome to do so, but don't complain to me about any messiness), and the critical notation will stick to my file. [The note has since been put in at the end.] It is a shame that I have to do this, because the text here is a big mess, and Edmonds contributed to messing it up with creative amendations and sloppy critical notation, but it would be more of a shame not to post it. The meter is stanzas of three lines, with scheme cr+gl || gl || phal (cretic foot + glyconian line, glyconian line, phalecian hendecasyllabic), and is kept in Latin and rendered as –u– –u–uu–u– || –u–uu–u– || –u–uu–u–u–u in Italian and English, with –u– rhyming with the two –u–uu–u– and the phalecians rhyming between consecutive stanzas. Some of the glyconians have anaclasis in the original, which I took advantage of by allowing –u–u–uu– in Italian and English. Also, the first 2-3 stanzas were translated to German too. So let's get to it!

[Ἄτθι, σοὶ κἄμ’ Ἀνακτορία φίλα
πηλόροισ' ἐνὶ] Σάρδ̤ε[σιν
ναίει, πό]λλα̣κ̣ι τ̣υίδε [νῶν ἔχοισα      3

ὤς πο[τ' ἐ]ζώομεν β̣εβά̣ω̣ς̣ [ἔχεν
σὲ̤ θέᾳ̣ ϝ̣ικ̣έ̣λαν ἀρι-
γνώτᾳ, σᾷ̤ δ̤ μάλιστ̣' ἔχαιρε μόλπᾳ·      6

νῦν δὲ Λύδαισ̣ι̣ν ἐ̤‹μ›πρ̤έ̤πεται γυνα̤ί̣-
κεσσ̤ι̣ν̣ ὤς ποτ' ἀε̣λίω̣
δύντος ἀ βροδοδάκ̤τυλος ‹σελάννα›,      9

πάν̣τα πε‹ρ›ρέχοισ' ἄστρα, φάος δ' ἐπί-
σχει θά̣λασσαν π' ἀλμύραν
ἴσως καὶ πολυανθέμοις ἀρούραι̤ς,      12

ἀ δ' ‹ἐ›έρσα κάλα κέχυται, τεθά-
λαισι δ βρόδα κ̣ἄπαλ' ν-
θρυσκ̣α καὶ μελίλ̣ωτος ἀνθ̣ε̣μ̣ώδης·      15

πόλλα δὲ ζαφο‹ί›ταισ', ἀγάνας̤ πι-
μνάσθεισ' Ἄτθιδος, ἰμέ̤ρῳ
λ̣έπτα̣ν ‹π›οι φρένα̣, κ[ῆ]ρ̣ ἄσᾳ βόρητα̣ι,      18

κῆθι̣ δ̣' ἔ̤λ̤θην ἄμμ' ὄ̤ξ[υ] βόη· τ‹ὰ› δ' οὐ
νῶν γ̤' ἄ[π]υστα νὺξ πολύω̣ς̤
γαρύε̣ι δ[ι'] ἄλος π[όρω]ν τὸ μέσσον.      21

[Ε]ὔ̤μ̤α̤ρ[ες μ]ν̣ ο̣ὐ̣κ̣ ἄμμι θέαι̤σ̣ι̤ μόρ-
φαν ἐπή̤[ρατ]ον ἐξίσω-
σθ̣', ἀι σὺ [καὶ χ]ρ̣ό‹'› ἔχησθ' Ἀ[δ]ωνίδηον,      24

] . . . το[ . . . . ] . ρατι
μαλ[      δι' αἴ]θερος
καὶ δ[.]μ̣[      ]ος Ἀφροδίτα      27

καμ̣ . [      ] νέκταρ ἔχευ' ἀπὺ
χρυσί̣ας̣ . [      ]λ̣ο̣ΐ̣α̣
. . . ἀ]π' ἀπούρ[      ] . χέρσ̣ι̣ Π̣εί̣θω      30

]θ+ . . +η̣σενη
πόλλ]ακις
] . . . . . ν . . αι      33

] ς τὸ Γεραίσ̤τιο̤ν̤
] . ν φίλαι
ἄπ]υ̣σ̣τον οὐδενο[

ἐς ἴ]ερον ἴξο[μ      33
………………
………………


[Attide, molto lungi da me͜ e da te
Cara͜ Anattorïa or è,
’N] Sard[i, sp]esso si volge qui͜ in pensare,

Memore della vita passata: te
C[ert]o pari͜ a de͜a nota le’
Riteneva,͜ e gioiva ’n tuo cantare.

Splende or tra le Lidïe donne͜ ancor,
Come quando il sole d’or
Cala, e la luna rosate dita

Supera ogni stella,͜ e sua luce dà
Al salato mar di colà,
E ugualmente͜ a campagna͜ assa͜i fiorita,

Bella po͜i la rugiada vi brilla su͜i
Molli͜ antrischi e le rose, e su͜i
Meliloti che ivi sono͜ in fiore;

Molto͜ a le’, mentre vaga, ben memore
Della dolce su͜a Attide,
Brama͜ il tenero petto strugge,͜ e ’l cuore

Pena,͜ e ch’i’ no͜i andiam g[rida forte]; ’l che
N[o]to͜ è: con aure plurime
[Notte]͜ il sa,͜ e ce lo dic[e d’oltre͜ il mare],

[F]a[c]i[le] esser pari alle dè͜e non è
Per be[llez]za per no͜i, [pur] se
[C]orpo ha͜i per beltà͜ ad A[do]n compare,

[–u– xx–uu–ux
xx– attraverso͜ il c]iel
E [x–uu–u] Afrodite

[–u– xx] nettare po͜i versò
D’a͜ure͜a [–uu–ux
xx –] colle man’ la Persu͜asi͜one

[–u– xx–uu–u]ò
[xx–uu spe]sso [x
xx–uu–u–x

–u– xx–] al Gerestïo
[xx–uu] care [x
xx] nulla d’ignoto [–u–x]

[–u– x al t]empïo giung[erò]
………………
………………
[Ātthĭ, tē mēqu’ Ănāctŏrĭāst ămāt’
ābsēns lōng’ ĭbĭ,] Sārdĭ[bŭs,
Sēd s]ǣp’ hūc ĕă [vērtĭt] īndĕ [mēntĕm],

Nōs ŭtī [v]īvēbāmŭs: [hăbēbăt] e͞a
Cērtē tē sĭmĭlēm dĕǣ
Nōtǣ, māxŭmă lǣt’ ĕrāt cănēntĕ.

Nūncquĕ Lȳdīs īn mūljĕrĭbūs mĭcăt,
Ūtquĕ, sōl cŭm ōccĭdĕrĭt,
Lūnă tūm dĭgĭtīs rŏsīs crĕātīs

Lūcĕm ōmn’ āstrō prǣ quĭdĕm ēst, ĕăm
Quām sālī dăt ĕ’ ātquĕ ǣ-
quālĕ flōrĭbŭ’ plūrĭbūs quŏqu’ āgrīs,

Ātquĕ rōs pūlchr’ īllīc sŭpĕrēst rŏsīs,
Mōllĭbūs sŭpĕrēstquĕ ān-
thrȳscīs ēt mĕlĭlōt’ hăbēntĕ flōră;

Mūltăqu’ ērrāns, dūlcīs mĕmŏr Ātthĭdĭs
Tĕnēllǣ, sĭbĭ stūdĭō
Mōlli͞a pēctŏră ēstquĕ c[ō]rquĕ pœ̄nā,

Ātqu’ ĕō māgn[ē] ‹clāmăt› ĕāmŭ’ nōs,
N[ō]vĭmūsqu’ ĕă: nō‹x› pĕr ‹a͞u›-
rēs mūltās pĕlăgūs pĕ[r]i͞ens rĕdīcĭt,

[F]ācĭl’ ha͞u‹d› ēst nōbīs sĭmĭlēs dĕā-
bŭs ămā[bĭlĕ]m ēssĕ fōrm’,
[Ēt]sī [c]ōrpŭs hăbēs t’ Ă[d]ōnĭdēŭm,

[–u– xx–uu–ux
x] pĕr [ǣ]thĕrĕm [–ux
xx –uu–u] Āphrŏdītē

[–u–] nēctār fūdĭt [u–u] ēx
A͜urĕā [uu–ux
xx] mānĭbŭs [–u] Pērsŭāsi͜o

[–u– xx–uu–ux
xx–uu sǣ]pĕ [x
xx–uu–u–u–x

[–u– xx] ādquĕ Gĕrǣstĭŭm
Cărǣ [–uu–ux]
[Īg]nōtī nĭhĭl [–u–u–x]

[T]ēmpl’ [ăd]ībō [x–uu–ux]
…………………
…………………


[Atthis, dear Anactorïa far from here,
Thee and me, in] Sardi[s, I hear,
Lives now, of]ten [remember] us she might

And how we use[d to l]ive: she did surely thee
Equal [hold] to known Goddess, thee
Singing she used to hear with most delight

Now shines she ’mong the Lydïan maids, as we
When the sun has gone down do see
Rosy-fingerèd moon a-shining bright,

With more light than the stars around her give might
Th’ briny sea she doth set alight,
And the country which many flow’rs delight,

Poured is dew pretty there, and there flower do
Tender anthrysks and roses too,
And the melilot with its many͜ a flower.

Wandering tender Atthis remembering,
In her tender breast oft cravìng
Her devours, and i’ th’ h[ea]rt of pain a shower,

Lou[d] shouts she that we go there to her; which we
Well do k[n]ow, for the night, the sea
Cro[ssing], tells what her many͜ an ear descries,

[H]ar[d] it is f’r us a Goddess’s beauty,͜ in this
World to equal, A[do]nis’s
Be[au]ty thou[gh] with your own ’bove others flies,

[–u– xx–uu–ux
xx–uu through the s]ky
And [x–uu–u] Aphrodite

[–u– xx] nectar out she did pour
From a golden [u–ux
xx–] with her hands Persuasion [–

–u– xx–uu–u] did
[xx–uu o]ft [ux
xx–uu–u–u–

–u– xx] to the Gerestæum
[xx–uu] dear [u–
xx] nothing [unk]nown [u–u–

–u–] I [sh]all come [to the t]emple [x]
………………
………………


[Atthi, dir    liebẹ Anactorïa, und mir,
Wohnt in] Sard[is jętzt, fern aus hier,
Abėr o]ft sie sein [Dę]nkėn hiėr bėtriebt,

Und bėdęnkt    wie wir [w]ohnten: wie dann, sie dęnkt,
Dich ein' Göttin, und Zeit sie schenkt
Nach dein Singėn, das sie, wie dann, ja liebt.


Critical Note

The timeline here appears simple. I mean, there is only one source, P.Berol. 9722 fol. 5, right? Wrong. If you look closely, you will see there are two fragments joined. And I'm not saying the beginnings of lines beyond l. 21 are on a separate fragment: looking closely you'll see a few ever so small "isthmuses" connecting that to the upper part. Nope, it's the endings of those lines that are separate, and only joined by a perfect margin match and sellotape. Indeed, that part seems to have been published in Lobel's edition of Sappho, which means after Edmonds', and indeed Edmonds, apart from cutting his poem short at precisely l. 21, seems to have been missing l. 21's end, given the reading he gives is incompatible with the papyrus. That must have come from trying bloody hard to read letters he just did not have in the mess that this papyrus is. The source is discussed in the transcriptions post, which gives the following text:

] Σαρδ̤ . [
πό]λλα̣κ̣ι τ̣υίδε [
ὤς πο[τ' ἐ]ζώομεν β̣εβά̣ω̣ς̣ [
σὲ̤ θέᾳ̣ ϝ̣ικ̣έ̣λαν ἀρι-
γνώτᾳ, σᾷ̤ δ̤ μάλιστ̣' ἔχαιρε μόλπᾳ      5
Νῦν δὲ Λύδαισ̣ι̣ν ἐ̤‹μ›πρ̤έ̤πεται γυνα̤ί̣-
κεσσ̤ι̣ν̣ ὤς ποτ' ἀε̣λίω̣
δύντος ἀ βροδοδάκ̤τυλος ‹σελάννα›
πάν̣τα πε‹ρ›ρέχοισ' ἄστρα φάος δ' ἐπί-
σχει θά̣λασσαν π' ἀλμύραν      10
ἴσως καὶ πολυανθέμοις ἀρούραι̤ς
ἀ δ' ‹ἐ›έρσα κάλα κέχυται, τεθά-
λαισι δ βρόδα κ̣ἄπαλ' ν-
θρυσκ̣α καὶ μελίλ̣ωτος ἀνθ̣ε̣μ̣ώδης
πόλλα δὲ ζαφο‹ί›ταισ' ἀγάνας̤ πι-      15
μνάσθεισ' Ἄτθιδος ἰμέ̤ρῳ
λ̣έπτα̣ν ‹π›οι φρένα̣ κ[ῆ]ρ̣'̤ ἄσᾳ βόρητα̣ι
κῆθ{υ}ι̣ δ̣' ἔ̤λ̤θην ἄμμ' ὄ̤ξ[υ] βό{οι}η τὸ {ο} δ' οὐ {δοου}
νῶν γ̤' ἄ[π]υστα νὺξ {[.] .} πολύω̣ς̤
γαρύε̣ι δ[ι'] ἄλος π[όρω]ν τὸ μέσσον      20
[ἔ]υ̤μ̤α̤ρ[ες μ]ν̣ ο̣ὐ̣κ̣ ἄμμι θέαι̤σ̣ι̤ μόρ-
φαν ἐπή̤[ρατ]ον ἐξίσω-
σθ̣' ἀι σὺ [ . . ]ρ̣ος ἔχησθ' Ἀ[δ]ωνίδηον
] . . . το[ . . . . ] . ρατι

Anyway, it's spoiler time!


Time to source and justify my completions.
  • Stanza 1 is just Edmonds.
  • It is hard to see a zeta in the papyrus, and most likely it had a weird shape or was another letter, but I believe it could have been a zeta. I mean that of ezoomen in l. 4.
  • From l. 5 to l. 17 the completions are so standard they are regarded as certain by Campbell and LP.
  • The rest follows Edmonds where possible.
  • Then ll. 22-23 are Campbell, I believe.
  • L. 24 is, AFAICT, my own.
Couple of notes now.
  • In l. 4, Edmonds reads ἆς, not ὠς, but I couldn't make sense of it so I followed BA. I now guess he thought of it as Aeolic for "ἔως", "in the time when, as long as, until".
  • Ll. 4-5 are problematic in general because l. 5 is generally read -σε θέᾳ σ' ἰκέλαν ἀρι- or -σε θέαισ' ἰκέλαν ἀρι-, whereas I see a likely enough digamma to follow Edmonds. Reading the other ways renders completions above impossible. The θέαισ' way, moreover, produces Ἀριγνώτα as a name in ll. 5-6, and is what GW and BA followed. Indeed, GW has the poem titled Ἀριγνώτα.
  • In l. 18, Edmonds reads κῆρ' ἄσᾳ, as in the papyrus, but that forces him to put ἰμέρω with Ἄτθιδος, and translate "remember Atthis' desire" or "remember Atthis with desire", whereas I like to see the structure parallelism of ἰμέρῳ - λέπταν φρένα with κῆρ - ἄσᾳ, a chiasm. The apostrophe is anyway doubtful in the papyrus. Campbell has κᾶρι σᾷ, another source online had κ[α]ρ[χάρῳ], and this is just counter-papyrus.
  • Next stanza is complex. Besides the reading mess of the first two lines (first one in particular), we have the alternative "νῶντ' ἄπυστά τ' ᾽Υμήναος", reported by safopoemas as Diehl's, which I dismissed as having the Hymenaeum totally out of place, and the alternative "απυστονυμ[..] πόλυς" drom Campbell, which is incompletable but certainly respects a possible reading of the papyrus. Edmonds has the problem of the dual νῷν, which is supposed to have been lost in Aeolic, but maybe Sappho was inspired by Homer to take it up? Also, in l. 21, the actual way to go is Campbell's "δι' ἄλος πόρων τὸ μέσσον". I originally rejected it as incomprehensible in favor of Edmonds' δι' ἄλος παρενρεοίσας, but luckily the translations all omit that part, meaning they work for both versions, so I just changed the text.
  • The last completed stanza has standard completions in the first two lines, and my own completion in the last one, and the χρό' is impossible because the papyrus contradicts it with ]ρος.
That said, I give you the LP vs. Voigt vs. Campbell comparison, part 1 and part 2, and end this note.
The rest of the poem is not completed in any way, and is the standard version save perhaps for reading a few extra monosyllabic words right after lacunas where others more prudently kept them tied to the lacunas. Except I just saw a ναν where I have λοϊα and a ἐδάην where I have like ησενη, so not really. Actually, there is one completion: the πόλλακις, which is because it's not impossible, and because of the translations. Also, Ἀδωνίδηον is apparently from an article by Edmonds (so says Campbell implicitly), and an alternative to "ἄμμι θέαισι" in l. 22 is "αἰμιθέαισι", which I dismissed since it lacks a dative of "for whom it's easy" and I saw no reason to mention demigoddesses instead of goddesses, and I still can't see any. Between the last edit of this and the checkup, I found this Italian anthology which has one more completion (or more if I don't recall correctly) in the part where nectar is mentioned. Won't include it here, but the text of that edition will end up as is in The Rest of Sappho in the group dedicated to stuff from said anthology, and in the Spanish, Chinese, and Modern Greek editions of Sappho.
Finally, I fixed the critical notation in Latin and English, which is crazy precise with even angled brackets mimicked, but didn't feel like bothering with the Italian. And that is it.

Monday, 25 December 2017

Love and grief

Getting back to our dear old topic, love, we have 5 Sapphic fragments in various meters:

  1. The first one is a combination of Bergk 25-24 | Edmonds 124-22 | Campbell 129(a)-129(b). It appears that this combination, contrary to what I thought when I did it, is not present "only by my fantasy", but is suggested by the source itself, said source being two consecutive quotations by Apollonius Dyscolus' treatise on pronouns, both given as examples of ἐμέθεν, Aeolic genitive of ἐγώ, "I"; I am, however, AFAIK the only one to actually complete a full Sapphic stanza out of this, taking up an addition of μᾶλλον to l. 3, which was Bergk's idea and is reported by Edmonds Campbell and Lobel-Page in the critical notes; I will spare you the details of the manuscript evidence, which you can see in any of the mentioned editions; note that ἔμεθεν δ' ἔχησθα λάθαν was translated separately as «Rĕcŏlīsquĕ mē tămēn nōn», «Ma di me l’oblio t’ha presa», and «But of me thou hast forgotten».
  2. The second one, moving from forgetfulness and other lovers, is the "rustic woman" fragment, that is Bergk 75 | Edmonds 98 | Campbell 57. This is rather problematic, because it is a combination of two indirect quotations, one by Athenaeus with ll. 1 & 3, and one by Maximus Tyron with l. 2, and the first two are inmetrical, whereas l. 3 is a perfect greater asclepiad, which suggests placement in book 3 of the Alexandrian edition. Attempts have been made to reconstruct the inmetrical ones: Edmonds tried gl||ascl-||gl||ascl+ (glyconian, lesser asclepiad, glyconian, greater asclepiad), leaving a lacuna at the beginning of the first line, and introducing <τέον> θαλύει which I picked up for my own greater asclepiad reconstruction, whereas Bergk left holes, trying to fit the words from the quotes into the meter. Campbell gives the two lines a pair of cruces, and Lobel-Page does that too and comments "metrum frustra sanare conaberis" (you will try in vain to fix the meter). Back in the days, I reconstructed two lines with iambic rhythm and then the greater asclepiad, obtaining the metrical scheme x–uu–x–x–u–||x–uu–uu–x–u–||xx–uu––uu––uu–u–, which I rendered as u–uu–u–u–u–||u–uu–uu–u–u–||9|7, where the last line is an enneasyllabic and a heptasyllabic rhyming, and the first two rhyme between each other (and by chance at least in the Italian also with the two half-lines). Then I looked back onto it and thought, hm, weird meter, and that enclitic at line start… what about trying to reconstruct asclepiads? And I did, and you will see. The translation of those is from Dec 25 2017 around 23:15. One last thing, a quotation from the Paracritical Note: «Sul fr. 70, i primi due versi paiono inmetrici, ma aggiungendo il <τιν'> si ha un x–uu–uu–x–u–, vagamente giambico, quindi un po’ forzato, ma ac- cettabile. Inoltre il <τιν'>, a pensarci, accresce la connotazione spregiativa: la veste che indossa è una qualunque, una da quattro soldi, neanche una veste di una qualche eleganza seppur rustica, è proprio uno straccio.» (About fr. 70 [this one], the first two lines seem inmetrical, but adding [the toi in l. 1 which came from Greek Wikisource and] the <τιν'> one has x–uu–uu–x–u– [for both lines], vaguely iambic, thus a bit stretched, but acceptable. Moreover the <τιν'>, come to think of it, increases the dispregiative connotation: the garment she's wearing is a random one, a cheap one, not even a garment of some elegance though peasantly, it's really a rag». Btw, ἐπεμμένα is a psilotic form of ἐφέννυμι, "to wear". I note this because I apparetly had trouble finding it back in the days and eventually «demordo» (I give up), says the PN.
  3. The third one is funny. What I originally had was a combination of P.Oxy. 1231 fr. 16 with two quotations, Bergk 14 | Edmonds 13 from Etymologicum Magnum, commenting on how θῶ became the uncontracted θέω in Aeolic, and Bergk 92 | Edmonds 15 from Apollonius Dyscolus' treatise on pronouns, commenting on how ἐγών was stressed on the epsilon in Aeolic, and repeated elsewhere in the same book in a different form. The two were combined in Lobel-Page and Campbell on the basis of the P.Oxy., which suggested they could fit into its poem. This got μάλιστα πάντων into the quotation, and caused σίννονται to lose the double nu. The combination we are mentioning had to use that version of the translations of the quotation, with the translations of the other version being «‹–u–x–uu› Quōs ĕn’ īpsă / Māxĭmē cūrō, mĭhĭ dāmnă māxŭ- / mē făcĭūnt ‹x›», «‹–u–x–uu› Quelli ’nfatti / Ch’i͜o di più curo, danno m’ fan ne’ fatti / Più d’ogni altro. / », and «‹–u–x–u› For those indeed / I love the most, those damage me indeed / The most ‹u–x›.». Actually, the integrated version featured a retranslation to English and Italian that kept the rhythm, the originals being identical to the ones given, except the English had «More than all others.» for the last line. Then P.Sapph. Obbink came along, and goodbye quotation 1 here, but quotation 2 was confirmed, and both ended up in Dearest Offspring thanks to P.GC. 105 a few fragments. Yeah those papyri cause quite a lot of havoc in Sapphic texts :). So I have a translation for a holey text completed with both quotations, and then I will have a tab two containing the new text with English only. In any case, these are Sapphic stanzas. Concerning reading uncertainties, I will adopt P.Oxy. X's critical notation, and copy a couple of Lobel-Page notes here. l. 13: ]ε[ vel ]β[ possis, mox ]οτοιϲ[ vel ]ϲτοιϲ[, ut βρότοις legere possis, si velis. l. 15: prima litt[era] fort[asse] β, ε, ϲ, ο, simm. UPDATE: Upon posting this, I left the P.Obbink. version saying only WIP. I then transcribed the papyrus, and on 8/4/18 at 23:20/21 I added the text, with a prose translation in English, aiming at making at least an English poetic translation. Then, on 16/4, I finally got around to doing it. More precisely, stanza 1 was complete by 9:55, and that took ages because I had to figure out what verb ἄσαιτο was; in the end, I concluded it is from ἀάω, glossed by Perseus as "hurt, damage", and interpreted as "torment"; Obbink uses "lament", but none of my three options (ἀάω, ἄω, ἀσάω) give me that; anyway, stanza 2 was complete by 9:59, and by 10 I wrote down the change to the translation of quotation 2 which was originally conceived around 0:29 on 12/4; finally, by 10:01, I conceived and wrote down the change from "For his true love" to "For his loved one".
  4. The fourth one is another quotation, Bergk 40 | Edmonds 52 | Campbell 51, from Chrysippus, Negatives. Bergk Edmods and Campbell agree on my text, but Lobel-Page takes another text, "Aristaenet. Ep. I 6 (p. 16 Mazal)", as Campbell puts it, and reads δίχα, "divided in two", instead of δύο, "two". The meaning is essentially the same. The meter is a single glyconian expanded with 2 dactyls, same as Hector and Andromacha, rendered as –u–uu–uu–uu–u– in Italian and English. The Italian originally read «Non so più ciò che credo: pensier' düe sono in me», which I changed to the present version around 23:30 on Dec 25 2017.
  5. To sum everything up, the last one is an indirect quotation found in Maximus Tyron, which reads «Ἐκβακχεύεται Σωκράτης τῷ Φαίδρῳ ὑπὸ τοῦ Ἔρωτος, τῇ δὲ Σαπφοῖ ὁ Ἔρως ἐτίναξεν τὰς φρένας ὡς ἄνεμος κατ' ὄρος δρυσὶν ἐμπεσών», «Socrates is made mad for Phaedrus by love, love shook Sappho's heart like the wind falling down the mountains onto oak trees». This justifies Bergk's choice to only read the glyconian expanded with one dactyl Ἄνεμος κατ' ὄρος δρύσιν ἐμπέσων which is his fr. 44. Edmonds, in fr. 54, e.g.'s this wildly as one and a half glyconians expanded with 2 dactyls. Campbell does what I followed in his fr. 47, i.e. a half and one glyconians expanded with two dactyls. Same thing with Lobel-Page, who comments «sed potest fieri ut totum liberius sit refingendum», «but it could happen that it all need to be remade more freely». The meter is then the same as the previous fragment. The details of manuscript traditions are left to Bergk-Edmonds-Campbell.
So here we go!


[Καλλέλοιπάς μ’. Ὦμ’.] Ἐμέθεν δ’ ἔχησθα
‹ Ἤ σὺ› λάθαν, [φιλτάτα,] ἤ τιν’ ἄλλον
‹Μᾶλλον› ἀνθρώπων ἐμέθεν φίλησθα;
[Εἴ τινα, τίς δέ;]/[Τίς δὲ ὅς ἐστι;]

Τᾷ μόνον φαντασί’ ἔμ’ αὖτ’ ὐπάρχει.


[M’ha͜i lasciata.͜ A͜h͜imé!] ‹Te› di me or torse
Forse͜ obli͜o, [carissima?]͜ O d’altro forse
‹Più› ch’ di me degl’uomini͜ amor ti morse?
[Chi͜ è, s’è qualcuno?]/[Chi͜ è poi costuï?]

Questo sol per mi͜a fantasïa͜ esiste.
[Mē rĕlīquīst’. Ō!] Rĕcŏlīs mĕī nōn
‹Tū› ŭtrūm, [carīssĭmă mī,] ăn āljŭm
Dīlĭgīs quām mē hŏmĭnūm ‹măgīs› tū?
[Sī quĕm, ĭs ēst quĭs?]/[Īstĕ quĭs a͞utĕm?]

Sōlŭm hōc phāntāsĭ’ ădēst mĕāptĕ.


[Me you leave. Ay me!] Now dost ‹thou› of me
Not remember, [darling?] Or ‹more› than me
Someone else of men is beloved by thee?
[Who, if someone?]/[[Who may he be?]

This exists but only by my conceit.





Τίς δ' ἀγροΐωτίς ‹τοι› θέλγει νόον,
‹Τιν’› ἀγροΐωτιν ἐπεμμένα στόλαν,
οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων;


Qual rustica donna͜ il cuor ‹t›’affascina,
Che rustica veste indossa pessima,
E͜ i stracci suo͜i ritrar non sa      sopr’ i suo͜i piedi? Va’!
Quǣ rūstĭcă pu͞ellă cōrd’ āffāscĭnăt.
Vēstēm quŏquĕ rūstĭc’ hăbēns quāndām sĭbī,
Nēscĭēns quŏquĕ pānnōs sĭbĭ tālōs trăhĕr’ ādsŭpĕr?


What peasantly girl your heart doth conquer now,
Some peasantly clothing a-wearing? Oh! Look how
Those horrid rags she wears above      her ankles she can’t shove!

Τίς ‹σοι› δ' ἀγροΐωτις ‹θαλύει νῦν› νόον, ‹ὄττα δὴ›
Στόλαν ἀγροΐωτιν ‹περιβαίνει τοι› ἐπεμμένα,
Οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων?
Say, what peasatly girl ‹now warms your› heart and your mind ‹as she goes
Around you› wearing that peasantly garment, and 'tis seen she knows
Not at all how to lift those filthy rags higher than ankle height?





. . . . . . . . . ] θαμέω̣[ς ^ – ^
. . . . . . . . ὄ]ττινας γάρ
εὖ θέω, κῆνοί με μάλιστα πά[ντων
δηὖτε] σίνονται.

. . . . . . . . . ] ἀλεμάτ[ων . . . . .
. . . . . . . . . ]γόνωμ[. . . . .
. . . . . . . . . ]ο̣μ’ οὐ πρ[. . . . .
. . . . . . ]αι

. . . . . . . . . ]σέ· θέλω[. . . . .
. . . . . . τοῦ]το πάθη[ν. . . . .
. . . . ]λ̣αν· ἔγων δ’ ἔμ’ αὔται
τοῦτο σύνοιδα

. . . . . . . . ] . [ . ] ὄ̣τοισ[ι . . ] . [
. . . . . . . . . ]ε̣ναμ[. . . . .
. . . . . . . . . ]ε̣[. ] . [ . . .
. . . . . . . . .


[–u–x–uu] spesso [–x
–u–x–uu Q]uell[i ’nfatti
Ch’i͜o più curo, danno mi fan ne’ fatti
Pi͜ù d’ogni altro.

–u–x–u] di van[e –x
–u–x–uu–u–x
–u–x–uu] non [u–x
–uu–x

–u–x–u] te: voglio [–x
–u–x que]sto soffri[r u–x
–u–x–u] ed io medesma
Questo so bene. (Orig. Questo ben vedo.)

[–u–] a’ quali [u–u–x
–u–x–uu–u–x
–u–x–uu–u–x
–uu–x].
[–u–x–uu] sǣpĕ [–x
–u–x–uu quōs ĕn’ īpsă
Māxŭmē cūrō, mĭhĭ dāmnă ōmni͞um
Māxŭmă dānt nūnc.

[–u–x–u] vănû̄m [u–x
–u–x–uu–u–x
–u–x–uu] nōn [u–x
–uu–x

–u–x] tē: cŭpĭō [u–x
–u–x hōc]cĕ păt[ī u–x
–u–x–u] ĕg’ īpsă mīmĕt
Hōc vĭdĕō nūnc.

[–u–x–] quĭbŭ[s –u–x
–u–x–uu–u–x
–u–x–uu–u–x
–uu–x].


[–u–x] often [u–u–x
–u–x–u] For those indeed
I love most, me harm, and do make me bleed
More than all others.

–u–x–u] of vain [u–x
–u–x–uu–u–x
–u–x–uu] not [u–x
–uu–x

–u–x–] thee: I want [u–x
–u–x] sufferin[g th]is [u–x
–u–x–u] and I myself
This full well know. (Original Do this well see.)

[–u] those to whom [uu–u–x
–u–x–uu–u–x
–u–x–uu–u–x
–uu–x].

Πῶς̣ κε δή τις οὐ θαμέω̣ς ἄσαιτο,
Κύπρι, δἐσπο̣ι̣ν̣', ὄττινα̣ +δ+ὴ φίλ̣[ησι
κωὐ] θέλοι μάλιστα πάθ+αν+ χάλ̣[ασσαι;
ποῖ]ον ἔχησθα

νῶν σ]άλοισί μ' ἀλεμάτ̣ως δαΐσδ[ην
ἰμέ]ρ‹ῳ› λύ{ι̣}σαντ̣ι̣ γόν' ὠμ[
]απα . [ . . ]αμμ' οὐ προ̣[
]ν ἔ̣ερθαι

]σέ· θέλω[
τοῦ]το πάθη[ν
]λ̣αν· ἔγω δ' ἔμ' αὔτᾳ
τοῦτο σύνοιδα

]· [.]σ̣τοισ[. . .] . [
]ε̣ναμ[
]ε̣[

Cypris, queen, now tell me: who could there be
That would not torment himself frequently
For his true lov[e, nor] to from pain [be] fre[e]
Wish above all?

[Wha]t would your mind be as you tea[r] through me
Idly with strong shivers, and melt my knee
With [des]ire [u–uu] not [u–
Having been said

–u] you; I want [uu–u–
–u th]is to suffe[r u–u–
–u–u–u]; as I myself
Very well see.









Οὐκ οἶδ' ὄττι θέω· δύο μοι τὰ νοήματα.


Non so più che pensar: due pensieri vi sono in me.




                 Ἔρος δ᾽ ἐτίναξέ ‹μοι›
φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων.


                 L’Amore͜ a me scosso ha
’L cuore, com’ giù dal monte il vento͜ alle querce fa.
Quǣ crĕdam ha͞udquĕ scĭo ātquĕ dŭplēx mĭhi ŏpīnĭō.


I don’t know what to think, for I have two opinïons.




                 Ămōr mĭhĭ quāssāvĭt
Cŏr, ūt mōntĭbŭs a͞urăquĕ quērcŭbŭs īncĭdēns.


                 Love to me gave a blow
In the heart, like the wind down a mount ’gainst the oaks does blow.

Saturday, 23 December 2017

I loved you, Atthis… but now you hate me…

Yep, love again. But this time in Greek. Yes, we are going back to Sappho after quite some time. Today, I have… how many poems? This is a very good questions. Let's start by saying it's 3 distinct quotations: one is a single line found in Hephaestio's Handbook of meter, the following one is another line found in three other books, and the third one is 4 lines again in Hephaestio. Now my three main references, Bergk Edmonds and Campbell, all agree in putting the first two into the same poem, on the basis of a quote from Terentianus Maurus's Handbook of meter (this one in Latin, the other one was in Greek) which goes "Cordi quando fuisse sibi canit Atthida / Parvam, florea virginitas sua cum foret", which has both a paraphrase of the first line and an adjective of the second one, and is also the basis for Edmond's in-between line Ἆς ἔμ' ἀνθεμόεσσ' ἔτι παρθενία, σὺ δὲ, «As I still had my flowery virginity, and you», and maybe other things I can't find. So that would make two poems. Some, however, for I don't know what reason, decide to split the last quote into two isolated couplets, making 3 poems. I don't see any reason to do so, so I'll make these two poems. In the first one, the only oscillation between those references is ἔμμεν / ἔμμεν', which doesn't change the meaning one bit. I have no arguments for one or for the other, so I'll just be lazy and stick to whatever I have in my translations file. In the second one, we have δαὖτε / δηὖτε and δόνει / δύνει. For the latter, I feel δόνει is the only choice with a fitting meaning, and most codices have that, so I'll take it. For the former, written evidence seems to point to δ' αὖτε, and only Campbell changes the alpha. I assume it's on the basis of the δηὖτεs in the Hymn to Aphrodite. Whatever the case, the meaning doesn't change one bit, so I'll just be lazy as with poem 2. And that is my critical note. The meter of poem 1 is xx–uu–uu–uu–ux, which is kept in Latin and rendered as –u–uu–uu–uu–u– with consecutive lines rhyming in English and Italian (cfr. Hector and Andromacha, which is written in the same meter). The meter of poem 2 is xx–uu–uu–ux, kept in Latin and rendered as –u–uu–uu–u– with consecutive lines rhyming in English and Italian. So let's jump into the poems!


Ἠράμαν μὲν ἔγω σέθεν, Ἄτθι, πάλαι πότα.
Σμίκρα μοι πάϊς ἔμμεν ἐφαίνεο κἄχαρις.


Io t’amavo, o cara mi͜a Attide, tempo fa.
Bimbettina parevimi tu senza grazïa.




Ἔρος δηὖτέ μ’ ὀ λυσιμέλης δόνει
γλυκύπικρον ἀμάχανον ὄρπετον,
Ἄτθι, σοὶ δ᾽ ἔμεθεν μὲν ἀπήχθετο
φροντίσδην, ἐπὶ δ’ Ἀνδρομέδαν πότῃ.


Anco sciogliemi ’l corpo͜ e m’investe ’l cuor
Dolce͜amara͜ invincibile fiera, Amor.
Ora, Attide, odi pensare͜ a me,
Ed Andromeda meta͜ al tuo volo è.
Ămābām t’ ĕgŏ plūrĭmă tēmpŏrĭs āntĕhāc.
Vĭdēbārĭ’ pŭēllŭlă rūstĭcă t’, Ātthĭ, mī.


Long ago, o my dear little Atthis, I did love thee.
Little child wi’ no grace at that time you did seem to me.




Sōlvīcōrpõr’ Ămōr pĕtĭt ēt nūnc mē
Fĕr’ īnvīctăquĕ dūlcĭs ămārăquĕ.
Mē īn mēntĕ hăbērĕ, mĕ’ Ātthĭ, tū
Ōdīst’, Āndrŏmĕdān vŏlĭtānsqu’ ădi̽s.


Body-melting again love investeth me,
Sweet and bitter a beast, never won can be.
Now, my Atthis, the thought of myself to thee
Loathed’s, Andromeda end of a flight’s for thee.

Friday, 22 December 2017

Dearest offspring of Heaven and of Earth

Talking about love and beauty, we have another poem by Sappho, and this time there are as many as 6 (!) versions of it I have translated, and none of these took P.GC. into account, meaning we have 7 of them. The sources are P.Oxy. 1231 fr. 1 col. i and one line in col ii, a quotation by Apollonius Dyscolus's treatise on pronouns giving half of l. 3 and all l. 4, P.Oxy. 1231 fr. 36 (added by the Lobel-Page edition "quamvis dubitanter", "though doubtingly"), P.Oxy. 2166(a) frr. 2a and 2b, and P.GC. fr. 2a coll. i-ii and fr. 2b col. i. The multiple versions depend on doubtful readings and lacunas. When I tackled this back in the day, I had no idea what to choose, so I translated two versions (1 from Greek wikisource and 3 with 2.5 stanzas from P.Oxy. and the rest from GW, plus that version's last stanza completed by me), then I bumped into "The Complete Poems of Sappho" by Sean B. Palmer and found more convincing completions somewhere so I changed the text and retranslated, and that gave versions 2&4 where in 4 I adopted a revised version of English Wikisource's completion of the last stanza), then from that site I found safopoemas.doc and stanza 4 was completed differently and IMO better, so I retranslated that, producing version 5, and version 6 was a blend of translations for Latin and English, and required a quick fix for Italian, which was done around 18:53:30 on Dec 22, 2017, whereas all other translations date back to those days and are not precisely datable. Version 7, which is in the critical note as well with an English prose translation (after adding a lot of stuff around the original spoiler hiding extracts of the Paracritical Note I wrote back then), takes P.GC. and all that is written at the transcriptions post into account, and was translated on March 19 2018 by mostly recycling old translations and fixing what couldn't be recycled in two lots, one between 13:49 and 14:13, and on between 15:24 and 15:58, with stanza 6 of the English version being from 14:42. P.GC. questions whether this is a single poem or two, since it makes the poem longer than any other known poem in Sapphic stanzas by Sappho. There was already a conjecture that the last stanza in some versions belonged in another poem back in the day, which is probably why Greek Wikisource (GW in the version source explanations) doesn't have it. Now it is almost certain, since the ordering was by first letter of incipit so this other poem needs to begin with O- and it so happens that an O-word fits a lacuna in that stanza perfectly, and no other stanzas we have parts of have such lacunas at their beginnings. This is clearly to the detriment of Edmonds, who ends his fragment 38 with the last completable stanza and keeps his fragment 39 for that isolated last line. The title is actually Edmonds' reconstruction of an indirect quotation where some Greek author says Sappho called Love "son of Heaven and Earth", and Edmonds reconstructed a Sapphic hendecasyllabic line which then was adopted by Greek Wikisource as the title for this poem and came to me in such a disguise, and by the time I found out its true origins I had already finished the translations and was probably already working at the blog. That being said, the meters of the translations are the usual (imitations of) Sapphic stanzas, and let's get to the poem! Note that a line has been omitted at the end to avoid a huge gap, it reads τ' ἐξ ἀδοκή[τω, and I translated it as Ex improviso (couldn't make it metrical), Dal non previsto, From unforeseen.



Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οἰ δὲ νάων φαῖσ’ ἐπ[ὶ] γᾶν μέλαι[ν]αν
[ Ἔ]μμεναι κάλλιστον, ἔγω δὲ κῆν’ ὄτ-
τῳ τις ἔραται·

[Πά]γχυ δ’ εὔμαρες σύνετον πόησαι
[Π]άντι τ[ο]ῦτ’· ἀ γὰρ πόλυ περσκέθοισα
Κάλλος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
τὸν [πανάρ]ιστον

Καλλ[ίποι]σ’ ἔβα͜ ἐς Τροΐαν πλέοι[σα]
Κωὐδ[ὲ πα]ῖδος οὐδὲ φίλων το[κ]ήων
Πά[μπαν] ἐμνάσθη, ͜ ἀλλὰ παράγαγ’ αὔταν
[τὰν ἀέκοι]σαν

[Κύπρις· εὔκ]αμπτον γὰρ [ἀεὶ τὸ θῆλυ
Αἴ κέ τις] κούφως τ[ὸ πάρον ν]όησῃ·
[Κἄ]με νῦν Ἀνακτορί[ας ὀ]νέμναι-
[σ’ οὐ] παρεοίσας,

[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρατόν τε βᾶμα
Κἀμάρυχμα λάμπρον ἴδην προσώπω
Ἢ τὰ Λύδων ἄρματα καὶ πανόπλοις
[πεσδομ]άχεντας.


Prole più͜ amata di terra͜ e di cielo

Folla di fanti͜ o cavalier' si dice
O d’ navi sul[la] terra vincitrice
Di gara di beltade; io invece
Ch’è ciò ch’è͜ amato;

Per [t]utti s’è [b]en facil capir c[i]ò,
Ch’Elena, sorpassando d’un bel po’
Beltade d’[u]om per chi la generò,
[Q]uell’uom la[sci]ato

Miglior [d’ognun], ver’ Troia navi[gò],
E figlia͜ e ge[ni]tor’ non ricordò,
Ma vi͜a guidata lungi se n’andò,
[Seppur forza]ta,

[Da Vener: sempre fa]cil da piegare
[È donna, del presente͜ a] meditare
S’è li͜eve; Anattorï[a]͜ a [ri]cordar[e]
Son or portata:

L’amato passo [s]u͜o preferireï
Veder, e lo splendor sul viso͜ a leï,
Che carri Lidi,͜ e ’n armi͜ e ne’ clipèï
Lidi pugnare.
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

[Q]uīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm [ē]ssĕ tērrā
Dēsŭp[ēr] pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ h[ō]c [vē]rē făcĭlēst [c]ŭīquĕ
Mēntĕ: nāmque īps’ [hŏ]mĭn’ ēxquĕ cēllēns
Mūltă pūlchrīs īll’ Hĕlĕn’, ābrĕ[līnq]uēns
[Ōp]tŭmŭm [ōmni͞um]

I͞it vĭr’ ūrb’ ăd Īlĭŭm ū[să] nāvĕ,
[Fī]lĭǣ cārû̄mquĕ sŭūm pă[rē]ntŭm
Tō[tŭm] ōblītāst, ăt ĕ’ īllă [nōlēn]t’
Īd sĭbĭ dūxĭt

[Cȳprĭ’]: nāmquĕ [fēmĭnă sēmpĕr] īnflēct’
Ēst [lĕvīs, s’ ādsēntĭă cōgĭtēt] pa͞ul’;
[Ātquĕ] nūnc Ānāctŏrĭ[ǣ ă]dīvĭt
Mē mĕmŏrāti͞o:

Mālĭm īncēssūm pĕrămātŭm [īll]i͞us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳd’ ĕt ĭn ārmŭm ōmnī
Quī [hŭmĭ p]ūgnānt.


Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Ove[r] bla[c]k earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
You’ll hold the best;

It’s easy t’ make t[h]is understood understood to [a]ll,
For Helen, who by far surpassed withal
The [hu]man beauty, l[e]ft [th]at man [of all]
By far the best,

And off she went to Troy by ship o’er sea,
Her parents nor her daughter, [none] did she
Remember, but was led away o’er sea,
[Though for]ced, afar,

[By th’ Cyprus-born: thus always easilỳ
Woman] is bent, [if of what is] lightlỳ
[She thinks]; of Anactori[a m]emor[ỳ]
Who is afar,

I’ve now, [wh]ose lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chari͜ots and soldi͜èrs
Fighting full-armed.

Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οἰ δὲ νάων φαῖσ’ ἐπ[ὶ] γᾶν μέλαι[ν]αν
[ Ἔ]μμεναι κάλλιστον, ἔγω δὲ κῆν’ ὄτ-
τῳ τις ἔραται·

[Πά]γχυ δ’ εὔμαρες σύνετον πόησαι
[Π]άντι τ[ο]ῦτ’· ἀ γὰρ πόλυ περσκέθοισα
Κάλλος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
τὸν [πανάρ]ιστον

Καλλ[ίποι]σ’ ἔβα͜ ἐς Τροΐαν πλέοι[σα]
Κωὐδ[ὲ πα]ῖδος οὐδὲ φίλων το[κ]ήων
Πά[μπαν] ἐμνάσθη, ͜ ἀλλὰ παράγαγ’ αὔταν
[Οὐκ ἀέκοι]σαν

[Κύπρις· εὔκ]αμπτον γὰρ [ἔφυ βρότων κῆρ
Αἴ κέ τις] κούφως τ[ὸ πάρον ν]όησῃ·
[Κἄ]με νῦν Ἀνακτορί[ας ὀ]νέμναι-
[σ’ οὐ] παρεοίσας,

[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρατόν τε βᾶμα
Κἀμάρυχμα λάμπρον ἴδην προσώπω
Ἢ τὰ Λύδων ἄρματα καὶ πανόπλοις
[πεσδομ]άχεντας.


Prole più͜ amata di terra͜ e di cielo

Folla di fanti͜ o cavalier' si dice
O d’ navi sul[la] terra vincitrice
Di gara di beltade; io invece
Ch’è ciò ch’è͜ amato;

Per [t]utti s’è [b]en facil capir c[i]ò,
Ch’Elena, sorpassando d’un bel po’
Beltade d’[u]om per chi la generò,
[Q]uell’uom la[sci]ato

Miglior [d’ognun], ver’ Troia navi[gò],
E figlia͜ e ge[ni]tor’ non ricordò,
Ma vi͜a guidata lungi se n’andò,
[Nemmen forza]ta,

[Da Venere: mortale] da piegare
[È fa]cil, [del presente͜ a] meditare
S’è li͜eve; Anattorï[a]͜ a [ri]cordar[e]
Son or portata:

L’amato passo [s]u͜o preferireï
Veder, e lo splendor sul viso͜ a leï,
Che carri Lidi,͜ e ’n armi͜ e ne’ clipèï
Lidi pugnare.
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

[Q]uīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm [ē]ssĕ tērrā
Dēsŭp[ēr] pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ h[ō]c [vē]rē făcĭlēst [c]ŭīquĕ
Mēntĕ: nāmque īps’ [hŏ]mĭn’ ēxquĕ cēllēns
Mūltă pūlchrīs īll’ Hĕlĕn’, ābrĕ[līnq]uēns
[Ōp]tŭmŭm [ōmni͞um]

I͞it vĭr’ ūrb’ ăd Īlĭŭm ū[să] nāvĕ,
[Fī]lĭǣ cārû̄mquĕ sŭūm pă[rē]ntŭm
Tō[tŭm] ōblītāst, ăt ĕ’ [ha͞udquĕ nōlēn]t’
Īd sĭbĭ dūxĭt

[Cȳprĭ’: mōrtālīs] ĕtĕnīmquĕ īnflēct’
[Ēst lĕvīs, s’ ādsēntĭă] cōgĭtēt pa͞ul’;
[Ātquĕ] nūnc Ānāctŏrĭ[ǣ ă]dīvĭt
Mē mĕmŏrāti͞o:

Mālĭm īncēssūm pĕrămātŭm [īll]i͞us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳd’ ĕt ĭn ārmŭm ōmnī
Quī [hŭmĭ p]ūgnānt.


Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Ove[r] bla[c]k earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
You’ll hold the best;

It’s easy t’ make t[h]is understood understood to [a]ll,
For Helen, who by far surpassed withal
The [hu]man beauty, l[e]ft [th]at man [of all]
By far the best,

And off she went to Troy by ship o’er sea,
Her parents nor her daughter, [none] did she
Remember, but was led away o’er sea,
[Not for]ced, afar,

[By th’ Cyprus-born: thus always easilỳ
Mortals] are bent, [if of what is] lightlỳ
[They think]; of Anactori[a m]emor[ỳ]
Who is afar,

I’ve now, [wh]ose lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chari͜ots and soldi͜èrs
Fighting full-armed.

Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οἰ δὲ νάων φαῖσ’ ἐπ[ὶ] γᾶν μέλαι[ν]αν
[ Ἔ]μμεναι κάλλιστον, ἔγω δὲ κῆν’ ὄτ-
τῳ τις ἔραται·

[Πά]γχυ δ’ εὔμαρες σύνετον πόησαι
[Π]άντι τ[ο]ῦτ’· ἀ γὰρ πόλυ περσκόπει[σ]α
[Κάλ]λος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
[κρίννεν ἄρ]ιστον

[ Ὂς τὸ πᾶν] σέβας Τροΐα[ς ὄ]λεσσ[εν],
[Κωὐδὲ π]αῖδος οὐδὲ φ[ί]λων το[κ]ήων
[Πάμπαν] ἐμνάσθη, ͜ ἀ[λλὰ] παράγαγ’ αὔταν
[πῆλε φίλει]σαν

[Κύπρις· εὔκ]αμπτον γὰρ [ἀεὶ τὸ θῆλυ
Αἴ κέ τις] κούφως τ[ὸ πάρον ν]οήσῃ·
[Τῆ]λε νῦν Ἀνακτορί[ας ὀ]νέμνα[σ-
θ]η‹ν› ἀπεοίσας,

[Τᾶ]ς κε βολλοίμαν ἔρατόν τε βᾶμα
Κἀμάρυ‹γ›μα λάμπρον ἴδην προσώπω
Ἢ τὰ Λύδων ἄρματα κἀν ὄπλοισι‹ν›
[πεσδο]μάχεντας.

[Εὖ μὲν ἴδ]μεν οὐ δύνατον γένεσθαι
[Λῷστ]ά ‹γ›' ἀνθρώπ[οις, π]εδέχην δ’ ἄρασθαι.
[Τῶν δ’ ἔνευξις ἐστι βρότοισι λῷον
ἢ λελάθεσθαι.]

Prole più amata di terra e di cielo

Folla di fanti͜ o cavalier' si dice
O d’ navi sul[la] terra vincitrice
Di gara di beltade; io invece
Ch’è ciò ch’è͜ amato;

[Be]n facile s’è c[i]ò compreso fare
A͜ [og]nun, ch’Elena, che pot[e]͜a mirare
Assa͜i d’[uo]mo [bel]tade,͜ [ot]timo, pare,
[Ha giudicato

Chi͜ in tutto]͜ onor di Troi[a c]ancell[ò],
E [f]iglia͜ e g[e]nitor’ non ricordò,
M[a] vi͜a guidata [lungi] se n’andò,
[Innamora]ta,

[Da Vener: sempre facil] da piegare
[È donna, del presente]͜ a meditare
S’è lieve;͜ Anattorï[a]͜ a [r]icorda[re]
Son or portata:

L’amato passo [su]͜o preferirèï
Veder, e lo splendor sul viso͜ a lèï,
Che carri Lidi,͜ e Lidi ne’ clipèï
Forte pugnare.

Le miglior’ cose͜ un uo[mo] sol pregare
D’[a]vere può, ma ma͜i con man toccare;
[Lor pe͜i mortali͜ è meglio disïare
Che non scordare.]
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

[Q]uīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm [ē]ssĕ tērrā
Dēsŭp[ēr] pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ h[ō]c [vē]rē făcĭlēst [c]ŭīquĕ
Mēntĕ: nāmqu’ īll’ īps’ Ĕlĕn’ ēt vĭdē[ns] sī
Mūltŭm ēx [pūl]chrīs [hŏm]ĭnūm, vĭr ōmnĭ’
[Ōp]tŭm’ [hăbu͞it quī

D]īrŭīt [tōtūm] Trŏĭ[ǣ] hŏnōrĕm,
Fīlĭǣ c[ā]rû̄mquĕ sŭūm pă[rē]ntŭm
[Tōtŭm] ōblītāst, ă[t] ĕ’ īllă [lōng’] āb-
dūxĭt [ămō]rĕ

[Cȳprĭ’]: nāmquĕ [fēmĭnă sēmpĕr] īnflēct’
Ēst [lĕvīs, s’ ādsēntĭă cōgĭtēt] pa͞ul’;
Ātquĕ nūnc Ānāctŏrĭ[ǣ ă]dīvĭ[t]
Mē mĕmŏrāti͞o:

Mālĭm īncēssūm pĕrămātŭm īlli͞us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳdŭm ĕt īntŭ’ scūtīs
Quī hŭmĭ pūgnānt.

[Scī]mŭs [ōptŭm’] ha͞ud pŏtĭs [ōptŭm]ā’ssĕ
Fīĕrī vĭr[īs], prĕc’ [h]ăbēndû̆m a͞utĕm.
[Sēd mĕli͞us mōrtālĭbŭs īllă vēllĕ
Qu’ ha͞ud mĕmĭnīssĕ.]

Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Ove[r] bla[c]k earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
The most are liked;

It’s easy t’ make t[h]is understood to [a]ll,
For Helen, who cou[l]d see a lot of all
The [hum]an [be]auty, [judged the b]est of all
[Th]e man she liked,

[Who] brought Tro[y’s] honour [do]wnwa[rd totally],
Her pa[r]ents nor her [d]aughter, [none] did she
Remember, b[ut] was led away o’er sea,
[In lo]ve, [afar,

By th’ Cyprus-born: thus always easilỳ
Woman] is bent, [if of what is] lightlỳ
She thinks; of Anactori[a m]emor[ỳ]
Who is afar,

I’ve now, [wh]ose lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chari͜ots and soldi͜èrs
With shields in fight.

[Well do we k]now [the be]st can never be
To ma[n], who but his prayers for it can see.
[Of it for mortals better’s memorỳ
Than ’ts absence might.].

Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οἰ δὲ νάων φαῖσ’ ἐπ[ὶ] γᾶν μέλαι[ν]αν
[Ἔ]μμεναι κάλλιστον, ἔγω δὲ κῆν’ ὄτ-
τῳ τις ἔραται·

[Πά]γχυ δ’ εὔμαρες σύνετον πόησαι
[Π]άντι τ[ο]ῦτ’· ἀ γὰρ πόλυ περσκόπει[σ]α
[Κάλ]λος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
[κρίννεν ἄρ]ιστον

[Ὃς τὸ πᾶν] σέβας Τροΐα[ς ὄ]λεσσ‹εν›,
[Κωὐδὲ π]αῖδος οὐδὲ φ[ί]λων το[κ]ήων
[Πάμπαν] ἐμνάσθη, ͜ ἀ‹λλὰ› παράγαγ’ αὔταν
[πῆλε φίλει]σαν

[Κύπρις· εὔκ]αμπτον γὰρ [ἔφυ βρότων κῆρ
Αἴ κέ τις] κούφως τ[ὸ πάρον ν]οήσῃ·
[Τῆ]λε νῦν Ἀνακτορί[ας ὀ]νέμνα‹σ›-
θ]η‹ν› ἀπεοίσας,

[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρατόν τε βᾶμα
Κἀμάρυ‹γ›μα λάμπρον ἴδην προσώπω
Ἢ τὰ Λύδων ἄρματα κἀν ὄπλοισι
[πεσδο]μάχεντας.

[Εὖ μὲν ἴδ]μεν οὐ δύνατον γένεσθαι
[Λῷστ]ά ‹γ›' ἀνθρώπ[οισ', π]εδέχην δ’ ἄρασθαι.
[Τῶν πέδηχον ἐστι βρότοισι λῷον
ἢ λελάθεσθαι.]


Prole più amata di Terra e di Cielo

Folla di fanti o cavalier' si dice
O d’ navi sulla terra vincitrice
Di gara di beltade; io invece
Ch’è ciò ch’è amato;

Ben facile s’è ciò compreso fare
A ognun, ch’Elena, che potea mirare
Assai d’uomo beltade, ottimo, pare,
Ha giudicato

Chi in tutto onor di Troia cancellò,
E bimba e genitor’ non ricordò,
Ma via guidata lungi se ne andò,
Innamorata,

Da Vener: sempre facil da piegare
Mortal s’è, del presente a meditare
S’è lieve; Anattoria a ricordare
Son or portata:

L’amato passo suo preferirei
Veder, e lo splendor sul viso a lei,
Che carri Lidi, e Lidi ne’ clipei
Forte pugnare.

S’anche sappiamo ch’uomo mai toccare
Il mèi non può, voler partecipare;
{Di ciò ch’un tempo aveva, è per mortale
Mèi che scordare.}
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

Quīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm ēssĕ tērrā
Dēsŭpēr pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ hōc vērē făcĭlēst cŭīquĕ
Mēntĕ: nāmqu’ īll’ īps’ Ĕlĕn’ ēt vĭdēns sī
Mūltŭm ēx pūlchrīs hŏmĭnūm, vĭr ōmnĭ’
Ōptŭm’ hăbu͞it quī

Dīrŭīt tōtūm Trŏĭǣ hŏnōrĕm,
Fīlĭǣ cārû̄mquĕ sŭūm părēntŭm
Tōtŭm ōblītāst, ăt ĕ’ īllă lōng’ āb-
Dūxĭt ămōrĕ

Cȳprĭ’: mōrtālīs ĕtĕnīmquĕ īnflēct’
Ēst lĕvīs, s’ ādsēntĭă cōgĭtēt pa͞ul’;
Ātquĕ nūnc Ānāctŏrĭǣ ădīvĭt
Mē mĕmŏrāti͞o:

Mālĭm īncēssūm pĕrămātŭm īlli͞us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳdŭm ĕt īntŭ’ scūtīs
Quī hŭmĭ pūgnānt.

Scīmŭs ētsī ha͞ud pŏtĭs ōptŭmā’ssĕ
Fīĕrī vĭrīs, ăt hăbēndû̆m īllû̆m
Ēst mĕli͞us mōrtālĭbŭ’ prēx qu’ hăbēbānt
Qu’ ha͞ud mĕmĭnīssĕ.


Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Over black earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
The most are liked;

It’s easy t’ make this understood to all,
For Helen, who could see a lot of all
The human beauty, judged the best of all
The man she liked,

Who brought Troy’s honour downward totally,
Her parents nor her daughter, none did she
Remember, but was led away o’er sea,
In love, afar,

By th’ Cyprus-born: thus always easily
Mortal heart’s bent, if of what is lightly
It thinks; of Anactoria memory
Who is afar,

I’ve now, whose lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chariots and soldiers
With shields in fight.

Although we know the best can never be
To man, for mortals better’s certainly
{Prayer1 of what they once had and memory
Than ’ts absence might.}.

Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οἰ δὲ νάων φαῖσ’ ἐπ[ὶ] γᾶν μέλαι[ν]αν
[ Ἔ]μμεναι κάλλιστον, ἔγω δὲ κῆν’ ὄτ-
τῳ τις ἔραται·

[Πά]γχυ δ’ εὔμαρες σύνετον πόησαι
[Π]άντι τ[ο]ῦτ’· ἀ γὰρ πόλυ περσκέθοισα
Κάλλος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
τὸν [πανάρ]ιστον

Καλλ[ίποι]σ’ ἔβα͜ ἐς Τροΐαν πλέοι[σα]
Κωὐδ[ὲ πα]ῖδος οὐδὲ φίλων το[κ]ήων
Πά[μπαν] ἐμνάσθη, ͜ ἀλλὰ παράγαγ’ αὔταν
[πῆλε φίλει]σαν

[Κύπρις· εὔκ]αμπτον γὰρ [ὐπάγαγ’ ἆ͂τορ
Αἴ κεν οὐ] κούφως τ[ιν’ ἔραν π]oήσῃ·
[ Ὤς] με νῦν Ἀνακτορί[ας ὀ]νέμναι-
σ’ οὐ παρεοίσας·

[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρατόν τε βᾶμα
Κἀμάρυχμα λάμπρον ἴδην προσώπω
Ἢ τὰ Λύδων ἄρματα καὶ πανόπλοις
[πεσδομ]άχεντας.

[Εὖ μὲν ἴδ]μεν οὐ δύνατον γένεσθαι
[Λῷστ’] ὂ̣ν ἀνθρώπ[οις, π]εδέχην δ’ ἄρασθαι
[Τῶν πέδηχον ἐστι βρότοισι λῷον
ἢ λελάθεσθαι.]


Prole più amata di Terra e di Cielo

Ciò che sull[a] terra ne[r]a͜ è più bello
Dicesi͜ un plotone di fanti,͜ o ’n quello
Cavali͜eri, o flotta di navi;͜ è quello –
Dico – ch’è͜ amato.

Facil s’è ciò͜ a [t]utti compreso fare,
Ch’Elena, avendo͜ anche͜ a superare
La beltà degl’[uo]mini assa͜i, per ma[re],
[Qu]ell’uom lasc[iat]o

[Di ciascun m]igliore, ver’ Troia͜ andò,
[Fi]glia͜ e ge[n]itori non ricordò
Proprio͜ af[fatto], ma [lungi] la guidò,
[Innamorata,

La Ciprigna: do]cile [piega ’l cuore
Se] qu[alcun co]nduce ͜[a non] lieve ͜[amore;
Sì] Anattorḯ[a h]o ora in cuore,
Ch'è lungi andata:

Il [s]u’͜ amato passo preferireï
E ’l splendor vedere sul viso a leï
Che de’ Lidi͜ i carri, e ne͜i clipèï
[Fanti] pugnare.

[Ben sap]pi͜am che [’l meglio] non può͜ accadere
A͜i morta[li;] priego però d’ [a]vere
[Ciò che prima͜ ave͜an lor è meglio͜ avere
Ch’esso scordare.]
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

[Q]uīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm [ē]ssĕ tērrā
Dēsŭp[ēr] pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ h[ō]c [vē]rē făcĭlēst [c]ŭīquĕ
Mēntĕ: nāmque īps’ [hŏ]mĭn’ ēxquĕ cēllēns
Mūltă pūlchrīs īll’ Hĕlĕn’, ābrĕ[līnq]uēns
[Ōp]tŭmŭm [ōmni͞um]

I͞it vĭr’ ūrb’ ăd Īlĭŭm ū[să] nāvĕ,
[Fī]lĭǣ cārû̄mquĕ sŭūm pă[rē]ntŭm
Tō[tŭm] ōblītāst, ăt ĕ’ īllă lōng’ āb-
dūxĭt [ămō]rĕ

[Cȳprĭ’:] nām [cōr sūb] dŏcĭl’ [īllă dūcĭt
Ē]ffĭcīt [s’ ŭt ha͞ud] lĕv’ [ămēt lŭbēt quĭs;
Sīccĕ] nūnc Ănāctŏr[ǣ ă]dīvĭt
Mē mĕmŏrāti͞o;

Mālĭm īncēssūm pĕrămātŭm [īll]i͞us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳd’ ĕt ĭn ārmŭm ōmnī
Quī [hŭmĭ p]ūgnānt.

[Scī]mŭs [ōptŭm’] ha͞ud pŏtĭs [ōptŭmā’]ssĕ
Fīĕrī vĭr[īs], ăt [h]ăbēndû̆m īllû̆m
[Ēst mĕli͞us mōrtālĭbŭ’ prēx qu’ hăbēbānt
Qu’ ha͞ud mĕmĭnīssĕ.]


Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Ove[r] bla[c]k earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
You’ll hold the best;

It’s easy t’ make t[h]is understood understood to [a]ll,
For Helen, who by far surpassed withal
The [hu]man beauty, l[e]ft [th]at man [of all]
By far the best,

And off she went to Troy by ship o’er sea,
Her parents nor her daughter, [none] did she
Remember, but was led away o’er sea,
[In lo]ve, afar,

[By th’ Cyprus-Goddess:] for [heart] easilỳ
[She bends, if f]orce [it to love] not [lightlỳ]
She does; [of] Anactoria [m]emorỳ,
Who is afar,

I’ve now, [wh]ose lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chari͜ots and soldi͜èrs
With shields in fight.

[Well do we kn]ow [the best] can never be
To m[an], for mortals [betterʼs] certainlỳ
[P]ra͞y͞er [of what they once had and memorỳ
Than ’ts absence might.]

Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οἰ δὲ νάων φαῖσ’ ἐπ[ὶ] γᾶν μέλαι‹ν›αν
[Ἔ]μμεναι κάλλιστον, ἔγω δὲ κῆν’ ὄτ-
τῳ τις ἔραται·

[Πά]γχυ δ’ εὔμαρες σύνετον πόησαι
[Π]άντι τ[ο]ῦτ’· ἀ γὰρ πόλυ περσκόπει[σ]α
[Κάλ]λος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
[κρίννεν ἄρ]ιστον

[Ὃς τὸ πᾶν] σέβας Τροΐα[ς ὄ]λεσσ[εν,
Κωὐδὲ π]αῖδος οὐδὲ φ[ί]λων το[κ]ήων
[Πάμπαν] ἐμνάσθη, ͜ ἀ‹λλὰ› παράγαγ’ αὔταν
[πῆλε φίλει]σαν

[Κύπρις· εὔκ]αμπτον γὰρ [ὐπάγαγ’ ἆτορ
Αἴ κεν οὐ] κούφως τ[ιν’ ἔραν π]oήσῃ·
[Ὤς] με νῦν Ἀνακτορί[ας ὀ]νέμναι-
σ’ οὐ παρεοίσας·

[Τᾶ]ς κε βολλοίμαν ἔρατόν τε βᾶμα
Κἀμάρυ‹γ›μα λάμπρον ἴδην προσώπω
Ἢ τὰ Λύδων ἄρματα κἀν ὄπλοισι
[πεσδο]μάχεντας.

[Εὖ μὲν ἴδ]μεν οὐ δύνατον γένεσθαι
[Λῷστ]ά ‹γ›' ἀνθρώπ[οισ', π]εδέχην δ’ ἄρασθαι.
[Τῶν πέδηχον ἐστι βρότοισι λῷον
ἢ λελάθεσθαι.]


Prole più amata di Terra e di Cielo

Folla di fanti o cavalier' si dice
O d’ navi sulla terra vincitrice
Di gara di beltade; io invece
Ch’è ciò ch’è amato;

Ben facile s’è ciò compreso fare
A ognun, ch’Elena, che potea mirare
Assai d’uomo beltade, ottimo, pare,
Ha giudicato

Chi in tutto onor di Troia cancellò,
E bimba e genitor’ non ricordò,
Ma, innamorata, lungi se ne andò,
E fu guidata

Dalla Ciprigna: do]cil [piega ’l cuore
Se] qu[alcun co]nduce ͜[a non] lieve ͜[amore;
Sì] Anattorḯ[a h]o ora in cuore,
Ch'è lungi andata:

L’amato passo suo preferirei
Veder, e lo splendor sul viso a lei,
Che carri Lidi, e Lidi ne’ clipei
Forte pugnare.

S’anche sappiamo ch’uomo mai toccare
Il mèi non può, voler partecipare;
{Di ciò ch’un tempo aveva, è per mortale
Mèi che scordare.}
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

Quīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm ēssĕ tērrā
Dēsŭpēr pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ hōc vērē făcĭlēst cŭīquĕ
Mēntĕ: nāmqu’ īll’ īps’ Ĕlĕn’ ēt vĭdēns sī
Mūltŭm ēx pūlchrīs hŏmĭnūm, vĭr ōmnĭ’
Ōptŭm’ hăbu͞it quī

Dīrŭīt tōtūm Trŏĭǣ hŏnōrĕm,
Fīlĭǣ cārû̄mquĕ sŭūm părēntŭm
Tōtŭm ōblītāst, ăt ĕ’ īllă lōng’ āb-
Dūxĭt ămōrĕ

[Cȳprĭ’:] nām [cōr sūb] dŏcĭl’ [īllă dūcĭt
Ē]ffĭcīt [s’ ŭt ha͞ud] lĕv’ [ămēt lŭbēt quĭs;
Sīccĕ] nūnc Ănāctŏr[ǣ ă]dīvĭt
Mē mĕmŏrāti͞o;

Mālĭm īncēssūm pĕrămātŭm īlli͞us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳdŭm ĕt īntŭ’ scūtīs
Quī hŭmĭ pūgnānt.

Scīmŭs ētsī ha͞ud pŏtĭs ōptŭmā’ssĕ
Fīĕrī vĭrīs, ăt hăbēndû̆m īllû̆m
Ēst mĕli͞us mōrtālĭbŭ’ prēx qu’ hăbēbānt
Qu’ ha͞ud mĕmĭnīssĕ.


Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Over black earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
The most are liked;

It’s easy t’ make this understood to all,
For Helen, who could see a lot of all
The human beauty, judged the best of all
The man she liked,

Who brought Troy’s honour downward totally,
Her parents nor her daughter, none did she
Remember, but was led away o’er sea,
In love, afar,

[By th’ Cyprus-Goddess:] for [heart] easilỳ
[She bends, if f]orce [it to love] not [lightlỳ]
She does; [of] Anactoria [m]emorỳ,
Who is afar,

I’ve now, whose lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chariots and soldiers
With shields in fight.

Although we know the best can never be
To man, for mortals better’s certainly
{Prayer1 of what they once had and memory
Than ’ts absence might.}.

Φίλτατον Γαίας γένος Ὀρράνω τε

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν
[Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ-
τῳ τις ἔραται.

[Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι
[Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθοισα
Κάλλος [ἀνθ]ρώπων Ἐλένα [τ]ὸ̣ν ἄνδρα
Τν [πανάρ]ι̣στον

Καλλ[ίποι]σ̣' ἔβα' ς Τροΐαν πλέο̣ι̣σα
κωὐδ[ὲ π]α̣ῖ̣δος οὐδὲ φίλων τοκήων
Πά[μπαν] ἐμνάσθ' ἀλλὰ παράγα̣̣γ' αὔταν
[κ]ω[κ ἀέκοι]σαν

[Κύπρις· ἄγν]αμπτον γὰρ [ἔχει] ν̣όημμα
[καὶ τέ]λει κούφως τ[ό κε πο]ι νοήσῃ̣
[Ὤς] μ̣ε̣ νῦν Ἀνακτορί[ας ὀ]νεμναί-
[σ' οὐ] π̣αρ̣εοίσας.

[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα
Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδην προσώπω
Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι
[πεσδομ]άχεντας

––Τέλος ᾄσματος––

[Ὄλβιον] μὲν οὐ δύνατον γένεσθαι
[πάμπ]α̣ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι
[ἔστιν ἔσλων μοῖραν·] ἔγω δ' ἔμ' αὔτᾳ
Τοῦτο σύνοιδα.

[Στρωφαί τινες δύνανται τῇδε ἀπολωλεκέσθαι.]

. . . γένεσθαι
Ο[      ] . . . βὰ̣ς̣ ἐπ' ἄκ̣ρας
Τ̣α[      ]ν χ[ί]ον'· ἀ̣ δ̣ὲ̣ πόλλα
Πρὸς [

Ὠς δ[      ]ω̣ν ἀπέ̣χθ̣ην
Τω̣[      ] . δύ̤ν̤ατ', ὄττινας γὰρ
Εὖ θέω, κῆνοί με μάλιστα σίννον-
τ' ἐξ ἀδοκή[τω.]


Prole più amata di terra e di cielo

Ciò che sull[a] terra ne[r]a͜ è più bello –
Dicesi͜ – è͜ un plotone di fanti,͜ o ’n quello
Cavali͜eri, o flotta di navi;͜ è quello –
Dico – ch’è͜ amato.

Facil s’è c[i]ò͜ a [t]utti compreso fare,
Ch’Elena, avendo͜ anche͜ a superare
La beltà degl’[uo]mini assa͜i, per mare,
[Q]uell’uom lasc[iat]o

[Di ciascun m]igliore, ver’ Troia͜ andò,
[Fi]glia͜ e genitori non ricordò
Proprio͜ af[fatto], ma [lungi] la guidò,
[N]e[mmen forz]ata,

La Ciprigna: mai le si p]iega il cuore,
C[iò che] vuol [l']è facile a tutte l'ore.
Sì] Anattorḯ[a h]o ora in cuore,
Ch'è lungi andata:

Il [s]u’͜ amato passo preferireï
E ’l splendor vedere sul viso a leï
Che de’ Lidi͜ i carri, e ne͜i clipèï
[Fanti p]ugnare.

––Fine poesia––

[Gioia pie]na non ci può capitare;
[Sol possiam] noi [uom]ini implorare
[D'aver parte al bene;] ciò sé mi pare
Chiaro mostrare.

[Potremmo aver perso delle strofe qui.]

[–u–] succedere [–u–u]
[–u–] in punta di piedi andava
[–u] neve; lei molte cose [–u]
Verso [u–u]

Sì [u–u–u] odiare [–u
–u–u] può; chi io curo a me
Più d'ogn'altro male mi fa, ahimè,
All'improvviso.
Prōgĕni͞es cǣlī pĕrămāt’ ĕt ōrbĭs

[Q]uīd’ ĕquû̄mvĕ cūm pĕdĭtūmvĕ dīcūnt
Nāvĭūmv’ ēxērcĭtŭm [ē]ssĕ tērrā
Dēsŭp[ēr] pūlchērrĭm’, ĕg’ īpsă a͞utĕm
Quīdquĭd ămātŭr;

Prēndĕr’ h[ō]c [vē]rē făcĭlēst [c]ŭīquĕ
Mēntĕ: nāmque īps’ [hŏ]mĭn’ ēxquĕ cēllēns
Mūltă pūlchrīs īll’ Hĕlĕn’, ābrĕ[līnq]uēns
[Ōp]tŭmŭm [ōmni͞um]

I͞it vĭr’ ūrb’ ăd Īlĭŭm ūsă nāvĕ,
[Fī]lĭǣ cārû̄mquĕ sŭūm părēntŭm
Tō[tŭm] ōblītāst, ăt ĕ’ [ha͞udquĕ nōlēnt'
Īd sĭbĭ] dūxĭt

[Cȳprĭs: īll'] ĕnīm făcĭlēst [hăb]ērĕ
[Fāctă] cōrdĕ q[uǣ] vĕlĭt [ōbs]tĭnātō;
[Sīccĕ] nūnc Ānāctŏrĭ[ǣ ă]dīvĭt
Mē mĕmŏrāti͞o:

Mālĭm īncēssūm pĕrămātŭm [īlli͞]us
Ātquĕ lūcĕm āspĭcĕr’ ēiŭ’ vūltūs
Qu’ hōsquĕ cūrrūs Lȳdŭm ĕt īntŭ’ scūtīs
Quī [hŭmĭ p]ūgnānt.

––Finis carminis––

[Plē]năm ūmquām [lǣtĭtĭām] sĭbīmĕt
Nōn vĭdīt v[īv]ēns, tămĕn āpprĕcārī
[Pārtĕm ēst bǒnī pŏt';] ĕg' īpsă mīmĕt
Hōc vĭdĕō nūnc.

[Aliquot strophæ possunt hic perditæ esse.]

[–u–x–] fĭĕrī [u–x]
[–u] ārrēctō grăd' ĭēbăt [–x
–u–x–u] nĭv'; īllă plūră
[–uu] vērsǔs

Sīc [u–] ōdīssĕ [u–u–x
–] pŏtēst [x–uu] quōsquĕ cūrō,
Nōn ŏpīnātē fĕrĭūnt quĭdēm mē
Māxĭmŭm ōmni͞um.


Dearest offspring of Heaven and of Earth

Foot-soldiers’ army, one of ships, or knights
Ove[r] bla[c]k earth ’tis said that most delights;
I say, instead, that of what’s loved the sights
You’ll hold the best;

It’s easy t’ make t[h]is understood understood to [a]ll,
For Helen, who by far surpassed withal
The [hu]man beauty, l[ef]t [t]hat man [of all]
By far the [b]est,

And off she went to Troy by ship o’er sea,
Her parents nor her [da]ughter, [none] did she
Remember, but was led away o’er sea,
[W]i[ll]ing, afar,

[By th' Cyprus-Goddess: always] easilỳ
She [do]es [what her own] heart [unw]ieldilỳ
Doth want; [of] Anactoria [m]emorỳ,
Who is afar,

I’ve now, [who]se lovèd footfall I’d prefer
Together with her shining face and her
To see than Lydian chariots and soldiers
With shields in [f]ight.

––End of poem––

While a [m]an can ne'er [ful]ly [happy] be,
He can pray the gods to be [partially
Glad;] these things appear to me clëarlỳ
As e'er they might.

[Some stanzas may have been lost here.]

[–u–u] happen [u–u–
–u–u] tiptoed [u–u–
–u] Snow; [for] she many things [u–]
T'wards [uu–]

Thus [u–u–uu] hate [u–
–u–u–u] can; those indeed
I do care for, hurt me the most indeed,
Out of the blue.




Critical Note

I am sure you are thinking: «Oh my! What are all those versions? And which one is the correct one?». Well, let me first of all highlight a problem in establishing the answer to this question. I will do so by giving you the Grenfell-Hunt transcription of the papyrus giving us the bulk of this text, and the Campbell text annotated with comparisons to Lobel-Page and Voigt.





And no, I am not kidding. This is the actual situation. That is some serious difference, right? So who is right? Are these even the same poem? Well, clearly they are, there is way too much overlap for them not to be, isn't there now? Alright. I first present you with the older version of this note, in its spoiler form. The spoiler contains an extract of the Paracritical Note I wrote back in the days when I translated Sappho, in the original Italian, with only a few English notes. The important parts will be mentioned in the rest of the note, but I want to leave it for anyone willing to delve into that Italian prose to see exactly what I wrote about this poem back then.



With that out of the way, let us look at the timeline of the sources for this mess.

  1. Apollonius Dyscolus wrote a treatise on syntax, and in book 3 of said treatise, he quoted Sappho thus: «τὸ ἐρᾶν ὁμολογεῖ τὸ προσδιατίθεσθαι ὑπὸ τοῦ ἐρωμένου· διὸ καὶ δεόντως ἡ Σαπφὸ ἐπιτεταμένῳ μᾶλλον ὀνόματι ἐχρήσατο· ἐγὼ δὲ καὶ ἡ νοττῶτις ἐρᾶται»; now this is how the tradition gives it to us, with codices giving the καὶ ἡ νοττῶτις part as κηνοττωτις; in 1843, the Bergk edition of Sappho corrects this into its fr. 16, which reads «Ἔγω δὲ κῆνο, / τῶ τις ἐρᾶται»; in fact, the codices had it right, and the quote should read «ἔγω δὲ κῆν' ὄτ- / τω τις ἔραται», but Bergk possibly didn't know Aeolic doubles the tau in ὄτω, and for some reason went for a relative τῶ, perhaps to avoid the word split between lines; the introduction to the Sappho quote reads «loving agrees with being disposed of by the loved thing; for this reason Sappho suitably decleared, with an intensified name»;
  2. The Etymologicum Magnum, or Ἐτυμολογικὸν τὸ μέγα, has the following Sappho quote: «ὥσπερ δαμῶ, δαμείω, οὕτω θῶ θέω· καὶ παρὰ Σαπφοῖ· ὅττινας γὰρ εὖ θέω κῆνοί με μάλιστα σίννονται», «just like δαμῶ becomes δαμείω [in Aeolic], so θῶ becomes θέω; and in Sappho: those I care for, those hurt me the most»; this is Bergk fr. 14, actually corrected from κεῖνοι and σίνονται;
  3. Apollonius Dyscolus wrote a treatise on pronouns, and in it he quotes Sappho: «ἐγὼν Αἰολεῖς βαρέως· ἔγων δ' ἔμ' αὔτᾳ τοῦτο σύνοιδα Σαπφώ», that is «ἐγὼν is stressed on the first syllable in Aeolic: [Sappho quote], says Sappho»; Bergk here suggests perhaps συνώϊδα is correct, to make this an Alcaic hendecasyllabic, but why do so if it is already a perfectly fine ending for a Sapphic stanza?
  4. In 1914, Grenfell and Hunt publish volume X of the Oxyrhynchus Papyri; in it, P.Oxy. 1231 fr. 1 col. i is found, part of which is the above transcription, with various reading notes which are discussed at the papyri transcriptions post; I really wish I had an image of said papyrus to be able to tell what went on in l. 9, which is the only difference (outside lacuna fillings that is, and the oscillations on the critical notation for the sigma in l. 6, which is either absent, or uncertain, or certain, respectively in GH, LP, and Campbell) which is not sanable via reading uncertainties, at least as far as the P.Oxy. volume tells me;
  5. In 1976, P.Oxy. volume 21 appeared, where it was mentioned that two scraps were inserted in this fragment, one on the left, and one in the middle of the right portion; a combined text was given, which was essentially what Lobel-Page took up in 1955 in his Sappho edition; the transcriptions post makes an educated guess at the raw transcription of those two scraps, called P.Oxy. 2166(a) frr. 2a-2b (because of course two scraps have one number, so I have to add letters myself to distinguish them), discussing possibilities of splitting of Λ€ΟΙ between the 1231 fragment and one of the scraps from 2166(a); unfortunately, I do not (or at least, did not when I wrote the note, when I checkup the papyri post we will see) see any way to hypothise a form for this fragment that doesn't question the certain letters of Grenfell-Hunt, since supposing Λ€ΟΙ to be half on 1231 and half on 2166(a) would mean nothing could really be certain in 1231, right? However, that fragment definitely has to interfere with the OI, or the former ϹϹ̣ couldn't turn to OỊ by some magic it itself worked;
  6. P.Oxy. 2166(a) fr. 2a also gives us a grave accent alone in l. 12; now this definitely dispels the πῆλε φίλεισαν option; AFAIK the grave accent was used in papyri to warn about the presence of diphthongs, and nothing else; hence, all the options in my versions would be dispelled; so what is a likely reading for the papyrus? Well, ΚὼΥΚ is; so the versions with οὐκ ἀέκοισαν were almost correct;
  7. Lobel-Page in 1955, Voigt in 1971, and Campbell in 1982 basically follow this text, minus some minor oscillations; so this suggests the correct version is Campbell's, with a suitable completion of the holey stanzas, that is 4 and 6; but this is not the end of the story;
  8. By the way, Lobel-Page also inserts P.Oxy. 1231 fr. 36 into the mix, "quamvis dubitanter" (although doubtingly); I don't know what brings the two to do this, but they were right, as we shall see;
  9. In 2014, the P.GC. inv. 105 are published, which are discussed in the transcriptions post, and which cause a minor revolution; firstly, they confirm the doubtful reading of l. 6 in Lobel-Page and following, making it certain; then they destroy the Grenfell-Hunt (and Edmonds) completion of l. 9, as if 2166(a) hadn't already done that, by giving the CA at the end a certainty status; thirdly, they provide extra endings in the holey stanzas, which destroys all the completions I found back in the days for stanza 4, and revolutionizes stanza 6, throwing item 3 into it; fourthly, it gives a whole bunch of new lines, so many in fact that the poem, which went on up to the τ' ἐξ ἀδοκήτω line, is longer than any attested; this causes a split of poems essentially necessary, and since stanza 6 is a very convenient splitting point, given that its first line could start with ὄλβιον instead of εὖ μὲν ἴδμεν, thus satisfying the alphabetical arrangement of the sequence of poems found in 1231 and in P.GC., this tells us the poem ended at stanza 5, and stanza 6 started a new poem, of which we now have much more than ever before;
  10. Also, item 2 gets thrown into that second poem, at the very end, and P.Oxy. 1231 fr. 36 is confirmed to fit into this mix.
If I had done my research back in the days, I would not have considered both versions equally likely, and might have saved some translations, only doing the GW ones. But I did not. Here is the timeline of my work on this.
  • I started off Greek Wikisource and Bibliotheca Augustana, very similar, producing the GW version;
  • Then I probably looked at English Wikisource or GH or a combination, et voilà the Oxy/GW, where GW is for some completions which I preferred in the GW version and still fit the GH version;
  • Then I looked at TCPOS and found a different take on l. 12, where instead of τὰν ἀέκοισαν (the unwilling one, i.e. Helen was unwilling to go away to Troy) I found οὐκ ἀέκοισαν (not unwilling, again referred to Helen); this sounded much better than τὰν ἀέκοισαν, so I adopted it, et voilà the GW+TCPOS version, which was hidden in the Paracritical note while the GW version stayed in the file;
  • The Oxy version had πῆλε φίλεισαν there, taken once again from TCPOS to have a complete l. 13, instead of keeping Κύπρις ἔραισαν as found in the GH P.Oxy. volume; TCPOS also helped me figure out πεδέχω takes the genitive for the object, and not the accusative, so that I restored the original English Wikisource completion of stanza 6, which I had previously amended; this gives the GW/Oxy+TCPOS version, again hidden in the Paracritical Note;
  • Then I thought this poem was done with, and went on; on the way through other poems, I found safopoemas.doc referred to on TCPOS; this is the "para imprimir" (to be printed) version of a Spanish Sappho edition, with text prepared as whoever prepared it wanted, essentially, and translations by Señor Montemayor; this document is just horrible: typos galore, texts that are incredibly incomprehensible and don't even match the Spanish or any other text; however, in some points, despite stating they prefer to follow those that complete less, they actually complete more than others (even Edmonds at times, and that goes a long way); in this poem, they provide an interesting completion of stanza 4, which I took up and made into my file's "fragment re-16" at the end of the GW poems; that was the GW+safopoemas version;
  • Finally, readying the blog, I saw this mess, and I thought it would be terribly asymmetric not to have a GW/Oxy+safopoemas version, so I created it, and just adjusted the translations as explained in the intro.

So that explains the multiple versions. Notice that I chose ἀεὶ τὸ θῆλυ over ἔφυ βρότων κῆρ because of the monosyllabic last word, though probably the second version was reluctantly doffed, given that it is more general in considering "mortals" instead of "females"; moreover, the safopoemas versions are editings of the TCPOS versions.
Naturally, working for the blog I also came about P.GC., and that is discussed at (guess…) the transcriptions post, where the following combined text of everything is given, 1231 fr. 1 being uncolored, fr. 36 being red, 2166(a) being blue, P.GC. being yellow, item 3 being purple and item 2 being brown, oh and PSI 123 (yep, I forgot about that, it's just a few extra letters in the last line) being pink:

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν
[Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ-
τῳ τις ἔραται.
[Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι
[Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθοισα
Κάλλος [ἀνθ]ρώπων Ἐλένα [τ]ὸ̣ν ἄνδρα
Τν [ άρ]ι̣στον
Καλλ[ίποι]σ̣' ἔβα' ς Τροΐαν πλέο̣ι̣σα
Κωὐδ[ὲ π]α̣ῖ̣δος οὐδὲ φίλων τοκήων
Πά[μπαν] ἐμνάσθ' ἀλλὰ παράγα̣̣γ' αὔταν
[.] [......]σαν
[.......]αμπτον γὰρ [ ] ν̣όημμα
[....] . . . κούφως τ[.....] . νοήση̣
[Ὤς] μ̣ε̣ νῦν Ἀνακτορί[ας ὀ]νεμναί-
[σ' οὐ] π̣αρ̣εοίσας.
[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα
Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδην προσώπω
Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι
[......μ]άχεντας
[.......]μεν οὐ δύνατον γένεσθαι
[.....]α̣ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι
] ἔγω δ' ἔμ̣' αὔ̣τ̣ᾳ
Τοῦτο σύνοιδα.
[Possible lacuna of some whole stanzas.]
. . . γένεσθαι
Ο[      ] . . . βὰ̣ς̣ ἐπ' ἄκ̣ρας
Τ̣α[      ]ν χ[ί]ον'· ἀ̣ δ̣ὲ̣ πόλλα

Πρὸς
Ὠς δ[      ]ω̣ν ἀπέ̣χθ̣ην
Τω̣[      ] . δύ̤ν̤ατ', ὄ̣ττινας γ̤ὰρ

Εὖ θ̣έω, κῆνοί με μά̤λ̤ιστα σ̣ίννον-
τ' ἐξ ἀδοκή[τω.

Before I take Obbink's apparatus criticus and use it to complete the above, one last thing. The P.Oxy. 1231 fragment left the possibility of μεμναι in l. 15, with Edmonds taking it as «[ἄμ]με νῦν, Ϝανακτορί[α, τὺ] μέμναι- / [σ' οὐ] παρεοίσαις», which of course conflicts with the certain ΟΙϹΑϹ in the papyrus, and which English Wikisource tampered with to get [Οὐ]δὲ νῦω, Ἀνακτορί[α, τὺ] μέμναι / [δὴ] παρεοίσας, which probably doesn't make sense as μέμναι doesn't exist; the Edmonds text is translated by Edmonds to «See to it then that you remember us Anactoria, now that we are parted», and English Wikisource gives the translation «So mightest thou fail, My Anactoria, if she were with you», which is Cox's translation, and I cannot see how this matches the original, given that μέμναι, if it exists, should be a form of "to remember", not "to fail". In any case, P.GC. dispels that option, making the nu of Ν€ΜΝΑΙ certain. That said, here is the completed text with a prose translation.

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν
[Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ-
τῳ τις ἔραται.

[Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι
[Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθοισα
Κ̣άλλος [ἀνθ]ρώπων Ἐλένα̣ [τ]ὸ̣ν ἄνδρα
Τ̣ὸν [πανάρ]ι̣στον

Καλλ[ίποι]σ̣' ἔβα' ς Τροΐαν πλέοι̣σα
κωὐδ[ὲ π]α̣ῖ̣δος οὐδὲ φίλων τοκήων
Πά[μπαν] ἐμνάσθ' ἀλλὰ παράγα̣γ' αὔταν
[κ]ω[κ ἀέκοι]σαν

[Κύπρις· ἄγν]αμπτον γὰρ [ἔχει] ν̣όημμα
[καὶ τέ]λει κούφως τ[ό κε πο]ι νοήσῃ̣
[Ὤς] μ̣ε̣ νῦν Ἀνακτορί[ας ὀ]νεμναί-
[σ' οὐ] π̣αρ̣εοίσας.

[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα
Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδην προσώπω
Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι
[πεσδομ]άχεντας

––Τέλος ᾄσματος––

[Ὄλβιον] μὲν οὐ δύνατον γένεσθαι
[πάμπ]α̣ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι
[ἔστιν ἔσλων μοῖραν·] ἔγω δ' ἔμ' αὔτᾳ
Τοῦτο σύνοιδα.

[Στρωφαί τινες δύνανται τῇδε ἀπολωλεκέσθαι.]

. . . γένεσθαι
Ο[      ] . . . βὰ̣ς̣ ἐπ' ἄκ̣ρας
Τ̣α[      ]ν χ[ί]ον'· ἀ̣ δ̣ὲ̣ πόλλα
Πρὸς [

Ὠς δ[      ]ω̣ν ἀπέ̣χθ̣ην
Τω̣[      ] . δύ̤ν̤ατ', ὄττινας γὰρ
Εὖ θέω, κῆνοί με μάλιστα σίννον-
τ' ἐξ ἀδοκή[τω.]
[S]ome say that an army of knights, some one of pedestrian soldiers,
Some one of ships, ove[r] the da[r]k earth
Is the most beautiful thing; I say, instead, that it's whatever
One loves.

It's [wh]olly easy to make t[h]is understood
To [a]ll: for she who had so much
Of [hu]man beauty, Helen, le[f]t [t]he man
That was the [b]est [of all]

And went sailing to Troy,
No[r] did she remember of her [d]aughter or of her dear parents
At [all], but [Cypris] led her away,
[N]o[t even unwill]ing:

Indeed [she has] an [unw]ielding mind,
[And] easily [comp]letes w[hatever] she thinks of.
[Thus] Anactori[a] has now been brough[t] to my mind,
Who is [not] present.

I had rather see [he]r loved footfall
And the bright sparkle on her face
Than the chariots of the Lydians and their soldiers clad in shields
[F]ighting [on foot].

––End of poem––

While it is impossible for me[n] to be
[Comple]tely [happy], [it is possible] to pray to have
[A share of good things;] and I myself
Know this well.

[A few stanzas may have been lost here.]

. . . happen
[      ] . . . walked on tiptoes
[      ]ν snow; but she many things
Unto [

Thus [      ] hate
[      ] . can; for those whom
I treat well, those more than all harm me
Unexpecte[dly.]

Note that I kept the quotes as in P.GC. plus integrations in the combined text to show exactly what the papyrus had, but then in the above completed text I reverted to the usual practice of having quotes all certain. I chose τὸν πανάριστον because that's what I originally had, but τόν περ ἄριστον is just as likely.
As for the critical notation, I didn't bother making it match exactly with the transcriptions, because it would be too boring. I just made sure the Greek text had no weird or misused notations, and left the other texts as they were. Here is the combined text from the transcriptions post, with only 1231 frr. 1 and 36 on the left, and 2166(a) on the right, 1231 fr. 1 uncolored, fr. 36 red, 2166(a) scraps both blue:

[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν
[Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ-
τῳ τις ἔραται.
[Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι
[Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκό̣π̣ε̣ι̣[σ]α
[Κάλ]λος [ἀνθ]ρώπων Ἐλένα̣ [τὸ]ν ἄνδρα
[Κρίννεν ἄρ]ι̣στον
[Ὂς τὸ πᾶν] σ̣εβας Τροΐα[ς ὄ]λεσσ̣[εν]
[Κωὐδὲ π]α̣ῖ̣δος οὐδὲ φ̣[ί]λ̣ων το[κ]ήων
[.......] ἐμνάσθ' ἀ[λλὰ] παράγαγ' αὔταν
[........]σαν
[.......]αμπτον γὰρ [
[....] . . . κούφως τ[.......]οήση̣
[Πῆ]λ̣ε̣ νῦν Ἀνακτορί[ας ὀ]ν̣εμναί-
[σθ]η̣‹ν› ἀπ̣εοίσας.
[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα
Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδην προσώπω
Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι
[......μ]άχεντας
[.......]μεν οὐ δύνατον γένεσθαι
[.....]α̣ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι
[Several lines lost]
Πρὸς [
Ὠς δ[

[Several lines lost]
τ' ἐξ ἀδοκή[τω.
[Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων
Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν
[Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ-
τῳ τις ἔραται.
[Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι
[Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέ̣θ̣ο̣ι̣[σ]α
Κάλλος [ἀνθ]ρώπων Ἐλένα [τὸ]ν ἄνδρα
Τν [ άρ]ι̣στον
Καλλ[ίποι]σ̣' ἔβα' ς Τροΐαν πλέο̣ι̣[σα]
Κωὐδ[ὲ π]α̣ῖ̣δος οὐδὲ φίλων το[κ]ήων
Πά[μπαν] ἐμνάσθ' ἀλλὰ παράγαγ' αὔταν
[.] .̀ [......]σαν
[.......]αμπτον γὰρ [
[....] . . . κούφως τ[.......]οήση̣
[Ὤς] μ̣ε̣ νῦν Ἀνακτορί[ας ὀ]ν̣εμναί-
[σ' οὐ] π̣αρ̣εοίσας.
[Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα
Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδην προσώπω
Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι
[......μ]άχεντας
[.......]μεν οὐ δύνατον γένεσθαι
[.....]α̣ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι
[Several lines lost]
Πρὸς [
Ὠς δ[

[Several lines lost]
τ' ἐξ ἀδοκή[τω.


The completed text with P.GC. does have the correct notation, being just the combined text with no colors and more completions. In the original Greek text of the translated versions, in some versions, for some fundamental notational misunderstanding, I had applied angled brackets for lacuna fillings and square ones for emendations, but then I had slashes and backslashes, both double and single (e.g. /a\ and //a\\), for purposes I cannot tell, and braces probably for completely lost lines.
As a final remark, Grenfell-Hunt have a different suggestion for the completoin of stanza 6: «ἔστι πὰρ θέων μακάρων ἔκοισαν / τῶν παρεόντων», which is Wilamowitz's completion ("W-M", as GH puts it), and makes the stanza translate to «Well do we know that it is not possible for the best things / To happen to men, but it is possible to pray / To have a share in the gods' wills / If they are present». In translating, I assumed ἔστι πὰρ was meant as tmesis and anastrophe of πάρεστι, for otherwise I have no clue how the sentence is supposed to be parsed. And the note is over.