Friday, 30 June 2017

Un petalo di fiore

Oggi abbiamo una canzone Giapponese tradotta in Italiano mantenendo la musica. Per la precisione, si tratta di Hitohira no hanabira, del gruppo Stereopony. La traduzione risale probabilmente a Gennaio-Febbraio-Marzo del 2012, poco dopo quella del post scorso. Anche questa, come la scorsa, mi è stata suggerita da Majoneko-chan, che stravede per questo gruppo e me ne ha consigliate 4 di loro canzoni (e una quinta l'ho trovata io, e anche una sesta ma quella non l'ho tradotta), e io l'ho collocata tra le traduzioni fatte per esercizio di Giapponese. Facendo il checkup di questo post l'8/6/19 intorno tra le 13:47 e le 13:59 ho fatto delle modifiche all'italiano, che ha due versioni con tab di navigazione.

Giapponese

一片ひとひら花弁はなびら

ヒトヒラのハナビラが
れているぼくのとなりでいま
間違まちがったこいだった
そんなことおもいたくはない

テーブルのこうくらかおしてる
言葉ことばおびえてんだ
一体いったいいつから僕等ぼくらこんな気持きもちに
づかないふりつづけてたんだ?
出逢であったのような
あのとおかぜなか
やりなおせるのなら
もう一度いちど      きしめたい

ヒトヒラのハナビラが
れているぼくのとなりでいま
間違まちがったこいだった
そんなことおもいたくはない

すききだったはずだった
いつだってこえきたくなるほど
それなのにとど
さききみえなくなりそうだ

平気へいきだってすぐ我慢がまんしてたのは
きっと僕達ぼくたちわるとこ
いつも一緒いっしょにいたいっておもってたけど
すれちがいは現実げんじつえた?
出逢であったのような
あのやわらかな笑顔えがおだって
すぐにもどせる
がしてた      きしめたい

ヒトヒラのハナビラが
れているぼくのとなりでいま
間違まちがったこいだった
そんな事思おもいたくはない

だまったままきみひら
たどりいたなみだはじけた
こんな僕達ぼくたち時間じかんもどして・・・

ヒトヒラのハナビラが
れているぼくのとなりでいま
間違まちがったこいだった
なんわすれられるはずはないんだ

きだったきだった
いまだってすがきたくなるほど
それなのにとど
さききみえなくなりそうだ
Hitohira no hanabira

Hitohira no hanabira ga  
Yurete iru boku no tonari de ima  
Machigatta koi datta  
Sonna koto omoitaku wa nai  

Tēburu no mukou kurai kao shiteru  
Kiridasu kotoba ni obiete n da  
Ittai itsu kara bokura konna kimochi ni  
Kizukanai furitsudzuketeta n da  
Deatta hi no you na  
Ano sukitooru kaze no naka de  
Yarinaoseru no nara  
Mou ichido      dakishimetai  

Hitohira no hanabira ga  
Yurete iru boku no tonari de ima  
Machigatta koi datta  
Sonna koto omoitaku wa nai  

Suki datta hazu datta  
Itsudatte koe ga kikitaku naru hodo  
Sore na no ni te ga todoku  
Saki no kimi ga mienaku nari sou da  

Heiki datte sugu gaman shiteta no wa  
Kitto bokutachi no warui toko de  
Itsumo issho ni itai tte omotteta kedo  
Surechigai wa genjitsu wo kaeta?  
Deatta hi no you na  
Ano yawarakana egao datte  
Sugu ni torimodoseru  
Ki ga shiteta      dakishimetai  

Hitohira no hanabira ga  
Yurete iru boku no tonari de ima  
Machigatta koi datta  
Sonna koto omoitaku wa nai  

Damatta mama no kimi no te no hira  
Tadoritsuita namida ga hajiketa  
Konna bokutachi no jikan wo makimodoshite…  

Hitohira no hanabira ga  
Yurete iru boku no tonari de ima  
Machigatta koi datta  
Nante wasurerareru hazu wa nai n da  

Suki datta suki datta  
Ima datte sugaritsukitaku naru hodo  
Sore na no ni te ga todoku  
Saki no kimi ga mienaku nari sou da  


Italiano
Un petalo di fiore

Di un fiore un solo petalo
Dondolando sta qui, al mïo fianco, adesso.
“Era un amor che sbagliava”:
Tale cosa io, no, non voglio pensare.

Al di là del tavolo fai una faccia scura
Io temo le parole che tu stai per dire
Ma quando mai noi un tale sentimento abbiam
Cominciato a fare finta d’ignorare?
Nel vento trasparente
Tal qual nel giorno che ti ho incontrata
Se potessimo ricominciar
Una volta ancor      ti voglio abbracciar

Di un fiore un solo petalo
Dondolando sta qui, al mïo fianco, adesso.
“Era un amor che sbagliava”:
Tale cosa io, no, non voglio pensare.

Davver credo che t’amavo
Al punto che la tua voce sempre voglio risentir
Nonostante ciò prima ch’io ti dia
La mano mia dalla mia vista tu sparir sembri

Che eravam pazienti fingendoci indifferenti
Certo è quello che c’è di male in noi due
Ben che pensassimo di volere stare insieme sempre
Il nostro incontro ha forse la realtà cambiato?
Quel tuo sorriso dolce
Tale qual nel giorno che ti ho incontrata
Di recuperare presto io
Avevo urgenza      ti voglio riabbracciar

Di un fiore un solo petalo
Dondolando sta qui, al mïo fianco, adesso.
“Era un amor che sbagliava”:
Tale cosa io, no, non voglio pensare.

Sulle palme di te che ora stai in silenzïo
Le lacrime che ci cadevan rimbalzavano
Riavvolgi, ti prego, un tempo come il nostro fu…

Di un fiore un solo petalo
In danza è caduto al mïo fianco, adesso.
“Era un amor che sbagliava”:
Non credo che una cosa simile potrò scordarmi

Ti amavo, ti amavo,
Al punto che anche ora io ti voglio riabbracciar
Nonostante ciò, prima ch’io ti dia
La mano mia dalla mia vista tu sparir sembri
Un petalo di fiore

Di un fiore un solo petalo
Dondolando sta qui, al mïo fianco, adesso.
“Questo nostro amor era un error”:
Tale cosa io, no, non voglio pensare.

Al di là del tavolo fai una faccia scura
Io temo le parole che tu stai per dirmi
Da quanto tempo è che un sentimento come questo noi
Continuiamo a fare finta d’ignorare?
Nel vento trasparente
Tal qual nel giorno che ti ho incontrata
Se potessimo ricominciar
Una volta ancor      ti voglio abbracciar

Di un fiore un solo petalo
Dondolando sta qui, al mïo fianco, adesso.
“Questo nostro amor era un error”:
Tale cosa io, no, non voglio pensare.

Credo che davver io t’amavo
Al punto che ti volevo sempre risentir parlar
Nonostante ciò prima ch’io ti dia
La mano mia dalla mia vista tu sparir sembri

Che eravam pazienti fingendoci indifferenti
Certo è quello che di male c'era tra noi due
Ben che pensassimo di volere insieme per sempre star
Il nostro incontro ha forse la realtà cambiato?
Quel tuo sorriso dolce
Tale qual nel giorno che ti ho incontrata
Di recuperare presto io
Avevo urgenza      ti voglio riabbracciar

Di un fiore un solo petalo
Dondolando sta qui, al mïo fianco, adesso.
“Questo nostro amor era un error”:
Tale cosa io, no, non voglio pensare.

Sulle palme di te che stavi in silenzïo
Le tüe lacrime candendo rimbalzavano
Riavvolgi, ti prego, un tempo come il nostro fu…

Di un fiore un solo petalo
In danza è caduto al mïo fianco, adesso.
“Questo nostro amor era un error”:
Non credo che una cosa simile potrò scordarmi

Ti amavo, ti amavo,
Al punto che ancora adesso voglio aggrapparmi a te
Nonostante ciò, prima ch’io ti dia
La mano mia dalla mia vista tu sparir sembri

Tuesday, 27 June 2017

Comments to my Sappho sources

First, we read what I said about those I had back in the days, right off my Paracritical Note:

«Cominciamo dalla prima da cui ho tratto: Vikiþíki. Chiaro che è incompleta, non mostra in alcun modo le incompletezze e le insicurezze del testo, e – ristrettamente all’Inno ad Afrodite – fa un sacco di errori di stumpa.
Da qui giungo a Bibliotheca Augustana. Gran bella fonte, che usa il dovuto apparato critico, sebbene usi il + per la crux desperationis. Talvolta non capisco le sue soluzioni, ma forse per mia inesperienza.
The Complete poems of Sappho, essendo «a lot of documents cobbled together after a lot of research», «un sacco di documenti mischiati insieme dopo un sacco di ricerche», non può certo pretendere di essere la fonte migliore. Tuttavia è più completa di Vikiþíki, offre talvolta interessanti soluzioni, e riporta varie utili traduzioni.
Da qui si giunge a safopoemas, ivi citato e linkato.
Prima il doc: è una buona fonte per i frammenti ivi antologizzati, tanto che è la sua soluzione che ho adottato per l’ad. Essendo un’antologia, è dichiaratamente incompleta, nel senso che non riporta tutti i frammenti.
Safopoemas... be’, ne ho già parlato sopra:
  1. Un macello di stupidissimi errori di stumpa che rendono spesso incomprensibile il testo che va ricostruito per poi essere letto; chissà che non si tratti di mojibake, ovvero che il mio computer abbia corrotto il documento sbagliando codifica;
  2. Dice che preferisce chi si trattiene dal completare troppo, e poi contraddittoriamente completa ove altri non completano, prendendo da Edmonds che in quest’arte è spregiudicato maestro, ed offrendo a volte anche interessanti soluzioni (vedasi Phíltatŏn Gaíaś gĕnŏś Ŏrránō tĕ);
  3. Traduce in verso libre, scelta che io non gradisco troppo; ho infatti sempre concepito poesia in opposizione a prosa, un po’ come Gorgia, “Τὴν ποίησιν ἅπαντα καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον”, “credo e nomino tutta la poesia un discorso avente metro”, dove il metro può essere il più vario possibile, ma deve esserci, mentre nel verso libre el gh’è no; c’è però anche un altro senso di poesia in Italiano, cioè qualcosa di “poetico”, affascinante, con pathos, cosa che però può esser fatta anche in prosa, dando luogo alla possibilità di espressioni apparentemente contraddittorie come poesia in prosa o poesia non poetica; questo senso può certo essere visto in poesie scritte in verso libre, sebbene non tutti i frammenti, secondo me, seguano questo tipo di poesia; può essere che il traduttore abbia curato i suoni e le parole in modo particolare; oppure che abbia scritto verso libre per farsi il figo quando avrebbe dovuto scrivere prosa.
Prima di Edmonds parliamo di Campbell. Campbell si propone di sostituire i Lyra Græca di Edmonds aggiungendo le nuove scoperte di materiale, e completando un po’ meno i testi. Questo è quello che fa, con giusto apparato critico e note su chi ha completato. Grenfell e Hunt sono una bella fonte, perché portano trascrizioni “crude” dei papiri e note sulle possibili letture di lettere dubbie, quando non immagini dei papiri. Chiaro che non possono essere esaustivi su Saffo, perché i Papiri di Ossirinco non sono l’unica fonte per Saffo, però in quel che hanno son di grande aiuto.
Or ne veniam da ultimo a Edmonds. Su di lui cito la prefazione del Campbell: «J. M. Edmonds' three volumes of Lyra Graeca have given useful service since their appearance some fifty years ago, but the time has come to replace them. Much new material has been unearthed; and Edmonds' version of the papyrus texts was spoiled by his excessive eagerness to fill the gaps», ossia «I tre volumi del Lyra Græca di J. M. Edmonds hanno fornito utili servizi dalla loro pubblicazione un cinquant’anni fa, ma è giunta l’ora di sostituirli. Molto nuovo materiale è stato dissotterrato; e la versione del testo del papiro di Edmonds è stata rovinata dalla sua eccessiva ansia di riempire i buchi». Penso che questo sia un giudizio sintetico e corretto: davvero costui completa troppo, anche se talvolta lo seguo. Basti pensare a quell’ΑΜΦ che vedete sopra nel testo Edmonds: lui si giustifica dicendo in nota «very tentatively restored by E.; many words even outside the brackets are very doubtfully legible, especially after 1. 9, cf. C.R. 1916. 131 : separation of the strophes uncertain», «restaurato molto tentativamente da E. molte parole anche fuori dalle parentesi sono molto dubbiosamente leggibili, specie dopo il v. 9, cf. C.R. 1916. 131 : separazione delle strofe incerta», ma nessun altra mia fonte riporta quelle lettere, tanto che io l’ho posto tra gli ΑΜΦ. Poi a volte taglia via dei pezzi, a volte ipereolicizza, a volte si inventa cose che non esistono, tipo il duale nell’Inno ad Afrodite (i passeri) quando il duale è solo dell’attico, o prŏtí per pĕrí, dove chiunque riporta pĕrí, e quindi la fonte doveva essere così, o dŏlŏ́plŏka per -ĕ, o altro. Comunque nella sua fantasia mi ha aiutato a completare certi frammenti, quindi è stato utile.»

That is to say:

«Let's start from the first one I took stuff from: Vikiþíki [Greek Wikisource; this is a phonetic rendition of the modern pronunciation of Βικιθήκη, Greek name of Wikisource, "þ" denoting the hard "th" sound of e.g. "thumb"]. It's clearly incomplete, it doesn't show the incompleteness and uncertainty of the text in any way, and – as far as the Hymn to Aphrodite is concerned – makes a lot of tiepos.
From here I get to Bibliotheca Augustana. Real nice source, which uses the proper critical apparatus, though it uses + for the crux desperationis [i.e. the dagger indicating places where we are at a loss for reconstructing what the manuscript or whatnot tradition has corrupted, e.g. the «πείθω / ἂψ σ' ἄγην» from the Hymn to Aphrodite, where a ton of different readings can be found in different editions/websites]. Sometimes I don't understand its solutions, but maybe it's due to my inexperience.
The Complete Poems of Sappho, being «a lot of documents cobbled together after a lot of reaserch», certainly cannot demand to be the best source. However it's more complete than Vikiþíki, it sometimes offers interesting solutions, and it reports various useful translations.
From here we come to safopoemas, therein mentioned and linked to [in the doc form which is no longer available, whereas my posts use the link to a seemingly identical pdf -- which has since been taken down, and in fact this source is no longer online as far as I can find; good riddance, I guess?].
The doc first [open link, I call it "the doc" because I downloaded it as a .doc file back in the days]: it's a good source for the fragments therein anthologized, so much so that I adopted its solution for fragment ad [numbered ad because I used the numbering from Vikiþíki and it was not there, and those that weren't there I ordered randomly (or at least I have no clue what numbering I followed) and numbered with letters, so a, b, …, z, aa, ab, ac, ad, …, az, ba, bc, …, bl]. Being an anthology, it's declaredly incomplete, in the sense that it doesn't report all the fragments.
Safopoemas... well I already talked about it above [further above in the Paracritical Note, when safopoemas is first mentioned, where among other things I said «Safopoemas.doc è un reperto da una citazione di The Complete Poems of Sappho, per inciso. Quest’orribile documento mi spinge a tradurre i frammenti anche in Spagnolo, così finalmente ci sarà una traduzione in poesia di testi non corrotti, traduzione senza invenzioni o completamenti solo della traduzione, come quella di safopoemas.doc.», or «Safopoemas.doc is a finding from a mention by The Complete Poems of Sappho, incidentally. This horrible document makes me willing to translate the fragments in Spanish as well, so there will finally be a translation of uncorrupted texts into poetry, a translation without inventions and completions made only in the translations, as is instead that of safopoemas.doc», and note that my Spanish level isn't that high, so translating everything into poetry would be quite a task, so this says just how appalling I found that document, though I abandoned the project due to lack of time or perhaps being tired of this neverending Sappho translation job; oh btw, that evolved into All of Sappho, a now-WIP complete edition of Sappho in Spanish, translations into prose, not poetry, but still]
  1. A buttload of very stupid tiepos which often render the text incomprehensible and make it necessary to reconstruct it to then read it; I wonder if it's mojibake, i.e. if my computer has corrupted the document getting the encoding wrong; [sadly, that wasn't the case: I now have a pdf with (apparently) exactly the same fudgeton of very stupid tiepos, so if it is mojibake, it's on the uploaders' side, not mine; and mojibake cannot account for the horrid line breaking they do at points, so there was certainly at least that error in the print version, and since the pdf is para imprimir (for printing), probably all the rest of the horrid mistakes were there too;]
  2. It says it prefers those who hold back from completing too much, and then contradictorily completes where others do not, taking from Edmonds who in this art is an unscrupulous master, and offering sometimes some interesting solutions as well (see Phíltatŏn Gaíaś gĕnŏś Ŏrránō tĕ [aka Sappho 16]
  3. It translates to verso libre, a choice I do not like too much; indeed I've always conceived poetry as opposed to prose, a bit like Gorgias, “Τὴν ποίησιν ἅπαντα καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον”, “I believe and name all poetry as a speech having meter”, where the meter can be the most various possible, but must be there, whereas in the verso libre dehw ain't none; there is, however, also another sense of poetic in Italian [actually, this extends to poetry/poem (poesia) in Italian, but not in English, I think, which is why I translated poesia to poetic here], that is something poetic [whoops, there we go :)], with pathos, which however can be done in prose as well, giving way to the possibility of apparently contradictory expressions such as poem in prose or non-poetic poem; this sense can certainly be seen in poems written in verso libre, though not all fragments, IMO, follow this kind of poetry; it may be that the translator cured the sounds and the words in a particular way; or that he wrote verso libre to play cool when he should actually have written "prose"
Before Edmonds, let's talk about Campbell. Campbell proposes to replace Edmonds' Lyra Græca by adding the new discoveries of material, and completing the texts a bit less. This is what it does, with the right critical apparatus and notes on who completed.
Grenfell and Hunt [link is to volume X, there are several volumes and more than one are of use for Sappho, though the most used (and in fact the only one I downloaded back in the day IIRC) is vol X] are a nice source, because they have raw transcriptions of the papyri and notes on the possible readings of dubious letters, when not images of the papyri. It's clear that they cannot be exhaustive on Sappho, because the Oxyrhynchus Papyri are not the only source for Sappho, but in what they have they're of great help.
Now we lastly come to Edmonds. Concerning him, I quote Campbell's preface: «J. M. Edmonds' three volumes of Lyra Graeca have given useful service since their appearance some fifty years ago, but the time has come to replace them. Much new material has been unearthed; and Edmonds' version of the papyrus texts was spoiled by his excessive eagerness to fill the gaps». I think this is a synthetic and correct judgement: this guy really completes too much, though I sometimes follow him. Suffice it to think of that ΑΜΦ [stands for ἈΜετάΦραστον, or UnTransLatable, and refers to one of a long series of fragments I deemed too holey for a poetic translations and just translated into prose in Italian in the Paracritical Note; Edmonds has it as fr. 82 (pp. 238 ss.), whereas in Campbell it is fr. 92, and it is somewhere in book 5 for Bibliotheca Augustana (search for 9722 to find it); the link given is the transcription of the papyrus, the text and translation will appear at The Rest of Sappho as soon as I finish the humongous job that that transcription is] which you can see above [further up in the Note] in Edmonds' text: he justifies himself by saying, in a note, «very tentatively restored by E.; many words even outside the brackets are very doubtfully legible, especially after 1. 9, cf. C.R. 1916. 131 : separation of the strophes uncertain», [and some of those are just not there, but many -- see transcription for details -- are indeed visible if you zoom in like crazy and squint hard as heck,] but no other source reports those letters, so that I placed it among the ΑΜΦ. Then sometimes he cuts pieces away, sometimes he hyper-aeolizes, sometimes he invents things that don't exist, like the dual in the Hymn to Aphrodite (the sparrows) when the dual is only of Attic, or προτί for περί, where anyone reports περί, and so the source had to be thus, or δολόπλοκα for δολόπλοκε, or other things. Anyway in his phantasy he helped me complete certain fragments, so he's been useful

I failed to mention a few sources I had, like aoidoi.org and Rosati, which I probably didn't take that much off of, and perhaps others.

I have a few sources to add now. One is Wharton. Now this is a lot of translations for each poem, and there is no critical apparatus. According to the preface, it should be taken off Bergk, but there is at least one place where that is not true: in the first Sappho poem I posted, I adopted what is, in Wharton's implicit allegation, Bergk's reading, except Bergk has «ὤς σε γὰρ ϝίδω βρόχε', ὤς με φώνας» (or the likes), and not «ὠς γὰρ εὔιδον βροχέως σε, φώνας», like I chose.
Then there is, of course, Bergk, with his wonderful critical notes. Pity it's in Latin and with no translations of the fragments, but a great source nonetheless.
Finally, there is Carson, not available online (ahem, b-ok.org, ahem), who is very prudent in not completing the text, and then proceeds to complete the translation, which is very bad practice, IMHO. I probably won't get much off her, because where no completion is offered, I cannot get anything new, but at most a support for other sources' texts.
Also, I found this thing mentioning a new papyrus published some 3 years ago (somewhere in 2014) which revolutionizes the text of Divine Hera (which will appear in a post titled "Sappho: two divine epiphanies" due Aug 1, 2017 [future me going "What happened? Did I merge posts? It was posted 29/7…"], and throws the reconstruction I had right out the window, alas, my translations are based on a totally wrong text.

Update during checkup:
The papyrus mentioned above is P.GC. inv. 105, which is covered at the papyri transcriptions post thanks to ahem b-ok.org ahem which provided me an image of it, and revolutionized not only Divine Hera, but way more poems, including Cypris and Nereids, which is now "Queen Nereids" (goodbye Cypris), and Sappho 16, which has been split into two poems by now.
I have since also found this Italian anthology, which sparked a whole group in the Rest of Sappho, and this article about P.Sapph. Obbink, another recent papyrus which revolutionised yet another poem, and this critical note, and this article about several mergings of fragments, and even friggin' Voigt, a humongous critical edition of Sappho, Latin and Greek only.
I also bought Lobel-Page on Amazon.
All of those are obviously great sources, since they are serious scholarly works, and I used Voigt and Lobel-Page a lot. In fact, Lobel-Page allowed me to find that ΑΜΦ mentioned above in Campbell by giving me the number. Campbell has this custom of smashing together the lines of particularly holey fragments, which I don't really like because it makes them harder to recognize (especially if you're comparing them to Edmonds' phantasies :) ).

Cartello stradale di luce lunare

You thought we'd be back with English for long, didn't you? Nope! Here come two Japanese songs translated only to Italian (yeah, one to Chinese as well: this one).
Perlappunto dicevo, oggi abbiamo una canzone Giapponese tradotta in Italiano e Cinese mantenendo la musica. Per la precisione, si tratta di Tsukiakari no Michishirube, del gruppo Stereopony. La traduzione risale probabilmente a Gennaio-Febbraio del 2012, o forse Dicembre 2011. La canzone mi è stata suggerita da una del mio liceo, diciamo Majoneko-chan, e io l'ho collocata tra le traduzioni fatte per esercizio di Giapponese. La traduzione in Cinese è poco più recente, in mezzo a una serie di traduzioni Giapponese-Cinese, direi o quell'estate o quella dopo. Anzi, questo vale per la prima versione orrenda, poi ho visto quant'era terribile e il 25/6/17 l'ho risistemata. Sotto metto tutte e due le versioni.
Preparando il checkup di questo post il 6/6 ho deciso di cambiare «Ora dall'allarme risvegliato» e «svegliandomi sto» nella forma sotto, e di fornire alternative per adattare la canzone al sesso/genere del cantante, nonché di aggiungere un ; dopo "Dirò" e di spostare il "non" sulla riga di "arrenderti" (che vuol dire spostare la parola nella melodia). Anzi, facendo il checkup ho pensato di cambiare «Siccome la risposta dentro di me / Di sicuro è qualcosa che esiste, non / Arrenderti […]» alla forma attuale.


Giapponese

ツキアカリのミチシルベ

こたえのない毎日まいにち
ただぎてゆく時間じかん
これからさきどうなるのだろう?
からない
やみよりもふかよる
孤独こどくまどわされてた
だれかにいま気付きづいてほしい…
ここからしたいから

まどからえる朝焼あさや
部屋へやひびおと
アラームにこされて
薄暗うすぐらなか
いえすよ

かばんなかには
なにわらない
平凡へいぼんつめんで
そしていつもの場所ばしょ

だれかがいった言葉ことば
になってまどわされて
あらそいたくなんいから
なに
えない  ゆめ理想りそう
るけれど気持きもちばかり
さきって現実げんじつがずっと
うしろからぼくてる

ねぇ  だれおしえて
みんなそうなのかな?  
今日きょうしあわせなら
それでいいと  
おもえるって

おさなころには
たしかにった
ゆめいかけてた
でもそれもとお記憶きおく

こたえのない毎日まいにち
ただぎてゆく時間じかん
これからさきどうなるのだろう?
からない
ツキアカリのミチシルベ
くもぼくとど
すすむべきみちらしてよ
今日きょうはどんなにこわれそうでも

なにっても
なにっても
しんじてたいから
あのとお記憶きおく
ますから
わすれないでね
むねきざ

こたえは自分じぶんなか
かならものだから
あきらめないでつよきる
こと
めないで  かなぎて
まえすすめないときでも
ともなやあゆんだ僕等ぼくら
かぜくどこまででも
Tsukiakari no michishirube

Kotae no nai mainichi ga  
Tada sugite yuku jikan ga  
Kore kara saki dou naru no darou?  
Wakaranai…  
Yami yori mo fukai yoru no  
Kodoku ni madowasareteta  
Dareka ni ima kidzuite hoshii  
Koko kara nigedashitai kara.  

Mado kara mieru asayake  
Heya ni narihibiku oto  
Arāmu ni okosarete  
Usugurai naka  
Ie tobidesu yo  

Kaban no naka ni wa  
Nanimo kawaranai  
Heibon tsumekonde  
Soshite itsumo no basho e…  

Dareka ga itta kotoba ga  
Ki ni natte madowasarete  
Arasoitaku nante nai kara  
Nanimo
Ienai    yume ya risou wa  
Aru keredo kimochi bakari  
Saki ni itte genjitsu ga zutto  
Ushiro kara boku wo miteru  

Nee    dareka oshiete  
Minna sou na no ka na?  
Kyou wa shiawase nara  
Sore de ii to  
Omoeru tte  

Osanai koro ni wa  
Tashika ni atta  
Yume wo oikaketeta  
Demo sore mo tooi kioku  

Kotae no nai mainichi ga  
Tada sugite yuku jikan ga  
Kore kara saki dou naru no darou  
Wakaranai  
Tsukiakari no michishirube  
Kumo wo koe boku ni todoke  
Susumu beki michi wo terashite yo  
Kyou wa donna ni kowaresou demo  

Nani ga atte mo  
Nani ga atte mo  
Shinjitetai kara  
Ano hi no tooi kioku  
Yobisamasu kara  
Wasurenaide ne  
Mune ni kizamitsuke  

Kotae wa jibun no naka ni  
Kanarazu aru mono da kara  
Akiramenaide tsuyoku ikiru  
Koto wo  
Yamenaide    kanashisugite  
Mae ni susumenai toki de mo  
Tomo ni nayami ayunda bokura ni  
Kaze wa fuku doko made de mo  


Italiano

Ogni dì in cui risposta non c’è
È soltanto il tempo che va avanti.
Da ora il futuro come può diventar?
Capir non so…
Di notte più profonda dell’oscurità
Dalla solitarietà ero confuso/a.
Ma ora di qualcuno mi voglio accorgere…
Perché voglio scappare vïa di qua.

L’alba che dalla finestra entrando sta,
Il rumor che nella stanza echeggia;
Dall’allarme risvegliato/a, io
Nella semioscurità
Dalla casa scapperò!

Dentro la cartella mïa
Metto in folla, come sempre,
Quelle cose che non cambio mai,
Quindi al posto di sempre me ne andrò.

Quelle parole che qualcun dette ha
Preoccupandomi mi mettono in confusion
Poiché non sono uno/a che vuol discutere
Niente
Dirò; ho ideali e sogni, ma
Pure se andassi oltre a quello che
Io sento solo, dal didietro la realtà
Starà sempre celata a guardar me

Su, dài, qualcuno dica a me
Se son tutti così fatti?
Se oggi c’è felicità
Con questo dicon “Mi
Par che mi vada ben”

Quando ero piccolino/a
Di sicuro era così
Stavo inseguendo un sogno
Ma un lontan ricordo è questo pur.

Ogni dì in cui risposta non c’è
È soltanto il tempo che va avanti.
Da ora il futuro come può diventar?
Io non lo so…
Tsuchí-acári no micí-scirubé
Per le nuvole passando raggiungi me
Illumina la strada per cui io devo andar!
Tanto o poco che paia il dì in niente andar.

Checché succeda poi,
Checché succeda poi,
Perché voglio credere.
Di quel dì dal ricordo ormai lontan
Poiché svegliando mi sto,
Per ricordarmelo ancor
Lo scolpirò dentro il mio cuor!

Siccome la risposta qualcosa è
Che di certo esiste qui dentro di me,
Non arrenderti giammai, il vivere forte tuo
Non fermar
Se anche troppo triste ti trovi tu,
E in un tempo sei in cui non puoi proseguir,
Per noi che preoccupati insiem camminato abbiam
Fino ovunque il vento, sì, soffierà.



月亮的灯光的路标

总是没有一个回答的每天
只有是经过着去的时间哟
但未来却从此怎样会能够来去?
不能了解…
被比黑暗也都更深的黑夜
的孤单我曾经真的在困惑;
我又此刻真的愿意察觉到某人,
因为我愿意从这里逃避哟。

从这窗口能被看见的早霞,
这房间之中回声的声音…
并被闹钟此刻醒来着,
我从微暗之中的
房子将会飞出哟!

在我的书包之中我
把全都没有改变的
平凡的事物在压榨着,
并然后会去到永远的处。

某人曾经说声的言语为我
使着烦恼把我真真的困惑。
因为我不是想要争吵的某人等,
我不能
说声什么    虽把梦和理想等
拥有只是如果我去到只有
感情的那边也,现实将会再也都
从我的后面把我看见着哟。

哎    请某个人告诉我
大家是否这样的?
如果今天是快乐的,
只有因此将会
说“看起来很好”。

在我的小时候之中
一定一定曾是这样
我又在追求着我的梦,
但它也都却遥远的记忆…

总是没有一个回答的每天
只有是经过着去的时间哟
但未来却从此怎样会能够来去?
不能了解…
哎月亮的灯光的路标,请问,
把云过去着直到了我来着
把我应该进去的路为我表明哟,
今天无论怎样仿佛会撕碎!

无论什么发生,
无论什么发生,
因为我要相信。
因从那天的遥远的记忆
我一定将会醒来,
并没有忘记着吧
会胸口里把它刻上!

因为回答在自己的里面中
一定一定是个真有的事物,
请你不要死心,并请你不要停止
自己的
坚强地生活    虽然你太伤心
并时间又在你之前没有进去,
为着曾经一起在苦恼步走的咱
和风到永远都将会在吹刮。
Yuèliàng de dēngguāng de lùbiāo

Zǒngshì méi yǒu yī gè huídá de měitiān
Zhǐyǒu shì jīngguòzhe qù de shíjiān yō
Dàn wèilái què cóngcǐ zěnyàng huì nénggòu lái qù?
Bùnéng liǎojiě…
Bèi bǐ hēi'àn yě dōu gēngshēn de hēiyè
De gūdān wǒ céngjīng zhēn de zài kùnhuò;
Wǒ yòu cǐkè zhēn de yuànyì chájué dào mǒu rén,
Yīnwèi wǒ yuànyì cóng zhèlǐ táobì yō.

Cóng zhè chuāngkǒu néng bèi kànjiàn de zǎoxiá,
Zhè fángjiān zhī zhōng huíshēng de shēngyīn…
Bìng bèi nàozhōng cǐkè xǐngláizhe,
Wǒ cóng wēi'àn zhī zhōng de
Fángzi jiāng huì fēi chū yō!

Zài wǒ de shūbāo zhī zhōng wǒ
Bǎ quán dōu méiyǒu gǎibiàn de
Píngfán de shìwù zài yāzhàzhe,
Bìng ránhòu huì qù dào yǒngyuǎn de chù.

Mǒurén céngjīng shuōshēng de yányǔ wèi wǒ
Shǐzhe fánnǎo bǎ wǒ zhēnzhēn de kùnhuò.
Yīnwèi wǒ bù shì xiǎngyào zhēngchǎo de mǒurén děng,
Wǒ bù néng
Shuōshēng shénme    suī bǎ mèng hé lǐxiǎng děng
Yǒngyǒu zhǐshì rúguǒ wǒ qù dào zhǐyǒu
Gǎnqíng de nà biān yě, xiànshí jiānghuì zàiyě dōu
Cóng wǒ de hòumiàn bǎ wǒ kànjiànzhe yō.

Āi    qǐng mǒu gèrén gàosù wǒ
Dàjiā shìfǒu zhèyàng de?
Rúguǒ jīntiān shì kuàilè de,
Zhǐyǒu yīncǐ jiānghuì
Shuō “kàn qǐlái hěn hǎo”.

Zài wǒ de xiǎoshíhòu zhī zhōng
Yīdìng yīdìng céng shì zhèyàng
Wǒ yòu zài zhuīqiúzhe wǒ de mèng,
Dàn tā yě dōu què yáoyuǎn de jìyì…

Zǒngshì méi yǒu yī gè huídá de měitiān
Zhǐyǒu shì jīngguòzhe qù de shíjiān yō
Dàn wèilái què cóngcǐ zěnyàng huì nénggòu lái qù?
Bùnéng liǎojiě…
Āi yuèliàng de dēngguāng de lùbiāo, qǐngwèn,
Bǎ yún guòqùzhe zhídàole wǒ láizhe
Bǎ wǒ yīnggāi jìnqù de lù wèi wǒ biǎomíng yō,
Jīntiān wúlùn zěnyàng fǎngfú huì sīsuì!

Wúlùn shénme fāshēng,
Wúlùn shénme fāshēng,
Yīnwèi wǒ yào xiāngxìn.
Yīn cóng nà tiān de yáoyuǎn de jìyì
Wǒ yīdìng jiānghuì xǐnglái,
Bìng méiyǒu wàngjìzhe ba
Huì xiōngkǒu lǐ bǎ tā kè shàng!

Yīnwèi huídá zài zìjǐ de lǐmiàn zhōng
Yīdìng yīdìng shì gè zhēn yǒu de shìwù,
Qǐng nǐ bùyào sǐxīn, bìng qǐng nǐ bùyào tíngzhǐ
Zìjǐ de
Jiānqiáng de shēnghuó    suīrán nǐ tài shāngxīn
Bìng shíjiān yòu zài nǐ zhī qián méiyǒu jìnqù,
Wèizhe céngjīng yīqǐ zài kǔnǎo bùzǒu de zán
Héfēng dào yǒngyuǎn dōu jiānghuì zài chuīguā.

月亮的灯光的路标

总是没有一个回答的每天
这就是继续流逝的时间哟
但未来却从此就会变得怎么样?
我不明白...
我被比黑暗也更深的黑夜
的孤单曾经真的正在困惑
我又现在真的愿望蔡觉到某人
因为我愿望从这里逃避哟

窗口外看得见的早霞,
房间里回声的声音,
闹钟并现在来打醒我,
我从愁雲之中的
房屋会飞出去哟

我此刻在压榨那些
全都没改变的平凡
的事物压入我的书包
然后会去到时时的地方

某人有曾经说的言语曾经
使我来烦恼而真正的困惑
因为我不是想要争吵的某人等,
什么都
说不出口    虽然我拥有梦境
和理想等,如果我去到单单
的感情的那边,现实还会再也都
来继续从我的后面看到我

啊    请某个人告诉我
大家真的这样吗?
如果今天是快乐的,
只有因此来说
"看起来很好啊"?

在我的小时候之中
一定一定曾这样啊:
我正在追求我的梦境,
但这却也是遥远的记忆...

总是没有一个回答的每天
这就是继续流逝的时间哟
但未来却从此就会变得怎么样?
我不明白...
啊月亮的灯光的路標,请你
过去那些云也来到我这里,
请你把我该进去的那路表示哟,
无论今天怎样仿佛会撕碎

无论什么发生,
无论什么发生,
因为我要相信.
因为我从那天的遥远的
记忆一定会醒来,
为了永不忘记它,
就会刻画在胸口里!

因为回答一定一定是一个
在自己的心里有的事情啊,
请你不要死心,也请你不要停止
自己的
坚强地生活    虽然你太伤心
而时间又在你之前没有进去,
为曾一起在苦恼步走的我们俩
和风将会任何处都吹到哟
Yuèliàng de dēngguāng de lùbiāo

Zǒngshì méi yǒu yī gè huídá de měitiān
Zhè jiùshì jìxù liúshì de shíjiān yō
Dàn wèilái què cóngcǐ jiù huì biàn dé zěnmeyàng?
Wǒ bù míngbái...
Wǒ bèi bǐ hēi'àn yě gēng shēn de hēiyè
De gūdān céngjīng zhēnde zhèngzài kùnhuò
Wǒ yòu xiànzài zhēnde yuànwàng chájué dào mǒu rén
Yīnwèi wǒ yuànwàng cóng zhèlǐ táobì yō

Chuāngkǒu wài kàn de jiàn de zǎoxiá,
Fángjiān lǐ huíshēng de shēngyīn,
Nàozhōng bìng xiànzài lái dǎxǐng wǒ,
Wǒ cóng chóuyún zhī zhōng de
Fángwū huì fēi chūqù yō

Wǒ cǐkè zài yāzhà nàxiē
Quán dōu méi gǎibiàn de píngfán
De shìwù yā rù wǒ de shūbāo
Ránhòu huì qù dào shíshí de dìfāng

Mǒurén yǒu céngjīng shuō de yányǔ céngjīng
Shǐ wǒ lái fánnǎo ér zhēnzhèng de kùnhuò
Yīnwèi wǒ bù shì xiǎngyào zhēngchǎo de mǒurén děng,
Shénme dōu
Shuō bù chūkǒu    suīrán wǒ yǒngyǒu mèngjìng
Hé lǐxiǎng děng, rúguǒ wǒ qù dào dāndān
De gǎnqíng de nà biān, xiànshí hái huì zàiyě dōu
Lái jìxù cóng wǒ de hòumiàn kàn dào wǒ

Ā    qǐng mǒu gè rén gàosù wǒ
Dàjiā zhēnde zhèyàng ma?
Rúguǒ jīntiān shì kuàilè de,
Zhǐyǒu yīncǐ lái shuō
"Kàn qǐlái hěn hǎo a"?

Zài wǒ de xiǎoshíhòu zhī zhōng
Yīdìng yīdìng céng zhèyàng a:
Wǒ zhèngzài zhuīqiú wǒ de mèngjìng,
Dàn zhè què yěshì yáoyuǎn de jìyì...

Zǒngshì méi yǒu yī gè huídá de měitiān
Zhè jiùshì jìxù liúshì de shíjiān yō
Dàn wèilái què cóngcǐ jiù huì biàn dé zěnmeyàng?
Wǒ bù míngbái...
Ā yuèliàng de dēngguāng de lùbiāo, qǐng nǐ
Guòqù nà xiē yún yě lái dào wǒ zhèlǐ,
Qǐng nǐ bǎ wǒ gāi jìnqù de nà lù biǎoshì yō,
Wúlùn jīntiān zěnyàng fǎngfú huì sīsuì

Wúlùn shénme fāshēng,
Wúlùn shénme fāshēng,
Yīnwèi wǒ yào xiāngxìn.
Yīnwèi wǒ cóng nà tiān de yáoyuǎn de
Jìyì yīdìng huì xǐnglái,
Wèile yǒng bù wàngjì tā,
Jiù huì kèhuà zài xiōngkǒu lǐ!

Yīnwèi huídá yīdìng yīdìng shì yī gè
Zài zìjǐ de xīn li yǒu de shìqíng a,
Qǐng nǐ bùyào sǐxīn, yě qǐng nǐ bùyào tíngzhǐ
Zìjǐ de
Jiānqiáng de shēnghuó    suīrán nǐ tài shāngxīn
Ér shíjiān yòu zài nǐ zhī qián méiyǒu jìnqù,
Wèi céng yīqǐ zài kǔnǎo bùzǒu de wǒmen liǎ
Héfēng jiāng huì rènhé chù dōu chuī dào yō

看到这张文章的中国人,请原谅我如果有写错的拼音:就是谷歌翻译的错啊 :).

L'originale Giapponese lo trovate su Youtube. Le altre prima o poi le registrerò e le caricherò su Youtube, sola voce. Per ora, immaginate: tanto quella Italiana e la Cinese 1 sono immediate da mettere nella melodia, anche se la Cinese 1 è incantabile in certi punti, mentre per la Cinese 2 serve un pochino più di fantasia nei punti dove l'altra era incantabile.

Saturday, 24 June 2017

Sappho: three epigrams and a mourning song

Brief intro
Today I bring to you 4 poems by Sappho. I put them together because they are somewhat related (they all have something to do with death) and because they are very short. First, we have the three epigrams. Now, it seems that the authorship of these is disputed. The only source for those, which is the Anthologia Palatina, ascribes them to Sappho, but apparently scholars believe they are probably Hellenistic, which means they were written after Sappho's death.
  • The first one features a tombstone speaking about the girl buried in the tomb it marks.
  • The second one recounts the mourning of the person it speaks about, who was cremated.
  • The last one makes us picture a grave with fishing tools left on it as a memory of the life of the person buried in it.
All of these are in elegiac couplets, and were rendered accordingly in the translations, as you will see (the second element of the couplets features a line split into two rhyming half-lines), or maybe in some cases I just went for regular rhyming couplets in English and Italian.
Lastly, we have two lines of a mourning song for Adonis. Those are reported by Hephaestio's Handbook on Meters, introduced as «τῶν δὲ τετραμέτρων τὸ μὲν καταληκτικὸν καθαρόν ἐστι τὸ τοιοῦτον» (of the [choriambic?] tetrameter the pure catalectic one is like these). The authorship is conjectured because of "Pausania IX, 29, 3", which is a passage in a text which reports a "name issue" about Adonis and might refer to this fragment. This is rendered with the same meter in Latin, and by keeping the rhythm in English and Italian. The meter is xx–uu– –uu– –uu–x, so the rhythm (u = unstressed, – = stressed) will be –u–uu– –uu– –uu–u.
The epigrams were translated between 30/12/2010 and 28/8/2011, whereas the mourning song was translated between May (9th?) 2010 and 30/12/2010.


Epigram 1: the girl Aethopia
Greek
Παῖδες, ἄφωνος ἔοισα τόδ' ἐννέπω, αἴ τις ἔρηται,
φώναν ἀκαμάταν κατθεμένα πρὸ πόδων·
Αἰθοπίᾳ με κόρᾳ Λάτως ἀνέθηκεν Ἀρίστα
Ἀ Ἐρμοκλείδα τῶ Σαϋναϊάδα,
σὰ πρόπολος, δέσποινα γυναίκων· ᾆ σὺ χάρεισα
πρόφρων ἀμμετέραν εὐκλέϊσον γενέαν.


Italian
O fanciulle, pur muta ciò dico, a quella che chiede,
Voce͜ instancabile ché      messami͜ ho sotto͜ a li piè:
Ad Etopìa, la figlia di Leto, Arista mi diede
Figlia d’Ermoclidé          il Saünaïadé,
Tua͜ attendente, sovrana di donne; di le͜i ti compiaci,
Ed alla nostra famiglia, benevola, deh, onor faci.
Latin
Pu͞ellǣ, vōcēm nūllăm hăbēns dīc’ hōc rŏgĭtāntī,
Nūmquām fēssăm hăbēns vōc’ ăpŭd hōscĕ pĕdēs:
M’ Ǣthŏpĭǣ pu͞ellǣ Lētūs dōnāvĭt Ărīstă
Ēx Hērmōclīdē e͞o Săŭnāĭădē,
Sērvă tĭbī, fēmnû̄mquĕ rĕgīnă, mĕāmquĕ sĕcūndă
Ga͞udēns īllā dēs glōrĭăm ād fămĭli͞am.


English
Women, though I have no voice, I do tell this, if anyone asketh,
Voice that no tiring can beat      having placed here at my feet:
T’ Aethopia, the daughter of Leto, did give me Arista
Daughter of Hermoclides          the Saünaïades;
She’s your attendant, the queen of all women: you take in her pleasure,
And benevolentlỳ                     do honour my familỳ.




Epigram 2: Timas
Greek
Τίμαδος ἄδε κόνις, τὰν δὴ πρὸ γάμοιο θάνοισαν
δέξατο Φερσεφόνας κυάνεος θάλαμος,
ἆς καὶ ἀποφθιμένας παῖσαι νεόθαγι σιδάρῳ
ἄλικες ἰμμέρταν κρᾶτος ἔθεντο κόμαν.


Italian
Questa è la cener di Timade: pri͜a di sue nozze lei morta
Di Persefone͜ accolser cinerëo talamo e porta;
Già mentre questa moriva con spade di fresco͜ affilate
Chiome graziose le su͜e coëtane͜e tutt’ebber tagliate.
Latin
Tīmădĭs hǣccĕ cĭnīs, quām nūbĕrĕt ānt’, hăbŭīt mōrs,
Pērsĕphŏnǣ tĕnŭīt ātĕr ĕām thălămŭs,
Quā mŏrĭēnt’ ōmnēs fērrō bĕn’ ăd hōccĕ părātō
Ēxcīsērĕ cŏmās pūlchrĭcŏmǣ cŏmĭtēs.


English
Timad’s ashes here lie, whom dead ’fore she could get a-married
Persephone’s ashy bed                  honored, to which she was led.
As she was dying, all girls of her age th’ pretty hair that they carried
With freshly-sharpened blade       all from their heads fall off made.




Epigram 3: Pelagon the fisher
Greek
Τῷ γρίπει Πελάγωνι πάτηρ ἐπέθηκε Μένισκος
Κύρτον καὶ κώπαν, μνᾶμα κακοζοΐας.


Italian
Al pescator Pelagone Menisco, il padre, ha messo
Reti e remo davanti, memoria che mal visse esso.
Latin
Prō Pĕlăgōnĕ pătēr pēscātōr’ ēiŭ’ Mĕnīscŭs
Pōsu͞it rēt’ ēt rēm’, ūt mĕmŏrēnt măl’ ĭtĕr.


English
Pelagon, who was a fisher, received from his father, Meniscus,
Naught but a net and an oar     bad life reminding he bore.




The mourning song: Adonis is dying
Greek
κατθνάσκει, Κυθέρη’, ἄβρος Ἄδωνις· τί κε θεῖμεν;
καττύπτεσθε, κόραι, καὶ κατερείκεσθε χίτωνας.


Italian
Muore, o Citere͜a, ’l dolce Adon; no͜i che facciamo?
Percuotiamoci, fanciulle,͜ e le vesti͜ or ci strap-
                                                                            [piamo.
Latin
Mŏrĭtūr, Cy̆thĕre͞a, dūlcĭs Ădōnīs; quĭd ăgāmŭs?
Vēstēs rūmpǐtě, pu͞ellǣ, ĕquĭdēm, pērcŭtĭt’ ēxquě vōs.


English
Cytherea, Adonis is a-dying; what d’ we do now?
Hit yourselves, o you girls, and rend your clothes: that’s what we’ll do
                                                                                                                      [now.




Critical notes

I already mentioned the sources and the authorship issues above. For textual issues, I start by leaving you the whole critical note to the epigrams in Bergk's edition:

Critical note to the epigrams in Bergk

Apart from subscript iota issues and the sources giving us an Attic version of this which I decided to Aeolicize because, you know, Sappho wrote in Aeolic, the only controversial line is l. 1 of epigram 1.
  • It seems manuscript tradition gives τέτ' where I wrote τόδ'. Bergk emends to τότ'. Back in the days, I only knew of two options: τόδ' ἐννέπω (my choice) and ποτεννέπω (Campbell). Now I chose my option to have an explicit object in the line. Another emendation is Edmonds' τόρ', "clear", so "Though I have no voice I say, clearly, that…". Might be even better, but the translation used τόδ', so I have to keep that.
  • The other doubtful word is παῖδες. Back in the days, besides the chosen word, I had another option, καίπερ, "although". Back then, I discarded it because I wanted a vocative of the addressees instead of an "although" which can be inferred from the participle. Nowadays, analyzing the sources, it seems the only source with "although" is the weird safopoemas, which is definitely not a trustworthy source, so I have another reason to discard it.

As for the mourning song, it seems manuscript tradition gives a unilateral καταθνάσκει, which doesn't scan, and everyone amends as I did. Moreover, except for a single "right" codex, we see a unilateral Κυθέρει'. That is at least what Bergk seems to say in his critical note.
Let me have a look at Campbell now. He seems to say codexes have κατερύκεσθε.
Also, the Pausanias quote is right after this fragment, on p. 154.


References
Note: these are all the references I ever used for Sappho as of now. I may not have used all of these in the present post.


Related Stack Exchange Posts

Tuesday, 20 June 2017

Epigrams at the Thermopylae

Short intro
Long ago, I self-taught Ancient Greek. After a number of translations of texts from my textbook into Latin, a number of translations the other way of texts taken from my Latin textbook, and a few translations of authors, in the summer of 2009 I found an appendix on dialects at the end of a textbook, and decided to translate something from each dialect. I started with loads of Herodotus for his Herodotean dialect, to then tackle Homeric with a few passages from the Iliad (less than I had planned, because then school started), which will be posted here very far in the future, and then for Aeolic, based on the false premise of easily recovering the texts from Greek Wikisource, I chose to translate all of Sappho (and yes, you will see a lot of Sappho posts in the future; be ready :)), and then I was fed up, let Doric frick itself, and moved on to Japanese and Chinese. Anyways, in the middle of Herodotus there is this passage with the epigrams of the famous soldiers of the Thermopylae (the 300 and those fighting with them), which are elegiac couplets, so of course I made them elegiac couplets in Latin too. And that was in that summer. Later on, in Sep 17-18 of probably 2010 but possibly 2009, for some reason I translated them to rhyming couplets of hendecasyllabics in Italian. So let's get into them, shall w… wait. Isn't something missing? A post in English with an Italian translation and no English? Well, this was originally planned before the last post, so I wanted to get back to English, so I translated the couplets into rhyming couplets of hendecasyllabics in English in a Facebook post dated around midnight of June 4, 2017. The prose part will be translated today, because that is supposed to be a quick and easy task. So now we can finally get to it. One last thing: Herodotus requires no critical note at the end. Only Sappho needs that.


Greek
ΣΚΗ. Θαφθεῖσι δέ σφι αὐτοῦ ταύτῃ
τῇ περ ἔπεσον, καὶ τοῖσι πρότερον
τελευτήσασι ἢ ὑπὸ Λεωνίδεω ἀποπεμφθέντας
οἴχεσθαι, ἐπιγέγραπται γράμματα λέγοντα τάδε·

Μυριάσιν ποτὲ τῇδε τριηκοσίαις ἐμάχοντο
Ἐκ Πελοποννάσου χιλιάδες τέτορες.

Ταῦτα μὲν δὴ τοῖσι πᾶσι ἐπιγέγραπται,
τοῖσι δὲ Σπαρτιήτῃσι ἰδίῃ·

Ὦ ξεῖν’, ἀγγέλλειν Λακεδαιμονίοις ὅτι τῇδε
Κείμεθα τοῖς κείνων ῥήμασι πειθόμενοι.

Λακεδαιμονίοισι μὲν δὴ τοῦτο, τῷ δὲ μάντι τόδε·

Μνῆμα τόδε κλεινοῖο Μεγιστία, ὅν ποτε Μῆδοι
Σπερχειὸν ποταμὸν κτεῖναν ἀμειψάμενοι,
Μάντιος, ὃς τότε κῆρας ἐπερχομένας σάφα εἰδώς
Οὐκ ἔτλη Σπάρτης ἡγεμόνας προλιπεῖν.

Ἐπιγράμμασι μέν νυν καὶ στήλῃσι,
ἔξω ἢ τὸ τοῦ μάντιος ἐπίγραμμα,
Ἀμφικτύονες εἰσί σφεας οἱ ἐπικοσμήσαντες·
τὸ δὲ τοῦ μάντιος Μεγιστίεω Σιμωνίδης
ὁ Λεωπρέπεός ἐστι κατὰ ξεινίην
ὁ ἐπιγράψας.



Italian
228. E a loro, sepolti nello stesso luogo
ov’erano caduti{, e a quelli che caddero
prima di andare mandati da Leonida,}
fu scritto un epigramma che diceva questo:

Qui con trenta milioni combattêro
Peloponnesî quattromila invero.

Questo invero è stato scritto per tutti,
d’altro lato apposta per gli Spartani:

O forestiero, agli Spartani di’
Ch’obbedïendo a lor morimmo qui.

Agli Spartani dunque questo, al profeta invece:

Quest’è a memoria dell’illustre vate
Che i Medi ucciser oltre lo Spercheo:
Vedendo ben Chere a lui preparate
D’abbandonare il duce non fu reo.
Di Sparta il generale non tradì
Megistia: fra’ nemici ben morì.

Con gli epigrammi e con le steli,
salvo l’epigramma del profeta,
li celebrarono gli Amfictioni;
[dell’epigramma] del profeta Megistia
invece è autore Simonide di Leoprepe
per un vincolo d'ospitalità.
Latin
CCXXVIII. Sepultisque iis ibidem loci
ubi ceciderant, et illis qui antequam
a Leonida missi ivissent cecidere,
scriptum est epigramma dicens hæc:

Pū́gnārū́nt strĕnŭḗ || ŏlĭm ī́n trĭă mī́lĭă mī́li͞um
Ḗx Pĕlŏpṓnnēsṓ || mī́lĭă quā́ttŭŏr hī́c.

Hæc cum quidem omnibus scripta,
tum Lacedæmoniis præcipus:

Nṓs Lăcĕdǽ̄mŏnĭī́s || nūnti͞á, ēxtḗrne, ͜ ŏlĭm ṓmnēs
Dī́ctīs á͞udi͞entḗs || hī́c iăcŭī́ssĕ ĕû́̆m.

Lacedæmoniis cum quidem hoc, prophetæ autem hoc:

Ī́llūstrī́s || mĕmŏrí͞a vātī́s, || quī tḗmpŏrĕ ī́llō
Trā́nsītṓ Spērché͞o || hṓstĭbŭs ā́bcĕcĭdĭ́t,
Quī́ tūm, vī́dīssḗt || cūm vḗntūrā́m bĕnĕ mṓrtēm
Līnquĭ Mĕgī́sti͞a Spā́rtæ || há͞ud tĕtŭlī́t căpĭtắ.

Epigrammatibus et stelis,
extra prophetæ epigrammate,
Amphictyones eos celebrare;
prophetæ autem Megistiæ [epigrammatis]
Simonides Leoprepis est
secundum hospitalitatem inscriptor.



English
228. To them buried in the same place
they had died, and to those who fell
before they were sent by Leonidas,
there was written an epigram saying this:

Against three million Persians, long ago,
3000 Greeks did here to battle go.

This indeed was written for them all,
on the other hand just for the Spartans:

O stranger, tell the Spartans that we died
As we here by their orders did abide.

This then to the Spartans, to the prophet instead:

This is the memory of the renowned
Prophet Megistïa, whom the Medës found
And killed when the Spercheus they had just crossed.
While he knew well that he would then be tossed
Into the arms of death, he still did not
Abandon Spartan leaders to their lot.

With the epigrams and with the steles,
save for the epigram for the prophet,
the Amphyctions celebrated them;
[of the epigram] for the prophet Megistia
the author is instead Simonid of Leoprepe
for a bond of hospitality.

Saturday, 17 June 2017

Hector and Andromacha

Short introduction
About time to get back to English, isn't it? This is actually a deviation from my post schedule. This poem was planned for next Saturday, after Thermopylae epigrams and Sappho epigrams. However, knowing there would be a lot of work for the critical note (which is over 8 pages long in Word by the way), I did it early. In the process, I realized Greek Wikisource and its totally random ordering of Sappho had caused me to misplace this poem in the epigrams when it was, in fact, a marriage song, and thus belonged in the Επιθαλάμια section of that link. However, the marriage songs are only due as far ahead as 28/11/2017, and I definitely wasn't letting this hang around so long after all the work I'd done on it. So here goes.
The meter is xx–uu–uu–uu–ux, or the Aeolic dactylic hexapody. The Latin translation keeps the meter intact. The English and Italian translations have rhyming couplets of lines which preserve the stressed-unstressed syllable alternance, i.e., denoting by – a stressed and by u an unstressed syllable, –u–uu–uu–uu–u–. All translations attempt to indicate what we have and what we don't have of what is translated, to remind us that this poem is full of holes that have been filled some way or some other way. In the Greek text, underdots mean the letter is somewhat doubtful, double underdots mean the letter is extremely doubtful to the point of being a near-wild guess, underlines mean the letters are reconstructed but the source papyrus has traces of them, and of course the brackets indicate fill-ins into gaps in the source papyrus. For more info on the sources, see critical note at the bottom.

The poem

Greek
Κυπρο . [         22-24 letters    ]αι .
Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις
Ἴδαος τάδε κα[ῖν]α [φόρ]εις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος
«[Eἶς ἢ πλείονες ἂπ στίχοι εἶσι, τελεύταος
Τούτων ἐν δὲ τελεύτᾳ ἴσως ἔχεν
     Ἰλίω]
Τᾶς τ᾽ ἄλλας Ἀσίας [τά]δ̣᾽ ἔσ̤αν κλέος̣ ἄφθιτον·
Ἔκτωρ κ‹ο›ἰ συν̣έται̣ρ[ο]ι̣ ἄ̣γοισ᾽ ἐλικώπιδ̣α̣
Θήβας ἐξ ἰέρας Πλακίας τ᾽ ἀπ᾽ [ἀϊ]‹ν›νάω
Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον
Πόντο̣ν̣· πόλλα δ̣᾽ [ἐλί]γ̣ματα χρύσια κἄμματα
Πορφύρ[ᾱ κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ιλ᾽ ἀθύρματα,
Ἀργύρ[α τ᾽] ἀνάριθμα ποτήρια κἀλέφαις.
Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρουσε̣ π̤άτ̣[ηρ] φίλος·
Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρύ̣χ[ορο]ν φίλοις·
Ατικ’ Ἰλίαδαι σατίναι[ς] ὐπ’ ἐϋ̣τρόχοις
Ἆγ̣[ο]ν αἰμονίοις̣· ἐπ[έ]β̤αινε̣ δ παῖς ὄχλος
Γ̣υνάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν τ̣’ ἀ[παλ]οσ̣φ̣ύρω‹ν›·
Χῶρις δ’ αὖ Περάμοιο θύγ̣[α]τρ̤ες [ἐπήϊσαν]
Ἴππ̣[οις] δ̣’ νδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα, σὺν δ’ ἴ-
Π[άντ]ες ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [ἴεν μέγας] | σαν]
Δ[ᾶμος], κἀν̣ιόχοι φ[αλάροισι κεκαδμέναις]
Π̣[ώλοις ἔ]ξαγο[ν ἐκ πόλεως τότα τᾶς φίλας.
Στίχοις τυίδε λέγοισιν ἀπέμμεν ἄπαντες αὖ.
[Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς
Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες]
ρ̣μα‹ν›α̤[ι τότα Τρῶες ἔβαι]νον ἐς Ἴλιο[ν],
Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το]
Καὶ ψ[ό]φο[ς κ]ροτάλ[ων, λιγέ]ως δ’ ἄρα πάρ̣[θενοι]
Ἄειδον μέλος ἄγν[ον, ἴκα]νε δ’ ἐς̣ αἴ[θερα]
Ἄχω θεσπε̣σί̣[α], γέλ̤[ος
Πάντᾳ δ’ ἦς κὰτ ὄδο[ις
Κράτηρες φίαλα̣ι̣ ρ̤ο[. . .] . ε̣δ̣ε̣[. .] . [.] . [
Μύρρα καὶ κασία λίβανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣
Γύναικες δ’ ὀλό̤λυσδ[ο]ν̣ ὄ̣σαι προγενέστερα[ι],
Πάντες δ’ ἄνδρες ἐ̣πήρατον ἴαχον ὄρθιον
Πάον’ ὀνκαλέοντες ἐκάβολον εὐλὐραν,
῎Υμνην δ' Ἔκτορα κἈνδρομάχαν θεοίκελο[ις
Δευτέρῳ τῷ ἔγω λέγον· «Ἂπ στίχοι εἶσι τυίδ’»,
Ἴσως Σάπφικον ἄλλο πόημα ποτῆρχε κῆ.




Italian
Cipro[–uu–uu–uu–ux]
Ven[ne]͜ araldo Ide͜o, [dalle g]a[mbe so]spinto, qui,
Queste nu[ov]e portando, veloce co[rrendo] fu:
Un sol verso͜ o di più quivi mancano, l’ultimo
D’essi forse͜ alla fine aveva:
   di Ilio]
E del resto dell’Asi͜a͜ immortal glori͜a [ques]to fu:
Ettor e͜ i suoi compag[n]i conducono͜ Andomaca 5
Tenera͜ occhi vivaci, da Tebe la Santa e da
Placia che [sempre] scorre, ’n le navi sul salso mar;
Molti a͜ure͜i [bra]cciali, ri[ca]mi ͜hanno da portar
Flore͜i, vesti di porpor[a], ricchi͜ ornamenti, sì,
Coppe͜ argent[ëe] innumerevoli,͜ avori͜o v’è.»
Disse; presto s’alzò il caro pad[re] udendo ciò;
La notizia per l’am[pi]a città dai suoi cari andò;
Le Troiane͜ aggioga[ron]o͜ a͜i rapidi carr[i]͜ allor
Muli subito; tutto il popolo g[i]unse allor,
Anche donne͜ e f[an]ciulle caviglïe te[ne]re, 15
Ed a parte di Prïamo [venner] le figl[ï]e,
Aggiogavano͜ a͜i ca[rri]͜ i cav[alli] gli uomini,
Maritati e non; e magnifico͜ [andavasi
Un gran] p[opol], cocchier’ le g[iovenche po]rtavan
M[olto bene ornate, da cara cittàde͜ allor.] 20 | fu[or]
Tutti dicono͜ a me che qui mancano͜ un verso͜ o più.
[Quando͜ ancora su͜i carri]͜ a d͜è[i] [p]ari [salirono
Ettore ed Andromaca,]͜ insi[eme͜ i Troiani͜ an]dâr
Tutti quanti inver sa]cra Ilïo per salpar,
Flauto dolce nel [c]anto͜ [e la cetra] suonava[no],
Ed insi͜em [c]ampanel[li],͜ e [soä]vi cantavano 5
Canto san[to] le ver[gini],͜ e͜ un eco dolcissim[a]
Fino͜ al ci[elo sal]i͜a, ri[so –uu–ux]
E ’n le vi[͜e]͜ era per tutto [u–uu–ux]
E crateri e fiale [u–uu–ux]
Mirra, cassi͜a͜ ed incens[o] il fuoco accolse͜ in sé. 10
Forte urlava[n]o tutte le donne più vecchï[e,]
Tutti gl’uomini dolce peana gridavano,
Quel che lungi saetta͜ e ben suona chiamavano,
Du͜e divi[ni] lodavano: Ettor e͜ Andromaca. 14
Là dov’io v’ho ridetto: «De͜i versi ci mancan qua»,
Forse͜ un altro poëma di Saffo͜ iniziava là.

Latin
Cȳprŏ[–uu–uu–uu–ux]
Prǣcō [vīrĭbŭ’ c]rūr[ŭm] ĭ’ pūlsŭ’ dĕōr’ ĭĭ[t],
Ĭdǣūs răpĭdūs t’ ĕă nūntĭŭ’ r[ēt]tŭlĭt:
Plūrēs ūnŭ’vĕ vērsŭs ăbēst ĭbĭ, ūltĭmŭs
Īllōrūm pŏtĕ fīn’ hăbŭīssĕ sĭb’
     Īlĭī]
Īmmōrtālĭ’ fŭīt glŏrĭ’ [hō]c cĕtĕr’ Āsĭǣqu’:
Hēctŏr āc cŏmĭt[ē]s pĕrĭgūnt ŏcŭlīs bĕnĕ
Vīvăm Āndŏmăchām tĕnĕrām mărĕ nāvĭbŭs,
Thēbē ēxquĕ săcrā Plăcĭāquĕ [pĕrē]nnĭflu͞a,
Sālātūm; tĕgĭmēntăquĕ pūrpŭr[ĕ’] īntŭ’ sūnt,
[Ār]mīll’ a͞urĕ’, ăcū quŏquĕ flōr’ ĭbĭ [pīc]tă sūnt,
Ārgēnt[e͞i] călĭcēs sĭnĕ nūmĕr’, ĕbūr quŏquĕ.» 10
Dīxīt; cārŭ’ păt[ēr] răpĭdīssĭmŭ’ sūrsĭt ăd,
Cārōs fāmă pĕr ūrb’ ădĭītquĕ pĕrām[plă]m, ăc
Trōjānǣ sŭbĭtō iŭgŭm ādd[ĕr]ĕ cūrrŭŭ[m]
Mūlābūs răpĭdû̄m; pŏpŭlūsqu’ ăd[ĭ]īt tŏtŭs,
V[īr]gĭnēs tĕ[nĕ]rǣ quŏquĕ tālŭm, [ĭērĕquĕ]   15
Fī[l]ĭǣ Prĭămī ălĭ’ āc cĕtĕrī lŏcō,
Ĕqu[ōs] cūr[rŭbŭ’] dārĕ vĭrī, [cŏnĭītquĕ tŭm]
Q[uis]qu’ īn[nū]ptŭs; ĕt [īrĕ lŏ]cō p[ŏpŭlūs] māgnō
[Māgnŭs], ātqu’ ăŭrīg’ ĭb’ ĕ[quōs quĭdĕm ōptŭmē
Ōrnātōs] ăgĕ[r’ ēx, pĕrămāt’ ăb ĕ’ ūrbĕquĕ.] 20
Ōmnēs vērsŭm ăbēssĕ plŭs ūn’ ĭbĭ mī fĕrūnt.
[Cūmquĕ cūrrŭbŭ’ rūrsŭs ĕūnt s]ĭmĭlēs dĕī[s   1
Hēctōr Āndrŏmăchāqu’, ĭbĭ] sānctŭm ăd Īlĭŭm
[Tro͞es ōmnēs cŏnĕ]ūnt ădĕūndŭm ĭn ūn[ĭcā
Tūrbā], tībĭă dūlcĭ[c]ănē[ns]qu’ ĭbĭ cānt[at] ĕt
[T]īntīnnăbŭ[lă] ēt [cĭthăr’], ātquĕ pŭē[llŭlǣ   5
Cănūnt [dūlc]ĕ să[cr’] hȳmnŭm, [ĭē]băt ăd ǣ[thĕrĕm]
Ēchō dūlc[ĭ’] quĭdēm, rĭs[ŭs –uu–ux]
Lŏc’ ōmnīquĕ vĭ[īs uu–uu–ux]
Crātērēs phĭălǣqu’ [uu–uu–ux]
Cāssi͞a mȳrrhăquĕ tūsquĕ tŭm ūssă fŭēr’ ĭbĭ.   10
Clāmāb[ā]t mŭlĭēr sĕnĭō[r] quĭdĕm ōmnĭ’ tŭm,
Ōmnīs vīrquĕ cănēbăt ămābĭlĕm hȳmnŭm, ăd-
Vŏcāns dūlcĕm ĕūm ly̆r’ hăbēntĕm Ăpōllĭnĕm,
Cănūnt Hēctŏr’ ĕt Āndrŏmăchām sĭmĭl[ēs] dĕīs. 14
Ĕg’ ŭbī rĕpĕtī «ĭbĭ dē mĭhĭ vērbă sūnt»,
Fōrsān Sāpphĭcŭm īncĭpĭēbăt ĭb’ ālĭŭm.




English
Cypro[–uu–uu–uu–ux]
Then the herald cam[e] runn[ing, s]ped on [by his mighty l]eg[s],
These n[ew]s [brin]ging Idæ͜us the quick messenger there did come:
[One or more missing lines there are here, and the last one may
With the following two words have ended:
     of Ilïum]
And the rest all of Asia [th]is glory ne’er saw last day:
Hector and all his mate[s] bring Andromacha, lively i’ th’ eye, 5
Tender, on many briny a wave in their ships now, aye,
Off from Thebes, holy city, and Placi͜a that [e’er] doth flow;
Golden [bra]celets they bring very many, and robes alsò,
Purpl[e] robes, flow[er broi]deries, quite rich adornments there,
And with iv’ry innumerous silver[y] cups they bear.» 10
Thus spoke he; the dear fath[er] then quickly did rise t’ his feet;
And the news, through the wi[d]e city spread, did his darlings meet;
And the women of Troy at that moment the mules did t[i]e
To the fast-running chariot[s]; the whole people then c[a]me by,
And the m[a]ids t[end]er-ankled, the women did come alsò, 15
In a separate crowd [did] the dau[g]hters of Priam [go],
And the men to the ca[rts] yoked the hor[ses, and with them came]
A[ll] the young unwed boys; far and [w]ide a [big] p[eople went]
Moving, and all the coachmen [their] s[tallions excelling in
Their adornments d]rov[e out of the dear city they were in.] 20
That some lines here were lost everybody doth say alike.
[As again on the chariots did climb] to the god[s a]like 1
[Hector and his Andromacha, th’ Trojans all] com[pactlỳ
Star]ted out for to sail t’ holy Troy, and melodi͜ouslỳ
Did the flute [a-s]ing, [and the lyre] then its song did sing,
Of [s]mall bel[ls] there was s[o]un[d], and the mai[dens] did [sweet]- 5
Beautiful sacr[èd] hymns, and to th’ æ[ther] there did [arr]ive | ly sing
Echo swee[t] as can be, lau[ghter –uu–ux]
Everywhere in the roa[ds uu–uu–ux]
And some craters and vials [u–uu–ux]
Myrrh and cassi͜a and incens[e] the fire was a-burning then.
All the eldes[t] of women were joyfully [s]houting then, 10
All the men in a loud voice were shouting delightfullỳ
A Pëana, Far-darter, sweet lyre’s playër: calling thee
They did Hector a-praise and Andromacha, th’ god-like [two]. 14
Where again «here some lines have been lost» I did say to you,
There a diffèrent poëm of Sappho may’ve started too



These translations all date (modulo last-minute improvements from today) back to between May 2010 and August 2011, more likely after Christmas 2010, which was probably when I wrote the part of my "Nota Paracritica" (the ancestor of the critical notes of these Sappho posts) concerning this poem. Indeed, that Nota says that, on the «very proficuous» Dec 12 2010, I decided I'd reconstruct the text of all remaining fragments (which I suppose are those discussed after this statement) and then translate them «in bits and starts» during the schoolyear, and this poem is discussed after the statement, so I guess I dealt with the text between Dec 12 2010 and Jan 6 2011 and did the translations later on. Unfortunately I did not take the trouble to date them precisely, and I don't know where to look for any manuscripts of the translations to see if those have dates on them, so this is all I can do in terms of dating. And other Sappho translations will be even less precise, I'm pretty sure.

Critical note
Let’s start from the very bases: sources. What are our sources for this poem / these two poems? Oxyrhynchus papyri. Precisely, the first two sources are the two fragments grouped into P.Oxy. 1232. One of them contains the bulk of the first twenty-some lines and parts of the last circa 6, along with the “Morn is nigh” fragment, and I have an image of it. Then there is another little scrap, which is our second source, and contains what is thought to be the ends of a few lines of the same poem, and I was absolutely unable to find an image online, so that I have only Grenfell and Hunt's raw transcription from "Oxyrhynchus Papyri vol. 10". Now with only 1232, there is no apparent reason to do so. P.Oxy. 2076, the other source, gives a reason, since it gives the start of more lines before the second column of the image above, and one in particular links, in my opinion, incredibly nicely to a line on that scrap. Finally, we have P.Oxy. 2076, which I did find an image of. The analysis of all of those is deferred to A few papyri transcribed.
Is that really all? Maybe. Or maybe not. There is this «Απόσπασμα 67» on Greek Wikisource which goes:

πόλλα δ᾽ἀνάριθμα
ποτήρια καλαίφις

Bergk doesn’t have the above poem, probably because at the time of his edition the papyri above had not been unearthed yet, and tells us this is a quote from “Athen. XI”. Damn him for that abbreviation. Luckily he gives the whole quote, so I found the abbreviation means book 11 of Athenaeus’s Deipnosophistæ, “wise ones at dinner” (δεῖπνον, dinner, and σοφισταί). Greek Wikisource interestingly has the passage as:

καὶ Σαπφὼ δ᾽ ἐν τῷ β ἔφη:

πολλὰ δ᾽ ἀνάριθμα ποτήρια
κἀλέφαις.

The “intro” says “And Sappho in book 2 said”. The lone beta is the number 2, and is thus read δευτέρῳ, “second”, “book” being actually implied. It is interesting to see this this way on Greek Wikisource, since in Sappho’s poems the fragment is reported as above, that is with different line division and “καλαίφις”, which is incomprehensible to me and dismissed as “corruptum” (corrupted) by Bergk. I mean, get your shite straight Greek Wikisource. I seem to have found, some time ago, when I worked on Sappho, a French something giving the correction καλαἼφις, with the weird crasis between κάλα, “beautiful”, and Ἴφις, a name. It's a shame I cannot seem to find it again and did not include the link in the "Nota Paracritica" I mentioned above. Besides the weirdness of the crasis, why would Athenaeus quote a subject, an object, and NOT a verb? I mean, he was supposed to have the Alexandrian edition of Sappho at his disposal, so why couldn’t he just quote the verb too? Besides, the consonants of that fit in wonderfully with κἀλέφαις = καὶ ἐλέφαις, “and ivory”, plus the ἀνάριθμα could fit in that «ΑΝ[. . .]θ̣[. .» = «ἀν[άρι]θ[μα», and πόλλα could be from the previous line. All of this seems to definitely warrant interpreting that quote as a corruption of part of this poem, and integrating that line with it. Let’s put everything together, shall we? I’ll denote stuff from this P.Oxy. 1232 with unchanged color, stuff from P.Oxy. 2076 by blue, stuff from the other scrap of P.Oxy. 1232 with pink and the corrupted quote by red, and use the source which has greatest certainty to determine my critical notation, prioritizing black over pink over blue where there are common letters of identical precision on two sources. Where unreadable letters are guessed, I will underline them. Column 1:

Κυπρο . [         22-24 letters     ]αι
Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις
Ἴδαος τάδε κα[ῖν]α [φόρ]εις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος               ἄν̣ω̣
[That ἄνω, along with the / I did not copy here, indicate an omission of lines written above, meaning we have an unknown number of lost lines here; I don’t know where I got the guess the last lost line ended with Ἰλίω (probably Edmonds and his «excessive eagerness to fill the gaps»), but it pairs up nicely with the genitive starting the following line]
Τᾶς τ' ἄλλας Ἀσίας [τά]δ̣' ἔσ̤αν κλέος̣ ἄφθιτον·
Ἔκτωρ καὶ συν̣έται̣ρ[ο]ι̣ ἄ̣γοισ' ἐλικώπιδ̣α̣
Θήβας ἐξ ἰέρας Πλακίας τ' ἀπ' [ἀϊ]‹ν›νάω
Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον
Πόντο̣ν̣· πόλλα δ̣' [ἐλί]γ̣ματα χρύσια κἄμματα
Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ιλ' ἀθύρματα,
Ἀργύρ[α τ'] ἀνάριθμα ποτήρια κἀλέφαις.
Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρουσε̣ π̤άτ̣[ηρ] φίλος·
Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρύ̣χ[ορο]ν φίλοις·
Ατικ’ Ἰλίαδαι σατίναι[ς] ὐπ’ ἐϋ̣τρόχοις̣
Ἆγ̣[ο]ν αἰμονίοις̣· ἐπ[έ]β̤αινε̣ δ παῖς ὄχλος
Γ̣υνάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν τ̣’ ἀ[παλ]οσ̣φ̣ύρω‹ν›·
Χῶρις δ’ αὖ Περάμοιο θύγ̣[α]τρ̤ες [
Ἴππ̣[οις] δ̣’ νδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα
Π[άντ]ες ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [
Δ[ᾶμος], κἀν̣ιόχοι φ[
Π̣[ώλοις ἔ]ξαγο[ν

Column 2:

[                                              ἴ]κελοι θέοι
[                                             ] ἄγνον ἀόλ̣[λεες]
ρ̣ματα̤[ι                                 ]νον ἐς Ἴλιο[ν],
Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το]
Καὶ ψ[ό]φο[ς κ]ροτάλ[ων, λιγέ]ως δ’ ἄρα πάρ̣[θενοι]
Ἄειδον μέλος ἄγν[ον, ἴκα]νε δ’ ἐς̣ αἴ[θερα]
Ἄχω θεσπε̣σί̣[α], γέλ̤[ος
Πάντᾳ δ’ ἦς κὰτ ὄδο[ις
Κράτηρες φίαλα̣ι̣ ρ̤ο[. . .] . ε̣δ̣ε̣[. .] . [.] . [
Μύρρα καὶ κασία λίβανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣
Γύναικες δ’ ὀλόλυσδ[ο]ν̣ ὄ̣σαι προγενέστερα[ι],
Πάντες δ’ ἄνδρες ἐ̣πήρατον ἴαχον ὄρθιον
Πάον’ ὀνκαλέοντες ἐκάβολον εὐλὐραν,
῎Υμνην δ' Ἔκτορα κἈνδρομάχαν θεοίκελο[ις


Now let’s make some notes:
  • Nobody seems to dare attempt a completion of l. 1; not even Edmonds, who sometimes goes so far as to reconstruct an indirect quotation entirely;
  • Yeah, I know; I said 12 letters and then put only 9 in that lacuna in l. 2; but I couldn’t think of another completion, and anyways I was trying to get to the text I actually translated, which had that completion;
  • Edmonds’ suggestion κοἰ συνέταιροι makes sense, so I will adopt it as an emendation; I mean, I definitely want an article there, right?
  • I chose not to accept the correction of ἰέρας to ἰάρας, because the Aeolic form would be ἶρος, whereas ἴαρος is Doric, and what would a Doric form be doing in an Aeolic poem? Also, I have a feeling there is a poetic influx from epic (e.g. Homer), which would be ionic and have the ε; in any case, there is room for doubt;
  • For comments on [ἀϊ]‹ν›νάω and other stuff, see Grenfell and Hunt’s notes; interestingly, Edmonds doesn’t amend to double the nu, but I’m pretty sure that iota is short: compare ἀϊπάρθενος ἔσσομαι elsewhere in Sappho; short vowel there or long vowel here metri causa? Perhaps, but it sounds a bit far-fetched;
  • The ἔσαν completion is Edmonds’ idea; Campbell and safopoemas have an unreadable letter in place of the sigma; Bibliotheca Augustana completes as τάδε γᾶν κλέος ἄφθιτον, which I fail to understand; Wharton and Bergk don’t have the poem; that form is a non-augmented imperfect; as such, it is strange, but, in the absence of a better alternative, and also because I adopted it when I translated this, I’ll adopt it now;
  • Seen as the papyrus leaves no doubt whatsoever on the ἀθύρματα, it seems pretty weird that some (e.g. Bibliotheca Augustana and Edmonds) have ἀθρήματα instead; not sure if I’m missing some quotation (if so, point it out in the comments), but both terms seem to fit, and I have thus no strong reason to correct the papyrus on this at the moment; UPDATE There is an entry in Hesychius' lexicon which reads «ἀθρήματα· δῶρα πεμπόμενα παρὰ τῶν συγγενῶν ταῖς γαμουμέναις παρθένοις παρὰ Λεσβίοις», «ἀθρήματα: [thus are the] gifts sent by parents to maidens getting married [called] by the Lesbians», aka this is the Lesbian term for dowry; that would suggest to put it in here, but Hesychius only mentions the word, not who used it, much less in which book or poem, and "ornaments" also fits the things called thus, so just Hesychius isn't enough to correct a papyrus which leaves no doubt; the Hesychius entry will sooner or later appear at the rest of Sappho, in the single-word quotes section;
  • >Just as weird it is that Campbell reads πορφύρ[α] καταΰτ[με]να, ποί̣κ̣ι̣λ’ ἀθύρματα, perhaps on the basis of a quotation, again in the Deinosophistæ (book 9 this time), which Greek Wikisource reports in the Deiptnosophistæ with tons of emendations making it almost unrecognizable, and then has in Sappho’s poems the way it usually shows up; this is also in the rest of Sappho, and has an infinite critical note, and it's fr. 1.C.viii; for the moment, let it suffice that καταΰτμενα is an unknown word, so it is much safer to use my reading (and assume perhaps a wrong acute accent on the papyrus, cfr. Grenfell-Hunt) than use Campbell’s and assume an unknown word; by the way, Edmonds reads that quotation as χερρόμακτρα δὲ κὰγ γένυων / πορφύρα καταρταμένα τὰ Τῖμας / εἴς τ’ ἔπεμπψ’ ἀπὺ Φώκαας / δῶρα τίμια, losing that weird word altogether; but we’ll come back to that in the post about this corrupted quotation;
  • You see how nicely the lines from P.Oxy. 2076 (on most occasions where they do) join with the fragments on the spare scrap? That is probably the basis for joining the two papyri; Edmonds probably didn’t have P.Oxy. 2076, and so had to choose what to join the spare scrap with; sadly enough, he made the possibly wrong choice of putting it after the first column and keeping the second column separate; in the process, he reconstructed a ton of words in his “e.g.” (read: I’m doing the frick I want with these lines muahahahahah) style; I actually tried to borrow some of his completions, but I had to tweak them to fit P.Oxy. 2076; but I’ll come back to that below;
  • Not sure if the superscript epsilon in ΟΝ€ΔΙΧΝΥΤΟ was meant as a correction (i.e. ὀνεδίχνυτο -> ὀνεδέχνυτο) or as an addition (resulting in ὀνεδείχνυτο); I’ll go for the choice made by the experts, which is the former;
  • I see no reason whatsoever to assume an error on the part of P.Oxy. 2076 on ὀλόλυσδον and hypothizing an Aeolic form ἐλέλυσδον; this is why I differ from usual in those omicrons; I do keep the σδ because ζ was probably pronounced exactly the same so it might be a phonetic spelling mistake, whereas an omicron for an epsilon definitely is not;
  • No idea what that ΜΙΤ̣I̤ΝΥΔΥ[ from the end of P.Oxy. 2076 was supposed to be; I asked on Latin Stack Exchange though; UPDATE that was one gross misread; on my defence, the alpha is super-slanted and linked to the rho, which makes the pair look a lot like a M, and the epsilon is super-tall and the top is near-invisible, so the bottom looks like a lonely iota, the middle horizontal stroke joins with the phi to form the tau (which was double-underdot probably because of the phi's circle), and the lambda+epsilon are faded and slanted just right to look like NY, so the actual transcription is ] . ΓΑΡ€̣ΦΙΛ̣€̣ΙΔΥ[, or ]. γὰρ ἐ̣φίλ̣ε̣ι δυ[, "because (s)he loved (to do something?)";

Back in the days, I thought of filling up the lacuna with a mention of the lacuna in Aeolic and in the meter of the poem, and even managed to stick in what Bibliotheca Augustana proposes as a possible ending for the last line of the lacuna. However, using the starting vowel of ἴσως, which likely had a digamma up front, to shorten the ᾳ of τελεύτᾳ and then use a digamma on ϝέχεν seems contradictory, so I just dropped that digamma. The filling for the second lacuna came out better. At the end, I added a couplet to explain that between column 1 (actually 2, 1 is "Morn is nigh" - cfr. above) and the merge of extra scrap + column 2 (again, actually 3) + P.Oxy.2076 there might have been a change of poem, meaning these are actually two poems. I’m beginning to think this is the case, but I still don’t want to split the discussion since the two are so intertwined by the P.Oxy. 1232. Let’s look at what we have till now without colors:

Κυπρο . [         22-24 letters     ]αι
Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις
Ἴδαος τάδε κα[ῖν]α [φόρ]εις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος               ἄν̣ω̣
[Big fat hole]
Τᾶς τ' ἄλλας Ἀσίας [τά]δ̣' ἔσ̤αν κλέος̣ ἄφθιτον·
Ἔκτωρ καὶ συν̣έται̣ρ[ο]ι̣ ἄ̣γοισ' ἐλικώπιδ̣α̣
Θήβας ἐξ ἰέρας Πλακίας τ' ἀπ' [ἀϊ]‹ν›νάω
Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον
Πόντο̣ν̣· πόλλα δ̣' [ἐλί]γ̣ματα χρύσια κἄμματα
Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ιλ' ἀθύρματα,
Ἀργύρ[α τ'] ἀνάριθμα ποτήρια κἀλέφαις.
Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρουσε̣ π̤άτ̣[ηρ] φίλος·
Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρύ̣χ[ορο]ν φίλοις·
Ατικ’ Ἰλίαδαι σατίναι[ς] ὐπ’ ἐϋ̣τρόχοις̣
Ἆγ̣[ο]ν αἰμονίοις̣· ἐπ[έ]β̤αινε̣ δ παῖς ὄχλος
Γ̣υνάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν τ̣’ ἀ[παλ]οσ̣φ̣ύρω‹ν›·
Χῶρις δ’ αὖ Περάμοιο θύγ̣[α]τρ̤ες [
Ἴππ̣[οις] δ̣’ νδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα
Π[άντ]ες ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [
Δ[ᾶμος], κἀν̣ιόχοι φ[
Π̣[ώλοις ἔ]ξαγο[ν

Column 2:

[                                              ἴ]κελοι θέοι[ς
[                                             ] ἄγνον ἀόλ̣[λεες]
ρ̣ματα̤[ι                                 ]νον ἐς Ἴλιο[ν],
Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το]
Καὶ ψ[ό]φο[ς κ]ροτάλ[ων, λιγέ]ως δ’ ἄρα πάρ̣[θενοι]
Ἄειδον μέλος ἄγν[ον, ἴκα]νε δ’ ἐς̣ αἴ[θερα]
Ἄχω θεσπε̣σί̣[α], γέλ̤[ος
Πάντᾳ δ’ ἦς κὰτ ὄδο[ις
Κράτηρες φίαλα̣ι̣ ρ̤ο[. . .] . ε̣δ̣ε̣[. .] . [.] . [
Μύρρα καὶ κασία λίβανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣
Γύναικες δ’ ὀλόλυσδ[ο]ν̣ ὄ̣σαι προγενέστερα[ι],
Πάντες δ’ ἄνδρες ἐ̣πήρατον ἴαχον ὄρθιον
Πάον’ ὀνκαλέοντες ἐκάβολον εὐλὐραν,
῎Υμνην δ' Ἔκτορα κἈνδρομάχαν θεοίκελο[ις

Let’s have a look at Edmonds, shall we? Now, where we have complete lines, we don’t need any inputs any more. But the lines from Χῶρις are missing their ends, so let's see what Edmonds has to say.

Χῶρις δ’ αὖ Περάμοιο θύγατρες [ἐπήϊσαν.]
Ἴππ[οις] δ’ ἄνδρες ὔπαγον ὐπ’ ἄρ[ματα, σὺν δ’ ἴσαν]
Π[άντ]ες ἀΐθεοι· μεγάλωστι δ’ [ἴεν μέγας]
Δ[ᾶμος] κἀνίοχοι φ[αλάροισ]ι̣ [κεκαδμέναις]
Π[ώλοις ἔ]ξαγο[ν. …]
[…………]
[Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς]
[Ἔκτωρ Ἀνδρομάχα τε, σύν]αγνον ἀόλ[λεες]
[Τρῶες Τρωΐαδες τ’ ἐρ  ́τεν]νον ἐς Ἴλιο[ν.]


No more completions to be found on Edmonds.
  • For the first part, I just accept the completions as they are, fixing the critical notation from Edmonds’ text to match mine above.
  • Same goes for the first line of part 2.
  • In the second line, though, we find σύναγνον, a word that is not to be found in the huge dictionary I use as a reference, the (here in Italy) very well-known – standard, in fact – Rocci dictionary. I thus have to reject that part of the completion as incomprehensible, and come up with something similar but different. The first thing I came up with was:

    [Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες]

    What’s wrong with that, you say. Well, nothing at all. Except if Greek Wikisource with its totally random ordering of the poems has placed this after the epigrams and convinced you this must be some sort of epigram. Then it must be an epigram for these two guys, so they must be dead. Now evidently they are well alive in column one of P.Oxy. 1232, which is why I came to think these were two separate poems, a marriage song and an epigram slash funeral account, so I rejected Hector and Andromacha stepping on the chariots and put the first thing I could think of there instead, that is Priam and Hecuba, the rulers of Troy:

    [Ἐκάβα Πέραμος τ’, ὄλοι] ἄγνον ἀόλ̣[λεες]

    coupled with translations to be posted instead of those above:

    [Priamo e la sua sposa, …                                             [Priamus Hecubaqu’…                                             [Priam and his wife, …

    Yeah, «Priam and his wife» doesn't fit the meter, «Hecuba and his Priam» would. This is also why I was like, dafuq are κρόταλα, little rattling bells, doing rattling in the middle of a funeral? But then I realized it’s just Greek Wikisource confusing me, and that this was a marriage song, with lots of joyous stuff: the bells, the flute, the cithara, the wine. So I reverted to the first accepted completion.
  • Speaking of confusion, I originally translated the verb ὀλόλυσδον in Italian as "singhiozzavano", "they were sobbing", because hey, it's supposed to be an epigram, right, so this must be a funeral with sad old ladies sobbing.
  • As for line 3, I obviously have to tamper with it, since it ignores the P.Oxy. 2076 beginning of the line. Let’s see what we have so far:

    ρ̣ματα̤[ι                                ]νον ἐς Ἴλιο[ν],           papyri with critical notation

    [Τρῶες Τρωΐαδες τ’ ἐρ ́τεν]νον ἐς Ἴλιο[ν.]              Edmonds

    My original solution was:

    ὄ̣ρ̣μα‹ν›α̣ι̣ [τότα Τρῶ͜ες συνέβαι]νον ἐς Ἴλιον,

    So a little correction to the papyrus and something copied off Edmonds with great reformulation of his completion. What I do not like about this solution is the synaeresis. It is completely unnecessary: why put a prefix on the verb and force a synaeresis when you can just drop the prefix and the synaeresis and the meaning is basically the same? The reason for the correction to the papyrus is that I could not think of something to make the subject of ὄρμαται, which would be 3rd person singular, whereas a nice infinitive of purpose (in an unusual possibly Aeolic form) fitted perfectly. Indeed, the first thing I thought of was ὄρμαμεν, clearly an infinitive, but then I decided to try to concile that as much as possible with the papyrus.
So let’s look at the final text of the poem:


Κυπρο . [         22-24 letters     ]αι .
Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις                          2
Ἴδαος τάδε κα[ῖν]α [φόρ]εις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος               ἄν̣ω̣
[Big fat hole]
Τᾶς τ᾽ ἄλλας Ἀσίας [τά]δ̣᾽ ἔσ̤αν κλέος̣ ἄφθιτον·
Ἔκτωρ κ‹ο›ἰ συν̣έται̣ρ[ο]ι̣ ἄ̣γοις᾽ ἐλικώπιδ̣α̣
Θήβας ἐξ ἰέρας Πλακίας τ᾽ ἀπ᾽ [ἀϊ]‹ν›νάω
Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον
Πόντο̣ν̣· πόλλα δ̣᾽ [ἐλί]γ̣ματα χρύσια κἄμματα
Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ιλ᾽ ἀθύρματα,
Ἀργύρ[α τ᾽] ἀνάριθμα ποτήρια κἀλέφαις.
Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρουσε̣ π̤άτ̣[ηρ] φίλος·
Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρύ̣χ[ορο]ν φίλοις·
Ατικ’ Ἰλίαδαι σατίναι[ς] ὐπ’ ἐϋ̣τρόχοις̣
Ἆγ̣[ο]ν αἰμονίοις̣· ἐπ[έ]β̤αινε̣ δ παῖς ὄχλος
Γ̣υνάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν τ̣’ ἀ[παλ]οσ̣φ̣ύρω‹ν›·
Χῶρις δ’ αὖ Περάμοιο θύγ̣[α]τρ̤ες [ἐπήϊσαν]
Ἴππ̣[οις] δ̣’ νδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα, σὺν δ’ ἴσαν]
Π[άντ]ες ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [ἴεν μέγας]
Δ[ᾶμος], κἀν̣ιόχοι φ[αλάροισι κεκαδμέναις]
Π̣[ώλοις ἔ]ξαγο[ν. …]

Column 2:

[Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς
[Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες]
ρ̣μα‹ν›α̤[ι τότα Τρῶες ἔβαι]νον ἐς Ἴλιο[ν],
Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το]
Καὶ ψ[ό]φο[ς κ]ροτάλ[ων, λιγέ]ως δ’ ἄρα πάρ̣[θενοι]
Ἄειδον μέλος ἄγν[ον, ἴκα]νε δ’ ἐς̣ αἴ[θερα]
Ἄχω θεσπε̣σί̣[α], γέλ̤[ος
Πάντᾳ δ’ ἦς κὰτ ὄδο[ις
Κράτηρες φίαλα̣ι̣ ρ̤ο[. . .] . ε̣δ̣ε̣[. .] . [.] . [
Μύρρα καὶ κασία λίβανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣
Γύναικες δ’ ὀλόλυσδ[ο]ν̣ ὄ̣σαι προγενέστερα[ι],
Πάντες δ’ ἄνδρες ἐ̣πήρατον ἴαχον ὄρθιον
Πάον’ ὀνκαλέοντες ἐκάβολον εὐλὐραν,
῎Υμνην δ' Ἔκτορα κἈνδρομάχαν θεοίκελο[ις


Whoa, 8 pages of critical note! What a mess this poem is! But now we’ve tidied it up at last. Wait a minute. Where did I get that completion of the last line of column 1? In my original file, the line reads:

Π̣[ώλοις ἔ]ξαγο[ν ἐκ πόλεως τότα τᾶς φίλας.]

Did I seriously make that up? I didn’t even mention it in my “Paracritical Note”. That’s curious. Well, in the absence of valid alternatives, I’ll go with the thesis that I made it up to have a complete line. It’s also curious to see how my original file has ὄσοι whereas the Paracritical Note has ὄλοι. I prefer the PN version, so I’ll stick to it. The translation should not be affected. Perfect, now the text in my file, modulo what I pointed out, matches the above, which will be the text given for the translation. End of the story. This poem is dealt with. And p. 8 of this thing has been overflowed :). PS I corrected one critical notation mismatch, and there may be more, but I'm fed up of going over this (the Blogger IDE filled it to the brim with BS useless code, and removing all that was a long-ass pain in the A), so be it known that, for matters of critical notation, the papyri transcriptions post is right, and anything different is wrong.

References
Note: these are all the references I ever used for Sappho as of now. I may not have used all of these in the present post.

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