Saturday, 29 July 2017

Sappho: two divine epiphanies

Today we meet with two Sappho poems, related by topic and, casually, also by meter. The first one I title "Idyll with Aphrodite", and it is a prayer to the Goddess, asking her to appear to the poetess. The place Sappho would like Aphrodite to appear at is described as idylliac, with the sweet scent of incense, the trees lulling you to sleep, a nice crook, and a horse-nourishing meadow. Oh and honey-sweet winds, don't forget those. So the topic is "prayer for epiphany". And so is (in my reconstruction, but not really in the poem, cfr. critical note) the topic of the second poem, which I title "Divine Hera", following Greek Wikisource's Πότνια Ήρα. The first one was translated probably close enough to the Hymn to Aphrodite, perhaps June or July 2010, whereas the other one was probably translated around Christmas 2010, if not even later. No special translations: just the regular Latin, English and Italian. The meter is the Sapphic stanza, which is rendered in the usual meter in English and Italian, i.e. quatrains of 3 rhyming hendecasyllabics and a 5-syllable line which rhymes between couples of stanzas. The rhythm of the original meter is not yet imitated in the translations. Both have pretty extensive critical notes.

Idyll with Aphrodite

Greek

[–u–x] ὀρράνοθεν [σὺ δ’ ἔλθε
Νῦν] κατίοισα                                                  4

δ̤ε̣ῦρύ μ' ἐκ Κρή̣τα̣̣ς̤ ἐ̤π[ὶ τόνδε] ναῦον
ἄγνον, ὄπ[πᾳ δὴ χ]άριεν μὲν ἄλσος
μαλί[νων, β]ῶμοι δ' ἔ‹ν›ι θυμιάμε̤-
ν̣οι̣ λιβ]ανώτῳ·                                                  8

ἐν δ' ὔδωρ ψῦχρον κελάδει δι' ὔσδων
μαλίαν, β̤ρόδοισ‹ι› δὲ παῖς ὀ χῶρος
‹ἐσκ›ίαστ̤', αἰθυσσομένων δὲ φύλλων
κῶμα κατάρρει·                                                  12

ἐν δὲ λείμω[ν] ἰπ̣π̣ό̣β̣οτος τέθαλε
ἠ‹ρί›νοι̣σι̣ν̤ ἄνθεσιν, αἰ δ' ἄηται
μέλλιχα πνέ̤ο̤ισιν [φύτων καράνο-
θεν κατίοισαι·]                                                  16

ἔλθε δὴ σὺ στέμ[ματ'] λ̣ο̣ισ̣α̣, Κύπρι,
χρυσίαισιν ἐν κυλίκεσσιν ἄβρως
συμμεμίγμε̣νον θαλίαισι νέκταρ
οἰνοχόεισα.                                                  20


Italian

[–u–x–u] dal ciel scendendo
[Vienine,͜ orsù,]

Da Creta͜ a me͜ ed a [ques]to tempio santo
Tu quivi, dov[e]͜ un grazïoso manto
Di mel[i] c’è, e dove͜ altari santo
Bruciano ͜‹in›censo.

‹E› pe͜i ra‹m›i di me‹l› fresco ruscello
Sentesi, ͜ e ’l loco tutto d’ rose͜ un vello
Ombreggia,͜ e l’ foglie mosse͜ al venticello
D‹à›n sonno͜ intenso.

E pascolabil prato v’è,͜ adornato
Di fior’ di primavera,͜ [e]͜ i venti un fiato
Di miel vi soffian ‹giù d’ogni chiomato
Capo di pianta›.

Ciprigna, colle ben[de] tu͜e qui vieni,
E, mi‹s›to͜ al gaudio,͜ il nettare che tieni
’N calici d’or‹o› versa͜ a vin, sian pieni
Di gioia manta.
Latin

[–u–x] cǣrŭlĕ’ ābs [vĕnī mī]
Dēvĕnĭēns [nūnc]

Hūccĕ ēx Crētā mĭhĭ tēmpl’ ă[d hūn]cĕ
Sāct’ ŭb[ī] mālō[rŭm] ădēst sŭāvĭs
Sīlv’, ĕt ārǣ tū‹rĕ› ŏlēntĕ ūrēn-
tēs quŏquĕ ī‹n›sūnt.

Pērflŭīt‹qu’› īllīc ăquă frīgdă rā‹m›ōs
Māl‹û̆›m, āb rosīsqu’ ĭbĭ tērră tōtă
Ūmbr’ hăbēt, mōtīs fŏlĭīsquĕ sōmnŭm
Dē‹f›lŭ‹ĭt› āltŭm.

Prātŭ’ pāscēns flōrŭĭt a͞utĕm īllīc
Flōrĭbūs vērīsqu’ [ĕt] ĭbīquĕ vēntī
Mēllă spīrānt ‹ārbŏrĭbūsquĕ sūmmīs
Dēvĕnĭēntēs›.

Ādvĕnī tū, bēn[dă] fĕr hūcquĕ, Cȳ̆prĭs,
A͞urĕō‹s›quĕ ga͞udĭă m‹īx›tă pōnĕ
Nēctărī nūnc īn călĭcēs, bĭbēndă
Vīnŭm ŭt ēssēnt.


English

[–u–x–] from the sky descending
[You please do now]

From Crete to me come t[o thi]s temple here
Which’s holy, t’ whi[ch] an app[le] wood is near
Wher‹ei›n there altars are that ‹in›cense bear,
With it alight.

Through th’ ap‹pl›e-bo‹ug›hs fresh brook is heard to flow,
And roses shadow all the place alsò;
Fro’ th’ rustling leaves a sleepishness doth f‹lo›w
Which holds us tight.

A horse-nourishing meadow’s flowered there
With flowers of spring, [and] the sweet winds down bear
A honey-sweet breeze ‹from the tree-heads there›,
Sweetness divine.

Come with your chapl[ets], Cyprus-Goddess, please,
And in the gold‹en› goblets at y‹o›ur eas‹e›
The joy-mi‹x›ed nectar out o’ th’ flowers squeeze
To drink as wine.



Divine Hera

Greek

Πλάσιον δὴ μ[' εὐχομένᾳ φανείη,]
πότνι᾽ Ἤρα, σὰ χ[αρίεσσα μόρφα,]
τὰν ἀράταν Ἀτρ[εΐδαι ϝίδον κλύ-]
τοι βασίληες,

ἐκτελέσσαντες μ̣[άλα πόλλ' ἄεθλα,]
πρῶτα μὲν πὲρ Ἴ̤[λιον, ἔν τε πόντῳ,]
τυίδ’ ἀπορμάθεν̣[τες ὄδον περαίνην]
οὐκ ἐδύναντο

πρὶν σὲ καὶ Δι’ ἀντ̤[ίασαι μέγιστον]
καὶ Θυώνας ἰμμ[ερόεντα παῖδα·]
νῦν δὲ κ[ἄμοι πραϋμένης ἄρεξον,]
κὰτ τὸ πά[λαιον.]

ἄγνα καὶ κα̣[λ' ἐν Μυτιληνάαισιν
π]αρθ[ένοις δραίμην πάλιν, αἲς χορεύην
ἀ]μ̣φὶ σ̣[αῖσι πόλλ' ἐδίδαξ' ἐόρταις,
πόλλα τ' ἀείδην.

Ὤς τε νᾶας Ἀτρεΐδαι σὺν ὔμμι]
ἆρα̣ν̣ Ἰλ[ίω, κέλομαί σ' ἄρωγον]
ἔμμεν[αι κἄμοι γ', ἴν' ἐς οἶκον αὔτα,
Ἤ]ρ̣' ἀπί[κωμαι.]


Italian

A me ͜[in preghiera appaia]͜ inver vicina
[La tua beltà] g[raziosa,]͜ Era divina,
Tu che [gl’ill]ustri͜ Atr[idi͜ una mattina
Vider] pregata;

Avendo [molte͜ imprese] terminate
Pri͜a presso [Ili͜o, poi ’n mare͜ incontrate,
Veder] potêro, lor vele spie[gate,
La casa͜ amata]

Sol quando te chia[mâro,]͜ e Zeus [potente],
E ’l Tïon[ide͜] ama[bil e͜ avvenente;
Soccorri]͜ or anche [me, benevolente,]
L’u[so]͜ osservato.

Sante e bel[le] cose͜ [a Mitilene]
Tra l’ [d]onn[e possa͜ ancor i͜o far, cu͜i bene]
Nelle t[u͜e feste danza,͜ e a cantar bene
Spesso͜ insegnavo.

Come gli͜ Atridi le navi con voï]
Tolsero d’Il[i͜o], siat[e anche͜ a noï
Favorevole, perché, E]ra, noï
Giun[giamo͜ a casa].
Latin

[Fōrmă pārĕāt] prŏpĕ m’, Hēră dīvă,
[Tē cŭm ōrēm, pūlchră t]ŭ’, īllă vīsă
Rēgĭbūsqu’ Ātr[e͞o gĕnĭtīs] prĕcātīs,
[Ōmnĭbŭ’] nōtīs.

[Mūltă gēstă] cūm sĭbĭ gēst’ hăbērēnt
Cīrcŭm [Īli͞um] prīmŭm, [ĕt īndĕ mārī,]
Hūc c’ ăbīvīssē[nt dŏmŭm ādvĕnīrĕ]
Nōn pŏtŭērĕ,

Quām Iŏvēm [māgnūmquĕ] vŏc[ārĕ] tēquĕ
Āc Thy̆ōnīs [pu͞erŭm] ăm[ābĭl’] āntĕ;
Nūnc [mĭhī]quĕ [cūrrĕ sŭm], ūtquĕ sō[lēs
Ādjŭvă], dīva.

Pūră pūl[chră v]īrg[ĭnĭbūsquĕ rūrsŭs
Āct’ hăbe͞am īllīc, My̆tĭlēn’, ĕg’ īllās
Quǣ ă]pūd [fēstās dĭdĭcī] t[ŭās cān-
tārĕ, sălīrĕ.

Ūtquĕ Ātrīdǣ] Tr[ŏĭā] tŭlērĕ
[Tēc’ ĕû̄m nāvēs, ĕgŏ nūnc prĕcōr tē
Ūt sĕcūndă mīquĕ] sĭē[s ĕt īpsă]
Ādvĕ[nĭ’ ǣdĕm].


English

[While I’m in pra͞y͞er your graceful form appear,]
O Goddess Hera, [let] you to me near;
Atr[eus’s fam]ous sons, as thou didst hear
Their pra͞y͞ers, [saw] thee;

Having done [many deeds so strong and brave],
Round [Troy] at first, [and then on many͜ a wave,]
Havi[ng] set out, they could, which they did crave,
[Their loved home see]

Just when the [Mighty] Zeus and thee they pr[ayed],
And that wo[nderful son] Thyone made;
[Benev’lent] now [come] also [to my aid,]
As you us[ed to,]

So that I may [once more in Mytilene]
Pureness and beau[ty work] ’mong [m]ai[ds, who’ve seen
Me oft upon your feasts as them I’ve been
Teaching to do

Singing and dancing. As Atreus’s seed
Set] out from Tr[oy with thee, to me in need
Also do] come, [I beg you, Hera: indeed
Home may] I get.



Little bit of trivia

The Greek goes «cold water flows through branches». What water? I originally interpreted it as dew, giving the following alternate Italian translation:

E pei rami di mel fresca rugiada
Scorre, e le rose tutta la contrada
Ombreggiano, e d’ogni foglia agitada
Vien sonno intenso.

Moreover, the Greek στέμματ' also means "garlands", hence the alternate translations «Ciprigna, con ghirlande, deh, qui vieni,» and «Come here with garlands, Cyprus-Goddess, please,» for the first line of the last stanza. Future me: yeah, that thing with ritual bandages that I can no longer source; also, "chaplets" are garlands, so… yeah, whatever :).


Note to the idyll

Originally, only two fragments of this poem were known, through two different quotations, one from Hermogenes (full Bergk reference Hermogenes Walz. T. III, it's Bergk 4) and one of Athenaeus (full Bergk reference Athen XI, 463, it's Bergk 6). Bergk reports the Hermogenes quotation as «Τὰς μὲν οὐκ αἰσχρὰς ἡδονὰς ἔστιν ἁπλῶς ἐκφράζειν, οἷον κάλλος χωρίον καὶ φυτείας διαφόρους καὶ ῥευμάτων ποικιλίαν καὶ ὅσα τοιαῦτα. Ταῦτα γὰρ καὶ τῇ ὄψει προσβάλλει ἡδονὴ ὁρμώμενα καὶ τῇ ἀκοῇ ὅτε ἐξαγγέλλοι τις. Ὥσπερ ἡ Σαπφώ· Ἀμφὶ δὲ ὕδωρ ψυχρὸν κελάδει δι' ὄσδων μαλίνων, καὶ αἰθυσσομένων δὲ φύλλων κῶμα καταῤῥεῖ, καὶ ὅσα πρὸ τούτων γε καὶ μετὰ ταῦτα εἴρηται» (in Campbell's translation, «It is possible to describe in simple temrs the pleasures which are not base, the beauty of a place, for example, the variety of plant-life, the diversity of streams, and so on. These things afford pleasure to the eye when seen and to the ear when spoken about. Compare Sappho [quote 1] and [quote 2] and all that comes before and after this»), adding that "Etymol. Vindob. Cod. CCV. f. 109" reports the quotation with ὔσδων, specifically saying that the Aeolians «turn the omicron into upsilon and split the zeta as sigma and delta»; the Athenaeus quotation is reported as «Καὶ κατὰ τὴν καλὴν οὖν Σαπφώ· Ἐλθέ Κύπρι χρυσίαισιν ἐν κυλίκεσσιν ἅβρως συμμεμιγμένον θαλίαισι νέκταρ οἰνοχόεισα» («And according to the beautiful Sappho: [quote]»). The rest of the critical note only contains two interesting pieces of info: one is that "libri" have ἅβροις for ἅβρως, suggesting possibly a gender error and a correct reading of ἅβραις to go with κυλίκεσσιν, as "Blomfeldius" chose to read; the other one is that some tried to stick «τούτοισι τοῖς ἑταίροις ἐμοῖς γε καὶ σοῖς» (to these friends of mine and of yours) into this poem, but Bergk thinks it's Athenaeus's words, and not part of the poem; it does sound like this is another fragment I had, which I found as «ταῖσδε ταῖς ἔμαις ἐτάραισι καὶ σαῖς» (to these female friends of mine and of yours), which is then to be discarded as non-Sappho. Anyways, that wraps Bergk's info up, and Edmonds seems also to not have had the ostrakon I'll mention below, having Bergk 4 as n. 4 and Bergk 6 as (let me guess) 6. There is, in fact, probably another quote: Bergk 29 is from a quotation of "Crameri Anecd. T. III. p. 240. f." reported as «Οἱ γὰρ Αἰολεῖς λέγουσι πᾶς (παῖς) παῖς ὁ χῶρος» (The Aeolians say πᾶς, "whole", as παῖς, "the whole place"). This was then a «videtur Sapphonis esse» (seems to be of Sappho) fragment. Edmonds doesn't have it.
Then, in 1937, Papiri della Società Italiana published an ostrakon, called "ostrakon florentinum" because it is conserved in the Medici library in Florence, which is discussed in my transcriptions post. I report here only the transcription, with line divisions put in place:


ὀρρ̣ά̣νοθεν
κατίο‹ι›[σα]

δ̤ε̣ῦρύ μ' ἐκ Κρή̣τα̣̣ς̤ ἐ̤π[ὶ τόνδε] ναῦον
ἄγνον, ὄπ[πᾳ δὴ χ]άριεν μὲν ἄλσος
μαλί[νων, β]ῶμοι δ' ἔ‹ν›ι θυμιάμε̤-
ν̣οι̣ λιβ]ανώτῳ·

ἐν δ' ὔδωρ ψῦχρον̣ †[ ̣ ̣ ]ν̤ μοι† δ‹ι›' ὔσδων
μαλίαν, β̤ρόδοισ‹ι› δὲ πα̤ῖς ὀ χῶρος
‹ἐσκ›ίαστ̤', α̤ἰθυσσομένω‹ν› δὲ φύλλω[ν
κ]ῶμα κατ̣ά̤‹ρρει›·

ἐν δὲ λείμω[ν] ἰπ̣π̣ό̣β̣οτος τέθαλε
ἠ‹ρί›νοι̣σι̣ν̤ ἄνθεσιν, αἰ δ' ἄηται
μέλλιχα πνέ̤ο̤ισιν [
     ]

ἔνθα δὴ σὺ στέμ[ματ'] λ̣ο̣ισ̣α̣, Κύπρι,
χρυσίαισιν ἐν κ̣υλίκ̣εσσιν ἄβ̣ρως
ὀμ‹με›μ̣είχ̤μ̤ε̤ν̣ο̤ν θαλ̣ί̣αισ̣ιν̣ νέ[κ]τα̤ρ̣
‹οἰ›νοχ̤ό‹εσ›σο̤ν.

OK, time to put the quotations in. Whenever there is disagreement, I choose to follow the quotations, and wherever I take from them, no uncertainty will be indicated by the critical notation. Red will be Hermogenes, green will be Athenaeus, and the mini-quote to be identified in l. 10 will be yellow. The letters to be deleted will no longer be indicated, and any change to the ostrakon which is justified by aeolization will not be marked. Since l. 15 has a little blank space after πνέοισιν, I will treat the completion of the stanza as filling a lacuna, though said space is mid-line, and not at the end of a line or at the beginning.

ὀρρ̣ά̣νοθεν
κατίο‹ι›[σα]

δ̤ε̣ῦρύ μ' ἐκ Κρή̣τα̣̣ς̤ ἐ̤π[ὶ τόνδε] ναῦον
ἄγνον, ὄπ[πᾳ δὴ χ]άριεν μὲν ἄλσος
μαλί[νων, β]ῶμοι δ' ἔ‹ν›ι θυμιάμε̤-
ν̣οι̣ λιβ]ανώτῳ·

ἐν δ' ὔδωρ ψῦχρον κελάδει δι' ὔσδων
μαλίαν
, β̤ρόδοισ‹ι› δὲ παῖς ὀ χῶρος
‹ἐσκ›ίαστ̤', αἰθυσσομένων δὲ φύλλων
κῶμα κατάῤῥει
·

ἐν δὲ λείμω[ν] ἰπ̣π̣ό̣β̣οτος τέθαλε
ἠ‹ρί›νοι̣σι̣ν̤ ἄνθεσιν, αἰ δ' ἄηται
μέλλιχα πνέ̤ο̤ισιν [φύτων καράνο-
θεν κατίοισαι·]

ἔλθε δὴ σὺ στέμ[ματ'] λ̣ο̣ισ̣α̣, Κύπρι,
χρυσίαισιν ἐν κυλίκεσσιν ἄβρως
συμμεμίγμε̣νον θαλίαισι νέκταρ
οἰνοχόεισα.



Note to Divine Hera

As always, let’s look at the sources. The sources for this are 5 papyri. They are all discussed in my transcriptions post. The first one is PSI II 123 – where PSI stands for Papyri Scene Invest… err, Papiri della Società Italiana (papyri of the Italian society) –, and it gives us the beginnings of ll. 1-10. The second source is P.Oxy. X 1231 col ii plate II. Again, this gives line beginnings, but shorter fragments, and many more lines. The reading given in my transcriptions post is straight out of p. 24 of Grenfell and Hunt's vol. X of Oxyrhynchus papyri (link in the post). P. 25 of that book has a rendering which includes the PSI as well. The third papyrus is P.Oxy. 2289 fragment 9, which gives us middle portions of 4 lines. Combining these, the papyrus text would read, with PSI uncolored, P.Oxy. 1231 colored yellow and P.Oxy. 2289 colored red:

Πλάσιον δή μ[
Πότνι' Ἦρα, σὰ χ[
Τὰν ἀράταν Ἀτρ[εΐδαι
-τοι βασίληες
Ἐκτελέσσαντες μ̣[
Πρῶτα μὲν πὲρ Ἴ̤[λιον
Τυίδ' ἀπορμάθεν̣[τες
Οὐκ ἐδύναντο
Πρὶν σὲ καὶ Δί' ἀντ̤[
Καὶ Θυώνας ἰμ . [
Νῦν δὲ κ[
Κὰτ τὸ πά[λαιον
Ἄγνα καὶ κα̣[λ
[Π]αρθ[εν
[Ἀ]μ̣φὶ σ̣[
[]
[]
. . α̣ν̣ιλ[[
Ἔμμεν[
ρ̣απι[


OK. Now I have to discuss my way to the text I chose and translated back in the days.
  • Now for the first line, besides θέσαν which is in BA and not Campbell, BA is with Campbell and safopoemas with Edmonds, and TCPOS doesn’t complete. Of course, the Vitelli restoration was chucked away besides the ϝίδον, since it is almost the same as Edmonds. Also, Edmonds and Vitelli did not have P.Oxy. 2289, it seems, because they ignore it in stanza 2, so their reconstructions will have to be disregarded for that.
  • Now for some reason I preferred Hera appearing to a praying Sappho than appearing to her in a dream, so I followed Campbell, except preferring ϝίδον like Edmonds. Let’s read my Paracritical Note about this: «Quanto alla versione Edmonds, “mi sia vicina in sogno”, ci può stare, ma preferisco quella B.A. e Campbell.», that is «As for the Edmonds version [of l. 1], “may […] be near me in a dream”, it could fit, but I prefer the BA and Campbell version». Apparently I didn’t notice safopoemas had a different version. Omitting part of the note here.
  • «Sul v. 3 la versione col θέσαν, come si dice dalle mie parti, me pias minga, perché “fecero pregata” è l’unica traduzione sensata, che è una perifrasi brutta per “pregarono”. Prediligo dunque ἴδον, però col digamma, ϝίδον, altrimenti accorcia il dittongo -αι di Ἀτρέϊδαι, che il metro richiede lungo», that is «About l. 3, the version with θέσαν, as we say where I live, me no like, because “made prayed” is the only sensible translation, which is an ugly periphrasis for “prayed”. I therefore prefer ἴδον, but with the digamma, ϝίδον, otherwise it shortens the -αι diphthong of Ἀτρέϊδαι, which the meter requires long». Notice how I didn't know that "epic correption" was (if the name's suggestion isn't misleading) proper to epic poetry, and so would not occur here. By the way, better have Ἀτρεΐδαι, so the diphthong doesn’t contrast the stress – after all, a proparoxytone word like Ἀτρέϊδαι cannot end in a long syllable, right?
  • As for the adjective split between ll. 3-4, «Per l’aggettivo a cavallo, πρῶτοι lo scarto subito perché che gli Atridi fossero i primi re né mi risulta né mi convince, forse si riferisce alla sola Grecia, ma anche così è poco convincente. Tra κλῆτοι e κλύτοι sono in dubbio, perché mi stanno ugualmente bene. Però rendere in Italiano e ἀράταν e κλύτοι, due participi, risultan due subordinate che forse non ci stanno in poesia. Quindi vada per κλῆτοι.», that is «For the split adjective, I immediately discard πρῶτοι because that the Atrids were the first kings is neither known nor convincing to me, maybe it’s referred to Greece only, but even then it’s not convincing. Between κλῆτοι and κύτοι I’m in doubt, because they sit equally well with me. However, rendering in Italian both ἀράταν and κλύτοι, two participles, would make two subordinate clauses which maybe won’t fit in poetry. So κλῆτοι be it».
  • For the second stanza, having P.Oxy. 2289 which evidently is the same poem, as I said, I have to reject Edmonds, and only Campbell is left, so I’ll go with that. I originally didn’t have the papyri, but chose this version out of laziness: probably Greek Wikisource followed BA and I had GW’s text in the document, and didn’t feel like changing it. Which was pretty fortunate. Naturally, l. 8 wasn’t to be discussed, as PSI has it fully.
  • Apparently, Rocci doesn’t have ἀντίαον, so I decided to ditch BA for l. 9 and follow Edmonds, going back to BA for the rest of the stanza.
  • Let’s read my Note about l. 11: «Per il v. 11, oltre al κἄγω che suona volgare per me, a farmi tenere il testo B.A. c’è anche il fatto che lì la preghiera è più esplicita: “aiutami”, dice, non solo “ti supplico”.», that is «For l. 11, besides κἄγω sounding vulgar to me [(“cago” is “I shit” in Italian)], to make me keep BA’s text I also have the fact that the prayer is more explicit there: “help me”, it says, not just “I beg you”». I ditched safopoemas, probably because I couldn’t amend it decently. I thought up the amendation only recently. Let’s read that amendation of this stanza in safopoemas (where ll. 11-12 are νΟν δΐ χ [αϊ ^έζοισι θύη πόλιται κατ τ6 / πά[λαιον – and no I didn't put the linebreak in the wrong spot):

    πρὶν σὲ καὶ Δι’ ἀντ[ίασαι μέγιστον]
    καὶ Θύωνας ἰμ[μερόεντα παῖδα·]
    νῦν δὲ κ[αὶ ῥέζοισι θύῃ πόλιται]
    κὰτ τὸ πά[λαιον]

    I tried amending and came up with νῦν δὲ κ[ἄζονται θυσίαισιν ἄνδρες] or, more similar to the unamended original, νῦν δὲ κ[αὶ μένοισι θύοντες ἄνδρες].
  • The Note doesn’t seem to say why I ditched safopoemas and followed Edmonds for the following stanza. Perhaps because it doesn’t invent the last line of the stanza.
  • At l. 14 I couldn’t see what was governing the infinitive, so I changed it to an optative.
  • For the last stanza, only Edmonds completes it, but I didn’t quite follow him. Let’s hear the note on my own proposed completion: «Sull’ultima strofa mi spiace dover supporre errori nel papiro, come fa Edmonds. Forse riuscirò a migliorarla da questo punto di vista.», that is «On the last stanza I’m sorry to have to assume errors in the papyrus, as Edmonds does. Maybe I’ll manage to improve it from that point of view». And indeed I did. The meaning is mostly the same, but there is no longer any need to assume the line breaking of P.Oxy. 1231 was mistaken, or that the alpha in ραπι was an error for an eta, something Edmonds did without signaling it with the appropriate angle brackets on that eta.
So now let's put the text together, with the critical notation from above:

Πλάσιον δή μ[' εὐχομένᾳ φανείη,]
Πότνι' Ἦρα, σὰ χ[αρίεσσα μόρφα,]
Τὰν ἀράταν Ἀτρ[εΐδαι ϝίδον κλύ-]
-τοι βασίληες,

Ἐκτελέσσαντες μ̣[άλα πόλλ' ἄεθλα,]
Πρῶτα μὲν πὲρ Ἴ̤[λιον, ἔν τε πόντῳ,]
Τυίδ' ἀπορμάθεν̣[τες ὄδον περαίνην]
Οὐκ ἐδύναντο

Πρὶν σὲ καὶ Δί' ἀντ̤[ίασαι μέγιστον
Καὶ Θυώνας ἰμμ[ερόεντα παῖδα·
Νῦν δὲ κ[ἄμοι πραϋμένης ἄρεξον,]
Κὰτ τὸ πά[λαιον.]

Ἄγνα καὶ κα̣[λ' ἐν Μυτιληνάαισιν
Π]αρθ[ένοις δραίμην πάλιν, αἲς χορεύην
Ἀ]μ̣φὶ σ̣[αῖσι πόλλ' ἐδίδαξ' ἐόρταις,
Πόλλα τ' ἀείδην.

Ὤς τε νᾶας Ἀτρεΐδαι σὺν ὔμμι]
Ἆρα̣ν̣ Ἰ̣λ[ίω, κέλομαί σ' ἄρωγον]
Ἔμμεν[αι κἄμοι γ', ἴν' ἐς οἶκον αὔτα,
Ἤ]ρ̣' ἀπί[κωμαι.]

But have I forgotten something? I mentioned 5 papyri at the beginning, and we’ve seen only three, so have I forgotten some? Yes and no. One of them is P.Oxy. 2166(a) frr. 3a and 3b, which I did forget about. The first of them completes l. 7's τυίδ' (which was complete in the PSI but read ΤỴ́[.]Δ̣ in the P.Oxy., so nothing new here), and the second one gives the last like an extra κε, thus forcing my completion to be reworked as «Ἔμμεν[αί μ', ἐς δῶμα ἴν' αὖ δύνωμαι, / Ἤ]ρ̣' ἀπίκε[σθαι.]», or the likes.
I did not forget the last one, however. The reason I only mention P. GC. inv. 105 (where only fragment 2a column ii and fragment 2b column i are of interest here) here is that it was found in 2014 according to this article, whereas the translations and the Paracritical Note date around Christmas 2010, so I couldn’t have it. Combining the papyrus in question, colored cyan, with the above combined text yields:

Πλάσιον δή μ[] . . . οισ' ἀ[γέσθ]ω
Πότνι' Ἦρα, σὰ χ[αρίεσ]σ' ἐόρτ̣α
Τὰν ἀράταν Ἀτρ[εΐδα]ι π̤ό̤ησαν-
-τοι βασίληες

Ἐκτελέσσαντες μ̣[εγα]λ̣οις ἀέθλοι[ς
Πρῶτα μὲν πὲρ Ἴ̤[λιο]ν, ἄψερον δὲ̣
Τυίδ' ἀπορμάθεν̣̣[τες· ὄδ]ον γὰρ ε̣ὔρ̣η
Οὐκ ἐδύναντο

Πρὶν σὲ καὶ Δί' ἀντ̤[ίαον] π̣εδέλθην
Καὶ Θυώνας ἰμμ[ερόεντα] παῖδα̣
Νῦν δὲ κ[] . . π̣όημεν
Κὰτ τὸ πά[λαιον

Ἄγνα καὶ κα̣[λ
     ὄχ]λος
Παρθε[νων      γ]υναίκων
μ̣φὶ σ̣ὸ[ν
Μέτρ' ὀλ[ολύσδην]


[]
. . α̣ν̣ιλ[
Ἔμμεν[
ρ̣απικε[


This obviously destroys my completion. This papyrus has been transcribed over at the post, and the above combined text is found over there as well. The two columns from P. GC. are placed together for reasons mentioned at the transcriptions post – I assume it's basically convincing supplements, both in this poem and in Sappho 16 which precedes this in the papyrus, and perhaps also the poem on the other side of the column 2b fragment, which might be the one following this in the P.Oxy (P.GC. and P.Oxy. have the same sequence of poems ordered by alphabetical order of first lines). With this new info, the linked article proposes a completion which I do not have time to attempt to translate into English (not Latin and not Italian, only English), at least not now. Below I give the text of said completion, to set the critical notation straight. Be it noted that the line before Μέτρ' ὀλολύσδην is not completed by the linked article, so I completed it as Ἀμφὶ σὸ[ν βῶμόν γε θέλοισι παῖσαι originally, then one night this safopoemas completion just jumped into my mind and I decided to switch to it, with a little tweaking to fit the context, thus producing a change in the Chinese (and Spanish, but that's prose so no matter) translation, which originally read 都想]在你的    [祭坛]的周围. The change was made around 11 on Dec 12, 2017.

Πλάσιον δή μ[' ἄμφι β]ρέμοισ' ἀ[γέσθ]ω,
Πότνι' Ἦρα, σὰ χ[αρίεσ]σ' ἐόρτ̣α
Τὰν ἀράταν Ἀτρ[εΐδα]ι π̤ό̤ησαν-
-τοι βασίληες

Ἐκτελέσσαντες μ̣[εγα]λ̣οις ἀέθλοι[ς
Πρῶτα μὲν πὲρ Ἴ̤[λιο]ν, ἄψερον δὲ̣
Τυίδ' ἀπορμάθεν̣̣[τες· ὄδ]ον γὰρ ε̣ὔρ̣η
Οὐκ ἐδύναντο

Πρὶν σὲ καὶ Δί' ἀντ̤[ίαον] π̣εδέλθην
Καὶ Θυώνας ἰμμ[ερόεντα] παῖδα̣
Νῦν δὲ κ[ἄμμες σοὶ γερά]ρα π̣όημεν
Κὰτ τὸ πά[λαιον

Ἄγνα καὶ κα̣[λ'· εἶσι δὲ τυίδ' ὄδ' ὄχ]λος
Παρθε[νων τ' ἄμ' εὐχομέναν γ]υναίκων·
Ἀμ̣φὶ σ̣ὸ[ν βῶμον πύκιναι θέλοισι
Μέτρ' ὀλ[ολύσδην]

[]
. . α̣ν̣ιλ[
Ἔμμεν[
ρ̣απικε[


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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