Today we have a wonderful poem by Sappho, whose source is a nightmarishly holey and faint papyrus which I deciphered long ago and recorded all the notes to into a total of ~4 hours of audio, which I have no time to trancribe, and that is why the critical note is gonna be a spoiler with an extract from my Paracritical Note (if you know enough Italian and dare to venture into that thing, you are welcome to do so, but don't complain to me about any messiness), and the critical notation will stick to my file. [The note has since been put in at the end.] It is a shame that I have to do this, because the text here is a big mess, and Edmonds contributed to messing it up with creative amendations and sloppy critical notation, but it would be more of a shame not to post it.
The meter is stanzas of three lines, with scheme cr+gl || gl || phal (cretic foot + glyconian line, glyconian line, phalecian hendecasyllabic), and is kept in Latin and rendered as –u– –u–uu–u– || –u–uu–u– || –u–uu–u–u–u in Italian and English, with –u– rhyming with the two –u–uu–u– and the phalecians rhyming between consecutive stanzas. Some of the glyconians have anaclasis in the original, which I took advantage of by allowing –u–u–uu– in Italian and English. Also, the first 2-3 stanzas were translated to German too.
Let us go translation by translation:
The meter is stanzas of three lines, with scheme cr+gl || gl || phal (cretic foot + glyconian line, glyconian line, phalecian hendecasyllabic), and is kept in Latin and rendered as –u– –u–uu–u– || –u–uu–u– || –u–uu–u–u–u in Italian and English, with –u– rhyming with the two –u–uu–u– and the phalecians rhyming between consecutive stanzas. Some of the glyconians have anaclasis in the original, which I took advantage of by allowing –u–u–uu– in Italian and English. Also, the first 2-3 stanzas were translated to German too.
Let us go translation by translation:
- The Italian was the first to be started:
- The first step is the following manuscript, dated to 16/12/10 and found on a "poem sheet":
Attide, molto lungi da me e da te
NCara Anattorïa or è,
'N] Sardi, spesso si volge qui in pensare
Memore della vita passata: te
Certo pari a dea nota le'
Riteneva, e gioiva in tuo cantare. - We then have the manuscript on the SP5 printout, which is presumably from before 21/12/10 since that is the date of the next item, and reads:
Attide, molto lungi da me e da te
Cara Anattorïa or è,
'N] Sardi; spessorsi volge qui in pensare,
Memore della vita passata: te
[C[ert]o pari a dea note le'
Riteneva, e gioiva 'n tuodciadir cantare
It seems that the change in the last line was simply ignored; - Indeed, the "new in Sappho file" OS10 from 21/12/10 has the first 30 lines, in the form below except for three changes discussed one or two items below; this translation is probably what the "poem sheet" is referring to when it says «21/12 a Tonani rediens verto cuncta vertibilia poetice fragmenti “Αριγνώτα” Italice et ultimum versum reconstruere Græce termino.» (on 21/12 coming back from Tonani [my homeopathic doctor living near Bergamo while I was in Brianza] I translate to Italian all that is poetically translatable of [this fragment] and I finish reconstructing the last line of Greek);
- The remaining lines appear in a translation tidbits file from 22/12, aka OS11, in the below form except for the inmetricality mentioned in the Trivia section below, which I anyway scrapped from here on 29/8/21;
- Speaking of 29/8/21, on that day «gioiva 'n tuo cantare», «Pena, e ch'i' noi andiam», and «con aure plurime» became what they are now at 13:55, 13:57, and 13:57 respectively; the first of these three was actually already done in the tesina, presumably between the creation date (19/5/12 21:51) and the last edit date (20/5/12 16:10) of the earliest tesina file, which includes it; unfortunately, anything that happened in the tesina files got lost for the blog until I unearthed these files because of an unappliable change I found for the Hymn to Aphrodite;
- The first step is the following manuscript, dated to 16/12/10 and found on a "poem sheet":
- The next to be mentioned is the Latin;
- We start with another SP5 manuscript:
Atthi, te mequ’ Anactorĭast ama-
ta longinqu'ibi, Sardibus,
Sed sæp’ huc ea vertit inde mentem
Nos uti vivebamus; habebat ea
Te certe similem deæ
Notæ, maxumaglæt'erat canente. - The next step is the file S9, from 5/1/11, where this all becomes as below, except l. 4 remains «Nos uti vivebamus: habebat ea»;
- The file S11 from 1/2/11 then adds from l. 26 to the end, in the form below, except the thing mentioned in the Trivia below, and another change in l. 27 mentioned in this list further down; I confess I couldn't be bothered to look through a bunch of pages of poem noteblock to find a possible manuscript of this part;
- Then we have the "poem noteblock", giving us "10/2 nct in lct" (night between 10/2/11 and 11/2/11 in bed - it actually says 10/1 but it's miswritten, since S11 from 1/2 doesn't have this part) the old English translation of fragment SFac (see index for that), the tweak to the Italian of the same, and the following manuscript:
Nuncque Lydis in muljeribus micat,
Utque, sol cum occiderit,
Luna tum digitis rosis creatis
Omni'adsuperesat sider', atque lu-
cem dat ‹–uu–ux›
Aaeequal'et flo
‹xx› floribu' pulchribus quoqu' agris.
"Scribo postridie 7:024-7:09 ante colat, et compleo" (I write [these things] the day afterwards [=11/2/11] at 7:04-7:09 before breakfast, and I complete [them as follows]):
cemmsali dat e' atque æ-
quale (floribu' …) - Then it goes on on 11/2:
Atque ros pulchr'illic superest rosis,
Mollibus superestque an-
Thryscis et melilot'habente flora.
Multaqu'errans, dulcis memor Atthidis
Tenellæ, sibi studio
{MPectus molle edit}que corque pœnā,
=>{Molli͞a pectora est}
Atqu'eo magne clamat eāmu' nos,
Novimusqu'ea: nox per au-
res multas pelagus peri͞ens redicit.
Facil'haud est nobis similes dea-
bus amabilem esse form',
Etsi corpus habes t'ạAdonideum.
Why I proposed "alte clamat" when it's like "acutely", I don't know, but OS19 (see below) ignored it, so whatever; - By OS19 on 14/2, we have the full Latin, in the form below save for the changes in the next items;
- The tesina now has something to say here: between file 13 (created 22/6/12 18:20 and last edited same day 22:15) and file 14 (created and last edited 27/6/21 10:52), I changed «Nōs ŭtī [v]īvēbāmŭs: [hăbēbăt] e͞a» to «Quōmŏdō [v]īvērēmŭs: hăbēbăt e͞a», «ǣ- / quālĕ flōrĭbŭ’ plūrĭbūs quŏqu’ āgrīs» to «[…] flōrĭbŭ’ plūrĭbūs ăgrōrŭm» (which I fix to «[…] t' agrorum» on 6/10/21 at 12:30 for reasons of meter), and «x] pĕr [ǣ]thĕrĕm [–ux» to «xx–u] pĕr ǣthĕrĕm», where the brackets were always wrong because, as fixed below, the equivalents of "per" and "æ" are not present in the papyrus;
- Finally, on 19/9/21 at 16:39, the "utque" of l. 8 of the Latin became either uti or sicut, and on 25/9/21 at 0:37 I chose uti; and on 3/1/24 at 15:27, l. 18 «Mōlli͞a pēctŏră ēstquĕ c[ō]rquĕ pœ̄nā» becomes «Mōllĕ pēctŭ' cǒmēstquĕ c[ō]rquĕ pœ̄nā»;
- We start with another SP5 manuscript:
- Finally, the English; this one is simple; we first have a manuscript on a "poem sheet", dated "5/1 noctu in lecto" (night between 5 and 6/1/11 in bed):
Atthis, dear Anactorïa far from here
Thee and me, in Sardis, I hear
Lives now, oftena-think ofus she might
And how we used to live: she did surely þee
Equal hold to known Goddess þee
Singing she used to hear with most dalighṭ
S9 is a weird thing; it is in a folder called "5.1 parata" (prepared 5/1), but then it includes these lines, rejecting "great delight" and keeping everything as proposed above, save for adding a comma after Goddess; maybe it's actually 6/1 as its metadata suggest; Idk; anyway, then we have S10 on 9/1/11, which gives the form below directly, save for the Trivia section below; - But wait: what about the German? Well, the first line is found on the poem notebook, in the form below save for initially not eliding «lieb'» (or rather initially eliding it?), and dated to "Vespere 11/1" (11/1/11 in the evening); then we have the rest manuscripted on the poem noteblock:
25/1 me vestiens [25/1/11 getting dressed]:
Wohnt in Sardis jetzt, fern von hier,
Aber oft sie sein Denken hier betriebt.
Colatione inde pro von aus ponere cogito. In schl ~7:51 hæc scribo. [During breakfast I then think of putting aus in place of von. I write this at school around 7:51.
Well… I thought I'd find the whole thing on the same page, but no, this is where the page stops, and there are a bunch of pages afterwards filled with other stuff; the remainder of this translation is definitely after 21/2, if it is manuscripted; if it is, I will find it tomorrow (I have a couple other posts to edit tonight, and it's already 1:38), and if it isn't, then it's an S19 residue, thus from between 21/2 and 28/8.
[Ἄτθι, σοὶ κἄμ’ Ἀνακτορία φίλα πηλόροισ' ἐνὶ] Σάρδ̤ε[σιν ναίει, πό]λλα̣κ̣ι τ̣υίδε [νῶν ἔχοισα 3 ὤς πο[τ' ἐ]ζώομεν β̣εβά̣ω̣ς̣ [ἔχεν σὲ̤ θέᾳ̣ ϝ̣ικ̣έ̣λαν ἀρι- γνώτᾳ, σᾷ̤ δ̤ὲ μάλιστ̣' ἔχαιρε μόλπᾳ· 6 νῦν δὲ Λύδαισ̣ι̣ν ἐ̤‹μ›πρ̤έ̤πεται γυνα̤ί̣- κεσσ̤ι̣ν̣ ὤς ποτ' ἀε̣λίω̣ δύντος ἀ βροδοδάκ̤τυλος ‹σελάννα›, 9 πάν̣τα πε‹ρ›ρέχοισ' ἄστρα, φάος δ' ἐπί- σχει θά̣λασσαν ἐπ' ἀλμύραν ἴσως καὶ πολυανθέμοις ἀρούραι̤ς, 12 ἀ δ' ‹ἐ›έρσα κάλα κέχυται, τεθά- λαισι δὲ βρόδα κ̣ἄπαλ' ἄν- θρυσκ̣α καὶ μελίλ̣ωτος ἀνθ̣ε̣μ̣ώδης· 15 πόλλα δὲ ζαφο‹ί›ταισ', ἀγάνας̤ ἐπι- μνάσθεισ' Ἄτθιδος, ἰμέ̤ρῳ λ̣έπτα̣ν ‹π›οι φρένα̣, κ[ῆ]ρ̣ ἄσᾳ βόρητα̣ι, 18 κῆθι̣ δ̣' ἔ̤λ̤θην ἄμμ' ὄ̤ξ[υ] βόη· τ‹ὰ› δ' οὐ νῶν γ̤' ἄ[π]υστα νὺξ πολύω̣ς̤ γαρύε̣ι δ[ι'] ἄλος π[όρω]ν τὸ μέσσον. 21 [Ε]ὔ̤μ̤α̤ρ[ες μ]ὲν̣ ο̣ὐ̣κ̣ ἄμμι θέαι̤σ̣ι̤ μόρ- φαν ἐπή̤[ρατ]ον ἐξίσω- σθ̣', ἀι σὺ [καὶ χ]ρ̣ό‹'› ἔχησθ' Ἀ[δ]ωνίδηον, 24 ] . . . το[ . . . . ] . ρατι μαλ[ δι' αἴ]θερος καὶ δ[.]μ̣[ ]ος Ἀφροδίτα 27 καμ̣ . [ ] νέκταρ ἔχευ' ἀπὺ χρυσί̣ας̣ . [ ]λ̣ο̣ΐ̣α̣ . . . ἀ]π' ἀπούρ[ ] . χέρσ̣ι̣ Π̣εί̣θω 30 ]θ+ . . +η̣σενη πόλλ]ακις ] . . . . . ν . . αι 33 ] ἐς τὸ Γεραίσ̤τιο̤ν̤ ] . ν φίλαι ἄπ]υ̣σ̣τον οὐδενο[ ἐς ἴ]ερον ἴξο[μ 33 ……………… ……………… [Attide, molto lungi da me͜ e da te Cara͜ Anattorïa or è, ’N] Sard[i, sp]esso si volge qui͜ in pensare, Memore della vita passata: te C[ert]o pari͜ a de͜a nota le’ Riteneva,͜ e gioiva͜ al tuo cantare. Splende or tra le Lidïe donne͜ ancor, Come quando il sole d’or Cala, e la luna rosate dita Supera ogni stella,͜ e sua luce dà Al salato mar di colà, E ugualmente͜ a campagna͜ assa͜i fiorita, Bella po͜i la rugiada vi brilla su͜i Molli͜ antrischi e le rose, e su͜i Meliloti che ivi sono͜ in fiore; Molto͜ a le’, mentre vaga, ben memore Della dolce su͜a Attide, Brama͜ il tenero petto strugge,͜ e ’l cuore Pena,͜ e ché no͜i lì andiam g[rida forte]; ’l che N[o]to͜ è: con molte orecchïe [Notte]͜ il sa,͜ e ce lo dic[e d’oltre͜ il mare], [F]a[c]i[le] esser pari alle dè͜e non è Per be[llez]za per no͜i, [pur] se [C]orpo ha͜i per beltà͜ ad A[do]n compare, [–u– xx–uu–ux xx– attraverso͜ il c]iel E [x–uu–u] Afrodite [–u– xx] nettare po͜i versò D’a͜ure͜a [–uu–ux xx –] colle man’ la Persu͜asi͜one [–u– xx–uu–u]ò [xx–uu spe]sso [x xx–uu–u–x –u– xx–] al Gerestïo [xx–uu] care [x xx] nulla d’ignoto [–u–x] [–u– x al t]empïo giung[erò] ……………… ……………… |
[Ātthĭ, tē mēqu’ Ănāctŏrĭāst ămāt’ ābsēns lōng’ ĭbĭ,] Sārdĭ[bŭs, Sēd s]ǣp’ hūc ĕă [vērtĭt] īndĕ [mēntĕm], Quōmŏdō [v]īvērēmŭs: [hăbēbăt] e͞a Cērtē tē sĭmĭlēm dĕǣ Nōtǣ, māxŭmă lǣt’ ĕrāt cănēntĕ. Nūncquĕ Lȳdīs īn mūljĕrĭbūs mĭcăt, Ŭtī, sōl cŭm ōccĭdĕrĭt, Lūnă tūm dĭgĭtīs rŏsīs crĕātīs Lūcĕm ōmn’ āstrō prǣ quĭdĕm ēst, ĕăm Quām sālī dăt ĕ’ ātquĕ ǣ- quālĕ flōrĭbŭ’ plūrĭbūs t' ăgrōrŭm, Ātquĕ rōs pūlchr’ īllīc sŭpĕrēst rŏsīs, Mōllĭbūs sŭpĕrēstquĕ ān- thrȳscīs ēt mĕlĭlōt’ hăbēntĕ flōră; Mūltăqu’ ērrāns, dūlcīs mĕmŏr Ātthĭdĭs Tĕnēllǣ, sĭbĭ stūdĭō Mōllĕ pēctŭ' cǒmēstquĕ c[ō]rquĕ pœ̄nā, Ātqu’ ĕō māgn[ē] ‹clāmăt› ĕāmŭ’ nōs, N[ō]vĭmūsqu’ ĕă: nō‹x› pĕr ‹a͞u›- rēs mūltās pĕlăgūs pĕ[r]i͞ens rĕdīcĭt, [F]ācĭl’ ha͞u‹d› ēst nōbīs sĭmĭlēs dĕā- bŭs ămā[bĭlĕ]m ēssĕ fōrm’, [Ēt]sī [c]ōrpŭs hăbēs t’ Ă[d]ōnĭdēŭm, [–u– xx–uu–ux xx–u pĕr ǣ]thĕrĕm xx –uu–u] Āphrŏdītē [–u–] nēctār fūdĭt [u–u] ēx A͜urĕā [uu–ux xx] mānĭbŭs [–u] Pērsŭāsi͜o [–u– xx–uu–ux xx–uu sǣ]pĕ [x xx–uu–u–u–x [–u– xx] ādquĕ Gĕrǣstĭŭm Cărǣ [–uu–ux] [Īg]nōtī nĭhĭl [–u–u–x] [T]ēmpl’ [ăd]ībō [x–uu–ux] ………………… ………………… [Atthis, dear Anactorïa far from here, Thee and me, in] Sardi[s, I hear, Lives now, of]ten [remember] us she might And how we use[d to l]ive: she did surely thee Equal [hold] to known Goddess, thee Singing she used to hear with most delight Now shines she ’mong the Lydïan maids, as we When the sun has gone down do see Rosy-fingerèd moon a-shining bright, With more light than the stars around her give might Th’ briny sea she doth set alight, And the country which many flow’rs delight, Poured is dew pretty there, and there flower do Tender anthrysks and roses too, And the melilot with its many͜ a flower. Wandering tender Atthis remembering, In her tender breast oft cravìng Her devours, and i’ th’ h[ea]rt of pain a shower, Lou[d] shouts she that we go there to her; which we Well do k[n]ow, for the night, the sea Cro[ssing], tells what her many͜ an ear descries, [H]ar[d] it is f’r us a Goddess’s beauty,͜ in this World to equal, A[do]nis’s Be[au]ty thou[gh] with your own ’bove others flies, [–u– xx–uu–ux xx–uu through the s]ky And [x–uu–u] Aphrodite [–u– xx] nectar out she did pour From a golden [u–ux xx–] with her hands Persuasion [– –u– xx–uu–u] did [xx–uu o]ft [ux xx–uu–u–u– –u– xx] to the Gerestæum [xx–uu] dear [u– xx] nothing [unk]nown [u–u– –u–] I [sh]all come [to the t]emple [x] ……………… ……………… |
[Atthi, dir liebẹ Anactorïa, und mir,
Wohnt in] Sard[is jętzt, fern aus hier,
Abėr o]ft sie sein [Dę]nkėn hiėr bėtriebt,
Und bėdęnkt wie wir [w]ohnten: wie dann, sie dęnkt,
Dich ein' Göttin, und Zeit sie schenkt
Nach dein Singėn, das sie, wie dann, ja liebt.
Wohnt in] Sard[is jętzt, fern aus hier,
Abėr o]ft sie sein [Dę]nkėn hiėr bėtriebt,
Und bėdęnkt wie wir [w]ohnten: wie dann, sie dęnkt,
Dich ein' Göttin, und Zeit sie schenkt
Nach dein Singėn, das sie, wie dann, ja liebt.
Trivia
L. 33 was read by Bibliotheca Augustana as ending with «†ἐδάην† μαι-», clearly inmetrical, which prompted the just as inmetrical Latin translation «xx–uu–u] †dĭdĭcī† [x», and the tentatively-inmetrical-but-it-doesn't-really-come-across-because-of-no-vowel-lengths translations «xx–uu]†impara͜i†[u–x» and «xx–]†I did learn†[u–u–» in the other two languages. Then, in the tesina, I fixed that inmetricality as «ε‹ι› δάην μαι-», and the Latin became «xx–] dĭdĭcī [u–u–x», the Italian «xx–] impara͜i [u–u–x», the English… didn't change (doesn't come across, huh?), all presumably between the creation date (19/5/12 21:51) and the last edit date (20/5/12 16:10) of the earliest tesina file
Critical Note
The timeline here appears simple. I mean, there is only one source, P.Berol. 9722 fol. 5, right? Wrong. If you look closely, you will see there are two fragments joined. And I'm not saying the beginnings of lines beyond l. 21 are on a separate fragment: looking closely you'll see a few ever so small "isthmuses" connecting that to the upper part. Nope, it's the endings of those lines that are separate, and only joined by a perfect margin match and sellotape. Indeed, that part seems to have been published in Lobel's edition of Sappho, which means after Edmonds', and indeed Edmonds, apart from cutting his poem short at precisely l. 21, seems to have been missing l. 21's end, given the reading he gives is incompatible with the papyrus. That must have come from trying bloody hard to read letters he just did not have in the mess that this papyrus is. The source is discussed in the transcriptions post, which gives the following text:
] Σαρδ̤ . [
πό]λλα̣κ̣ι τ̣υίδε [
ὤς πο[τ' ἐ]ζώομεν β̣εβά̣ω̣ς̣ [
σὲ̤ θέᾳ̣ ϝ̣ικ̣έ̣λαν ἀρι-
γνώτᾳ, σᾷ̤ δ̤ὲ μάλιστ̣' ἔχαιρε μόλπᾳ 5
Νῦν δὲ Λύδαισ̣ι̣ν ἐ̤‹μ›πρ̤έ̤πεται γυνα̤ί̣-
κεσσ̤ι̣ν̣ ὤς ποτ' ἀε̣λίω̣
δύντος ἀ βροδοδάκ̤τυλος ‹σελάννα›
πάν̣τα πε‹ρ›ρέχοισ' ἄστρα φάος δ' ἐπί-
σχει θά̣λασσαν ἐπ' ἀλμύραν 10
ἴσως καὶ πολυανθέμοις ἀρούραι̤ς
ἀ δ' ‹ἐ›έρσα κάλα κέχυται, τεθά-
λαισι δὲ βρόδα κ̣ἄπαλ' ἄν-
θρυσκ̣α καὶ μελίλ̣ωτος ἀνθ̣ε̣μ̣ώδης
πόλλα δὲ ζαφο‹ί›ταισ' ἀγάνας̤ ἐπι- 15
μνάσθεισ' Ἄτθιδος ἰμέ̤ρῳ
λ̣έπτα̣ν ‹π›οι φρένα̣ κ[ῆ]ρ̣'̤ ἄσᾳ βόρητα̣ι
κῆθ{υ}ι̣ δ̣' ἔ̤λ̤θην ἄμμ' ὄ̤ξ[υ] βό{οι}η τὸ {ο} δ' οὐ {δοου}
νῶν γ̤' ἄ[π]υστα νὺξ {[.] .} πολύω̣ς̤
γαρύε̣ι δ[ι'] ἄλος π[όρω]ν τὸ μέσσον 20
[ἔ]υ̤μ̤α̤ρ[ες μ]ὲν̣ ο̣ὐ̣κ̣ ἄμμι θέαι̤σ̣ι̤ μόρ-
φαν ἐπή̤[ρατ]ον ἐξίσω-
σθ̣' ἀι σὺ [ . . ]ρ̣ος ἔχησθ' Ἀ[δ]ωνίδηον
] . . . το[ . . . . ] . ρατι
Anyway, it's spoiler time!
Time to source and justify my completions.
- Stanza 1 is just Edmonds.
- It is hard to see a zeta in the papyrus, and most likely it had a weird shape or was another letter, but I believe it could have been a zeta. I mean that of ezoomen in l. 4.
- From l. 5 to l. 17 the completions are so standard they are regarded as certain by Campbell and LP.
- The rest follows Edmonds where possible.
- Then ll. 22-23 are Campbell, I believe.
- L. 24 is, AFAICT, my own.
- In l. 4, Edmonds reads ἆς, not ὠς, but I couldn't make sense of it so I followed BA. I now guess he thought of it as Aeolic for "ἔως", "in the time when, as long as, until".
- Ll. 4-5 are problematic in general because l. 5 is generally read -σε θέᾳ σ' ἰκέλαν ἀρι- or -σε θέαισ' ἰκέλαν ἀρι-, whereas I see a likely enough digamma to follow Edmonds. Reading the other ways renders completions above impossible. The θέαισ' way, moreover, produces Ἀριγνώτα as a name in ll. 5-6, and is what GW and BA followed. Indeed, GW has the poem titled Ἀριγνώτα.
- In l. 18, Edmonds reads κῆρ' ἄσᾳ, as in the papyrus, but that forces him to put ἰμέρω with Ἄτθιδος, and translate "remember Atthis' desire" or "remember Atthis with desire", whereas I like to see the structure parallelism of ἰμέρῳ - λέπταν φρένα with κῆρ - ἄσᾳ, a chiasm. The apostrophe is anyway doubtful in the papyrus. Campbell has κᾶρι σᾷ, another source online had κ[α]ρ[χάρῳ], and this is just counter-papyrus.
- Next stanza is complex. Besides the reading mess of the first two lines (first one in particular), we have the alternative "νῶντ' ἄπυστά τ' ᾽Υμήναος", reported by safopoemas as Diehl's, which I dismissed as having the Hymenaeum totally out of place, and the alternative "απυστονυμ[..] πόλυς" drom Campbell, which is incompletable but certainly respects a possible reading of the papyrus. Edmonds has the problem of the dual νῷν, which is supposed to have been lost in Aeolic, but maybe Sappho was inspired by Homer to take it up? Also, in l. 21, the actual way to go is Campbell's "δι' ἄλος πόρων τὸ μέσσον". I originally rejected it as incomprehensible in favor of Edmonds' δι' ἄλος παρενρεοίσας, but luckily the translations all omit that part, meaning they work for both versions, so I just changed the text.
- The last completed stanza has standard completions in the first two lines, and my own completion in the last one, and the χρό' is impossible because the papyrus contradicts it with ]ρος.
The rest of the poem is not completed in any way, and is the standard version save perhaps for reading a few extra monosyllabic words right after lacunas where others more prudently kept them tied to the lacunas. Except I just saw a ναν where I have λοϊα and a ἐδάην where I have like ησενη, so not really. Actually, there is one completion: the πόλλακις, which is because it's not impossible, and because of the translations. Also, Ἀδωνίδηον is apparently from an article by Edmonds (so says Campbell implicitly), and an alternative to "ἄμμι θέαισι" in l. 22 is "αἰμιθέαισι", which I dismissed since it lacks a dative of "for whom it's easy" and I saw no reason to mention demigoddesses instead of goddesses, and I still can't see any. Between the last edit of this and the checkup, I found this Italian anthology which has one more completion (or more if I don't recall correctly) in the part where nectar is mentioned. Won't include it here, but the text of that edition will end up as is in The Rest of Sappho in the group dedicated to stuff from said anthology, and in the Spanish, Chinese, and Modern Greek editions of Sappho.
Finally, I fixed the critical notation in Latin and English, which is crazy precise with even angled brackets mimicked, but didn't feel like bothering with the Italian. And that is it.
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