Ode to a beautiful woman

Today we stick to Sapphic stanzas with this poem by Sappho from P.Oxy. 1231 fr. 14, a papyrus discussed in the transcriptions post. The completion is essentially by Edmonds, with one or perhaps more minor tweaks by me. The tweak I have in mind is that I didn't double the nu in φύν' in l. 6, a doubling that made no sense to me because there were no metrical requirements for it and I had no other justifications for it. Oh, and that I avoided the synaeresis (or should I say something like synekphonesis?) of ἔμοι and οὐ in l'6 by putting an elision in its place. That was probably why I originally had Μοι τότ' οὐ φύν' there, but really, an enclitic at line start is not pretty. Another reason may have been to avoid the doubled tau in τόττ', another unjustified doubling, just like ὄττα. But I couldn't avoid the latter without discarding the completion [not then, at least, but by 2025…]. I even adopted the reading ἔρωτος ἤλγει instead of ἔρωτος ἤδη to have a complete phrase there, a choice apparently justified by doubtful readings in the papyrus. The last stanzas is completed by me. The translations are in the usual meters.
Let us look at the history of this thing.

• The fragment first appears in the 5/1/11 file "S9, with the text in the "Before Edmonds" subtab of the "Before my integration" tab, and thus it will remain till S11;
• OS16 up to OS20 (coming after S11) have nothing on this;
• OS21, from 16-17/3, accepts Edmonds (without including the text), and translates the result as shown in the "Before my integration" tab;
• SP6 has manuscript that will eventually be dealt with; given the overlay with Edmonds + incomplete stanza 4, I would expect those manuscripts to end up as manuscripted versions in the "Before my integrations" tabs;
• Annotations on the overlay get the text of ll. 11-12 to the "After my integrations" version, and stanza 4 is "upgraded" with an overlay on the overlay;
• OS22, from 26/4 OS has final text (modulo ἔξι for ἔστι in l. 15 and the alternate l. 16 «[Σύν σοι ἔρημαι]», both of which are not addressed in OS23 or OS24, but change to their current form in S12 from 17/5/11), Italian and Engish stanza 4 and full Latin before the tweaks two bullets below;
• These integrations are actually from 25 or 26/4, as OS23, created 25/4 and edited 4/5, stars with a page that lists this fragment as «da tentare di completare» (to attempt a completion for);
• «Sīmĭlēm blōndǣqu’ Hĕlĕnǣ t’h[ăbē]rĕ» took its current form on 20/9/21 at 19:42. Here's a few more tweaks for Latin and English: Bellitati tua -> Bellitati tuæ (l. 10 Latin, 15:31 on 26/1/24), Rore plenas adqu' -> Rore plenas vers' (Same date and time, same version, l. 13), As I can I'll op'n, a whole night indoors -> As I can I'll open, all night indoors (Same day 15:33, English l. 15), know you this -> know thou this (15:33 again, l. 10);
• Coming back to this with the intention of including it into a Sicilian Sappho episode, I change «That I have might -> That I might have -> I'll ever have» (12/5/25 16:49), and «and to Helen the blonde thee near / Pla[ci]ng [seems right» to «and to place thee to Helen near / Seems right to me.» (15/5/25 1:38);
• But then I promptly forget about this, and, looking at this thing, I decide it needs remakes; even with the tweaks, I still think it did; anyway, on 16/5/25 at 19:36-20:06 I basically remake it all as the Remade version.

Let's go!

• Before my integrations
• After my integrations

Before Edmonds After Edmonds . . . . . . . . . . . . . . . . . . . . . . . . . ]ἔ̣ρωτος ἤδη . . . . . –u Ὠς γὰρ ἄν]τ̣ιον εἰσίδω σ[ε, Φαίνεταί μ' οὐδ' Ἐ]ρμιόνα τεαύ[τα Ἔμμεναι,] ξάνθᾳ δ’ Ἐλένᾳ σ’ ἐΐσ̣[κ]ην [Οὖδεν ἄει]κες, [Αἰ θέ]μ̣ις θνάταις· τόδε δ’ ἴ̣σ̣[θι]· τᾷ σᾷ [Καρδίᾳ,] παῖσαν κέ μ̣ε τὰν μέριμναν [. . . . .]λ̣αισ' ἀντιδ[. .] . [.]αθοις δὲ̣ [ ’. . . . . . . . . . . δροσόεν]τ̣ας ὄχθοις [. . . . . . . . . . . . . . . . . ]ταιν [. . . . . . . . . . . . . . . παν]νυχίσ̣[δ]ην [. . . . . . . . . . . . . . . ]. . . . . . . . . . . . . . . . . . . . . . . . . . ]ἔ̣ρωτος ἤλ̣γ̣[ει . . . . . Ὄττα γάρ κ’ ἐνάν]τ̣ιον εἰσίδω σ[ε, Τόττ’ ἔμ' οὐ φύν’ Ἐ]ρμιόνα τεαύ[τα Φαίνεται,] ξάνθᾳ δ’ Ἐλένᾳ σ’ ἐΐσ̣[κ]ην [Οὖδεν ἄει]κες, [Αἰ θέ]μ̣ις θνάταις· τόδε δ’ ἴ̣σ̣[θι]· τᾷ σᾷ [Καλλόνᾳ] παίσᾱν κέ μ̣ε τᾶν μερίμνᾱν [Ταὶς θυή]λ̣αις ἀντιδ[όην, πό]θοις δὲ̣ [Παῖσί σε τίω· ’. . . . . . . . . . . δροσόεν]τ̣ας ὄχθοις [. . . . . . . . . . . . . . . . . ]ταιν [. . . . . . . . . . . . . . . παν]νυχίσ̣[δ]ην [. . . . . . . . . . . . . . . ]. [–u–x–uu–u–x –u–x–uu–u–x –u–x–u] soffr[ì] d’amore [–uu–x Se] t[i] miro͜ [innan]zi, [allor mi pare Ch’E]rmïone͜ a te non si͜a stata pa[re], Te͜ alla bionda Elena si[mi]l fare [Giust]o [cred’io, Se]͜ una donna [p]uò; sap[pi] questo, cara: Colla tu͜a [bellezza] i͜o ripag[ara] D’ogne cura [’l du]olo, [risposta dara A͜ ogni di]sìo. [–u–x– rugiad]ose rive [–u–x–uu–u–x Tut]ta no[t]te [–uu–u–x –uu–x]

(Latin stanzas 2-3 kept the same as after my integrations) [–u–x–uu–u–x –u–x–uu–u–x –u–x–u] ămōrĕ pās[ā’st –uu–x Nāmquĕ] t[ē mē ān]tĕ vĭdēns, [tĭbīmĕt Nōn vĭdētŭr Hē]rmĭŏnē quĭdēm pār, Sīmĭlēmquĕ blōnd’ Hĕlĕnǣ t’h[ăbē]rĕ [Nīl mĭhĭ tūr]pĕ, [Sī f]ăs ēst mōrtālĭbŭ’; sc[ī]quĕ hōccĕ: [Bēllĭtātī] tu͞æ [săc]răm ōmn’ ăg[ām] me͞am Pœ̄năm, āc [dēs]īdĕrĭīs quĭdēm [tē Ōmnĭbŭs ōptō; [–u] rīpās [–uu] rōrĕ plēnās [–u–x–uu–u–x –u–x–uu] nō[c]tĕ [cūnc]tā [–uu–x] [–u–x–uu–u–x –u–x–uu–u–x –u–x–uu] suffer[ed] love [–uu–x [When] I see y[ou] standing [bef]ore me, dear, [Then I think He]rmïone [was not] near [To you], and to place thee to Helen thee near [Seems right to me, If] to mortals [gra]nted; and kn[ow] thou this: Any [sacr]ifice, for your [beauty’s bliss] I woul[d pay] of grief, [yours is any wi]sh [I'll ever have. –u–x–uu dew]y banks [–u–x–uu–u–x All] the ni[g]ht [x–uu–u–x –uu–x]

. . . . . . . . . . . . . . . . . . . . . . . . . ]ἔ̣ρωτος ἤλ̣γ̣[ει . . . . . Ὄττα γάρ κ’ ἐνάν]τ̣ιον εἰσίδω σ[ε, Τόττ’ ἔμ' οὐ φύν’ Ἐ]ρμιόνα τεαύ[τα Φαίνεται,] ξάνθᾳ δ’ Ἐλένᾳ σ’ ἐΐσ̣[κ]ην [Οὖδεν ἄει]κες, [Αἰ θέ]μ̣ις θνάταις· τόδε δ’ ἴ̣σ̣[θι]· τᾷ σᾷ [Καλλόνᾳ] παίσᾱν κέ μ̣ε τᾶν μερίμνᾱν [Ταὶς θυή]λ̣αις ἀντιδ[όναι, πό]θοις δὲ̣ [Παῖσί σε τίην· ’Ᾱχέροντος δ’ ἐς δροσόεν]τ̣ας ὄχθοις [Κὰθ θανοίσας βᾶν κε σέθεν, σέθεν] τ’ αἶν’ [Αὔξετ’ ὤς μοι ἔστι τε, παν]νυχίσ̣[δ]ην [Σύν τέ σ’ ἔρημαι]. [–u–x–uu–u–x –u–x–uu–u–x –u–x–u] soffr[ì] d’amore [–uu–x Se] t[i] miro͜ [innan]zi, [allor mi pare Ch’E]rmïone͜ a te non si͜a stata pa[re], Te͜ alla bionda Elena si[mi]l fare [Giust]o [cred’io, Se]͜ una donna [p]uò; sap[pi] questo, cara: Colla tu͜a [bellezza] i͜o ripag[ara] D’ogne cura [’l du]olo, [risposta dara A͜ ogni di]sìo. [D’Acheronte͜ alla rugi͜ad]osa costa [Morta te andre͜i, tra le dive [posta Ti farò com’ so, presso a me te posta Vo’ tut]ta no[t]te.

[–u–x–uu–u–x –u–x–uu–u–x –u–x–u] ămōrĕ pās[ā’st –uu–x Nāmquĕ] t[ē mē ān]tĕ vĭdēns, [tĭbīmĕt Nōn vĭdētŭr Hē]rmĭŏnē quĭdēm pār, Sīmĭlēmquĕ blōnd’ Hĕlĕnǣ t’h[ăbē]rĕ [Nīl mĭhĭ tūr]pĕ, [Sī f]ăs ēst mōrtālĭbŭ’; sc[ī]quĕ hōccĕ: [Bēllĭtātī] tu͞æ [săc]răm ōmn’ ăg[ām] me͞am Pœ̄năm, āc [dēs]īdĕrĭīs quĭdēm [tē Ōmnĭbŭs ōptō; Rōrĕ plē]nās [vērs’ Ăchĕrōntĭ’] rīpās [Mōrtŭā t’ īrēmquĕ, tŭāmquĕ] fāmăm Crēscăm ūt lĭcēt, hĭŏ] nō[c]tĕ [cūnc]tā [Tē prŏp’ hăbērĕ]. Original Remade [–u–x–uu–u–x –u–x–uu–u–x –u–x–uu] suffer[ed] love [–uu–x [When] I see y[ou] standing [bef]ore me, dear, [Then I think He]rmïone [was not] near [To you], and to place thee to Helen thee near [Seems right to me, If] to mortals [gra]nted; and kn[ow] thou this: Any [sacr]ifice, for your [beauty’s bliss] I woul[d pay] of grief, [yours is any wi]sh [I'll ever have. To the river Acheron’s dew]y shores [If you died I’d go, and to you] fame[’s doors As I can I’ll open, all] ni[g]ht [indoors With you I crave]. [–u–x–uu–u–x –u–x–uu–u–x –u–x–uu] suffer[ed] love [–uu–x When I see] y[ou] standing [in] front of me, Then Hermione [seems so far] from thee, And com[pa]ring Helen the blonde to thee To me [seems fair, If] to mortals [gra]nted; [be] thou aware: There's no grief that I would [not choose] to bear [For your beauty, any de]sire I bear [Is but for thee. To the] banks [of Acheron] full of [dew If you died I'd go, any] fame [to you I'll bring that I can, all] ni[g]ht [long with you I crave to be]