Tuesday, 1 May 2018

Nostalgia for youth

In the last two posts, we had a lot of Sappho. Now, in one fragment in the last post, the ending «I won't marry you 'cos I'm too old» suggests some nostalgia for youth, and another fragment from the post before that, the one we only have line endings of, mentions sweet singing and a violet-bosomed girl, which also seem to hint at youth. So today I'm bringing you 5 poems, 2 of which certainly express nostalgia for youth, whereas of the other three, one also does in some versions, and the other two do in this particular completion (which is AFAIK the only completion that was made, since besides Edmonds people tend not to complete so much). The critical notes are, with one exceptions, short enough to be made right before the poems. The exception has a huge critical note, and is why I prepared this post on July 5-6 2017 as a draft. That draft has since been edited on March 1 2018 because I created the papyri transcriptions post in the meantime so the exception may not have the incredibly long critical note I mention. Let's get to those poems though.



Weaving garlands

This is fragment Bergk 34 [66], Edmonds 67, Campbell 125. It is a quotation by a scholar on Aristophanes (full abbreviated referece Schol. Aritsoph. Thesmoph. v. 400). According to Bergk, tradition has the passage as «Πρὸς τὸ ἔθος ὅτι ἐστεφαναπλόκουν αἱ παλαιαί· Σαπφώ· αὐτάορα αἰστεφαναπλόκουν». The part before the quotation says «Concerning the custom whereby the ancients wove garlands; Sappho». The passage is blatantly immetrical and corrupted. Various restorations exist. Bergk reads «αὔτα γὰρ ὠράα στεφαναπλόκουν», «for I myself, in my youth, wove garlands», similar to the solution I adopted back then, but making it an Alcaic hendecasyllabic, hence probably part of an Alcaic stanza. Edmonds reads «αἴ τ' ὀράαι στεφαναπλόκην», translating to «and the maids ripe for wedlock wove garlands»; this makes it look like a dactylic tripody, or maybe some Aeolic dactylic line (compare Hector and Anromacha) we only have the end of, and makes the meaning completely different from Bergk and me. Campbell leaves it as locus disperatus, reading «†αυταόρα† ἐστεφαναπλόκην», and translating to «(I myself in my youth?) used to weave garlands». Bibliotheca Augustana reads «...αὔτα / ὠράα στεφαναπλόκην»; the meter is incomprehensible, since the last line is evidently a glyconian, but the first one ends in a double long syllable, which is not how a glyconian ends. safopoemas only has «όραΤαι», presumably meaning «ὀραῖαι», «young (plural feminine)», but translates «y ellas, hermosas, tejen guirnaldas», «and they, beautiful, weave garlands», rendering evident how horrible that document is. Greek Wikisource has «Αὐτὰρ ὀραῖαι στεφανηπλόκευν», which would be what I'd probably choose now, since it's closest to the tradition. It does, however, suppose a single missing syllable at the start, or maybe a whole 5 syllables, depending on which meter you choose. Back in the days, I didn't have Bergk, I didn't look at Edmonds because «non ho un indice per ricerca veloce e la navigazione del pdf è molto lenta» («I don't have an index for quick search and navigation of the pdf is very slow», and it more or less still is, though I now made myself that index), so I completed B.A. in two ways, either «Ὡς πλεῖσταί γε, καὶ] αὔτα ‹ἦ / Ὠ›ράα στεφαναπλόκην», i.e. «Like most women indeed, even] I ‹actually, / In› my youth, wove garlands», or the below fashion. In fact, I suspect the below is from somewhere, but I can't trace where. My Paracritical Note from those days makes no mention of The Complete Poems of Sappho, but says that the only one amending save for safopoemas, Edmonds, and Greek Wikisource is BA, so I assume TCPOS doesn't amend either.
The completion and translations all date to between May 2009 and Dec 30 2009, I guess closer to the former than the latter.


Greek

Αὔτα ‹καὶ γὰρ ἔγω ποτὰ
Ὠ›ράα̣ στεφαναπλόκην.


Latin

Cōrōnās făcĭēbăm īps’
‹Ōlīm› cūm, iŭvĕnīs t’ ĕrăm.


Italian

‹Io› stessa ͜‹un tempo›, giovane,
Ghirlande intrecciavo, sì.


English

‹I› myself ‹once› did garlands make,
In my young age, for beauty’s sake.


Beautiful gifts of the Muses

This is Bergk 80 [43], Edmonds 118, Campbell 58, and the one with the huge-ass critical note. Same dating info for the translations. I report the P.Oxy. 1787 lines with blank lines between what should be different poems, then I add the poem that P.Köln has before the Tithonus part, as completed by Obbink's article. That poem will only have an English prose translation for the moment, because I never knew it existed up till I looked further into the sources, but I report it because IIRC it is still thought to be Sappho, and who knows if I will one day make a translation into poetry. Group 6 of The Rest of Sappho has different restorations and/or more completions for many of the below.


P.Oxy. lines, Greek

. . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . .ο]ἶ̣δα [–x
. . . .] ̣πέρι̣[
. . .] ̣εικε ̣[. . . . . . . . . . . . . . . . . . . . . . ]ν̣α [
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . φ]ύγοισα̣[
] ̣[.] ̣[. . . . . ~12 letters . . . . .] ̣δ' ἄχθην̣      5
. . . . . . . . . . . . ]χ̣υ̣θ[.] ̣[.]ω̣[. . . . . ~8 letters . . . . . α]ὔτα̣ν
. . . . . . . . . . . . . ] χ̣θο[ς .]ατι . [......]ọισα
. . . . . . . . . . . . . . ]μένα τὰν [πολυ]‹ώ›νυμόν σ̤ε̤
. . . . . . . . . . . . . . . ]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣

ὔμμες πεδὰ Μοίσαν ἰο]κόλ̤πων κάλα δῶρα παῖδες      10
σπουδάσδετε καὶ τὰ]ν φιλἄοιδον λιγύραν χελύνναν·[
ἔμοι δ' ἄπαλον πρίν] ποτ' [ἔ]οντα χρόα γῆρας ἤδη
ἐπέλλαβε, λεῦκαι δ' ἐ]γένοντο τρίχες ἐκ μελαίναν,
βάρυς δέ μ' ὀ θμ[ο]ς πεπόηται, γόνα δ' οὐ φέροισι,
τὰ δή ποτα λαίψηρ' ἔον ὄρ̣χησθ' ἴσα νεβρίοισιν.      15
τα]‹ῦ›τα στεναχί‹σδ›ω θαμέως ἀλλὰ τί κεν ποείην;
ἀγή̣ραον ἄνθρωπον ἔοντ' οὐ δύνατον γένεσθαι·
καὶ γάρ π[ο]τα Τίθωνον ἔφαντο βροδόπαχυν Αὔων
ἔρῳ δ̣α̤[..]αθεισαν βάμεν εἰς ἔσχατα γᾶς φέροισα
ἔοντα [κ]ά̤λ̤ο̤ν καὶ νέον, ἀλλ' αὖτ̣ον ὔμως ἔμαρψε[      20
χρόνω̣‹ι› π̣[ό]λιον̤ γ̤ῆ̤ρας ἔ[χοντ'] ἀθ[α]νάταν ἄκοιτιν.[

xx^^ ––^^ – ἐκφθ]ίμέναν νομίσδει
xx^^ – –^^ – –^^]αις ὀπάσδοι.
ἔγω δὲ φίλημμ' ἀβροσύναν, [ἴστε δὲ] τοῦτο· καί μοι
τὸ λάμπρον ἔρ‹ω›ς ἀέλιω καὶ τὸ κάλον λέλογχε      25
] ̣πιν[    ] . [...] . σ .́ .[
]φίλει ̣[
]κ̣αιν̤[

P.Oxy. lines, Latin

[x–uu, – –uu, – –uu, –u–x
x–u vŏ]cāvī [uu, – –uu, –s]cĭō [x
x–uu,] cīrcā [uu, – –uu, –u–x
x–uu, – –uu, – –uu, –u–x]
[x–uu, –]cūmqu’ ĕă [f]ūgīssĕt [u, –u–x
x–uu, – –uu, – –uu,] ēss’ ŏnūst[x
x–uu, – –uu, – –] ălĭ[–u ī]llăm
[x–uu, – –]ŏnŭ[s – –u] quĭd [–u–]ă
[x–uu, – –uu plūrūm uu] nōmĭnūm tē
[x–uu, – –uu,] sūccēssŭm ăd ōră dōnăt.

[Mūs’] ād bŏnă dōn’ ēt quŏquĕ pūlchr’ [āpprŏpĕrātĕ], pu͞ellǣ,
[Sī]nū [vĭŏlû̄m], cāntăqu’ ămāntēm ly̆răm ēt sŭāvĕm;
[Pri͞us mōllĕ mĭhī] cōrpŭs [ĕr]āt, nūnc tămĕn īpsŭm ǣtās
[Cārpsītquĕ,] mĭh’ [ālb]’ ābquĕ nĭgrīs [fā]ct’ ĕquĭdēm căpīllī,
Grāvīsquĕ mĭhī fāctŭ’ [c]ŏr ēst, āc gĕnŭ’ [ha͞]͞ud fĕrūnt mē,
Qu’ ōlīm sălĭēbānt răpĭ[dē] pārĭ’ ĕīspsĕ fa͞unīs.
Sǣpē quĕrŏr īst’, āt pŏtĕ quīdnām mĭhĭ īps’ hăbe͞am d’ hīs?
[Ǣt]ērnŭs hŏmō nām fĭĕrī nōn pŏtĕ ūmquăm ūllŭs.
Tīthōnŭm ĕnīm dīcĭtŭr A͞urōră brăchīs rŏsātīs
Īvīssĕ fĕrēns fīnĕm ăd ōrbīs, quĭd’ ămōrĕ c̣ạ̄p̣tă,
[P]ūlchrūm iŭvĕnēmqu’ ōlĭm, ăt īllūmps’ ĕquĭdēmquĕ cārpsĭ[t],
Spōns’ ēts’ ĭs hă[bēt] lōng’ ăb ĕ’, ōb tēmpŭ’ cănūt’, ŏb[ī]tū.

[x–uu, – –uu cōnsū]mptăm ĭs āppŭtātquĕ
[x–uu, – –uu, – –uu]āsquĕ āddēt.
Ātqu’ īps’ ĕg’ ămō mōllĭtĭām, [scītĕquĕ] hōccĕ, ātquĕ
Sōlīs mĭh’ ămōr lūmĭnĭcōs’ āddĭdĭt ātquĕ pūlchră.
……………………
Ămāt [
Ĕt [


P.Oxy. lines, Italian

[x–uu, – –uu, – –uu, –u–x
x–u chia]ma͜i [–uu, – –uu, –u] so [x
x–u] intorno [uu, – –uu, –u–x
x–uu, – –uu, – –uu, –u–]a
[x–uu, – –u] avendo le͜i [f]uggito [–x 5
x–uu, – –uu, – –uu,] esser carco
x–uu, – –uu, –] altr[uu, –u e]lla
x–uu, – –] pes[o –] che cosa, [–u–]a
[x–uu, – –uu, – –] te dai molti nomi
[x–uu, – –uu] alla b[o]cc[a] dà successo. 10

[Verso]͜ i doni belli [delle Muse s]en [di viola], donne,
[V’affrettate, e la] so͜ave amante del cantar, la lira;
[A me] la vecchiaia già [il corpo, giovin pria, rubònne,
Diven]tata ͜[è bianca] la mia chioma da com’era nera,
E ’l [c]uor m’è pesante,͜ e le ginocchia su più [n]on mi tengon, 15
Che͜ ugualmente͜ a’ fauni͜ erano un tempo rapi[de]͜ a danzare.
Questo io lamento di frequente; ma che debbo fare?
Gl’uomini di essere ͜[im]mortali͜ occasïon non tengon.
E͜ infatti si dice che Titon l’Aurora braccia d’ rosa,
P̣ṛẹsa dall’Amore, andò portando ai confin di terra,20
[B]ello͜ e giovin, ma lui pres[e] per il tempo che rinserra
L’avanzata͜ età, canuto,͜ av[ente] un’imm[o]rtale sposa.

[x–uu, – –uu] crede le͜i [con]sunta stare
[x–uu, – –uu, – –u] potrebbe dare.
La delicatezza amo i͜o, [sappiate po’]͜ anche questo: 25
Del sole l’amor bello splendor mi ha donato presto.
………………
Ama [
E [


P.Oxy. lines, English

[x–uu, – –uu, – –uu, –u–x
x–u I ca]lled [–uu, – –uu, –] I [k]now [x
x–u] around [–uu, – –uu, –u–x
x–uu, – –uu, – –uu, –u–x
x–uu, – –uu, –] having she [f]led [u–x
x–uu, – –uu, – –] to be loaded [–x
… … … … x–uu, – –uu, – –] other [–u s]he [x
x–uu, – –uu] weigh[t –u] what [–u–x
x–uu, – –uu, – –] you of names [so many]
[x–uu, – –uu] success to the m[o]ut[h] a-giving.

[Ye all to the violet-bos]omed [Muses’] pretty gifts, o maidens,
[Hasten, and the] sweet song-loving lyre, clear-singing and melodious;
[Once my] body [tender w]as indeed, but now old age already
[Hath it stolen, and,] from black it was, my hair all [white has tur]nèd,
And heavy my [h]ea[r]t has now become, my knees [n]o longer hold me,
Which once very qui[ck] did dance, as light as fawns indeed in dancing.
These things very often I lament; what should I do about them?
Someone who’s a man can ne’er become one who can [stop] his [a]geing.
Indeed it is said that Tithon o[n]ce the rosy-armèd Dawn did,
C̣ọṇq̣ụẹṛed by his love, go bringing out unto this earth’s extreme ends,
As he still was young and [ha]ndsome, but he anyway was take[n],
Gray-hairèd in time, by older age, e’en wi[th] a wife imm[o]rtal.

[x–uu, – –uu, – –] her [con]sumed beliveth
[x–uu, – –uu, – –uu, –] he might give.
For delicacy indeed I love, and know ye this thing also:
Beauty, yes, and splendour very soon th’ love for the sun did earn me.
…………
Loves [
And [


Köln extras, Greek

] . οὐ[
] ε̣ὐχο̣μ̣[
] . νῦν θαλ[ί]α̣ [παρέστω
] νέρθε δὲ γᾶς περ[ίσχ]οι
κλέος μέγα μοίσει]ον ἔχοι̣σα‹ν› γέρας ὠς̣ [ἔ]ο̣ικε̣ν
πάντᾳ δέ με θαυμά]ζοιε̣ν̣ ἆς νῦν ἐπὶ γᾶς ἔοισαν
κάλεισι χελίδω] λιγύρ̤α̤ν [αἴ] κεν ἔλοισα πᾶκτιν[
ἤ βάρβιτον ἤ τάνδε χέ]λ̣υ̣ν̣ναν̣ θαλάμοισ' ἀε̣ίδω


Köln extras, English

] . not(?)[
] pray [
] . now [let] Thal[i]a [be present
] under earth may (who?) h[av]e
the great glory of the muses], having spoils as is [a]ppropriate
and everywhere] they would [marve]l [at me] while I am on earth
they call (me)] a shrill [swallow if], having taken the harp,
or the barbiton or that l]yre, I sing to wedding beds


I would marry, but I'm old

This is Edmonds 42 and Campbell 21. The source for this is P.Oxy. 1231 fr. 10, a scrap of papyrus of considerable size found in Oxyrhynchus – yep, we've already heard this place in Hector and Andromacha, and we will hear it again many many times. That papyrus is discussed at the transcriptions post. I follow Edmonds' reconstruction. I must admit I have no idea why my original file assumed a whole missing stanza before this. Campbell's line numbering suggests an extra lost line was visible in the papyrus. I'll just ignore that. After all, no point having 4 empty lines when we don't even know if that extra line actually belonged to the same poem (which is not an easy thing to determine, as we will see in the huge-ass note to the previous poem). So I'm just dropping that assumption. Two completions are justified by two quotations. One is at l. 8, where the Dissertations of Maxymus of Tyre (full reference in Bergk Maximus Tyr. XXIV) tell us that «Διοτίμα λέγει, ὅτι θάλλει μὲν Ἔρως εὐπορῶν, ἀποθνήσκει δὲ ἀπορῶν· τοῦτο Σαπφὼ ξυλλαβοῦσα εἶπε γλυκύπικρον καὶ ἀλγεσίδωρον· τὸν Ἔρωτα Σωκράτης σοφιστὴν λέγει, Σαπφὼ μυθόπλοκον» (Diotima says that love blooms when it has much and dies when it has little; gathering this, Sappho called [love] "sweet-sour" and "giver of pains" [the adjective in l. 8]; Socrates calls love a sophist, Sappho a "weaver of tales"). One might object that the quote has an accusative and the completion a nominative, however the quote is just "hey Sappho described love as X", so it's just telling us Sappho used that adjective, and nothing about what case it was in, IMO. The other one is l. 12. In this case, it is Apollonius Dyscolus in his treatise on pronouns (full Campbell reference Ap. Dysc. Pron. 124b (l. 67 Schneider)) who tells us that «τὰ γὰρ παρ' Αἰολεῦσιν ἕνεκα τῆς συντάξεως πολλάκις ἀποβάλλει τὸ ν δι' εὐφονίαν· ἄεισον ἄμμι τὰν ἰόκολπον· αἰ δέ κ' ἄμμι Ζεῦς τελέσση νόημμα, Ἀλκαῖος.» («[pronouns] which in Aeolian writers' works often lose the nu for euphony due to the context: sing to us of the violet-bosomed; but if Zeus should fulfill our plan, Alcaeus», where τελέσση must be amended to τελέση for reasons of meter). That quotation doesn't make it clear if the fragment was by Sappho or Alcaeus, and indeed Bergk ascribed it to Alcaeus and gave it number 12, but in the light of P.Oxy. 1231 we are brought to reconsider this. By the way, the excerpt quotes another line, which is Bergk Alcaeus 73, and which is Alcaeus 361 in Campbell.
The translation of this I remember as one I made around Easter 2010. In particular, I remember myself doing the Italian one while on the bus that took me to the Angelus with the pope that year.


Greek

[Αἰ δέ μοι γάλακτο]ς ἐπάβολ' ἦσ[κε
τωὔθατ' ἢ παίδ]ων δολόφυν [ποήσ]ε
ἀρμένα, τότ' οὐ] τρομέροις πρ[ὸς ἄ]λλα
[λέκτρα κε πόσσι 4

ἐρχόμαν· νῦν δὲ] χρόα γῆρας ἤδη
[μυρίαν ἄμμων ῤύτι]ν ἀμφιβάσκει
[κωὐ πρὸς ἄμμ' Ἔρως] πέταται διώκων
[ἀλγε]σ̣ί[δωρος·

] τᾶς ἀγαύας
] . α· λάβοισα
[δ' ἀδύφωον πᾶκτιν] εισον ἄμμι
[τὰν ἰόκολπον.

ἔ]ρων μά̣λ̣ιστα
] ἆ̣ς π[λά]ναται̣
[................
................]


Latin

Sī mĕō sĭnū lă]c [ădhūc] mănēret
[A͞ut ĕī pŏt’ ēssĕt hăbē]rĕ [fīli͞o]s,
[Tūnc] ă[d āljūm pāssŭbŭ’ lēct’ ĕg’ ha͞ud] trĕ-
māntĭbŭs [īrĕm; 8

Sēd] sĕnēctūs [nūnc mĕŭm] ēxrĕplēt [pĕr
Plūrĭmās rūgā]s quĭdĕm ōmnĕ mēmbrŭm,
[Nēc] vŏlāns [nōs] īnsĕquĭtūrv’ [Ămō]r iăm
[Dātvĕ dŏlōrēs. 12

–u] Īllūstrīs [uu–u–x
–u–x–uu] prēndĕrīs cŭm
[Vōcĕ dūlc’ hārpām] mĭhĭ cāntă nūnc [sĭ-
nū vĭŏl’ īllăm. 16

–u–] prǣsērtĭm [ă]mōrŭm [–x
–u–x–uu] dūm văgātŭr
[–u–x–uu–u–x
–uu–x] 20


Italian

Se il mi͜o sen] pote[sse͜ ancor latt]e dare,
E il mi͜o] ventre ͜[adatto͜ a bambin]i [fare
Fosse͜ ancor, allor mi vedreste͜ andare,]
Certa [di piede,] 8

Ver[so͜ un altro talamo; ma͜ or] vecchi͜ai͜a
M’empi͜e͜ il corpo [con rugh]e [a migliaia,
Né] volando͜ inseguemi ͜[Amo]r, [che rai͜a
Duol che non cede. 12

–u–x–] dell’illustre [–x
–u–x–u; la melodi͜osa
Arpa] prendi,͜ e cantami [della sposa
Seno di vi͜ola. 16

Degl’[a]mor più ch’altro u–u–x
–u–x–uu] finché v[a]ga
[–u–x–uu–u–x
–uu–x] 20


English

If my bosom] sti[ll] had [some mil]k to feed,
[Or] my womb [had power to babie]s [bre]ed,
[Then you’d see my steps going, su]re indeed,
To a new [bed 8

And new wedding; now] doth the old-age ill
[With a thousand wrinkl]es my body fill,
[Nor doth Lov]e pursue [me] in flight, [which ill
Always has bred. 12

–u–x–] of the noble [–
–u–x–uu] out now take
[Th’ harp, o’ th’ violet-bosomed] a song now make
[With her sweet voice. 16

–u–x–] of the [l]oves o’er all
[–u–x] long as she wanders [–
–u–x–uu–u–
–uu–] 20


Remeber: we did those things too

This is Edmonds 43 and Campbell 24(a). The sources are two Oxyrhynchus papyri, P.Oxy. 1231 fr. 13 and P.Oxy. 2166(a)7a. Edmonds only had the first one at his disposal when he published his Lyra Graeca. Unfortunately, back in the days, I didn't know that, apparently, so I ignored Campbell completely and just followed Edmonds' completion, save for preferring the to my eyes equally valid completion of Campbell for l. 4 to the weird Edmonds long-υ συνεπόημμεν. The papyrus is discussed at the transcriptions post, and the more recent fragment destroys Edmonds' completion of stanza 2, while still allowing that of stanza 1. Along with the transcriptions, I present my own completion of the combination, mostly a rehash of Edmonds.
The translations of this probably date around the same period as those of the previous poem.


Greek

Αἶσ’ ἔγων ἔφ]αν· “ Ἄγα[ναι γύναικες,
οἶα μ]εμνάσεσθ’ ἄ̣[ϊ μέχρι γήρᾱς,
κ]αί γ’ ἂρ ἄμμες ἐν νεό̣[τατι λάμπρᾳ
ταῦτ’ ἐ]π̣όημ̣μεν· 4

[ἄγνα μ]ὲν γὰρ καὶ κά[λα πόλλ’ ἐν αὔτᾳ
δράσα]μεν, πόλι̣[ν δ’ ἀπυλιμπανοίσᾱν
σφῶϊν] ὀ[ξ]είαις δ̣[άκεν ἴμμερός μοι
θῦμον ἄσαισι”]. 8


Latin

[F]āt’ [ĕg’ ād quās]: «Ō tĕn[ĕrǣ mŭli͞erēs,
Qu’ ād sĕnēctūtēm m]ĕmĭnīssĕ vōbīs
Ēst pŏt’, īstă] nōs iŭv[ĕnēs] quĭdēm [qu]ŏqu’
[Ē]gĭmŭs ōlĭm; 4

[Pūr’] ĕnīm [pērmūltă] tŭm ātquĕ pūl[chră
Fēcĭ]mūs, nūnc ūrbĕ c’ ăbītĭs a͞utĕm
Fōrtĭbūs dŏlōrĭbŭ’ mōrdĕt ād mē
Cōrdă cŭpīdō]». 8


Italian

[Dis]si ͜[a lor]: “O tenere donne,͜ invero
[Quel che fino͜ a vecchi͜e s]i ha͜ in pensi͜ero
Giovin[ezza splendida f]atto ͜– è vero –
Da no͜i [l’]ha visto: 4

[Molte pure]͜ e bel[le] azioni ͜[in essa
Fatte͜ abbi]amo, ͜[ed or che lasciate] dess[a
Voi, l’amore] m[ordemi ’l cuor con ressa
Di dolor] m[e]sto”. 8


English

Unto them I sa]id: “Ten[der women, you,
Till old age, t]hink of [what you wish to do;
But remember:] in your [bright] yo[uth] did you
[Those things] not do?

Many [pure] and beau[tiful] things [did we
Then get] done, [and now] you [leave] tow[n, to me
Th’ love for you] d[evours the heart, ay me!,
To] s[h]arp [pains due]”.


You were also a tender young child

This is Edmonds 46 and Campbell 27. According to Campbell, the sources for this are a whopping 7 papyrus fragments: P.Oxy. 1231 frr. 50-54, and P.Oxy. 2166(a) frr. 5a-5b, the last two of which weren't available to Edmonds, giving the completely different reconstruction he gives. In fact, Edmonds only used fr. 50 as a source, because the 2166(a)5 linked the other 1231 fragments to fr. 50 (except for fr. 53 which Edmonds ignored for some reason, maybe the combination hadn't been thought up yet), and without that link there weren't compelling arguments for the combination. Moreover, Edmonds used a transcription which the new fragments revealed to have incorrect letters. Anyways, I discarded Edmonds' completion, because either I knew about the papyri or I wanted a complete first line, or maybe both, who knows. I will report the fragment collage from the discussion in the transcriptions post at the end, before the big critical note, using colors to mark origin fragment, as I will specify just before the collage. Joining fr. 52 and fr. 50 was, by the way, a possibility already for Grenfell and Hunt. Edmonds' version fits perfectly with fr. 50, modulo swallowing a iota from l.3 in his ζαλέξα. One last thing: it appears that, for my completion to work, I tampered with part of l. 14. More precisely, the original GH transcription reads ]α̣ικ.[, so I saw that uncertain alpha and arbitrarily reinterpreted it as an omicron. Back in the days, I probably thought they would look similar, because I imagined shapes close to the printed ones, whereas uncials are not so, and indeed this change was totally unjustified and wrong. But I have to come back to the text I translated, so I'll keep that bad change. One last thing: Group 6 in The Rest of Sappho has both the Edmonds version and the different restoration of this Italian anthology.


Greek

. . . . . . . . . .
. . . . . ]λ̣αιγ̣[. . . . .
. . . . . ]ν̣οσ[. . . . .
– ^ ^ – ]σι·[. . . . . 4

ἦσθ]α καὶ γὰρ δὴ σὺ̣ πάϊς ποτ' [ἄβρα
ἐξ]ί̣κ̣ης μέλπεσθ' ἄγι ταῦτα [πάντα
σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος
ἄ]δρα χάρισσαι

σ]τείχομεν γὰρ ἐς γάμον· εὖ δέ [γ' οἶσθα
κα]ὶ σὺ τοῦτ'· ἀλλ' ὄττι τάχιστ̣ά [σ' ἔστι
πα]ρ[θ]ένοις ἄπ[π]εμπε, θέοι [
. . κε]ν ἔ̣̣χοιεν̣

οὐ γάρ ἐστ'] ὄ̣δος μ[έ]γαν εἰς Ὄλ̣[υμπον
κἄμμιν ἀ]νθρω[ποισιν ἄν]‹ο›ικτ' [ἔοισα
[................
................]


Latin

Ēt t’ ĕnīm pŭēllŭl’ [ĕr]ās [tĕnēllă,
Ād]vĕnī, quǣsō, cănĕqu’ [ōmnĭ’] hǣccĕ,
Dīc[quĕ], grātĭāsquĕ ăb hōccĕ c[ōrdĕ
M]āxŭmă dōnā: 8

Nūptĭās [a]dīmŭs ĕnīm; bĕn’ [ē]t tū
Hōccĕ [scīs], sēd quām răpĭdīssĭm’ [īn tē’st
Vī]r[g]ĭnēs nūnc mī[t]tĕ, dĕī [u–x
–] hăbĕānt [x 12

Nāmqu’ ăbēst] ād m[ā]gnŭm Ŏl[ȳmpŭm] ītĕr
[Quǣ sĭt ētj’ ād nōs] h[ŏmĭ]nēs [ă]pērtă
[–u–x–uu–u–x
–uu–x] 16


Italian

[–u–x–uu–u–x
–u–x–uu–u–x
–u–x–uu–u–x
–uu–x] 4

Ch’anche tu [se͜i tenera] bimba [st]ata,
[V]i͜eni, [tutto] questo, deh, canta, ͜[e]͜ amata
Fa’ conversazione, e grazi͜a [l]ata
Dacci, ti prego:

A sposarci ͜[a]ndi͜amo; tu [pu]r lo [saï]
Ben, ma manda quanto pi͜ù ’n fretta [saï
Le fa]n[c]i͜ulle vïa, gli dei [u–x]
Abbi͜ano [–x]; 12

Verso ’l g[r]ande͜ Ol[impo non v’è]͜ una vïa
[Ch’anche per no͜i u]͜omi[ni͜ ap]ert[a sia;
–u–x–uu–u–x
–uu–x] 16


English

[–u–x–uu–u–
–u–x–uu–u–
–u–x–uu–u–
–uu– 4

Once] you [wer]e a [tender] young child, you too,
[C]ome to me to sing [all] of this, please do,
[And] to talk, and to us [g]reat favours do
Out of your [h]eart: 8

For we’re [g]etting married; and well you [know]
This yourself, as fast [as you can] now, though,
S[e]nd the [m]a[i]ds away, may the gods [u–]
Have [uu–] 12

To the g[r]eat Ol[ympus there is no] way
[That for us m]e[n also may open stay;
–u–x-uu–u–
–uu–] 16


Fragment collage


So finally we combine the text, marking fr. 50 as black, fr. 51 as blue, fr. 52 as red, fr. 53 as brown, fr. 54 as purple, fr. 5a as cyan, and fr. 5b as pink (what a lot of colors :) ). Hopefully the terribly holey first stanza didn't change excessively since I first collaged this way back in July, so I adapted the colors and kept the rest as was, given it is omitted from the collage in the transcriptions post.

]λ̣αιγ̣[
]ν̣οσ[
]σι·

ἦσθ]α καὶ γὰρ δὴ σὺ̣ πάϊς ποτ' [ἄβρα
ἐξ]ί̣κ̣ης μέλπεσθ' ἄγι ταῦτα [πάντα
σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος
ἄ]δρα χάρισσαι
σ]τείχομεν γὰρ ἐς γάμον· εὖ δέ [γ' οἶσθα
κα]ὶ σὺ τοῦτ'· ἀλλ' ττι τάχιστ̣α [
πα]ρ[θ]ένοις ἄπ[π]εμπε, θέοι [
κε]ν ἔ̣̣χοιεν̣
οὐ γάρ ἐστ'] ὄ̣δος μ[έ]γαν εἰς Ὄλ̣[υμπον
ἀ]νθρω[π      ]αικ . [


Critical note to "beautiful gifts of the muses"
This poem (or these poems?) is very controversial. Indeed, it is not even universally agreed upon where the poems break. But we'll get to that later as we analyze the sources.
The first source (in a chronological sense), and the only source available for Bergk (fr. 80 [43]) and Edmonds (fr. 118) is Athenaeus's Deipnosophistae (another name we will hear very many times, and that we have heard in Hector and Andromacha), which, in book XV, say «ὑμεῖς δε οἴεσθε τὴν ἁβρότητα χωρὶς ἀρετῆς ἔχειν τι τερπνόν; καίτοι Σαπφώ, γυνὴ μὲν πρὸς ἀλήθειαν αὖσα καὶ ποιήτρια, ὅμως ᾐδέσθη τὸ καλὸν τῆς ἁβρότητος ἀφελεῖν λέγουσα ὧδε· Ἐγὼ δὲ φίλημμι ἁβροσύναν καί μοι τὸ λάμπρον ἔρος ἀέλιω καὶ τὸ κάλον λέλογχε, φανερὸν ποιοῦσα πᾶσιν ὡς ἡ τοῦ ζῆν ἐπιθυμία τὸ λαμπρὸν καὶ τὸ καλὸν εἶχεν αὐτῇ. ταῦτα δέ ἐστὶν οἰκεῖα τῆς ἀρετῆς.» (thus some codices, others start the quote with «ἐγὼ δὲ φιλήμμα βροσύναν»), which Edmonds translates to «Do you think that delicacy or refinement without virtue is a thing to be desired? Why, Sappho, who was a woman out and out and a poetess, too, hesitated nevertheless to separate refinement from honour, for she says: But I love delicacy, and the bright and the beautiful belong for me to the desire of the sunlight; making it clear that the desire to live comprehended for her the bright or famous and the beautiful or honourable; and these belong to virtue.». Bergk proposes his own emendation in the footnotes, «Ἔγω δὲ φίλημμ' ἀβροσύναν, καὶ γὰρ ἔμοι τὸ λάμπρον / ἔρος γλυκίρω ἀελίω καὶ τὸ κάλον λέλογχε». Outside the footnotes, however, he prints pretty much my text, save for having «ἀβροσύναν .... καί μοι». This means he accepts someone else's suggestion to emend ἔρος to ἔρως for metrical reasons. Edmonds has his own line-breaking to solve the same problem.
Then, Oxyrhynchus happened. Yes, that name again. Told you it was gonna pop up often :). Oxyrhynchus offered one big scrap of papyrus that definitely linked to this quotation, and two micro-scraps that possibly linked to the big one, though the link is doubtful. All of that is discussed at the papyri transcriptions post, where the following collage of the three scraps is presented, with fr. 1 uncolored, fr. 2 and 2a red (top is 2a, bottom 2, so no ambiguity), and the Athenaeus quote cyan:

κά]λ̣εσσα [     ο]ἶ̣δα [
] ̣πέρι̣[
] ̣εικε ̣[    ]η̣α [
φ]ύγοισα̣[
] ̣[.] ̣[    ~12 letters    ] ̣δ' ἄχθην̣      5
]χ̣υ̣θ[.] ̣[.]ω̣[    ~8 letters    α]ὔτα̣ν
]χ̣θο[ς .]ατι ̣[......]ọισα
]μένα τὰν [πολυ]ώνυμόν σ̤ε̤
]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣
]πων κάλα δῶρα παῖδες      10
] φίλ' ἄοιδον λιγύραν χελύνναν[
] ̣τα χρόα γῆρας ἤδη
]ντο τρίχες ἐκ μελαίναν
]α̣ι γόνα δ' [ο]ὐ̣ φέροισι
]ησθ' ἴσα̣ νεβρίοισιν      15
ἀ]λλὰ τί κεν ποείην
] οὐ δύνατον γένεσθαι
] β̣ροδόπαχυν Αὔων
] ̣ατα γᾶς φέροισα
] ̣ν ὔμως ἔμαρψε[      20
]άταν ἄκοιτιν[
ἐκφθ]ίμέναν νομίσδει
]αις ὀπάσδοι
ἔγω δὲ φίλημμ' ἀβροσύναν [] τοῦτο καί μοι
τὸ λάμπρον ἔρ‹ω›ς ἀέλιω καὶ τὸ κάλον λέλογχε
     25
] ̣πιν[    ] . [...] . σ .́ .[
]φίλει ̣[
]κ̣αιν̤[

Then, in 2002+ (meaning after Campbell, whose Sappho and Alcaeus book dates to 1952), a number of papyri were acquired by some institution in Cologne from some guy who possessed them. They were analyzed, and a number of them stuck out. All of those are discussed… wait for it… I bet you know… in the transcriptions post, where two combinations are presented. Indeed, the overlap is blatant (the only reason to combine the Köln material, in fact, besides it being from the same cartonage -- right?), but only starts at the κάλα δῶρα παῖδες line, so the rest of the lines in the Oxyrhynchus collage and in the Köln fragments are other poems – surprise motherEFFers! Anyway, here comes the combined text. The left column integrates the previous Oxyrhynchus collage with the Köln material, using blue for fr. 1, pink for fr. 2, and purple for fr. inv. 21376, keeping the non-common lines from Oxyrhynchus. The right column, on top of exactly the same integration, keeps the lines from Köln, thus using cyan for fr. 1b, and leaves the end of the fragments alone because it is not by Sappho so we don't care about it.






κά]λ̣εσσα [     ο]ἶ̣δα [
] ̣πέρι̣[
] ̣εικε ̣[    ]η̣α [
φ]ύγοισα̣[
] ̣[.] ̣[    ~12 letters    ] ̣δ' ἄχθην̣
]χ̣υ̣θ[.] ̣[.]ω̣[    ~8 letters    α]ὔτα̣ν
]χ̣θο[ς .]ατι ̣[......]ọισα
]μένα τὰν [πολυ]ώνυμόν σ̤ε̤
]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣

[ὔμμες πεδὰ Μοίσαν ἰο]κόλ̣πων κάλα δῶρα παῖδες
σπουδάσδετε καὶ τὰ]ν φίλάοιδον λιγύραν χελύνναν[
ἔμοι δ' ἄπαλο πρίν] ποτ̣' [ἔ]ο̣ντα χρόα γῆρας ἤδη
ἐπέλλαβε λεῦκάι τ' ἐγ]ένοντο τρίχες ἐκ μελαίναν
βάρυς δέ μ' ὀ θῦμ[ο]ς πεπόητα̣ι γόνα δ' οὐ̣ φέροισι
τὰ δή ποτα λαίψηρ' ἔον ὄρχησθ' ἴσα̣ νεβρίοισιν
[ταῦ]τα στεναχί‹σδ›ω θαμέως, ἀλλὰ τί κεν ποείην
ἀγή̣ραον ἄθρωπον ἔοντ' οὐ δύνατον γένεσθαι
καὶ γάρ π[ο]τα Τίθωνον ἔφαντο βροδόπαχυν Αὔων
Ἔρῳ δ̣α̤[..]αθεισαν βάμεν εἰς ἔσχατα γᾶς φέροισα
ἔοντα [κ]ά̤λ̤ο̤ν καὶ έον ἀλλ' αὖτ̣ον ὔμως ἔμαρψε[
χρόνω̣ι π̣[ό[λιον̤ γ̤ῆ̣ρας ἔ[χοντ'] ἀθανάταν ἄκοιτιν[

ἐκφθ]ίμέναν νομίσδει
]αις ὀπάσδοι
ἔγω δὲ φίλημμ' ἀβροσύναν [] τοῦτο καί μοι
τὸ λάμπρον ἔρ‹ω›ς ἀέλιω καὶ τὸ κάλον λέλογχε
] ̣πιν[    ] . [...] . σ .́ .[
]φίλει ̣[
]κ̣αιν̤[
] . ν̣όε̣[ισαι
] πῆμ[α
]φατ̤[
]λ̣[
]ιυ[

[Several lines lost]
] . οὐ[
] ε̣ὐχο̣μ̣[
] . νῦν θαλ[ί]α̣[
] . ερθε δὲ γᾶς περ[ίσχ]οι
]ο ἔχοι̣σαι γέρας ὠς̣ [ἔ]ο̣ικε̣ν
]ζοιε̣ν̣ ἆς νῦν ἐπὶ γᾶς ἔοισαν
] λιγύρ̤α̤ν [αἴ] κεν ἔλοισα πᾶκτιν[
χέ]λ̣υ̣ν̣ναν̣ θαλάμοισ' ἀε̣ίδω


[ὔμμες πεδὰ Μοίσαν ἰο]κόλ̣πων κάλα δῶρα παῖδες
σπουδάσδετε καὶ τὰ]ν φίλάοιδον λιγύραν χελύνναν[
ἔμοι δ' ἄπαλο πρίν] ποτ̣' [ἔ]ο̣ντα χρόα γῆρας ἤδη
ἐπέλλαβε λεῦκάι τ' ἐγ]ένοντο τρίχες ἐκ μελαίναν
βάρυς δέ μ' ὀ θῦμ[ο]ς πεπόητα̣ι γόνα δ' οὐ̣ φέροισι
τὰ δή ποτα λαίψηρ' ἔον ὄρχησθ' ἴσα̣ νεβρίοισιν
[ταῦ]τα στεναχί‹σδ›ω θαμέως, ἀλλὰ τί κεν ποείην
ἀγή̣ραον ἄθρωπον ἔοντ' οὐ δύνατον γένεσθαι
καὶ γάρ π[ο]τα Τίθωνον ἔφαντο βροδόπαχυν Αὔων
Ἔρῳ δ̣α̤[..]αθεισαν βάμεν εἰς ἔσχατα γᾶς φέροισα
ἔοντα [κ]ά̤λ̤ο̤ν καὶ έον ἀλλ' αὖτ̣ον ὔμως ἔμαρψε[
χρόνω̣ι π̣[ό[λιον̤ γ̤ῆ̣ρας ἔ[χοντ'] ἀθανάταν ἄκοιτιν[

[Poem not by Sappho omitted]









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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