We digressed a little with the "Everything is so beautiful" theme two posts ago, then we got back to the "Cannot forget" theme. Today we continue on that theme, with a series of poems about "Memory and being remembered", as the title goes. More precisely, we have:
- Sappho Edmonds 71 Lobel-Page 55 Campbell 55, whose addressee is either "a wealthy woman" (τινα πλουσίαν) or "an uncultured and ignorant woman" (τινα τῶν ἀμούσων καὶ ἀμαθῶν γυναικῶν), or "an uneducated woman" (ἀπαίδευτον γυναῖκα), depending on whether we trust Plutarch, Plutarch elsewhere, or Stobaeus, and then there is also the option of "a women who believed herself happy" (τινα τῶν εὐδαιμόνων δοκουσῶν εἶναι γυναικῶν), only reported by Bergk as «Aristid. T. II, p. 508. Dind.»; it appears that the text varies greatly depending on quoter, with Plutarch having οὐδέ τις in l. 1, so that Bergk gives the amendation οὐδ' ‹ἔτι› τις and Edmonds reads οὐδέ τι‹νι›, whereas Stobaeus quotes οὐδέποτε, Aeolicized to οὐδέποτα in Lobel-Page and Campbell; in l. 2, the manuscript tradition apparently gives οὐδέ †ποκ'† ὔστερον, kept intact by Lobel-Page, which Campbell amends to οὔδε πόθα εἰς ὔστερον, "nor [will there be] wishes [of you] till the end", and Bergk and Edmonds amend to οὐδέποτ' ‹εἰς› ὔστερον; as always, I stick with what I found back in the days; the meter is greater Asclepiads, kept in Latin and rendered as lines of 9+7 syllables in English and Italian, with rhymes between consecutive lines and consecutive lines' half-lines;
- Sappho Edmonds 10 Lobel-Page 32 Campbell 32, on whose text there is no controversy whatsoever, as the few emendations to the tradition are pretty straightforward and were fixated by Bergk and never questioned afterwards; it is a quotation from Apollonius Dyscolus' treatise on pronouns, which reads «Αἰολεῖς ἀμμέτερον καὶ ἄμμον καὶ ὔμμον καὶ σφόν. Σαπφώ· ἐμὲ τιμίαν ἐποίησαν ἔρτατα σφαδοῖσαι», where the introduction is just a list of weird adjectives used by "the Aeolians" (Αἰολεῖς), and the quote is a little corrupted; the meter is part of a Sapphic stanza, specifically a full hendecasyllabic and part of a following one, the full one possibly being the first of a stanza; I kept that in Latin and imitated it the usual way in English and Italian;
- Sappho Edmonds 76 Lobel-Page 147 Campbell 147, which is quoted by Diogenes Chrysostomus in an oration as «μνάσασθαί τινα φάμη καὶ ἕτερον ἀμμέων», with following commentary and second more indirect quote, for which cfr. Edmonds who tries to reconstruct that second quote; this is inmetrical, and we have an infinitive clause, it seems, without a supporting verb, which points to φάμη being a corruption of φαμ(ι); ἔτερον, even psilotized as Aeolic would, still won't fit the meter, so "Volgerus" thought of amending to ὔστερον, and we also have καὶ ἄψερον, apparently proposed by Campbell; the printed text in Campbell and Lobel-Page stops at †καὶ ἔτερον† and relegates emendations to the apparatus criticus; Campbell proposes to amend to μνάσεσθαι, while Lobel-Page sticks to the tradition; the change is from an aorist infinitive to a future infinitive, so my translation requires the emendation, and in fact I feel the future is better; Edmonds does something interesting: supposing the tradition φάμη καὶ ἔτερον is a correction from earlier φήμηστερον, miscopied from φαῖμ' ὔστερον, amends it to that, making it a lesser Asclepiad; I follow Bergk and have it as a glyconian expanded with two dactyls, which I keep in Latin and imitate in English and Italian;
- We then finish with One day I wrote her name upon the strand by Edmund Spenser, translated into Italian between December 14 and 21 2010.
Κατθάνοισα δὲ κείσῃ ͜οὐδέ ποτα μναμοσύνα σέθεν
ἔσσετ᾿ οὐδέ πόθα ͜‹εἰς› ὔστερον· οὐ γὰρ πεδέχῃς βρόδων
τὼν ἐκ Πιερίας, ἀλλ᾿ ἀφάνης κἀν Ἀίδα δόμῳ
φοιτάσῃς πεδ᾿ ἀμαύρων νεκύων ἐκπεποταμένα.
Ma morta giacera͜i, né ma͜i memori͜a fì͜a di te,
Né ma͜i rimpianto tu͜o vedra͜i, ché͜ in nulla fûr per te
Di Pïerì͜a le rose, ma, anche͜ in Ade͜ ignorata,
Ti͜ aggirera͜i tra l’ombre là dopo͜ esser giù volata.
Αἴ με τιμίαν ἐπόησαν ἔργα
Tὰ σφὰ δοῖσαι.
Mi fecero famosa,͜ il lor lavoro
Donando͜ a me.
Μνάσ‹ε›σθαί τινα φα‹ῖ›μ‹ι› καὶ ‹ὔσ›τερον ἄμμεων.
Dico ch’anche͜ alla fine qualcun ci ricorderà.
One day I wrote her name upon the strand,
But came the tide, and washèd it away:
Again, I wrote it with a second hand;
But came the tide, and made my pains his prey.
Vain man, said she, that dost in vain assay
A mortal thing so to immortalize;
For I myself shall like to this decay,
And eke my name be wipèd out likewise.
Not so, quoth I; let baser things devise
To die in dust, but you shall live by fame:
My verse your virtues rare shall eternize,
And in the heavens write your glorious name.
Where, whenas death shall all the world subdue,
Our love shall live, and later life renew.
Iăci͞es mōrtŭǎ tū, nūmquăm hăbēns tu͞i mĕmŏri͞am, nĕquĕ
Ūmquām stūdĭă: nōn pārtĭcĭpās nāmquĕ rŏsārŭm īl-
lār’ ēx Pīĕrĭ’, īgnōtă tămēn tū dŏm’ ĕt Hādĭs īn-
tūs vāgābĭs ĭn ūmbrīs cŭm ăb hīnc ābs ĭĕrīs vŏlāns.
But dead then shalt thou lie, and ne’er memory of thee see
Nor wish until the end, not e’er; For never were for thee
Pieria’s roses but, unknown even in Hade’s home, lo!,
’Midst dead men’s shadows, having flown from here, thou’lt
[go and go.
Mē cĕlēbrēm dāt’ ŏpĕrā mĭh’ īllǣ
They made me a celebrity, their works
By giving me.
Dīcō, fīnĕ quŏqu’ ādrĕcŏlēt ălĭquīsquĕ nōs.
I say also͜ at the end of us memory one will have.
Un dì il suo nome sulla spiaggia scrissi,
Ma venner l’onde, e lo lavaron via:
Poi con seconda mano lo riscrissi;
Ma d’ sforzo mio fe’ preda la marea.
Uom vano, disse, che per vana via
Cosa mortal cerchi fare immortale;
Io stessa decadrò così, e fia
Mio nome cancellato in modo tale.
Oh no, diss’io; cosa più vile e frale
In polver moia, tu vivrai per fama:
Mio verso tua rara virtù immortale
Farà, e in ciel porrà tuo nome e fama.
Lì, seppur morte tutto il mondo avrà,
Vita futura amor rinnoverà.