Sing to me of the wrath of Achilles

We start our series of three Homer posts today with the introduction to the Iliad and the first part of book 1 (the "pestis"). I translated that to Latin (yep, no English, sorry) hexameters in summer 2009, and edited the result in summer 2012. There is a line marked with a | on the side which seems to be one I gave up on trying to make scan. Let's put some order into the absolute mess that the evidence for this translation is:

1. First off, we have the "Prosa", a prose translation made between 12 and 27/8/09; the diary is very imprecise on what I was doing that summer, but aligning what little it gives with the files' metadata (and I really wish I had the poetic translations in a file edited back then instead of 3/1/10) makes it, IMO, most plausible that I made this translation in a couple days starting 12/8 (which is the creation date of the prose translations' file), then I did the matching poetic translation within 22, then I spent 23-25/8 at the Rimini meeting (diary says) and the 26th on journey back to Dorga, then I did the secoind prose translation on the 27th (as per metadata), and the second poetic translation after that, with the hard limit from item 3 below;
2. At any rate, the first version we have aside from the prose one is the "Verto", which I assume to be the 2009 original; this one always comes with two annotations, which I will include in [] to mark them as such; in a previous history edit here, I somehow had 3 more internal changes, one of which (Sōlv' e͞am a͞utēn nōn -> Sōlvăm ĕ' a͞utēm nōn) seems to be from the next version, one (ātqu' iūssă -> āc iūssă) is from even later, and the third is a mysterious middle term between "Verto" and "Muto" below, namely «mūltās Ăchīvīs fūnĕră iēcit» to end l. 2; "fiebat" in l. 5 of the opening is indeed scanned in two different ways in this version, as either disyllabic fie-băt, or trisyllabic fĭēbāt;
3. A hard limit to the making of both these translations and the one at this post is that, on 8/9, as per diary, I brought my «æstivum Græcum» (summertime Greek) to a professor from my High School, which means that by then the translations had to have been finished;
4. Next up is the "Muto" version, which dates to betw. 3 and 5/2/10; indeed, the earliest file is edited on 3/2 and has the "Verto" version, while the "Muto" version is found in the 5/2/10 file;
5. On 6/2/10, we find another file, which contained the version of the opening of the Iliad (and of the passages from this post) that I planned to set to music in Greek style; I never did that (in fact, I stated on 23/7 that I didn't plan to do that anymore), but that file contains a version of the opening of the Iliad which differs from the "Muto" one in the following:
   
   1. l. 2 reads «Fū́nēstā́m,|| quǣ plū́rĭma͜ Ăchī́|vīs fū́nĕra͜ ăd́i͞ecīt,»;
   2. "fiebat" in l. 5 is scanned as fi͞ébăt where "Muto" goes with fĭḗbā̆t, which makes the line not scan;
   3. "quidem" becomes "vero" l. going from "Muto" to this file;
   4. The Achillēm in the last line of the "Muto" version becomes Achillĕm in the file, which is a correct correction;
   these changes appear to have been completely lost;
6. We then finally get into the history file for these translations, the CoTAP (Corpus Traductionum Aliorum Poematum); here we find «Il., I, 1-53 verto inter diem Augustum II et finem æstatis anni MMIX, ut omnia ex Iliade, ad Græcum Homericum exercendum postquam Herodoti maxuma verti, in quibus et epitaphia. Sic verto» (I translated Il. 1 1-53 between 2/8 and the end of summer in the year 2009, as I did with everything from the Iliad, to exercise Homeric Greek after translating a huge amount of Herodotus, among which also the epitaphs. I translate thus), then «Muto inde» (I then change them), whence the terms for the corresponding versions below;
   we then find «Volo autem nunc, die Ianuario XIV anni MMX, sic hoc esse» (However now, on 14/1/2010, I want this to be as follows), giving the… 14/1/11 version; see, the 2010 is bogus to me, because a) the "Muto" is earlier and is from 5/2 as per above, b) the CoTAP file is created on 14/1/11, and c) the diary mentions it in 2011, not 2010; this version stops at l. 26 ("Ne provecte"), and is integrated below with lines from "Muto";
7. Upon updating the CoTAP on 23/7/12, I log in a bunch of changes, most of which are from either 22/7/12 or an unknown date, but two of which are from a 23/1 (l. 18 of pestis) and a 19/5 (l. 1 of pestis), which are said to be «ex anno 2011 aut forsan 2010» (from year 2010 or maybe 2011), which leads to the "Adhuc" version, which lost a 16/4/11 edit done further down in the CoTAP, and changes the lines marked in * as it is being put together; the 22/7 versions of those lines appear to have been «Ā́trīdæ͜ ā́tquĕ rĕlī́qui͜ ōcré͞atī vṓs bĕne͜ Ăchī́vī, / […] / Á͞ut si͜ ūmquā́m tībī́ quīdḗm fĕmŭra͜ ū́ssī pī́ngui͞a / Tá͞urûm͜ a͞ut cā́prārū́m, Smīnthé͞u, mi͜ hānc pḗrfĭcĕ grā́ti͞am: / Tḗlīs sṓlvānt tú͞is me͞as Ā́chīvī́ lăcrĭmā́s nūnc / […] / Ā́rcum͜ hŭmĕrī́s tēlī́s plēnā́m phărĕtrā́mquĕ hăbḗbăt / […] / Cṓnsēdī́t pōsté͞a lōngḗ năvĭbū́s, răpĭdū́mquĕ»; notice how this version messes up l. 6 of the opening by hybridizing "litis causa diremit" with "liti sunt separati" into the non-scanning "litis causa separati";
8. More edits then happen on 23-24/7/12; at 13:23 on 24/7, a file Homeri versiones.doc is last edited, giving the 24/7 version below;
9. Finally, the CoTAP has an "ergo demum" version, which would be the "Demum" version below were it not for the next item; this seems to be the result of an «Ultima series mutationum» (last series of changes) from 24/7/12 (plus the next item);
10. As I compared the "Ergo demum" version with the former blog-final version, I noticed that «fī́li͞am / Cā́ram͜ ūt mī, prĕtĭum͜ ā́ccēptṓ, nūnc lī́bĕră dḗtŭr» is a mishmash of having the daughter as the object of "liberate" and making it the subject of "libera detur", so I fixed that to a nominative at 14:08 on 29/3/23.

Let's go!

• Prosa
• Verto
• Muto
• 14/1/11
• Adhuc
• 24/7/12
• Demum

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή· 5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς 9 Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί, Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος 14 Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς, Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· 19 Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι, Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε· 25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης, 30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς 35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα 40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην· 45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· 49 Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς, Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…]. 53

Proœmium Iliadis Iram cane, dea, Pelidæ Achillis Funestam, quæ milia Achæis dolorum dedit, Multasque strenuas animas Hadi iecit Heroum, eosque spolia fecit canibus Avibusque omnibus; Iovisque perficiebatur consilium; Ex quo quidem (ii duo) primum separati sunt litigando Atridesque dominus virorum et divus Achilles Pestis (liber I) Quis quidem autem eos (duos) deorum liti pepulit pugnare Latonæ et Iovis filius; qui enim regi adiratus Pestem per castra sustulit malam, moriebanturque gentes, Hac causa[:] Chrysen dedecorarat sacerdotem Atrides; qui enim venit celeres ad naves Achæorum solutumque filiam ferensque infinitam redemptionem, Infulas habens in manibus longe iaculantis Apollinis Aureo super sceptro, et supplicabat omnes Achæos, Atridas autem potissimum duos, duces agminum: «Atridæque et ceteri bene ocreati//pulchris ocreis Achæi, Vobis cum dei [utinam] dent Olympias domus habentes delere Priami urbem, beneque ad patriam redire; Filiam autem mi [si] liberetis caram, redemptionemque accipi Veriti Iovis filium longe iactantem Apollinem». Tum ceteri cum omnes acclamare Achæi Honorarique sacerdotem et fulgidam accipi redemptionem At non Atridæ Agamemnoni placebat corde, Sed male ab misit, violentumque iussum iussit: «Ne te, senex, cavas ego apud naves carpam, Aut nunc morantem aut post rursus euntem (i.e. redeuntem), Ne igitur te non iuvet sceptrum et vitta dei; Eamque ego non solvam: antea eam et senectus superveniet Nostra in domu Argis, longe a patria, Telam obeuntem et mei lecti participem; Sed i, ne me irrites, salvior ut eas». Sic dixit; tremuitque senex et obœdit iussui; Ivitque tacitus secundum rivam resonantis maris; Multaque postea longe cum isset præcabatur senex Apollini regi, quem pulchra coma genuit Latona: «Audi me, arcu argenteo, qui Chrysen protegis Cillamque venerabilem Tenedumque fortiter regis, Smintheu, si olim tibi gratum templum corona ornavi, Aut si quidem olim tibi pinguia femura ussi Taurorum et caprarum, hoc mi perfice desiderium: Solvant Danai mearum lacrimarum pretium tuis telis». Sic dixit præcans, eumque audivit Phœbus Apollo, Ivitque de Olympi cacuminibus iratus corde, Arcum humeris habens et clausam pharetram; Tinnireque sagittæ super umeris irati, Eo moto; illeque ivit nocti similis; Consedit postea longe navibus, posteaque volans misit; Terribilisque clamor factus ab argenteo arcu; Mulis cum primum operam dedit et canibus nitidis, At postea ipsis telum acutum cum destinasset Iactabat; semperque pyræ mortuorum urebant copiosæ. Novem cum dies per castra volare sagittæ dei[…].

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή· 5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς 9 Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί, Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος 14 Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς, Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· 19 Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι, Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε· 25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης, 30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς 35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα 40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην· 45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· 49 Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς, Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…]. 53

Proœmium Iliadis Ī́ram̸,͜ ō dī́vă, Ăchī́llīs Pḗlīdǣ́ cănĕ mī́hī [A: quǣ́sō] Fū́nēstā́m, quǣ mū́ltās Ăchǽ̅īs pœ̄́nās ăd́i͞ecīt, Mū́ltās ḗt strēnu͞ás ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it [A: Ā́lĭtĭbūs cūnctīsque] Ā́tque͜ ăvĭbū́s cūnctī́s; ĭta͜ Iŏvī́squĕ vŏlū́ntās fĭḗbā̆t; Ḗx quō quī́dēm prī́mūm lī́tī sū́nt sēpărā́tī Ā́trīdḗs dŏmĭnū́s vīrū́̂mque͜ ēt dī́vŭs Ăchī́llēs. Pestis (liber I) Lī́ti͜ a͞utḗm dīvṓrūm quī́s pĕpŭlī́t pūgnā́rĕ? Fī́li͞us Lā́tōnǣ́ ĕt Iŏvī́s; quī pḗstĕ mălī́gnā Cā́stră ŏb ī́rām rḗgi͜ āffḗcĭt, ĕt ā́gmĭnă mṓrtĕ, Ī́s cūm Chrȳ́sēn săcḗrdōtḗm sprēssḗt Ăgămḗmnōn; Vḗnĭt ĕnī́m Chrȳsḗs cĕlĕrḗs ād nā́vēs Ăchǣ́ū̂m Fī́li͞am ḗxēmptū́m prĕtĭum͜ ī́nfīnī́tŭm hăbḗnsque͜ ēt Vī́ttās ī́n mănĭbū́s dīvī́ lōngḗ iăcŭlā́ntīs Scḗptro͜ a͞uré͞o sŭpĕr, ā́tque͜ ōmnḗs ōrā́băt Ăchǽ̄ōs, Mā́xĭmŭm Ā́trīdā́s a͞utḗm du͞os, gḗntĭŭm dū́cēs: «Ā́trīdǣ́ āc rĕlī́quī bḗne͜ ŏcrĕā́tī Ăchī́vī, Vṓbīs dḗnt dī Ŏlȳ́mpi͞as dṓmŭs hăbḗntēs ū́rbem͜ ūt Dḗle͞atī́s Prĭămī́, bēnḗquĕ dŏmum͜ é͞atīs; sḗd mī Cā́rām sī́, prĕtĭum͜ ā́ccĭpĭḗntēs, nū́nc lībĕrḗtĭs, Lṓnge͜ iāctā́ntĕm Ăpṓllĭnem͜ Iŏvī́s vĕrĭtī́ fīlí͞olūm». Ā́cclāmā́rē ṓmnēs cḗtĕri͜ Ăchī́vī tum͜ ūnā Ā́ccĭpĕrḗnt rēdḗmpti͞onem͜ ā́tquĕ săcḗrdōtḗm bēne͜ ͜Ā́ffĭcĕrḗnt dĕcŏrā́ntēs; cṓrde͜ Ăgămḗmnŏnem͜ iŭvā́bāt Ā́t nī́l, vī́ māgna͜ ā́c pĕpŭlī́t, vĭŏlḗnte͜ ēdī́cēns: «Nḗ, prōvḗcte͜, ĕgŏ vḗl cūnctā́ntēm vḗl rĕdĕū́ntem Tḗ ăpŭd nā́vēs cā́rpām căvā́s, nē tḗ ĭgĭtū́r tūm Nḗc scēptrū́m nēc vī́ttă dĕī́ pōssī́nt ădiŭvā́rĕ; Sṓlvam͜ e͞am á͞utēm nṓn: nām ā́ntĕ sĕnḗctūs vḗni͞et Ā́rgīs mḗ ăpŭd é͞i, lōngḗ ăb ămā́tā pā́tri͞a, Tḗlam͜ ŏbĕū́ntīque͜ ḗt cūm lḗctī pā́rtĭcĭpḗt me͞i; Ī́ tămĕn, ḗt nē me͜ ḗxāsprā́rĭs, ŭt sā́lvŭs ăbé͞as nūnc». Sī́c dīxī́t; trĕmŭī́tquĕ sĕnḗx ātque͜ iū́ssă căpḗssi͞it; Sī́lēnsque͜ ī́vīt sĕquḗndō ǽ̄quŏrĭs ḗxstrĕpĭtā́ntīs Rī́vam;͜ ēt, lṓnge͜ ābgrḗssūs, mū́ltă sĕnḗx ōrā́bāt Ḗ rēge͜ Ăpṓllĭnĕ, quḗm crīnḗm gĕnŭī́t Lātṓnă Pū́lchra: ͜«A͞udī́ me,͜ ārcū́ ārgḗntĕĕ, Chrȳ́sǣ cū́stōs Ḗt Cīllǣ́ vĕnĕrā́ndǣ, ḗt fōrti͞ór Tĕnĕdī́ dūx, Si͜ ū́mquām tī́bi͜ ōrnā́vī tḗmplă cŏrṓnīs grā́tă, Á͞ut si͜ ūmquā́m tībī́ quīdḗm fĕmŭra͜ ū́ssī pī́ngui͞a Tá͞urûm͜ a͞ut cā́prārū́m, Smīnthé͞u, mi͜ hānc pḗrfĭcĕ grā́ti͞am: Tḗlīs sṓlvānt tú͞is me͞as Ā́chīvī́ lăcrĭmā́s nūnc». Sī́c ōrā́bāt, é͞umque͜ a͞udī́vīt Phœ̄́bŭs Ăpṓllō̆, Dḗquĕ Ŏlȳ́mpō sū́mmo͜ īrā́tūs pḗctŏrĕ īvīt, Ā́rcum͜ hŭmĕrī́s phărĕtrā́mquĕ fĕrḗns cōmplḗtām săgī́ttīs; Tī́nnībā́ntquĕ săgīttæ͜ hŭmĕrī́s mōtī́ stŏmăchṓsī Ṓb stŏmăchū́m; nōctī́s sĭmĭlī́s sŭpĕrvḗnīt quī́quĕ; Cṓnsēdī́t pōsté͞a lōngḗ năvĭbū́s, răpĭdū́mquĕ Tḗlum͜ iăcŭlā́tūst; tḗrrĭbĭlḗm strĕpĭtū́mque͜ ārgḗnte͞us Ā́rcūs fḗcīt; mū́līs prī́mum͜ ŏpĕrā́m dĕdĭt, ī́ndĕ Pḗrpāstī́s cănĭbū́s; dēmū́mquĕ ăcū́ta͜ iāctā́bāt Tḗlă Ăch͞ǽis; ēt mṓrtu͞os pḗrpĕtŭo͜ ū́rēbā́ntūr. Cā́stră nŏvḗm pēr d́i͞es de͞i pḗrvŏlĭtā́rĕ săgī́ttǣ[…].

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή· 5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς 9 Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί, Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος 14 Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς, Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· 19 Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι, Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε· 25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης, 30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς 35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα 40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην· 45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· 49 Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς, Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…]. 53

Proœmium Iliadis Ī́ram̸,͜ ō dī́vă, Ăchī́llīs Pḗlīdǣ́ cănĕ, quǣ́sō, Fū́nēstā́m, quǣ mū́ltās Ăchī́vīs fū́nĕra ăd́i͞ecīt, Mū́ltās ḗt fōrtḗs ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it Ā́tque͜ ăvĭbū́s cūnctī́s; ĭta͜ Iŏvī́squĕ vŏlū́ntās fĭḗbā̆t; Ḗx quō quī́dēm prī́mūm lī́tīs cá͞usă dĭrēmĭt Ā́trīdḗm dŏmĭnū́mquĕ vĭrū́̂m dīvū́mquĕ Ăchī́llēm. Pestis (liber I) Lī́ti͜ a͞utḗm dīvṓrūm quī́s pĕpŭlī́t pūgnā́rĕ? Fī́li͞us Lā́tōnǣ́ ĕt Iŏvī́s; quī pḗstĕ mălī́gnā Cā́stră ŏb ī́rām rḗgi͜ āffḗcĭt, ĕt ā́gmĭnă mṓrtĕ, Chrȳ́sēn cum͜ ī́llĕ săcḗrdōtḗm sprēssḗt Ăgămḗmnōn; Vḗnĭt ĕnī́m Chrȳsḗs cĕlĕrḗs ād nā́vēs Ăchī́vŭ̂m Fī́lĭăm ḗxēmptū́m prĕtĭum͜ ī́nfīnī́tŭm hăbḗnsquĕ Vī́ttāsque͜ ī́n mănĭbū́s dīvī́ lōngḗ iăcŭlā́ntīs Scḗptro͜ a͞uré͞o sŭpĕr, ā́tque͜ ōmnḗs ōrā́băt Ăchī́vōs, Mā́xĭmŭm Ā́trīdā́s a͞utḗm du͞os, gḗntĭŭm dū́cēs: | «Ā́trīdæ͜ ā́tquĕ rĕlī́quī ṓcre͞atī́ bĕne͜ Ăchī́vī, Vṓbīs dḗnt dŏmum͜ Ŏlȳ́mpĭam͜ hăbḗntēs dīquĕ ŭt ū́rbĕm Dḗle͞atī́s Prĭămī́, bĕnĕque͜ ūt dŏmum͜ ĕā́tīs; fī́liam Cā́ram͜ ŭtĭnā́m, prĕtĭum͜ ā́ccĭpĭḗntēs, mī́ lībĕrḗtĭs, Lṓnge͜ iāctā́ntĕm Ăpṓllĭnem͜ Iŏvī́s vĕrĭtī́ fīlí͞olūm». Ā́cclāmā́rē ṓmnēs cḗtĕri͜ Ăchī́vī tum͜ ūnā Ā́ffĭcĕrḗntquĕ săcḗrdōtḗm dĕcŏre͜ ḗt prĕtĭū́m tūm Ā́ccĭpĕrḗnt; at cṓrde͜ Ăgămḗmnŏnem͜ iŭvā́bāt nū́llō, Vī́ māgnā́ pĕpŭlī́tquĕ, iŭbḗns iūssū́m vĭŏlḗntŭm: «Nḗ, prōvḗcte͜, ĕgŏ vḗl cūnctā́ntēm vḗl rĕdĕū́ntem Tḗ prŏpĕ nā́vēs cā́rpām căvā́s, nē tḗ ĭgĭtū́r tūm | Nḗc scēptrū́m nēc vī́ttă dĕī́ pōssī́nt ădiŭvā́rĕ; Sṓlvam͜ ĕăm á͞utēm nṓn: vĕnĭḗtque͜ ĕnĭm ā́ntĕ sĕnḗctūs Ā́rgīs mḗ ăpŭd é͞i, lōngḗ pătrĭā́ pĕrămā́tā, Tḗlam͜ ŏbĕū́ntīque͜ ḗt cūm lḗctī pā́rtĭcĭpḗt me͞i; Ī́ tămĕn, ā́c nē me͜ ḗxāsprā́rĭs, ŭt sā́lvŭs ăbé͞as nūnc». | Sī́c dīxī́t; trĕmŭī́tquĕ sĕnḗx ātque͜ iū́ssă căpḗssi͞it; Sī́lēns ī́tquĕ sĕquḗndō ǽ̄quŏrĭs ḗxstrĕpĭtā́ntīs Rī́vam;͜ ēt, lṓnge͜ ābgrḗssūs, mū́ltă sĕnḗx ōrā́bāt Ḗ rēge͜ Ăpṓllĭnĕ, quḗm crīnḗm gĕnŭī́t Lātṓnă Pū́lchra: ͜«A͞udī́ me,͜ ārcū́ ārgḗntĕĕ, Chrȳ́sǣ cū́stōs Ḗt Cīllǣ́ vĕnĕrā́ndǣ, ḗt fōrti͞ór Tĕnĕdī́ dūx, Si͜ ū́mquām tī́bi͜ ōrnā́vī tḗmplă cŏrṓnīs grā́tă, Á͞ut si͜ ūmquā́m tībī́ quīdḗm fĕmŭra͜ ū́ssī pī́ngui͞a Tá͞urûm͜ a͞ut cā́prārū́m, Smīnthé͞u, mi͜ hānc pḗrfĭcĕ grā́ti͞am: Tḗlīs sṓlvānt tú͞is me͞as Ā́chīvī́ lăcrĭmā́s nūnc». Sī́c ōrā́bāt, é͞umque͜ a͞udī́vīt Phœ̄́bŭs Ăpṓllō̆, Dḗquĕ Ŏlȳ́mpō sū́mmo͜ īrā́tūs pḗctŏrĕ īvīt, Ā́rcum͜ hŭmĕrī́s phărĕtrā́mquĕ fĕrḗns cōmplḗtām săgī́ttīs; Tī́nnībā́ntquĕ săgīttæ͜ hŭmĕrī́s mōtī́ stŏmăchṓsī Ṓb stŏmăchū́m; nōctī́s sĭmĭlī́s sŭpĕrvḗnīt quī́quĕ; Cṓnsēdī́t pōsté͞a lōngḗ năvĭbū́s, răpĭdū́mquĕ Tḗlum͜ iăcŭlā́tūst; tḗrrĭbĭlḗm strĕpĭtū́mque͜ ārgḗnte͞us Ā́rcūs fḗcīt; mū́līs prī́mum͜ ŏpĕrā́m dĕdĭt, ī́ndĕ Pḗrpāstī́s cănĭbū́s; dēmū́mquĕ ăcū́ta͜ iāctā́bāt Tḗlă Ăch͞ǽis; ēt mṓrtu͞os pḗrpĕtŭo͜ ū́rēbā́ntūr. Cā́stră nŏvḗm pēr d́i͞es de͞i pḗrvŏlĭtā́rĕ săgī́ttǣ[…].

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή· 5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς 9 Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί, Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος 14 Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς, Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· 19 Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι, Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε· 25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης, 30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς 35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα 40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην· 45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· 49 Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς, Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…]. 53

Proœmium Iliadis Ī́ram Ăchī́llīs Pḗlīdǣ́ cănĕ m’, ṓ dĕă, quǣ́sō, Fū́nēstā́m, quǣ plū́rĭma͜ Ăchī́vīs fū́nĕra͜ ăd́i͞ecīt, Mū́ltās ḗt fōrtḗs ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it Ā́tque͜ ăvĭbū́s cūnctī́s; ĭta͜ Iŏvī́squĕ vŏlū́ntās fĭḗbā̆t; Ḗx quō vḗrō prī́mūm lī́tīs cá͞usă dĭrēmĭt Ā́trīdḗm dŏmĭnū́mquĕ vĭrū́̂m dīvū́mquĕ Ăchī́llēm. Pestis (liber I) Lī́ti͜ a͞utḗm dīvṓrūm quī́s pĕpŭlī́t pūgnā́rĕ? Fī́li͞us Lā́tōn’ ā́tquĕ Iŏvī́s; quī pḗstĕ mălī́gnā Cā́stră ŏb ī́rām rḗgi͜ āffḗcĭt, ĕt ā́gmĭnă mṓrtĕ, Chrȳ́sēn cum͜ ī́llĕ săcḗrdōtḗm sprēssḗt Ăgămḗmnōn; Vḗnĭt ĕn’ ī́s cĕlĕrḗs ād nā́vēs ī́psĕ Ăchī́vŭ̂m Fī́lĭăm ḗxēmptū́m, prĕtĭum͜ ī́nfīnī́tŭm hăbḗnsquĕ Vī́ttāsque͜ ī́n mănĭbū́s dīvī́ lōngḗ iăcŭlā́ntīs Scḗptrō cum͜ a͞uré͞o, ā́tque͜ ōmnḗs ōrā́băt Ăchī́vōs, Ā́trīdā́s a͞utḗm du͞os mā́xĭmă, gḗnti͞um dū́cēs: | «Ā́trīdæ͜ ā́tquĕ rĕlī́qui͜ ōcré͞atī vṓs bĕne͜ Ăchī́vī, Vṓbīs dḗnt dŏmum͜ Ŏlȳ́mpĭam͜ hăbḗntēs dī́văm ŭt ū́rbĕm Dḗle͞atī́s Prĭămī́, bĕnĕque͜ ūt dŏmum͜ ĕā́tīs; fī́líam Cā́ram͜ ŭtĭnā́m, prĕtĭum͜ ā́ccĭpĭḗntēs, mī rēddētīs, Lṓnge͜ iāctā́ntĕm Ăpṓllĭnem͜ Iŏvī́s vĕrĭtī́ fīlí͞olūm». Ā́cclāmā́rē ṓmnēs cḗtĕri͜ Ăchī́vī tum͜ ūnā Ā́ffĭcĕrḗntquĕ săcḗrdōtḗm dĕcŏre͜ ḗt prĕtĭū́m tūm Ā́ccĭpĕrḗnt; at cṓrde͜ Ăgămḗmnŏnem͜ iŭvā́bāt nū́llō, Vī́ māgnā́ pĕpŭlī́tquĕ, iŭbḗns iūssū́m vĭŏlḗntŭm: «Nḗ, prōvḗcte͜, ĕgŏ vḗl cūnctā́ntēm vḗl rĕdĕū́ntem Tḗ prŏpĕ nā́vēs cā́rpām căvā́s, nē tḗ ĭgĭtū́r tūm | Nḗc scēptrū́m nēc vī́ttă dĕī́ pōssī́nt ădiŭvā́rĕ; Sṓlvam͜ ĕăm á͞utēm nṓn: vĕnĭḗtque͜ ĕnĭm ā́ntĕ sĕnḗctūs Ā́rgīs mḗ ăpŭd é͞i, lōngḗ pătrĭā́ pĕrămā́tā, Tḗlam͜ ŏbĕū́ntīque͜ ḗt cūm lḗctī pā́rtĭcĭpḗt me͞i; Ī́ tămĕn, ā́c nē me͜ ḗxāsprā́rĭs, ŭt sā́lvŭs ăbé͞as nūnc». | Sī́c dīxī́t; trĕmŭī́tquĕ sĕnḗx ātque͜ iū́ssă căpḗssi͞it; Sī́lēns ī́tquĕ sĕquḗndō ǽ̄quŏrĭs ḗxstrĕpĭtā́ntīs Rī́vam;͜ ēt, lṓnge͜ ābgrḗssūs, mū́ltă sĕnḗx ōrā́bāt Ḗ rēge͜ Ăpṓllĭnĕ, quḗm crīnḗm gĕnŭī́t Lātṓnă Pū́lchra: ͜«A͞udī́ me,͜ ārcū́ ārgḗntĕĕ, Chrȳ́sǣ cū́stōs Ḗt Cīllǣ́ vĕnĕrā́ndǣ, ḗt fōrti͞ór Tĕnĕdī́ dūx, Si͜ ū́mquām tī́bi͜ ōrnā́vī tḗmplă cŏrṓnīs grā́tă, Á͞ut si͜ ūmquā́m tībī́ quīdḗm fĕmŭra͜ ū́ssī pī́ngui͞a Tá͞urûm͜ a͞ut cā́prārū́m, Smīnthé͞u, mi͜ hānc pḗrfĭcĕ grā́ti͞am: Tḗlīs sṓlvānt tú͞is me͞as Ā́chīvī́ lăcrĭmā́s nūnc». Sī́c ōrā́bāt, é͞umque͜ a͞udī́vīt Phœ̄́bŭs Ăpṓllō̆, Dḗquĕ Ŏlȳ́mpō sū́mmo͜ īrā́tūs pḗctŏrĕ īvīt, Ā́rcum͜ hŭmĕrī́s phărĕtrā́mquĕ fĕrḗns cōmplḗtām săgī́ttīs; Tī́nnībā́ntquĕ săgīttæ͜ hŭmĕrī́s mōtī́ stŏmăchṓsī Ṓb stŏmăchū́m; nōctī́s sĭmĭlī́s sŭpĕrvḗnīt quī́quĕ; Cṓnsēdī́t pōsté͞a lōngḗ năvĭbū́s, răpĭdū́mquĕ Tḗlum͜ iăcŭlā́tūst; tḗrrĭbĭlḗm strĕpĭtū́mque͜ ārgḗnte͞us Ā́rcūs fḗcīt; mū́līs prī́mum͜ ŏpĕrā́m dĕdĭt, ī́ndĕ Pḗrpāstī́s cănĭbū́s; dēmū́mquĕ ăcū́ta͜ iāctā́bāt Tḗlă Ăch͞ǽis; ēt mṓrtu͞os pḗrpĕtŭo͜ ū́rēbā́ntūr. Cā́stră nŏvḗm pēr d́i͞es de͞i pḗrvŏlĭtā́rĕ săgī́ttǣ[…].

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή· 5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς 9 Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί, Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος 14 Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς, Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· 19 Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι, Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε· 25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης, 30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς 35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα 40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην· 45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· 49 Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς, Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…]. 53

Proœmium Iliadis Ī́ram̸,͜ ō dī́vă, Ăchī́llīs Pḗlīdǣ́ cănĕ quǣ́sō Fū́nēstā́m, quǣ mū́lta͜ ăd Ăchī́vōs fū́nera iḗcīt, Mū́ltās ḗt fōrtḗs ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it Ā́tque͜ ăvĭbū́s cūnctī́s; Iŏvĭ’ sī́ccĕ vŏlū́ntās fĭḗbā̆t; Ḗx quĭdem͜ ĕṓ, prīmū́m quō lī́tīs cá͞usă sēpărā́tī Ā́trīdḗm dŏmĭnū́mquĕ vĭrū́̂m dīvū́mquĕ Ăchī́llēm. Pestis (liber I) Lī́ti͜ a͞utḗm dīvṓrūm quī́s pūgnam͜ ā́ppŭlĭt ī́llōs? Fī́li͞us Lā́tōnǣ́ ĕt Iŏvī́s; quī pḗstĕ mălī́gnā Cā́stră ŏb ī́rām rḗgi͜ āffḗcĭt, ĕt ā́gmĭnă mṓrtĕ, Ī́s cūm Chrȳ́sēn săcḗrdōtḗm sprēssḗt Ăgămḗmnōn; Vḗnĭt ĕnī́m Chrȳsḗs cĕlĕrḗs ād nā́vēs Ăchǣ́ū̂m Fī́li͞am ḗxēmptū́m, prĕtĭum͜ ī́nfīnī́tŭm hăbḗnsque, Vī́ttāsque͜ ī́n mănĭbū́s dīvī́ lōngḗ iăcŭlā́ntīs Scḗptro͜ a͞uré͞o sŭpĕr, ā́c cunctṓs ōrā́băt Ăchǽ̄ōs, Ā́trīdā́s a͞utḗm du͞os mā́xĭmă, gḗnti͞um dū́cēs: «Ā́trīdæ͜ ā́tquĕ rĕlī́qui͜ ŏcrĕā́tī vṓs bĕne͜ Ăchī́vī, * Vṓbīs dḗnt dŏmum͜ Ŏlȳ́mpĭam͜ hăbḗntēs dī́vûm ŭt ū́rbĕm Dḗle͞atī́s Prĭămī́, bĕnĕque͜ ūt dŏmum͜ ĕā́tīs; fī́líam Cā́ram͜ ūt mī, prĕtĭum͜ ā́ccēptṓ, nūnc lī́bĕră dḗtŭr Lṓngē iā́ctāntḗm Iŏvĭ’ fī́lĭŏlū́m vĕrĭtī́s ăb Vṓbīs, ī́llŭm Ăpṓllinem». Ā́cclāmā́rĕ tŭm ṓmnēs Cḗtĕr’ ŭt ā́ffĭcĕrḗntquĕ săcḗrdōtḗm dĕcŏre ā́tquĕ Ā́ccĭpĕrḗnt prĕtĭum͜ hṓc; Ăgămḗmnŏni͜ ĕa͜ h͞á͞ud plācḗbānt, Vī́ māgnā́ pĕpŭlī́tquĕ, iŭbḗns iūssū́m vĭŏlḗntŭm: «Nḗ, prōvḗcte͜, ĕgŏ vḗl cūnctā́ntēm vḗl rĕdĕū́ntem Tḗ prŏpĕ nā́vēm cā́rpām cṓncăvăm, ū́t te͜ ĭgĭtū́r tūm Nḗc scēptrū́m nēc vī́ttă dĕī́ pōssī́nt ădiŭvā́rĕ; Sṓlvăm ĕăm͜ á͞utēm nṓn: vĕnĭḗtque͜ ĕnĭm ā́ntĕ sĕnḗctūs Ā́rgīs mḗ ăpŭd é͞i, lōngḗ pătrĭā́ pĕrămā́tā, Tḗlam͜ ŏbĕū́ntīque͜ ḗt cūm lḗctī pā́rtĭcĭpḗt me͞i; Ī́ tămĕn, ā́c nē me͜ ḗxāsprā́rīs, sā́lvŭs ŭt ā́bs e͞as». Sī́c dīxī́t; trĕmŭī́tquĕ sĕnḗx āc iū́ssă căpḗssi͞it; Sī́lēns ī́tquĕ sĕquḗns rīpam͜ ǽ̄quŏrĭs ḗxstrĕpĭtā́ntīs Ḗt, lōnge͜ ā́bgrēssū́s, pērmū́ltă sĕnḗx ōrā́bāt Rḗge͜ ăb Ăpṓllĭnĕ, quḗm crīnḗm gĕnŭī́t Lātṓnă Pū́lchra: ͜«A͞udī́ me,͜ ārcū́ tu͜ ārgḗntĕĕ, Chrȳ́sǣ cū́stōs Ḗt Cīllǣ́ vĕnĕrā́ndǣ, ḗt fōrti͞ór Tĕnĕdī́ dūx, Tḗmplă cŏrṓnīs sī́ ūmquam͜ ṓrnāvī́ tĭbĭ grā́tă, Á͞ut fĕmŭra͜ ū́mquām sī́ tĭbĭ ū́ssī pī́nguĭă, Smī́nth͞e͞u, * Tá͞urûm͜ a͞ut cā́prārū́m, mī nū́nc hānc pḗrfĭcĕ grā́ti͞am: * Tḗlīs sṓlvānt tú͞is mĕăm Ā́chīvī́ lăcrĭmam͜ ṓmnĕm». * Sī́c ōrā́băt, ĕū́mque͜ a͞udī́vīt Phœ̄́bŭs Ăpṓllō̆, Dḗquĕ Ŏlȳ́mpō sū́mmo͜ īrā́tūs pḗctŏrĕ īvīt, Ā́rcum͜ hŭmĕrī́s, tēlī́s plēnā́m phărĕtrā́mquĕ fĕrḗbăt; * Tī́nnībā́ntquĕ săgīttæ͜ hŭmĕrī́s mōtī́ stŏmăchṓsī Ṓb stŏmăchū́m; nōctī́ sĭmĭlī́squĕ sŭpḗrvĕnĭēbăt; Cṓnsēdī́t pōsthǣ́c lōngḗ năvĭbū́s, răpĭdū́mquĕ * Tḗlūm iḗcīt; tḗrrĭbĭlḗm strĕpĭtū́mque͜ ārgḗnte͞us Ā́rcūs fḗcīt; mū́līs prī́mum͜ ŏpĕrā́m dĕdĭt, ī́ndĕ Pḗrpāstī́s cănĭbū́s; dēmū́m iāctā́bāt ăcū́ta Tḗlă Ăch͞ǽis; ēt mṓrtu͞i pḗrpĕtŭo͜ ū́rēbā́ntūr. Cā́stră nŏvḗm pēr d́i͞es de͞i pḗrvŏlĭtā́rĕ săgī́ttǣ[…]

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή·      5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί,      10 Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς,      15 Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι,      20 Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε·      25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης,      30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς      35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα      40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην·      45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς,      50 Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…].

Proœmium Iliadis Ī́rām pḗrcĭnĕ mī́ Pēlī́dǣ, dī́vă, Ăchī́llīs Fū́nēstā́m, quǣ mū́lta͜ ăd Ăchī́vōs fū́nera iḗcīt, Mū́ltās ḗt fōrtḗs ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it Ā́tque͜ ăvĭbū́s cūnctī́s; Iŏvĭ’ sī́ccĕ vŏlū́ntās fĭḗbā̆t; Ḗx quĭdem͜ ĕṓ, prīmū́m quō lī́tīs cá͞usă dĭrḗmit Ā́trīdḗm dŏmĭnū́mquĕ vĭrū́̂m dīvū́mquĕ Ăchī́llēm. Pestis (liber I) Lī́ti͜ a͞utḗm dīvṓrūm quī́s pūgnam͜ ā́ppŭlĭt ī́llōs? Fī́li͞us Lā́tōnæ͜ ā́tquĕ Iŏvī́s; quī pḗstĕ mălī́gnā Cā́stră ŏb ī́rām rḗgi͜ āffḗcĭt, ĕt ā́gmĭnă mṓrtĕ, Ī́s cūm Chrȳ́sēn săcḗrdōtḗm sprēssḗt Ăgămḗmnōn; | Vḗnĭt ĕnī́m Chrȳsḗs cĕlĕrḗs ād nā́vēs Ăchǣ́ū̂m Fī́lĭăm ḗxēmptū́m, prĕtĭum͜ ī́nfīnī́tŭm hăbḗbat Vī́ttāsque͜ ī́n mănĭbū́s dīvī́ lōngḗ iăcŭlā́ntīs Scḗptro͜ a͞uré͞o sŭpĕr, ā́c cunctṓs ōrā́băt Ăchǽ̄ōs, Ā́trīdā́squĕ dŭṓs tūm mā́xĭmă, gḗnti͞um dū́cēs: «Ā́trīdæ͜ ā́tquĕ rĕlī́qui͜ ŏcrĕā́tī vṓs bĕne͜ Ăchī́vī, Vṓbīs dḗnt dŏmum͜ Ŏlȳ́mpĭam͜ hăbḗntēs dī́vûm ŭt ū́rbĕm Dḗle͞atī́s Prĭămī́, bĕnĕque͜ ūt dŏmum͜ ĕā́tīs; fī́líam Cā́ram͜ ūt mī, prĕtĭum͜ ā́ccēptṓ, nūnc lī́bĕră dḗtŭr Lṓngē iā́ctāntḗm Iŏvĭ’ fī́lĭŏlū́m vĕrĭtī́s ăb Vṓbīs, ī́llŭm Ăpṓllinem». Ā́cclāmā́rĕ tŭm ṓmnēs Cḗtĕr’ ŭt ā́ffĭcĕrḗntquĕ săcḗrdōtḗm dĕcŏre ā́tquĕ Ā́ccĭpĕrḗnt prĕtĭum͜ hṓc; Ăgămḗmnŏni͜ ĕa͜ h͞á͞ud plācḗbānt, Vī́ māgnā́ pĕpŭlī́tquĕ, iŭbḗns iūssū́m vĭŏlḗntŭm: «Nḗ, prōvḗcte͜, ĕgŏ vḗl cūnctā́ntēm vḗl rĕdĕū́ntem Tḗ prŏpĕ nā́vēm cā́rpām cṓncăvăm, ū́t te͜ ĭgĭtū́r tūm Nḗc scēptrū́m nēc vī́ttă dĕī́ pōssī́nt ădiŭvā́rĕ; Sṓlvăm ĕăm͜ á͞utēm nṓn: vĕnĭḗtque͜ ĕnĭm ā́ntĕ sĕnḗctūs Ā́rgīs mḗ ăpŭd é͞i, lōngḗ pătrĭā́ pĕrămā́tā, Tḗlam͜ ŏbĕū́ntīque͜ ḗt cūm lḗctī pā́rtĭcĭpḗt me͞i; Ī́ tămĕn, ā́c nē me͜ ḗxāsprā́rīs, sā́lvŭs ŭt ā́bs e͞as». Sī́c dīxī́t; trĕmŭī́tquĕ sĕnḗx āc iū́ssă căpḗssi͞it; Sī́lēns ī́tquĕ sĕquḗns rīpam͜ ǽ̄quŏrĭs ḗxstrĕpĭtā́ntīs Ḗt, lōnge͜ ā́bgrēssū́s, pērmū́ltă sĕnḗx ōrā́bāt Rḗge͜ ăb Ăpṓllĭnĕ, quḗm crīnḗm gĕnŭī́t Lātṓnă Pū́lchra: ͜«A͞udī́ me,͜ ārcū́ tu͜ ārgḗntĕĕ, Chrȳ́sǣ cū́stōs Ḗt Cīllǣ́ vĕnĕrā́ndǣ, ḗt fōrti͞ór Tĕnĕdī́ dūx, Tḗmplă cŏrṓnīs sī́ ūmquam͜ ṓrnāvī́ tĭbĭ grā́tă, Á͞ut fĕmŭra͜ ū́mquām sī́ tĭbĭ ū́ssī pī́nguĭă, Smī́nth͞e͞u, Tá͞urûm͜ a͞ut cā́prārū́m, mĭhĭ hā́nc nūnc pḗrfĭcĕ grā́ti͞am: Tḗlīs sṓlvānt tú͞is mĕăm Ā́chīvī́ lăcrĭmam͜ ṓmnĕm». Sī́c ōrā́băt, ĕū́mque͜ a͞udī́vīt Phœ̄́bŭs Ăpṓllō̆, Dḗquĕ Ŏlȳ́mpō sū́mmo͜ īrā́tūs pḗctŏrĕ scāndĭt, Ā́rcum͜ hŭmĕrī́s, tēlī́s plēnā́m phărĕtrā́mquĕ fĕrḗbăt; * Tī́nnībā́ntquĕ săgīttæ͜ hŭmĕrī́s mōtī́ stŏmăchṓsī Ṓb stŏmăchū́m; nōctī́ sĭmĭlī́squĕ sŭpḗrvĕnĭēbăt; Cṓnsēdī́t pōsthǣ́c lōngḗ năvĭbū́s, răpĭdū́mquĕ Tḗlūm iḗcīt; tḗrrĭbĭlḗm strĕpĭtū́mque͜ ārgḗnte͞us Ā́rcūs fḗcīt; mū́līs prī́mum͜ ŏpĕrā́m dĕdĭt, ī́ndĕ Pḗrpāstī́s cănĭbū́s; dēmū́m iāctā́bāt ăcū́ta Tḗla͜ ăd Ăch͞ǽos; ēt mṓrtu͞i pḗrpĕtŭo͜ ū́rēbā́ntūr. Cā́stră nŏvḗm lūcḗs de͞i pḗrvŏlĭtā́rĕ săgī́ttǣ[…].

Τὸ προοίμιον τῆς Ἰλιάδος Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή·      5 Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς. Ἡ νοῦσος (λόγος αʹ) Τίς τἄρ σφωε θεῶν ἔριδι ξυνέηκε μάχεσθαι; Λητοῦς καὶ Διὸς υἱός· ὃ γὰρ βασιλῆι χολωθεὶς Νοῦσον ἀνὰ στρατὸν ὦρσε κακήν, ὀλέκοντο δὲ λαοί,      10 Οὕνεκα τὸν Χρύσην ἠτίμησεν ἀρητῆρα Ἀτρεΐδης· ὃ γὰρ ἦλθε θοὰς ἐπὶ νῆας Ἀχαιῶν Λυσόμενός τε θύγατρα φέρων τ’ ἀπερείσι’ ἄποινα, Στέμματ’ ἔχων ἐν χερσὶν ἑκηβόλου Ἀπόλλωνος Χρυσέῳ ἀνὰ σκήπτρῳ, καὶ λίσσετο πάντας Ἀχαιούς,      15 Ἀτρεΐδα δὲ μάλιστα δύω, κοσμήτορε λαῶν· «Ἀτρεΐδαι τε καὶ ἄλλοι ἐϋκνήμιδες Ἀχαιοί, Ὑμῖν μὲν θεοὶ δοῖεν Ὀλύμπια δώματ’ ἔχοντες Ἐκπέρσαι Πριάμοιο πόλιν, εὖ δ’ οἴκαδ’ ἱκέσθαι· Παῖδα δ’ ἐμοὶ λύσαιτε φίλην, τὰ δ’ ἄποινα δέχεσθαι,      20 Ἁζόμενοι Διὸς υἱὸν ἑκηβόλον Ἀ̄πόλλωνα». Ἔνθ’ ἄλλοι μὲν πάντες ἐπευφήμησαν Ἀχαιοὶ Αἰδεῖσθαί θ’ ἱερῆα καὶ ἀγλαὰ δέχθαι ἄποινα· Ἀλλ’ οὐκ Ἀτρεΐδῃ Ἀγαμέμνονι ἥνδανε θυμῷ, Ἀλλὰ κακῶς ἀφίει, κρατερὸν δ’ ἐπὶ μῦθον ἔτελλε·      25 «Μή σε, γέρον, κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω, Ἢ νῦν δηθύνοντ’ ἢ ὕστερον αὖτις ἰόντα, Μή νύ τοι οὐ χραίσμῃ σκῆπτρον καὶ στέμμα θεοῖο· Τὴν δ’ ἐγὼ οὐ λύσω· πρίν μιν καὶ γῆρας ἔπεισιν Ἡμετέρῳ ἐνὶ οἴκῳ ἐν Ἄργεϊ, τηλόθι πάτρης,      30 Ἱστὸν ἐποιχομένην καὶ ἐμὸν λέχος ἀντιόωσαν· Ἀλλ’ ἴθι, μή μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι». Ὣς ἔφατ’· ἔδδεισεν δ’ ὁ γέρων καὶ ἐπείθετο μύθῳ· Βῆ δ’ ἀκέων παρὰ θῖνα πολυφλοίσβοιο θαλάσσης· Πολλὰ δ’ ἔπειτ’ ἀπάνευθε κιὼν ἠρᾶθ’ ὁ γεραιὸς      35 Ἀπόλλωνι ἄνακτι, τὸν ἠύκομος τέκε Λητώ· «Κλῦθί μευ, Ἀργυρότοξ’, ὃς Χρύσην ἀμφιβέβηκας Κίλλαν τε ζαθέην Τενέδοιό τε ἶφι ἀνάσσεις, Σμινθεῦ, εἴ ποτέ τοι χαρίεντ’ ἐπὶ νηὸν ἔρεψα, Ἢ εἰ δή ποτέ τοι κατὰ πίονα μηρί’ ἔκηα      40 Ταύρων ἠδ’ αἰγῶν, τόδε μοι κρήηνον ἐέλδωρ· Τίσειαν Δαναοὶ ἐμὰ δάκρυα σοῖσι βέλεσσιν». Ὣς ἔφατ’ εὐχόμενος, τοῦ δ’ ἔκλυε Φοῖβος Ἀπόλλων, Βῆ δὲ κατ’ Οὐλύμποιο καρήνων χωόμενος κῆρ, Τόξ’ ὤμοισιν ἔχων ἀμφηρεφέα τε φαρέτρην·      45 Ἔκλαγξαν δ’ ἄρ’ ὀιστοὶ ἐπ’ ὤμων χωομένοιο, Αὐτοῦ κινηθέντος· ὁ δ’ ἤιε νυκτὶ ἐοικώς· Ἕζετ’ ἔπειτ’ ἀπάνευθε νεῶν, μετὰ δ’ ἰὸν ἕηκε· Δεινὴ δὲ κλαγγὴ γένετ’ ἀργυρέοιο βιοῖο· Οὐρῆας μὲν πρῶτον ἐπῴχετο καὶ κύνας ἀργούς,      50 Αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς Βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί. Ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο[…].

Proœmium Iliadis Ī́rām pḗrcĭnĕ mī́ Pēlī́dǣ, dī́vă, Ăchī́llīs Fū́nēstā́m, quǣ mū́lta͜ ăd Ăchī́vōs fū́nĕră iḗcīt, Mū́ltās ḗt fōrtḗs ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it Ā́tque͜ ăvĭbū́s cūnctī́s; Iŏvĭ’ sī́ccĕ vŏlū́ntās fĭḗbā̆t; Ḗx quĭdem͜ ĕṓ, prīmū́m quō lī́tīs cá͞usă dĭrḗmit Ā́trīdḗm dŏmĭnū́mquĕ vĭrū́̂m dīvū́mquĕ Ăchī́llēm. Pestis (liber I) Lī́ti͜ a͞utḗm dīvṓrūm quī́s pūgnam͜ ā́ppŭlĭt ī́llōs? Fī́li͞us Lā́tōnæ͜ ā́tquĕ Iŏvī́s; quī pḗstĕ mălī́gnā Cā́stră ŏb ī́rām rḗgi͜ āffḗcĭt, ĕt ā́gmĭnă mṓrtĕ, Cū́m Chrȳs’ ī́llĕ săcḗrdōtḗm sprēssḗt Ăgămḗmnōn; Vḗnĭt ĕnī́m Chrȳsḗs cĕlĕrḗs ād nā́vēs Ăchǣ́ū̂m Fī́lĭăm ḗxēmptū́m, prĕtĭum͜ ī́nfīnī́tŭm hăbḗbat Vī́ttāsque͜ ī́n mănĭbū́s dīvī́ lōngḗ iăcŭlā́ntīs Scḗptro͜ a͞uré͞o sŭpĕr, ā́c cunctṓs ōrā́băt Ăchǽ̄ōs, Ā́trīdā́squĕ dŭṓs tūm mā́xĭmă, gḗnti͞um dū́cēs: «Ā́trīdæ͜ ā́tquĕ rĕlī́qui͜ ŏcrĕā́tī pḗrbĕne͜ Ăchī́vī, Vṓbīs dḗnt dŏmum͜ Ŏlȳ́mpĭam͜ hăbḗntēs dī́vûm ŭt ū́rbĕm Dḗle͞atī́s Prĭămī́, bĕnĕque͜ ūt dŏmum͜ ĕā́tīs; fī́li͞a Cā́ra͜ ūt mī, prĕtĭum͜ ā́ccēptṓ, nūnc lī́bĕră dḗtŭr Lṓngē iā́ctāntḗm Iŏvĭ’ fī́lĭŏlū́m vĕrĭtī́s ăb Vṓbīs, ī́llŭm Ăpṓllĭnĕm». Ā́cclāmā́rĕ tŭm ṓmnēs Cḗtĕr’ ŭt ā́ffĭcĕrḗntquĕ săcḗrdōtḗm dĕcŏre͜ ā́tquĕ Ā́ccĭpĕrḗnt prĕtĭum͜ hṓc; Ăgămḗmnŏni͜ ĕa͜ h͞á͞ud plācḗbānt, Vī́ māgnā́ pĕpŭlī́t, iūssī́t iūssū́m vĭŏlḗntŭm: «Nḗ, prōvḗcte͜, ĕgŏ vḗl cūnctā́ntēm vḗl rĕdĕū́ntem Tḗ prŏpĕ nā́vēm cā́rpām cṓncăvăm, ū́t te͜ ĭgĭtū́r tūm Nḗc scēptrū́m nēc vī́ttă dĕī́ pōssī́nt ădiŭvā́rĕ; | Sṓlvăm ĕăm͜ á͞utēm nṓn: vĕnĭḗtque͜ ĕnĭm ā́ntĕ sĕnḗctūs Ā́rgīs, mḗ ăpŭd, é͞i, lōngḗ pătrĭā́ pĕrămā́tā, Tḗlam͜ ŏbĕū́ntīque͜ ḗt cūm lḗctī pā́rtĭcĭpḗt me͞i; Ī́ tămĕn, ā́c nē me͜ ḗxāsprā́rīs, sā́lvŭs ŭt ā́bs e͞as». Sī́c dīxī́t; trĕmŭī́tquĕ sĕnḗx āc iū́ssă căpḗssi͞it; Sī́lēns ī́tquĕ sĕquḗns rīpam͜ ǽ̄quŏrĭs ḗxstrĕpĭtā́ntīs; Ḗt, lōnge͜ ā́bgrēssū́s, pērmū́ltă sĕnḗx ōrā́bāt Rḗge͜ ăb Ăpṓllĭnĕ, quḗm gĕnŭī́t crīnḗm pērpū́lchra Lā́tōna: ͜«Á͞udī me,͜ ā́rcu͜ ārgḗntĕĕ, Chrȳ́sǣ cū́stōs Ḗt Cīllǣ́ vĕnĕrā́ndǣ, ḗt fōrti͞ór Tĕnĕdī́ dūx, Tḗmplă cŏrṓnīs sī́ ūmquam͜ ṓrnāvī́ tĭbĭ grā́tă, Á͞ut fĕmŭra͜ ū́mquām sī́ tĭbĭ ū́ssī pī́nguĭă, Smī́nth͞e͞u, Tá͞urûm͜ a͞ut cā́prārū́m, mĭhĭ hā́nc nūnc pḗrfĭcĕ grā́ti͞am: Tḗlīs sṓlvānt tú͞is mĕăm Ā́chīvī́ lăcrĭmam͜ ṓmnĕm». Sī́c ōrā́băt, ĕū́mque͜ a͞udī́vīt Phœ̄́bŭs Ăpṓllō̆, Dḗquĕ Ŏlȳ́mpō sū́mmo͜ īrā́tūs pḗctŏrĕ scā́ndĭt, Ā́rcum͜ hŭmĕrī́s, tēlī́s plēnā́m phărĕtrā́mquĕ fĕrḗbăt; Tī́nnībā́ntquĕ săgīttæ͜ hŭmĕrī́s stŏmăchṓsī mṓtī Ṓb stŏmăchū́m; nōctī́ sĭmĭlī́squĕ sŭpḗrvĕnĭēbăt; Cṓnsēdī́t pōsthǣ́c lōngḗ năvĭbū́s, răpĭdū́mquĕ Tḗlūm iḗcīt; tḗrrĭbĭlḗm strĕpĭtū́mque͜ ārgḗnte͞us Ā́rcūs fḗcīt; mū́līs prī́mum͜ ŏpĕrā́m dĕdĭt, ī́ndĕ Pḗrpāstī́s cănĭbū́s; dēmū́m iāctā́bāt ăcū́ta Tḗla͜ ăd Ăch͞ǽos; ēt mṓrtu͞i pḗrpĕtŭo͜ ū́rēbā́ntūr. Cā́stră nŏvḗm lūcḗs de͞i pḗrvŏlĭtā́rĕ săgī́ttǣ[…].

A few last poems

As I said last time, I have the poem translations to finish off. So we have translations of Homer, which are the next three posts, then a lot of Sappho, which is the post after those, and then we have a number of other poems which I will throw into this post, which will therefore admittedly be a huge mishmash. Let me list those poems.

1. London by Blake, which I translated to Italian, verse 3 between 22 and 23 Sep 2011 (actually, on 22/9/11 during English class I made the "original" incomplete version below, and commented «L’Italiano non si piega a rendere poeticamente questa poesia: non c’è proprio verso», «Italian doesn't lend itself to translating this poem poetically: there really is no way»), verses 2 and 4 on Jan 22 2012, and verse 1 on May 8 2012, keeping the rhyme scheme but using hendecasyllabics instead of the 9-syllable lines that would correspond to the original meter;
2. Correspondances by Baudelaire, which I translated to English and Chinese, keeping the meter (and the rhymes in English too), «sometime after Easter 2012 and before that summer», hahahaha no; so:
   
   • As far as I can tell, I only got to this thing on 9/7/12; indeed, that's the date where, at 13:53, I last edited the earliest versions of it, the English being as below, and the Chinese being given as "original" below, which is then sent to my corrector that same day at 14:54; the guess was probably based on the expectation that I would have translated this when I met it in school, hence why after Easter (Italian literature only got to that period after Easter) and before the summer (school was over sometime in June), but it was wrong, apparently;
   • The corrector only got around to this on 10/9/12, when he sent an annotated version at 10:00; the annotations lead to the intermediate version;
   • I then metabolized the corrections and produced the below final version by 16:32 the same day;
   For whatever reason, this poem never made it into the files up till 2013;
3. The final couplet of Shakespeare's "When I do count the clock that tells the time", which I translated to Italian on Sep 16 or 17 2010, originally with the variant form «E nulla contro il tempo fa difesa: / Sol prole che lo sfidi con'/se ti ha presa»; fun fact: IIRC it is this sonnet that I completely transcribed into IPA according to what I could reconstruct to be Shakespeare's pronunciation from the Great Vowel Shift diagram on Wikipedia; I don't feel like completing the translation of sonnet 12 now, but maybe in the future…
4. Ellens dritter Gesang verse 1, aka verse 1 of the original text of Schubert's Hail Mary, which I translated musically (and almost keeping the rhymes) into Italian on Feb 6 2011, with "Vergin" appearing in the place of earlier "Madre" on Feb 21;
5. Modern English version of the first few lines of the Geste of Robyn Hode and his meiny, which I translated sometime in spring/summer 2009, after bumping into the poem while doing research on Robin Hood for an English project and deciding to translate it integrally; the meter and rhymes were kept (modulo some eye-rhymes), and some edits were done in the summer of 2012; I give here both the edited and unedited translations; it seems I had a problem with the "except"-ive use of "but", e.g. «There was none inch of his body / But it was worth a groom» meaning «There was no inch of his body / That wasn't worth a (whole) man», which I originally mistranslated as «There wasn't an inch of his body / But it (the body) was worth a groom»; the file I found with the original version was created 1/4/2008 at 14:30 and edited 7/4/2008 15:14, so the translation was done, in its original, within the latter date, and started within the former; and then, out of the blue, I read «Post quem [rosarium] herbam cæsam eferimus et cartellam paro cum Ballatam de Robin Hood repperi et partim traduxi. Ind’in lect» (After the Rosary, we take out the cut grass, and I prepare the schoolbag after finding and partly translating the Ballad on Robin Hood»; excuse me, what? Wasn't this done all in 2008? Well, as it turns out, the 2008 translation only got to l. 36 (that he loved all the most), and then on 11/5 I translated the rest… which I completely lost on the way to the blog! I will not count this as a lost translation since no edits were made to the original at this point save for completing the line «every day before he diner» exactly as I then presumably recompleted it in 2012.

The only part of the order that isn't random was that "Chantars no pot gaire valer" is the last one, because it had two translations only and I was too lazy to do two tables to have the centered second translation in the middle of the two-column part :), but now that I've moved it to this new post, the order is indeed completely random :). Let's see all of that!

I wander thro’ each charter’d street, Near where the charter’d Thames does flow, And mark in every face I meet, Marks of weakness, marks of woe. In every cry of every Man, In every Infant’s cry of fear, In every voice, in every ban, The mind-forg’d manacles I hear. How the Chimney-sweeper’s cry Every black’ning Church appalls; And the hapless Soldier’s sigh Runs in blood down Palace walls. But most, thro' midnight streets I hear How the youthful Harlot’s curse Blasts the new born Infant’s tear, And blights with plagues the Marriage hearse. La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles ; L’homme y passe à travers des forêts de symboles Qui l’observent avec des regards familiers. Comme des long échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent. Il est des parfums frais comme des chairs d’enfants, Doux comme les hautbois, verts comme les prairies, Et d’autres, corrompus, riches, et triomphants, Ayant l’expansion des choses infinies, Comme l’ambre, le musc, le benjoin et l’encens, Qui chantent les transports de l’esprit et des sens. Original Intermediate Current 自然是一个寺，那里生活的桓 有时候让些困惑的言语出来； 人类那里去过标志的森林，在 它们的标志用熟悉的目光看。 像长的，从遥远改变得很困惑 在黑暗的深深的同一性，好大 就像黑夜和就像光闪，的声答， 气味，颜色和声音一为别呼作。 并有气味就像儿子的肉爽的， 就像双簧管甜，就像草原绿色， 和其它，腐败的，丰富的，凯凯的， 有无边无际的事物的扩张的， 就像琥珀，麝香，安息香和香烛： 它们歌唱精神和感觉的运输。 自然是一个寺，那里生活着桓 有时候让些困惑的言语出来; 人类从那儿穿过符号之森， 被 它们用熟悉的目光注视着 就像从远处飘来的悠长的回声变得困惑， 在晦涩和深奥的统一中， 浩渺如黑夜与光， 美味，色彩和声音交相呼应 如婴儿嫩肉般新鲜的气味， 如双簧管般悦耳，如草原一般青绿， 还 有其它的，腐败的，丰富的，喜悦的 有着无边无际的食物的扩张， 就像琥珀，麝香，安息香和香烛： 它们歌颂精神和意识的传递。 自然是一个寺,那里生活着桓 有时候让些困惑的言语出来; 人类那里穿过符号的森,并来 被那里的符号用熟悉的眼看。 就像悠长的回声无法被分清 当从远处来，晦涩深奥统一里， 浩渺如黑夜与光般一样，每一 美味，色彩和声音都交相呼应。 有如婴儿嫩肉般新鲜的美气， 如草原般青绿，双簧管般甜蜜， 还别的，腐败的，丰富以及凯欢 有着无边无际的事物的扩展， 就像琥珀，麝香，安息香和香息： 它们歌颂精神和意识的狂喜。 And nothing ’gainst time’s scythe can make defence Save breed to brave him when he takes thee hence. Ave Maria! Jungfrau mild. Erhöre einer Jungfrau flehen Aus diesem Felsen starr und wild, Soll mein Gebet zu dir hinwehen. Wir schlafen sicher bis zum Morgen, Ob Menschen noch so grausam sind, O Jungfrau, sieh der Jungfrau Sorgen, O Mutter, hör ein bittend Kind! Ave Maria! LITHE and listen, Gentlemen, That be of free-born blood: I shall you tell of a good yeoman, His name was Robin Hood. Robin was a proud outlaw, The while he walked on ground; So courteous an outlaw as he was one Was never none y-found. Robin stood in Barnèsdale, And leaned him to a tree; And by him stood Little John, A good yeoman was he. And also did good Scathèlock, And Much, the miller’s son; There was none inch of his body, But it was worth a groom. Then bespake him Little John All unto Robin Hood: ‘Master, an ye would dine betimes It would do you much good.’ Then bespake him good Robin: ‘To dine I have no lest, Till that I have some bold baron, Or some uncouth guest, Till that I have some bold baron That may pay for the best, Or else some knight, or some squièr That dwelleth here by West.’ A good mannèr then had Robin; In land where that he were, Every day ere he would dine Three masses would he hear: The one in worship of the Father, The other of the Holy Ghost, The third was of Our dear Lady That he loved alder-most. Robin loved our dear Lady; For doubt of deadly sin Would he no company do harm That woman was therein. ‘Master,’ then said Little John, ‘An we our board shall spread, Tell us whither we shall go, And what life we shall lead; ‘Where we shall take, where we shall leave, Where we shall abide behind, Where we shall rob, where we shall reave, Where we shall beat and bind.’

Original Revised Per ogni strada vago, sto vicino Al letto del Tamigi, e in ogni viso Che vedo, i segni del dolor ravviso E della debolezza In ogni grido d’uomo, in ogni strillo Di terrore d’Infante, in ogni voce, In ogni divieto, Come il grido dello spazzacamino Spaventa ogni Chiesa che s’annerisce; E il sospir del soldato al[=dal] mal destino Giù dal Palazzo in sangue si finisce. Ma il peggio, a mezzanotte per la via Sento puttane giovani gridare Maledizion che ai piccol strappan via Lacrime, e il matrimonio rovinare. Vago per ogni strada cartierata, Vicino al letto del Tamigi, e vedo Che dal dolore ogni faccia è segnata E dalla debolezza, e ben lo credo! In ogni grido d’Uomo, in ogni strillo Di terrore d’Infante, in ogni voce, In ogni divïeto, odo lo squillo Delle manette che la mente cuoce. Come il grido dello spazzacamino Spaventa ogni Chiesa che s’annerisce; E il sospir del soldato dal destino Mal, dal Palazzo in sangue giù finisce. Ma il peggio, a mezzanotte in strada sento Giovani troie urlar maledizioni Al pianto dei neonati e, come un vento, Con piaghe rovinare i matrimoni. Nature a temple is where living pillars will From time to time a few confusèd words let out; Man through forests of symbols there doth walk about That him observe with looks that are familiar still. Just like long echoes that mix up from far away Within a tenebrous and profound unity, As vast as night and light unto the mortal eye, Good scents, colours and sounds to one another say. There’s scents that are as fresh as infant flesh can be, As sweet as oboes, and as green as grasslands are, And others, rich, triumphant, and corrupted, see, That, just like infinite things, expand to way afar, Like amber, musk, benzoin and frankincense: those we Can hear the transports sing that senses and spirit see. Original Intermediate Current Zìrán shì yīgè sì, nàlǐ shēnghuó de huán Yǒu shíhou ràng xiē kùnhuò de yányǔ chūlái; Rénlèi nàlǐ qùguò biāozhì de sēnlín, zài Tāmen de biāozhì yòng shúxī de mùguāng kàn. Xiàng zhǎng de, cóng yáoyuǎn gǎibiàn de hěn kùnhuò Zài hēi'àn de shēnshēn de tóngyīxìng, hàodà Jiùxiàng hēiyè hé jiùxiàng guāng shǎn, de shēngdá, Qìwèi, yánsè hé shēngyīn yī wéi bié hū zuò. Bìng yǒu qìwèi jiù xiàngérzi de ròu shuǎng de, Jiùxiàng shuānghuángguǎn tián, jiùxiàng cǎoyuán lǜsè, Hé qítā, fǔbài de, fēngfù de, kǎikǎi de, Yǒu wúbiān-wújì de shìwù de kuòzhāng de, Jiùxiàng hǔpò, shèxiāng, ānxíxiāng hé xiāngzhú: Tāmen gēchàng jīngshén hé gǎnjué de yùnshū. Zìrán shì yī gè sì, nàlǐ shēnghuózhe huán Yǒu shíhòu ràng xiē kùnhuò de yányǔ chūlái; Rénlèi cóng nàr chuānguò fúhào zhī sēn, Bèi tāmen yòng shúxī de mùguāng zhùshìzhe Jiù xiàng cóng yuǎn chù piāo lái de yōucháng de huíshēng Zài huìsè hé shēn'ào de tǒngyī zhōng, [biàn dé kùnhuò, Hàomiǎo rú hēiyè yǔ guāng, Měiwèi, sècǎi hé shēngyīn jiāo xiāng hūyìng Rú yīng'ér nèn ròu bān xīnxiān de qìwèi, Rú shuānghuángguǎn bān yuè'ěr, rú cǎoyuán yībān qīnglǜ, Hái yǒu qítā de, fǔbài de, fēngfù de, xǐyuè de Yǒuzhe wúbiān wújì de shíwù de kuòzhāng, Jiù xiàng hǔpò, shèxiāng, ānxíxiāng hé xiāngzhú: Tāmen gēsòng jīngshén hé yìshí de chuándì. Zìrán shì yī gè sì, nàlǐ shēnghuózhe huán Yǒu shíhou ràng xiē kùnhuò de yányǔ chūlái; Rénlèi nàlǐ chuānguò fúhào de sēn, bìng lái Bèi nàlǐ de fúhào yòng shúxī de yǎn kàn. Jiùxiàng yōucháng de huíshēng wúfǎ bèi fēnqīng Dāng cóng yuǎn chù lái, huìsè shēn’ào tǒngyī lǐ, Hàomiǎo rú hēiyè yǔ guāng bān yīyàng, měi yī Měiwèi, sècǎi hé shēngyīn dōu jiāo xiāng hūyìng. Yǒu rú yīng’ér nèn ròu bān xīnxiān de měi qì, Rú cǎoyuán bān qīnglǜ, shuānghuángguǎn bān tiánmì, Hái bié de, fǔbài de, fēngfù yǐjí kǎihuan Yǒuzhe wúbiān-wújì de shìwù de kuòzhǎn, Jiùxiàng hǔpò, shèxiāng, ānxíxiāng hé xiāngxī: Tāmen gēsòng jīngshén hé yìshí de kuángxǐ. E nulla contro ’l tempo ti difende: Sol prole che lo sfidi se ti prende. Ave Maria! Mitē vērgīne. Ascolta una vergin che ti prega Da quella āspra rūpe, deh, Che la preghiēra mïa ti vēda. Dormiam fino al mattin sicūre, Per quanto uōm crudēl può far, O Vergin, guarda a vērginali cūre, O Madre, ōdi un bimbo pregar! Ave Maria! Original (2008+2009) Revised (2012+2009) Hearken and listen, Gentlemen, that be of free-born blood: I shall tell you of a good yeoman, his name was Robin Hood. Robin was a proud outlaw, The while he walked on ground; so courteous an outlaw as he was one was never ever found. Robin stood in Barnèsdale, and leaned against a tree; and by him stood Little John, a good yeoman was he. And all so did good Scathèlok, and Much, the miller’s son; there wasn’t an inch of his body, That wasn't worth a groom. And then spoke up our Little John All unto Robin Hood: “Master, if you would dine soon it would do you much good”. Good Robin then spoke up, and said: “To dine I have no lust, Until I have some bold baron or some unknown guest, Until I have some bold baron that may pay for the best, or else some knight or some squire that dwells here in the West”. A good manner had Robin then: whate'er land he was in, every day before he dined three masses he would hear: one in worship of the Father, the other of the Holy Ghost, the third was for our dear Lady that he loved all the most. Robin loved our dear Lady; For fear of deadly sin He would do no company harm In which a woman was. “Master,” then said Little John, “If we our board shall spread, Tell us whither we shall go, And what life we shall lead;” “Where we shall take, where we shall leave, Where we shall abide behind, Where we shall rob, where we shall reave, Where we shall beat and bind,” Hearken and listen, Gentlemen, that be of free-born blood: I shall tell you of a good yeoman, his name was Robin Hood. Robin was a proud outlaw, While he walked on ground; so courteous an outlaw as he was one was never found. Robin stood in Barnèsdale, and leaned against a tree; and by him stood Little John, a good yeoman was he. And all so did good Scathèlok, and Much, the miller’s son; there wasn’t an inch of his body, But it was worth a groom. The spoke Little John to Robin Hood: “Master, if you would dine soon it would do you much good”. Then good Robin spoke to him: “To dine I have no lust, till I have some bold baron or some unknown guest, till have some bold baron that may pay for the best, or else some knight or some squire that dwells here in the West”. Robin then had a good manner: whatever land he was in, every day ? he dined three masses he would hear: one in worship of the Father, the other of the Holy Ghost, the third in worship of our dear Lady that he loved all the most. Robin loved our dear Lady; For fear of deadly sin He would do no company harm In which a woman was. “Master,” then said Little John, “If we our board shall spread, Tell us whither we shall go, And what life we shall lead;” “Where we shall take, where we shall leave, Where we shall abide behind, Where we shall rob, where we shall reave, Where we shall beat and bind,”

Romeo and Juliet

Another head-scratcher today: how did I think of linking Anywhere from last post -- oh well, two posts ago, because last post was inserted into the plan way later :) -- to today's balcony speech et al. from Romeo and Juliet? Was there even a link, or did I just want to get rid of the last poems that didn't have a place? I mean, when I made the original post plan back on June 6ish 2017, I had three lists to pick from: Chinese songs, Japanese songs, and poems. At one point, I was out of links between poems and songs, so I decided to cut the number of lists by one by finishing off the poems without many links. But was there no link between the songs and the last set of poems? No, I think I may have taken the «little ray of light», which is the smile of the loved one in Anywhere, and linked it to «Juliet is the sun». Yeah, that sounds about right.
Anyways, now I've spoilered it: this starts a series of poem posts without great links between each other that aims to finish the posts about translations of poems that are to appear on this blog, until further news pop up. The series opens with a few excerpts of Romeo and Juliet, most notably the speech of Romeo at Juliet's balcony, which I translated to Italian hendecasyllabics (with rhymes sometimes) in June 2009. All of these translations are in a file created 25/6/2009 11:35 and edited the same day at 17:59, so here's a further bound to the date of translation. 9/5/21 23:47 «E nulla, buono, fuor dal giusto uso,» gets corrected to its present form. Another "except"-ive 'but" which I then didn't understand. There's also the tweak «Ei non parla» -> «Lui non parla» from 17/3/23 1:34, done after everything from 17/3 that concerns the below paragraph. There's also the idea of "Tu la getta" in place of "Gettala" in the Balcony Speech, 5/11/23 22:36. That's because "Gettala" technically makes the line a novenario sdrucciolo, not an endecasillabo. However, it's so archaic that I reject it immediately.
A couple of them actually have a double translation. Indeed, one day in Turkey, as I shaved, I thought back to these translations, and didn't really like how the translated ending couplet, for the sake of rhyme, omits the name Romeo. So, still shaving, and it must have been around 19:25 on that 21/2/23, I retranslated that couplet to alexandrine lines, thus fitting both the dolor-amor rhyme and the name Romeo. I also translated a couple lines from the balcony speech. I translated one more line of that on 4/3, and then I finally took it back up on 17/3/23 1:16-1:34, translating two big chunks of it. I do ll. 12-13 at 1:50-1:51. The remaining ll. 8-11 and 14-21 are to be translated as I type this, so I will add what I have and then complete the job. Note: I'm pretending that «He jests at scars that never felt a wound» is line 0. With that in mind, at 19:14 I do ll. 8-11, and now at 19:21, after realizing ll. 12-13 were done and putting them in, I must do the rest. And at 19:23-19:35 it has been done.
Let's see!

Balcony speech He jests at scars that never felt a wound. But, soft! What light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off! It is my lady, O, it is my love! O, that she knew she were! She speaks. Yet she says nothing. What of that? Her eye discourses; I will answer it. I am too bold. ’Tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars, As daylight doth a lamp; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek!          – Ay me!              - She speaks: O, speak again, bright angel! For thou art As glorious to this night, being o’er my head As is a wingèd messenger of heaven Unto the white-upturnèd wondering eyes Of mortals that fall back to gaze on him When he bestrides the lazy, puffing clouds And sails upon the bosom of the air. Act II, Scene II, ll. 1-32 What's in a name? What's in a name? That which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo called, Retain that dear perfection which he owes Act II, Scene II, ll. 44-47 Vice and virtue For naught so vile that on the earth doth live But to the earth some special good doth give, Nor aught so good but, strained from that fair use, Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied; And vice sometimes by action dignified. Act II, Scene III, ll. 17-22 Two such opposèd kings Two such opposed kings encamp them still In man as well as herbs, grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. Act II, Scene III, ll. 27-30 Ending couplet For never was a story of more woe Than this of Juliet and her Romeo.

Hendecasyllabics Alexandrines Discorso del balcone Delle ferite ride chi mai n’ebbe. Ma oh! Che splende da quella finestra? È l’Orïente, e Giulïetta il sol. Sorgi, bel sol, e uccidi l’invidiosa Luna, che, pallida e malata, duolsi Che tu, sua serva, molto sei più bella. Ché lei t’invidia, non servirla più. La verginal sua veste è scialba e verde E sol lo stolto tienla; gettala! È la mia donna, Oh, è il mio amor! Sapesse lei che l’è! Parla. E non dice nulla. Come può? Discorsi fa il suo occhio; or gli rispondo. Son troppo audace. Ei non parla a me: Due delle stelle più belle del cielo, Altrove affari avendo, i suoi occhi Di sostituirle pregan finché tornin. E se occhi e capo suoi fosser lassú? Come il sol a una lampada, sua guancia Brillando onta darebbe a quelle stelle; E gl’occhi suoi sí forti brillerebber Per l’aria, ch’ogn’uccello canterebbe, E penserebbe che non fosse notte. Ve’ come sulla man la guancia posa! O, fossi io su quella mano un guanto, Toccassi quella guancia!          – Ahimè!              - Lei parla: O, parla ancora, angel! Ché tu brilli Sopra mia testa questa notte come Celeste messaggero alato, quando Cavalca su sbuffanti e pigre nuvole E naviga nell’aria, per quegl’occhi Bianchi e meravigliati dei mortali Ch’indietro cadon per guardar lui solo. Discorso del balcone Ride di cicatrice chi mai fu ferito. Ma oh! Qual lume da quella finestra splende? Là c'è l'Oriente, e Giulïetta il sole n'è. Sorgi, o bel sole, e uccidi l'invidiosa luna, Ch'è già malata e pallida nel suo dolersi Che tu, sua ancella, assai più bella sei di lei: Tu non servirla, ché l'invidia abbonda in lei; La veste verginale sua è verde e scialba, La indossano solo gli stolti; gettala! È la mia donna, Oh, è lei l'amore mio! Se sol sapesse d'esserlo! Lei parla. Eppur non dice nulla. Come può? L'occhio suo dialoga. Io gli risponderò. Son troppo audace: lui non è con me che parla. Due degli astri più belli dell'intero cielo, Avendo affari altrove, pregano i suoi occhi Che brillino ai lor posti fino al lor ritorno. Stesser quegli occhi in cielo anziché nel suo capo, La guancia sua svergognerebbe quelle stelle Come fa il sole a lampada; i suoi occhi in cielo Per l'aria con tanto splendore brillerebber Che gli uccelli come di giorno canterebber. Guarda come sua guancia tien sulla sua mano! Oh! Se io fossi un guanto lì su quella mano, E la guancia toccar potessi!          – Ahimè!              - Lei parla: Parla ancora, splendente angelo! Tu infatti Splendi per questa note, sopra la mia testa, Così come un alato messagger del cielo Splende per gli occhi bianchi per la meraviglia Di quei mortali che contemplano, candendo All'indietro, lui che sbuffanti e pigre nubi Cavalca, e in seno all'aria navigando va. Atto II, Scena II, vv. 1-33 Che c'è in un nome? Che c’è in un nome? Ciò che nomiam rosa Con altro nome il suo dolce profumo Terrebbe. Sí Romeo, con altro nome, La cara perfezione sua terrebbe. Atto II, Scena II, vv. 44-47 Vizio e virtù Ché nulla vive in terra, sia pur vile, Senza alla terra dare un ben speciale, Ed ogni bene, fuor dal giusto uso, Dirazza, quando inciampa nell’abuso: La virtù stessa, mal usata, è vizio; E al vizio a volte onore fa l’azione. Atto II, Scena III, vv. 17-22 Due opposti re Due opposti re troviamo ancor in uomo Ed erbe: grazia e bruta volontà; E dove il peggior predomina, La pianta presto il baco roderà. Atto II, Scena III, vv. 27-30 Hendecasyllabics Alexandrines Distico finale Ché mai fu storia di maggior dolor Di questa di Giulietta e del suo amor. Distico finale Ché mai vi fu una storia di maggior dolor Di questa di Giulietta e di Romeo suo amor.

Je vais vaguer

Oh la la! Un autre post en Français! Eh oui. Au milieu de la tristesse des dernier posts, aujourd'hui on a 爱流浪 | Ài liû-lōng, une chanson Min Nan que j'ai traduit en Français entre le 5 et le 6 de Fevrier du 2019, où la chanteuse reconte du douleur que ne la laisse même respirer quand elle pense au destinataire de la chanson, probablement son ex. Le 29/10/20 je note que la traduction française n'est pas trop correcte. Je décide aussi d'ajouter une traduction Hindi. Le jour suivant entre 11:52 et 13:01 je fais la première moitié du Hindi et peu après je corrige «Par années de nostalgie / J'y pense / Et triste je suis / Qu'elles sont plus ici / L'ombre dans mon esprit / Encore bien les suit» à sa forme actuelle. À 14:13 je traduis le titre, et entre 14:51 et 15:28 je termine le Hindi. Mais j'ai oublié de corrigir "to bhī" à "aj bhī", une pensée que j'ai eue quelque temps lorsque je traduisais. Et pour le vidéo sur Youtube j'ai changé les mots marqués par * à la forme masculine qui termine par -ā en lieu d'-ī. Mais c'est pas aj, c'est ab! Corrigé à 16:02 du 31/10/20, le vidéo ayant déjà été uploadé. Le 12/3/23 à 0:15, je viens ici pour dire deux choses. 1, je n'ai aucune idée d'où que j'aie trouvé गृहातुरता gŕhātur'tā, mais il parait signifier "nostalgie de la maison", et donc je vais substituer उदासी udāsī "nostalgie". 2, तनहा tan'hā est indéclinable, et donc dans la version féminine l'on doit utiliser अकेली akelī à sa place. Voyons-la!

上最讨厌 失眠陪伴的深夜 久年积年的思念 也毋不放我煞罢休我 按算打算着到 一两年毋甘不忍 过去会过去啦 脑海的形影 犹原仍然缀跟遐哪里倚偎 爱要流浪 自由的孤单 无人知影知道我 爱要流浪 寂寞的潇洒 掩护情逃避 暗淡的记持记忆深深 刻伫在我心肝 想着到你到今 喘气呼吸心就疼痛 Au fond d'une nuit pleine d'anxieté Où l'insomnie m'accompagne, [Et] la nostalgie de plusieurs années Ne me laisse non plus. En projetant Un ou deux ans, [je] suis triste Que le passé puisse être passé: L'ombre de mon esprit Se blottit encore là-bas. Je bais vaguer, Solitude libre, Personne ne me connaît. Je bais vaguer, Insouciance solitaire, M'en fuire en couvrant [mes] sentiments. [Ces] souvenirs sombres [sont] très profondement Gravés dans mon cœur. En pensant à toi, encore Mon cœur se deut avec chaque respiration. घोर रात्रि में अनिद्रा लगतार मुझ पे उदासी का संचय मुझे तड़पा रहा है कुछ भावी मैं सोचती* दुख से अतीत ही तो अतीत है मेरे मन की छाया वहाँ ठहरती है घूमूँगी* आज़ाद, अकेली* सब लोग को बेगानी* घूमूँगी* बेरोक मगर अकेली/तनहा* भावों से भगती* यह दिल की गहराई में यादें खोदीं गईं याद तेरी अब भी सांस कठिन बनाती

Siōng thó-ià Sit-bîn puê-phuānn--ê tshim iā Kú-nî--ê su-liām Iā m̄ pàng guá suah Àn-sǹg-tiȯh Tsıt nn̄g nî m̄-kam Kuè-khì ē kuè-khì--lah Náu-hái--ê hîng-iánn Iu-guân tuè hiah uá Ài liû-lōng Tsū-iû--ê koo-tuann Bô-lâng tsai-iánn guá Ài liû-lōng Siok-bȯk--ê siau-sá Iám-hōo tsîng tô-phiah Àm-tām--ê kì-tī tshim-tshim Khik tī guá sim-kuann Siūnn-tiȯh lí kàu tann Tshuán-khùi sim tiȯh thiànn Profonde nuit, Ma copine est l'insomnie Tourmentée je suis Par une très vieille nostalgie Projeter Très triste me fait Que l'passé n'est plus ici, L'ombre dans mon esprit Contre lui se blottit. J'vais vaguer Seule en liberté Sans personne qui m'connaît J'vais vaguer Sans me retenir De c'que j'sens en train d'fuir Avec ces sombres souvenirs Dans mon coeur gravés J'pense à toi jusqu'il me Fait mal d'respirer Ghor' rātrî meṅ Anidrā lag'tār mujh' pe Udāsī kā sańcay Mujhe taṛ'pā rahā hai Kuch' bhāvī Maiṅ soc'tī* dukh' se Atīt' hī to atīt' hai Mere man' kī chāyā Vahāṃ ṭhähärtī hai. Ghūmūṃgī* Āzād', akelī* Sab' log' ko begānī* Ghūmūṃgī* Berok' magar' akelī/tan'hā* Bhāvoṅ se bhag'tī* Yäh' dil' kī gäh'rāī meṅ Yādeṁ khodīṅ gaīṅ Yād' terī ab' bhī Sāṅs' kaṭhin' banātī

Anywhere

So I'm scratching my head here as to how to link today's song, Anywhere, to last post's song. Oh yeah, now I know: «Make you always happy / I only wish to do so» vs. «Waiting for tomorrow / Just to see your smile again». OK. So I picked this song for an English-Chinese translation back in Feb 2012. I translated it:

1. To Chinese in several pieces:
   
   1. First, on 27/1/12 during Lucrece class, I included the following in my notes:
      
      我在dengdai明天
      为一si小的dēng光guāng
      我在dengdai明天
      只为见你的xiǎomiàn
      daizou我的āichou
      从我blistered的心
      你在哪里如rúguǒ你在
      anywhere?
      
      Yes, I wrote it exactly like that, in the middle of the notes;
   2. By 1/2/12 I had done the incomplete version given as original; more precisely, I did the chorus save for the last line, then took the third-to-last line and came up with the alternatives «从我起水泡的心» and «从我的破碎的心» (I sent the latter in), then made the last line in the sequence of forms «任何地方», «任何方», «任何地», and finally «任地方», and finally did the first two lines of the verse, with the second one soon becoming «但当我思她我觉它成长»; at some point between then and 18/2, the fourth line had become «只为再见你笑面», which is what I sent in at 15:18 that day;
   3. The next day, my corrector replied at 12:19, and suggested the corrected version below; my comments to that at 14:04 that day were «Concerning 微笑 and 记得那是很久以前 I will change it, but as for 任何地方 and 但当我想起她我就觉得它成长 the problem is that way it doesn't fit the tune. For 任何地方 I have 3 syllables, not 4, and only 10, not 13, for 但当我想起她我就觉得它成长. Here's a video of the song: link, to which he replied on 26/2 at 16:12 saying «任何地方 -> 任一处» and «但当我想起她我就觉得它成长 -> 但想起她就觉得它成长»;
   4. This leads us to the version from the 28/7 11:01 file, which for some reason lost the 小面->微笑 change;
   5. The translation seems to only have been completed much later; indeed, the 5/8/12 19:26 file, whose version is given below, is still missing lines 2 4 5 of verse 1 (where I'm sure the line 费力忍受这什么 started out with 费力忍受的 and was corrected by my corrector, but I find no record of this change, and ditto goes for the line 我十分思恋你 changing into that from the original 我很把你思恋) and has several missing words in verse two;
   6. Actually, the printout of the 28/7 file has the 28/7 version completed by hand as the 18/8 version below, save for a few changes I will list at item end; this would seem to have happened on 26/7, based on the mega-intro not mentioning me skipping that particular song, so Idk what happened; I mean, the printout was probably in Carate when, at the start of August, I got to Dorga and resumed work on Chinese and Japanese, but would I really have remade this? Or is this 5/8 file an indication that I did part of this on 26/7, copied it, then finished it but didn't copy the missing part?
      
      1. 我必须抵制 instead of 我却必抵制;
      2. 为一丝小的灯光 instead of 为了小一丝灯光, but that's a recent change as per the item below;
      3. 但我能用快步走来以前 in place of 但我能用快步走来以后, probably due to misremembering the tune;
      4. 很疯狂–我却只 in place of 很疯狂，却知道;
   7. The 18/8/12 15:27 file finally has the complete version; from there to the blog version, there is only a much more recent change, on which I quote the old version of the post~: «Writing this post on Aug 15 2018 at 21:51, I realized a better option than «为一丝小的灯光» is «为了小一丝灯光», which puts the "little" with "ray of light" instead of just "light". Time to correct it»;
   Note that the 18/8 version used the second-round simplification 邦助, which I decided to replace with the first-round form 帮助 as per the manuscript;
2. Then to French, as a column filler, between the 5/8 and 18/8 files mentioned above; and this fits perfectly with a 26/7 manuscript on the printout only reaching me in Dorga between 5/8 and 18/8; said manuscript differs from the version below in the following lines:
   
   1. «Mais quand je pense à lui je l’ sens grandir» in place of «Mais quand je pense à elle je l’ sens grandir», which I'm pretty sure is ungrammatical, but whatever, I'll probably remake this from scratch once I actually understand the song;
   2. «Je ne sais quoi faire» instead of «Je n’ sais pas quoi faire»;
   3. «De mon cœur ainsi feriblessé», which is just a deleted alternate word;
   4. «Où es-tu dontc s’il y a toi», which is again just a deletion.

Let's see this!

I remember it was long ago But when I think of her I feel it grow Something begs me to come home again Something I can hardly stand But I’m to defy I am to ignore her cry I don’t know what I’ll do I’m missing you so bad Chorus Waiting for tomorrow For a little ray of light Waiting for tomorrow Just to see your smile again Take away my sorrow From a blistered heart of mine Where are you now if you are there Anywhere Please forgive me for how I decide, But before I can come with rapid strides, Don’t expect you’ll have to understand, Jacob needs my helping hand. But first I must go One out of two ways which both Are wrong, and I must go So afraid, so ashamed, So deranged, but I know… Chorus Waiting for tomorrow For a little ray of light Waiting for tomorrow Just to see your smile again Take away my sorrow From a blistered heart of mine Where are you now if you are there Anywhere Original Corrected 28/7 18/8 Final 我回忆它是很久以前 但我思她时候我… … [(时候 originally typoed as 石猴) … … … … … 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为见你的笑面 带走我的哀愁 从我摸破了的心 你在哪里 如果你在 任何地方 … … … … … … … … … 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为见你的笑面 带走我的哀愁 从我摸破了的心 你在哪里 如果你在 任何地方 我记得那是很久以前 但当我想起她我就觉得它成长 … … … … … … 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为再见你微笑 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任何地方 … … … … … … … … … 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为再见你微笑 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任何地方 我记得那是很久以前 但想起他就觉得他成长 … … … … … … 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为再见你笑面 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任一处 … … … … … … … … … 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为再见你笑面 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任一处 我记得那是很久以前 但想起他就觉得他成长 … 费力忍受这什么 … … 不知会做什么 我十分思恋你 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为再见你笑面 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任一处 请原谅我做出的决定， 但我能用快步走来以后， 并不？？你必须了解， 雅各布需要？？ ？？我必去 这或那路，它们都 是错的，并必去 很害怕，很？？ 很？？，却知道… 合唱 我在等待明天 为一丝小的灯光 我在等待明天 只为再见你笑面 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任一处 我记得那是很久以前， 但想起她就觉得它成长。 什么恳求我再次回家， 费力忍受这什么。 我却必抵制， 我必忽略她哭声， 不知会做什么。 我十分思恋你… 合唱 我在等待明天 为了小一丝灯光， 我在等待明天 只为再见你笑面。 带走我的哀愁 从我的破碎的心。 你在哪里如果你在 任一处？ 请原谅我做出的决定， 但我能用快步走来以后， 并不期望你必须了解， 雅各布需要帮助。 首先必须去 这或那路，它们都 是错的，并必去 很害怕，很羞愧 很疯狂，却知道… 合唱 我在等待明天 为了小一丝灯光， 我在等待明天 只为再见你笑面 带走我的哀愁 从我的破碎的心 你在哪里如果你在 任一处

Je me souviens qu’il y a longtemps, Mais quand je pense à elle je l’ sens grandir. Quelque chose m’ prie d’aller à la maison, Chose que je n’ peux supporter. Mais j’ dois défier, Je dois ignorer ses larmes, Je n’ sais pas quoi faire. O combien tu me manques… Refrain Moi j’attends le demain Pour un p’tit rayon d’ lumière, Moi j’attends le demain Seul pour revoir ton sourire. Mes douleurs emmène De mon cœur ainsi blessé. Où es-tu donc s’il y a toi De partout ? Pardonne-moi pour comment je décide, Mais avant que j’ puisse venir avec longs pas, Que tu dois comprendre je n’expecte, Jacob a besoin d’une main. Pour premier je dois Choisir l’une de deux routes toutes Pas justes, e j’ dois aller Très en peur, très en honte, Très dérangé, mais je sais… Refrain Moi j’attends le demain Pour un p’tit rayon d’ lumière, Moi j’attends le demain Seul pour revoir ton sourire. Mes douleurs emmène De mon cœur ainsi blessé. Où es-tu donc s’il y a toi De partout ? Original Corrected 28/7 18/8 Final Wǒ huíyì tā shì hěn jiǔ yǐqián Dàn wǒ sī tā shíhòu wǒ… … … … … … … Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi jiàn nǐ de xiàomiàn Dàizǒu wǒ de āichóu Cóng wǒ mōpòle de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rènhé dìfāng … … … … … … … … … Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi jiàn nǐ de xiàomiàn Dàizǒu wǒ de āichóu Cóng wǒ mōpòle de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rènhé dìfāng Wǒ jìdé nà shì hěn jiǔ yǐqián Dàn dāng wǒ xiǎngqǐ tā wǒ jiù juédé tā chéngzhǎng … … … … … … Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ wéixiào Dàizǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rènhé dìfāng … … … … … … … … … Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ wéixiào Dàizǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rènhé dìfāng Wǒ jìdé nà shì hěn jiǔ yǐqián Dàn xiǎngqǐ tā jiù juédé tā chéngzhǎng … … … … … … Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ xiàomiàn Dàizǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rèn yī chù … … … … … … … … Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ xiàomiàn Dàizǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rèn yī chù Wǒ jìdé nà shì hěn jiǔ yǐqián Dàn xiǎngqǐ tā jiù juédé tā chéngzhǎng … Fèilì rěnshòu zhè shénme … … Bù zhī hui zuò shénme Wǒ shífēn sīliàn nǐ Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ xiàomiàn Dàizǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rèn yī chù Qǐng yuánliàng wǒ zuòchū de juédìng, Dàn wǒ néng yòng kuài bù zǒu lái yǐhòu, Bìng bù ? ? nǐ bìxū liǎojiě, Yǎgèbù xūyào ? ? ? ? wǒ bì qù Zhè huò nà lù, tāmen dōu Shì cuò de, bìng bì qù Hěn hàipà, hěn ? ? Hěn ? ? , què zhīdào… Héchàng Wǒ zài děngdài míngtiān Wéi yī sī xiǎo de dēngguāng Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ xiàomiàn Dàizǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn Nǐ zài nǎlǐ rúguǒ nǐ zài Rèn yī chù Wǒ jìde nà shì hěn jiǔ yǐqián, Dàn xiǎngqǐ tā jiù juéde tā chéngzhǎng. Shénme kěnqiú wǒ zàicì huí jiā, Fèilì rěnshòu zhè shénme. Wǒ què bì dǐzhì, Wǒ bì hūlüè tā kūshēng, Bùzhī hui zuò shénme. Wǒ shífēn sīliàn nǐ… Héchàng Wǒ zài děngdài míngtiān Wèile xiǎo yī sī dēngguāng, Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ xiàomiàn. Dài zǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn. Nǐ zài nǎlǐ rúguǒ nǐ zài Rèn yī chù? Qǐng yuánliàng wǒ zuò chū de juédìng, Dàn wǒ néng yòng kuài bù zǒu lái yǐhòu, Bìng bù qīwàng nǐ bìxū liǎojiě, Yǎgèbù xūyào bāngzhù. Shǒuxiān bìxū qù Zhè huò nà lù, tāmen dōu Shì cuò de, bìng bì qù Hěn hàipà, hěn xiūkuì Hěn fēngkuáng, què zhīdào… Héchàng Wǒ zài děngdài míngtiān Wèile xiǎo yī sī dēngguāng, Wǒ zài děngdài míngtiān Zhǐ wèi zàijiàn nǐ xiàomiàn. Dài zǒu wǒ de āichóu Cóng wǒ de pòsuì de xīn. Nǐ zài nǎlǐ rúguǒ nǐ zài Rèn yī chù?