Il ballo del qua-qua

C'è bisogno di presentarla questa canzone? Ovviamente è Il ballo del qua-qua, tradotta in Greco. Chissà perché :). Beh, sentiamo IAFI:

On 28/1/22 at 20:21 I randomly start translating Il ballo del qua qua into Greek. I do three lines, with a hole in the second one which looks like Και του <> που μιλά. I complete that line the following day at 15:17 as I update this post. On 6/2/22 at 22:19, I then find out ducks in Greek don't go like that, but πα-πα, so I fix κουα-κουα accordingly. Thing is, khóros is choir, not dance, which is khorós. So on 9/2/22 at 12:37 I change Χόρος είναι του Πα-Πα to the below, and at 12:41 I think of Με τα φτερά γύρνα εδώ and then Γύρνα εδώ με τα φτερά. So let's make an intertwining. After making it, 12/2/22 19:25, I change Ο χορός 'ναι του Πα-Πα to the below version. 30/7/22 19:10-19:14, as this thing is shoved into my face while going for an update of this post, I finish translating the last 4 lines.
Il 28/1/22 alle 20:21 inizio a caso a tradurre Il ballo del qua qua in Greco. Faccio 3 righe, con un buco nella seconda che ha l'aspetto «Και του <> που μιλά». Completo quella riga il giorno seguente alle 15:17 mentre aggiorni questo post [cioè IAFI]. Il 6/2/22 alle 22:19, scopro che le papere in Greco non fanno così, ma πα-πα (pa-pa), quindi aggiusto di conseguenza il κουα-κουα. Il fatto è che khóros è coro, non ballo, che è khorós. Quindi il 9/2/22 alle 12:37 cambio Χόρος είναι του Πα-Πα nella versione sotto, e alle 12:41 penso a Με τα φτερά γύρνα εδώ e poi Γύρνα εδώ με τα φτερά. Quindi facciamo un testo combinato. Dopo averlo fatto, il 12/2/22 alle 19:25, cambio Ο χορός 'ναι του Πα-Πα alla versione sotto. Il 30/7/22 alle 19:10-19:14, mentre questa cosa mi si butta in faccia perché vado ad aggiornare questo post [IAFI], finisco di tradurre le ultime 4 righe.

Να ο χορός του Πα-Πα-Πα,
Για τον πάπιο που μιλά
Μόνο λέοντας Πα-Πα-Πα
Più qua qua qua
Mamma papera e papà
Con le mani fan qua qua
E una piuma vola già
Di qua e di là
Le ginocchia piega un po'
Poi scodinzola così
Batti forte le tue mani
E fai qua qua
Μ' ένα άλμα πας μακριά
Και γυρνάς με τα φτερά·
Αχ, καινό 'ν' αληθινά
Το Πα-Πα-Πα!

Rit.
Prendi sotto braccio
La felicità
Basta aver coraggio
All'arrembaggio
Col qua qua qua

Balla il ballo del qua qua
Come un papero che sa
Fare solo qua qua qua
Più qua qua qua
Forza tutti qui con me
A braccetto tre per tre
Attenzione si farà
Un gran qua qua
Se tu stai di fronte a me
Io lo ballo insieme a te
E se un bacio volerà
Che male fa
Ma chi il papero non fa
Che figura che farà
Di sicuro sembrerà
Un baccalà

Rit.

Να ο χορός του Πα-Πα-Πα,
Για τον πάπιο που μιλά
Μόνο λέοντας Πα-Πα-Πα
Più qua qua qua
Con le ali vai più in là
Con un salto torna qua
Fai la mossa che ti va
Ma fai qua qua
Να ο χορός του Πα-Πα-Πα,
Che continua e non si sa
Se un bel giorno finirà
Di far qua qua
Tutto il mondo ormai lo sa
Che la moda è questa qua
Batti forte le tue mani
E fai qua qua

Rit.

Να ο χορός του Πα-Πα-Πα,
Για τον πάπιο που μιλά
Μόνο λέοντας Πα-Πα-Πα
Più qua qua qua
Mamma papero e papà
Con le mani fan qua qua
E una piuma vola già
Di qua e di là
Le ginocchia piega un po'
Poi scodinzola così
Batti forte le tue mani
E fai qua qua
Μ' ένα άλμα πας μακριά
Και γυρνάς με τα φτερά·
Αχ, καινό 'ν' αληθινά
Το Πα-Πα-Πα!

Rit.

Then, on 6/10-7/10, I am sick, so I decide to work less than usual, and have time to continue some translations. After a couple of continuations, and even the end of the below item, my eye falls on this, and I decide to continue it. I do a bunch at 20:52-21:34, then one last line at 22:56, at which point IIRC I send in the intertwining. Over the next day, I interact with Kika, who does the second half of the chorus and the braccetto lines of verse 2, and complete the rest of the translation, which eventually comes to look like this:
Poi, il 6/10-7/10, sono malato, quindi decido di lavorare meno del solito, ed ho tempo di continuare un po' di traduzioni. Dopo un paio di continuazioni, e perfino la fine della traduzione di sotto [cagata; cioè, la traduzione sotto doveva essere Ob-la-di Italiano, ma quella è finita il 5, non il 6 e non il 7], mi cade l'occhio su questa, e decido di continuarla. Ne faccio un sacco alle 20:52-21:34, poi un'ultima riga alle 22:56, al che se ben ricordo mando [alla Kika] il testo combinato. Nel corso del giorno seguente, interagisco colla Kika, che fa la seconda metà del ritornello e le righe del braccetto nella strofa 2, e completo il resto della traduzione, che alla fine arriva [all'aspetto sotto].
Che senso avesse l'"an" raddoppiato di «Και κανείς δε ξέρει αν / Αν κάποτε θα σταματά», reso singolo alle 15:01 del 21/11/23, non lo so.

E con ciò, vediamo 'sta traduzione! Affiancata a destra da una retrotraduzione letterale del greco, che lì resterà finché non farò, se mai lo farò, un riempicolonna.

Questo è il ballo del qua-qua, E di un papero che sa Fare solo qua-qua-qua Più qua-qua-qua Mamma papero e papà Con le mani fan qua qua E una piuma vola già Di qua e di là Le ginocchia piega un po' Poi scodinzola così Batti forte le tue mani E fai qua-qua Con un salto vai più in là Con le ali torna qua: Ma che grande novità Il qua-qua-qua! Rit. Prendi sotto braccio La felicità Basta aver coraggio All'arrembaggio Col qua qua qua Balla il ballo del qua qua Come un papero che sa Fare solo qua qua qua Più qua qua qua Forza tutti qui con me A braccetto tre per tre Attenzione si farà Un gran qua qua Se tu stai di fronte a me Io lo ballo insieme a te E se un bacio volerà Che male fa Ma chi il papero non fa Che figura che farà Di sicuro sembrerà Un baccalà Rit. Questo è il ballo del qua-qua, E di un papero che sa Fare solo qua-qua-qua Più qua qua qua Con le ali vai più in là Con un salto torna qua Fai la mossa che ti va Ma fai qua-qua Questo è il ballo del qua-qua, Che continua e non si sa Se un bel giorno finirà Di far qua-qua Tutto il mondo ormai lo sa Che la moda è questa qua Batti forte le tue mani E fai qua-qua Rit. * Rit. * Να ο χορός του Πα-Πα-Πα, Για τον πάπιο που μιλά Μόνο λέοντας Πα-Πα-Πα Και Πα-Πα-Πα Μαμά πάπια και μπαμπάς Με τα χέρια λέν Πα-Πα Κι ήδη ένα φτερό πετά Μπρος πίσω, να! Λύγιζε τα γόνατα, Μετά κούνα την ουρά, Χειροκρότα δυνατά Και να λες Πα-Πα Μ' ένα άλμα πας μακριά Και γυρνάς με τα φτερά· Αχ, καινό 'ν' αληθινά Το Πα-Πα-Πα! Επωδός· Τώρα αγκαζέ να Πιάσεις την χαρά, Νά ‘βρεις το κουράγιο, Να κάνεις σάλτο Στο Πα-Πα-Πα! Χόρευε το Πα-Πα-Πα Ωσάν πάπιο που μιλά Μόνο λέοντας Πα-Πα-Πα Και Πα-Πα-Πα Μπρός μαζί μου όλοι εσείς, Σταυροχέρι τρείς με τρείς, Προσοχή! Κάντε μετά Τρανταχτό Πα-Πα. Αν εσύ 'σαι μπροστά μου, Θα χορεύω μαζί σου Κι αν ένα φιλί πετά, Τι 'ναι κακά; Τώρα καν' τον πάπιο εσύ, Αχ, αλλώς πως θα φανείς; Θα φανείς 'σύ σίγουρα Σαν ένας βλαξ. Επωδός Να ο χορός του Πα-Πα-Πα, Για τον πάπιο που μιλά Μόνο λέοντας Πα-Πα-Πα Κι άλλο Πα-Πα-Πα Πας μακριά με τα φτερά, Γύρνα εδώ με άλματα Με τα δικά σου βήματα Να λες Πα-Πα Να ο χορός του Πα-Πα-Πα, Και κανείς δε ξέρει αν Κάποτε θα σταματά Να λέει Πα-Πα Ξέρει ο κόσμος τώρα πια Πως η μόδα είν' αυτή Χειροκρότα δυνατά Και να λες Πα-Πα Επωδός * Επωδός

Ecco il ballo del qua-qua-qua, Per il papero che parla Dicendo solo qua-qua-qua E qua-qua-qua Mamma papera e papà Con le mani dicono qua qua E già una piuma vola Avanti e indietro, ecco! Piega le ginocchia, Poi muovi la coda, Applaudi forte E di' qua-qua Con un salto vai lontano E torni con le ali: Ah, è nuovo in verità Il qua-qua-qua! Rit. Ora sottobraccio Prendi la felicità Che tu trovi il coraggio Di fare un salto Nel qua qua qua Balla il qua-qua-qua Come un papero che parla Dicendo solo qua-qua-qua E qua-qua-qua Avanti, con me tutti voi A braccia incrociate, tre con tre, Attenzione! Dopo fate Un vibrante qua-qua Se tu stai di fronte a me Ballerò insieme a te E se un bacio vola, Che c'è di male? Ora fai il papero tu, Ah, altrimenti come apparirai? Tu apparirai di sicuro Come un idiota Rit. Ecco il ballo del qua-qua-qua, Per il papero che parla Dicendo solo qua-qua-qua E qua-qua-qua Vai lontano con le ali, Torna qui a salti, Con i tuoi propri passi, Di' qua-qua Ecco il ballo del qua-qua-qua, E nessuno sa Se un giorno smetterà Di dire qua-qua Sa il mondo ormai già Che la moda è questa Applaudi forte E di' qua-qua Rit. * Rit. * Na o khorós toy Pa-Pa-Pa, Gia ton pápio poy milá Móno léontas Pa-Pa-Pa Kä Pa-Pa-Pa Mamá pápia kä mpampás Me ta khéria lén Pa-Pa Ki í̱di̱ éna fteró petá Mpros písō, na! Lýgize ta gónata, Metá koýna ti̱n oyrá, Khërokróta dynatá Kä na les Pa-Pa M' éna álma pas makriá Kä gyrnás me ta fterá: Akh, känó 'n' ali̱thiná Το Pa-Pa-Pa! Epōdós: Tṓra agkazé na Piásës ti̱n khará, Na 'vrës ton koyrágio, Na kánës sálto Sto Pa-Pa-Pa! Khórev̆e to Pa-Pa-Pa Ōsán pápio poy milá Móno léontas Pa-Pa-Pa Kä Pa-Pa-Pa Mrpos mazí moy ólö emë́s, Stav̆rokhéri trës me trës, Prosokhí̱! Kánte metá Trantakhtó Pa-Pa. An esý 'sä mprostá moy, Tha khorév̆ō mazí soy Ki an éna filí petá, Ti 'nä kaká? Tṓra kan' ton pápio esý, Akh, allṓs pōs tha fanë́s? Tha fanë́s 'sý sígoyra San énas vlax. Epōdós Na o khorós toy Pa-Pa-Pa, Gia ton pápio poy milá Móno léontas Pa-Pa-Pa Ki állo Pa-Pa-Pa Pas makriá me ta fterá, Gýrna edṓ me álmata Me ta diká soy ví̱mata Na les Pa-Pa Na o khorós toy Pa-Pa-Pa, Kä kanë́s de xérë an Kápote tha stamatá Na léë Pa-Pa Xérë o kósmos tṓra pia Pōs i̱ móda ë́n' af̆tí̱ Khërokróta dynatá Kä na les Pa-Pa Epōdós * Epōdós

長歌のサッフォー Chôka no Saffō

So… here we are. This started about 2 years ago, when I randomly decided to try my hand at a Japanese version of The stars and the moon using the meter I used to misname as "Haiku", and it has now grown into a big-ass anthology of Chôka translations of Sappho. Because that's me, guys: 傻得无可救药 Shǎ dé wú kě jiù yào, I'm thinking, but that's "foolish beyond cure", I'd need "crazy beyond cure" :).
Anyway, let us first list all the fragments in chronological order of translation, with a title of my invention and references to past Sappho editions, telling the histories of their translations where applicable, and otherwise leaving just the title and references. This first index is of course subject to reordering, since the translations are nowhere near done.
The second index, which gives them in the order I chose for this post, is the one that is not subject to reordering. I will fix this order tonight, 26/10/23, forever.
The post will have two tabs: in "原板 Genban: Original", I will give the original translations I made, whereas in "竹内隆の修正版 Takeuchi Takashi no shūsê-ban: Takashi's corrections", I will give the corrected (mostly read: reformulated, rewritten) versions by Quora user Takashi Takeuchi, who happily agreed to correct not only these but any translation into Japanese I send him.
So here is the list of fragments, with the translated ones listed in chronological order of translation, the other ones listed in the order they appear in at Safo: Poemas (which I was looking at to choose the fragments), and each of them tagged [C] for corrected, [M] for made but not corrected, and [U] for unmade.

1. [C]"The stars and the moon" (LP 34); this and many other translations are migrated here from Sparse translations of Sappho into "unconventional" languages, which I will henceforth quote, whenever applicable, under the abbreviation "UNCMIG": «The Japanese one was made between 15 and 16 on 24/2/21 and posted here [in the uncorrected form] to request improvement suggestions. I later made three more translations (see below), but I'm not totally sure I will do a Japanese edition of Sappho in waka meter, hence why all those translations are in this post. I then got an answer about the translation here under the question about the other three, at 9:18 on Feb 26, where two corrections were suggested, which I took up and have below. It is the only one here that translates the Bergk-amended text with αἶψ' instead of ἂψ.»; huh; I was calling it "waka"? Weird;
2. [C]"Two opinions" (LP 51); UNCMIG: «The first version is from around 19:10 on 25/2/21, made in a couple of minutes. I posted it here. I get comments by explicitly asking for them in the comments to an answer misplaced under that question, and this produces the second version the next day, with "dekinai", at "now" = 11:43:20, and that was fixed at "6 mins ago" from 13:40:46.»; in this case, we have back-translations, which will be sided with the Greek in both tabs, as options for siding alongside a literal translation; UNCMIG: «In the night between 12 and 13/10/23, thinking of the captions for the above, I start translating the Haiku translation at the top of this list into an Italian haiku at 1:39, and into an English one at 1:40. By 2:24, the below versions are complete»;
3. [C]"Niobe and Latona" (LP 142); UNCMIG: «Next up we have Japanese again. This time it's the line about Latona and Niobe. The first Japanese version is from 25/2/21 at about 19:30. I posted it here, where I then got the second one, with "Niobe no futari" for l. 2, at "now" from 11:43:20 the next day, whereas at "31 mins" from 14:51:10 that gets made into the current version.»;
4. [C]"Golden chickpeas" (LP 143); UNCMIG: «Then we have a Japanese waka translation of the golden chickpeas line. On 26/2/21, shortly before 00:50, I make the first version. I post it here, and the next morning at "now" from 11:43:20 I get the second version suggested to me.»;
5. [M]"Leda" (LP 166); UNCMIG: «To, for the time being, close this post off, we have a translation of the Leda fragment into Japanese. It started at 3:01 in the night between 13/3 and 14/3/21, and was finished between 14:04 and 14:15 the next day.»;
6. [C]"Love shook my heart" (LP 47); UNCMIG: «2.5 years later, once this series of Haikus had become a project for an anthology of Sapphic Haikus (cfr. this online todo list, noting that the list of fragments to be Haiku-ized, if it is there in the version you're looking at, was created on 21/10, so after the next three translations were done), I came back to this, and, on 20/10/23 at 13:52-14:22, I translated "Love shook my heart" aka LP 47. I will line this fragment's original up with its Campbell translation.»; the tanka revision by Takashi was posted in a comment to my post on this translation on 21/10/23 at 0:45; it unfortunately omits Eros, but I will make that clear through the title; since I don't like options in translations, at 16:15/16 on 14/11/23 I chose Tsuyoku over Fukaku in the last line of my Japanese version;
7. [M]"You came" (LP 48 +); UNCMIG: «Later that day, at 16:51-17:40, I translated "You came", aka LP 48 plus extra line (SF48), and in the meantime, at 17:08-17:44, I translated that thing (incomplete though it was) into Italian hendecasyllabics, which I will line up with the Greek below. Idk what got into me to write "la mia vita" in that translation, but I fixed it at 18:49 on 21/10/23.»; I will indeed line the Greek up with the Italian back-translation below, but I will have a tab selection which lets you see an English rendition; in this case, I came back to sort of remake this at 23:57 on 23/10/23, and finished at 1:21 that night, getting to version B below; the Italian thing is from version A, of course;
8. [C]"Idle-barking tongue" (LP 158); UNCMIG: «The following night, so on 21/10/23, at 0:56-1:44, I also translated "Idle-barking tongue", aka LP 158, completing the trio. This will have my own English translation lined up with the Greek. At least this one has already been corrected (read: rewritten) by Takashi, but I'll come back with another edit for that.»; Takashi commented with his reedition at 2:23 on 21/10/23;
9. [M]"The moon has set" (Campbell 168B); at 11:11 on 24/10/23, I randomly think of this one, and make its final line «Hitori de nemuru»; I then try to see what "lie down" would be, but I have no connection, so I give up, and later I find katheýdō also means "sleep", so it's fine as is; I complete it at 1:57-2:06 on 27/10/23;
10. [M]"Success to the mouth" (LP 58 ll. 1-10); as I work on the ordering and struggle to place this, at 15:44-15:51 on 26/10/23, I translate the final part, thiking of only translating that; then at night I recover the lines from the self-chat, and think I should translate the rest as well, leaving blank lines for gaps; I do so 1:29-1:44;
11. [M]"To my friends" (LP 160 + τέρποισα); on 27/10/23, possibly as a way to occupy the time until merenda, I did this at 14:58-15:05;
12. [M]"May you sleep" (LP 126); later that same 27/10/23, at 19:00-19:02, I did this; probably unwilling to work and trying to go till dinnertime at like 20;
13. [M]"I don't expect" (LP 52); yet again 27/10/23, 19:10-19:15; I was convinced "dokímōmi" meant "dare", so i originally had «Aete shinai yo», which I fixed at 0:51/52 on 20/11/23;
14. [M]"To the lyre" (LP 118); 27/10/23 19:20;
15. [M]"Thou hast left me" (LP 129 +); yet again 27/10/23, 19:25-19:41;
16. [M]"Kleis" (LP 132); last one from 27/10/23, the one that got me to dinner and beyond, since it went 19:42-20:24;
17. [M]"About the doves" (LP 42); this one and the following were done as a time filler to get to a time late enough to switch the lights off; this one was 29/10/23 23:58 – 30/10/23 0:08, where version 1 was complete by 23:59;
18. [M]"Rustic woman" (LP 57); 30/10/23 0:12-0:37;
19. [U]"Hymn to Aprhodite" (LP 1), U;
20. [U]"Idyll with Aphrodite" (LP 2), U;
21. [U]"Queen Hera" (LP 17 +), U;
22. [U]"To the Nereids" (LP 5 +), U;
23. [U]"The curse" (LP 15) (?), U;
24. [U]"A prayer to avert stormy journeys" (LP 20, Edmonds 41), U;
25. [U]"Ode to Anactoria" (LP 31), U;
26. [U]"I beseech you, Gongyla" (LP 22 part 2, Lekatsas 36, Khatzidakis), U;
27. [U]"Kypris poem" (LP 26 +++), U;
28. [U]"To Charaxus" (LP 3, Edmonds 35), U;
29. [U]"Brothers poem" (LP 10 +++), U;
30. [U]"Ode to a beautiful woman" (LP 23), U;
31. [U]"Dearest offspring of Uranus and Gaia" aka "Sappho 16" (LP 16 +), U;
32. [U]"You were also a tender young child" (LP 27), U;
33. [U]"If I still had milk" (LP 21, Edmonds 42), U;
34. [U]"Oh tender women" (LP 24(a), Edmonds 43), U;
35. [U]"Let's sing for the couple!" (LP 30), U;
36. [U]"Forever a maiden I shall be" (Campbell 44A), U;
37. [U]"Hector and Andromacha" (LP 44), U;
38. [U]"He who's fair" (LP 50), U;
39. [U]"Someone will remember" (LP 147), U;
40. [U]"Bittersweet love" (LP 130), U;
41. [U]"Coming down from the sky" (LP 54), U;
42. [U]"No-one I believe will" (LP 56), U;
43. [U]"Dead shalt thou lie" (LP 55), U;
44. [U]"There dieth, oh Cytherea" aka "Mourning song" (LP 140(a)) (?), U;
45. [U]"I have a gentle mind" (LP 120), U;
46. [U]"To Dica" (LP 81.2), U;
47. [U]"The gifts of the Muses" (LP 58 ll. 11-22), U;
48. [U]"Money without virtue" (LP 148), U;
49. [U]"No lament is allowed" (LP 150) (?), U;
50. [U]"May there now be festivity" (P.Köln before "The gifts of the Muses" from above), U;
51. [U]"I wish I were dead" (LP 94), U;
52. [U]"There came Hermes" (LP 95), U;
53. [U]"O Atthis!" (LP 96), U;
54. [U]"Handcloths" (LP 101 +, Edmonds 87), U;
55. [U]"O sweet mother" (LP 102), U;
56. [U]"Hymenæon" (LP 111 + 106), U;
57. [U]"Sweet apple" (LP 105(a)), U;
58. [U]"Hyacynth" (LP 105(c)), U;
59. [U]"Happy bridegroom" (LP 112), U;
60. [U]"Stand before me" (LP 138), U;
61. [U]"Offering to Artemis" (Campbell 157D), U;
62. [U]"Epigram of Timas" (Campbell 158D), U;
63. [U]"Epigram of Pelagon" (Campbell 159D), U;
64. [U]"On summer" (LP Alc. 347) (?), U;
65. [U]"On celebrating a feast" (LP 9) (?), U;
66. [U]"Against the Polyanactids" (LP 99(a)) (?), U;
67. [U]"To Apollo" (LP 99(b)) (?), U;
68. [U]"About her exile" (LP 68(a) + 70 + 75(a)) (?), U;
69. [U]"To Mica" (LP 71.1-7 + 61 + 87(14).1-3) (?), U;
70. [U]"Against Andromeda" (LP 86 is the untranslated top part, the rest is LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. i) (?), U.

And here comes the index in presentation order, with links to the fragments.

• 原板 Genban: Original
• 竹内隆の修正版 Takeuchi Takashi no shūsê-ban: Takashi's corrections

Heart-shaking love
1. "Kypris poem" (LP 26 + P.Sapph. Obbink): Fragment 3 here;
2. "Two opinions" (LP 51): Fragment 4 here;
3. "O sweet mother" (LP 102): Fragment 1.H.iii here;
4. "Love shook my heart" (LP 47): Fragment 5 here;
5. "Bittersweet love" (LP 130): Fragment 2 here;
6. "O Atthis!" (LP 96): Fragment here;
7. "Ode to Anactoria" (LP 31): Greek fragment 1 here;
Beauty
8. "I beseech you, Gongyla" (LP 22 part 2, Lekatsas 36, Khatzidakis): Vulgate version here;
9. "Ode to a beautiful woman" (LP 23): This fragment;
10. "Dearest offspring of Uranus and Gaia" aka "Sappho 16" (LP 16 + P. GC.): P.GC. version here;
11. "Kleis" (LP 132): Fragment 1 here;
12. "The stars and the moon" (LP 34): Fragment 1 here;
From joy of love to divine visions
13. "You came" (LP 48 + safopoemas + me): Fragment 2 here;
14. "Idyll with Aphrodite" (LP 2): Fragment 1 here;
15. "Handcloths" (LP 101 +, Edmonds 87): Fragment 1.C.viii;
16. "Hymn to Aphrodite" (LP 1): This fragment;
17. "Queen Hera" (LP 17 + P.GC.): Fragment 2 here;
18. "On celebrating a feast" (LP 9) (?): Fragment 2.D.iii here;
Wedding songs
19. "Hector and Andromacha" (LP 44): This fragment;
20. "May you sleep" (LP 126): Fragment 9 here;
21. "Let's sing for the couple!" (LP 30), U;
22. "Hymenæon" (LP 111 + 106): Fragment 1 here + Fragment 1.A.iv here;
23. "Sweet apple" (LP 105(a)): Fragment 1.A.v here;
24. "Hyacynth" (LP 105(c)): Fragment 1.A.vi here;
25. "Happy bridegroom" (LP 112): Fragment 2 here;
Being left: sadness, and anger/hostility
26. "Thou hast left me" (LP 129(a)+(b) + me): Fragment 1 here;
27. "The moon has set" (Campbell 168B): This fragment;
28. "Rustic woman" (LP 57): Fragment 2 here;
29. "Stand before me" (LP 138): Fragment 1 here;
30. "Dead shalt thou lie" (LP 55): Fragment 1 here;
31. "Someone will remember" (LP 147): Fragment 3 here;
32. "Against Andromeda" (LP 86 is the untranslated top part, the rest is LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. i) (?): Fragment 6.A.vi here.
33. "About her exile" (LP 68(a) + 70 + 75(a)) (?): Fragment 6.A.iii here;
34. "Against the Polyanactids" (LP 99(a)) (?): Fragment 2.D.xxxiii(a) here;
35. "To Apollo" (LP 99(b)) (?): Fragment 2.D.xxxiii(b) here;
36. "The curse" (LP 15): Fragment 2 here;
Sappho and her brother
37. "To the Nereids" (LP 5 + P.GC.): Fragment 1 here;
38. "A prayer to avert stormy journeys" (LP 20, Edmonds 41): This fragment;
39. "Brothers poem" (LP 10 + P.Sapph.Obbink): Fragment 1.J.xxiv here;
40. "To Charaxus" (LP 3, Edmonds 35, also Diehl version): Fragment 8 here (and bottom version too);
Nostalgia for youth
41. "You were also a tender young child" (LP 27): Fragment 5 here;
42. "Oh tender women" (LP 24(a), Edmonds 43): Fragment 4 here;
43. "If I still had milk" (LP 21, Edmonds 42): Fragment 3 here;
44. "The gifts of the Muses" (LP 58 ll. 11-22): Fragment 2.10-21 here;
Singing
45. "Success to the mouth" (LP 58 ll. 1-10): Fragment 2.1-9 here;
46. "May there now be festivity" (P.Köln before "The gifts of the Muses" from above): Fragment 2.extras here
47. "To the lyre" (LP 118): This fragment;
48. "To my friends" (LP 160 + τέρποισα): Fragment 1.I.vi version II here;
Addresses to friends, advice
49. "To Dica" (LP 81.2): Fragment 1.E.i here;
50. "On summer" (LP Alc. 347) (?): Fragment 1.I.iii(++) here;
51. "To Mica" (LP 71.1-7 + 61 + 87(14).1-3): Fragment 6.A.v here;
52. "No lament is allowed" (LP 150): Fragment 3 here;
53. "He who's fair" (LP 50): Fragment 9 here;
54. "Money without virtue" (LP 148): Fragment 10 here;
55. "I have a gentle mind" (LP 120): Fragment 7 here;
56. "Idle-barking tongue" (LP 158): Fragment 6 here;
57. "I don't expect" (LP 52): Fragment 1 here;
58. "No-one I believe will" (LP 56): Fragment 2 here;
Mythology
59. "Coming down from the sky" (LP 54): Fragment 5 here;
60. "Leda" (LP 166): Fragment 3 here;
61. "About the doves" (LP 42): Fragment 1.H.vi here;
62. "Golden chickpeas" (LP 143): Fragment 1.C.i here;
63. "Niobe and Latona" (LP 142): Fragment 2 here;
64. "Forever a maiden I shall be" (Campbell 44A): Fragment 1 here;
65. "There dieth, oh Cytherea" aka "Mourning song" (LP 140(a)): Mourning song here;
Wishing for death
66. "There came Hermes" (LP 95): This fragment;
67. "I wish I were dead" (LP 94): Long fragment here;
Epigrams
68. "Epigram of Timas" (Campbell 158D): Epigram 2;
69. "Epigram of Pelagon" (Campbell 159D): Epigram 3;
70. "Offering to Artemis" (Campbell 157D): Epigram 1;

Σύστασις αʹ· Ἔρος φρένας τίνασσον 集団しゅうだん一いち： 心こころゆる 恋こいのせいでは αʹ· Πρὸς τὴν Κύπριδα Πῶς̣ κε δή τις οὐ θαμέω̣ς ἄσαιτο, Κύπρι, δἐσπο̣ι̣ν̣', ὄττινα̣ +δ+ὴ φίλ̣[ησι κωὐ] θέλοι μάλιστα πάθαν χ̣άλ̣[ασσαι; πῶς] ὀνέχησθα πᾷ [σ]άλοισί μ' ἀλεμάτ̣ως δαΐσδ[ης] εἰ̣μ̣έρ‹ῳ› λύ{ι̣}σαντ̣ι̣ γόν', ὢμ' ἄνα[σσα,] πόλ[λ]α; Πάμ[π]α‹ν› μ' οὐ προ̣[τέρ' ᾖσθ' ἀπέχθης,] οὔ̣τ' ὀνέ̣ερξαι Νῦν με, λἰσσομαι] σέ· θέλω [δύνασθαι μήκετ' οὔτως τοῦ]το πάθη[ν u–x –u–x–u]λ̣αν· ⌟ἔγω δ' ἔμ' αὔτᾳ τοῦτο σύνοιδα⌞ ]· [.]σ̣τοισ[. . .] . [ ]ε̣ναμ[ ]ε̣[ … βʹ· Δύο νοήματα Οὐκ οἶδ' ὄττι θέω· δύο μοι τὰ νοήματα. ２：思考しこうは二ふたつ 心こころにの 事こと分わからない： 思考しこうは二ふたつ。 γʹ· Γλύκηα μᾶτερ Γλύκηα μᾶτερ, οὔτοι δύναμαι κρέκην τὸν ἴστον πόθῳ δάμεισα παῖδος βραδίναν δι’ Ἀφροδίταν. δ· Ἔρος δ' ἐτίναξέ μοι φρένας                  Ἔρος δ᾽ ἐτίναξέ ‹μοι› φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων. ４：我わが心こころ揺ゆる 山やまの上うえ 柏かしわに強つよく 吹ふき付つける 風かぜのように 情欲じょうよくは 私わたしの心こころ 強つよく揺ゆらした。 εʹ· Γλυκύπικρος Ἔρος Ἔρος δηὖτέ μ’ ὀ λυσιμέλης δόνει γλυκύπικρον ἀμάχανον ὄρπετον, Ἄτθι, σοὶ δ᾽ ἔμεθεν μὲν ἀπήχθετο φροντίσδην, ἐπὶ δ’ Ἀνδρομέδαν πότῃ. ς· Ὦ Ἄτθι! [Ἄτθι, σοὶ κἄμ’ Ἀνακτορία φίλα πηλόροισ' ἐνὶ] Σάρδ̤ε[σιν ναίει, πό]λλα̣κ̣ι τ̣υίδε [νῶν ἔχοισα      3 ὤς πο[τ' ἐ]ζώομεν β̣εβά̣ω̣ς̣ [ἔχεν σὲ̤ θέᾳ̣ ϝ̣ικ̣έ̣λαν ἀρι- γνώτᾳ, σᾷ̤ δ̤ὲ μάλιστ̣' ἔχαιρε μόλπᾳ·      6 νῦν δὲ Λύδαισ̣ι̣ν ἐ̤‹μ›πρ̤έ̤πεται γυνα̤ί̣- κεσσ̤ι̣ν̣ ὤς ποτ' ἀε̣λίω̣ δύντος ἀ βροδοδάκ̤τυλος ‹σελάννα›,      9 πάν̣τα πε‹ρ›ρέχοισ' ἄστρα, φάος δ' ἐπί- σχει θά̣λασσαν ἐπ' ἀλμύραν ἴσως καὶ πολυανθέμοις ἀρούραι̤ς,      12 ἀ δ' ‹ἐ›έρσα κάλα κέχυται, τεθά- λαισι δὲ βρόδα κ̣ἄπαλ' ἄν- θρυσκ̣α καὶ μελίλ̣ωτος ἀνθ̣ε̣μ̣ώδης·      15 πόλλα δὲ ζαφο‹ί›ταισ', ἀγάνας̤ ἐπι- μνάσθεισ' Ἄτθιδος, ἰμέ̤ρῳ λ̣έπτα̣ν ‹π›οι φρένα̣, κ[ῆ]ρ̣ ἄσᾳ βόρητα̣ι,      18 κῆθι̣ δ̣' ἔ̤λ̤θην ἄμμ' ὄ̤ξ[υ] βόη· τ‹ὰ› δ' οὐ νῶν γ̤' ἄ[π]υστα νὺξ πολύω̣ς̤ γαρύε̣ι δ[ι'] ἄλος π[όρω]ν τὸ μέσσον.      21 [Ε]ὔ̤μ̤α̤ρ[ες μ]ὲν̣ ο̣ὐ̣κ̣ ἄμμι θέαι̤σ̣ι̤ μόρ- φαν ἐπή̤[ρατ]ον ἐξίσω- σθ̣αι συ[]ρ̣ος ἔχησθ' Ἀ[δ]ωνίδηον,      24 ] . . . το[. . . .] . ρατι μᾶλ[λον      δι' αἴ]θερος καὶ δ[.]μ̣[      ]ος Ἀφροδίτα      27 κἄμ̣μ[ι κάλπιδος] νέκταρ ἔχευ' ἀπὺ χρυσί̣ας̣ . [      ]λ̣ο̣ΐ̣α̣ . . . ἀ]π' ἀπούρ[      ] . χέρσ̣ι̣ Π̣εί̣θω      30 ἐ]θ+έλ+η̣σεν ἠ- πόλλ]α̣κις ] . . . . . ν . . αι      33 ] ἐς τὸ Γεραίσ̤τιο̤ν̤ ] . ν φίλαι ἄπ]υ̣σ̣τον οὖδεν ὄ[ττι      36 ἐς ἴ]ερον ἴξο[μ ζʹ· Ἀοίδα ἐς τὰν Ἀνακτορίαν Φαίνεταί μοι κῆνος ἴσος θέοισιν Ἔμμεν’ ὤνηρ, ὄττις ἐνάντιός τοι Ἰσδάνει καὶ πλάσιον ἆδυ φωνεί- σας ὐπακούει Καὶ γελαίσας ἰμέροεν. τό μ’ ἦ μάν Καρδίαν ἐν στήθεσιν ἐπτόαισεν. Ὠς γὰρ εὔιδον βροχέως σε, φώνας οὖδεν ἔτ’ ἴκει, Ἀλλὰ κὰμ μὲν γλῶσσα ϝέαγε, λέπτον Δ’ αὔτικα χρῷ πῦρ ὐπαδεδρόμακεν, Ὀππάτεσσι δ’ οὖδεν ὄρημμ’, ἐπιρρόμ- βεισι δ᾽ ἄκουαι, Κὰδ δέ μ’ ἴδρως κακχέεται, τρόμος δὲ Παῖσαν ἄγρει, ⌟χλωροτέρα δὲ ποίας Ἔμμι, τεθνάκην δ᾽ ὀλίγω ’πιδεύης φαίνομ’ ἔμ’ αὔτᾳ⌞· Σύστασις βʹ· Κάλλος 集団しゅうだん二に： 美うつくしさ 心こころを触さわる ηʹ· Κέλομαί σε, Γογγύλα Ν]ῦν, φ[ίλα, σὲ μὰν κ]έλομαι· σ[πόλαν σάν, Γο]γγύλα̣, π[έφα]νθι λάβοισ̣α̣ μά[λαν Γλα]κ̣τίνα[ν·] σ̣ὲ δηὖτε πόθος̣ τ[ε αὖτο] Ἀμφιπότ̣αται Τὰν κάλαν· ἀ γὰρ κατάγω̤γις αὔ[τ]α [μ' Ἐπτόαισ' ἴδο[ι]σαν· ἔγω δὲ χ̣α̣ίρω· Καὶ γὰρ αὔτα̣ δ̣ὴ τ[όδ]ε μέμφ[εταί σοι Κ]υπρογέν[ηα· Τ]ᾶς ἄρ̣αμα[ι Τοῦτο τὦ[πος Β]όλλομα[ι … ] θʹ· Ἀοίδα ἐς κάλαν γύναικα […………………… …………………… …] ἔρωτος ἤλγ̣[ει …… Ὄττα γάρ κ' ἐνάν]τ̣ι̣ον εἰσίδω σ[ε Τόττ' ἔμ' οὐ φύν'] Ἐρμιόνᾳ τεαύ[τα Φαίνεται,] ξάνθᾳ δ' Ἐλένᾳ σ' ἐΐσ[κ]ην Οὖδεν ἄει]κες, Αἰ θέ]μις θνάταις· τόδε δ' ἴσθι̤ τᾷ σᾷ Καλλόνᾳ] παίσαν κέ με τᾶν μερίμναν Ταὶς θυήλ]αις' ἀντιδ[όναι, πό]θοις δὲ̤ Παῖσί σε] τί̤η̤ν̣ Ἀχέροντος δ' ἐς δροσόεν]τας ὄχθοις Κατθανοίσας βᾶν κε σέθεν, σέθεν τ'] αἶν' Αὔξετ' ὤς μοι ἔστι τε, παν]νυχίσ[δ]η̣ν [Σύν τέ σ' ἔρημαι.] ιʹ· Φίλτατον Γαῖας γένος Ὀρράνω τε (a) [Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν [Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ- τῳ τις ἔραται. [Πά]γ̣χυ δ' εὔμαρες σύνετον π⌟όησαι⌞ [Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκ⌟έθοισα⌞ Κάλλος [ἀνθ]ρώπων Ἐλένα [τ]⌟ὸ̣ν ἄν⌞δρα Τὸν [πανάρ]ι̣στον Καλλ[ίποι]σ̣' ἔβα 'ς Τροΐαν πλέο̣ι̣⌟σα⌞ κωὐδ[ὲ π]α̣ῖ̣δος οὐδὲ φίλων τ⌟οκήων⌞ Πά[μπαν] ἐμνάσθ' ἀλλὰ παράγ⌟α̣γ' αὔταν⌞ [κ]ω[ὐκ ἀέκοι]σαν [Κύπρις· ἄγν]αμπτον γὰρ [ἔχει] ⌟ν̣όημμα⌞ [Καὶ τέ]λει κούφως τ[ό κε πο]⌟ι νοήσῃ̣⌞ [Ὤς] μ̣ε̣ νῦν Ἀνακτορί[ας ὀ]⌟νεμναί⌞- [σ' οὐ] π̣αρ̣εοίσας. [Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε ⌟βᾶμα⌞ Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδη⌟ν προσώπω⌞ Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλ⌟οισι⌞ [πεσδομ]άχεντας (b) [Ὄλβιον] μὲν οὐ δύνατον γ⌟ένεσθαι⌞ [πάμπ]α̣ν ἀνθρώπ[οις, π]εδέ⌟χην δ' ἄρασθαι⌞ [ἔστιν ἔσλων μοῖραν·] ⌜ἔγω δ' ἔ⌟μ' αὔτᾳ⌞ Τοῦτο σύνοιδα⌝. [Στρωφαί τινες δύνανται τῇδε ἀπολωλεκέσθαι.] . . . γένεσθαι Ο[      ] . . . βὰ̣ς̣ ἐπ' ἄκ̣ρας Τ̣α[      ]ν χ[ί]ον'· ἀ̣ δ̣ὲ̣ πόλλα ⌟Πρ⌞ὸς [ ⌟Ὠς⌞ δ[      ]ω̣ν ἀπέ̣χθ̣ην Τω̣[      ] . δύ̤ν̤ατ', ⌜ὄττινας γὰρ ⌟Εὖ θ⌞έω, κῆνοί με μ⌟άλιστα σ⌞ίνν⌟ον⌞- τ⌝' ⌟ἐξ ἀ⌞δοκή[τω.] ιαʹ· Κλέϊς Ἔστι μοι κάλα πάϊς, || χρυσίοισιν ἀνθέμοισιν ἐμφέρη‹ν› ἔχοισα μόρφαν, || Κλέϊς ‹μοι› ἀγαπάτα, ἀντί τᾶς ἔγω οὐδὲ Λυδίαν || παῖσαν οὐδ' ἔρανναν. [Λέσβον ἐσλάβοιμί κεν… ] １１：クレイス あたくしの 愛いとしい娘むすめ 咲さく花はなの 如ごときに綺麗きれい。 私わたしなら 彼女かのじょの代かわり 全体ぜんたいの リュウディアーと 最愛さいあいの レスボス島しまも 受うけ取とらないわ。 ιβʹ· Ἄστερες καὶ σελήνη Ἄστερες μὲν ἀμφὶ κάλαν σελάνναν Ἂψ ἀπυκρύπτοισι φάεννον εἶδος, Ὄπποτα πλήθοισα μάλιστα λάμπησ’ ἀργυρία γᾶν. １２：月つきと星星ほしぼし 銀色ぎんいろに 輝かがやく月つきは この地球ちきゅう 光ひかりで満みたす あの時ときは、 綺麗きれいな月つきを 巡めぐる星ほし 明あかるい笑顔えがお 早はやく匿かくまう。 Σύστασις γʹ· Ἀπὸ χαράς τᾶς ἀγάπας ἐς ἐπιφανίαις θεάων 集団しゅうだん三さん： 恋こいの喜よろこび 女神めがみの啓示けいじ ιγ· Ἦλθες ἦλθες, κά‹λ'› ἐπόησας, ἔγω δέ σ᾿ ἐμαιόμαν, ὂν δ᾿ ἔ‹ψυ›ξας ἔμαν φρένα καιομέναν πόθῳ· χαῖρε πόλλα ‹σὺ κάλ’› ἰσάριθμά ‹τε› τῷ χρόνῳ. Version A Version B １３：そのお出いで 憧あこがれる 私わたしのために ここにきて あなたはきっと 良よいことを 本当ほんとうにした。 切望せつぼうが 燃もえる心こころを 来くることで 深ふかく冷さました。 全体ぜんたいの その人生じんせいに 良よいことを 楽たのしめること この希望きぼうだわ。 １３：そのお出いで 憧れが 溢あふれる我われに 共ともにいた あなたはまさに 親切しんせつを 大おおに示しめした。 切望せつぼうが 燃もえる心こころを そのお出いで 深ふかく冷さました。 このままでの あなたのために 途切とぎれない 喜悦きえつを取とろう 我わがそう望のぞむ。 ιδʹ· Εἰδύλλιον σὺν τᾷ Ἀφροδίτᾳ Δ̤ε̣ῦρύ μ' ἐκ Κρή̣τα̣̣ς̤ ἐ̤π[ὶ τόνδε] ναῦον Ἄγνον, ὄπ[πᾳ δὴ χ]άριεν μὲν ἄλσος Μαλί[νων, β]ῶμοι δ' ἔ‹ν›ι θυμιάμε̤- ν̣οι̣ λιβ]ανώτῳ· Ἐν ⌟δ' ὔδωρ ψῦχρον κελάδει δι' ὔσδων Μαλίνων⌞, β̤ρόδοισ‹ι› δὲ ⌟παῖς ὀ χῶρος⌞ ‹Ἐσκ›ίαστ̤', ⌟αἰθυσσομένων δὲ φύλλων Κῶμα κατάῤῥει⌞· Ἐν δὲ λείμω[ν] ἰπ̣π̣ό̣β̣οτος τέθαλε Ἠ‹ρί›νοι̣σι̣ν̤ ἄνθεσιν, αἰ δ' ἄηται Μέλλιχα πνέ̤ο̤ισι [φύτων] καρ̣ά̣νο- θεν κατίο‹ι›[σαι.] ⌟Ἔλθε⌞ δὴ σὺ στέμ[ματ'] ἔλ̣ο̣ισ̣α̣, ⌟Κύπρι, χρυσίαισιν ἐν κυλίκεσσιν ἄβρως συμμεμίγμε̣νον θαλίαισι νέκταρ οἰνοχόεισα⌞. ιεʹ· Χερρόμακτρα [Νύκτι τᾷδε σύ μ' εἴσαο, Ὦ χρυσόστεφαν' Ἀφροδίτ' Ὄναρ ἀθανάτω τέω πλέκοισα Κρᾶτος ἀμβροσίαν κόμαν,] Χε‹ρ›ρόμακτρα δὲ κὰ‹κ κ›ό‹μα›ν, Πορφύρα κατα‹ρ›ταμένα, τὰ Τῖμας Ἔς ‹τ›' ἔπεμψ’ ἀπὺ Φωκάας, Δῶρα τίμια κὰ‹κ κ›ό‹μα›ν. ιςʹ· Ὕμνος πρὸς τὴν Ἀφροδίτην Πο⌟ικιλόθρ⌞ον’ ἀθάνατ’ Ἀφρόδιτα, Παῖ Δίος, ⌟δολόπλοκ⌞ε, λίσσομαί σε· ⌟Μή μ’ ἄσαισι⌞ μήτ’ ὀνίαισι δάμνα, Π⌟ότνια, θῦ⌞μον, Ἀλλ⌟ὰ τυίδ’ ἔ⌞λθ’, αἴ ποτα κἀτέρωτα, Τᾶ⌟ς ἔμας αὔ⌞δως ἀίοισα πήλυι, Ἔκλ⌟υες, πάτρο⌞ς δὲ δόμον λίποισα Χ⌟ρύσιον ἦλθ⌞ες, Ἀρ⌟μ’ ὐπ⌞α⌟σδε⌞ύξαισα, κάλοι δέ σ’ ἆγον Ὤ⌟κεες στροῦ⌞θοι περὶ γᾶς μελαίνας, Πύ⌟κνα δίν⌞νεντες πτέρ’ ἀπ’ ὠράνωἴθε- ρ⌟ος διὰ μέσσω⌞, Αἶ⌟ψα δ’ ἐξίκο⌞ντο· σὺ δ’, ὦ Μάκαιρα, ⌟Μηδιάσα⌞ισ’ ἀθανάτῳ προσώπῳ, Ἤ⌟ρε’ ὄττι δ⌞η⌟ὖ⌞τε πέπονθα, κὤττι Δη⌟ὖτε κάλ⌞η⌟μ⌞ι, Κ⌟ὤττι μ⌞ο⌟ι⌞ μάλιστα θέλω γένεσθαι Μ⌟αινόλᾳ⌞ θύμῳ· «τίνα δηὖτε †πείθω ‹Κ›α⌟ί σ’ ἄγην⌞† ἐς ‹ϝ›ὰν φιλότατα, τίς τ’, ὦ Ψά⌟πφ⌞’, ἀδικήει; Καὶ γὰρ αἰ φεύγει, ταχέως διώξει, Αἰ δὲ δῶρα μὴ δέκετ’, ἄλλα δώσει, Αἰ δὲ μὴ φίλει, ταχέως φιλήσει, Κωὐκ ἐθέλοισα». Ἔλθε μοι καὶ νῦν, χαλέπαν δὲ λῦσον Ἐκ μερίμναν, ὄσσα δέ μοι τέλεσσαι θῦμος ἰμέρρει, τέλεσον· σὺ δ᾽ αὔτα σύμμαχος ἔσσο. ιζʹ· Πότνια Ἥρα ⌟Πλά⌞σιον δή μ[' ἄμφι β]⌟ρέμοισ' ἀ⌞[γέσθ]⌟ω⌞, ⌟Πότ⌞νι' Ἦρα, σὰ χ[αρίεσ]⌟σ' ἐόρτ̣α⌞ ⌟Τὰν ἀ⌞ράταν Ἀτρ[εΐδα]⌟ι π̤ό̤ησαν⌞- ⌟τ' οἰ β⌞ασίληες ⌟Ἐκτε⌞λέσσαντες μ̣[εγα]⌟λ̣οις ἀέθλοι⌞[ς ⌟Πρῶτ⌞α μὲν πὲρ Ἴ̤[λιο]⌟ν, ἄψερον δὲ̣⌞ ⌟Τυίδ' ἀ⌞πορμάθεν̣̣[τες· ὄδ]⌟ον γὰρ ε̣ὔρ̣η⌞[ν ⌟Οὐκ ἐδ⌞ύναντο ⌟Πρὶν σ⌞ὲ καὶ Δί' ἀντ̤[ίαον] ⌟π̣εδέλθην⌞ ⌟Καὶ Θυ⌞ώνας ἰμμ[ερόεντα] ⌟παῖδα̣⌞ ⌟Νῦν δὲ⌞ κ[ἄμμες σοὶ γερά]⌟ρα π̣όημεν⌞ ⌟Κὰτ τὸ⌞ πά[λαιον ⌟Ἄγνα κ⌞αὶ κα̣[λ'· εἶσι δὲ τυίδ' ὄδ' ὄχ]⌟λος⌞ ⌟Παρθε⌞[νων τ' ἄμ' εὐχομέναν γ]⌟υναίκων⌞· ⌟Ἀμ̣φὶ σ̣ὸ⌞[ν βῶμον πύκιναι θέλοισι] ⌟Μέτρ' ὀλ⌞[ολύσδην ] . . α̣ν̣ιλ[[ Ἔμμεν[ ρ̣απικε[ ιηʹ· Περὶ τὸ τέλεσαι ἐόρταν … π]α̣ρκάλεισ̣ι τὰς ἐλ̣[ πάμ]παν· οὐκ ἔχη[σθα, πόθεν δυναίμαν, μ]⌜ᾶ̤τ⌟ερ, ἐόρταν⌞⌝ φαιδί]⌜⌟μ̣αν⌞ ὤ⌟ρᾳ τέλ⌝ε⌞[σαι; τὸ δ' ἐστὶ χάρμ' ἐ]⌜παμέ⌟ρων· ἔμ⌞⌝[ε δ' εὔφρον' εἴη τυγχά]⌜ν̤η̣ν̤, θ̣⌟ᾶς ἄμ⌞⌝[μι θέοι δίδωσι φθόγγ]⌜ο̣ν ἄκο⌟υσαι⌞⌝ Πακτίδ]ω̣ν' οὖτ⌟ος δ⌝ὲ⌞[u–u–x –u] ⌜ἢ νῦν̣ ἀ̣β⌟λ̣α̣⌝β⌞[ u–u–x –u]α̣ς δίδων τα[u–u–x –u π]όησεν· . . . . . ]ἐ̣πισ̣σ̣[ –u– ἄ]ν̣υστον· ε̣[–u–x κῆ]νο τελέσθ̣η[ν –] δ̣' ἔ̣γω πάμπ[αν uu–u–x –u] . αν . γλώσσα [uu–u–x –] . τα̣πυγνώ[–uu–u–x –] ἄρ' ὀφέλλης̣ –] ἔρων ε . . [–uu–u–x … Σύστασις δʹ· Ἐπιθαλάμια 集団しゅうだん四よん： 婚礼こんれいの詩うた ιθʹ· Ἔκτωρ καὶ Ἀνδρομάχα Κυπρο  ̣[         22-24 letters    ]αι  ̣ Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις Ἴδαος τάδε κα[ῖν]α [φόρ]εις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος «[Eἶς ἢ πλείονες ἂπ στίχοι εἶσι, τελεύταος Τούτων ἐν δὲ τελεύτᾳ ἴσως ἔχεν      Ἰλίω] Τᾶς τ᾽ ἄλλας Ἀσίας [τά]δ̣᾽ ἔσ̤αν κλέος̣ ἄφθιτον· Ἔκτωρ κ‹ο›ἰ συν̣έται̣ρ[ο]ι̣ ἄ̣γοισ᾽ ἐλικώπιδ̣α̣ Θήβας ἐξ ἰέρας Πλακίας τ᾽ ἀπ᾽ [ἀϊ]‹ν›νάω Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον Πόντο̣ν̣· πόλλα δ̣᾽ [ἐλί]γ̣ματα χρ̣ύσια κἄμματα Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ιλ᾽ ἀθύρματα, Ἀργύρ[α τ᾽] ἀνάριθμα ποτήρια κἀλέφαις. Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρουσε̣ π̤άτ̣[ηρ] φίλος· Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρύ̣χ[ορο]ν φίλοις· Αὔτικ’ Ἰλίαδαι σατίναι[ς] ὐπ’ ἐϋ̣τρόχοι̣ς Ἆγ̣[ο]ν αἰμονίοις̣· ἐπ[έ]β̤αινε̣ δὲ παῖς ὄχλος Γ̣υνάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν τ̣’ ἀ[παλ]οσ̣φ̣ύρω‹ν›· Χῶρις δ’ αὖ Περάμοιο θύγ̣[α]τρ̤ες [ἐπήϊσαν] Ἴππ̣[οις] δ̣’ ἄνδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα, σὺν δ’ ἴσαν] Π[άντ]ες ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [ἴεν μέγας] Δ[ᾶμος], κἀν̣ιόχοι φ[αλάροισι κεκαδμέναις] Π̣[ώλοις ἔ]ξαγο[ν ἐκ πόλεως τότα τᾶς φίλας. Στίχοις τυίδε λέγοισιν ἀπέμμεν ἄπαντες αὖ. [Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς [Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες] Ὄρ̣μα‹ν›α̤⌞[ι τότα Τρῶες ἔβαι]νον ἐς Ἴλιο[ν], Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη⌞[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το] Καὶ ψ[ό]φο[ς κ]ροτάλ⌞[ων, λίγε]ως δ’ ἄρα πάρ̣[θενοι] Ἄειδον μέλος ἄγν⌞[ον, ἴκα]νε δ’ ἐς̣ αἴ[θερα] Ἄχω θεσπε̣σί̣[α], γέλ̤⌞[ος Πάντᾳ δ’ ἦς κὰτ ὄδο⌞[ις Κράτηρες ⌜φίαλ⌝α̣ι̣ ρ̤⌜ο⌞⌝[. . .] . ε̣δ̣ε̣ [. .] . [.] . [ Μύρρα καὶ κασία λίβ⌞ανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣ ⌜Γύ⌝ν⌜αικες δ⌝’ ὀ⌜λό̤λυσδ⌝ο⌞ν̣ ὄ̣σαι προγενέστερα[ι], ⌜Πάντες δ’ ἄνδρ⌝ε⌜ς⌝ ἐ̣⌞πήρατον ἴαχον ὄρθιον ⌜Πάον’ ὀνκαλέο⌝ν⌜τες⌞ ἐκάβολον εὐλὐραν, ῎⌜Υμνην δ' Ἔκτορα κἈ⌞νδρομάχαν θεοίκελο[ις Δευτέρῳ τῷ ἔγω λέγον· «Ἂπ στίχοι εἶσι τυίδ’», Ἴσως Σάπφικον ἄλλο πόημα ποτῆρχε κῆ. κʹ· Δαύοις Δαύοις ἀπάλας ἐτα‹ί›ρας ἐν στήθεσιν . ２０：眠ねむれるように 溺愛できあいな 彼女かのじょ抱　だかれて 眠ねむれるように。 καʹ· Ἀείσωμεν ὑπὲρ τοῦ ζεύγεος . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . νύκτ[. . . ]. [ ] πάρθενοι δ[ὲ ταίσδεσι πρὸς θύραισιν] παννυχίσδοι[σ]α̣̣ι[, πολύολβε γάμβρε,] σὰν ἀείδοιε̣ν φ[ιλότατα καὶ νύμ-] φας ἰοκόλπω. ἀλλ᾽ ἐγέρθε̣ı̣ς, ἠϊθ[έοις καλέσσαις] στεῖχε σοὶς ὐμάλικ̣[ας, ὠς ἐλάσσω] ἤπερ ὄσσον ἀ λιγ̣ύφω̣[νος ὄρνις] ὔπνον [ἴ]δωμ̣εν. κβ· ᾽Υμήναον Ἴψοι δὴ τὸ μέλαθρον, ὐμήναον, ἀέρρετε, τέκτονες ἄνδρες· ὐμήναον. 5 γάμβρος ϝῖσος Ἄρευι, ὐμήναον, ἄνδρος μεγάλω πόλυ μέσδων, ὐμήναον. Πέρροχος, ὤς ποτ' ἄοιδος ᾽Υμήναον Ὀ Λέσβιος ἀλλοδάποισιν. ᾽Υμήναον κγ· Οἶον τὸ γλυκύμαλον Σαπφοῦς ἦν ἄρα μήλῳ μὲν εἰκάσαι τὴν κόρην οἶον τὸ γλυκύμαλον ἐρεύθεται ἄκρῳ ἐπ’ ὔσδῳ, ἄκρον ἐπ’ ἀκροτάτῳ, λελάθοντο δὲ μαλοδρόπηες· οὐ μὰν ἐκλελάθοντ’, ἀλλ’ οὐκ ἐδύναντ’ ἐπίκεσθαι… τὸν νυμφίον τε Ἀχιλλεῖ παρομοιῶσαι καὶ εἰς ταὐτὸν ἀγαγεῖν τῷ ἥρωϊ τὸν νεανίσκον ταῖς πράξεισι. κδʹ· Οἴαν τὰν ὐάκινθον Οἴαν τὰν υάκινθον ἐν ὤρεσι ποίμενες ἄνδρες πόσσι καταστείβοισι, χάμαι δέ τε πόρφυρον ἄνθος... κεʹ· Ὄλβιε γάμβρε Ὄλβιε γάμβρε, σοὶ μὲν δὴ γάμος ὠς ἄραο ἐκτετέλεστ’, ἔχηις δὲ πάρθενον, ἂν ἄραο. Σοὶ χάριεν μὲν εἶδος, ὄππατα δ’ ‹ἐστί, νύμφα›, μέλλιχ’, ἔρος δ’ ἐπ’ ἰμέρτῳ κέχυται προσώπῳ· 5 ‹Δῆλα τὰ δὴ› τετίμακ’ ἔξοχά σ’ Ἀφροδίτα. Σύστασις εʹ· Λύπα, ὄργα, ἔχθρα 集団しゅうだん五ご： 悲かなしみと 怒いかりと敵意てきい κςʹ· Καλλέλοιπάς με [Καλλέλοιπάς μ’. Ὦμ’.] Ἐμέθεν δ’ ἔχησθα ‹ Ἤ σὺ› λάθαν, [φιλτάτα,] ἤ τιν’ ἄλλον ‹Μᾶλλον› ἀνθρώπων ἐμέθεν φίλησθα; [Εἴ τινα, τίς δέ;]/[Τίς δὲ ὅς ἐστι;] ２６：あたくしを　引ひき離はなしたわ！ あたくしを 引ひき離はなしたわ！ 忘わすれたか？ あたくしよりも 他ほかの人ひと 愛あいしているか？ 誰だれだろうかな？ κζʹ· Δέδυκε μὲν ἀ σελάννα Δέδυκε μὲν ἀ σελάννα καὶ Πληίαδες· μέσαι δὲ νύκτες, παρὰ δ’ ἔρχετ’ ὤρα· ἔγω δὲ μόνα κατεύδω. ２７：太陰たいいんが　すでに沈しずんだ 太陰たいいんや 昴すばるがすでに あの海うみの 下したに沈しずんだ。 真夜中まよなかの 時間じかんがまさに 早はやく経たつ。 このまま我われが 一人ひとりで眠ねむる。 κηʹ· Ἀγροΐωτις Τίς ‹σοι› δ' ἀγροΐωτις ‹θαλύει νῦν› νόον, ‹ὄττα δὴ› Στόλαν ἀγροΐωτιν ‹περιβαίνει τοι› ἐπεμμένα, Οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων; ２８：粗野そやな女性じょせいは 足首あしくびの 上うえに上あげない 本当ほんとうに 粗野そやな衣服いふくを 着きる時ときは その心こころを 引ひきつける 粗野そやな女性じょせいは 誰だれだろうがな？ κθʹ· Στάθι κἄντα Καὶ ἡ Σαπφὼ δὲ πρὸς τὸν ὑπερβαλλόντως θαυμαζόμενον τὴν μορφὴν καὶ καλὸν εἶναι νομιζόμενόν φησι· [Σὺ] στᾶθι ‹τυίδε› κἄντα ‹'μέθεν›, φίλος, καὶ τὰν ἐπ' ὄσσοις ὀμπέτασον χάριν. λʹ· Κατθάνοισα δὲ κείσῃ 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. λαʹ· Μνάσετάι τις Μνάσεσθαί τινα φαῖμι καὶ ‹ὔσ›τερον ἀμμέων. λβʹ· Κατὰ Ἀνδρομέδαν ] . ακάλα . [ x–uu– – Δίος ἐξ] α̣ἰ̣γιόχω λά[χοισα x–uu– – ] . Κ̣υ̣θέρη' ε̣ὐχομ[ένᾳ μ' ἄρηξον x–uu– –uu– πρόφρ]ο̣ν ἔχοισα θῦμο̣[ν x–uu– κλ]ῦθί μ̣' ἄρας αἴ π[οτα κἀτέρωτα x–uu– –uu– ]ας π̣ρ̣ολίποισ̣α Κ[ύπρον x–uu– –uu ἦλθε]ς πεδ' ἔμαν ἰώ[αν x–uu– –uu– –] . ν χα̣λέπᾳ μ[ερίμνᾳ [Three lost lines] ] . ν ]α̣ θέ]ων μακ[άρων –uu– –uu– ] τύχοισα [κ]αὶ τοῦτ ἐπίκει[ρην, ἄγ', ἐμον πῆμα] θέλ' ὦν τ', ἀπαίσᾱν [δ]αίμων ὀλοφ[ῴα φρένας, ὦμοι τέ]λεσον νόημμα σ̣ὺ μὰν ἐφίλης̣ [καί μ' ἐτέλης πάντα γ]ε, τῶν κάλημ‹μ›ι νῦν δ' ἔννεκα [τοῦτ' ἄρκεσον ὦμοι] πεδὰ θῦμον αἶψα τόδ' αἴτιον οὔτ' [αἶσχρον, ἔφα, κὤ]σ̣σα τύχην θελήσῃς οὐδὲν πόλυ πά[σασθαι, ἀλάθως γὰ]ρ ἔμοι μάχεσθαι      7 ο]ὐδ' Ἀ[νδ]ρομέ[δ' οἶ', ὄσσα δίαιται χ]λιδάνᾳ 'πίθεισα δράσ', οὐ] λελάθ̣[ην ἀθανάτοις ἔστ]ι, σὺ δ' εὖ γὰρ οἶσθα κρότ̣ην Νέμε[σιν κῆνον ὂς αἶσχρ' οἶδε κρ]έτει τ' ἀ[ό]λλεων Ψάπφοι, σε φίλ[εισ' ἀμφ' ὀχέεσ' ἤρμοσε κύ]κλ̣α σ[οί τε] Κύπρῳ β̣[α]σίλ[η' ἦλθ' ἰκετεύοισα Δί' αἶψα σέ]μνα κ̣αί τοι μέγα δῶ[ρον Κρονίδαις ϝο]ῖ κατέν̤[ευσ' ὀπάσδην ὄ]σσοις φαέθων̣ [Ἀέλοις φέγγεσιν ἀμφιβ]άσ̣κ[ει πάντᾳ κλέος [ἔσλον καί σ' ἐνν Ἀχέρ[οντος . . [. . . . . .]ν̣π̣[ [6 lost lines] λγʹ· Περὶ ἐξορίας ] . . [.] . [x–uu– –uu κα]ὶ̣ γάρ μ' ἀπὺ τᾶς ἔμ[ας γᾶς] ἄ̣μι[λ]λ' ἀ̣[πεκίν]ησ' ἀδο[κητ –u ] ὔμως δ' ἔγεν[το μ]νᾶμ[' οὐ [uu– ἀλ]λ̣ὰ . [u– –u] ἴσαν θέοισιν [νῦ]ν̣ δ' εἶμ' ἐ[πὶ ταύτᾱν ὀ]νίᾱν [δὴ καὶ] ἄσᾱν ἀλίτραν [ἐπο]ρ̣σομέν[α, σὺν δ' ὀ]δ̣ύν[αισ' Ἀν]δρομέδαν̣ [ὐ]πάξ[ει ἀπά]λικ' ὐπ' ἄ[ρμ' ὐψ]ιμέδο̣[ισ'] Ἄρ[τεμι]ς ἀ μάκα[ιρ]α· [ἀ δ'] οὐκ [ἀ]βά[κην] μὰ‹ν› στέ̣[ρ]εον δὲ τρόπον α[ἰσ]χύνηται οὔτι]ς̣ γὰρ ἔ̣παυ[σ' ὄ]γ̣κ[ον ἐν αὔτᾳ,] κόρον οὐ κατίσχει [ἦ] μάν κ' ἀπυθυσ' [ὦ]κ̣' ἀ[γέλα]ν Τυνδαρίδαι[σιν ἄρνων] ] ἀρμονίας δ' ἀσυ[χ]ίᾳ κὰ[τ] χαρίεντ' ἀρ[έσκοι γ]άθην χόρον, ἆ, α[ἴ] κ' ἄδολον [μ]ηκέτι συν[ πᾶκτιν] δ̣ὲ λίγηαν Μεγάραν [τὰ]ν̣ ἀ[κάλ]α[ν λάβοισαν δύν]ατόν σφι̣[ ]πάντεσσι[ ]επ[.] . [ λδʹ· Κατὰ Πωλυανακτίδαις .] . γα . πεδὰ βαῖο̣[ν ] . α . [.]οῖ Πωλυανάκτ[ιδ]α . . [ . . . αισ Σαμία‹ι›σιν ι̣ε . [.]το̣ισ . . . . [.] []      Κόρω̣νιςσ̣υκ̣ . ν   ‹ἐν› χόρδαισι διακρέ̣κην ο̣λ̣ι̣σ̣β̣οδόκο̣ι̣σ̣‹ι› περκαθθώμενος τεούτ[οι]σι φιλοφ[ό]νως πᾶ]κτις δ' ἐλελίσδ[ε]ται προσ̣ανέ̣ως εὔφ]ωνος δὲ δι' ο[στί]ων ἔρπει] μυάλ̣ω δ' ἐ[πε]ί κ' ἔ̣νη̣ τ̣ρ̣[έχε]ι {χ . .} λεʹ· Πρὸς Ἀπόλλωνα Λάτως] τε κα̣ὶ Δ̣ί̣[ος] πάϊ[ς] ] . . ε . . . [.] ἔπι[]θ̤' ὄρ̣γιον[ Γρύνη]α[ν] ὐλ̣ώδ̣η λίπ̣ων καὶ σὸν κλύ]το̣ν̣ χ̣ρ̣η[σ]τ̣ήριον ].[          ] . ε̣υμες̣[. .] . [.]ων ] . . . . [. . . . .] ] . . . . . . ἀ[μ]έ̣ραις ]ρ̣σανον[.] . ὀτ[    ]ργία̣ν ]υ̣σομεν [    ] ]νϋμνε[          ] κ̣α̣[          ]ε̣να̣[.]φο . [. . .]ν . ἀδελφέαν ὠς πάϊ[ς      ] . ιο̣ . [. . .] . [      ] οὔτις δε̣[. . .]κει̣ . θέ̣λ̣η[ι          ] δεί̣χ̣ν̣υσ[ι . .]ε δηὖτε Πωλ̣υ̣ανακτίδαν τὸν μάρ̣γον̣ ὄν̣δε̣ιξα̣ι̣ θέλω λςʹ· Κατάρα . . . . . ]α̣ μάκαι[ρα. . . . . . . . . . ]εὐπλο.[. . . . . . . . . .κ]ρ̣ᾶτος κα[ὶ . . . . . . . . . ] [ὄσσα δὲ πρ]⌟όσθ⌞’ [ἄμ]βροτε κῆ[ν’ ἔλυσεν] . . . . . ]⌟αταις̣⌞ [ἀ]ν̣εμ̣[. . . . . [σὺν κάλᾳ] ⌟τ̣ύχᾳ λί⌞μ̣[]ε̣νος κλ[. . . . . . . . . . ]⌟.⌞[. . . . . [Κύ]πρι, κα[ί σ]ε πι[κροτάτ]α̣ν ἐπεύ[ροι μη]δὲ καυχάσ[α]ιτο τόδ’ ἐννέ[ποισα Δ]ωρίχα, τὸ δεύ[τ]ερον ὠς πόθε[ννον εἰς] ἔρον ἦλθε. Σύστασις ςʹ· Ψάπφω καὶ ἄδελφος ϝός 集団しゅうだん六ろく： サッフォーと兄あに λζʹ· Πρὸς Νηρήϊδας Πότνιαι Ν⌝ηρήϊδε̣ς, ἀβλάβη[ν μοι Τὸν̣ κ̣ασίγν⌝ητον δ[ό]τε τυί̤δ' ἴ̤κε̤σ̣θα[ι Κὤττι ϝῷ⌝ θύμῳ κε̤ θέλη γένεσθαι Κῆνο τελέ⌝σθην· Ὄσσα δ̤ὲ π⌝[ρ]ό̣σθ' ἄμβροτε πάντα̤ λῦσ[αι Καὶ φίλ̣οισι⌝ ϝοῖσι χάραν γένεσθαι Κὠνίαν ἔ⌝χ̤θροισι, γ̣ένοιτο δ' ἄμμι Μ̣ή̣δαμα μ⌝ήδεις Τὰ̣ν̣ κασιγν⌝ήταν̣ δὲ [θ]έλοι πόη̤σθα[ι Μέ]σδονο⌝[ς] τίμας, [ὀν]ίαν δὲ λύγραν Ἐκλύ]ο⌝[ιτ']ο τ̣οῖσι [πάρ]οιθ' ἀχε̣ύων [Αὖτος ἐδά]μνα Κῆρ, ὀνείδισ]μ̤' εἰσαΐω[ν], τ̣ὸ κ' ἐγ χρῷ Κἄμ]μ̣⌝' [ἔκερ]ρ' ἐ̤παγ[ορί]ᾳ πολίτ̤αν Ὤ̣ς̣ ποτ' οὐ̣⌝[κ ἄ]λλω̣ς̣, [ἐσύ]νηκε δ' αὖτ' οὐ δεν διὰ μ⌝[ά]κρω Καί τι μᾶ⌝[λλ]ον αἰ κ[λ]έο[ς ἐν βρότοι]σ̤ι Γ]ν̣ώσε̣τ⌝[ἂψ οἲ]ο̣ν̣, σὺ [δὲ,] Κύπ̤[ρ]ι σ[έμ]να, Ο̣ὐκ ὄ̤ν̤ε⌝[κτον καττθε]μέν̣α κάκ̣αν [ὔβ- ριν, πίθε ἄμμ]ι ληʹ· Εὔχα ὤστε ἀποτρέπην χειμερίαις πορείαις . . . . . . . . . . . . . . . ] ἔπι[θ]ε̣ς μά[καιρα . . . . ]ε̣ γάνος δὲ καὶ [. . . . . . . . . . . . τ]ύχᾳ σὺν ἔσλᾳ    .[ . . λί]⌟μεν⌞ος κρέτησαι . . . . γ]ᾶς μελαίνας [. . . . . Ἐν θυέλλαισι ζαφ]έλοισι ναῦται [ἐκφοβήθεντες μ]εγάλαις ἀήται̣[ς ἄββαλον τὰ φόρτι]α κἀπὶ χέρσω [πλοῖον ὄκελλαν· μὴ μάλιστ’ ἔγωγ’] ἄμοθεν πλέοιμ̣[ι χειμάσαντος μη]δὲ τὰ φόρτι’ εἶκ[α ἐς βάθηα πόντο]ν̣ ἄτιμ’, ἐπείκη,̣ [πάντα βάλοιμι· αἰ δὲ Νήρηϊ προ]ρέοντι πόμπᾳ [ἐννάλῳ τἄμ’ ἐξέσετ]αι δέκε̣[σθαι φόρτι’, ὠς τάχιστά γ’ ἄραμαι ὠς] εἴ[- ᾳ τά μ’ ἐσέλθην. . . . . . ]ι̣ν ἔργα̣ . . . . . ] χ̣έρσω̣ [.] . . . . . ]γ̣α . . . . . ] λθʹ· Ἄεισμα τῶν ἀδέλφων "Π[όλλα δὴ πεπόνθαμεν, ἀλλ' ἐπέλθοι Νᾶϊ συν πλήᾳ νυ Χάραξος ἄμμι!"· Πόλ]λα̣ [καὶ νῦν πάσχομεν αὖ, πόνος δὲ Ἦλθέ] σε, Μα[ῖα], Ἀλλ' ἄϊ θρύλησθα Χάραξον ἔλθην νᾶϊ σὺ‹ν› πλ‹ή›ᾳ· τὰ μὲν̣, οἴο̣μ̣αι, Ζεῦς οἶδε σὔμπαντές τε θέοι, σὲ δ' οὐ χρὴ ταῦτα νό‹η›σθαι, ἀλλὰ καὶ πέμπην ἔμε καὶ κέλεσθαι πόλλα λί̣σσεσθαι βασι̣λ̣ήαν Ἤ̣ραν ἐξίκεσθαι τυίδε σάαν ἄγοντα νᾶα Χάραξον, κἄμμ' ἐπεύρην ἀρτέμεας· τὰ δ' ἄλλα πάντα δαιμόνεσσ̣ιν ἐπιτρόπωμεν· εὔδια̣ι ‹γ›ὰ̣ρ̣ ἐκ μεγάλαν ἀήτα̣ν̣ αἶψα̣ π̣έλονται· τῶν κε βόλληται βασίλευς Ὀλύμπω Δαίμον' ἐκ πόνων ἐπάρωγον ἤδη περτρόπην, κῆνοι μάκαρες πέλονται καὶ πολύολβοι. Κ̣ἄμμες, αἴ κε τὰν κεφά̣λ̣α̣ν ἀέρρ̣η Λάριχος, καὶ δή ποτ' ἄνηρ ‹γ›ένηται, καὶ μάλ' ἐκ πόλλαν βαρυθυ̣μίαν̣ κεν αἶψα λύθειμεν. μʹ· Πρὸς Χάραξον Ἐκδοκὴ αʹ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ] δώσην. 4 Αἰ κλ]ύτων μέν τ’ ἐπ[πότεαι πεδ’ ἄνδρων κωὐ κ]άλων κἄσλων, ἐ[νέπεις δὲ χαίρην τοὶς φί]λοις, λύπης τέ μ[ε, σοὶ γένεσθαι φαὶς ἔ]μ’ ὄνειδος, 8 ἦτορ] οἰδήσαις, ἐπὶ τα̣[ῦτ’ ἀρέσκε͜ο καρδ]ίαν· ἄσαιο· τὸ γὰρ ν̤[όημμα τὦ]μον οὐκ οὔτω μ[αλάκως χόλᾳ παί- δων] διάκηται· 12 ἀλλὰ] μὴ̣ δ̣⍑ό̣αζε· [γέροντας ὄρνῑς οὐκ ἄγρη βρό]χ̣ις· συνίημ[’ ἔγω σε οἶ πρὶν ἐσπό]λ̣ης κακότατο[ς, οἴῳ δ’ ἀντετέθη]μεν 16 δαΐῳ. Σὺ δ’ ὦ]ν ἀτέραις, με[μήλων λῳόνων, τίθ]η φρένας· εὔ[κολον γὰρ νῶν τράφοισ]α̣ τοὶς μάκα[ρας σάφ’ οἶδ’ ἔ- μοι παρέοντας.] 20 Ἐκδοκὴ βʹ . . . . . . . . . . . . . . . . . . . . [–u– τύ κεν δοκίμοις χάριν μοι οὐκ ἀπυ]δώσην [συμφ]ύτων μέντ' ἐπτ[ατόνοις λύραισι καὶ κ]άλων κἄσλων ἐ[πέων ἀπέλλης τοὶς φί]λοις, λύπης τέ μ[ε, κἀπορίπτης εἰς ἔ]μ' ὄνειδος. [ᾦ κεν] οἰδήσαις ἐπί τ[ᾷ τε λώβᾳ καρδί]αν ἄσαιο· τὸ γὰρ [νόημμα τὦ]μον οὐκ οὔτω μ[αλάκως πρὸς ὄργαν σὰν] διάκηται. ...]. μη̣δ̣ [... Σύστασις ζʹ· Νοσταλγία τᾶς νεότατος 集団しゅうだん七しち： 若者わかものに 深ふかい懐旧かいきゅう μαʹ· Ἦσθα καὶ γὰρ δὴ σὺ παίς ποτ' ἄβρα . . . . . . . . . . . . . . . ]καιπ[. . . . . . . . . . ] . [.] . [.]ν̣οσ[. . . . . – ^ ^ – ]σι·[. . . . . 4 ἦσθ]α καὶ γὰρ δὴ σὺ̣ πάϊς ποτ' [ἄβρα κἀφ]ί̣λ̣ης μέλπεσθ'· ἄγι ταῦτα [πάντα σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος ἄ]δρα χάρισσαι· σ]τείχομεν γὰρ ἐς γάμον· εὖ δέ [δέρκῃ κα]ὶ σὺ τοῦτ'· ἀλλ' ὄττι τάχιστ̣ά [παίσαις πα]ρ[θ]ένοις ἄπ[π]εμπε, θέοι [δ' ἄτιμον μηδὲ]ν ἔ̣̣χοιεν̣. ἀστίβης] ὄ̣δος μ[έ]γαν εἰς Ὄλ̣[υμπον ἀ]νθρώ[πῳ ]αίκ . [ [................ ................] μβʹ· Ὦ ἄγαναι γύναικες Αἶσ' ἔγων ἔ]φα̤ν· ἄγα[ναι γύναικες, Ο]ἶ[α μ]εμνάσεσθ' ἄ̤[ϊ μέχρι γῆρας, κ]αὶ γ̣' ἄρ' ἄμμες ἐν νεό̣[τατι λάμπρᾳ Ταῦ̣τ' ἐπόημ̣μεν. Πό̣λ̣λ̣α̤ [μ]ὲν γὰρ γαὶ κά[λα κἄγν' ἐν αὔτᾳ [Ἐκ]πο̣νήσ[α]μεν· πόλι[ν αὖ λιποίσαις ῎Υ]μμε̤ δ' ὀ[ξ]είαις δ[άκε μοι βλεποίσᾳ Θ]ῦμ[ο]ν ἄ[σαισι Ἴμμερος. μγʹ· Αἰ δέ μοι γάλακτος ἔτ' ἦν [Αἰ δέ μοι γάλακτο]ς ἐπάβολ' ἦσ[κε τωὔθατ' ἢ παίδ]ων δολόφυν [ποήσ]ε[ι 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] ἄεισον ἄμμι [τὰν ἰόκολπον. ἔ]ρων μά̣λ̣ιστα ] ἆ̣ς π[λά]ναται̣ [................ ................] μδʹ· Μοίσαν δῶρα [ὔμμες πεδὰ Μοίσαν ἰο]⌟κόλ̤↵πων κάλα δῶρα παῖδες⌞ [σπουδάσδετε καὶ τὰ]⌟ν ↵φιλἄοιδον λιγύραν χ⌞ελύνναν· [ἔμοι δ' ἄπαλον πρίν] ⌟ποτ⌞' [ἔ]⌟ο↵ντα⌞ χρό⌟α γῆρα⌞ς ⌜ἤδη⌝ [ἐπέλλαβε, λεῦκαι δ' ἐ]⌟γένο↵ντο τρίχες ἐκ μ⌞⌜ελαίναν⌝, ⌟βάρυς δέ μ' ὀ θῦμ⌞[ο]⌟ς πεπόητ↵αι, γ⌞όνα ⌟δ' οὐ φ⌞έροισι, ⌟τὰ δή ποτα λαίψηρ' ἔον ὄρ̣χ↵ησθ' ἴσα νεβρίοισιν⌞. τα]⌟‹ῦ›τα στεναχί‹σδ›ω θαμέως ἀ↵λλὰ τί κεν ποεί⌞ην; ⌟ἀγή̣ραον ἄνθρωπον ἔοντ' ↵οὐ δύνατον γένε⌞σθαι· ⌜καὶ γ⌝⌟άρ ⌜π⌝⌞[ο]⌟τα ⌜Τίθω⌝νον ἔφαντο ↵βροδόπαχυ⌞ν ⌜ἔρῳ δ̣έ̤[π]ας̣ εἰσαν⌝⌟βάμεν εἰς ἔσ↵χατα γᾶς⌞ φέροισα [Αὔων ⌜ἔοντα [κ]ά̤λ̤ο̤ν καὶ ν⌝⌟έον, ἀλλ' αὖτ̣↵ον ὔμως ἔμ⌞αρψε[ ⌜χρόνω̣‹ι› π̣[ό]λιον̤ γ̤ῆ̤ρα⌝⌟ς ἔ⌞[χοντ'] ⌟ἀθ⌞[α]⌟ν↵άταν ἄκοιτιν⌞. Σύστασις η· Περὶ τὸ ἀοιδάμεν 集団しゅうだん八はち： 歌うたう事こと μεʹ· Κρέσσονι θῆται στύματι πρόκοψιν . . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . .] . δα [–x . . . .] ̣πέρι̣[ . . .] ̣εικε ̣[. . . . . . . . . . . . . . . . . . . . . . ] . α [ x–uu––uu––uu– φ]ύγοισα̣[ x–u ἐχίδνας] ̣[.] ̣[uu––u ὄδοντ]ι ̣δάχθην̣ x–uu– πάγ]χ̣υ̣ θ[έ]ο̣ι· [Κ]α̣λλ̣[οόπα, σὺ δ' α]ὔτα̣ν . . . . . . . . . . . . . ] . χ̣θο[. .]ατι . [......]ε̣ισα x–uu– κεκλο]μένα τὰν [πολυ]ώ̣νυμόν σ̤ε̤ x–uu– κρέσσο]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣ ４５：より良く歌うたう　人ひと勝かてように 。。。読よんだ。。。 。。。の回まわりに。。。 。。。逃にげたから。。。 蛇へびにより 我われが噛かまれた 。。。神々かみがみが 全まったく。。。 。。。でもあなた、 アアカリオパー。。。 多おおい名なが あるのあなたを 読よんだ時とき より良よく歌うたう 人ひと勝かてように。 μςʹ· Νῦν θαλία παρέστω Ἐκδοκὴ αʹ ] . 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 Ἐκδοκὴ βʹ ] . οὐ[ ] ε̣ὐχο̣μ̣[ ἔμαισιν ἐταίραις ἄμ' ἔμο]ι νῦν θαλία̣ γ̣ε[νέσθω ἐπεὶ δέ κε γήραισα θάνω,] νέρθε δὲ γᾶς γ̣έν[ωμ]α̣ι καὶ μοισόπολων ἔσλ]ον ἔχοι̣σαν̣ γέρας ὠς̣ [ἔ]ο̣ικε̣ν οὔ κέν μ' ἔτι θαυμά]ζοιε̣ν̣ ὠς νῦν ἐπὶ γᾶς ἔοισαν· φαίνην δὸς ἀοίδαν] λιγύρ̤α̤ν [α]ἴ κεν ἔλοισα πᾶκτιν[ ἔμαισι φίλαισι(ν) ] . . . . α . κάλα, Μοῖσ', ἀε̣ίδω μζʹ· Πρὸς χελώνην Ἄγι δὴ χέλυ δῖά μοι φωνάεσσά ‹νυ› γ‹ίγ›ν‹ε›ο ４７：ライア－に 神聖しんせいな ライアー、我われに 歌うたってきてね！ μηʹ· Ἔμαις ἑταίραις Τάδε νῦν ἐταίραις Tαῖς ἔμαις τέρποισα κάλως ἀείσω. ４８：友達ともだちのため 友達ともだちを 喜よろこばすよう 素敵すてきに歌うたう Σύστασις θ· Πρὸς φίλοις, σύμβουλαι 集団しゅうだん九きゅう： 友達ともだちに 申もうす言葉ことばと 忠告ちゅうこくと μθʹ· Πρὸς Δίκαν Σαπφὼ δ' ἁπλούστερον τὴν αἰτίαν ἀποδίδωσιν τοῦ στεφαοῦσθαι ἡμᾶς, λέγουσα τάδε· σὺ δὲ στεφάνοις, ὦ Δίκα, πέρθεσθ᾿ ἐράτοις φόβαισιν ὄρπακας ἀνήτ‹ω› συν‹α›έρραισ᾿ ἀπάλαισ‹ι› χέρσιν· εὐάνθεα γὰρ ‹παρ›πέλεται καὶ Χάριτ‹α›ς μακαίρα‹ς› μᾶλλον ποτόρην· ἀστεφανώτοισι δ᾿ ἀπυστρέφονται. νʹ· Περὶ θέρεος ⌜Τέγγε πνεύμονα ϝοίνῳ· τὸ γὰρ ἄστρον περιτέλλεται, ἀ δ' ὤρα χαλέπα, πάντα δὲ δίψαισ' ὐπὰ καύματος. ἄχει δ' ἐκ πετάλων ϝάδεα τέττιξ,⌝ πτερύγων δ' ὔπα κακχέει λιγύραν ‹πύκνον› ἀοίδαν, ‹θέρος› ὄπποτα φλόγιον κα‹τὰ γ›ᾶν πεπτάμενον ‹πάντα› καταυ‹άν›η. ⌜ἄνθει δὲ σκόλυμος· νῦν δὲ γύναικες μιαρώταται, λέπτοι δ' ἄνδρες, ἐπεὶ ‹καὶ› κεφάλαν καὶ γόνα Σείριος ἄσδει.⌝ ναʹ· Πρὸς Μίκαν [x–uu– –uu– οὐδὲ θέ]μις σε Μίκα [x–uu– –u γ]έλα[ν, ἀλ]λά σ’ ἔγωὐκ ἐάσω [x–u γυναίκω]ν̣ φιλότ[ατ’] ἤλεο Πενθιλήᾱν̣ [φρένας uu– –uu–] δάκν[ε πολύ]τροπ’, ἄμμα̣[ις, κήναισι γάρ, οὐκ ἄμμι,] μέλ̣[ος] τι γλύκερον χ[α]ρ[ίσδῃ] ἔγεντ̣ο [δὲ νῦν ἀρμονί]α μελλιχόφων[ον] αὔραν οὐ γὰρ κ[άλαμος ταῦτα μελίσ]δει, λίγυραι δ᾽ ἄη[τα]ι νβʹ· Οὐ γὰρ θέμις θρῆνον [xx–uu] οὐ γὰρ θέμις ἐν μοισοπόλων ‹δόμῳ› θρῆνον ἔμμεν' ‹ἄπαυστον, Κλέι,› οὔ κ’ ἄμμι πρέποι τάδε. νγʹ· Ὀ μὲν γὰρ κάλος ὀ μὲν γὰρ κάλος ὄσσον ἴδην πέλεται ‹κάλος›, ὀ δὲ κἄγαθος αὔτικα καὶ κάλος ἔσ‹σε›ται. νδʹ· Ὀ πλούτος ἄνευ τᾶς ἀρέτας Ὁ δὲ πλοῦτος οὐ μόνος ὢν καθ' ἑαυτόν, ἀλλὰ καὶ ἀρετῇ κεκοσμημένος, καιρίως τῶν τε ἑαυτοῦ ἀγαθῶν καὶ τῆς ἀρετῆς ἀπολαύει, συνετὴν ἔχων τὴν φροντίδα πρὸς τὸ ἀγρεύειν τὰ καλά. Τούτων γὰρ τὸ ἕτερον καθ' ἑαυτὸ οὐχ ἡδύ· Ὀ πλοῦτος ἄνευ ‹τᾶς› ἀρέτας οὐκ ἀσίνης πάροικος, Τᾷ δ' ἀμφοτέρων κράσ‹ει ἔν'› εὐδαιμονίας τό ‹γ’› ἄκρον νεʹ· Ἀβάκην τὰν φρέν' ἔχω xx ἀλλά τις οὐκ ἔμμι παλιγκότων ὄργαν, ἀλλ᾽ ἀβάκην τὰν φρέν’ ἔχω. ux νςʹ· Μαψυλάκαν γλῶσσαν σκιδναμένας ἐν στήθεσιν ὄργας μαψυλάκαν γλῶσσαν πεφύλαχθε. ５６：不易ふえきに吠ほえる　その舌したを 腹立はらだちが 心こころに燃もえる その時ときは、 不易ふえきに吠ほえる その舌したを その気配きくりで 引ひき止とめるべき。 νζʹ· Οὐ δοκίμωμι Ψαύην δ' οὐ δοκίμωμ' ὀράνω δύσ‹ι› πάχε‹σιν›. ５７：待またない あたくしは この二にの腕うでで 大空おおぞらを 届とどき触ふれ合あう ことを待またない。 νηʹ· Οὐδ' ἴαν δοκίμωμι Οὐδ' ἴαν δοκίμωμι προσίδοισαν φάος ἀλίω ἔσσεσθαι σοφίαν πάρθενον εἰς οὐδένα πω χρόνον τοιαύταν. Σύστασις ι· Μυθολογία 集団しゅうだん十しゅう： 神話しんわの破片はへん νθʹ· Ἔλθοντ' ἐξ ὀράνω Πρώτην δέ φασι χλαμύδα ὀνομάσαι Σαπφὼ ἐπὶ τοῦ Ἔρωτος εἰποῦσαν· Ἔλθοντ' ἐξ ὀράνω πορφυρίαν περθέμενον χλάμυν. ξʹ· Περὶ Λήδας Φαῖσι δή ποτα Λήδαν ὐακινθίνων εὔρην ὤϊον [ἀνθέ͜ων] πεπυκαδμένον [ὔπο]. ６０：レーダについて 人ひとはそう言いう： レーダーは ヒアシンス花はな 隠かくしたの 卵たまごをいつか 見みつけたわ. ξαʹ· Ἐπὶ τᾶν περιστεράων ταῖσι ‹δὴ› ψῦχρος μὲν ἔγεντ' ὀ θῦμος, πὰρ δ᾽ ἴεισι τὰ πτέρα [–u–x] Version A Version B ６１：鳩はとについて 心こころには 凍こごえてるから 羽はね降　ふりさせた。 ６１：鳩はとについて 魂たましいが 凍こおらせた時とき、 羽はねは潰ついえた。 ξβʹ· Ἐρέβινθοι Χρύσειοι ‹δ'› ἐρέβινθοι ἐπ' ἀϊόνων ἐφύοντο. ６２：黄金おうごんの豆まめ 海岸かいがんに 黄金色こがねいろな 豆まめは生うまれた。 ξγʹ· Λάτω καὶ Νιόβα Καλοῦσι γοῦν καὶ αἱ ἐλεύθεραι γυναῖκες ἔτι καὶ νῦν καὶ αἱ παρθένοι τὰς συνήθεις καὶ φίλας ἑταίρας, ὡς ἡ Σαπφώ· Λάτω καὶ Νιόβα μάλα μὲν φίλαι ἦσαν ἔταιραι. ６３：ラートーと　ニオバー二人ふたり ラートーと ニオバー二人ふたり お互たがいに とても愛いとしい 友達ともだちでした。 ξδʹ· ἀϊπάρθενος ἔσσομαι .. ]σανορεσ . . [ Φοίβῳ χρυσοκό]μᾳ, τὸν ἔτικτε Κόω κ[όρα μίγεισ’ εὐρυβίᾳ Κρ]ονίδᾳ μεγαλωνύμῳ [ Ἄρτεμις δὲ θέων] μέγαν ὄρκον ἐπώμοσε· 5 «[νὴ τὰν σὰν κεφά]λαν, ἀϊπάρθενος ἔσσομαι [ἄδμης οἰοπό]λων ὀρέων κορύφαισ᾽ ἔπι [θηρεύοισ’· ἄγι καὶ τά]δε νεῦσον ἔμαν χάριν». [ὢς εἶπ’· αὐτὰρ ἔνευ]σε θέων μακάρων πάτηρ, [πάρθενον δ’ ἐλαφάβ]ολον ἀγροτέραν θέοι 10 [ἄνθρωποί τε κάλε]ισιν ἐπωνύμιον μέγα. [κήνᾳ λυσιμέλης] Ἔρος οὐδάμα πίλναται· ] . [ . ] . . . . α̣φόβε[ . . ] .́ .ω· ξεʹ· Κατθνάσκει, Κυθέρηα κατθνάσκει, Κυθέρη’, ἄβρος Ἄδωνις· τί κε θεῖμεν; καττύπτεσθε, κόραι, καὶ κατερείκεσθε χίτωνας. Σύστασις ια· Κατθἀνην δ' ἴμμερός τις ἔχει με 集団しゅうだん十一しゅういち： 死亡しぼうを望のぞむ ξςʹ· Ἔρμαις γ' ἔσηλθε . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . του[x–uu–u–u–x] 3 ἦρ’ α[– xx–uu–ux] δηρατ . [uu–ux] Γογγύλα τ’ [ἔφατ’ “Οὔ τι πᾷ τάδ’ ἔγνως,] 6 ἦ τι σᾶμ’ ἔθε[λες δόμεναι τέαις] παῖσι;” “Μάλιστ’”· ἄ[μειβον· Ἔρ-] μα‹ι›ς̣ γ’ ἔσηλθ᾽ ἔπο[ρος Δίος· τάδ᾿ αὔτῳ] 9 εἶπ̣ο‹ν›· “ὦ δέσποτ᾽ ἐ[πτατόνω λύρας ο]ὐ μὰ γὰρ μακά⌟ραν [θέαν ο]ὔδεν ἄδομ᾽ ἔπ⌟αρθ᾽ ἀγαν [ἐπ᾿ ὄλβῳ,] 12 κατθάνην δ᾽ ἴ⌟μερός τις ἔ[χει με καὶ] λωτίνοις δρ⌟οσόεντας [ὄ-] χ[θ]οις̣ ἴδην Ἀ⌟χερ[οντος –u–x 15 κὰ]δ δ᾽ ἐ‹ς› Ἀ͜ίδα [δόμον βάμεν ἔς τ’ ἴδην νέκρο]ι‹ς› δε̣ύ̣ομ[αι –ux] . . μή τι[ς –uu–u–u–x]”. 18 ξζʹ· Τεθνάκην δ' ἀδόλως θέλω «[Ἄτθιδ’ οὔποτ’ ἄρ’ ὄψομαι,] τεθνάκην δ’ ἀ̣δόλως θέ̣λω». Ἄ με ψισδομένα κατ̤[ε]λί‹μ›πανεν πόλλα, καὶ τόδ' ἔειπέ [μο]ι· «ᾮμ' ὠς δεῖνα πεπ[όνθ]αμεν Ψάπφ' ἦ μάν̣ σ̣' ἀέκοι̣σ̣' ἀ̣πυλιμπάνω» Τὰν δ' ἔγω τάδ' ἀμειβ̣ό̣μαν «Χαίροισ' ἔρχεο κἄ̣με̣θεν μέμναισ̤'· οἶσθ[α] γὰρ ὤς ‹σ›' ἐπεδήπομεν. Αἰ δὲ μή,͜ ἀλλά σ' ἔγω θέλω ὄ̣μναισαι (τὰ σὺ λ[ά]θεαι) ὄ̣‹σ›' ἄ[μ]μες φ[ίλα] καὶ κάλ' ἐ̣πάσχομεν· πό̤[λλοις γὰρ στεφάν]οις ἴων καὶ [βρόδων κρ]ο̣κίων τ̣' ὔμοι κ̣ά̣ρ̣ᾳ [σῷ] πὰρ ἔμοι π‹ε›ρεθήκα‹ο›, ⌜⌟καὶ πό⌞λλαις ὐπα⌟θύμιδας⌞ ⌟πλέκ⌞ταις ἀμπ' ἀ⌟πάλᾳ δέρᾳ⌞⌝ ἀνθέων ἐ̣ρ[άτων] πεποημμέ̣ναις, καὶ πόλλῳ̣ λ̣[ιπάρ]ως μύρῳ βρενθείῳ τ[ε κόμαν] κάλαν ἐξαλείψαο κα[ὶ βα]⌟σιλ‹η›ΐῳ⌞, καὶ στρώμν̤[αν ἐ]⌟πὶ μολ⌞θάκαν ἀπάλαν πὰρ [ὀπ]⌟αυό⌞ν̣ων̤ ἐξίης̣ πόθο̣[ν αἶψα νε]ανίδ̣ων, κωὔτε τις [λόφος οὔ]τ̣ε τι ἶρον οὔδ' ὔ[δατος ῤέ]ον̤ ἔπλετ' ὄππ̣[ποθεν ἄμ]μες ἀπ̣έσκομεν, οὔκ ἄλσος τ[ι πὰρ εἴ]αρος [ὤραις πλήροέ τις] ψόφος, [ἀλλ' ἄμμεων γλύκιαι μ]ελαοίδιαι». Σύστασις ιβ· Ἐπιγράμματα 集団しゅうだん十二しゅうに： 三みっつの警句けいく ξηʹ· Τίμαδος ἐπιγράμμα Τίμαδος ἄδε κόνις, τὰν δὴ πρὸ γάμοιο θάνοισαν δέξατο Φερσεφόνας κυάνεος θάλαμος, ἆς καὶ ἀποφθιμένας παῖσαι νεόθαγι σιδάρῳ ἄλικες ἰμμέρταν κρᾶτος ἔθεντο κόμαν. ξθʹ· Πελάγωνος ἐπιγράμμα Τῷ γρίπει Πελάγωνι πάτηρ ἐπέθηκε Μένισκος Κύρτον καὶ κώπαν, μνᾶμα κακοζοΐας. οʹ· Ἀνάθημα τᾷ Ἀρτέμιδι Παῖδες, ἄφωνος ἔοισα τόδ' ἐννέπω, αἴ τις ἔρηται, φώναν ἀκαμάταν κατθεμένα πρὸ πόδων· Αἰθοπίᾳ με κόρᾳ Λάτως ἀνέθηκεν Ἀρίστα Ἀ Ἐρμοκλείδα τῶ Σαϋναϊάδα, σὰ πρόπολος, δέσποινα γυναίκων· ᾆ σὺ χάρεισα πρόφρων ἀμμετέραν εὐκλέϊσον γενέαν.

Group 1: Heart-shaking love Jūdan ichi: Kokoro yuru Koi no sê de wa 1: To Cypris How would anyone not be consumed, O Cypris, queen, for the one she indeed loves, And not want above all to be freed of the pains? How can you stand The way idly you tear me apart with heartquakes And craving that has melted my knees, o my queen, So many times? You were at first wholly not hateful to me, Don't you lock Me up now. […] I want [… …] to endure this [… …] and for myself I know this. Literal Back-translation Italiano 2: Two thoughts I don't know what to say: two are my thoughts. 2: Two thoughts Dentro nel mio cuor, Indicibile per me, Coppia di pensieri c'è. 2: Two thoughts Deep within my heart, Both unspeakable, there are Two thoughts very far apart. 2: Shikô wa futatsu Kokoro ni no Koto wakaranai: Shikô wa futatsu. 3: Oh sweet mother Sweet mother, I can indeed no longer weave my web, Being overcome with desire of a boy because                                             [of tender Aphrodite. 4: Love shook my heart                  Love shook my Heart, like a wind that has fallen unto oaks down a mountain. 4: Wa ga kokoro yuru Yama no ue Kashiwa ni tsuyoku Fukitsukeru Kaze no yô ni Jôyoku wa Watashi no kokoro Tsuyoku yurashita. 5: Bittersweet love Body-melting love shakes me again, A bittersweet invincible beast. Atthis, it has become hateful to you To give heed to me, and to Andromeda you fly away. 6: O Atthis! Atthis, Anactoria, who is dear to both you and me, Dwells in far-away Sardis, Often turning her mind to here      3 [And] how we used to live: with certainty she believed You to be equal to a known Goddess, and enjoyed your singing very much;      6 Now shines she among Lydian Women as, after sunset, Does the rosy-fingered moon,      9 Outshining all the stars, and directs [her] light To the briny sea And equally to the multiflowered countryside,      12 And beautiful dew has poured down, and there have bloomed Roses, and tender chervils, And the flower-like melilot;      15 And wandering a lot, remembering Of gentle Atthis, with desire [She] devours [her] delicate mind, and [her] heart with longing,      18 And shrill are her cries for us to come there; which are not Unheard for us, for the many-eared night Speaks them [to us] across the straits of the sea.      21 It is not easy for us to be equal To goddesses in lovely beauty, Even if you have an Adonis-like body,      24 … through the air And … Aphrodite Poured nectar from a golden pitcher      27 To us too… … Peitho with [her] hands …      30 … … … to the Geræstium      33 … dear … nothing unheard of… I/we will come to the temple      33 7: Ode to Anactoria That man to me seems equal To the gods, who sits before thee, And, close [to you], listens [to you] Sweetly speaking, And charmingly smiling. Which truly Shakes [my] heart in [my] chest. Indeed, once I've seen you shortly, No more voice comes to me, But my tongue is snapped, a thin Flame has immediately sneaked under my body, With [my] eyes I see nothing, [My] ears buzz, Sweat pours down from me, tremor Seizes [me] wholly, paler than grass I am, and to myself I seem Not far from dying⌞· Group 2: Beauty Jūdan ni: Utsukushisa kokoro wo sawaru 8: I beseech you, Gongyla Now, my dear, I truly beseech you: taking Your milky-white robe, oh Gongyla, And make your appearance: again Desire itself Flutters around you, The beautiful one; for that dress Shakes me up when I see it, and I rejoice: Indeed the Cyprus-Goddess herself Blames this of you; I pray her… This word… I want… … ] 9: Ode to a beautiful woman […………………… …………………… …] suffered for love …… For when I see you before [me], Then Hermione [herself] seems to not have been Such [a beauty] to me, and comparing you to blonde Helen [Seems] not at all unseemly, If it's allowed of mortals; know this, that to your Beauty, of all my cares I would make a sacrifice, and worth all My desires I believe you. To Acheron's dewy banks I would go if you died, your fame' I will increase as much as I can, and I crave To spend a whole night with you. 10: Dearest offspring of Uranus and Gaia (a) Some say it's a platoon of infantry, others that it's one of chivalry, Others that it's a fleet that over this black earth Is the most beautiful thing; I say that it's whatever One loves. It's entirely easy to make everyone Understand this, for Helen, who had [next to her] A lot of human beauty, her husband, Best of all men, Left, and sailed off to Troy, And didn't remember her child or her dear parents At all, but, not even unwilling, Was led away By Cypris: for she has unbending will, And easily fulfils whatever she thinks of. Thus I now remembered Anactoria, Who is not present. Her beloved footfall I would like to see, And the bright sparkle of her face, Rather than the chariots of the Lydians, and [Lydians] Fighting by land in their shields. (b) It's not possible for happiness to wholly Happen to men, but [they] can pray to have A share of good luck. And I for myself Know this. [Stanzas may have been lost.] … happen … having walked to the summit … snow; and she often Towards…[ As… I/they was/were led away … can; for those Whom I treat well, those harm me the most Out of the blue. 11: Kleis I have a beautiful child, similar in beauty To golden flowers, my beloved Kleis. In exchange for her I wouldn't take all of Lydia Nor dear Lesbos 11: Kureisu Atakushi no Itoshii musume Saku hana no Gotoki ni kiê. Watashi nara Kanojo no kawari Zentai no Ryūdiā to Saiai no Resubosu shima mo Uketoranai wa. 12: The stars and the moon The stars around the beautiful moon Once again hide their shiny faces As she, being full, more than anytime shines On the earth, silver. 12: Tsuki to hoshiboshi Gin'iro ni Kagayaku tsuki wa Kono chikyū Hikari de mitasu Ano toki wa, Kirêna tsuki wo Meguru hoshi Akarui egao Hayaku kakumau. Group 3: From joy of love to visions of goddesses Jūdan san: Koi no yorokobi, Megami no kêji English Italiano 13: You came You came, you did good, I yearned for you, You cooled my heart which was burning with desire: May you enjoy many good situations, equal in number to [your] life. 13: You came Venendo qui per me, che ti bramavo, Di certo tu un gran bene mi facesti. Il cuore che di gran disìo m'ardeva Venendo, nel profondo rinfrescasti. Che tu durante tutta la tua vita Tanti ben goda è la mia speranza. Version A Version B 13: Sono oide Akogareru Watashi no tame ni Koko ni kite Anata wa kitto Yoikoto wo Hontô ni shita. Setsubô ga Moeru kokoro wo Kuru koto de Fukaku samashita. Zentai no Sono jinsê ni Yoikoto wo Tanoshimeru koto Kono kibô da wa. 13: Sono oide Akogare ga Afureru ware ni Tomo ni ita Anata wa masa ni Shinsetsu wo Oo ni shimeshita. Setsubô ga Moeru kokoro wo Sono oide Fukaku samashita. Kono mama deの Anata no tame ni Togirenai Kietsu wo torô: Wa ga sô nozomu. 14: Idyll with Aphrodite [Come] hither to me from Crete to this holy Temple, where there is a truly graceful grove Of apple trees, and there are altars burning With incense; In the grove, cool water flows through the boughs Of the apple trees, and by roses the whole place Is shaded, and from the rustling leaves Deep sleep falls down; And a horse-nourishing meadow has bloomed With spring flowers, and the winds Honey-sweetly blow, coming down From the heads of the plants. Pick up some chaplets and come, Cypris, Gently pouring into golden goblets The nectar that for [our] feasts Was mixed as wine. 15: Handcloths Tonight you sat me down, O golden-garlanded Aphrodite,' In [my] dream braiding of your immortal Head the divine hair, And hanging down from your hair, Purple handcloths, which Timas Sent you from Phocæa, Precious gifts [hanging] down from you hair. 16: Hymn to Aphrodite Ornate-throned immortal Aphrodite, Wile-weaving daughter of Zeus, I beg you: Do not overpower with ache and anguish, O queen, my heart, But come here, if ever in other times, Hearing my voice from far away, You listened, and leaving [your] father's golden House, you came, Yoking [your] cart, and rapid pretty Sparrows led you over black earth, Frequently flapping [their] wings, from the sky Through the middle of the ether,, And quickly they arrived; and you, o Blessed one, A smile on [your] immortal face, Asked what I'd suffered again, and why I was invoking [you] again, And what I wanted the most to happen to me, Crazy at heart: «Whom again should I persuade To lead you to your love as well? Who, o Sappho, is wronging you? Indeed if she flees, she will soon chase [you], If she doesn't take [your] gifts, she'll give [her own], If she doesn't love [you], she will soon, Even if she doesn't want to». Come to me now as well, and set me free From oppressive anxieties, and what my heart craves To see happen to me, make it happen; and you yourself Be my ally. 17: Queen Hera Let your graceful, roaring feast, Queen Hera, be brought around me, Which the songs of Atreus, the kings, Prayed for, Having completed great deeds First around Troy, then Having set sail hither; they could not find Their way Before seeking you and Zeus god of the suppliants, And the lovely son of Thyne. Now we too, following the old [tradition], Make these majestic, holy, And beautiful [rites] for you; a cowd Of maidens and praying women makes its way hither: They want to, packed tightly around your altar, Measuredly cry aloud. ] … to be … (come to the temple?) 18: On celebrating a feast … They call unto… Totally; Don't you have a way that I could, O mother, perform A shining feast at the [proper] time? That is A joy to those who live but a day; may it happen To me to be cheerful, until the gods grant us To hear the sound Of the harps; this… … than now… …giving… …made; . . . . . … … ready … … fulfil that … I totally … … tongue … … … then you needed … of loves … Group 4: Wedding songs Jūdan yon: Konrê no uta 19: Hector and Andromacha Cyprus…   ̣[         22-24 letters    ]αι  ̣ The messenger came running, pushed forth by the might of [his] legs, The speedy messenger of Ida, bearing these tidings: «[One ore more lines are missing, the last of which Probably ended with      Of Troy] And of the rest of Asia these things were the undecaying glory; Hector and his companions are leading From sacred Thebes and ever-flowing Placia The quick-glancing tender Andromacha by ship over the briny Sea; and many golden bracelets, and purple Robes, and beautiful flower embroideries, motley adornments, And countless silver wine-cups, and ivory. Thus spoke he; and readily dear father leapt up; And the news went through the spacious city to [his] loved ones; At once the sons of Ilium to the well-running chariots Yoked the mules; and the whole crowd came Of women and of tender-ankled maidens; Separately went the daughters of Priam, And the men yoked the horses to the chariots, and together there All the unmarried men, and far and wide went the great [went People, and the charioteers led the excelling foals With white patches outside the dear city then. Everyone says that some lines are missing here. When once again on the carriages there went the god-like Hector and Andromacha, then all together The people of Troy went to set out to sacred Ilium. And the sweet-sounding flute and the cithara mixed together With the sound of castanets, and clear-tonedly the maidens Sang a sacred song, and to the air there went A divinely sweet echo, laughter … And everywhere in the streets there was … Bowls and cups … Myrrh and cassia and incense [the fire] accepted [within itself].̣ And all the elder women cried aloud, And all the men cried out a delightful high-pitched Pæana, calling unto the far-darting sweet-lyred [Apollo], To sing of Hector and Andromacha, the god-like ones. The second time where I said «Missing lines here», Perhaps another poem by Sappho started there. 20: May you sleep May you sleep in the bosom of a tender girlfriend . Nemureru yô ni Dekiaina Kanojo dakarete Nemureru yô ni. 21: Let's sing for the couple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Night… May maidens before these doors, Staying up all night, very happy bridegroom, Sing the love of you and of The violet-bosomed bride. But wake up, fetch those of your age, And set off, so that we may see Even less sleep that the sweet-voiced Bird will. 22: Hymenæum Up high the roof, Hymenæum, Raise ye, o carpenters: Hymenæum, The groom is equal to Ares, Hymenæum, Much larger than a large man, Hymenæum, Superior, like the Lesbian Hymenæum, Singer to those of foreign lands. Hymenæum. 13: Like the sweet apple Sappho used to compare the bride to an apple: As the sweet apple blushes on the high branch, High on the highest [branch], and the pluckers forget it: Indeed they don't forget, but can't reach [it]… [She used] to like the groom to Achilles, and put the young man on par with the hero in his achievements. 14: Like the hyatyncth Like the hyacinth on the mountains is treaded on By the feet of the shepherds, and the purple flower on the ground... 15: Happy bridegroom Happy bridegroom, to you the wedding that you yearned for Has been fulfilled, and you have the maiden you yearned for. You have graceful looks, o bride, and honey-sweet Eyes, and love has been poured on your lovable face: With these evident things Aphrodite has exceedingly honored you. Group 5: Grief, rage, enmity Jūdan go: Kanashimi to Ikari to teiki 16: You have left me You have left me. Ay me! Have you Forgotten me, my darling? Or do you love Another person more than me? And if so, who is (s)he? 26: Atakushi wo    Hikihanaseta wa! Atakushi wo Hikihanasita wa! Wasureta ka? Atakushi yori mo Hoka no hito Aishite iru ka? Dare darô ka na? 27: The moon has set The moon has set And the Pleiads, the night Is half-gone, and time flies by; Yet alone I lie. 27: Taiin ga    Sude ni shizunda Taiin ya Subaru ga sude ni Ano umi no Shita ni shizunda. Mayonaka no Jikan ga masa ni Hayaku tatsu. Kono mama ware ga Hitori de nemuru. 28: Rustic woman What rustic woman bewitches now your mind, as she Goes around you wearing a rustic dress, Not being able to pull her robe above her ankles? 28: Soyana josê wa Ashikubi no Ue ni agenai Hontô ni Soyana ifuku wo Kiru toki wa Sono kokoro wo Hikitsukeru Soyana josê wa Dare darô ka na? 29: Stand before me And Sappho says to the one who is excessively Admired for his looks and considered handsome: Stand thou here and before me, [as a] friend, And spread out the grace in [your] eyes. 30: Dead shalt thou lie Dead shalt thou lie, and never memory Of thee will be until the end, for thou Hast no share in the roses of Pieria, But having flown 'midst lightless dead souls, thou, Even in Hades' house uncouth, shalt wander. 31: Someone will remember I say that even till the end someone will remember us. 32: Against Andromeda …peaceful… …having received from ægis-bearing Zeus… …Cytherea, succour me as I pray [to you]… …having a gracious heart… …hear my prayers, if even in another time… …having left Cyprus… …you came to my cry… …by painful solicitude… [Three lost lines] … … From the blessed gods … having obtained … May you wish to cut off this calamity as well for me, you of all The goddess with the most astute heart, oh, fulfil my wish: You indeed loved [me] and used to grant everything for which I invoked Now due to this defend me once more according to my wish! [[you], «This cause is not unbecoming», said [she], «and what you wish to obtain Is not at all much to get, for even Andromeda cannot      7 Overtly fight me, and what she did confiding in a voluptuous lifestyle Is not [possible] to forget for the gods; and indeed you know well That Nemesis strikes the one who is familiar with evil, and prevails over Sappho, loving you the venerable queen of Cyprus fit wheels [everyone». To [her] carriages, and for you she quickly went to entreat Zeus, And a great gift the son of Cronus nodded assent for her to grant to you: To all those whom the shining Sun surrounds with [its] beams, Everywhere [your] noble fame [will arrive ?] … And you on Acheron's [banks ?] … … [6 lost lines] 33: About her exile … for out of my land A conflict suddenly chased me … however the memory Was not … but … equal to the gods. Now though I'm roused against the culprit of these griefs And vexations, and with the pains will Artemis the blessed one, Who rules from above, lead elderly Andromeda under [her] cart, And she will be ashamed of her character, not gentle, but stubborn, For no-one halted the arrogance in her, [so she] doesn't hold back [her] insolence. She/One could indeed quickly offer a herd of lambs to the sons of Tyndar, [And] enjoy the peace of music in in a graceful Delightful place of dance, ah, if honest no longer … [With?] Megara the mild having taken [her] clear-toned harp, … possible to them … … to everyone … … 34: Against the Polyanactids … after a short while … … the Polyanactids … … to the Samian women … Make to resonate in the plectrum-welcoming Strings, firendlily banqueting With such people, The harp is made to vibrate gently, And, sweet-voiced, through the bones It slithers, and once it's in, runs through the marrow. 35: To Apollo Son of Leto and Zeus, … come to the feast, Leaving woody Grynea And your famous oracle … … … in days … feast … … sing … [And?] … sister … Like a child … No-one … want … They show … again of the Polyanactids I want to put the glutton on display. 36: Curse … blessed one … … [good for sailing ?] … of the head and … … For what mistakes he made before, he made amends … With good luck … harbor … … Cypris, may she find you very bitter, May Doricha not be loud-spoken Saying that she came to a desired love A second time. Group 6: Sappho and her brother Jūdan roku: Saffō to ani 37: To the Nereids Queen Nereids, grant me That my brother may come here unscathed, And whatever he may wish in his heart, Fulfil it; [Let him] make amend for all his past mistake, And be a joy for his friends And a grief for his enemies; and for us May nobody ever be one; And may he wish to make his sister More greatly honored, and may he free From mournful grievances those, whose hearts He formerly crushed with his Mourning, hearing a reproach, which used to devour Even us in [my] flesh because of the citizens' blame, As ever, not differently, but he realized it Not at all after long, And even more [will he understand] if he learns What fame is like among mortals; and you, queen Cypris, Burying up an unbearable offense, Be persuaded by us. 38: Prayer to avert stormy journeys . . . . . . . . . . … you persuaded, o blessed one, … brightness and . . . . . … with good luck … to reach a harbor … black earth [. . . . . In violent storms, sailors, Fearing for the great winds, Throw away their cargo, and towards land They steer the ship; May I above all not set sail from anywhere When a storm has arisen, nor throw All the cargo I had into the deep sea, whether precious Or worthless; If Nereus, in his flowing pageant In the sea, should happen to receive my Cargo, I pray him to let it come to me As quick as possible. … works … land … . . . . . ] 39: Brothers poem «We have indeed suffered much, but may there come Charaxus to us now with a full ship!»: Indeed we suffer much still now, and the pain Has reached you, wet nurse, But you always chatter for Charaxus to come With a full ship, which, I believe, Zeus And all the gods know, but you needn't Think about that, But rather send me [out], and pray me Tu pray queen Hera a lot So that Charaxus may come here steering A safe and sound ship, And find us safe and sound; All The rest, let us entrust to the gods: For fair weather from great winds Are quickly born; And those whom the king of Olympus wants A helper god to lead out Of suffering, those remain blessed And full of joy. And we, if Larichus raises His head, and sometime becomes a real man, Would be set free even From [our] great heaviness of heart. 40: To Charaxus Version 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . … give. If you fly to renowned men And not handsome and good ones, and say goodbye To your loved ones, and pain me, saying that I Have become your reproach, Swollen in your heart, may your satisfy Your heart with such things, and be satiated; for my thought Does not easily yield to the rage Of children; But err not: a trap Won't catch old birds; I know you, To how much evilness you previously set forth, And what foe I'm up against. Therefore, thinking about better things, Change your thoughts; for, since I've nurtured An easily-satisfied mind, I know for sure that Are on my side.                          [the blessed [gods] Version 2 . . . . . . . . . . . . . . . . . . . . You might find it wise to not Return my favor. You keep away the lovers of words Noble and beautiful, born for the seven-toned Lyres, and pain me, and hurl Reproach at me. Perhaps all swollen up in this reproach, with the outrage Satiate your heart, for my thought Is not so easily affected By your rage. … nor(?) … Group 7: Nostalgia for youth Jūdan shichi: Wakamono ni Fukai kaikyū 41: For you were also a tender child . . . . . . . . . . … … … For you also once were a tender child And loved to sing: come, tell yourself All these things, and from that heart Generously gratify us; For we're going to a wedding; and well and clearly You also see this; but as fast as possible Send away all the maidens, and may the gods Find no dishonour. The road to great Olympus is untrodden … for man … [................ ................] 42: O tender women To them I said: «Tender women, Such things as will be remembered near old age, We too indeed in out bright youths Have done them. Many things indeed both beautiful and good we worked out Back then; and to me, as I saw You'd left the city, desire Bit the heart With sharp griefs. 43: If I still had milk If my teats still had a share Of milk, or my womb was still fit For child-making, then with untrembling feet I would go to another Bed; but now already old age Surrounds my body with a myriad wrinkles, And Eros the pain-giver no longer Flies toward me; … of the noble … … taking The sweet-voiced harp, sing to us Of the violet-bosomed one. … above all of loves … as long as (s)he wanders … … 44: Gifts of the Muses Hasten ye toward the beautiful gifts of the violet-bosomed Muses, Oh children, and [toward] the song-loving clear-toned lyre; My once-tender body old age already Has seized, and [my] hair, from black, has turned white, And my heart has turned heavy, and my knees support me no longer, Which were once as nimble in dancing as the fawns. I often lament these things, but what could I ever do? It's impossible for him who is human to become ageless. Indeed once they said that rosy-fingered Dawn, because of love, Climbed onto the bowl [of Helios], bringing Tithonus to the ends of When he was handsome and young, but still grey old age,   [the Earth, In time, seized him, who had an immortal wife. Group 8: On singing Jūdan hachi: Utau koto 45: May she give success to the best mouth … I called … … around … … … since she fled … … be bitten by the tooth of a snake … … the gods totally; but you, Calliope, her … … [Once she] has called you of many names … May progress be given to the better mouth. 45: Yoriyoku utau    Hito kate yô ni …yonda… …no mawari ni… …nigeta kara… Hebi niyori Ware ga kamareta …kamigami ga Mattaku… …demo anata, Aa Kariopā, Ooi na ga Aru no anata wo Yonda toki Yoriyoku utau Hito kate yô ni. 46: May there now be festivity Version 1 … not … … I pray … May there now be festivity … And underground may [] have The great glory of the Muses, having gifts as is becoming. And everywhere] they would marvel at me while, as I am on earth, They call [me] a clear-toned swallow if, having taken the harp, Or the barbiton or that lyre, I sing to wedding beds. Version 2 … not … … I pray … For me and my companions may there now be festivity, And after, grown old, I die and end up underground, Though I will keep the noble privilege of the servants of the Muses, as is They would not marvel at me as they do now as I'm on earth;    [befitting, Let [my] clear-toned song shine if, having taken the harp, For my loved ones …, o Muse, I should sing beautiful things. 47: To her lyre Come indeed, divine lyre, to me Start now to speak. 47: Raiā ni Shinsêna Raiā, ware ni Utatte kite ne! 48: To my friends These things now I will sing Beautifully, delighting my friends. 48: Tomodachi no tame Tomodachi wo Yorokobasu yô Suteki ni utau Group 9: To friends, advice Jūdan kyū: Tomodachi ni    mousu kotoba to    Chūkyoku to 49: To Dica But Sappho expresses more simply the reason for our practice of wearing garlands when she says: But you, o Dica, put lovely garlands around your hair, Having bound stems of anise together with your tender hands; For it happens that even the blessed Graces had rather see Flowery things, and turn away from the ungarlanded. 50: On summer Wet your lung with wine, for the star is coming round, The hour is harsh, everything is in thirst under the burning heat, There sings from the leaves the sweet cicada, and from below the wings It constantly pours down a clear song, when the fiery Summer, having flown down to earth, dries everything up. There blooms the artichoke; now women are at their ugliest, But men are feeble, for Sirius their heads and knees Parches. 51: To Mica … nor is it licit for you, Mica, … to laugh, but I will not let you … you chose the friendship of the women of the house of Penthilus … this, o wily one, has bitten our hearts, For to those, not to us, you gift a sweet song, But now there has formed a sweet-sounding harmony of breezes: It is not indeed the flute singing this, but the shrill winds. 52: No lament is allowed It is not licit for there to be in the house of those who serve the Muses An unending mourning, Kleis: nor would such a thing become us. 53: He who's fair He who is fair remains fair [only] to be seen, He who is also good, will immediately also be fair. 54: Money without virtue Money, not when it is alone by itself, but being also embellished by virtue, opportunely enjoys the benefits of its own and those of virtue, and has a wise concern for pursuing good things. For each of these two on its own is not sweet: Money without virtue is not a safe neighbour; In the use of both lies the height of happiness. 55: I have a gentle mind … for I am not one of those spiteful with rage, but have a gentle mind. … 56: Idle-barking tongue As anger spreads through [your] chest, Guard ye your idly-barking tongue. 56: Fueki ni hoeru    Sono shita wo Haradachi ga Kokoro ni moeru Sono toki wa, Fueki ni hoeru Sono shita wo Sono kikuri de Hikitomeru beki. 57: I don't expect I don't expect touch the sky with two arms. 57: Matanai Atakushi wa Kono ni no ude de Oozora wo Todokifureau Koto wo matanai. 58: No-one I believe will I do not believe that any maiden who has seen The light of the sun will, at any time, be So skilful. Group 10: Mythology Jūdan jū: Shinwa no hahen 59: Coming down from the sky Sappho is said to have been the first to mention a chlamys, when she said [this] about Eros: Having come down from the sky, clad in a purple chlamys. 60: On Leda They say that indeed Leda once found An egg covered by flowers Of hyacinth. 60: Rēda ni tsuite Hito wa sô iu: Rēdā wa Hiashinsu hana Kakushita no Tamago wo itsuka Mitsuketa wa. 61: On the doves And their heart became cold, And they let their wings fall. Version A Version B 61: Hato ni tsuite Kokoro ni wa Kogoeteru kara Hane furisaseta. 61: Hato ni tsuite Tamashii ga Kooraseta toki, Hane wa tsuieta. 62: Chickpeas Golden chickpeas were born on the shore. 62: Ôgon no mame Kaigan ni Koganeirona Mame wa umareta. 63: Latona and Niobe Even today free women and yonng girls call their intimate and dear friends' companions ' like Sappho: Leto and Niobe were very dear companions. 63: Rāto to    Niobā futari Rātō to Niobā futari Otagai ni Totemo itoshii Tomodachi deshita. 64: Forever a maiden I will be … To golden-haired Phoebus, whom the daughter of Coeus bore, Having mingled with the great-named son of Cronus, Artemis swore the gods' great oath:    [god of the high clouds, «Yea, by your head, I will forever be a maiden Unwed, hunting on the tops of the lonely Mountains: come, grant this for my sake». Thus spoke [she]; and the father of the blessed gods granted it, And both gods and men call her by the great title Of virgin, deer shooter, huntress. To her body-melting Eros never goes near. … 65: There dieth, Cytherea There dieth, o Cytherea, delicate Adonis; what shall we do? Beat your breasts, girls, and rend your clothes. Group 11: But a certain wish to die possesses me Jūdan jūichi: Shibô wo nozomu 66: There came Hermes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . … … … And Gongyla said: "You could never know this, Or did you want to leave some sign To your children?" "Of course" I replied; Hermes Came to us, the minister of Zeus; to him I spoke thus: "O lord of the seven-toned lyre, Indeed by the blessed goddess I get no pleasure from being raised too much into happiness, But some desire to die possesses me, And to see the dewy, lotus-covered Banks of Acheron … And to go down to Hades' home, and to see The dead I crave … … nobody … 67: I really wish I were dead «I will never see Atthis, And I truly wish I were dead». And crying a lot she was leaving Me, and told me this: «Alas, what terrible things we've suffered, O Sappho: unwilling indeed I leave you» To her I replied thus: «Leave with joy, and of me Remember: for you know we cared for you. If not, then I want you To remember (which you will forget) What dear and beautiful things we have experienced; For many a garland of violets And of roses and crocuses likewise You would put round your head beside me, And many woven Necklaces garlands round your tender neck, Made of dear flowers, And with much perfume, costly And regal, your beautiful hair You generously anointed, And on soft mattresses By your tender addentants You satisfied your longing for young women And there never was hill nor Temple nor spring of water From which we kept away Nor by springtime did noise Fill any wood, But our sweet singing». Group 12: Epigrams Jūdan jūni: Mittsu no kêku 68: Epigram of Timas This is the ash of Timas, whom, dead before [her] wedding The black nuptial chamber of Persephone received; Once she had died, all the girls of her age With freshly-sharpened blade cut the hair off [their] head. 69: Epigram of Pelagon To Pelagon the fisher his father, Meniscus, has gifted Basket and oar, memorials of a sorry life. 70: Offering to Artemis Maidens, though I have no voice, I declare this to whoever asks, Having a tireless voice placed before [my] feet· To Aethopia, daughter of Leto, Arista dedicated me, Daughter of Hermoclides son of Saunaiadas, You attendant, o queen of women: take pleasure in her And, gracious, honour our family.

Heart-shaking love
1. "Kypris poem" (LP 26 + P.Sapph. Obbink): Fragment 3 here;
2. "Two opinions" (LP 51): Fragment 4 here;
3. "O sweet mother" (LP 102): Fragment 1.H.iii here;
4. "Love shook my heart" (LP 47): Fragment 5 here;
5. "Bittersweet love" (LP 130): Fragment 2 here;
6. "O Atthis!" (LP 96): Fragment here;
7. "Ode to Anactoria" (LP 31): Greek fragment 1 here;
Beauty
8. "I beseech you, Gongyla" (LP 22 part 2, Lekatsas 36, Khatzidakis): Vulgate version here;
9. "Ode to a beautiful woman" (LP 23): This fragment;
10. "Dearest offspring of Uranus and Gaia" aka "Sappho 16" (LP 16 + P. GC.): P.GC. version here;
11. "Kleis" (LP 132): Fragment 1 here;
12. "The stars and the moon" (LP 34): Fragment 1 here;
From joy of love to divine visions
13. "You came" (LP 48 + safopoemas + me): Fragment 2 here;
14. "Idyll with Aphrodite" (LP 2): Fragment 1 here;
15. "Handcloths" (LP 101 +, Edmonds 87): Fragment 1.C.viii;
16. "Hymn to Aphrodite" (LP 1): This fragment;
17. "Queen Hera" (LP 17 + P.GC.): Fragment 2 here;
18. "On celebrating a feast" (LP 9) (?): Fragment 2.D.iii here;
Wedding songs
19. "Hector and Andromacha" (LP 44): This fragment;
20. "May you sleep" (LP 126): Fragment 9 here;
21. "Let's sing for the couple!" (LP 30), U;
22. "Hymenæon" (LP 111 + 106): Fragment 1 here + Fragment 1.A.iv here;
23. "Sweet apple" (LP 105(a)): Fragment 1.A.v here;
24. "Hyacynth" (LP 105(c)): Fragment 1.A.vi here;
25. "Happy bridegroom" (LP 112): Fragment 2 here;
Being left: sadness, and anger/hostility
26. "Thou hast left me" (LP 129(a)+(b) + me): Fragment 1 here;
27. "The moon has set" (Campbell 168B): This fragment;
28. "Rustic woman" (LP 57): Fragment 2 here;
29. "Stand before me" (LP 138): Fragment 1 here;
30. "Dead shalt thou lie" (LP 55): Fragment 1 here;
31. "Someone will remember" (LP 147): Fragment 3 here;
32. "Against Andromeda" (LP 86 is the untranslated top part, the rest is LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. i) (?): Fragment 6.A.vi here.
33. "About her exile" (LP 68(a) + 70 + 75(a)) (?): Fragment 6.A.iii here;
34. "Against the Polyanactids" (LP 99(a)) (?): Fragment 2.D.xxxiii(a) here;
35. "To Apollo" (LP 99(b)) (?): Fragment 2.D.xxxiii(b) here;
36. "The curse" (LP 15): Fragment 2 here;
Sappho and her brother
37. "To the Nereids" (LP 5 + P.GC.): Fragment 1 here;
38. "A prayer to avert stormy journeys" (LP 20, Edmonds 41): This fragment;
39. "Brothers poem" (LP 10 + P.Sapph.Obbink): Fragment 1.J.xxiv here;
40. "To Charaxus" (LP 3, Edmonds 35, also Diehl version): Fragment 8 here (and bottom version too);
Nostalgia for youth
41. "You were also a tender young child" (LP 27): Fragment 5 here;
42. "Oh tender women" (LP 24(a), Edmonds 43): Fragment 4 here;
43. "If I still had milk" (LP 21, Edmonds 42): Fragment 3 here;
44. "The gifts of the Muses" (LP 58 ll. 11-22): Fragment 2.10-21 here;
Singing
45. "Success to the mouth" (LP 58 ll. 1-10): Fragment 2.1-9 here;
46. "May there now be festivity" (P.Köln before "The gifts of the Muses" from above): Fragment 2.extras here
47. "To the lyre" (LP 118): This fragment;
48. "To my friends" (LP 160 + τέρποισα): Fragment 1.I.vi version II here;
Addresses to friends, advice
49. "To Dica" (LP 81.2): Fragment 1.E.i here;
50. "On summer" (LP Alc. 347) (?): Fragment 1.I.iii(++) here;
51. "To Mica" (LP 71.1-7 + 61 + 87(14).1-3): Fragment 6.A.v here;
52. "No lament is allowed" (LP 150): Fragment 3 here;
53. "He who's fair" (LP 50): Fragment 9 here;
54. "Money without virtue" (LP 148): Fragment 10 here;
55. "I have a gentle mind" (LP 120): Fragment 7 here;
56. "Idle-barking tongue" (LP 158): Fragment 6 here;
57. "I don't expect" (LP 52): Fragment 1 here;
58. "No-one I believe will" (LP 56): Fragment 2 here;
Mythology
59. "Coming down from the sky" (LP 54): Fragment 5 here;
60. "Leda" (LP 166): Fragment 3 here;
61. "About the doves" (LP 42): Fragment 1.H.vi here;
62. "Golden chickpeas" (LP 143): Fragment 1.C.i here;
63. "Niobe and Latona" (LP 142): Fragment 2 here;
64. "Forever a maiden I shall be" (Campbell 44A): Fragment 1 here;
65. "There dieth, oh Cytherea" aka "Mourning song" (LP 140(a)): Mourning song here;
Wishing for death
66. "There came Hermes" (LP 95): This fragment;
67. "I wish I were dead" (LP 94): Long fragment here;
Epigrams
68. "Epigram of Timas" (Campbell 158D): Epigram 2;
69. "Epigram of Pelagon" (Campbell 159D): Epigram 3;
70. "Offering to Artemis" (Campbell 157D): Epigram 1;

Σύστασις αʹ· Ἔρος φρένας τίνασσον 集団しゅうだん一いち： 心こころゆる 恋こいのせいでは αʹ· Πρὸς τὴν Κύπριδα Πῶς̣ κε δή τις οὐ θαμέω̣ς ἄσαιτο, Κύπρι, δἐσπο̣ι̣ν̣', ὄττινα̣ +δ+ὴ φίλ̣[ησι κωὐ] θέλοι μάλιστα πάθαν χ̣άλ̣[ασσαι; πῶς] ὀνέχησθα πᾷ [σ]άλοισί μ' ἀλεμάτ̣ως δαΐσδ[ης] εἰ̣μ̣έρ‹ῳ› λύ{ι̣}σαντ̣ι̣ γόν', ὢμ' ἄνα[σσα,] πόλ[λ]α; Πάμ[π]α‹ν› μ' οὐ προ̣[τέρ' ᾖσθ' ἀπέχθης,] οὔ̣τ' ὀνέ̣ερξαι Νῦν με, λἰσσομαι] σέ· θέλω [δύνασθαι μήκετ' οὔτως τοῦ]το πάθη[ν u–x –u–x–u]λ̣αν· ⌟ἔγω δ' ἔμ' αὔτᾳ τοῦτο σύνοιδα⌞ ]· [.]σ̣τοισ[. . .] . [ ]ε̣ναμ[ ]ε̣[ … βʹ· Δύο νοήματα Οὐκ οἶδ' ὄττι θέω· δύο μοι τὰ νοήματα. ２：思おもいが二ふたつ 心こころには 言葉ことばにできぬ 思おもいが二ふたつ。 γʹ· Γλύκηα μᾶτερ Γλύκηα μᾶτερ, οὔτοι δύναμαι κρέκην τὸν ἴστον πόθῳ δάμεισα παῖδος βραδίναν δι’ Ἀφροδίταν. δ· Ἔρος δ' ἐτίναξέ μοι φρένας                  Ἔρος δ᾽ ἐτίναξέ ‹μοι› φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων. ４：我わが心こころ揺ゆる 山上やまがみの 柏かしわに強つよく 打うちつくる 風かぜの如ごときに 我が心こころ揺ゆる。 εʹ· Γλυκύπικρος Ἔρος Ἔρος δηὖτέ μ’ ὀ λυσιμέλης δόνει γλυκύπικρον ἀμάχανον ὄρπετον, Ἄτθι, σοὶ δ᾽ ἔμεθεν μὲν ἀπήχθετο φροντίσδην, ἐπὶ δ’ Ἀνδρομέδαν πότῃ. ς· Ὦ Ἄτθι! [Ἄτθι, σοὶ κἄμ’ Ἀνακτορία φίλα πηλόροισ' ἐνὶ] Σάρδ̤ε[σιν ναίει, πό]λλα̣κ̣ι τ̣υίδε [νῶν ἔχοισα      3 ὤς πο[τ' ἐ]ζώομεν β̣εβά̣ω̣ς̣ [ἔχεν σὲ̤ θέᾳ̣ ϝ̣ικ̣έ̣λαν ἀρι- γνώτᾳ, σᾷ̤ δ̤ὲ μάλιστ̣' ἔχαιρε μόλπᾳ·      6 νῦν δὲ Λύδαισ̣ι̣ν ἐ̤‹μ›πρ̤έ̤πεται γυνα̤ί̣- κεσσ̤ι̣ν̣ ὤς ποτ' ἀε̣λίω̣ δύντος ἀ βροδοδάκ̤τυλος ‹σελάννα›,      9 πάν̣τα πε‹ρ›ρέχοισ' ἄστρα, φάος δ' ἐπί- σχει θά̣λασσαν ἐπ' ἀλμύραν ἴσως καὶ πολυανθέμοις ἀρούραι̤ς,      12 ἀ δ' ‹ἐ›έρσα κάλα κέχυται, τεθά- λαισι δὲ βρόδα κ̣ἄπαλ' ἄν- θρυσκ̣α καὶ μελίλ̣ωτος ἀνθ̣ε̣μ̣ώδης·      15 πόλλα δὲ ζαφο‹ί›ταισ', ἀγάνας̤ ἐπι- μνάσθεισ' Ἄτθιδος, ἰμέ̤ρῳ λ̣έπτα̣ν ‹π›οι φρένα̣, κ[ῆ]ρ̣ ἄσᾳ βόρητα̣ι,      18 κῆθι̣ δ̣' ἔ̤λ̤θην ἄμμ' ὄ̤ξ[υ] βόη· τ‹ὰ› δ' οὐ νῶν γ̤' ἄ[π]υστα νὺξ πολύω̣ς̤ γαρύε̣ι δ[ι'] ἄλος π[όρω]ν τὸ μέσσον.      21 [Ε]ὔ̤μ̤α̤ρ[ες μ]ὲν̣ ο̣ὐ̣κ̣ ἄμμι θέαι̤σ̣ι̤ μόρ- φαν ἐπή̤[ρατ]ον ἐξίσω- σθ̣', ἀι σὺ [καὶ χ]ρ̣ό‹'› ἔχησθ' Ἀ[δ]ωνίδηον,      24 μαλ[      δι' αἴ]θερος καὶ δ[.]μ̣[      ]ος Ἀφροδίτα κἄμ̣μ[ι κάλπιδος] νέκταρ ἔχευ' ἀπὺ      27 χρυσί̣ας̣ . [      ]λ̣ο̣ΐ̣α̣ . . . ἀ]π' ἀπούρ[      ] . χέρσ̣ι̣ Π̣εί̣θω ]θ+ . . +η̣σενη      30 ] . κις ] . . . . . ν . . αι ] ἐς τὸ Γεραίσ̤τιο̤ν̤      33 ] . ν φίλαι ἄπ]υ̣σ̣τον οὐδενο[ ἐς ἴ]ερον ἴξο[μ      33 ζʹ· Ἀοίδα ἐς τὰν Ἀνακτορίαν Φαίνεταί μοι κῆνος ἴσος θέοισιν Ἔμμεν’ ὤνηρ, ὄττις ἐνάντιός τοι Ἰσδάνει καὶ πλάσιον ἆδυ φωνεί- σας ὐπακούει Καὶ γελαίσας ἰμέροεν. τό μ’ ἦ μάν Καρδίαν ἐν στήθεσιν ἐπτόαισεν. Ὠς γὰρ εὔιδον βροχέως σε, φώνας οὖδεν ἔτ’ ἴκει, Ἀλλὰ κὰμ μὲν γλῶσσα ϝέαγε, λέπτον Δ’ αὔτικα χρῷ πῦρ ὐπαδεδρόμακεν, Ὀππάτεσσι δ’ οὖδεν ὄρημμ’, ἐπιρρόμ- βεισι δ᾽ ἄκουαι, Κὰδ δέ μ’ ἴδρως κακχέεται, τρόμος δὲ Παῖσαν ἄγρει, ⌟χλωροτέρα δὲ ποίας Ἔμμι, τεθνάκην δ᾽ ὀλίγω ’πιδεύης φαίνομ’ ἔμ’ αὔτᾳ⌞· Σύστασις βʹ· Κάλλος 集団しゅうだん二に： 美うつくしさ 心こころを触さわる ηʹ· Κέλομαί σε, Γογγύλα Ν]ῦν, φ[ίλα, σὲ μὰν κ]έλομαι· σ[πόλαν σάν, Γο]γγύλα̣, π[έφα]νθι λάβοισ̣α̣ μά[λαν Γλα]κ̣τίνα[ν·] σ̣ὲ δηὖτε πόθος̣ τ[ε αὖτο] Ἀμφιπότ̣αται Τὰν κάλαν· ἀ γὰρ κατάγω̤γις αὔ[τ]α [μ' Ἐπτόαισ' ἴδο[ι]σαν· ἔγω δὲ χ̣α̣ίρω· Καὶ γὰρ αὔτα̣ δ̣ὴ τ[όδ]ε μέμφ[εταί σοι Κ]υπρογέν[ηα· Τ]ᾶς ἄρ̣αμα[ι Τοῦτο τὦ[πος Β]όλλομα[ι … ] θʹ· Ἀοίδα ἐς κάλαν γύναικα […………………… …………………… …] ἔρωτος ἤλγ̣[ει …… Ὄττα γάρ κ' ἐνάν]τ̣ι̣ον εἰσίδω σ[ε Τόττ' ἔμ' οὐ φύν'] Ἐρμιόνᾳ τεαύ[τα Φαίνεται,] ξάνθᾳ δ' Ἐλένᾳ σ' ἐΐσ[κ]ην Οὖδεν ἄει]κες, Αἰ θέ]μις θνάταις· τόδε δ' ἴσθι̤ τᾷ σᾷ Καλλόνᾳ] παίσαν κέ με τᾶν μερίμναν Ταὶς θυήλ]αις' ἀντιδ[όναι, πό]θοις δὲ̤ Παῖσί σε] τί̤η̤ν̣ Ἀχέροντος δ' ἐς δροσόεν]τας ὄχθοις Κατθανοίσας βᾶν κε σέθεν, σέθεν τ'] αἶν' Αὔξετ' ὤς μοι ἔστι τε, παν]νυχίσ[δ]η̣ν [Σύν τέ σ' ἔρημαι.] ιʹ· Φίλτατον Γαῖας γένος Ὀρράνω τε (a) [Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν [Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ- τῳ τις ἔραται. [Πά]γ̣χυ δ' εὔμαρες σύνετον π⌟όησαι⌞ [Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκ⌟έθοισα⌞ Κάλλος [ἀνθ]ρώπων Ἐλένα [τ]⌟ὸ̣ν ἄν⌞δρα Τὸν [πανάρ]ι̣στον Καλλ[ίποι]σ̣' ἔβα 'ς Τροΐαν πλέο̣ι̣⌟σα⌞ κωὐδ[ὲ π]α̣ῖ̣δος οὐδὲ φίλων τ⌟οκήων⌞ Πά[μπαν] ἐμνάσθ' ἀλλὰ παράγ⌟α̣γ' αὔταν⌞ [κ]ω[ὐκ ἀέκοι]σαν [Κύπρις· ἄγν]αμπτον γὰρ [ἔχει] ⌟ν̣όημμα⌞ [Καὶ τέ]λει κούφως τ[ό κε πο]⌟ι νοήσῃ̣⌞ [Ὤς] μ̣ε̣ νῦν Ἀνακτορί[ας ὀ]⌟νεμναί⌞- [σ' οὐ] π̣αρ̣εοίσας. [Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε ⌟βᾶμα⌞ Κ̣ἀμάρυ‹χ›μα λάμπρον ἴδη⌟ν προσώπω⌞ Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλ⌟οισι⌞ [πεσδομ]άχεντας (b) [Ὄλβιον] μὲν οὐ δύνατον γ⌟ένεσθαι⌞ [πάμπ]α̣ν ἀνθρώπ[οις, π]εδέ⌟χην δ' ἄρασθαι⌞ [ἔστιν ἔσλων μοῖραν·] ⌜ἔγω δ' ἔ⌟μ' αὔτᾳ⌞ Τοῦτο σύνοιδα⌝. [Στρωφαί τινες δύνανται τῇδε ἀπολωλεκέσθαι.] . . . γένεσθαι Ο[      ] . . . βὰ̣ς̣ ἐπ' ἄκ̣ρας Τ̣α[      ]ν χ[ί]ον'· ἀ̣ δ̣ὲ̣ πόλλα ⌟Πρ⌞ὸς [ ⌟Ὠς⌞ δ[      ]ω̣ν ἀπέ̣χθ̣ην Τω̣[      ] . δύ̤ν̤ατ', ⌜ὄττινας γὰρ ⌟Εὖ θ⌞έω, κῆνοί με μ⌟άλιστα σ⌞ίνν⌟ον⌞- τ⌝' ⌟ἐξ ἀ⌞δοκή[τω.] ιαʹ· Κλέϊς Ἔστι μοι κάλα πάϊς, || χρυσίοισιν ἀνθέμοισιν ἐμφέρη‹ν› ἔχοισα μόρφαν, || Κλέϊς ‹μοι› ἀγαπάτα, ἀντί τᾶς ἔγω οὐδὲ Λυδίαν || παῖσαν οὐδ' ἔρανναν. [Λέσβον ἐσλάβοιμί κεν… ] １１：クレイス あたくしの 愛いとしい娘むすめ 咲さく花はなの 如ごときに綺麗きれい。 私わたしなら 彼女かのじょの代かわり 全体ぜんたいの リュウディアーと 最愛さいあいの レスボス島しまも 受うけ取とらないわ。 ιβʹ· Ἄστερες καὶ σελήνη Ἄστερες μὲν ἀμφὶ κάλαν σελάνναν Ἂψ ἀπυκρύπτοισι φάεννον εἶδος, Ὄπποτα πλήθοισα μάλιστα λάμπησ’ ἀργυρία γᾶν. １２：月つきと星星ほしぼし 銀色ぎんいろに 輝かがやく月つきは この地球ちきゅう 光ひかりで満みたす その時ときに、 綺麗きれいな月つきを 巡めぐる星ほし 輝かがやき隠かくす 瞬またなきの間まに。 Σύστασις γʹ· Ἀπὸ χαράς τᾶς ἀγάπας ἐς ἐπιφανίαις θεάων 集団しゅうだん三さん： 恋こいの喜よろこび 女神めがみの啓示けいじ ιγ· Ἦλθες ἦλθες, κά‹λ'› ἐπόησας, ἔγω δέ σ᾿ ἐμαιόμαν, ὂν δ᾿ ἔ‹ψυ›ξας ἔμαν φρένα καιομέναν πόθῳ· χαῖρε πόλλα ‹σὺ κάλ’› ἰσάριθμά ‹τε› τῷ χρόνῳ. Version A Version B １３：そのお出いで 憧あこがれる 私わたしのために ここにきて あなたはきっと 良よいことを 本当ほんとうにした。 切望せつぼうが 燃もえる心こころを 来くることで 深ふかく冷さました。 全体ぜんたいの その人生じんせいに 良よいことを 楽たのしめること この希望きぼうだわ。 １３：そのお出いで 憧れが 溢あふれる我われに 共ともにいた あなたはまさに 親切しんせつを 大おおに示しめした。 切望せつぼうが 燃もえる心こころを そのお出いで 深ふかく冷さました。 このままでの あなたのために 途切とぎれない 喜悦きえつを取とろう 我わがそう望のぞむ。 ιδʹ· Εἰδύλλιον σὺν τᾷ Ἀφροδίτᾳ Δ̤ε̣ῦρύ μ' ἐκ Κρή̣τα̣̣ς̤ ἐ̤π[ὶ τόνδε] ναῦον Ἄγνον, ὄπ[πᾳ δὴ χ]άριεν μὲν ἄλσος Μαλί[νων, β]ῶμοι δ' ἔ‹ν›ι θυμιάμε̤- ν̣οι̣ λιβ]ανώτῳ· Ἐν ⌟δ' ὔδωρ ψῦχρον κελάδει δι' ὔσδων Μαλίνων⌞, β̤ρόδοισ‹ι› δὲ ⌟παῖς ὀ χῶρος⌞ ‹Ἐσκ›ίαστ̤', ⌟αἰθυσσομένων δὲ φύλλων Κῶμα κατάῤῥει⌞· Ἐν δὲ λείμω[ν] ἰπ̣π̣ό̣β̣οτος τέθαλε Ἠ‹ρί›νοι̣σι̣ν̤ ἄνθεσιν, αἰ δ' ἄηται Μέλλιχα πνέ̤ο̤ισι [φύτων] καρ̣ά̣νο- θεν κατίο‹ι›[σαι.] ⌟Ἔλθε⌞ δὴ σὺ στέμ[ματ'] ἔλ̣ο̣ισ̣α̣, ⌟Κύπρι, χρυσίαισιν ἐν κυλίκεσσιν ἄβρως συμμεμίγμε̣νον θαλίαισι νέκταρ οἰνοχόεισα⌞. ιεʹ· Χερρόμακτρα [Νύκτι τᾷδε σύ μ' εἴσαο, Ὦ χρυσόστεφαν' Ἀφροδίτ' Ὄναρ ἀθανάτω τέω πλέκοισα Κρᾶτος ἀμβροσίαν κόμαν,] Χε‹ρ›ρόμακτρα δὲ κὰ‹κ κ›ό‹μα›ν, Πορφύρα κατα‹ρ›ταμένα, τὰ Τῖμας Ἔς ‹τ›' ἔπεμψ’ ἀπὺ Φωκάας, Δῶρα τίμια κὰ‹κ κ›ό‹μα›ν. ιςʹ· Ὕμνος πρὸς τὴν Ἀφροδίτην Πο⌟ικιλόθρ⌞ον’ ἀθάνατ’ Ἀφρόδιτα, Παῖ Δίος, ⌟δολόπλοκ⌞ε, λίσσομαί σε· ⌟Μή μ’ ἄσαισι⌞ μήτ’ ὀνίαισι δάμνα, Π⌟ότνια, θῦ⌞μον, Ἀλλ⌟ὰ τυίδ’ ἔ⌞λθ’, αἴ ποτα κἀτέρωτα, Τᾶ⌟ς ἔμας αὔ⌞δως ἀίοισα πήλυι, Ἔκλ⌟υες, πάτρο⌞ς δὲ δόμον λίποισα Χ⌟ρύσιον ἦλθ⌞ες, Ἀρ⌟μ’ ὐπ⌞α⌟σδε⌞ύξαισα, κάλοι δέ σ’ ἆγον Ὤ⌟κεες στροῦ⌞θοι περὶ γᾶς μελαίνας, Πύ⌟κνα δίν⌞νεντες πτέρ’ ἀπ’ ὠράνωἴθε- ρ⌟ος διὰ μέσσω⌞, Αἶ⌟ψα δ’ ἐξίκο⌞ντο· σὺ δ’, ὦ Μάκαιρα, ⌟Μηδιάσα⌞ισ’ ἀθανάτῳ προσώπῳ, Ἤ⌟ρε’ ὄττι δ⌞η⌟ὖ⌞τε πέπονθα, κὤττι Δη⌟ὖτε κάλ⌞η⌟μ⌞ι, Κ⌟ὤττι μ⌞ο⌟ι⌞ μάλιστα θέλω γένεσθαι Μ⌟αινόλᾳ⌞ θύμῳ· «τίνα δηὖτε †πείθω ‹Κ›α⌟ί σ’ ἄγην⌞† ἐς ‹ϝ›ὰν φιλότατα, τίς τ’, ὦ Ψά⌟πφ⌞’, ἀδικήει; Καὶ γὰρ αἰ φεύγει, ταχέως διώξει, Αἰ δὲ δῶρα μὴ δέκετ’, ἄλλα δώσει, Αἰ δὲ μὴ φίλει, ταχέως φιλήσει, Κωὐκ ἐθέλοισα». Ἔλθε μοι καὶ νῦν, χαλέπαν δὲ λῦσον Ἐκ μερίμναν, ὄσσα δέ μοι τέλεσσαι θῦμος ἰμέρρει, τέλεσον· σὺ δ᾽ αὔτα σύμμαχος ἔσσο. ιζʹ· Πότνια Ἥρα ⌟Πλά⌞σιον δή μ[' ἄμφι β]⌟ρέμοισ' ἀ⌞[γέσθ]⌟ω⌞, ⌟Πότ⌞νι' Ἦρα, σὰ χ[αρίεσ]⌟σ' ἐόρτ̣α⌞ ⌟Τὰν ἀ⌞ράταν Ἀτρ[εΐδα]⌟ι π̤ό̤ησαν⌞- ⌟τ' οἰ β⌞ασίληες ⌟Ἐκτε⌞λέσσαντες μ̣[εγα]⌟λ̣οις ἀέθλοι⌞[ς ⌟Πρῶτ⌞α μὲν πὲρ Ἴ̤[λιο]⌟ν, ἄψερον δὲ̣⌞ ⌟Τυίδ' ἀ⌞πορμάθεν̣̣[τες· ὄδ]⌟ον γὰρ ε̣ὔρ̣η⌞[ν ⌟Οὐκ ἐδ⌞ύναντο ⌟Πρὶν σ⌞ὲ καὶ Δί' ἀντ̤[ίαον] ⌟π̣εδέλθην⌞ ⌟Καὶ Θυ⌞ώνας ἰμμ[ερόεντα] ⌟παῖδα̣⌞ ⌟Νῦν δὲ⌞ κ[ἄμμες σοὶ γερά]⌟ρα π̣όημεν⌞ ⌟Κὰτ τὸ⌞ πά[λαιον ⌟Ἄγνα κ⌞αὶ κα̣[λ'· εἶσι δὲ τυίδ' ὄδ' ὄχ]⌟λος⌞ ⌟Παρθε⌞[νων τ' ἄμ' εὐχομέναν γ]⌟υναίκων⌞· ⌟Ἀμ̣φὶ σ̣ὸ⌞[ν βῶμον πύκιναι θέλοισι] ⌟Μέτρ' ὀλ⌞[ολύσδην ] . . α̣ν̣ιλ[[ Ἔμμεν[ ρ̣απικε[ ιηʹ· Περὶ τὸ τέλεσαι ἐόρταν … π]α̣ρκάλεισ̣ι τὰς ἐλ̣[ πάμ]παν· οὐκ ἔχη[σθα, πόθεν δυναίμαν, μ]⌜ᾶ̤τ⌟ερ, ἐόρταν⌞⌝ φαιδί]⌜⌟μ̣αν⌞ ὤ⌟ρᾳ τέλ⌝ε⌞[σαι; τὸ δ' ἐστὶ χάρμ' ἐ]⌜παμέ⌟ρων· ἔμ⌞⌝[ε δ' εὔφρον' εἴη τυγχά]⌜ν̤η̣ν̤, θ̣⌟ᾶς ἄμ⌞⌝[μι θέοι δίδωσι φθόγγ]⌜ο̣ν ἄκο⌟υσαι⌞⌝ Πακτίδ]ω̣ν' οὖτ⌟ος δ⌝ὲ⌞[u–u–x –u] ⌜ἢ νῦν̣ ἀ̣β⌟λ̣α̣⌝β⌞[ u–u–x –u]α̣ς δίδων τα[u–u–x –u π]όησεν· . . . . . ]ἐ̣πισ̣σ̣[ –u– ἄ]ν̣υστον· ε̣[–u–x κῆ]νο τελέσθ̣η[ν –] δ̣' ἔ̣γω πάμπ[αν uu–u–x –u] . αν . γλώσσα [uu–u–x –] . τα̣πυγνώ[–uu–u–x –] ἄρ' ὀφέλλης̣ –] ἔρων ε . . [–uu–u–x … Σύστασις δʹ· Ἐπιθαλάμια 集団しゅうだん四よん： 婚礼こんれいの詩うた ιθʹ· Ἔκτωρ καὶ Ἀνδρομάχα Κυπρο  ̣[         22-24 letters    ]αι  ̣ Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις Ἴδαος τάδε κα[ῖν]α [φόρ]εις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος «[Eἶς ἢ πλείονες ἂπ στίχοι εἶσι, τελεύταος Τούτων ἐν δὲ τελεύτᾳ ἴσως ἔχεν      Ἰλίω] Τᾶς τ᾽ ἄλλας Ἀσίας [τά]δ̣᾽ ἔσ̤αν κλέος̣ ἄφθιτον· Ἔκτωρ κ‹ο›ἰ συν̣έται̣ρ[ο]ι̣ ἄ̣γοισ᾽ ἐλικώπιδ̣α̣ Θήβας ἐξ ἰέρας Πλακίας τ᾽ ἀπ᾽ [ἀϊ]‹ν›νάω Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον Πόντο̣ν̣· πόλλα δ̣᾽ [ἐλί]γ̣ματα χρ̣ύσια κἄμματα Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ιλ᾽ ἀθύρματα, Ἀργύρ[α τ᾽] ἀνάριθμα ποτήρια κἀλέφαις. Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρουσε̣ π̤άτ̣[ηρ] φίλος· Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρύ̣χ[ορο]ν φίλοις· Αὔτικ’ Ἰλίαδαι σατίναι[ς] ὐπ’ ἐϋ̣τρόχοι̣ς Ἆγ̣[ο]ν αἰμονίοις̣· ἐπ[έ]β̤αινε̣ δὲ παῖς ὄχλος Γ̣υνάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν τ̣’ ἀ[παλ]οσ̣φ̣ύρω‹ν›· Χῶρις δ’ αὖ Περάμοιο θύγ̣[α]τρ̤ες [ἐπήϊσαν] Ἴππ̣[οις] δ̣’ ἄνδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα, σὺν δ’ ἴσαν] Π[άντ]ες ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [ἴεν μέγας] Δ[ᾶμος], κἀν̣ιόχοι φ[αλάροισι κεκαδμέναις] Π̣[ώλοις ἔ]ξαγο[ν ἐκ πόλεως τότα τᾶς φίλας. Στίχοις τυίδε λέγοισιν ἀπέμμεν ἄπαντες αὖ. [Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς [Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες] Ὄρ̣μα‹ν›α̤⌞[ι τότα Τρῶες ἔβαι]νον ἐς Ἴλιο[ν], Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη⌞[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το] Καὶ ψ[ό]φο[ς κ]ροτάλ⌞[ων, λίγε]ως δ’ ἄρα πάρ̣[θενοι] Ἄειδον μέλος ἄγν⌞[ον, ἴκα]νε δ’ ἐς̣ αἴ[θερα] Ἄχω θεσπε̣σί̣[α], γέλ̤⌞[ος Πάντᾳ δ’ ἦς κὰτ ὄδο⌞[ις Κράτηρες ⌜φίαλ⌝α̣ι̣ ρ̤⌜ο⌞⌝[. . .] . ε̣δ̣ε̣ [. .] . [.] . [ Μύρρα καὶ κασία λίβ⌞ανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣ ⌜Γύ⌝ν⌜αικες δ⌝’ ὀ⌜λό̤λυσδ⌝ο⌞ν̣ ὄ̣σαι προγενέστερα[ι], ⌜Πάντες δ’ ἄνδρ⌝ε⌜ς⌝ ἐ̣⌞πήρατον ἴαχον ὄρθιον ⌜Πάον’ ὀνκαλέο⌝ν⌜τες⌞ ἐκάβολον εὐλὐραν, ῎⌜Υμνην δ' Ἔκτορα κἈ⌞νδρομάχαν θεοίκελο[ις Δευτέρῳ τῷ ἔγω λέγον· «Ἂπ στίχοι εἶσι τυίδ’», Ἴσως Σάπφικον ἄλλο πόημα ποτῆρχε κῆ. κʹ· Δαύοις Δαύοις ἀπάλας ἐτα‹ί›ρας ἐν στήθεσιν . ２０：眠ねむれるように 溺愛できあいな 彼女かのじょ抱　だかれて 眠ねむれるように。 καʹ· Ἀείσωμεν ὑπὲρ τοῦ ζεύγεος . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . νύκτ[. . . ]. [ ] πάρθενοι δ[ὲ ταίσδεσι πρὸς θύραισιν] παννυχίσδοι[σ]α̣̣ι[, πολύολβε γάμβρε,] σὰν ἀείδοιε̣ν φ[ιλότατα καὶ νύμ-] φας ἰοκόλπω. ἀλλ᾽ ἐγέρθε̣ı̣ς, ἠϊθ[έοις καλέσσαις] στεῖχε σοὶς ὐμάλικ̣[ας, ὠς ἐλάσσω] ἤπερ ὄσσον ἀ λιγ̣ύφω̣[νος ὄρνις] ὔπνον [ἴ]δωμ̣εν. κβ· ᾽Υμήναον Ἴψοι δὴ τὸ μέλαθρον, ὐμήναον, ἀέρρετε, τέκτονες ἄνδρες· ὐμήναον. 5 γάμβρος ϝῖσος Ἄρευι, ὐμήναον, ἄνδρος μεγάλω πόλυ μέσδων, ὐμήναον. Πέρροχος, ὤς ποτ' ἄοιδος ᾽Υμήναον Ὀ Λέσβιος ἀλλοδάποισιν. ᾽Υμήναον κγ· Οἶον τὸ γλυκύμαλον Σαπφοῦς ἦν ἄρα μήλῳ μὲν εἰκάσαι τὴν κόρην οἶον τὸ γλυκύμαλον ἐρεύθεται ἄκρῳ ἐπ’ ὔσδῳ, ἄκρον ἐπ’ ἀκροτάτῳ, λελάθοντο δὲ μαλοδρόπηες· οὐ μὰν ἐκλελάθοντ’, ἀλλ’ οὐκ ἐδύναντ’ ἐπίκεσθαι… τὸν νυμφίον τε Ἀχιλλεῖ παρομοιῶσαι καὶ εἰς ταὐτὸν ἀγαγεῖν τῷ ἥρωϊ τὸν νεανίσκον ταῖς πράξεισι. κδʹ· Οἴαν τὰν ὐάκινθον Οἴαν τὰν υάκινθον ἐν ὤρεσι ποίμενες ἄνδρες πόσσι καταστείβοισι, χάμαι δέ τε πόρφυρον ἄνθος... κεʹ· Ὄλβιε γάμβρε Ὄλβιε γάμβρε, σοὶ μὲν δὴ γάμος ὠς ἄραο ἐκτετέλεστ’, ἔχηις δὲ πάρθενον, ἂν ἄραο. Σοὶ χάριεν μὲν εἶδος, ὄππατα δ’ ‹ἐστί, νύμφα›, μέλλιχ’, ἔρος δ’ ἐπ’ ἰμέρτῳ κέχυται προσώπῳ· 5 ‹Δῆλα τὰ δὴ› τετίμακ’ ἔξοχά σ’ Ἀφροδίτα. Σύστασις εʹ· Λύπα, ὄργα, ἔχθρα 集団しゅうだん五ご： 悲かなしみと 怒いかりと敵意てきい κςʹ· Καλλέλοιπάς με [Καλλέλοιπάς μ’. Ὦμ’.] Ἐμέθεν δ’ ἔχησθα ‹ Ἤ σὺ› λάθαν, [φιλτάτα,] ἤ τιν’ ἄλλον ‹Μᾶλλον› ἀνθρώπων ἐμέθεν φίλησθα; [Εἴ τινα, τίς δέ;]/[Τίς δὲ ὅς ἐστι;] ２６：あたくしを　引ひき離はなしたわ！ あたくしを 引ひき離はなしたわ！ 忘わすれたか？ あたくしよりも 他ほかの人ひと 愛あいしているか？ 誰だれだろうかな？ κζʹ· Δέδυκε μὲν ἀ σελάννα Δέδυκε μὲν ἀ σελάννα καὶ Πληίαδες· μέσαι δὲ νύκτες, παρὰ δ’ ἔρχετ’ ὤρα· ἔγω δὲ μόνα κατεύδω. ２７：太陰たいいんが　すでに沈しずんだ 太陰たいいんや 昴すばるがすでに あの海うみの 下したに沈しずんだ。 真夜中まよなかの 時間じかんがまさに 早はやく経たつ。 このまま我われが 一人ひとりで眠ねむる。 κηʹ· Ἀγροΐωτις Τίς ‹σοι› δ' ἀγροΐωτις ‹θαλύει νῦν› νόον, ‹ὄττα δὴ› Στόλαν ἀγροΐωτιν ‹περιβαίνει τοι› ἐπεμμένα, Οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων; ２８：粗野そやな女性じょせいは 足首あしくびの 上うえに上あげない 本当ほんとうに 粗野そやな衣服いふくを 着きる時ときは その心こころを 引ひきつける 粗野そやな女性じょせいは 誰だれだろうがな？ κθʹ· Στάθι κἄντα Καὶ ἡ Σαπφὼ δὲ πρὸς τὸν ὑπερβαλλόντως θαυμαζόμενον τὴν μορφὴν καὶ καλὸν εἶναι νομιζόμενόν φησι· [Σὺ] στᾶθι ‹τυίδε› κἄντα ‹'μέθεν›, φίλος, καὶ τὰν ἐπ' ὄσσοις ὀμπέτασον χάριν. λʹ· Κατθάνοισα δὲ κείσῃ 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. λαʹ· Μνάσετάι τις Μνάσεσθαί τινα φαῖμι καὶ ‹ὔσ›τερον ἀμμέων. λβʹ· Κατὰ Ἀνδρομέδαν ] . ακάλα . [ x–uu– – Δίος ἐξ] α̣ἰ̣γιόχω λά[χοισα x–uu– – ] . Κ̣υ̣θέρη' ε̣ὐχομ[ένᾳ μ' ἄρηξον x–uu– –uu– πρόφρ]ο̣ν ἔχοισα θῦμο̣[ν x–uu– κλ]ῦθί μ̣' ἄρας αἴ π[οτα κἀτέρωτα x–uu– –uu– ]ας π̣ρ̣ολίποισ̣α Κ[ύπρον x–uu– –uu ἦλθε]ς πεδ' ἔμαν ἰώ[αν x–uu– –uu– –] . ν χα̣λέπᾳ μ[ερίμνᾳ [Three lost lines] ] . ν ]α̣ θέ]ων μακ[άρων –uu– –uu– ] τύχοισα [κ]αὶ τοῦτ ἐπίκει[ρην, ἄγ', ἐμον πῆμα] θέλ' ὦν τ', ἀπαίσᾱν [δ]αίμων ὀλοφ[ῴα φρένας, ὦμοι τέ]λεσον νόημμα σ̣ὺ μὰν ἐφίλης̣ [καί μ' ἐτέλης πάντα γ]ε, τῶν κάλημ‹μ›ι νῦν δ' ἔννεκα [τοῦτ' ἄρκεσον ὦμοι] πεδὰ θῦμον αἶψα τόδ' αἴτιον οὔτ' [αἶσχρον, ἔφα, κὤ]σ̣σα τύχην θελήσῃς οὐδὲν πόλυ πά[σασθαι, ἀλάθως γὰ]ρ ἔμοι μάχεσθαι      7 ο]ὐδ' Ἀ[νδ]ρομέ[δ' οἶ', ὄσσα δίαιται χ]λιδάνᾳ 'πίθεισα δράσ', οὐ] λελάθ̣[ην ἀθανάτοις ἔστ]ι, σὺ δ' εὖ γὰρ οἶσθα κρότ̣ην Νέμε[σιν κῆνον ὂς αἶσχρ' οἶδε κρ]έτει τ' ἀ[ό]λλεων Ψάπφοι, σε φίλ[εισ' ἀμφ' ὀχέεσ' ἤρμοσε κύ]κλ̣α σ[οί τε] Κύπρῳ β̣[α]σίλ[η' ἦλθ' ἰκετεύοισα Δί' αἶψα σέ]μνα κ̣αί τοι μέγα δῶ[ρον Κρονίδαις ϝο]ῖ κατέν̤[ευσ' ὀπάσδην ὄ]σσοις φαέθων̣ [Ἀέλοις φέγγεσιν ἀμφιβ]άσ̣κ[ει πάντᾳ κλέος [ἔσλον καί σ' ἐνν Ἀχέρ[οντος . . [. . . . . .]ν̣π̣[ [6 lost lines] λγʹ· Περὶ ἐξορίας ] . . [.] . [x–uu– –uu κα]ὶ̣ γάρ μ' ἀπὺ τᾶς ἔμ[ας γᾶς] ἄ̣μι[λ]λ' ἀ̣[πεκίν]ησ' ἀδο[κητ –u ] ὔμως δ' ἔγεν[το μ]νᾶμ[' οὐ [uu– ἀλ]λ̣ὰ . [u– –u] ἴσαν θέοισιν [νῦ]ν̣ δ' εἶμ' ἐ[πὶ ταύτᾱν ὀ]νίᾱν [δὴ καὶ] ἄσᾱν ἀλίτραν [ἐπο]ρ̣σομέν[α, σὺν δ' ὀ]δ̣ύν[αισ' Ἀν]δρομέδαν̣ [ὐ]πάξ[ει ἀπά]λικ' ὐπ' ἄ[ρμ' ὐψ]ιμέδο̣[ισ'] Ἄρ[τεμι]ς ἀ μάκα[ιρ]α· [ἀ δ'] οὐκ [ἀ]βά[κην] μὰ‹ν› στέ̣[ρ]εον δὲ τρόπον α[ἰσ]χύνηται οὔτι]ς̣ γὰρ ἔ̣παυ[σ' ὄ]γ̣κ[ον ἐν αὔτᾳ,] κόρον οὐ κατίσχει [ἦ] μάν κ' ἀπυθυσ' [ὦ]κ̣' ἀ[γέλα]ν Τυνδαρίδαι[σιν ἄρνων] ] ἀρμονίας δ' ἀσυ[χ]ίᾳ κὰ[τ] χαρίεντ' ἀρ[έσκοι γ]άθην χόρον, ἆ, α[ἴ] κ' ἄδολον [μ]ηκέτι συν[ πᾶκτιν] δ̣ὲ λίγηαν Μεγάραν [τὰ]ν̣ ἀ[κάλ]α[ν λάβοισαν δύν]ατόν σφι̣[ ]πάντεσσι[ ]επ[.] . [ λδʹ· Κατὰ Πωλυανακτίδαις .] . γα . πεδὰ βαῖο̣[ν ] . α . [.]οῖ Πωλυανάκτ[ιδ]α . . [ . . . αισ Σαμία‹ι›σιν ι̣ε . [.]το̣ισ . . . . [.] []      Κόρω̣νιςσ̣υκ̣ . ν   ‹ἐν› χόρδαισι διακρέ̣κην ο̣λ̣ι̣σ̣β̣οδόκο̣ι̣σ̣‹ι› περκαθθώμενος τεούτ[οι]σι φιλοφ[ό]νως πᾶ]κτις δ' ἐλελίσδ[ε]ται προσ̣ανέ̣ως εὔφ]ωνος δὲ δι' ο[στί]ων ἔρπει] μυάλ̣ω δ' ἐ[πε]ί κ' ἔ̣νη̣ τ̣ρ̣[έχε]ι {χ . .} λεʹ· Πρὸς Ἀπόλλωνα Λάτως] τε κα̣ὶ Δ̣ί̣[ος] πάϊ[ς] ] . . ε . . . [.] ἔπι[]θ̤' ὄρ̣γιον[ Γρύνη]α[ν] ὐλ̣ώδ̣η λίπ̣ων καὶ σὸν κλύ]το̣ν̣ χ̣ρ̣η[σ]τ̣ήριον ].[          ] . ε̣υμες̣[. .] . [.]ων ] . . . . [. . . . .] ] . . . . . . ἀ[μ]έ̣ραις ]ρ̣σανον[.] . ὀτ[    ]ργία̣ν ]υ̣σομεν [    ] ]νϋμνε[          ] κ̣α̣[          ]ε̣να̣[.]φο . [. . .]ν . ἀδελφέαν ὠς πάϊ[ς      ] . ιο̣ . [. . .] . [      ] οὔτις δε̣[. . .]κει̣ . θέ̣λ̣η[ι          ] δεί̣χ̣ν̣υσ[ι . .]ε δηὖτε Πωλ̣υ̣ανακτίδαν τὸν μάρ̣γον̣ ὄν̣δε̣ιξα̣ι̣ θέλω λςʹ· Κατάρα . . . . . ]α̣ μάκαι[ρα. . . . . . . . . . ]εὐπλο.[. . . . . . . . . .κ]ρ̣ᾶτος κα[ὶ . . . . . . . . . ] [ὄσσα δὲ πρ]⌟όσθ⌞’ [ἄμ]βροτε κῆ[ν’ ἔλυσεν] . . . . . ]⌟αταις̣⌞ [ἀ]ν̣εμ̣[. . . . . [σὺν κάλᾳ] ⌟τ̣ύχᾳ λί⌞μ̣[]ε̣νος κλ[. . . . . . . . . . ]⌟.⌞[. . . . . [Κύ]πρι, κα[ί σ]ε πι[κροτάτ]α̣ν ἐπεύ[ροι μη]δὲ καυχάσ[α]ιτο τόδ’ ἐννέ[ποισα Δ]ωρίχα, τὸ δεύ[τ]ερον ὠς πόθε[ννον εἰς] ἔρον ἦλθε. Σύστασις ςʹ· Ψάπφω καὶ ἄδελφος ϝός 集団しゅうだん六ろく： サッフォーと兄あに λζʹ· Πρὸς Νηρήϊδας Πότνιαι Ν⌝ηρήϊδε̣ς, ἀβλάβη[ν μοι Τὸν̣ κ̣ασίγν⌝ητον δ[ό]τε τυί̤δ' ἴ̤κε̤σ̣θα[ι Κὤττι ϝῷ⌝ θύμῳ κε̤ θέλη γένεσθαι Κῆνο τελέ⌝σθην· Ὄσσα δ̤ὲ π⌝[ρ]ό̣σθ' ἄμβροτε πάντα̤ λῦσ[αι Καὶ φίλ̣οισι⌝ ϝοῖσι χάραν γένεσθαι Κὠνίαν ἔ⌝χ̤θροισι, γ̣ένοιτο δ' ἄμμι Μ̣ή̣δαμα μ⌝ήδεις Τὰ̣ν̣ κασιγν⌝ήταν̣ δὲ [θ]έλοι πόη̤σθα[ι Μέ]σδονο⌝[ς] τίμας, [ὀν]ίαν δὲ λύγραν Ἐκλύ]ο⌝[ιτ']ο τ̣οῖσι [πάρ]οιθ' ἀχε̣ύων [Αὖτος ἐδά]μνα Κῆρ, ὀνείδισ]μ̤' εἰσαΐω[ν], τ̣ὸ κ' ἐγ χρῷ Κἄμ]μ̣⌝' [ἔκερ]ρ' ἐ̤παγ[ορί]ᾳ πολίτ̤αν Ὤ̣ς̣ ποτ' οὐ̣⌝[κ ἄ]λλω̣ς̣, [ἐσύ]νηκε δ' αὖτ' οὐ δεν διὰ μ⌝[ά]κρω Καί τι μᾶ⌝[λλ]ον αἰ κ[λ]έο[ς ἐν βρότοι]σ̤ι Γ]ν̣ώσε̣τ⌝[ἂψ οἲ]ο̣ν̣, σὺ [δὲ,] Κύπ̤[ρ]ι σ[έμ]να, Ο̣ὐκ ὄ̤ν̤ε⌝[κτον καττθε]μέν̣α κάκ̣αν [ὔβ- ριν, πίθε ἄμμ]ι ληʹ· Εὔχα ὤστε ἀποτρέπην χειμερίαις πορείαις . . . . . . . . . . . . . . . ] ἔπι[θ]ε̣ς μά[καιρα . . . . ]ε̣ γάνος δὲ καὶ [. . . . . . . . . . . . τ]ύχᾳ σὺν ἔσλᾳ    .[ . . λί]⌟μεν⌞ος κρέτησαι . . . . γ]ᾶς μελαίνας [. . . . . Ἐν θυέλλαισι ζαφ]έλοισι ναῦται [ἐκφοβήθεντες μ]εγάλαις ἀήται̣[ς ἄββαλον τὰ φόρτι]α κἀπὶ χέρσω [πλοῖον ὄκελλαν· μὴ μάλιστ’ ἔγωγ’] ἄμοθεν πλέοιμ̣[ι χειμάσαντος μη]δὲ τὰ φόρτι’ εἶκ[α ἐς βάθηα πόντο]ν̣ ἄτιμ’, ἐπείκη,̣ [πάντα βάλοιμι· αἰ δὲ Νήρηϊ προ]ρέοντι πόμπᾳ [ἐννάλῳ τἄμ’ ἐξέσετ]αι δέκε̣[σθαι φόρτι’, ὠς τάχιστά γ’ ἄραμαι ὠς] εἴ[- ᾳ τά μ’ ἐσέλθην. . . . . . ]ι̣ν ἔργα̣ . . . . . ] χ̣έρσω̣ [.] . . . . . ]γ̣α . . . . . ] λθʹ· Ἄεισμα τῶν ἀδέλφων "Π[όλλα δὴ πεπόνθαμεν, ἀλλ' ἐπέλθοι Νᾶϊ συν πλήᾳ νυ Χάραξος ἄμμι!"· Πόλ]λα̣ [καὶ νῦν πάσχομεν αὖ, πόνος δὲ Ἦλθέ] σε, Μα[ῖα], Ἀλλ' ἄϊ θρύλησθα Χάραξον ἔλθην νᾶϊ σὺ‹ν› πλ‹ή›ᾳ· τὰ μὲν̣, οἴο̣μ̣αι, Ζεῦς οἶδε σὔμπαντές τε θέοι, σὲ δ' οὐ χρὴ ταῦτα νό‹η›σθαι, ἀλλὰ καὶ πέμπην ἔμε καὶ κέλεσθαι πόλλα λί̣σσεσθαι βασι̣λ̣ήαν Ἤ̣ραν ἐξίκεσθαι τυίδε σάαν ἄγοντα νᾶα Χάραξον, κἄμμ' ἐπεύρην ἀρτέμεας· τὰ δ' ἄλλα πάντα δαιμόνεσσ̣ιν ἐπιτρόπωμεν· εὔδια̣ι ‹γ›ὰ̣ρ̣ ἐκ μεγάλαν ἀήτα̣ν̣ αἶψα̣ π̣έλονται· τῶν κε βόλληται βασίλευς Ὀλύμπω Δαίμον' ἐκ πόνων ἐπάρωγον ἤδη περτρόπην, κῆνοι μάκαρες πέλονται καὶ πολύολβοι. Κ̣ἄμμες, αἴ κε τὰν κεφά̣λ̣α̣ν ἀέρρ̣η Λάριχος, καὶ δή ποτ' ἄνηρ ‹γ›ένηται, καὶ μάλ' ἐκ πόλλαν βαρυθυ̣μίαν̣ κεν αἶψα λύθειμεν. μʹ· Πρὸς Χάραξον Ἐκδοκὴ αʹ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ] δώσην. 4 Αἰ κλ]ύτων μέν τ’ ἐπ[πότεαι πεδ’ ἄνδρων κωὐ κ]άλων κἄσλων, ἐ[νέπεις δὲ χαίρην τοὶς φί]λοις, λύπης τέ μ[ε, σοὶ γένεσθαι φαὶς ἔ]μ’ ὄνειδος, 8 ἦτορ] οἰδήσαις, ἐπὶ τα̣[ῦτ’ ἀρέσκε͜ο καρδ]ίαν· ἄσαιο· τὸ γὰρ ν̤[όημμα τὦ]μον οὐκ οὔτω μ[αλάκως χόλᾳ παί- δων] διάκηται· 12 ἀλλὰ] μὴ̣ δ̣⍑ό̣αζε· [γέροντας ὄρνῑς οὐκ ἄγρη βρό]χ̣ις· συνίημ[’ ἔγω σε οἶ πρὶν ἐσπό]λ̣ης κακότατο[ς, οἴῳ δ’ ἀντετέθη]μεν 16 δαΐῳ. Σὺ δ’ ὦ]ν ἀτέραις, με[μήλων λῳόνων, τίθ]η φρένας· εὔ[κολον γὰρ νῶν τράφοισ]α̣ τοὶς μάκα[ρας σάφ’ οἶδ’ ἔ- μοι παρέοντας.] 20 Ἐκδοκὴ βʹ . . . . . . . . . . . . . . . . . . . . [–u– τύ κεν δοκίμοις χάριν μοι οὐκ ἀπυ]δώσην [συμφ]ύτων μέντ' ἐπτ[ατόνοις λύραισι καὶ κ]άλων κἄσλων ἐ[πέων ἀπέλλης τοὶς φί]λοις, λύπης τέ μ[ε, κἀπορίπτης εἰς ἔ]μ' ὄνειδος. [ᾦ κεν] οἰδήσαις ἐπί τ[ᾷ τε λώβᾳ καρδί]αν ἄσαιο· τὸ γὰρ [νόημμα τὦ]μον οὐκ οὔτω μ[αλάκως πρὸς ὄργαν σὰν] διάκηται. ...]. μη̣δ̣ [... Σύστασις ζʹ· Νοσταλγία τᾶς νεότατος 集団しゅうだん七しち： 若者わかものに 深ふかい懐旧かいきゅう μαʹ· Ἦσθα καὶ γὰρ δὴ σὺ παίς ποτ' ἄβρα . . . . . . . . . . . . . . . ]καιπ[. . . . . . . . . . ] . [.] . [.]ν̣οσ[. . . . . – ^ ^ – ]σι·[. . . . . 4 ἦσθ]α καὶ γὰρ δὴ σὺ̣ πάϊς ποτ' [ἄβρα κἀφ]ί̣λ̣ης μέλπεσθ'· ἄγι ταῦτα [πάντα σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος ἄ]δρα χάρισσαι· σ]τείχομεν γὰρ ἐς γάμον· εὖ δέ [δέρκῃ κα]ὶ σὺ τοῦτ'· ἀλλ' ὄττι τάχιστ̣ά [παίσαις πα]ρ[θ]ένοις ἄπ[π]εμπε, θέοι [δ' ἄτιμον μηδὲ]ν ἔ̣̣χοιεν̣. ἀστίβης] ὄ̣δος μ[έ]γαν εἰς Ὄλ̣[υμπον ἀ]νθρώ[πῳ ]αίκ . [ [................ ................] μβʹ· Ὦ ἄγαναι γύναικες Αἶσ' ἔγων ἔ]φα̤ν· ἄγα[ναι γύναικες, Ο]ἶ[α μ]εμνάσεσθ' ἄ̤[ϊ μέχρι γῆρας, κ]αὶ γ̣' ἄρ' ἄμμες ἐν νεό̣[τατι λάμπρᾳ Ταῦ̣τ' ἐπόημ̣μεν. Πό̣λ̣λ̣α̤ [μ]ὲν γὰρ γαὶ κά[λα κἄγν' ἐν αὔτᾳ [Ἐκ]πο̣νήσ[α]μεν· πόλι[ν αὖ λιποίσαις ῎Υ]μμε̤ δ' ὀ[ξ]είαις δ[άκε μοι βλεποίσᾳ Θ]ῦμ[ο]ν ἄ[σαισι Ἴμμερος. μγʹ· Αἰ δέ μοι γάλακτος ἔτ' ἦν [Αἰ δέ μοι γάλακτο]ς ἐπάβολ' ἦσ[κε τωὔθατ' ἢ παίδ]ων δολόφυν [ποήσ]ε[ι 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] ἄεισον ἄμμι [τὰν ἰόκολπον. ἔ]ρων μά̣λ̣ιστα ] ἆ̣ς π[λά]ναται̣ [................ ................] μδʹ· Μοίσαν δῶρα [ὔμμες πεδὰ Μοίσαν ἰο]⌟κόλ̤↵πων κάλα δῶρα παῖδες⌞ [σπουδάσδετε καὶ τὰ]⌟ν ↵φιλἄοιδον λιγύραν χ⌞ελύνναν· [ἔμοι δ' ἄπαλον πρίν] ⌟ποτ⌞' [ἔ]⌟ο↵ντα⌞ χρό⌟α γῆρα⌞ς ⌜ἤδη⌝ [ἐπέλλαβε, λεῦκαι δ' ἐ]⌟γένο↵ντο τρίχες ἐκ μ⌞⌜ελαίναν⌝, ⌟βάρυς δέ μ' ὀ θῦμ⌞[ο]⌟ς πεπόητ↵αι, γ⌞όνα ⌟δ' οὐ φ⌞έροισι, ⌟τὰ δή ποτα λαίψηρ' ἔον ὄρ̣χ↵ησθ' ἴσα νεβρίοισιν⌞. τα]⌟‹ῦ›τα στεναχί‹σδ›ω θαμέως ἀ↵λλὰ τί κεν ποεί⌞ην; ⌟ἀγή̣ραον ἄνθρωπον ἔοντ' ↵οὐ δύνατον γένε⌞σθαι· ⌜καὶ γ⌝⌟άρ ⌜π⌝⌞[ο]⌟τα ⌜Τίθω⌝νον ἔφαντο ↵βροδόπαχυ⌞ν ⌜ἔρῳ δ̣έ̤[π]ας̣ εἰσαν⌝⌟βάμεν εἰς ἔσ↵χατα γᾶς⌞ φέροισα [Αὔων ⌜ἔοντα [κ]ά̤λ̤ο̤ν καὶ ν⌝⌟έον, ἀλλ' αὖτ̣↵ον ὔμως ἔμ⌞αρψε[ ⌜χρόνω̣‹ι› π̣[ό]λιον̤ γ̤ῆ̤ρα⌝⌟ς ἔ⌞[χοντ'] ⌟ἀθ⌞[α]⌟ν↵άταν ἄκοιτιν⌞. Σύστασις η· Περὶ τὸ ἀοιδάμεν 集団しゅうだん八はち： 歌うたう事こと μεʹ· Κρέσσονι θῆται στύματι πρόκοψιν . . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . .] . δα [–x . . . .] ̣πέρι̣[ . . .] ̣εικε ̣[. . . . . . . . . . . . . . . . . . . . . . ] . α [ x–uu––uu––uu– φ]ύγοισα̣[ x–u ἐχίδνας] ̣[.] ̣[uu––u ὄδοντ]ι ̣δάχθην̣ x–uu– πάγ]χ̣υ̣ θ[έ]ο̣ι· [Κ]α̣λλ̣[οόπα, σὺ δ' α]ὔτα̣ν . . . . . . . . . . . . . ] . χ̣θο[. .]ατι . [......]ε̣ισα x–uu– κεκλο]μένα τὰν [πολυ]ώ̣νυμόν σ̤ε̤ x–uu– κρέσσο]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣ ４５：より良く歌うたう　人ひと勝かてように 。。。読よんだ。。。 。。。の回まわりに。。。 。。。逃にげたから。。。 蛇へびにより 我われが噛かまれた 。。。神々かみがみが 全まったく。。。 。。。でもあなた、 アアカリオパー。。。 多おおい名なが あるのあなたを 読よんだ時とき より良よく歌うたう 人ひと勝かてように。 μςʹ· Νῦν θαλία παρέστω Ἐκδοκὴ αʹ ] . 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 Ἐκδοκὴ βʹ ] . οὐ[ ] ε̣ὐχο̣μ̣[ ἔμαισιν ἐταίραις ἄμ' ἔμο]ι νῦν θαλία̣ γ̣ε[νέσθω ἐπεὶ δέ κε γήραισα θάνω,] νέρθε δὲ γᾶς γ̣έν[ωμ]α̣ι καὶ μοισόπολων ἔσλ]ον ἔχοι̣σαν̣ γέρας ὠς̣ [ἔ]ο̣ικε̣ν οὔ κέν μ' ἔτι θαυμά]ζοιε̣ν̣ ὠς νῦν ἐπὶ γᾶς ἔοισαν· φαίνην δὸς ἀοίδαν] λιγύρ̤α̤ν [α]ἴ κεν ἔλοισα πᾶκτιν[ ἔμαισι φίλαισι(ν) ] . . . . α . κάλα, Μοῖσ', ἀε̣ίδω μζʹ· Πρὸς χελώνην Ἄγι δὴ χέλυ δῖά μοι φωνάεσσά ‹νυ› γ‹ίγ›ν‹ε›ο ４７：ライア－に 神聖しんせいな ライアー、我われに 歌うたってきてね！ μηʹ· Ἔμαις ἑταίραις Τάδε νῦν ἐταίραις Tαῖς ἔμαις τέρποισα κάλως ἀείσω. ４８：友達ともだちのため 友達ともだちを 喜よろこばすよう 素敵すてきに歌うたう Σύστασις θ· Πρὸς φίλοις, σύμβουλαι 集団しゅうだん九きゅう： 友達ともだちに 申もうす言葉ことばと 忠告ちゅうこくと μθʹ· Πρὸς Δίκαν Σαπφὼ δ' ἁπλούστερον τὴν αἰτίαν ἀποδίδωσιν τοῦ στεφαοῦσθαι ἡμᾶς, λέγουσα τάδε· σὺ δὲ στεφάνοις, ὦ Δίκα, πέρθεσθ᾿ ἐράτοις φόβαισιν ὄρπακας ἀνήτ‹ω› συν‹α›έρραισ᾿ ἀπάλαισ‹ι› χέρσιν· εὐάνθεα γὰρ ‹παρ›πέλεται καὶ Χάριτ‹α›ς μακαίρα‹ς› μᾶλλον ποτόρην· ἀστεφανώτοισι δ᾿ ἀπυστρέφονται. νʹ· Περὶ θέρεος ⌜Τέγγε πνεύμονα ϝοίνῳ· τὸ γὰρ ἄστρον περιτέλλεται, ἀ δ' ὤρα χαλέπα, πάντα δὲ δίψαισ' ὐπὰ καύματος. ἄχει δ' ἐκ πετάλων ϝάδεα τέττιξ,⌝ πτερύγων δ' ὔπα κακχέει λιγύραν ‹πύκνον› ἀοίδαν, ‹θέρος› ὄπποτα φλόγιον κα‹τὰ γ›ᾶν πεπτάμενον ‹πάντα› καταυ‹άν›η. ⌜ἄνθει δὲ σκόλυμος· νῦν δὲ γύναικες μιαρώταται, λέπτοι δ' ἄνδρες, ἐπεὶ ‹καὶ› κεφάλαν καὶ γόνα Σείριος ἄσδει.⌝ ναʹ· Πρὸς Μίκαν [x–uu– –uu– οὐδὲ θέ]μις σε Μίκα [x–uu– –u γ]έλα[ν, ἀλ]λά σ’ ἔγωὐκ ἐάσω [x–u γυναίκω]ν̣ φιλότ[ατ’] ἤλεο Πενθιλήᾱν̣ [φρένας uu– –uu–] δάκν[ε πολύ]τροπ’, ἄμμα̣[ις, κήναισι γάρ, οὐκ ἄμμι,] μέλ̣[ος] τι γλύκερον χ[α]ρ[ίσδῃ] ἔγεντ̣ο [δὲ νῦν ἀρμονί]α μελλιχόφων[ον] αὔραν οὐ γὰρ κ[άλαμος ταῦτα μελίσ]δει, λίγυραι δ᾽ ἄη[τα]ι νβʹ· Οὐ γὰρ θέμις θρῆνον [xx–uu] οὐ γὰρ θέμις ἐν μοισοπόλων ‹δόμῳ› θρῆνον ἔμμεν' ‹ἄπαυστον, Κλέι,› οὔ κ’ ἄμμι πρέποι τάδε. νγʹ· Ὀ μὲν γὰρ κάλος ὀ μὲν γὰρ κάλος ὄσσον ἴδην πέλεται ‹κάλος›, ὀ δὲ κἄγαθος αὔτικα καὶ κάλος ἔσ‹σε›ται. νδʹ· Ὀ πλούτος ἄνευ τᾶς ἀρέτας Ὁ δὲ πλοῦτος οὐ μόνος ὢν καθ' ἑαυτόν, ἀλλὰ καὶ ἀρετῇ κεκοσμημένος, καιρίως τῶν τε ἑαυτοῦ ἀγαθῶν καὶ τῆς ἀρετῆς ἀπολαύει, συνετὴν ἔχων τὴν φροντίδα πρὸς τὸ ἀγρεύειν τὰ καλά. Τούτων γὰρ τὸ ἕτερον καθ' ἑαυτὸ οὐχ ἡδύ· Ὀ πλοῦτος ἄνευ ‹τᾶς› ἀρέτας οὐκ ἀσίνης πάροικος, Τᾷ δ' ἀμφοτέρων κράσ‹ει ἔν'› εὐδαιμονίας τό ‹γ’› ἄκρον νεʹ· Ἀβάκην τὰν φρέν' ἔχω xx ἀλλά τις οὐκ ἔμμι παλιγκότων ὄργαν, ἀλλ᾽ ἀβάκην τὰν φρέν’ ἔχω. ux νςʹ· Μαψυλάκαν γλῶσσαν σκιδναμένας ἐν στήθεσιν ὄργας μαψυλάκαν γλῶσσαν πεφύλαχθε. ５６：意味いみなく騒さわぐ　その舌したを 腹立はらだちで 心こころ煮もえ立たつ その時ときは、 意味いみなく騒さわぐ 汝なが舌したを 己おのが心こころで 止とめしむるべし。 νζʹ· Οὐ δοκίμωμι Ψαύην δ' οὐ δοκίμωμ' ὀράνω δύσ‹ι› πάχε‹σιν›. ５７：待またない あたくしは この二にの腕うでで 大空おおぞらを 届とどき触ふれ合あう ことを待またない。 νηʹ· Οὐδ' ἴαν δοκίμωμι Οὐδ' ἴαν δοκίμωμι προσίδοισαν φάος ἀλίω ἔσσεσθαι σοφίαν πάρθενον εἰς οὐδένα πω χρόνον τοιαύταν. Σύστασις ι· Μυθολογία 集団しゅうだん十しゅう： 神話しんわの破片はへん νθʹ· Ἔλθοντ' ἐξ ὀράνω Πρώτην δέ φασι χλαμύδα ὀνομάσαι Σαπφὼ ἐπὶ τοῦ Ἔρωτος εἰποῦσαν· Ἔλθοντ' ἐξ ὀράνω πορφυρίαν περθέμενον χλάμυν. ξʹ· Περὶ Λήδας Φαῖσι δή ποτα Λήδαν ὐακινθίνων εὔρην ὤϊον [ἀνθέ͜ων] πεπυκαδμένον [ὔπο]. ６０：レーダについて 人ひとはそう言いう： レーダーは ヒアシンス花はな 隠かくしたの 卵たまごをいつか 見みつけたわ. ξαʹ· Ἐπὶ τᾶν περιστεράων ταῖσι ‹δὴ› ψῦχρος μὲν ἔγεντ' ὀ θῦμος, πὰρ δ᾽ ἴεισι τὰ πτέρα [–u–x] Version A Version B ６１：鳩はとについて 心こころには 凍こごえてるから 羽はね降　ふりさせた。 ６１：鳩はとについて 魂たましいが 凍こおらせた時とき、 羽はねは潰ついえた。 ξβʹ· Ἐρέβινθοι Χρύσειοι ‹δ'› ἐρέβινθοι ἐπ' ἀϊόνων ἐφύοντο. ６２：黄金おうごんの豆まめ 海辺うみべにて 生うまれた豆まめの 色いろは黄金おうごん。 ξγʹ· Λάτω καὶ Νιόβα Καλοῦσι γοῦν καὶ αἱ ἐλεύθεραι γυναῖκες ἔτι καὶ νῦν καὶ αἱ παρθένοι τὰς συνήθεις καὶ φίλας ἑταίρας, ὡς ἡ Σαπφώ· Λάτω καὶ Νιόβα μάλα μὲν φίλαι ἦσαν ἔταιραι. ６３：ラートーと　ニオバー二人ふたり ラートーと ニオバー二人ふたり 愛あいし合あい 仲なか睦　むつまじく 絆きずなは深ふかく。 ξδʹ· ἀϊπάρθενος ἔσσομαι .. ]σανορεσ . . [ Φοίβῳ χρυσοκό]μᾳ, τὸν ἔτικτε Κόω κ[όρα μίγεισ’ εὐρυβίᾳ Κρ]ονίδᾳ μεγαλωνύμῳ [ Ἄρτεμις δὲ θέων] μέγαν ὄρκον ἐπώμοσε· 5 «[νὴ τὰν σὰν κεφά]λαν, ἀϊπάρθενος ἔσσομαι [ἄδμης οἰοπό]λων ὀρέων κορύφαισ᾽ ἔπι [θηρεύοισ’· ἄγι καὶ τά]δε νεῦσον ἔμαν χάριν». [ὢς εἶπ’· αὐτὰρ ἔνευ]σε θέων μακάρων πάτηρ, [πάρθενον δ’ ἐλαφάβ]ολον ἀγροτέραν θέοι 10 [ἄνθρωποί τε κάλε]ισιν ἐπωνύμιον μέγα. [κήνᾳ λυσιμέλης] Ἔρος οὐδάμα πίλναται· ] . [ . ] . . . . α̣φόβε[ . . ] .́ .ω· ξεʹ· Κατθνάσκει, Κυθέρηα κατθνάσκει, Κυθέρη’, ἄβρος Ἄδωνις· τί κε θεῖμεν; καττύπτεσθε, κόραι, καὶ κατερείκεσθε χίτωνας. Σύστασις ιαʹ· Κατθἀνην δ' ἴμμερός τις ἔχει με 集団しゅうだん十一しゅういち： 死亡しぼうを望のぞむ ξςʹ· Ἔρμαις γ' ἔσηλθε . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . του[x–uu–u–u–x] 3 ἦρ’ α[– xx–uu–ux] δηρατ . [uu–ux] Γογγύλα τ’ [ἔφατ’ “Οὔ τι πᾷ τάδ’ ἔγνως,] 6 ἦ τι σᾶμ’ ἔθε[λες δόμεναι τέαις] παῖσι;” “Μάλιστ’”· ἄ[μειβον· Ἔρ-] μα‹ι›ς̣ γ’ ἔσηλθ᾽ ἔπο[ρος Δίος· τάδ᾿ αὔτῳ] 9 εἶπ̣ο‹ν›· “ὦ δέσποτ᾽ ἐ[πτατόνω λύρας ο]ὐ μὰ γὰρ μακά⌟ραν [θέαν ο]ὔδεν ἄδομ᾽ ἔπ⌟αρθ᾽ ἀγαν [ἐπ᾿ ὄλβῳ,] 12 κατθάνην δ᾽ ἴ⌟μερός τις ἔ[χει με καὶ] λωτίνοις δρ⌟οσόεντας [ὄ-] χ[θ]οις̣ ἴδην Ἀ⌟χερ[οντος –u–x 15 κὰ]δ δ᾽ ἐ‹ς› Ἀ͜ίδα [δόμον βάμεν ἔς τ’ ἴδην νέκρο]ι‹ς› δε̣ύ̣ομ[αι –ux] . . μή τι[ς –uu–u–u–x]”. 18 ξζʹ· Τεθνάκην δ' ἀδόλως θέλω «[Ἄτθιδ’ οὔποτ’ ἄρ’ ὄψομαι,] τεθνάκην δ’ ἀ̣δόλως θέ̣λω». Ἄ με ψισδομένα κατ̤[ε]λί‹μ›πανεν πόλλα, καὶ τόδ' ἔειπέ [μο]ι· «ᾮμ' ὠς δεῖνα πεπ[όνθ]αμεν Ψάπφ' ἦ μάν̣ σ̣' ἀέκοι̣σ̣' ἀ̣πυλιμπάνω» Τὰν δ' ἔγω τάδ' ἀμειβ̣ό̣μαν «Χαίροισ' ἔρχεο κἄ̣με̣θεν μέμναισ̤'· οἶσθ[α] γὰρ ὤς ‹σ›' ἐπεδήπομεν. Αἰ δὲ μή,͜ ἀλλά σ' ἔγω θέλω ὄ̣μναισαι (τὰ σὺ λ[ά]θεαι) ὄ̣‹σ›' ἄ[μ]μες φ[ίλα] καὶ κάλ' ἐ̣πάσχομεν· πό̤[λλοις γὰρ στεφάν]οις ἴων καὶ [βρόδων κρ]ο̣κίων τ̣' ὔμοι κ̣ά̣ρ̣ᾳ [σῷ] πὰρ ἔμοι π‹ε›ρεθήκα‹ο›, ⌜⌟καὶ πό⌞λλαις ὐπα⌟θύμιδας⌞ ⌟πλέκ⌞ταις ἀμπ' ἀ⌟πάλᾳ δέρᾳ⌞⌝ ἀνθέων ἐ̣ρ[άτων] πεποημμέ̣ναις, καὶ πόλλῳ̣ λ̣[ιπάρ]ως μύρῳ βρενθείῳ τ[ε κόμαν] κάλαν ἐξαλείψαο κα[ὶ βα]⌟σιλ‹η›ΐῳ⌞, καὶ στρώμν̤[αν ἐ]⌟πὶ μολ⌞θάκαν ἀπάλαν πὰρ [ὀπ]⌟αυό⌞ν̣ων̤ ἐξίης̣ πόθο̣[ν αἶψα νε]ανίδ̣ων, κωὔτε τις [λόφος οὔ]τ̣ε τι ἶρον οὔδ' ὔ[δατος ῤέ]ον̤ ἔπλετ' ὄππ̣[ποθεν ἄμ]μες ἀπ̣έσκομεν, οὔκ ἄλσος τ[ι πὰρ εἴ]αρος [ὤραις πλήροέ τις] ψόφος, [ἀλλ' ἄμμεων γλύκιαι μ]ελαοίδιαι». Σύστασις ιβ· Ἐπιγράμματα 集団しゅうだん十二しゅうに： 三みっつの警句けいく ξηʹ· Τίμαδος ἐπιγράμμα Τίμαδος ἄδε κόνις, τὰν δὴ πρὸ γάμοιο θάνοισαν δέξατο Φερσεφόνας κυάνεος θάλαμος, ἆς καὶ ἀποφθιμένας παῖσαι νεόθαγι σιδάρῳ ἄλικες ἰμμέρταν κρᾶτος ἔθεντο κόμαν. ξθʹ· Πελάγωνος ἐπιγράμμα Τῷ γρίπει Πελάγωνι πάτηρ ἐπέθηκε Μένισκος Κύρτον καὶ κώπαν, μνᾶμα κακοζοΐας. οʹ· Ἀνάθημα τᾷ Ἀρτέμιδι Παῖδες, ἄφωνος ἔοισα τόδ' ἐννέπω, αἴ τις ἔρηται, φώναν ἀκαμάταν κατθεμένα πρὸ πόδων· Αἰθοπίᾳ με κόρᾳ Λάτως ἀνέθηκεν Ἀρίστα Ἀ Ἐρμοκλείδα τῶ Σαϋναϊάδα, σὰ πρόπολος, δέσποινα γυναίκων· ᾆ σὺ χάρεισα πρόφρων ἀμμετέραν εὐκλέϊσον γενέαν.

Group 1: Heart-shaking love Jūdan ichi: Kokoro yuru Koi no sê de wa 1: To Cypris How would anyone not be consumed, O Cypris, queen, for the one she indeed loves, And not want above all to be freed of the pains? How can you stand The way idly you tear me apart with heartquakes And craving that has melted my knees, o my queen, So many times? You were at first wholly not hateful to me, Don't you lock Me up now. […] I want [… …] to endure this [… …] and for myself I know this. Literal Back-translation Italiano 2: Two thoughts I don't know what to say: two are my thoughts. 2: Two thoughts Dentro nel mio cuor, Indicibile per me, Coppia di pensieri c'è. 2: Two thoughts Deep within my heart, Both unspeakable, there are Two thoughts very far apart. 2: Omoi ga futatsu Kokoro ni wa Kotoba ni dekinu Omoi ga futatsu. 3: Oh sweet mother Sweet mother, I can indeed no longer weave my web, Being overcome with desire of a boy because                                             [of tender Aphrodite. 4: Love shook my heart                  Love shook my Heart, like a wind that has fallen unto oaks down a mountain. 4: Wa ga kokoro yuru Yamagami no Kashiwa ni tsuyoku Uchitsukuru Kaze no gotoki ni Wa ga kokoro yuru. 5: Bittersweet love Body-melting love shakes me again, A bittersweet invincible beast. Atthis, it has become hateful to you To give heed to me, and to Andromeda you fly away. 6: O Atthis! Atthis, Anactoria, who is dear to both you and me, Dwells in far-away Sardis, Often turning her mind hither      3 [And to] how we used to live: with certainty she believed You to be equal to a known Goddess, and enjoyed your singing very much;      6 Now shines she among Lydian Women as, after sunset, Does the rosy-fingered moon,      9 Outshining all the stars, and directs [her] light To the briny sea And equally to the multiflowered countryside,      12 And beautiful dew has poured down, and there have bloomed Roses, and tender chervils, And the flower-like melilot;      15 And wandering a lot, remembering Of gentle Atthis, with desire [She] devours [her] delicate mind, and [her] heart with longing,      18 And shrill are her cries for us to come there; which are not Unheard for us, for the many-eared night Speaks them [to us] across the straits of the sea.      21 It is not easy for us to be equal To goddesses in lovely beauty, Even if you have an Adonis-like body,      24 … through the air And … Aphrodite Poured nectar from a golden pitcher      27 To us too… … Peitho with [her] hands …      30 … … … to the Geræstium      33 … dear … nothing unheard of… I/we will come to the temple      33 7: Ode to Anactoria That man to me seems equal To the gods, who sits before thee, And, close [to you], listens [to you] Sweetly speaking, And charmingly smiling. Which truly Shakes [my] heart in [my] chest. Indeed, once I've seen you shortly, No more voice comes to me, But my tongue is snapped, a thin Flame has immediately sneaked under my body, With [my] eyes I see nothing, [My] ears buzz, Sweat pours down from me, tremor Seizes [me] wholly, paler than grass I am, and to myself I seem Not far from dying⌞· Group 2: Beauty Jūdan ni: Utsukushisa kokoro wo sawaru 8: I beseech you, Gongyla Now, my dear, I truly beseech you: take Your milky-white robe, oh Gongyla, And make your appearance: again Desire itself Flutters around you, The beautiful one; for that dress Shakes me up when I see it, and I rejoice: Indeed the Cyprus-Goddess herself Blames this of you; I pray her… This word… I want… … ] 9: Ode to a beautiful woman […………………… …………………… …] suffered for love …… For when I see you before [me], Then Hermione [herself] seems to not have been Such [a beauty] to me, and comparing you to blonde Helen [Seems] not at all unseemly, If it's allowed of mortals; know this, that to your Beauty, of all my cares I would make a sacrifice, and worth all My desires I believe you. To Acheron's dewy banks I would go if you died, your fame' I will increase as much as I can, and I crave To spend a whole night with you. 10: Dearest offspring of Uranus and Gaia (a) Some say it's a platoon of infantry, others that it's one of chivalry, Others that it's a fleet that over this black earth Is the most beautiful thing; I say that it's whatever One loves. It's entirely easy to make everyone Understand this, for Helen, who had [next to her] A lot of human beauty, her husband, Best of all men, Left, and sailed off to Troy, And didn't remember her child or her dear parents At all, but, not even unwilling, Was led away By Cypris: for she has unbending will, And easily fulfils whatever she thinks of. Thus I now remembered Anactoria, Who is not present. Her beloved footfall I would like to see, And the bright sparkle of her face, Rather than the chariots of the Lydians, and [Lydians] Fighting by land in their shields. (b) It's not possible for happiness to wholly Happen to men, but [they] can pray to have A share of good luck. And I for myself Know this. [Stanzas may have been lost.] … happen … having walked to the summit … snow; and she often Towards…[ As… I/they was/were led away … can; for those Whom I treat well, those harm me the most Out of the blue. 11: Kleis I have a beautiful child, similar in beauty To golden flowers, my beloved Kleis. In exchange for her I wouldn't take all of Lydia Nor dear Lesbos 11: Kureisu Atakushi no Itoshii musume Saku hana no Gotoki ni kiê. Watashi nara Kanojo no kawari Zentai no Ryūdiā to Saiai no Resubosu shima mo Uketoranai wa. 12: The stars and the moon The stars around the beautiful moon Once again hide their shiny faces As she, being full, more than anytime shines On the earth, silver. 12: Tsuki to hoshiboshi Gin'iro ni Kagayaku tsuki wa Kono chikyū Hikari de mitasu Sono toki ni, Kirêna tsuki wo Meguru hoshi Kagayaki kakusu Matanaki no ma ni. Group 3: From joy of love to visions of goddesses Jūdan san: Koi no yorokobi, Megami no kêji English Italiano 13: You came You came, you did good, I yearned for you, You cooled my heart which was burning with desire: May you enjoy many good situations, equal in number to [your] life. 13: You came Venendo qui per me, che ti bramavo, Di certo tu un gran bene mi facesti. Il cuore che di gran disìo m'ardeva Venendo, nel profondo rinfrescasti. Che tu durante tutta la tua vita Tanti ben goda è la mia speranza. Version A Version B 13: Sono oide Akogareru Watashi no tame ni Koko ni kite Anata wa kitto Yoikoto wo Hontô ni shita. Setsubô ga Moeru kokoro wo Kuru koto de Fukaku samashita. Zentai no Sono jinsê ni Yoikoto wo Tanoshimeru koto Kono kibô da wa. 13: Sono oide Akogare ga Afureru ware ni Tomo ni ita Anata wa masa ni Shinsetsu wo Oo ni shimeshita. Setsubô ga Moeru kokoro wo Sono oide Fukaku samashita. Kono mama deの Anata no tame ni Togirenai Kietsu wo torô: Wa ga sô nozomu. 14: Idyll with Aphrodite [Come] hither to me from Crete to this holy Temple, where there is a truly graceful grove Of apple trees, and there are altars burning With incense; In the grove, cool water flows through the boughs Of the apple trees, and by roses the whole place Is shaded, and from the rustling leaves Deep sleep falls down; And a horse-nourishing meadow has bloomed With spring flowers, and the winds Honey-sweetly blow, coming down From the heads of the plants. Pick up some chaplets and come, Cypris, Gently pouring into golden goblets The nectar that for [our] feasts Was mixed as wine. 15: Handcloths Tonight you sat me down, O golden-garlanded Aphrodite,' In [my] dream braiding of your immortal Head the divine hair, And hanging down from your hair, Purple handcloths, which Timas Sent you from Phocæa, Precious gifts [hanging] down from you hair. 16: Hymn to Aphrodite Ornate-throned immortal Aphrodite, Wile-weaving daughter of Zeus, I beg you: Do not overpower with ache and anguish, O queen, my heart, But come here, if ever in other times, Hearing my voice from far away, You listened, and leaving [your] father's golden House, you came, Yoking [your] cart, and rapid pretty Sparrows led you over black earth, Frequently flapping [their] wings, from the sky Through the middle of the ether,, And quickly they arrived; and you, o Blessed one, A smile on [your] immortal face, Asked what I'd suffered again, and why I was invoking [you] again, And what I wanted the most to happen to me, Crazy at heart: «Whom again should I persuade To lead you to your love as well? Who, o Sappho, is wronging you? Indeed if she flees, she will soon chase [you], If she doesn't take [your] gifts, she'll give [her own], If she doesn't love [you], she will soon, Even if she doesn't want to». Come to me now as well, and set me free From oppressive anxieties, and what my heart craves To see happen to me, make it happen; and you yourself Be my ally. 17: Queen Hera Let your graceful, roaring feast, Queen Hera, be brought around me, Which the songs of Atreus, the kings, Prayed for, Having completed great deeds First around Troy, then Having set sail hither; they could not find Their way Before seeking you and Zeus god of the suppliants, And the lovely son of Thyne. Now we too, following the old [tradition], Make these majestic, holy, And beautiful [rites] for you; a cowd Of maidens and praying women makes its way hither: They want to, packed tightly around your altar, Measuredly cry aloud. ] … to be … (come to the temple?) 18: On celebrating a feast … They call unto… Totally; Don't you have a way that I could, O mother, perform A shining feast at the [proper] time? That is A joy to those who live but a day; may it happen To me to be cheerful, until the gods grant us To hear the sound Of the harps; this… … than now… …giving… …made; . . . . . … … ready … … fulfil that … I totally … … tongue … … … then you needed … of loves … Group 4: Wedding songs Jūdan yon: Konrê no uta 19: Hector and Andromacha Cyprus…   ̣[         22-24 letters    ]αι  ̣ The messenger came running, pushed forth by the might of [his] legs, The speedy messenger of Ida, bearing these tidings: «[One ore more lines are missing, the last of which Probably ended with      Of Troy] And of the rest of Asia these things were the undecaying glory; Hector and his companions are leading From sacred Thebes and ever-flowing Placia The quick-glancing tender Andromacha by ship over the briny Sea; and many golden bracelets, and purple Robes, and beautiful flower embroideries, motley adornments, And countless silver wine-cups, and ivory. Thus spoke he; and readily dear father leapt up; And the news went through the spacious city to [his] loved ones; At once the sons of Ilium to the well-running chariots Yoked the mules; and the whole crowd came Of women and of tender-ankled maidens; Separately went the daughters of Priam, And the men yoked the horses to the chariots, and together there All the unmarried men, and far and wide went the great [went People, and the charioteers led the excelling foals With white patches outside the dear city then. Everyone says that some lines are missing here. When once again on the carriages there went the god-like Hector and Andromacha, then all together The people of Troy went to set out to sacred Ilium. And the sweet-sounding flute and the cithara mixed together With the sound of castanets, and clear-tonedly the maidens Sang a sacred song, and to the air there went A divinely sweet echo, laughter … And everywhere in the streets there was … Bowls and cups … Myrrh and cassia and incense [the fire] accepted [within itself].̣ And all the elder women cried aloud, And all the men cried out a delightful high-pitched Pæana, calling unto the far-darting sweet-lyred [Apollo], To sing of Hector and Andromacha, the god-like ones. The second time where I said «Missing lines here», Perhaps another poem by Sappho started there. 20: May you sleep May you sleep in the bosom of a tender girlfriend . Nemureru yô ni Dekiaina Kanojo dakarete Nemureru yô ni. 21: Let's sing for the couple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Night… May maidens before these doors, Staying up all night, very happy bridegroom, Sing the love of you and of The violet-bosomed bride. But wake up, fetch those of your age, And set off, so that we may see Even less sleep that the sweet-voiced Bird will. 22: Hymenæum Up high the roof, Hymenæum, Raise ye, o carpenters: Hymenæum, The groom is equal to Ares, Hymenæum, Much larger than a large man, Hymenæum, Superior, like the Lesbian Hymenæum, Singer to those of foreign lands. Hymenæum. 13: Like the sweet apple Sappho used to compare the bride to an apple: As the sweet apple blushes on the high branch, High on the highest [branch], and the pluckers forget it: Indeed they don't forget, but can't reach [it]… [She used] to like the groom to Achilles, and put the young man on par with the hero in his achievements. 14: Like the hyatyncth Like the hyacinth on the mountains is treaded on By the feet of the shepherds, and the purple flower on the ground... 15: Happy bridegroom Happy bridegroom, to you the wedding that you yearned for Has been fulfilled, and you have the maiden you yearned for. You have graceful looks, o bride, and honey-sweet Eyes, and love has been poured on your lovable face: With these evident things Aphrodite has exceedingly honored you. Group 5: Grief, rage, enmity Jūdan go: Kanashimi to Ikari to teiki 16: You have left me You have left me. Ay me! Have you Forgotten me, my darling? Or do you love Another person more than me? And if so, who is (s)he? 26: Atakushi wo    Hikihanaseta wa! Atakushi wo Hikihanasita wa! Wasureta ka? Atakushi yori mo Hoka no hito Aishite iru ka? Dare darô ka na? 27: The moon has set The moon has set And the Pleiads, the night Is half-gone, and time flies by; Yet alone I lie. 27: Taiin ga    Sude ni shizunda Taiin ya Subaru ga sude ni Ano umi no Shita ni shizunda. Mayonaka no Jikan ga masa ni Hayaku tatsu. Kono mama ware ga Hitori de nemuru. 28: Rustic woman What rustic woman bewitches now your mind, as she Goes around you wearing a rustic dress, Not being able to pull her robe above her ankles? 28: Soyana josê wa Ashikubi no Ue ni agenai Hontô ni Soyana ifuku wo Kiru toki wa Sono kokoro wo Hikitsukeru Soyana josê wa Dare darô ka na? 29: Stand before me And Sappho says to the one who is excessively Admired for his looks and considered handsome: Stand thou here and before me, [as a] friend, And spread out the grace in [your] eyes. 30: Dead shalt thou lie Dead shalt thou lie, and never memory Of thee will be until the end, for thou Hast no share in the roses of Pieria, But having flown 'midst lightless dead souls, thou, Even in Hades' house uncouth, shalt wander. 31: Someone will remember I say that even till the end someone will remember us. 32: Against Andromeda …peaceful… …having received from ægis-bearing Zeus… …Cytherea, succour me as I pray [to you]… …having a gracious heart… …hear my prayers, if even in another time… …having left Cyprus… …you came to my cry… …by painful solicitude… [Three lost lines] … … From the blessed gods … having obtained … May you wish to cut off this calamity as well for me, you of all The goddess with the most astute heart, oh, fulfil my wish: You indeed loved [me] and used to grant everything for which I invoked Now due to this defend me once more according to my wish! [[you], «This cause is not unbecoming», said [she], «and what you wish to obtain Is not at all much to get, for even Andromeda cannot      7 Overtly fight me, and what she did confiding in a voluptuous lifestyle Is not [possible] to forget for the gods; and indeed you know well That Nemesis strikes the one who is familiar with evil, and prevails over Sappho, loving you the venerable queen of Cyprus fit wheels [everyone». To [her] carriages, and for you she quickly went to entreat Zeus, And a great gift the son of Cronus nodded assent for her to grant to you: To all those whom the shining Sun surrounds with [its] beams, Everywhere [your] noble fame [will arrive ?] … And you on Acheron's [banks ?] … … [6 lost lines] 33: About her exile … for out of my land A conflict suddenly chased me … however the memory Was not … but … equal to the gods. Now though I'm roused against the culprit of these griefs And vexations, and with the pains will Artemis the blessed one, Who rules from above, lead elderly Andromeda under [her] cart, And she will be ashamed of her character, not gentle, but stubborn, For no-one halted the arrogance in her, [so she] doesn't hold back [her] insolence. She/One could indeed quickly offer a herd of lambs to the sons of Tyndar, [And] enjoy the peace of music in in a graceful Delightful place of dance, ah, if honest no longer … [With?] Megara the mild having taken [her] clear-toned harp, … possible to them … … to everyone … … 34: Against the Polyanactids … after a short while … … the Polyanactids … … to the Samian women … Make to resonate in the plectrum-welcoming Strings, firendlily banqueting With such people, The harp is made to vibrate gently, And, sweet-voiced, through the bones It slithers, and once it's in, runs through the marrow. 35: To Apollo Son of Leto and Zeus, … come to the feast, Leaving woody Grynea And your famous oracle … … … in days … feast … … sing … [And?] … sister … Like a child … No-one … want … They show … again of the Polyanactids I want to put the glutton on display. 36: Curse … blessed one … … [good for sailing ?] … of the head and … … For what mistakes he made before, he made amends … With good luck … harbor … … Cypris, may she find you very bitter, May Doricha not be loud-spoken Saying that she came to a desired love A second time. Group 6: Sappho and her brother Jūdan roku: Saffō to ani 37: To the Nereids Queen Nereids, grant me That my brother may come here unscathed, And whatever he may wish in his heart, Fulfil it; [Let him] make amend for all his past mistake, And be a joy for his friends And a grief for his enemies; and for us May nobody ever be one; And may he wish to make his sister More greatly honored, and may he free From mournful grievances those, whose hearts He formerly crushed with his Mourning, hearing a reproach, which used to devour Even us in [my] flesh because of the citizens' blame, As ever, not differently, but he realized it Not at all after long, And even more [will he understand] if he learns What fame is like among mortals; and you, queen Cypris, Burying up an unbearable offense, Be persuaded by us. 38: Prayer to avert stormy journeys . . . . . . . . . . … you persuaded, o blessed one, … brightness and . . . . . … with good luck … to reach a harbor … black earth [. . . . . In violent storms, sailors, Fearing for the great winds, Throw away their cargo, and towards land They steer the ship; May I above all not set sail from anywhere When a storm has arisen, nor throw All the cargo I had into the deep sea, whether precious Or worthless; If Nereus, in his flowing pageant In the sea, should happen to receive my Cargo, I pray him to let it come to me As quick as possible. … works … land … . . . . . ] 39: Brothers poem «We have indeed suffered much, but may there come Charaxus to us now with a full ship!»: Indeed we suffer much still now, and the pain Has reached you, wet nurse, But you always chatter for Charaxus to come With a full ship, which, I believe, Zeus And all the gods know, but you needn't Think about that, But rather send me [out], and pray me Tu pray queen Hera a lot So that Charaxus may come here steering A safe and sound ship, And find us safe and sound; All The rest, let us entrust to the gods: For fair weather from great winds Are quickly born; And those whom the king of Olympus wants A helper god to lead out Of suffering, those remain blessed And full of joy. And we, if Larichus raises His head, and sometime becomes a real man, Would be set free even From [our] great heaviness of heart. 40: To Charaxus Version 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . … give. If you fly to renowned men And not handsome and good ones, and say goodbye To your loved ones, and pain me, saying that I Have become your reproach, Swollen in your heart, may your satisfy Your heart with such things, and be satiated; for my thought Does not easily yield to the rage Of children; But err not: a trap Won't catch old birds; I know you, To how much evilness you previously set forth, And what foe I'm up against. Therefore, thinking about better things, Change your thoughts; for, since I've nurtured An easily-satisfied mind, I know with certainty that Are on my side.                          [the blessed [gods] Version 2 . . . . . . . . . . . . . . . . . . . . You might find it wise to not Return my favor. You keep away the lovers of words Noble and beautiful, born for the seven-toned Lyres, and pain me, and hurl Reproach at me. Perhaps all swollen up in this reproach, with the outrage Satiate your heart, for my thought Is not so easily affected By your rage. … nor(?) … Group 7: Nostalgia for youth Jūdan shichi: Wakamono ni Fukai kaikyū 41: For you were also a tender child . . . . . . . . . . … … … For you also once were a tender child And loved to sing: come, tell yourself All these things, and from that heart Generously gratify us; For we're going to a wedding; and well and clearly You also see this; but as fast as possible Send away all the maidens, and may the gods Find no dishonour. The road to great Olympus is untrodden … for man … [................ ................] 42: O tender women To them I said: «Tender women, Such things as will be remembered near old age, We too indeed in out bright youths Have done them. Many things indeed both beautiful and good we worked out Back then; and to me, as I saw You'd left the city, desire Bit the heart With sharp griefs. 43: If I still had milk If my teats still had a share Of milk, or my womb was still fit For child-making, then with untrembling feet I would go to another Bed; but now already old age Surrounds my body with a myriad wrinkles, And Eros the pain-giver no longer Flies toward me; … of the noble … … taking The sweet-voiced harp, sing to us Of the violet-bosomed one. … above all of loves … as long as (s)he wanders … … 44: Gifts of the Muses Hasten ye toward the beautiful gifts of the violet-bosomed Muses, Oh children, and [toward] the song-loving clear-toned lyre; My once-tender body old age already Has seized, and [my] hair, from black, has turned white, And my heart has turned heavy, and my knees support me no longer, Which were once as nimble in dancing as the fawns. I often lament these things, but what could I ever do? It's impossible for him who is human to become ageless. Indeed once they said that rosy-fingered Dawn, because of love, Climbed onto the bowl [of Helios], bringing Tithonus to the ends of When he was handsome and young, but still grey old age,   [the Earth, In time, seized him, who had an immortal wife. Group 8: On singing Jūdan hachi: Utau koto 45: May she give success to the best mouth … I called … … around … … … since she fled … … be bitten by the tooth of a snake … … the gods totally; but you, Calliope, her … … [Once she] has called you of many names … May progress be given to the better mouth. 45: Yoriyoku utau    Hito kate yô ni …yonda… …no mawari ni… …nigeta kara… Hebi niyori Ware ga kamareta …kamigami ga Mattaku… …demo anata, Aa Kariopā, Ooi na ga Aru no anata wo Yonda toki Yoriyoku utau Hito kate yô ni. 46: May there now be festivity Version 1 … not … … I pray … May there now be festivity … And underground may [] have The great glory of the Muses, having gifts as is becoming. And everywhere] they would marvel at me while, as I am on earth, They call [me] a clear-toned swallow if, having taken the harp, Or the barbiton or that lyre, I sing to wedding beds. Version 2 … not … … I pray … For me and my companions may there now be festivity, And after, grown old, I die and end up underground, Though I will keep the noble privilege of the servants of the Muses, as is They would not marvel at me as they do now as I'm on earth;    [befitting, Let [my] clear-toned song shine if, having taken the harp, For my loved ones …, o Muse, I should sing beautiful things. 47: To her lyre Come indeed, divine lyre, to me Start now to speak. 47: Raiā ni Shinsêna Raiā, ware ni Utatte kite ne! 48: To my friends These things now I will sing Beautifully, delighting my friends. 48: Tomodachi no tame Tomodachi wo Yorokobasu yô Suteki ni utau Group 9: To friends, advice Jūdan kyū: Tomodachi ni mousu kotoba to chūkyoku to 49: To Dica But Sappho expresses more simply the reason for our practice of wearing garlands when she says: But you, o Dica, put lovely garlands around your hair, Having bound stems of anise together with your tender hands; For it happens that even the blessed Graces had rather see Flowery things, and turn away from the ungarlanded. 50: On summer Wet your lung with wine, for the star is coming round, The hour is harsh, everything is in thirst under the burning heat, There sings from the leaves the sweet cicada, and from below the wings It constantly pours down a clear song, when the fiery Summer, having flown down to earth, dries everything up. There blooms the artichoke; now women are at their ugliest, But men are feeble, for Sirius their heads and knees Parches. 51: To Mica … nor is it licit for you, Mica, … to laugh, but I will not let you … you chose the friendship of the women of the house of Penthilus … this, o wily one, has bitten our hearts, For to those, not to us, you gift a sweet song, But now there has formed a sweet-sounding harmony of breezes: It is not indeed the flute singing this, but the shrill winds. 52: No lament is allowed It is not licit for there to be in the house of those who serve the Muses An unending mourning, Kleis: nor would such a thing become us. 53: He who's fair He who is fair remains fair [only] to be seen, He who is also good, will immediately also be fair. 54: Money without virtue Money, not when it is alone by itself, but being also embellished by virtue, opportunely enjoys the benefits of its own and those of virtue, and has a wise concern for pursuing good things. For each of these two on its own is not sweet: Money without virtue is not a safe neighbour; In the use of both lies the height of happiness. 55: I have a gentle mind … for I am not one of those spiteful with rage, but have a gentle mind. … 56: Idle-barking tongue As anger spreads through [your] chest, Guard ye your idly-barking tongue. 56: Iminaku sawagu    Sono shita wo Haradachi de Kokoro nietatsu Sono toki wa, Iminaku sawagu Na ga shita wo Ono ga kokoro de Tomeshimuru beshi. 57: I don't expect I don't expect touch the sky with two arms. 57: Matanai Atakushi wa Kono ni no ude de Oozora wo Todokifureau Koto wo matanai. 58: No-one I believe will I do not believe that any maiden who has seen The light of the sun will, at any time, be So skilful. Group 10: Mythology Jūdan jū: Shinwa no hahen 59: Coming down from the sky Sappho is said to have been the first to mention a chlamys, when she said [this] about Eros: Having come down from the sky, clad in a purple chlamys. 60: On Leda They say that indeed Leda once found An egg covered by flowers Of hyacinth. 60: Rēda ni tsuite Hito wa sô iu: Rēdā wa Hiashinsu hana Kakushita no Tamago wo itsuka Mitsuketa wa. 61: On the doves And their heart became cold, And they let their wings fall. Version A Version B 61: Hato ni tsuite Kokoro ni wa Kogoeteru kara Hane furisaseta. 61: Hato ni tsuite Tamashii ga Kooraseta toki, Hane wa tsuieta. 62: Chickpeas Golden chickpeas were born on the shore. 62: Ôgon no mame Umibe nite Umareta mame no Iro wa ôgon. 63: Latona and Niobe Even today free women and yonng girls call their intimate and dear friends' companions ' like Sappho: Leto and Niobe were very dear companions. 63: Rāto to    Niobā futari Rātō to Niobā futari Aishi ai Naka mutsumajiku Kizuna wa fukaku. 64: Forever a maiden I will be … To golden-haired Phoebus, whom the daughter of Coeus bore, Having mingled with the great-named son of Cronus, Artemis swore the gods' great oath:    [god of the high clouds, «Yea, by your head, I will forever be a maiden Unwed, hunting on the tops of the lonely Mountains: come, grant this for my sake». Thus spoke [she]; and the father of the blessed gods granted it, And both gods and men call her by the great title Of virgin, deer shooter, huntress. To her body-melting Eros never goes near. … 65: There dieth, Cytherea There dieth, o Cytherea, delicate Adonis; what shall we do? Beat your breasts, girls, and rend your clothes. Group 11: But a certain wish to die possesses me Jūdan jūichi: Shibô wo nozomu 66: There came Hermes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . … … … And Gongyla said: "You could never know this, Or did you want to leave some sign To your children?" "Of course" I replied; Hermes Came to us, the minister of Zeus; to him I spoke thus: "O lord of the seven-toned lyre, Indeed by the blessed goddess I get no pleasure from being raised too much into happiness, But some desire to die possesses me, And to see the dewy, lotus-covered Banks of Acheron … And to go down to Hades' home, and to see The dead I crave … … nobody … 67: I really wish I were dead «I will never see Atthis, And I truly wish I were dead». And crying a lot she was leaving Me, and told me this: «Alas, what terrible things we've suffered, O Sappho: unwilling indeed I leave you» To her I replied thus: «Leave with joy, and of me Remember: for you know we cared for you. If not, then I want you To remember (which you will forget) What dear and beautiful things we have experienced; For many a garland of violets And of roses and crocuses likewise You would put round your head beside me, And many woven Necklaces garlands round your tender neck, Made of dear flowers, And with much perfume, costly And regal, your beautiful hair You generously anointed, And on soft mattresses By your tender addentants You satisfied your longing for young women And there never was hill nor Temple nor spring of water From which we kept away Nor by springtime did noise Fill any wood, But our sweet singing». Group 12: Epigrams Jūdan jūni: Mittsu no kêku 68: Epigram of TImas This is the ash of Timas, whom, dead before [her] wedding The black nuptial chamber of Persephone received; Once she had died, all the girls of her age With freshly-sharpened blade cut the hair off [their] head. 69: Epigram of Pelagon To Pelagon the fisher his father, Meniscus, has gifted Basket and oar, memorials of a sorry life. 70: Offering to Artemis Maidens, though I have no voice, I declare this to whoever asks, Having a tireless voice placed before [my] feet· To Aethopia, daughter of Leto, Arista dedicated me, Daughter of Hermoclides son of Saunaiadas, You attendant, o queen of women: take pleasure in her And, gracious, honour our family.