Part 1 is stuck with Jan-Apr, part 3 will be the last May update.
The title is pretty self-explanatory, isn't it? This is basically a todo list, in the form of a table with a bunch of unfinished things I have lying around that are not related to my job, aka maths (well OK, the maths blog is related to maths, but not the one I deal with as a job). These could be projects for this blog, projects for the decipherment blog (yeah, this exists too, don't forget about it :) ), projects for the channel (no, not the list of planned videos, that's already in the blog index; channel projects here means series I haven't finished, or perhaps even started) or completely offline projects. This is going to have at least one tab, where each tab is an update. The first tab will be the posting date of this post (except Blogger has some kind of American time, so it says this was posted on 6/7 when I actually posted it past the midnight of 6, making it 7/7).
Notes:
The following abbreviations are used in this list:
@MGS: Mick Gorro and Sappho: progress and plans (project here);
A few notes to keep in mind after @NRR was canceled in the 9n/2/25 update:
About the Muses (Lobel-Page 32) English, to be shoehorned);
Ταῖσδε ταῖς ἔμαις ἐτάραισι καὶ σαῖς, two Italians and English, where the tune of a verse from Atoma will accommodate the original and the translations in the order listed just before; [4/10/25 update: yeah no, I musicated the Greek and shoehorned the Italian and English];
Taming the tongue (Lobel-Page 158), Englishes bad Latins metrical Italians to be joined and sung to the Atoma verse tune, with repetition of the imperative last line);
Dawn just came (Lobel-Page 123), Italian becomes "post-Sapphic" by truncating ora so shoehorn, English probably shoehorn;
Curse (LP 15), Englishes and Italians probably shoehorn, or maybe there is a curse song in hendecasyllabics to steal the tune from);
Remember the "Flexible prayer tune fragments" (Divine Hera and the Libation and possibly the Prayer) of former @NRRs;
Remember the "Non-scanning Latin" category of former @NRR, where the tune just needs to stretch a note and it fits the weird meter, or we have Pandionid with an entirely different meter so back to "Different-meter translations", where "Cretan women" got shoehorned despite being in a different meter;
I have so much Sappho stuff to do that I need to do a comprehensive plan for everything. This project goes, in its status, will go through each and every Sappho fragment on this blog, detail what translations exist, which should be made, and the video status and plans, for all series. I will probably make the series @Ψ and @BR, and maybe @Ch and @Sic too, as well as the Sappho editions (Safo: Poemas, Chinese poetic Sappho, Sapphoýs ápanta, Saffo in metrica barbara, and Sappho auf barbarische Metern) refer to this project for their plans, instead of duplicating stuff. «The musication status of everything will also be described, with super-condensed tune histories. This will eventually be expanded into a tune histories post», well no, that post already exists, and will eventually contain all the tunes and introes, so no musication statuses here unless added prior to writing this on 11/6/25.
THIS IS PROBABLY WOEFULLY OUT OF DATE. I last updated it like a year ago (writing 9/1/26), and have no clue when I'll find the time for another update. I do want to read through this and see what's up to date and what isn't, but of course, that's a massive task and I don't have time for it.
For now, I'm starting a list of the fragments to be planned for. Those should be 201, with the following ranges of Chinese poetic Sappho numbers: 1-172 + 192 + 208-209 + 257+ 271-273 + 275-279 + 287 + 303-307 + 310 + 317 + 326 + 329 + 341 + 399-401 + 403-404.
Book IV fragments combined into bigger fragments:
Here are the fragments, and their translation statuses in the various editions;
Ye cowered (LPC 62 CPS 271 SMB 149 SF UTL 59), no translations;
O dream [through the] black [night] (LPC 63 CPS 272 SMB 150 SF UTL 60), no translations;
There happened (LPC 61 CPS 275 SMB 151 SF –), Chinese and Spanish translations;
To be comboed (LP 75(a) CPS 257 SMB 148 SF –), no translations;
To be comboed (LP 87(13) CPS 208 SMB 146 SF –), no translations;
To be comboed (LP 87(14) CPS 209 SMB 147 SF –), no translations;
To be comboed (LP 66(c) CPS 192 SMB 144 SF –), no translations;
To Mika (LPC 71 CPS 93 SMB 155 SF w), no translations;
Having gotten by chance (LPC 60 CPS 98 SMB 156 SF x), no translations;
To be comboed (LPC 68(a) CPS 306 SMB 157 SF UTL 63), no translations;
To be comboed (LPC 70 CPS 310 SMB 154 SF UTL 68), no translations;
To be comboed (LPC 69 CPS 326 SMB 159 SF –), Spanish translation;
To be comboed (LPC 86 CPS 329 SMB 160 SF –), Spanish translation;
To be comboed (LPC 65 CPS 304 SMB 152 SF UTL 61), Spanish translation;
To be comboed (LPC 67(a) CPS 305 SMB 153 SF UTL 62), Spanish translation;
To be comboed (LPC 68(b) CPS 325 SMB 158 SF –), Spanish translation;
Here are the combinations:
Ye cowered, combo (LPC 62 + 71 l. 8 + 87(14) ll. 4-end CPS 399 SMB 161 SF –);
Dream through black night, combo (LPC 63 + 87(13) CPS 400 SMB 162 SF –);
About her exile, combo (LPC 68(a) + 70 + 75(a) CPS 401 SMB 163 SF –);
We joked, combo (LPC 68(b) + 69 CPS 402 SMB 164 SF –);
To Mika, combo (LPC 71 ll. 1-7 + 61 + 87(14) CPS 403 SMB 165 SF –);
Against Andromeda, combo (LPC 86 + 67(a) + 65 + 60 + 66(c) CPS 404 SMB 166 SF –);
@Ψ episode 1 will cover the single fragments and review their SF translations in the cases of SF w and x (aka Mika and Having gotten by chance, aka LPC 71 and 60); to this end, note the following:
lexti in the Latin of SF w Mika is unconvincing;
So is "Pentilean girls" in the English of the same;
"Stridenti brezze" for λίγυραι δ' ἄηται in Mika is also unconvincing, and "stridenti" is probably wrong;
Old version of Mika changes a metrical thing plus the Pentilus line, and comes from the different integration ἀήδοι in place of ἄηται;
As for SF x, the translations are OK, though translating χλιδάνᾳ 'πίθεισα as "posta sulla delicata" is probably wrong; so I guess perform those at the end of episode 1?
@Ψ episode will describe the combination process:
LP 86 and LP 60 were joined by Fraenkel in '42, because they form a typical development for a prayer;
LP 65 is added in because of <see https://www.academia.edu/8448783/Contro_Andromeda_recupero_di_unode_di_Saffo_ms._in_MD_55_2005_pp._13-30 (2005); this starts forming "Against Andromeda";
The kappa of krótēn is indeed a bit tenuous given the vestiges: show that in the papyrus and another kappa, and then note how the t of krótēn could be a p;
Ferrari joined LP 70 and 68(a), either because of physically fitting together, or because of convincing supplements, or Idk why; this starts forming "About her exile";
Then came Puglia in 2007, providing a bunch of arguments to join a bunch of P.Oxy. 1787 fragments together into a scroll in a certain way:
LP 75 and 70 have similar woodworm bites, so they're either joined together or folded on top of each other; and since we have the Ferrari join, we try to fit all three together, and find more convincing supplements, finishing the formation of "About her exile";
LP 60 and LP 61-63 (same papyrus fragment) fit together quite snugly, the former to the left of the latter; this completes former ll. 6-8 of LP 60 (where two top lines had been missed and were then located after the conjunction), using column 1 of the LP 61-63 papyrus, and this side of the combo goes towards "Against Andromeda", whereas the other side goes towards three different comboes (cfr. below);
Against Andromeda is now almost basically in the situation of https://www.academia.edu/8448783/Contro_Andromeda_recupero_di_unode_di_Saffo_ms._in_MD_55_2005_pp._13-30, except that didn't have the missed lines, but did have LP 66(c); how? Well, Lobel already suggested to join 66(c) and 65, not sure why; let's see LP… «e regione vv. 6-8 collocandum esse licet» (it is possible that [66(c)] is to be collocated in the region of ll. 6-8 [of 65]); no further explanation; is this what ended up happening in Against Andromeda? Yes, exactly: ll. 6-8 are precisely those where 66(c) is joined in in the linked article;
LP 67(a) and LP 60 show similar woodworm bites again, which suggests those woodworms were biting through superimposed sections of the papyrus; there must then have been a section between them, so the sequence is either 60 - s - 67(a) or 67(a) - s - 60, where s is the unknown section; it's probably not 60 - s - 67(a), since 60 is joined with 61-63 which are line beginnings; therefore, 67(a) probably contains the beginnings of the lines of 60; content similarity also points to a combination between these; so 67(a) is added to Against Andromeda, which is finally complete;
This leads to joining 67(a) with 65, and finally read what the hell the ]πυφα[ actually was (image please!);
P.Oxy. 1787 fr. 45 was ignored by LP and Voigt but is probably a colophon; LP 87(14) and 87(13) seem to fit nicely into its left side, giving line ends to the column right left of it;
87(13) l. 9, says Puglia, does not contain a letter, but a sign indicating the end of the book, and is followed by a blank bottom margin in its wannabe l. 10; this makes it likely to line up one line below the coronis on the last line of LP 63, which would then be the beginning of the lines of the column of 87(14+13); the high dot ending the line above this sign is further confirmation that this is the lineup;
LP 87(14) may have one more line than LP gave it credit for, in that between ll. 3-4 there was a space, which LP deemed not enough for a line, but Puglia says it is; this is for the lining up of LP 61-63 with 87(14), where the final high dot should probably be lined up with a coronis on the other papyrus fragment; this means we have the comboes "Ye cowered" and "Dream through black night" fully formed… wait; there is δροσόεσσα in l. 1 of "Ye cowered", where is that from?
We are going pretty far up, maybe all the way to the top of the column; LP 71, with its blank top margin, is a column top; could it go here?
Well, it is similar to LP 61-63 in color; we could line up the top border of LP 71 with that of fr. 45 (the colophon), forming a joint which shows compatibility of lines and line spacing between it and both LP 61-63 and LP 87(14), not to mention the convincing supplements of LP 61 with the penultimate two lines of LP 71; it is done: this is the join; thus, Ye cowered is done, and Mika now has LP 61 in it, and some 87(14) too, which completes that combo;
Speaking of Mika, one remark: δᾰ κᾰ̣[κό]τροπ’, ἄμμα[ was a nonsense integration, it requires stretching the ακο waaaay too much; looking at the papyrus, I discard that, and note that δάκν[ε, πολύ]τροπ', while a bit squeezed, seems plausible; show papyrus image for that;
"We joked" is a mystery fusion; here is what I wrote when I first worked on these: «Then there is the fusion of LP 68(b) and LP 69. Why these are joined together is beyond me: there is literally ONE letter in common, the first epsilon of ἐπεί in l. 6, whose top is in 68(b) and whose bottom is in 69. No point doing a collage. No convincing supplement argument can be made for this tatter. It seems the joint, just like the one of the previous fusion, is justified by the hypothesis that this and the above are poems about Sappho's exile. While this is defensible (kinda) in the above [namely "About her exile"], it's really hard to see any reference to an exile in this tatter here, at least for me. Even the papyrus collage discussed above is very unconvincing in this part»; with that, the comboes are done;
There will then be as many Sicilian-Italian crossover episodes as Sicilian-translated comboes, namely 3: Mika, Exile, Andromeda;
The other comboes will get their own Italian episodes of @Ψ;
Japanese has no translations, nor does Sicilian;
No musics yet;
The fragments CPS 175-190, 355, 231, 238-250, 289-300, 302, 353, 289-298, 301, 303, 173-174, 236-237, 270, 285-286, 335, 356-357 will be covered in a single @Ψ episode consisting of tatters of Sapphic stanzas sung to the recently-composed Gongyla tune, planned for 18/7/27;
The fragments CPS 190-191, 193-207, 210-218, 251-252, 307, 358, 232-233, 253-254, 337, 255-256, 258-259, 261-264, 277, 308, 311-315, 316 (maybe), 321-324, 327-328, 336 will be covered in a single @Ψ episode consisting of tatters of book IV tatters sung to the Mnasidica+Eirana tunes (the former somewhat old, the latter made yesterday 31/1/25 like the Gongyla one, using two tunes because this book is supposed to contain poems in couplets of their meter), planned for 22/8/27;
The fragments SMB 322-339, aka CPS 234-235, 269, 280-283, 340-350, will be covered in a single @Ψ episode titled "Brandelli di mistero | Tatters of mystery", not sure what tune I will use, yet unplanned;
CPS 316 SMB 288 LP 88 has been taken out of book IV and tatter status by Benelli in the end of Benelli paper «TRA "VECCHIA" E "NUOVISSIMA" SAFFO. RIFLESSIONI SUL TESTO» for CPS 316 SMB 288, and will get its own yet-unplanned episode;
Hymn to Aphrodite (LPC 1 CPS 1 SMB 1 SF 1);
Idyll with Aphrodite (LPC 2 CPS 2 SMB 4 SF 4);
Queen Hera (LPC 17 CPS 3 SMB 9 SF 111);
To the Nereids (LPC 5 CPS 4 SMB 2 SF 110):
Music made for stanza 1 of the final version;
Chinese has pre-2289 and post-GC translated, meaning it lacks Edmonds, post-2289, and Anthology;
Spanish has everything except Edmonds and Anthology translated;
Greek has the same as the Chinese;
Italian has all 5 of its versions translated;
German has nothing;
Chôka doesn't have a translation;
Antuluggia does;
@Ψ episode 1: P.Oxy. 7 (and Edmonds!):
Reading uncertainties: l. 3 of penultimate stanza (λειπ or (λ)λως?), l. 2 of last stanza, l. 3 of last stanza, l. 2 of penultimate stanza (Καί μ' ἔκε]ρρ' or Κέρρε πό]λλ' / Κέρρον ἦ]λλ'?);
Text uncertainty: ἐπ’ ἀγ̣[λαΐ]ᾳ -> ἐ̤παγ[ορί]ᾳ, from HS4 to blog;
Text uncertainty 2: δαῦτ' οὐ -> δ' αὖτ' οὐ, again from HS4 to blog;
Cosmetics: κακ̣αν[θε͜α (old) vs. κακ̣αν[θε' (blog);
Badslation reviews:
Latin:
addite not convincing here;
Whoops, accusative subject in manuscript, fixed to nominative in final translation but that dropped the ut which is probably a no-go;
Someone had a trochee/spondee too many in that l. 3, right? Fixed in final version;
Not sure about that repetition of omnia;
Whether adversarīs or non amicis (and the former was better why did I change it), the -que on the second word is basically a hole-filler and definitely not recommendable; and the "not recommendable" also holds with "pœnis fierique liber";
Elision across stanzas is a big nope;
Advelit is about as convincing as addit' in stanza 1;
mique for "to me too" is not OK;
Tried fixing the start but ended up inmetrical (19:50 28/9/24);
Not sure about the plural corda;
That hyperbatus pœnis…duris is meh;
abs iens for the long abs is probably not good; also, non tempore magnno is a weird word order;
pectu' dulcius tuum is a weird order;
"Put us far from ill things" doesn't sound very good;
"Et prius qu'erravit" is slightly better than "Quæque prius erravit" in avoiding the synaeresis, but I probably prefer that to having the relative pronoun in anastrophe like that;
Other change from HS4 to Main is festam->verba, for the integration change discussed above;
Italian:
Stanza 1 is OK, aside from the Sicilian rhyme and the meh super-literal "a me date che il fratello ritorni", which almost sounds like 'a me" goes with "ritorni";
L. 6 rhythm is a little forced;
Ending of stanza 2 is rather intricately constructed, but passable;
The horror is really all those "gito", which are basically incomprehensible, not to mention the truncated po', a form only used in "un po'" as far as I'm concerned;
Not sure which is better between dopo brevi ore and dopo poche ore;
Fiore malo trying to render kakanthea and rather failing, aside from that stanza 5 is OK;
The change from HS4 to Main really solves stanza 4, honestly the Main translation is almost worth performing;
English:
The first two lines are fine, then we see the the first 's, and the construction sounds poor;
The vowel deletions are questionable;
Cheerful doesn't sound right here, joyous, from joy, is probably better, whence my tweak to this at 20:06 on 28/9/24;
The ending; so, am I writing Brilatin? What is that order? May our hearts take sad chill from no-one, but ordered super weird; also, "sad chill" for sadness is a pretty odd turn of words;
That 's in stanza 3 is wholly unnecessary, but the omission of the subject from that clause sounds off;
Using do-support on "used to" sounds weird, and the order of the words doesn't help with that;
"Be freed" -> "Take the way out" is quite the periphrasis;
a-being sounds bad, and the whole stanza is meh at best;
"aye" is a terrible addition, and the by…night enjambement is meh at best;
«In the flesh [did hurt him], prohibitìng / Him the feast» is the only thing changing from HS4 to Main, becoming «In the flesh [him hurt], for ac[cus]ing him / Cit’zens were», so near-rhyme, slight improvement, but cit'zens is… nope;
But wait: Edmonds and his fantasy!
Perform integrated text and Italian HS translation from "Main";
@Ψ episode 2: P.Oxy. 2289 fr. 6, and P.GC. inv. 105 fr. 3 col. ii ll. 10-20 and fr. 5:
Does the 2289 scrap go in or not? What is on it? How to join?
How to complete? Meh result…
This only results in a change to the last stanzas: improvise reviews,
Perform post-2289 incomplete text;
P.GC.: additions and uncertainties:
Potniai or Pontiai?
Eklyoito vs. Parlyoito;
Autos edamna or Kamon edamna?
The completion of stanza 4 l. 2;
What about l. 3?
Say a few words on the last stanza;
Perform post-GC incomplete text;
@Ψ episode 3: five versions, five translations (pre-2289, Edmonds, post-2289, post-GC, Anthology);
@Sic episode xiv has this fragment alone, with no crossovers; cannot crossover with Italian because it is a super-late episode;
A curse (LPC 15 CPS 5 SMB 3 SF i);
In violent storms (LPC 20 CPS 6 SMB 10 SF j): @Ψ episode 1;
A prayer (LPC 33 CPS 7 SMB 5 SF 9);
You sang that hymn (LPC 39 CPS 8 SMB 11 SF 26);
Ode to Anactoria (LPC 31 CPS 9 SMB 15 SF 2):
@Sic episode is Latin crossover including Sappho 16 below;
Italian edition is missing its translation;
Ditto German;
Old translations are all badslations;
Gongyla (LPC 22 part 2 CPS 10 SMB 17 SF 8):
@Ψ episode 1: critical note, translation reviews, some performances;
The Spanish Chinese and Greek editions have 3 of their 4 versions of this translated, missing only the Tedeschi one;
German has Vulgate and Campbell versions with no translations;
Chôka only has untranslated Vulgate;
Sicilian has its translation for the Vulgate version, and will include it in the next episode, planned for the first weekend of July and matching the Italian behemoth as a 3-translation monster with bonuses;
;
Kypris Poem (LPC 26 CPS 11 SMB 8 SF re-12B-and-15):
@Ψ episode 1: the quotations and the Oxy papyrus, with translation reviews (protoscript removed 5/10/24), and performance of incomplete text with Latin; Remember to note that stois/otois reading uncertainty in the last line we have anything of;
Start with bilingual doppelgänger-free intro saying Obbink papyrus was published in 2014, many reconstructions were made, I stumbled upon the Bierl-Lardinois book and took the reconstruction from there wholesale; I made the English in April 2018 and the Italian more recently;
Note how in 2019 I found the Tedeschi anthology and included their version in my editions, the Italian being made right after the previously-mentioned Italian, both on 9/5/24; debate the reading differences: pathos kalypsai vs. pathan/s xalassai, ]amm' vs. ] faim', eerthai vs. eer . [.]ai, .[.]stois vs. b[r]otois;
Sing those reconstruction and their mentioned translations, then the incomplete no-GC text;
Add the GC and evoke the doppelgänger, showing the image of the papyrus and commenting on its reading uncertainties; note how the previous English was adapted to this GC text for the next episode on 18/4/24, and the Italian was the third of a triplet on 9/5/24 in the afternoon, while the evening featured a triplet of Sappho 16 to be heard in episodes the next month;
Mention Benelli's convincing arguments, telling the history of all the integrations as per the post, and debating the reading differences of baloisa vs. saloisi (-i seems more plausible, -a seems squished) and om' anassa vs. o megista (Benelli says traces favor his choice, I see nothing on Obbink and there is no note or letter in Grenfell-Hunt);
Another pre-Benelli idea: γόνωμ' = γονοῦμαι "I beg, I pray on my knees", προτέρ(α) "yesterday"; well I guess προτέρᾳ (ἀμέρᾳ);
Sing the post-GC incomplete text, and conclude the episode;
@Ψ episode 3: 2 new Italian translations from edition, with bilingual intro;
Italian has all translations made;
German is missing them all;
@Sic has its two, and the relevant episode will include them both as well as two corresponding English ones, plus Sicilian and English of 3 more fragments (see @Sic below for list);
@Ch doesn't have its one;
Safo: Poemas is missing the Italian Anthology version;
Chinese Poetic Sappho is missing that one and both the GC ones;
Sapphoýs Ápanta is missing the Italian Anthology and Benelli versions;
Stanza 1 got tune in GC version, other stanzas share;
Thous hast left me (LPC 129 CPS 12 SMB 20 SF re-c-and-bb): @Ψ episode;
To Charaxus (LPC 3 CPS 13 SMB 12 SF g): @Ψ episode 1;
Italian has both translations, though they will only make it into the post sometime next week (writing 24/5/25); the fragment will be discussed and performed in the next @Ψ, a 3-fragment behemoth also covering Gongyla and Kleis;
Neither the Spanish nor the Chinese have any translation;
The Greek edition translated the Edmonds+ version but not the Tedeschi version;
German only has the Edmonds+ version, no translation;
Ditto for Chôka;
Sicilian has only the Edmonds+ version, but with a translation;
Dearest offspring of Uranus and Gaia (LPC 16 CPS 16 SMB 16 SF 16):
@Ψ episode 1: the quotations and P.Oxy. 1231, reviews for Oxy/GW-base translations (protoscript removed 5/10/24), and performance of incomplete text;
@Ψ episode 2: P.Oxy. 2166(a): two new small fragments, letters change, show image of facsimile; updates to translations (review protoscript removed 5/10/24); tesina translations: just take the final safopoemas-version translations, and change περσκέθοισα -> περσκόπεισα, which in Latin gives the old «ēt vĭdēns sī», in Italian gives rise to «potendo lei pur mirare», and in English gives us «though a {lot} was to her quite near / Of [m]an-beauty» (man-beauty? Ugh!); curious how the Italian made that tesina change to l. 11, and then reverts it in this tab; perform tesina remade translations, which are basically remakes of the tesina ones;
New papyrus fragments from Green collections settle the question of who the man was, give some more stanza 4, and…
… make the poem too long, longer than the max attested;
Hence, it's two poems, split over there because fortunate possible integration; which should be ὀλβίοις not ὄλβιον, since ἀνθρώποις is accusative not dative;
The quotes resurface thanks to the new stuff;
κἀν ὄπλοισι is back, and why there ever was καὶ πανόπλοις when the papyrus apparently had the first option is beyond me;
Also, the micro-Oxy that I never mentioned before and now fits nicely with the GC;
κωὐκ ἀέκοισαν: TCPOS gives the solutions, except English comes up with "Willing, afar";
Italian recovers that "lost tesina change";
Alas, the English reverts to non-rhythmic; guessing the rhythmic translation was in the tesina and I posted this while not remembering the tesina at all;
New translations are otherwise safopoemas, save for stanza 4, the previous line, and part b, which we now go comment (translation review protoscript removed 5/10/24);
Another incomplete text performance;
@Ψ episode 4: 4 new Italian translations from edition, with bilingual intro; here is the Greek:
Σάμερον Ψάπφως γε πρὸς ὔμμ' ἀείσω
Σπρᾶγμα, τεσσάρεσσι σῦν ἐκδόκαισιν,
Τᾶς γράφας αἴ ἰστορίαν λέγοισι
Σπράγματος αὔτω.
Oggi io di Saffo vi vo' cantare
Quattro versïoni di un sol frammento,
Che la storia di questo testo voglio-
no raccontare.
Per la prima strofa una melodia
Ho composto, che alle altre strofe ho dato,
E in due lingue ora vi vo' cantare
Questa poesia.
Prima in Greco Antico, poi in Italiano
Come le ho tradotte, vi vo' cantare
Tutte le versioni. A tutti voi
Un buon ascolto!
@Sic episode includes Ode to Anactoria (CPS 9) too, and is a Latin crossover with the P.GC. cross with tesina remade and the Ode Latin remake;
Italian has all translations made;
German is missing them all;
@Sic has its one;
@Ch doesn't;
Safo: Poemas is missing everything except post-P.GC. 16(b);
Chinese Poetic Sappho is missing everything;
Sapphoýs Ápanta has everything, but may need revision;
Stanza 1 got tune, other stanzas share;
Thévenaz-Most discussion, planned for the last weekend of June 2025:
Splitting: Looking at the PGC alone, by lineup arguments, one concludes at least two stanzas fully lost in Sappho 16b, so between 16a and 16b we have at least 10 stanzas: too many.
Thévenaz:
PSI 123 has a gloss τῶμον, which doesn't belong with the text on PSI, so was an adespoton; one could integrate it into Sappho 16 l. 14; Wilamowitz says no, because «Sappho will not have referred to her own mind as "unbending", nor can "love led Helen astray" sensibly be followed immediately by "for my unbending mind"»; Burris and Fish, and of course Thévenaz, beg to differ;
Perhaps it's not agnampton, but eygnampton, or even just gnampton? As in, Imeros; gnampton?
Problem: gar; no explanation is introduced here; or maybe it is an explanation of sorts of simething further up? Or an anticipation, i.e. the statement introduced here is supported by the remembering of Anactoria? Hmm, convoluted for Sappho, says Th; we'll come back to this;
Tomon can't refer to any other neuter noun to the left of PSI without assuming the PSi to have had an unreasonable size, so noemma tomon is the only way to explain the gloss;
Imeros (personified) or Kypris, ekehi or agei (recalling paragag');
Molle meum levibusque cor est violabile telis, from Ovid's Sappho epistle, parallels this: levibus ~ koyphos, and molle would go with gnampton or eygnampton, or agnampton if molle is a correction by the Ovidian Sappho; cor is a physical-erotic interpretation of noemma, for which mind is too intellectual, says Th; it is also redefined as ingenium, ethical-intellectual, a few lines below: ingenium nobis molle Thalīa facit;
More stuff in Ovid reinforcing the parallel, and maybe tying in the kalliston in stanza 1;
How to fill the gaps? We have a – before koyphos and an anapest after it;
For the former, the only option he sees is ōs, with aorist subjunctive as in ōs gar es s' idō, where brókhe' is perhaps responsible for no ke, as koyphos would be here;
Ovid has levibus, which pairs with koyphos, linked to telis, so "light weapons", so for the anapes we expect something akin to "damage"; ter/tor/tr is a root for "wound, pierce", as in the verbs teirō, toréō, and titrṓskō, the first being attested in erotic sense; Herodian tells us perf. inf. pass. of teirō is tetorthai, which combined with Hasychius's gloss tetoren=etrōsen giving us a reduplicative aorist, suggests tetórēn as an inf. aor. act.; thus, νόημμα / [τὦμον, ὠς] κούφων τ[ετόρην] νοήσῃ is our l. 14;
If Kypris, thei is it eygnampton, Homeric but rare, or agnampton, better attested but apparently in contradiction with the previous stanza? Maybe agnampton as irreducible, never-giving-up, but with gar the first sense to come to mind is the usual sense, giving gar a regular explanatory force, bearing on the unwillingness of oyde theloisan, with an ellipse of Kypris' ability to drive all inflexible minds, like Helen's and Sappho's; but this contradicts Sappho's general attitude toward love, and specifically the will to be with Anactoria in stanza 5; ey- however has no real point, allegedly seemingly weakening gnampton instead of strengthening it;
Perfect solution: a gnampton paragei, so we have gnampton, and we eliminate the gar; from gamma to pi the step is short, just a little mishap on the second leg of the pi, and a gamma it is; this also gives a parallel between Helen (paragag') and Sappho (paragei), underlined by the relative clause which gives a smooth transition from myth to personal situation;
Heroides suggests gnampton is the result of Kypris' action, by the fact Thalia (not Kypris, but whatever) makes Sappho's ingenium molle; in fact, if both texts were circulating in Ovid's time, the Heroid could even be correcting the corrupt reading by repeating molle at line beginning;
Pesdomakhentas, en passant, underlines the ring composition by repeating the end of l. 1;
Where to split? Now that we have 10 stanzas, 6+4 is as fine as 5+5, so that is no argument for 5+5, as it was when the length was assumed to be 8-9 stanzas total;
Onemnais' and emnasthe are also parallel, so Sappho and Helen are contrasted as subjects of memory or lack thereof; this also contrasts Anactoria to Helen's family;
Anactoria, however, is the one who has gone off, so parallel to Helen, which suggests another contrast here, implying Anactoria has not forgotten her friend Sappho and their circle; in fact, bãma could be a reminiscence of Anactoria's former choral role in the group, while the amarykhma is the grace of nubile age;
The five stanzas lack a final message, which would give the poem a function, so maybe the next stanza could have that?
We said that the most beautiful thing is what one loves, and everyone's desire is the most beautiful thing (to that person?), but they cannot be entirely realized (probably for the better, as Helen's example shows); however, we can pray to have a share of this desire, and maybe have it, and the rest of the desire may be compensated by thought and memory (onemnais'); thus, the reconstruction of stanza 6;
Given the kalliston, this poem might have been meant for the Kallisteia, the beauty contests at Hera's sanctuary; which would kinda tie this poem to the Divine Hera one which comes after the tatters of 16b;
Btw, the few appearances of Helen in the Heroids also mirror Sappho 16's words about her;
Very different is what Alcaeus did with Helen, possibly a moralizing reaction to Sappho's neutral exculpating narrative: responsibility in espeto vs, paragag', peith', so she was persuaded, not misled, and then the negative ideas ekmaneisa and xennapata, and the echoing of paida and kandros to show the desolation left by Helen, and of course en stethesin eptoaisen, echoing perhaps the Ode to Anactoria.
Most:
Why the insistence on Helen's beauty? (Apparently the idea that perskethoisa referred to Paris's beauty is out of the question)
Some say because it's myth, but outside epithalamia Sappho barely ever uses myth;
Some make a mess of helen being parallelled to Sappho (with whom she shares the thought of the first stanza) and Anactoria (who is beautiful and has abandoned Sappho), but this is incoherent and inserts in Anactoria's absence a whole novel of abandonment to which the poem doesn't hint at all;
Then there's those who say she was so beautiful she had a bunch of possible objects of desire yet she chose Paris, but the quantity of objects has nothing to do with the poem;
Others say Helen is being criticised as being only pretty, while true kalliston is a moral thing which she lacks entirely; this is just weird; what would make this distinction between kalliston and kallos plausible?
Aphrodite links Sappho and Helen, say some, with the beauty being a testimony of Helen being the goddess's favorite, but where is the link between beauty and intimacy with Aphrodite? Sappho was known to be not particularly beautiful, so that would mean she wasn't Aphrodite's favorite, but then what about the Ode to Aphrodite?
Aristotle to the rescue: Helen being the most beautiful of humans gives her overwhelming authority to judge what the most beautiful thing is, and she voted not only with her heart, but with her feet; essentially, the authority to judge is given by what someone is (beautiful, or immortal in the case of the gods judging death an evil by simply not dying) or does (being just like Rhadamantys or brave like Achilles); so this whole thing justifies Sappho's desire for Anactoria, whom she loves like Helen loved Paris, whom she followed to Troy.
To you so beautiful (LPC 41 CPS 17 SMB 22 SF 14): @Ψ episode;
You were also a tender young child (LPC 27 CPS 18 SMB 19 SF n);
A libation (LPC 40 + inc. 13 CPS 19 SMB 21 SF 7);
Ye are naught to me (E 49 CPS 20 SMB 86 SF p): @Ψ episode;
As long as ye wish (LPC 45 CPS 21SMB 87 SF q): @Ψ episode;
Soft cushions again (LPC 46 in cruces CPS 57 SMB 116 SF –);
I will forever be a virgin (C 44A CPS 58 SMB 109 SF 96): 4 lines musicated:
@Ψ episode with @BR of Latin and English and recovery of Italian;
Tune is being made; it is advisable to have at least the last line in a major key for collocation in Sappho medley 1;
Sicilian is missing the translation;
@Ch ditto;
Safo: Poemas ditto;
Chinese Poetic Sappho ditto;
Sapphoýs ápanta and German ditto;
Item 2 in medley 1;
Morn is nigh (LPC 43 CPS 59 SMB 118 SF t);
Hector and Andromacha (LPC 44 CPS 60 SMB 110 SF 121);
He who's fair (LPC 50 CPS 61 SMB 113 SF 101):
Use Edmonds translation (E58) of He who's fair with its own tune for the relevant @Sic episode;
That episode is now only missing a Money without virtue English remake, an "I don't believe anyone" English remake, and a bunch of tunes; apparently the old English translation is also good?
Italian translation to be recovered, but Edmonds version needs its own Italian;
@BR for Latin;
@Ch is missing its translation;
Ditto Chinese Poetic Sappho, both versions;
Ditto Sapphoýs ápanta, both versions;
Ditto German, both versions;
Don't boast that ring (LPC inc. 5(a) CPS 62 SMB 114 SF r);
Someone will remember (LPC 147 CPS 63 SMB 117 SF 32);
Naught in my soul (LPC inc. 5(b) CPS 64 SMB 272 SF ax);
Neither bee nor honey (LPC 146 CPS 65 SMB 223 SF s);
More sweet-singing than a harp (LPC 156 CPS 66 SMB 133 SF av);
I jumped (LPC inc. 5(c) CPS 67 SMB 126 SF 55);
Leda (LPC 166 CPS 68 SMB 127 SF 56):
@Sic and @Ψ episodes with a bunch of others;
Tune is present;
Italian to be remade and @BR; also, the second version in the edition;
English is OK;
Latin is OK;
Sicilian has translation;
@Ch has uncorrected translation;
Safo: Poemas has both;
Chinese Poetic Sappho has one version but not the other;
Sapphoýs ápanta is missing both, as is German;
Item 21b in medley 1;
You and my servant Eros (LPC 159 CPS 69 SMB 128 SF ah);
I will look upon my suffering fatherland (LPC inc. 1 CPS 70 SMB 304 SF –);
O Sun (LPC inc. 4 CPS 71 SMB 307 SF –);
Having descended from the sky (LPC 54 CPS 72 SMB 120 SF 64):
@Sic and @Ψ episodes with a bunch of others;
Tune is present;
Has extra context line, which was originally «Τὸν Ἔρωτα ἔγω νυκτ' ἐν ὀνείρῳ γ' ἔβλεπόν ποτ» as conceived for a Sappho medley, and was then reworked and set to music;
Italian to be recovered;
English to be remade, chlamýs sounds terrible, and "was clad" at the end doesn't work well with the tune;
Latin was fixed, so old rendition is to be performed with deformed tune and fixed version is good;
Sicilian has translation;
@Ch is missing the translation;
Safo: Poemas and Chinese Poetic Sappho have it;
Sapphoýs ápanta is missing the translation, as is German;
Item 3 in medley 1;
O rosy-armed Graces (LPC 53 CPS 73 SMB 121 SF 65);
Hero (LPC inc. 11 CPS 74 SMB 124 SF u);
I don't believe (LPC 56 CPS 75 SMB 125 SF 69);
Dead shalt thou lie (LPC 55 CPS 76 SMB 122 SF 68):
Use the metrical translation from Chôka de no Saffō for the Sicilian crossover of Dead shalt thou lie, giving it its own tune;
@Ψ will perform Italian with different tune to be composed, Latin was marked @BR but it doesn't seem so bad, aside from two words split between lines and some vowel clashes due to elisions and English… I was too harsh when classing these :); I'm doing @TP for Latin and different tunes for the other two;
@Ch has no translation;
Ditto Safo: Poemas;
Ditto Chinese Poetic Sappho;
Ditto Sappho auf barbarische Metern;
@Sic has its translation;
Ditto Saffo in metrica barbara;
Tune is present;
Rustic woman (LPC 57 CPS 77 SMB 123 SF 70);
Ares says (LPC Alc. 349(b) CPS 78 SMB 301 SF –);
The tale of Admetus (C inc. 25C CPS 79 SMB 295 SF –);
I have a gentle mind (LPC 120 CPS 80 SMB 129 SF af);
Handcloths (LPC 101 CPS 81 SMB 138 SF 44): l. 1 musicated;
I wish I were dead (LPC 94 CPS 82 SMB 134 SF "88") + CPS 82(a) miniquote: fully musicated;
Hermes came (LPC 95 CPS 83 SMB 135 SF ad);
O Atthis! (LPC 96 CPS 84 SMB 136 SF "97"):
Greek edition and Sicilian anthology have their translations;
Tune was made on the basis of the πόλλα δὲ ζαφοίταισ' tercet, in a minor key, with the more naturalistic tercets meant to switch to major; more specifically, tercets 1-2 will be minor, 3-5 will be major, 6-8 will be minor, and the holey ones will be major because having Aphrodite pour you nectar is cause for joy :);
@Ψ episode 3: old translations, ending with a performance of the Greek, the Italian, and the two German tercets (protoscript removed 14/6/25);
@Ψ episode 4: Italian translations (old and new, or maybe I recover the old for the edition?);
@Sic episode: A luna ca ammuccia i stiđđi, together with CPS 12 aka The stars and the moon, and crossover with Latin (two Latins for CPS 12, one for each of the pieces of Arignota, and the second piece has salvaged high school English too);
@Ch, CPS, and Safo: Poemas are missing the translations;
Sapphoýs Ápanta and Saffo in metrica barbara aren't;
Tune is done: minor version used for tercets 1-2 and 6-8, was inspired by tercet 6 and tries to convey screaming by moving a lot and also going pretty high sometimes; major version is to be used for the rest, because 3-5 are the only complete tercets not characterized by nostalgia/remembrances, tercet 9 sees Aphrodite pouring nectar to Sappho which is cause for joy, and the other tercets are to holey to decide what to do with them so I'm not loading them with sadness by using minor;
To Cleis (LPC 98 CPS 85 SMB 137 SF ae);
Night-long sleep (LPC 149 CPS 86 SMB 224 SF ao);
Spring's announcer (LPC 136 CPS 87 SMB 225 SF 39);
Like a child (LPC inc. 25 CPS 88 SMB 264 SF 38);
Black-eyed sleep (LPC 151 CPS 89 SMB 226 SF 57);
Adonis is dying (LPC 140 CPS 90 SMB 227 SF 62):
@Sic and @Ψ episodes with a bunch of others;
Tune is present;
Italian and Latin are good;
English was remade, older version needs @BR;
Sicilian has translation;
@Ch is missing the translation;
Safo: Poemas is missing the translation;
Chinese Poetic Sappho ditto;
Sapphoýs ápanta and German ditto;
Item 22 in medley 1, combined with "Alas for Adonis!";
To Dica (LPC 81(b) CPS 91 SMB 140 SF 78);
To Irana (LPC 91 CPS 92 SMB 141 SF v);
To Mnasidica (LPC 82(a) CPS 94 SMB 142 SF 76);
Beautiful gifts of the Muses (LPC 58 ll. 11-22 CPS 95 SMB 143 SF 79 ll. 11-22): memento Benelli integration, already in all posted editions; Gotta say, that synekphonesis with two long vowels is kinda crammed 🙂;
Money without virtue (LPC 148 CPS 96 SMB 222 SF ac);
No lament is allowed (LPC 150 CPS 97 SMB 265 SF ag);
Nice-footed bride aka line beginnings (LPC 103 CPS 99 SMB 218 SF al);
Success to the better mouth (LPC 58 ll. 1-10 CPS 100 SMB 219 SF 79 ll. 1-10);
I love delicateness (LPC 58 ll. 23-29 CPS 101 SMB 220 SF 79 ll. 23-29);
May there now be festivity (LPC – CPS 102 SMB 221 SF –);
Golden chickpeas (LPC 143 CPS 103 SMB 247 SF 30):
@Sic and @Ψ episodes with a bunch of others;
Tune is present;
Italian and English are to be musicated separately, or maybe Atoma?;
English was remade, Italian Idk; Latin is good;
Sicilian has translation;
@Ch has corrected translation;
Safo: Poemas is missing the translation;
Chinese Poetic Sappho ditto;
Sapphoýs ápanta and German ditto;
Leto and Niobe (LPC 142 CPS 104 SMB 248 SF 31):
@Sic and @Ψ episodes with a bunch of others;
Tune is present;
All three HS translations are good (not sure why chrono index says Italian is @BR…);
Sicilian has translation;
@Ch has corrected translation;
Safo: Poemas has the translation;
Chinese Poetic Sappho is missing the translation;
Sapphoýs ápanta and German ditto;
Item 21a in medley 1;
The Cretan and the sea (LPC Alc. 15(a) CPS 105 SMB 298 SF –);
Offering to Artemis (C 157D CPS 106 SMB 342 SF 118);
Epigram of Timas (C 158D CPS 107 SMB 343 SF 119);
Epigram of Pelagon (C 159D CPS 108 SMB 344 SF 120);
Cretan women (LPC 16 CPS 109 SMB 250 SF 54);
The full moon (LPC 154 CPS 110 SMB 251 SF 53);
Grief and health (LPC inc. 18 CPS 111 SMB 252 SF –);
O the Adonian (LPC inc. 24 l. 2 CPS 153 SMB 299 SF as);
Most beautiful of stars (LPC 104(b) CPS 154 SMB 97 SF at);
Astragali (LPC 192 CPS 155 SMB 270 SF au);
Whiter than an egg (LPC 167 CPS 156 SMB 271 SF aw);
Mixed with all colors (LPC 152 CPS 157 SMB 130 SF ay);
Satisfied Gorgo (LPC 154 CPS 158 SMB 131 SF az);
Golden-shining (LPC inc. 23 CPS 159 SMB 273 SF ba): note that Χρυσοφάνης ὦ Ϝεκάτα θέραπνα is either inmetrical or doesn't show the shortened final of the vocative (cfr. Aphrȯdita), and there doesn't seem to be any ground for the W in Wekata;
My care (LPC 163 CPS 160 SMB 274 SF bc);
Down the high mounts (LPC inc. 14 CPS 161 SMB 300 SF –);
Polished doorways (C 117A CPS 162 SMB 303 SF –);
Delicate shag (LPC 100 CPS 163 SMB 139 SF y);
Moderation (LPC inc. 2 CPS 164 SMB 305 SF –);
Some god for us (LPC inc. 3 CPS 165 SMB 306 SF –);
To Ares (LPC inc. 6 CPS 166 SMB 308 SF –);
Of sweat (LPC inc. 12 CPS 167 SMB 310 SF –);
Began late (LPC inc. 19 CPS 168 SMB 311 SF –);
Opening all chambers (LPC inc. 20 CPS 169 SMB 312 SF –);
To weep with tears (LPC inc. 25A CPS 170 SMB 313 SF –);
Insatiable Harm (LPC inc. 25B CPS 171 SMB 314 SF –);
Hyperbolæ (LPC crit. to 156 CPS 172 SMB 319 SF –);
A radiant feast (aka Comu cilibbrari na festa) (LPC 9 CPS 287 SMB 14 SF UTL 5);
To be comboed (LPC 29(34) CPS 303 SMB 71 SF UTL 57);
Against the Polyanactids + To Apollo (LPC 99 CPS 317 (a)=SMB263,(b)=SMB289SF UTL 78);
To be comboed? (LPC Alc. 254 CPS 341 SMB 330 SF –);
Operation: Explanation of SMB text crit marks
Explain all the critical notation marks in the Italian Sappho edition.
The reason for this is that, besides the usual brackets (angled for corrections, square for lacunas, curly for expunctions), there are pluses (+…+) for blank spaces on papyri, and a bunch of ad-hoc signs for bits of text that come from different sources (e.g. papyri). Not very high priority, just thought of it recently (writing on 21/12/24).
Operation: Adscript iotas with inverted breve
Subscript iotas kind of conflict with underdots, and also don't allow me to show editorial corrections where they are added. Adscript iotas are ambiguous: does ἄι mean ᾄ or ἄϊ? By marking adscipt iotas with something, like an inverted breve (which can't be taken as a vowel length mark– ι̑), I solve the ambiguity. So I want to do that in all Sappho editions and anthologies..
Immense task which I may or may not start from the German anthology as I wade through its todo list things and put in the links beteen fragments and the translations' histories in the coming weekends. Writing on 18/7/25, this is just being added here, not done in the least.
Operation: History of Chinese Sappho
This list does include the Chinese poetic Sappho project. The translations present there as of writing this on 24/4/24 have histories that are summarised as "translated on day X". This is unsatisfactory, especially if I am to place them in the chrono index. I want to have a togglable list of translation histories in the editions post, so I can drop any history in the titles of the fragments, and I want these translations (with some caveats) in the chrono index.
I have a spoiler with all the translations and what I have of their histories in the chrono index, undare U5 which is the year I launched the edition. I have retrieved the screenshots that give the dates and will consult then when I can. This old Fb note, and any other similar thing, should also be consulted. I have consulted the screenshots for the Ode to Anactoria but haven't gotten around to implementing what I have found yet, will probably do so next weekend (writing 29/6/25).
Italian edition of Sappho in "barbarous meter", which is an imitation of classical meters in Italian and other stressed languages without vowel quantity. Some such imitations will actually end up being musical translations, because there is no way to make meters that are basically supposed to have two stressed syllables in a row come naturally when read aloud.
Launched 13/7/24 3:51. Lots of missing translations, critical notes are delegated to videos whose links are not yet added. Let me try to list all fragments and all versions, so I can give a progress percentage (counting only complete translations).
Inno ad Afrodite (partly translated);
Alle Nereidi:
Versione di prima della scoperta del papiro P.Oxy. 2289 fr. 6;
Versione di Edmonds;
Versione di prima della scoperta dei papiri P.GC. e dopo la scoperta del papiro P.Oxy. 2289 fr. 6;
Versione di dopo la scoperta dei papiri P.GC.;
Versione dell'Antologia Italiana;
Alla Cipride:
Versione del Campbell;
Versione di Edmonds;
Versione dell'Antologia Italiana;
Idillio con Afrodite:
Versione vecchia;
Versione nuova;
Se io solo;
Ad Afrodite;
Prese;
Perché quelli che / Come potrebbe mai qualcuno:
Versione senza il papiro di Obbink;
Versione col papiro di Obbink;
Versione dell'Antologia Italiana;
Versione col papiro di Obbink e col papiro P.GC. inv. 105 fr. 4;
Versione di Benelli e mia;
Versione di Benelli e mia, 2;
Divina Era:
Versione col solo PSI 123;
Versione prima della scoperta dei papiri P.GC.;
Versione dopo la scoperta dei papiri P.GC.;
Versione dell'Antologia Italiana;
Nelle tempeste violente, i marinai;
Quell'inno, o Musa dal trono d'oro;
Al fratello Carasso:
Versione di Edmonds;
Versione di Diehl;
Alla nutrice:
Versione senza il papiro di Obbink;
Versione col papiro di Obbink;
Alla madre;
Ode ad Anattoria:
Versione 1;
Versione 2;
Più diletta prole di Gaia e Urano (Terra e Cielo):
Versione di prima dei papiri P.Oxy. 2166(a);
Versione di Edmonds;
Versione di prima della scoperta dei papiri P.GC. e dopo di quella dei papiri P.Oxy. 2166(a);
If I didn't screw up the counters, out of fragments and versions I have translated , for a progress percentage of %. Moreover, counting translated lines, the edition is translated for /, for a progress percentage of %
A couple long things to be noted:
Titles and version names in editions should be formatted somehow;
Some titles are uncapitalized in editions (e.g. a group title "Ex Lógōn Állōn");
Ponder whether to add more history details for the translations of the below fragments, and check the chrono index matches the post index;
Post-version1 history of Tempeste violente;
KP;
Sappho 16;
Arignota;
SMB 209?
Gongyla;
Nereids;
Al fratello Carasso
Check that the titles are all in Aeolic and Italian;
Add video links!
Add meter indications from fr. 280 onwards;
Make sure the musication statuses are up to date;
Give two tabs to all non-mine versions, one for my notation, one for the source's notation;
Fix lineup.
Temporarily convert all underlines to triangle underdots (stackings of double and single underdots);
A couple short things to be noted:
The ποττὰ τοπ line and the one two below that probably need some thought in "Mostrati a noi";
τ̣ο̣ῦ . .[ υπνου» seems unAeolic in "Della spilla";
Add interline Attic glosses to all Aeolisms that aren't straightforward (as explained in the edition's intro) in Saffo in metrica barbara
Probably going to end up replacing the critical notes, since those are going to be done in the videos anyway, and I originally wanted to Attic-gloss every single Aeolism but doing so is way too long so I settled for this subclass to just make things easier for me, basically if I go over a text with such glosses I won't be stumped in front of a word because I look up the gloss in Perseus and probably find it, and an Attic form is usually easier to look up than an Aeolic one anyway. Pretty low priority for me, just adding it here to come back to it eventually, probably later rather than sooner.
Operation: Sappho notation overhaul
At some point, I felt the need for three different uncertainty marks in critical texts of Sappho: underdot, double underdot, and underline. I never bothered to write down exact criteria for the choice between these, and I feel like they are now a bit of a mess. Plus, the underlines are not copypasteable as they are HTML-coded. Here is the plan, to be applied to all editions and anthologies except when otherwise specified:
Double underdots shall be limited to only "wholly conjectural letters", i.e. those whose trace is too little to justify any sort of guess;
Underlines shall be banned;
Notation for what comes from where shall be banned from anthologies;
Versions from other editions/anthologies will be given both the same notation as the edition/anthology they're from (even when Edmonds or Tedeschi are sloppy their his notation, which shall be marked by SLOPCRIT), and the accurate notation from the source transcription; this only applies to direct tradition, I will freely mark editorial corrections in other people's versions even if they don't;
Pluses for full fadedness should probably give way to ceiling brackets.
By the time the 10/12/25 update goes online, the following are dealt with in all editions and anthologies:
Gongyla;
Ode to a beautiful woman;
Idyll with Aphrodite (Ostrakon Florentinum);
Pizzicare le corde;
Kypris Poem;
Sappho 16;
Sappho 16b;
Arignota and its twin;
Divine beauty is difficult to attain;
A prayer to avert stormy journeys;
Nereids;
Charaxus;
Wetnurse;
To Apollo (aka Margon);
Against Andromeda;
About her exile;
We played (aka 'thyramen);
Mika;
O Dream;
Ye cowered;
The constituents of the above 6;
Any P.Oxy. 1787 fragments in my pictures;
Gifts of the Muses;
May she sing with a better voice (aka Oxy pre-Ymmes);
May there now be festivity (aka Köln pre-Ymmes);
I love delicateness (aka Oxy post-Ymmes);
I wish I were dead;
Gongyla 2, aka A desire to die possesses me;
Next to be dealt with should be all of the P.Oxy. 1231 and 2289 fragments I have pictures for, plus P.GC. fragments. New things may appear in view of the P.Köln frustula, which I don't think are in the editions.
Chinese edition of Sappho with translations in meters of my own invention (intro has a prospect).
Launched on 28/7/17. Lots of missing translations, and the ones present may need revision. A couple long things to be noted:
Titles and version names in editions should be formatted somehow;
Some titles are uncapitalized in editions (e.g. a group title "Ex Lógōn Állōn");
The titles should be in Aeolic + target language, no Attic;
Eventually add meter indications to all fragments, drop the number lists in the meter prospect, and convert the numbering to auto so you can easily move the bees and honey fragment to the appropriate group without killing yourself with number fixes;
Fix lineup;
Give two tabs to all non-mine versions, one for my notation, one for the source's notation;
Temporarily convert all underlines to triangle underdots (stackings of double and single underdots);
A couple short things to be noted:
The ποττὰ τοπ line and the one two below that probably need some thought in "请出现在我眼前";
τ̣ο̣ῦ . .[ υπνου» seems unAeolic in "别针";
Implement Κάμ με τὸ πρῶτον, Κάμ με τὸ δεύτερον, Κάμ με τὸ ἄνευ διαφανείαν versions for "请出现在我眼前", renaming Κάμ με -> Κάμ με τὸ παλαιότατον;
Some of the translations have meters respected with quote-unquote, because the divisions within lines (and sometimes even across line boundaries) fall in places where they shouldn't. For now, I know of the following:
Hymn needs revision both because of the new poikilothron' interpretatino and because of "de"s after divisions; also, bie yong / verb?
The versions of Divine Hera may need more tweaks;
«像以前一样， 苦痛也有留 / 不长时间就回来» doesn't seem right for «Ὤ̣ς̣ ποτ' οὐ̣⌝[κ ἄ]λλω̣ς̣, [ἐσύ]νηκε δ' αὖτ' οὐ / δεν διὰ μ⌝[ά]κρω» in post-GC Nereids;
Violent storms also has at least one /de;
Maybe 得到这种我 愿望的命运 should be divided better?
Captatio translation doesn't seem super good, maybe improve?
汗水也流 下身体来 hmm, lüse should be pale not green, and 因个贫穷->因贫穷人 17/6/25 23:57;
Köln pre-Ymmes Tedeschi should have ο]ι double underdot, not οι] νυν θαλια;
μακαίραις, not μακαίρας, in Dika l. 3;
Turn "Versione dell'Antologia Italiana" for Se avessi ancora latte into "Versione di Tedeschi-Gorini" (mutatis mutandis), replacing stanza 1 with the Edmonds one but with "Αρμενα, ποσσ' ου τρομεροις προς αλλα / Λεκτρα κ' ιοιην" at the end, then keeping the rest as per Tedeschi, modulo notation to be fixed;
Add new version of Oxy post-Ymmes from this paper.
For the series on the channel, I'll have introes in both Greek and Chinese, in the poems' and translations' meters. For Sapphic stanzas, on 6/10/24, I started conceiving a Chinese intro. I wrote «我今天想要 给你们介绍 / Safu 已经/曾经写 的一首诗歌» at 15:18, then «Safu 已写的 一首小诗歌» at 15:19, then 段歌 at 15:19, then noted that «Safu诗诗歌 doesn't seem to worn» at 15:23 (*work, 15:23, and I meant Google mistranslated it IIRC), then for the Hymn to Aphrodite episode I thought of 最长的诗歌 at 15:25, and for smaller fragments 只一段诗歌 at 16:53, then I had classifier doubts: 一片/篇诗歌？ at 16:56, so I decided 小一＜class＞诗歌 at 16:56. Summing up:
I also composed the opening for a Chinese Sappho series, in a 30/10/24 9:49 version and a 21/11/24 21:46 remake, both found here under «Two openings for the Hànyǔ shígē de Sāfú series».
Then the new series title was thought up (22/11/24 15:32) and at that timestamp the V2 became «Hanyu shige de Safu / EED CCA GGA CC G BBBBBB BCCCC», and at 23:46 V4 became «Hanyu BBA GGFGGGGG» so V3 has to be Ψάπφω DDDDDD CCCC. I also have part 2 of the opening:
甜蜜的微笑，菫菜的头发，
纯粹的莎孚，你的诗歌里
想要说什么？我想要明白
也想好好来翻译。
Tiánmì de wéixiào, jǐncài de tóufǎ,
Chúncuì de Shāfú, nǐ de shīgē lǐ
Xiǎng yào shuō shénme? Wǒ xiǎng yào míngbái
Yě xiǎng hǎohǎo lái fānyì.
21/11/24 22:23.
For the tunes, I originally thought of musicating each translation on its own, following the tones. However, 14/4/25 0:32 I conceived a defiormation for the tune of CPS 24, which in fact gives a deformation strategy for Sapphic stanza tunes, so I'm probably going to use that strategy for all Sapphic stanza poems. Not sure what I'll do for other meters, we shall see. Maybe some more complicated meters go with the original idea while those more readily deformable go the deformation route.
The series launched with two crossovers with the Italian series.
Spanish edition of Sappho with prose translations.
Launched on 27/7/17. Lots of missing translations. A couple long things to be noted:
Titles and version names in editions should be formatted somehow;
Some titles are uncapitalized in editions (e.g. a group title "Ex Lógōn Állōn");
The titles should be in Aeolic + target language, no Attic;
Give two tabs to all non-mine versions, one for my notation, one for the source's notation;
Fix lineup.
Temporarily convert all underlines to triangle underdots (stackings of double and single underdots);
A couple short things to be noted:
The ποττὰ τοπ line and the one two below that probably need some thought in "Oh aparece a nos";
τ̣ο̣ῦ . .[ υπνου» seems unAeolic in "Broches";
Implement Κάμ με τὸ πρῶτον, Κάμ με τὸ δεύτερον, Κάμ με τὸ φρόνιμον versions for "Habia una sola", renaming Κάμ με -> Κάμ με τὸ παλαιότατον if neither proton nor deuteron can be reduced to it, and add symbols to mark matching lines in all versions;
Implement Κάμ με τὸ πρῶτον, Κάμ με τὸ δεύτερον, Κάμ με τὸ ἄνευ διαφανείαν versions for "Oh aparece a nos", renaming Κάμ με -> Κάμ με τὸ παλαιότατον;
Reflect the Chinese Tethnaken version situation;
An episode «Ψάπφω ἀ Λεσβία | Safo de Lesbo en métrica bárbara en Español» was planned for 6/2/33 (as of 10/11/24) to sing the barbarous meter Spanish translations found at this link and included in the edition. The opening imagined with one voice saying "En Castellano" much the same way as the @Sic opening has one saying "In Siçilianu". However, I now have a Greek-Spanish series planned instead, so that episode will be replaced by the first episode of that series, which does not include those translations, many of which belong in different episodes.
On 7/11/24 at 20:54, I started a Spanish Sapphic stanza intro for this episode, with «Hoy de Safo yo voy a presentarvos / Cinco poesías».
Modern Greek edition of Sappho with prose translations.
THIS IS ON EXTENDED STANDBY. I may not ever complete this, but if I do, it will be in a huge amount of time, as I've decided to, for the foreseeable future, downscale this to an anthology which is an extended version of the standard Sappho selection, hence translating the fragments in barbarous meter. Not sure (13/12/24) if I will do the same for Spanish.
Launched on 5/11/18. Lots of missing translations, and the ones present need serious revision. A couple long things to be noted:
Titles and version names in editions should be formatted somehow;
Some titles are uncapitalized in editions (e.g. a group title "Ex Lógōn Állōn");
The titles should be in Aeolic + target language, no Attic;
Ἐκδοκὴ isn't a word that exists;
Give two tabs to all non-mine versions, one for my notation, one for the source's notation;
Temporarily convert all underlines to triangle underdots (stackings of double and single underdots);
A couple short things to be noted:
The ποττὰ τοπ line and the one two below that probably need some thought in "Φαῖν' ἄμμι";
τ̣ο̣ῦ . .[ υπνου» seems unAeolic in "Πόρπας";
Implement Κάμ με τὸ πρῶτον, Κάμ με τὸ δεύτερον, Κάμ με τὸ φρόνιμον versions for "Ἴαν ἦχον", renaming Κάμ με -> Κάμ με τὸ παλαιότατον if neither proton nor deuteron can be reduced to it, and add symbols to mark matching lines in all versions;
Implement Κάμ με τὸ πρῶτον, Κάμ με τὸ δεύτερον, Κάμ με τὸ ἄνευ διαφανείαν versions for "Φαῖν' ἄμμι", renaming Κάμ με -> Κάμ με τὸ παλαιότατον;
Reflect the Chinese Tethnaken version situation;
Operation: Chinese Poetic Sappho Chinese intro
Aims to review and complete the Chinese version of the intro of Chinese Poetic Sappho
Zero work done on this. Just had the idea today 29/6/24.
Operation: Sapphoýs Ápanta Greek intro
Aims to (probably massively, given my terrible Greek at the time I made it) review and (if needed) complete the Greek version of the intro of Sapphoýs Ápanta Greek
Zero work done on this. Just had the idea today 29/6/24.
Operation: Safo: Poemas Spanish intro
Aims to review and (if necessary) complete the Spanish version of the intro of Safo: Poemas Spanish
Zero work done on this. Just had the idea today 29/6/24.
Make an anthology of Sappho to render into Sicilian barbarous meter. The list of fragments for this is the same as for Chôka de no Saffō.
All these translations will be sung within the series in the project name.
Here is the fragment list from the post, without the histories of the translations. T means Translated, NT Not Translated (well, Třaduttu and Non Třaduttu, but it's the same).
[T]"I stiđđi e a luna" (LP 34);
[T]LP 16+:
"Figghia 'i Uranu e Gaia cchiù cara 'i tutti", o "Saffo 16" (10a) ;
"I murtali 'un tègnunu gioia china" (10b); ;
"Figghia 'i Uranu e Gaia cchiù cara 'i tutti", o "Saffo 16", Thévenaz (10c) ;
"Chiđđi ca tegnu cari" (10d); ;
[T]"Innu pi Anattorìa" (LP 31)
Virzioni cu 4 střofi;
Virzioni 'i Livrea;
[T]"L'amuri mi scutulau u cori" (LP 47);
[T]"Dui pinzieri" (LP 51);
[T]"Stammi ṙavanti" (LP 138);
[T]"Campagnola" (LP 57);
[T]"Ntřabbunau a luna" (Campbell 168B):
Sicunnu Efestione;
Sicunnu Reiner e Kovacs;
[T]"O matři ṙuçi" (LP 102);
[T]"Â Çìpridi" (LP 26 +++):
Virziòni 1 ;
Virziòni 2 ;
Virziòni 3 ;
[T]"Kleis" (LP 132);
[T]"Amuri ṙuçi e amaru" (LP 130);
[T]"Epigramma 'i Timas" (Campbell 158D);
[T]"Epigramma 'i Pelagon" (Campbell 159D);
[T]"Offerta a Artèmide" (Campbell 157D);
[T]"Mi lassasti" (LP 129 +);
[T]"Quaṛcunu s'hâ řicurdari" (LP 147);
[T]LP 96:
"O Arignota!";
"O Àttide!";
"Pi nuautři nun è facili èssiri beđđi comu dèi";
[T]"Idilliu cu Afrodite" (LP 2)
Virzioni vecchia;
Virzioni nova;
[T]"Scinnìu ṙû çièlu" (LP 54);
[T]"Leda" (LP 166);
[T]"Riguardu ê palummi" (LP 42);
[T]"Cìçiri d'oru" (LP 143);
[T]"Niobe e Latona" (LP 142);
[T]"Sta a mòriri, o Citerèa", o "Canzuni 'i luttu" (LP 140(a));
[T]"Cu è beđđu" (LP 50);
[T]"Â lira" (LP 118);
[T]"Ti prèju, Gongyla" (LP 22 part 2):
Virziòni Lekatsás-Gorini;
Virziòni Tedeschi-Gorini;
[T]"Innu a na fìmmina beđđa" (LP 23):
Virziòni nova;
Virziòni vecchia;
[T]"U dinaru senza a virtuti" (LP 148);
[T]"Vinisti" (LP 48 +);
[T]"Lingua chi abbaia a vòtu" (LP 158);
[T]"Nun zi pirmètti lamèntu" (LP 150);
[T]"A Dica" (LP 81.2);
[T]"A Mica" (LP 71.1-7 + 61 + 87(14).1-3);
[T]"Nun mi spittu" (LP 52);
[T]"Pî mè cumbagni" (LP 160 + τέρποισα);
[T]"Tegnu a menti ṙuçi" (LP 120);
[T]"Nun crèṙu ca nuđđa" (LP 56);
[T]"Imenèo" (LP 111 + 106);
[T]"Pumu ṙuçi" (LP 105(a));
[T]"Giacintu" (LP 105(c));
[T]"Ca tu durmissi" (LP 126);
[T]"Vulissi aviri murutu":
Canciamentu sicunnu;
Canciamentu primu;
Virziòni prima třadutta;
[T]"Malidizziuni" (LP 15);
[T]"Spusu filiçi" (LP 112);
[T]"Nun mòviri a ghiaia" (LP 145);
[T]"Pi sempri aj'a èssiri puseđđa" (Campbell 44A);
[T]"Si ancora tinissi latti" (LP 21, Edmonds 42):
Virziòni 'i Edmonds;
Virziòni 'i Tedeschi-Edmonds-Gorini;
[T]"A Carasso" (LP 3, Edmonds 35)
Virziòni 1;
Virziòni 2;
[T]"Ê Nireidi" (LP 5 +);
[T]"Cantàssimu pî spusi" (LP 30);
[T]LP 27:
"Macari tu eri na picciriđđa tènnira";
"Nun era na marfarata";
[T]"O fìmmini tènniri" (LP 24(a), Edmonds 43);
[T]"Innu a Afrodite" (LP 1);
[T]"Hai a jàçiri morta" (LP 55);
[T]"Urazziuni p'ařřasari i viaggi buřřascusi" (LP 20, Edmonds 41);
[T]"Cuntř' ê Polianàttidi" (LP 99(a));
[T]"A Apollo" (LP 99(b)):
Testu nòvu;
Testu vecchiu;
[T]"Puisia ṙî frati" (LP 10 +++);
[NT]"Putissi iđđa cantari cu na vuçi migghiuri" (LP 58 ll. 1-10);
[NT]"Era riggina" (LP 17 +);
[NT]"Èttore e Andròmaca" (LP 44);
[NT]"I doni ṙî Musi" (LP 58 ll. 11-22);
[NT]"Nci sia festa òra" (Zòccu c'esti ntô papiru 'i Colonia prima ṙû frammentu "I doni ṙî Musi" 'i supra):
Virziòni 1;
Virziòni 2;
[NT]"Vinni Ermes" (LP 95);
[NT]"Saṛvietti" (LP 101 +, Edmonds 87);
[NT]"Riguardu â stati" (LP Alc. 347);
[NT]"Comu cilibbrari na festa" (LP 9);
[NT]"Riguardu ô sò disteřřu" (LP 68(a) + 70 + 75(a));
[NT]"Cuntř'a Andromeda" (LP 86 è a parti inizziali ca nun aj'a třadùçiri, u řestu è LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. i).
This is translated to /, i.e. %. Sanity check: is equal to the sum of the last number in the list above and , the number of extra texts from fragments having multiple versions or parts? Moreover, counting translated lines, the edition is translated for /, for a progress percentage of %
As for the series, I plan the following episodes, «where each fragment gets its own white-on-black title with metrical info, and saying the translation is mine and the tune is mine (or not, in two cases)», um actually that changed; not sure if episode 1 had metrical info, but from episode 2 on, each fragment gets a sung title in meter; those title are in this post, with their histories, and with other kinds of things as well, so I will not include them here.
Figghia 'i Uranu e Gaia cchiù amata 'i tutti (LP 16+ stanzas 1-5), Sicilian, Latin tesina remade, Latin re-remade:
Φίλτατον Γαίας γένος Ὀρράνω τε
Figghia 'i Uranu e Gaia cchiù amata 'i tutti
Gaiae et Ůrãnî peramãta prōlês
Ύμμιν ἀείσω
Composed 3/9/24 22:41;
I murtali 'un tègnunu gioia china (LP 16+ rest), Sicilian, Latin re-remade:
Ὄλβιον δ' οὔκ ἐστι βρότοισι πλῆρες
I murtali 'un tègnunu gioia china
Nōn habent mortālia gaudium plē-
num νυν ἀείσω
L. 1 22:43-22:45 with tweak 15:11 17/9 and 19:45 19/9 and 15:22:54 and 15:23:19 of 21/9 (22:43 Όλβιον βρότοισιν ουκ εστι παμπαν/πληρη, 22:45 Όλβιον δ' ούκ εστι βρότοισι πλήρη and discarded Παμπαν αυ βρότοισιν ουκ εστιν ολβον, tweak 1 neuter πλῆρες, tweak 2 Όλβος αυ βρότοισιν ουκ εστι πλήρης, tweak 3 Ὄλβον οὔποτ' ἐστι βρότοισι πλῆρες with other tweak being masculinizing the first word, though the final word was changed only in the night between 27 and 28/9), l. 2 22:46, rest 22:46, all 3/9/24 except tweak;
Innu pi Anattoria (LP 34), Sicilian, Latin remade:
10(c) aka Tu ṙi Gaia e Uranu cchiù amata figghia (no point redoing 10(d), it's the same translation and text as in episode 2);
Ti prèju, Gongyla (LP 22 part 2 – Lekatsás-Gorini with inizziu aṛtirnativu);
[U]Innu a na fìmmina beđđa (LP 23 – Virziòni vecchia);
Kleis (LP 132);
Catullus and Sappho: Ode to Anactoria, crossover with Ψάπφω ἀ Λεσβία and Mick Gorro and the Classics ending with Innu pi Anattoria Virziòni 'i Livrèa;
Saffu in Siçilianu: Quantu sèmu sicuri ṙî nostři testi 'i Saffu? – a bunch of incomplete texts and condensed text histories to show how little we truly know about Sappho's poems, with a new translation of  Çìpridi and the translations of Gongyla Lekatsás-Gorini with no inizziu aṛtirnativu, Gongyla Tedeschi-Gorini, and Innu a na fimmina beđđa Virziòni nova, upload planned for 30/11/25;
Riguardu ô sò disteřřu (LP 68(a) + 70 + 75(a)), Sicilian and Italian;
Cuntř'a Andromeda (LP 86 è a parti inizziali ca nun aj'a třadùçiri, u řestu è LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. i), Sicilian and Italian;
[T]Duluri ṙ'amuri:
Amuri ṙuçi e amaru (LP 130), Sicilian and English;
Ntřabbunau a luna (C 168B, two texts), Sicilian and English; follow this with Γρήγορα η ώρα πέρασε Greek and Italian as a sort of comparandum
Quaṛcunu s'hâ řicurdari (LP 147), Sicilian and English;
[T]Vulissi aviri murutu (LP 94, alternate older ointment tercet will be sung at end as bonus);
[T]Epigrammi;
Epigramma 'i Timas (Campbell 158D), Sicilian and English;
Epigramma 'i Pelagon (Campbell 159D), Sicilian and English;
Ufferta a Artèmide (Campbell 157D), Sicilian and English;
Mi teni u disìu ri mòriri: Vinni Ermes (LP 95), Sicilian, Latin, and English (with proper touch-ups); perhaps together with its Greek reedition Ήρθε και τρύπωσε ο Ερμής, maybe paired with an ad hoc translation to Sicilian or Italian;
[#1,2M]Cantari:
Putissi iđđa cantari cu na vuçi migghiuri (LP 58 ll. 1-10);
Nci sia festa òra (In Köln papyrus before "I doni ṙî Musi" above);
 lira (LP 118, T);
Pî mè cumbagni (LP 160 + τέρποισα, T)
any crossover needs to remake the first fragment's translation(s) and make the second one's;
I doni ṙî Musi (LP 58 ll. 11-22), Sicilian and English;
[T]Si tinissi ancora latti (LP 21, Edmonds 42), Sicilian and Latin;
[T]Nustalgia ṙâ juvintuti o difesa 'i n'amuri cuccaniatu?
Anthologies of Sappho in Hungarian and Latin in the original meters (Hungarian has vowel quantity so the meters transfer), and corresponding YT series.
The title was thought up as "Saffó Magyar nyelvel" 20:34 17/4/25, the list conceived 20:47 the same day and ordered 1:59-2:41 the next night, with the Libation (fr. 43 of the list) being added as the last thing; the currently translated fragments are numbers 1, 8, 19, and the current title is a consequence of Quora, the final nail in the coffin coming I think on 23/4.
That was for the Hungarian. As for the Latin, the idea is dated 22/5/25 17:07, with its title coming along as part of an imagined opening, inspired by having reworked a bunch of old translations. I will not list the fragments translated to Latin, just look at the list below. Or at what is on the anthology, which has been launched recently.
Here is the list of fragments, with blank lines to mark the ends of episodes (there are 14 episodes), and the label [T] for translated fragments and [P] for partially translated fragments (the one [P] fragment as of 27/4/25 has only one line done):
[T]"The stars and the moon" (LP 34), the first one I translated and the motor for this idea;
[T]"Ode to a beautiful woman" (LP 23); since the previous one is a metaphor for exceeding beauty, this seemed like a fitting next one:
Old version, aka Edmonds-Gorini restoration);
New version, aka Tedeschi-Gorini-ἤλγει;
[La]"Gongyla" (LP 22 part 2); another poem about beauty:
Lekatsás-Gorini restoration;
Tedeschi-Gorini restoration;
[La]"Sappho 16" (LP 16 stanzas 1-6 as restored by Thévenaz); keeps the beauty theme;
[La]"Ode to Anactoria" (LP 31); Anactoria is back, and so is being upset by beauty, back from Gongyla's dress;
"Kypris Poem" (LP 26 as per Benelli-Gorini, aka Benelli+ on this blog); from a love poem to a prayer to the goddess of love, where being tortured is explicitly mentioned, the link is easy;
"Hymn to Aphrodite" (LP 1); another prayer to Aphrodite;
[T]"If only" (LP 33); yet another such prayer;
[La]"Idyll with Aphrodite" (LP 2 with new ostrakon text); another such prayer leading to an episode of prayers;
"I pray" (not in LP, the new Köln fragment preceding LP 58b on the Köln papyrus);
"Divine Hera" (LP 17 in the Neri-Gorini restoration);
[La]"Let's sing for the couple!" (LP 30); not too strong of a link, but this is assantially a prayer to the bridegroom; it introduces this episode with a taste of wedding songs; wanted to keep things contained because Hungarian translations are hard :);
"Hymenæum" (LP 111+106); another wedding song; both languages only have the chorus;
[T]"If I still had milk" (LP 21); mentions marriage, so links to the wedding songs, and introduces the theme of nostalgia for youth, which dominates this episode:
Edmonds version
Tedeschi-Edmonds-Gorini version
"The gifts of the Muses" (LP 58b);
[La]"O tender women" (LP 24(a) as restored by Edmonds with fixes from me);
"Rustic woman" (LP 57); the tender women left the city, this woman, who is entirely not tender, is causing Sappho's love to leave her;
[La]"You left me" (LP 129 with my integrations); and now Sappho's love has officially left :);
[T]"Sappho 16b" (the remainder of LP 16); a song of betrayal, with the ending clearly saying Sappho was hurt by someone she loved; like the one who left her in the previous poem;
Old version
New version
[La]"Bittersweet love" (LP 130); Atthis is the betrayer, and Andromeda is the rustic woman; and love is an unbeatable beast;
[T]"Love shook my heart" (LP 47); well we saw that happening didn't we? Hungarian is only half done;
[La]"Two thoughts" (LP 51); love causes confusion;
"The moon has set" (Campbell 168B in Reiner-Kovacs version); she may be sleeping alone because she was left (linking to the fragments above), or because she was exiled and her potential partners were not (linking to the following ones);
"Against Andromeda (LP 86 is the top part, the rest is LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. iA); she is the reason for the exile, and such a vile woman too…;
"To her brother Charaxus" (LP 3); Charaxus is also morally deplorable, though probably not as much as Andromeda;
Edmonds version
Diehl version
"To the Nereids" (LP 5 in my restoration); this relates to her brother, and introduces the sea;
[La]"In violent storms" (LP 20 with three stanzas restored by Edmonds and the rest slightly integrated); sea theme;
"To her wetnurse" (LP 13 with the Obbink papyrus); sea theme again, and the brother is back, in fact, both brothers, so family;
[La]"On Cleis" (LP 132); family, right?
[La]"I don't think any woman" (LP 56); this can be taken as praise for her child; that's entirely my idea;
"Stand before me" (LP 138 in Edmonds' restoration); I thought this could be taken as an address to Cleis, but philos is masculine; well, whatever :);
"You came" (LP 48+ in my version); joys of friendship, links to previous fragment;
"On the cicada" (LP Alc. 347(b) integrated into the bigger thing); a bit of an intruder since it's Alcæus if integrated like this, but we have burning summer linking to burning heart;
Voigt+ version
Edmonds version
Bergk version
[La]"To Arignota" (LP 96 first 7 tercets with my restoration); back to burning heart I guess? Not sure I thought this sequence through all that much…;
[La]"On the doves" (LP 42); strong emotion?
"I wish I had died" (LP 94 with my restoration); introduces the theme of wishing for death, but the link to the previous fragments… I guess strong grief as in Arignota? Latin only has title;
[La]"A desire to die possesses me" (LP 95 with my restoration); same theme;
[La]"Epigram of Timas" (Campbell 158D); from wishing for death to actual dead people; Hungarian has half a line;
"Epigram of Pelagon" (Cambpell 159D); another epigram;
[La]"Offering to Artemis" (Campbell 157D); typically labeled an epigram, and also, a request for honor can happen after death too;
[La]"The full moon" (LP 154); the offering introduces the theme of religion, which ties this episode together;
[La]"A libation" (LP 40 + inc. 18); religion again; Hungarian has the common part of the two versions:
My version;
Edmonds version;
"Cretan women" (LP inc. 16); another religious ceremonial to close off this anthology; unfortunately I was not able to close with a love poem.
This is translated to /, i.e. %, for the Hungarian, and to /, i.e. %, for the Latin. In both cases, there are extra versions of fragments. Moreover, counting translated lines, the Latin is translated for /, for a progress percentage of %, while the Hungarian is translated for /, for a progress percentage of %
Long-things todo list for Latin:
Temporarily convert all underlines to triangle underdots (stackings of double and single underdots);
Short-things todo list for Latin:
Make the final line of Gongyla 2 have Μ̣ή̣τ̣ις̣ σ̣[;
If present, check Oxy post-Ymmes's text and make sure West version doesn't still have ἴστε δὲ;
Make the Gongyla 2 ἔπαρθ' line end with ἄσαισι not ἐπ' ὄλβῳ and fix translations accordingly;
Remove "Edmonds version" header from Stand before me since that fragment only has one version;
Implement newest Italian version of Tethnaken;
Long-things todo list for Hungarian:
Temporarily convert all underlines to triangle underdots (stackings of double and single underdots);
Short-things todo list for Hungarian:
Make the final line of Gongyla 2 have Μ̣ή̣τ̣ις̣ σ̣[;
If present, check Oxy post-Ymmes's text and make sure West version doesn't still have ἴστε δὲ;
Make the Gongyla 2 ἔπαρθ' line end with ἄσαισι not ἐπ' ὄλβῳ;
Remove "Edmonds version" header from Stand before me since that fragment only has one version;
Youtube series where I take all the fragments of Sappho that are decently well understandable, mu-sicate them, and translate them to Italian in metrica barbara (and sometimes I include old trans-lations into Latin and/or English, and eventually there will be epi-sodes with translations from pro-jects Chôka de no Saffō and Chinese poetic Sappho).
A bunch of episodes are made already, a whole lot more are to be made, and the missing ones are probably at least three times as many as the present ones :).
"The stars and the moon" (LP 34) with Romagnolo and Japanese translations;
"I don't know what to think" (LP 51) with badslation review of older Latin version and performance of older Italian, Japanese (x2), Hindi (one read one sung), Modern Greek, and Russian (x3) translations, plus the translations of the Japanese version and the "Metrical English in Chôka de no Saffō" version;
"Love shook my heart" (LP 47) with badslation of Latin and Italian translations and two Japanese chôka translations;
"To my friends" (LP 160) with badslation reviews of old translations, and Spanish (x3) and Japanese translation;
"To you beautiful women" (LP 41) with Latin translation and two Italian translations (A and B in "Saffo in metrica barbara");
"The doves" (LP 42) with Latin, older Italian, and English translations;
"I long and crave" (LP 36) with Latin, older Italian, and English translations;
"Ye are nothing to me" (E 45) with Latin and English translations;
"As long as ye wish" (LP 45) with Latin and English translations;
"In violent storms" (Edmonds 41), stanza 1, with ditched Italian version;
"You have left me" (LP 129), older Italian version;
"O matři ṙuçi" (LP 102), virzioni aṛtirnativa;
"The moon has set" (C 168B), BR for Latin, Chôka performance, and decide what to do about the older English: remake for @Sic, or tweak for @Sic? Former case puts the original as a BR here, latter case avoids English here;
Critical note and translation/badslation reviews for Ode to a beautiful woman (LP 23 SMB 18), the Italian badslation being reviewed at the end because of a change of plans between recording sessions;
Mystery Gongyla: what it is, why I musicated it, and when;
Performance of MG: Modern Greek and Italian, one voice each;
Gongyla, "Vulgate version", Ancient Greek with Italian rhyming pseudo-barbarous meter translation and HS3 Latin Sapphic stanza translation;
Ode to a beautiful woman, Edmonds+ version, Ancient Greek with HS4 Latin Sapphic stanza translation (slightly shoehorned into the tune) and English rhyming pseudo-barbarous meter translation, and Italian barbarous meter translation;
Ode to a beautiful woman, Tedeschi version, Ancient Greek with Italian barbarous meter translation;
Kleis, Ancient Greek with Italian rhyming barbarous meter translation and probably the other HS4 translations, shoehorned into the tune, as they will probably be metrically fixed for the Sicilian episode;
Gongyla, Campbell version, Ancient Greek with Italian rhyming pseudo-barbarous meter translation and HS3 Latin Sapphic stanza translation;
Sappho 16 (LP 16 SMB 16), where a new version of the "mock papyrus" has appeared, and the second part got a papyrus re-exam and a new text;
"Arignota 2" (LP 96 part 2), with a full exam of the parchment and a slightly changed text;
Gongyla (LP 22 part 2, SMB 17), with some considerations on the papyrus and the Gorini and Tedeschi-Gorini versions;
Ode to a beautiful woman (LP 23 SMB 18), with the Gorini version for the untenable θυήλαις and the bad high school last stanza;
"To her wetnurse" (LP 10), with a new stanza 1 reconstruction due to the previous one being untenable;
Performances and translations of all the above;
Incomplete text of Che io metta sotto (LP 19 SMB 55 (where Cydro, it must be pointed out, is a person's name), and pointing-out of the supplements of Gli Amori dalle dolci parole (LP 73(a) SMB 209);
Little note to the Alcæus comparandum for Sappho 16 and incomplete text for it;
Discuss the start of Gongyla, which has ]. . .[, where:
The first one is a horizontal bottom line, thus either Δ, much less likely €, and possibly Ζ or Ξ if they are written like their modern capital forms (which the image of P.Oxy. 1231 cannot let us exclude);
The second one is a down-right slanting line (basically a backslash/grave on the bottom), thus suggesting €, but perhaps C or much less likely N;
The third one is just a descender dot, so ΓΗΙΚΛΜΝΠΡΤΥΦΧΨ are all quite likey, ΒΔ a bit less because one would expect to see the bends, ΖΞ are possible if they're written like theirmodern capital forms, and one would tend to φ, so ΔΕΦ is the most likely I'd say;
Before the ], 2 or maybe 3 letters (with one having to be narrow), or perhaps a lone omega; Αἰ] δ̣ὲ̣, φ̣[ιλτάτα? Perhaps ὦ]δ̣ε̣, φ̣[ιλτάτα, or rather Τυί]δ̣ε̣, φ̣[ιλτάτα, where tyide can, I believe, mean "here", or should that be ἔνθα? τυίδε could have "elthe" implied like the δεῦρυ in the Idyll;
Declare Edmonds' ταὶς θυήλαις untenable in the latter because of an apostrophe: ]ΑΙϹ'ΑΝΤΙΔ[;
Follow the thought process below for the reconstruction of OBW;
Σὺν θυήλ]αισ' ἀντιδ[ίδων πό]θοις δὲ
25/8/25 21:49, for that apostrophe in the papyrus.
Hmm. Not really
21:49.
Λωτίνοις <> ἐς δροσόεν]τας ὄχθοις seems good, not sure about <> ἐς -> προτὶ
That . is a \ going into the alpha so cannot be ΒΓ€ΖΗΘΙΜΝΞΟΠΡϹΤΥΦΨω, and it seems like there's something symmetric to it so perhaps Κ/Χ
22:07 msg.
Would Ταῖσι θήκαισ' work?
22:09.
We have μερίμνᾱν marked like that on the papyrus, I think that means this is a plural. Can we assume an error from the scribe and take παῖσάν κέ με τὰν μέριμναν?
22:12.
ἀντιδ[2-3 letters] ´ [πό]θοις
22:17.
Best I could do for αιν is ἄ̄ῑν with synaeresis, being the same as ἀεί
22:40.
ἀντίδ[υσ' αὖ doesn't seem to be going much of anywhere
22:54.
NOT ΒΓ€ΖΗΘΙΜΝΞΟΠΡϹΤΥΦΨω, possibly ΑΔΛ, suggests ΚΧ
22:57.
ααισ seems unlikely, so we're left with δαισ καισ λαισ χαισ
22:58.
Actually the extra thing suggesting KX is apparently half of a tilde instead of a circumflex, so . ÃI is what I'm seeing
23:03.
Thus KX are excluded, leaving ΔÃIC or ΛÃIC
23:04.
But if that's really a tilde then it should be a single word…
23:04.
Unless that tilde is an Attic error, which would allow for Ταῖσι χόρ]δ̣αισ' ἀντιδ[
23:05.
In the strings of all pains/cares?
23:06.
Ταῖσ' ἀέλλαισ' wouldn't be Aeolic, unless ἀϝέλλαισ'
High school me vs. these fragments, concluding with SF w Italian badslation review then Ancient Greek with Latin metrical and Italian and English barbarous meter translations, and SF x translation review for alternate Italian and Ancient Greek with Latin metrical and English1, Italian, and English2 barbarous meter translations;
How they were combined and integrated:
Combo 1 SMB 161 "Ye cowered" has contributions from LP 62, 71 l. 8, 87(14) ll. 4-end;
Combo 2 SMB 162 "O dream, through dark night" has contributions from LP 63 and 87(13);
Combo 3 SMB 163 "About her exile" has contributions from LP 68(a), 70, 75(a);
Combo 4 SMB 164 "We played" has contributions from LP 68(b) and 69; this and its contributing LP fragments should probably be performed here, just to end the video with something musical;
Combo 5 SMB 165 "To Mika" has contributions from LP 71 ll. 1-7, 61, 87(14) ll. 1-3;
Combo 6 SMB 166 "Against Andromeda" has contributions from LP 86, 67(a), 65, 60, 66(c), and P.Oxy. 1787 fr. 3 col. i, which apparently was never included in a Sappho edition and confined in the papyrus transcription until the papyri were combined, and with 7 letters and some vestiges it doesn't give much;
Performance of incomplete texts of comboes;
Combo 4, Ancient Greek with Italian barbarous meter translation;
Recoveries episode 2 (same generic Greek intro saying "translated to multiple languages" in Sapphic stanzas, then more details in English and Italian), listed but unplanned in the Blog's video index as of 7/3/25:
Badslation reviews for Edmonds 41 ("Prayer to avert stormy journeys" aka "In violent storms" aka Ἐν θυέλλαισι ζαφέλοισι);
«Quæriti' donec», the newly discovered original Latin for As long as you wish (LP 45);
The various Chôka versions of The doves (LP 52);
The Chôka version of "You have left me" (SMB 20 Καλλέλοιπάς μ');
Badslation review for the Latin version of the Midnight Poem ("The moon has set", C 168B);
The Chôka version of Kleis (LP 132);
The two Chôka versions of "You came" (LP 48+) and its Japanese-Italian hendecasyllabics rendition;
The Chôka version of "May you sleep" (LP 126);
The Chôka version of "Rustic woman" (LP 57);
The two Chôka version of "Perform with a better voice" (LP 58 ll. 1-10 +);
The Chôka version of "To the lyre" (LP 118);
The Chôka versions of "Idle-barking tongue" (LP 158);
The Chôka version of "I don't expect" (LP 52);
The Chôka version of "On Leda" (LP 166);
The Chôka version of "Golden chickpeas" (LP 143);
The Chôka version of "Latona and Niobe" (LP 142);
Any old translation performance / badslation review I may have missed;
There are also "A libation and a prayer" and "Religious fragments" planned, for which see the blog index; the latter in particular includes:
Versions A-C of Italian edition fragment 82 (Ἀρτίως);
Anything that isn't in the video for Italian edition fragment 84 (Τάδε νῦν ἐταίραις), given I won't be doing another critical note to this;
Versions A-C of IE fr. 90 (Αἴ με τιμίαν);
Se avessi ancora latte in seno got its own episode planned, including all badslation reviews and all three Italian edition versions of the fragment;
Forever a maiden (Campbell 44) should recover the Italian and @BR the Latin, while the English should be touched up and put in the @Sic episode;
Niobe and Latona (Lobel-Page 142) should recover the Italian (already in Saffo in metrica barbara) and put Latin and English into the @Sic episode;
Leda (Lobel-Page 166): Latin and ENglish are in Sicilian crossover;
Coming down from the sky (Lobel-Page 54) should recover the Italian and put Latin and English into the @Sic episode;
Rustic woman: the English version of the second restoration should be included, unless the relevant Sicilian episode is a crossover;
Libation (LP 40 + inc. 13) should include Latin every version: Latin, which is metrical, new Italian, which will be, and older Italian and English versions, all sung to the tune of Ave Maria splendore del mattino, adapted to each version's meter;
Someone will remember (LP 147) Italian;
I loved you, Atthis… (LP 49) all translations;
I dare not (LP 52) Italian and English;
No lament is allowed (LP 150) Italian;
May the gods praise the tearless (LP 139) all translations;
Taming the tongue (LP 158) Latin (rhythmic English is in Sicilian crossover);
I have a gentle mind (LP 120) all translations (except English since Sicilian episode Cunzigghi is crossover);
Money without virtue (LP 148) Latin and tweaked Italian;
Don't boast your ring (LP inc. 5(a)) all translations;
Marry someone younger (LP 121) Latin;
Don't move gravel (LP 145) Latin and English;
Dawn just came (LP 123) Latin;
Dripping cloth (LP 119) English;
Andromeda's good bargain (LP 133) Latin and English;
You came (LP 48) Italian;
Like a child (LP inc. 25) Latin and Italian;
Spring-announcing nightingale (LP 136) En;
Trivia on "I wish I were dead" (LP 94): all translations of the mini-quotation by Athenaeus (English needs tweak);
Gello (LP 178) English;
On soft cushions (LP 46 outside cruces) Latin and Italian;
I jumped (LP inc. 5(c)) all translations;
Black-eyed sleep (LP 151) English;
Rosy-armed Graces (LP 53) Latin and English;
For category 6 in The rest of Sappho, the idea is to have one episode for the single fragments and any translation review, then one more to discuss the combination process (both of these are planned for Jan '26), and then… let's see, one combo is probably in the tatters episode along with its components, two are crossovers with Sicilian, one is either planned for Jan '26 too or is coming anyway (the Sicilian episode with the fragment is planned for Jan '26), and the remaining two comboes probably have their own episodes, which also include the components; not sure what I'm doing with the components of the crossovered episodes; see the blog index;
Mourning song (LP 140(a)) should recover Italian;
Call to the Graces (LP 128) Latin and English;
Call to the Muses (LP 127 "Deuro deute") Latin and English;
A curse in Latin (LP 15);
Addressing Mnasidica (LP 82(a)): the English and the rescued Italian;
Wedding of Hector and Andromacha (LP 44): Italian is barely not a badslation;
Do you love someone else more than me (LP 129(b))? Latin is passable;
Thou hast forgotten me (LP 129(a)), but these three translations shall not be;
The most beautiful of all stars (LP 104(b)): three passable versions;
If I still had milk (LP 21), Italian needs a bit of history and then has like 3 performable versions;
Good wishes to the Polyanactid (LP 155) in Latin and Italian (the latter got tweaked);
Gorgo is satisfied (LP 144) with this Italian;
Dainty maid picking flowers (LP 122), the English is OK;
Delicate shag covers (LP 100) three decent translations;
The English Pandionid swallow (LP 135) was saved;
The hyacynth (LP 105(c)) was saved in all but Latin (Sicilian crossover for English?);
Gongyla 2 (LP 95) in all but Italian (assuming English can properly fix « By th’ [Goddess] sadness ne’er doth choke,» and the "to hi" tercet; especially if we chop off the semi-incomprehensible beginning which isn't particularly good in Latin - Sicilian crossover);
With what eyes (LP 165) shall I look on these three translations?
O Eirana, don't be mad (LP 91) at these three translations!
You and my servant Eros (LP 159) are OK besides Latin;
The father may give his daughter (LP 109) to any translation that's not the original English;
Night-long sleep (LP 149) in three translations (note Italian tweak);
The Earth adorns herself with garlands (two lines, one in LP, one not), in three languages (Italian needs fix);
A bunch of beginning lines (LP 103) in Latin and Italian;
Thrice did I get this by chance (LP 60 -> episode of combo discussions);
Address to Kleis (LP 98) in Italian;
Morn is nigh (LP 43), all translations need work but can be saved; fix mistranslation, touch up English, figure out that ἀπυλήξομεν which seems to be a future indicative but should be exhortative subjunctive based on context;
Fair maid (LP 108) in Italian and English;
Do I still long for virginity (LP 107)? Also, is it virginity or maidenhood? Anyway, translation triplet, with maybe some touch-ups;
To maidenhood (LP 114) English, and maybe Italian; again, maidenhood or virginity? Ponder;
Woe for Adonis (LP 168) all three;
Esper' ymenaon o ton Adonion (LP inc. 24) all three;
Whiter than an egg (LP 167) all three (though Latin's added "adest" is unconvincing…);
Golder than gold (LP 156) Italian and English, assuming "she" is the right subject;
Rosy-armed Graces (LP 53) all three, probably; Italian doesn't "meter up" nicely, Latin has weird word order, English is good;
Oh Calliope (LP 124) all three, assuming English can actually do Calliopè;
Hero of the Gyars (LP 124) all three, dropping the t' in the English;
Cypris and a dream (LP 134) all three, interpretation is doubtful, discuss;
You roast us (LP 38) all three;
He calls his son (LP 164) all three, he or she? Using singular they in English is quite ambiguous…;
Sweet mother (LP 102): all translations were touched up, but English went into a Sicilian crossover; older English goes to @BR, both Latins go here, Italian is the only one where the two don't count as different translations but as one an edit of the other;
The thymon mi pampan (LP 4), figure out what to do with ἀντιλάμπην, then all good;
He accepts black things (SF bk LP inc. 27(1)) Latin;
The nightingale announces spring (LP 136) all three (maybe try to avoid Dulcicanente);
Neither bee nor honey (LP 146) all three;
Sweet-voiced maiden (LP 153) all three (Italian "vergine" is questionable, tweak thought up now);
I also imagined a few "group videos" like some already-made episodes. These were meant to be low-work in terms of textual discussion. Here are the fragment lists:
invocations to divinities / myths
Prayer to Aphrodite (LP 33);
To the Muses" (LP 32, already musicated and translated);
"Gold-sandalled Dawn" (LP 123, already musicated and translated);
Captatio benevolentiæ (C test. 8);
"Golden chickpeas" (LP 143, musicated and translated, not sure why I put it here, I guess for "myths"?);
Latona and Niobe (LP 142, musicated and translated);
"Hither again, Graces" (LP 128);
"Rosy-armed Graces" (LP 53);
"Hither again o Muses" (LP 127);
To Calliope (LP 124);
About Eros (LP 54, translated);
Advice:
"Idly-barking tongue" (LP 158);
"No-one, I believe" (LP 56);
Kalokagathia (LP 50);
"Don't move gravel" (LP 145);
Wedding songs (Epithalamia):
Hymenæum (LP 111+106, musicated and translated);
"Sweet apple" (LP 105(a), musicated);
"Hyacynth" (LP 105(c), musicated);
To Maidenhood (LP 114, musicated and translated);
"Do I stil long for maidenhood?" (LP 107, musicated and translated);
"Happy bride" (LP 117, musicated and translated);
"Be happy, o bride" (LP 116, musicated and translated);
"The porter" (LP 110(a), music: wedding march);
"Happy bridegroom" (LP 112); about last line, alternate completions: «Καὶ σὲ τετίμακεν <ταῦτ' / περ / τόδ' / δὴ> ἔξοχον Ἀφροδίτα», as inspired by "testo tradito" (?) and conceived 17:27 7/9/21 (except it's inmetrical because the -μα- should be short), or «Καὶ σὲ <πόλ' αὖ> τετίμακ' ἔξοχον Ἀφροδίτα», as per Lobel's reordering (meh), conceived same day 17:28, or maybe with <κάλαν>, conceived 17:28;
"No other maiden" (LP 113, musicated and translated);
"To whom can I compare thee?" (LP 115, musicated and translated);
"Guard ye her" (LP 61; the older integration from HS4 probably recovers one or more translations, the newer integration is musicated and translated);
"May you sleep" (LP 126, musicated twice and translated twice);
Kika sent me two links (one and two) I should check out while preparing this group; she had also promised to eventually send me a description of an Athenian wedding to insert these fragments into, but it appears she may have passed away before getting to that;
This should be two episodes, actually; in one of them, I deal with textual issues, and do @BR/@NRR crossover, as well as recover the translations listed below; in the other, once Kika sends me the description of an Athenian wedding, I will go through it in hexameters, and insert the poems at the appropriate times, in Greek and Italian only;
Superior (LP 106) Italian, as trivia in Epithalamia episode;
Superior (LP 106) Italian, as trivia in Epithalamia episode;
The porter (LP 110(a)) English;
Happy bridegroom (LP 112) Italian and Latin;
Happy bride (LP 117) Latin;
Sapling groom (LP 115) Latin and Italian;
No other maiden (LP 113) English;
Be ye happy! (LP 116) all translations;
Guard ye her (LP 161) Italian and English, first restoration translations as trivia in Epithalamia;
May you sleep (LP 126) all three, and one of the two in the Italian edition, with its associated tune;
To whom can I compare you, one of the two in the Italian edition;
Miscellanea:
"More tender than a daffodil" (that's the whole fragment, Bergk 54 "Ναρκίσσω τερενώτερον);
"Whiter than an egg" (LP 167);
The hyperbolæ of LP 156;
"The moon was full" (LP 154);
"Cretan women" (LP inc. 16);
"Sweet mother" (LP 102).
The fragments CPS 175-190, 355, 231, It321 (not in CPS), 238-250, 289-300, 302, 353, 289-298, 301, 303, 173-174, 236-237, 270, 285-286, 335, 356-357 will be covered in a single @Ψ episode consisting of tatters of Sapphic stanzas sung to the Sappho 16 tune, planned for 18/7/27;
The fragments CPS 190-191, 193-207, 210-218, 251-252, 307 (CPS 307 SF UTL 64), 358, 232-233, 253-254, 337, 255-256, 258-259, 261-264, 277, 308, 311-315, 316 (maybe), 321-324, 327-328, 336 will be covered in a single @Ψ episode consisting of tatters of book IV tatters sung to the Mnasidica tune, planned for 22/8/27;
Sappho Direct Tradition
A series for analysis of papyri and parchments, which would also like to try to condense the Ostrakon Florentinum and Arignota analyses a bit. The format is: screen recording where I transcribe, then incomplete text performance.
This is where the recent recordings of P.Berol. 9722 for LP 94-95 as well as that for P.Oxy. 2291 will go. Btw I still have to upload the RAWs for 2291 and the last episode of LP 94 due to the singing being planned for recording on 9/11/25 (writing this on 8/11). The opening is found at at the introes+ post.
Sappho Direct Tradition: Some Sappho book 4 papyri ǂ A bunch of fragments from P.Oxy. 1787 which then were combined (LP 62, 87(14), 63, 87(13), 68(a), 70, 75(a), 68(b), 69, 61, 86, 67(a), 65, 66(c), aka SMB 149, 147, 150, 146, 157, 154, 148, 158, 159, 151, 160, 153, 152, 144) ǂ uploaded 3/1/26;
High school me vs. these fragments: some never got to me, some I deemed untranslatable metrically, the two we just analyzed got translations which need dates and either reviews or performances;
How they were combined and integrated:
Combo 1 SMB 161 "Ye cowered" has contributions from LP 62, 71 l. 8, 87(14) ll. 4-end;
Combo 2 SMB 162 "O dream, through dark night" has contributions from LP 63 and 87(13);
Combo 3 SMB 163 "About her exile" has contributions from LP 68(a), 70, 75(a);
Combo 4 SMB 164 "We played" has contributions from LP 68(b) and 69; this and its contributing LP fragments should probably be performed here, just to end the video with something musical;
Combo 5 SMB 165 "To Mika" has contributions from LP 71 ll. 1-7, 61, 87(14) ll. 1-3;
Combo 6 SMB 166 "Against Andromeda" has contributions from LP 86, 67(a), 65, 60, 66(c), and P.Oxy. 1787 fr. 3 col. i, which apparently was never included in a Sappho edition and confined in the papyrus transcription until the papyri were combined, and with 7 letters and some vestiges it doesn't give much; I recently added it to my editions, and gave a transcription sided with the image at the end of this video;
Performance of incomplete texts of comboes;
Combo 4, Ancient Greek with Italian barbarous meter translation;
P.Berol. 9722: LP 94 stanzas 8-10 (plan: 21/6/26); raw recording uploaded in one, two, and three pieces;
P.Oxy. 1231, the fragments of Tender women, If I had milk, You were a tender young child, and maybe Gongyla and Ode to a beautiful woman (plan: 13/9/26);
P.Oxy. 1787 vs. P.Köln invv. 21351+21376: Gifts of the Muses (aka Tithonus poem), and surroundings (Success poem, Festivity poem, Delicateness poem… not the non-Aeolic poem at the end of Köln!) (plan: 23/9/29);
P.Berol. 9722: LP 92 stanzas 1-2;
P.Berol. 9722: LP 92 stanzas 3-4;
P.Berol. 9722: LP 92 stanzas 5-6;
P.Berol. 9722: LP 92 stanzas 7-8;
P.Berol. 9722: LP 93;
P.Berol. 9722: LP 95 stanzas 1-2;
P.Berol. 9722: LP 95 stanzas 3-4;
P.Berol. 9722: LP 95 stanzas 5-7;
P.Berol. 9722: LP 95 stanzas 8-10;
P.Berol. 9722: LP 95 stanzas 11-13;
P.Berol. 9722: LP 97;
P.Oxy. 1787, the rest;
P.Oxy. 1231, all the rest of pic 2 (unplanned, probably to be split);
P.Oxy. 1231, pic 1 (unplanned, probably to be split);
P.Berol. 5006 + P.Oxy. 424: Letter to Charaxus (plus the other side of the Berol. source);
Make an anthology of Sappho to render into Japanese haikus with the help of Takashi Takeuchi, the Quoran who corrected the already-present translations except maybe for that of the Leda fragment. For the moment, the translations are harbored at Sparse translations of Sappho into "unconventional" languages, but I plan for this project's name to become the title of a post containing them and their Greek originals, along with English translations. The back-translated ones will stay in Sparse translations as well.
All these translations will be set to music and sung in a video series. When videos of these series will be shared with Ψάπφω ἀ Λεσβία, the opening will include the series title alongside the other series title, otherwise I'll come up with some sort of separate opening.
Takashi happily accepted to become my corrector for Japanese translations, so not only these Sapphic chôkas, but all my translations to Japanese.
The series opened with the video «Sparse translations of Sappho | Traduzioni sparse di Saffo» on 25/11/24. This contained quite a few Japanese Chôka translations, plus the back-translation into Italian and English chôkas of the corrected Chôka rendition of "Two thoughts" aka "Two opinions" (LP 51), but also quite a few non-Japanese translations. The Chôka ones were all sung in both corrected and uncorrected forms.
It is impressive how the next paragraph in the previous (pre-22/2/25) version of this status was completely scrapped :). The situation now is that, like in the Sicilian, the corrected versions will have their own standalone (i.e. not crossovers with Ψάπφω ἀ Λεσβία) episodes, with fragment-specific titles. I already came up with the one for "Love shook my heart", in both Greek and Japanese, as can be seen from this post, where eventually all the titles will appear, as well as those for the Sicilian series and a bunch more things. All these episodes are planned, though I don't know if I wil respect that plan.
Let me now copypaste the episode list from the Sicilian series, leaving the Sicilian fragment titles for now, just to have someplace to include the fragment-specific titles. «As for the series, I plan the following episodes, where each fragment gets its own white-on-black title with metrical info, and saying the translation is mine and the tune is mine (or not, in two cases)», nope, same thing as Sicilian huh :).
Wa ga kokoro yuru:
[C]Dui pinzieri (LP 51);
[C]O matři ṙuçi (LP 102);
[C]L'amuri mi scutulau u cori (LP 47), for now the only one with a title:
Έμοι δ' ετίναξεν Έρως φρένας
C AA F Bb AA G A FF C FF
15/2/25 20:13..
Kokoro yuru koi no sê de wa
CC AF CC BbC AA C AA
1/3/25 14:15, second voice to the Greek one.
 Çìpridi (LP 26, two versions); double Sicilian+English;
Anakutoriā:
[U]Figghia 'i Uranu e Gaia cchiù amata 'i tutti (LP 16+ stanzas 1-5, 10a here);
[C]Niobe e Latona (LP 142), Sicilian, English, Latin;
[U]Sta a mòriri, o Citerèa (LP 140(a)), Sicilian, English, Latin;
[U]Arutemisu wa chigita sêyaku;
[U]Hekutā to Andoromakē;
Konrê no uta:
[M]Ca tu durmissi (LP 126), Sicilian and English;
[U]Cantassimu pî spusi! (LP 30), Sicilian and English;
[U]Imenèo (LP 111 + 106), Sicilian and English;
[U]Pomu ṙuçi (LP 105(a)), Sicilian and English;
[U]Giacintu (LP 105(c)), Sicilian and English;
[U]Spusu filiçi (LP 112);
Shizen to yukai:
[U]Stammi ṙavanti (LP 138, T);
[M]Vinisti (LP 48+, T);
[U]Idilliu cu Afrodite (LP 2, 3b aka old text T, 3a aka new text to be established);
[U]Riguardu â stati (LP Alc. 347);
[U]Kami e no inori:
Innu a Afrodite (LP 1);
Saṛvietti (LP 101 +, Edmonds 87);
Era riggina (LP 17+);
Comu cilibbrari na festa (LP 9);
[U]Bôfū wo sakeru koto ni no kitô no kotoba: Urazziuni p'ařřasari i viaggi buřřascusi (LP 20, Edmonds 41);
[U]Ani no tame ni / Inoru uta: Ê Nirèidi (LP 5 + P.GC.);
[U]Ani e no kotoba – A Carasso (LP 3, Edmonds 35, macari a virsioni 'i Diehl);
[U]Kyôdai no uta: "Â nuřřizza" (LP 10 + P.Sapph.Obbink);
[U]Bômei no / mae ni no ikari:
Malidizziuni (LP 15);
A Apollo (LP 99(b));
Cuntř' ê Polianàttidi (LP 99(a));
[U]Gaikoku naka no ikari to hiai:
Riguardu ô sò disteřřu (LP 68(a) + 70 + 75(a));
Cuntř'a Andromeda (LP 86 è a parti inizziali ca nun aj'a třadùçiri, u řestu è LP 60 + 65 + 67(a) + 66(c) + P.Oxy. 1787 fr. 3 col. i);
Koi kara no fukai kanashimi:
[U]Amuri ṙuçi e amaru (LP 130);
[PM]Ntřabbunau a luna (C 168B);
[M]Mi lassasti (LP 129+);
[M]Campagnola (LP 57);
[U]Muruta hai a jàçiri (LP 55);
[U]Quaṛcunu s'hâ řicurdari (LP 147);
[U]Hontô shinde shimaitai (LP 94);
[U]Mittsu no kêku;
Epigramma 'i Timas (Campbell 158D);
Epigramma 'i Pelagon (Campbell 159D);
Ufferta a Artèmide (Campbell 157D);
[U]Shinu koto no negai ga fukai: Vinni Ermes (LP 95);
Utau koto:
[M]Success to the mouth (LP 58 ll. 1-10, less integrated and uncorrected);
[M]Putissi iđđa cantari cu na vuçi migghiuri (LP 58 ll. 1-10);
[U]Nci sia festa òra (In Köln papyrus before "I doni ṙî Musi" above);
[M]Â lira (LP 118);
[M]Pî mè cumbagni (LP 160 + τέρποισα)
[U]Mūsa ga ageru okurimono (LP 58 ll. 11-22);
[U]Oppai wa gyūnyū ga ima / mada areba (LP 21, Edmonds 42);
[U]Wakamono ni fukai kaikyû – o difesa 'i n'amuri cuccaniatu?
Macari tu eri na picciriđđa tènnira (LP 27);
Nun fussi na marfarata (Edmonds 46);
[U]Saffō ga yasashii me ni iu kotoba: Oh fìmmini tènniri (LP 24(a), Edmonds 43);
I also have another translation pot-pourri planned, namely Ψάπφω ἀ Λεσβία | Saffo di Lesbo: Recoveries episode 2 [Sparse translations of Sappho] | Puntata dei recuperi 2 [Traduzioni sparse di Saffo], including another batch of Chôkas, yet unplanned. Progress on anything Chôka is halted by having to deal with a bunch of textual issues in the Italian series and making the related Sicilian episodes too.
The anthology's post was launched last Tuesday (i.e. 21/11/23). I apparently have some lineup issues, and forgot to remove the ", U" after marking some fragments [U].
The current status is the following, where U means unmade, M means made, C means corrected:
Heart-shaking love
"Kypris poem" (LP 26 + P.Sapph. Obbink), U;
"Two opinions" (LP 51), C;
"O sweet mother" (LP 102), C;
"Love shook my heart" (LP 47), C;
"Bittersweet love" (LP 130), U;
LP 96:
"To Arignota!", U;
"Divine beauty is not easy for us to attain", M;
"Ode to Anactoria" (LP 31), U;
Beauty
"I beseech you, Gongyla" (LP 22 part 2, Lekatsas 36, Khatzidakis), U;
"Ode to a beautiful woman" (LP 23), U;
Sappho 16 (LP 16 + P. GC.), U:
"Dearest offspring of Uranus and Gaia", version 1;
"Men cannot be fully happy";
"Dearest offspring of Uranus and Gaia", Thévenaz version;
"Those I love most";
"Kleis" (LP 132), M;
"The stars and the moon" (LP 34), C;
From joy of love to divine visions
"You came" (LP 48 + safopoemas + me), M;
"Idyll with Aphrodite" (LP 2), U;
"Handcloths" (LP 101 +, Edmonds 87), U;
"Hymn to Aphrodite" (LP 1), U;
"Divine Hera" (LP 17 + P.GC.), U;
"On celebrating a feast" (LP 9), U;
Wedding songs
"Hector and Andromacha" (LP 44), U;
"May you sleep" (LP 126), M;
"Let's sing for the couple!" (LP 30), U;
"Hymenæon" (LP 111 + 106), U;
"Sweet apple" (LP 105(a)), U;
"Hyacynth" (LP 105(c)), U;
"Happy bridegroom" (LP 112), U;
Being left: sadness, and anger/hostility
"Thou hast left me" (LP 129(a)+(b) + me), M;
"The moon has set" (Campbell 168B):
As per Hephaestion, M;
"Rustic woman" (LP 57), M;
"Stand before me" (LP 138), U;
"Dead shalt thou lie" (LP 55), U;
"Someone will remember" (LP 147), 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.
"About her exile" (LP 68(a) + 70 + 75(a)), U;
"Against the Polyanactids" (LP 99(a)), U;
"To Apollo" (LP 99(b)), U;
"The curse" (LP 15), U;
Sappho and her brother
"To the Nereids" (LP 5 + P.GC.), U;
"A prayer to avert stormy journeys" (LP 20, Edmonds 41), U;
"Brothers poem" (LP 10 + P.Sapph.Obbink), U;
"To Charaxus" (LP 3, Edmonds 35, also Diehl version), U;
Nostalgia for youth
"You were also a tender young child" (LP 27), U;
"Oh tender women" (LP 24(a), Edmonds 43), U;
"If I still had milk" (LP 21, Edmonds 42), U;
"The gifts of the Muses" (LP 58 ll. 11-22), U;
Singing
(LP 58 ll. 1-10), M:
"Success to the mouth";
"May she sing with a better voice";
"Let there now be festivity" (P.Köln before "The gifts of the Muses" from above), U:
This is translated to /, i.e. %, and corrected to /, i.e. %.
There will be two kinds of episodes in this series: crossovers with @Ψ aka "dating episodes", and performance episodes. The former will use the standard Sappho opening + Chôka de no Saffō as the -ω is held long (hopefully not crossovering with too many things), the latter kind will mirror @Sic episodes and have their own opening. The former kind will sing their translations in uncorrected and corrected form, without guitar, which is reserved for the latter kind. Note that the openings were conceived when the title was still "Chôka no Saffō", the change was later and is an easy fix to the openings. The opening was thought up today 12/11/24, and its story is found here under «Opening for the Chôka de no Saffō series». I will probably get both openings ready soon, and include them in the upcoming Sappho Recoveries episode, one of them as the opening, and one of them as a final bonus.
Also, I have a crossover opening from 15/11/24 23:40, found at the same link under «Opening for crossovers of the Chôka de no Saffō series with the Ψάπφω ἀ Λεσβία one»
I also have part two of the opening, from 21/11/24 21:53-22:19 with music from 22/11 12:14-15 + Latin controcanto (i.e. the first 4 lines musicated as said and the rest is the 4th-voice Latin from Sicilian crossovers), which I shared to the Sappho space alongside the Chinese and German part 2s, and Takeuchi gave his own rendition 24/11/24 [10:24:58,11:22:24], to which I replied asking for a chôka one for the tune's sake. I recorded all of this already for today's (24/11/24) video, which kinda launches the Chôka series.
[Super-old paragraph] I shared it to my Sappho space on Quora, and will wait to solicit Takashi's answer, since I'm full of things to do.
Here is a long things todo list for this anthology:
None, just keeping code;
Here is a short things todo list for this anthology:
Implement newest Italian version of Tethnaken;
Project: Standard Sappho selection
Establishes a selection of Sappho fragments to be used if I ever want to translate Sappho into any other language.
Languages at the moment: German (launched 17/12/24), Romagnolo, Modern Greek (with extra groups), Spanish. Hungarian and Latin are exceptions to this standard selection, because classical meters are harder to work with than barbarous ones for me. Or maybe it's because Hungarian is hard and unknown, and then Latin just tagged along for a double series. Or a bit of both, perhaps.
I have finally finished the list for this project and the German anthology, and here it is.
A few religious fragments
Δαίμων τις | Ein Gott (SMB 306, LP inc. 3) – DE, EL;
Δαίμων ἀθάνατος | Ein untödlicher Gott (quotation 4 from the commentary in SMB 361, LP 90(1) col. ii) – DE, EL;
Ἀνάθημα τᾷ Ἀρτέμιδι | Angebot an Artemis (SMB 342, C 157D) – EL;
Ἀρτίως | Soeben (SMB 82, LP 123) – EL;
Πλήρης μὲν ἐφαίνετ' ἀ σελάννα | Voll erscheinte dann der Mond im Himmel (SMB 251, LP 154) – DE, EL;
Χερρόμακτρα | Handtücher (SMB 138, LP 101) – EL;
Ζαελεξάμαν | Ich sprach (SMB 253, LP 134) – EL;
Ὄνοιρε | O Traum (SMB 162, LP 63+78) – EL;
Υγιείαν | Gesundheit (SMB 252, LP inc. 18, 2v):
Campbell version – EL;
Edmonds version – EL;
Περὶ ἀήδω | Über di Nachtigall (SMB 225, LP 136) – EL;
Ἐς Ἔσπερον | An Hesperos (SMB 97, LP 104(b)) – DE, EL;
Ἔσπερε | O Hesperos (SMB 249, LP 104(a)) – EL;
Πρὸς μάτερα | An die Mutter (SMB 14, LP 9+);
Πότνια Ἦρα | Hehre Hera (SMB 9, LP 17+);
Morals
Μέτερρα | Nüchterne Sache (SMB 305, LP inc. 2) – EL ;
Ψαύην ὀράνω | Den Himmel zu berühren (SMB 112, LP 52, 2v):
Campbell version – EL ;
Edmonds version – EL ;
Μὴ μεγαλύννεο | Prahl nicht (SMB 114, LP inc. 5 v. 1) – EL;
Μὴ κίνη χέραδας | Beweg doch nicht den Kies (SMB 268, LP 145) – DE, EL;
Θέλω τί τ' εἴπην | Dir möcht' ich etwas sagen (SMB 244, LP 137);
Ὀ μὲν γὰρ κάλος | Wer ein Schöner ist (SMB 113. LP 50) – EL;
Περὶ πλούτω καὶ ἀρέτας | Über Reichtum und Tugend (SMB 222, LP 148) – EL;
Ἀδμήτω λόγον | Die Geschichte von Admetus (SMB 295, LP – Campbell inc. 25C) – EL;
Ἀποθναίσκην κάκον | Ein Übel ist das Sterben (SMB 246, LP 201 (kinda)):
My version;
Edmonds version;
Οὐ γὰρ θέμις θρῆνον | Das Trauern ist unerlaubt (SMB 265, LP 150);
Ἀδάκρυτον | Wer keine Träne hat (SMB 279, LP 139) – EL;
Μαψυλάκαν γλῶσσαν πεφύλαχθε | Halt' die vergeblich bellende Zunge (SMB 277, LP 158) – DE, EL;
Ἀβάκην τὰν φρέν' ἔχω | Ein sanft Herz hab' ich (SMB 129, LP 120);
Sappho and her brother
Πρὸς Χάραξον κασίγνητον | Dem Bruder Charaxus (SMB 12, LP 3):
Υπέρβολαι ἔπτα | Sieben Übertreibungen (SMB 319, Campbell 156.3);
Ὠΐω λευκότερον | Weißer als ein Ei, (SMB 271, LP 167);
Ναρκίσσω | Zarter als ein Narzisse 's ist (SMB 103, Bergk 54 LP –) – DE;
Delicateness
Τύλαν | Kissen (SMB 115, LP 46 out of cruces);
ἔγω δὲ φίλημμ' ἀβροσύναν | Ich liebe die Zartheit (SMB 220, LP 58 vv. 23-26);
Joy
Στάθι κἄντα | Steh' vor mich (SMB 245, LP 138):
My version;
Edmonds version;
Ἦλθες, κάλ' ἐπόησας | Dann kamst du, wohl mir tatest (SMB 119, LP 48+):
Version I – DE;
Version II – DE;
As an added bonus, the Thévenaz version of Sappho 16, at the end of all anthologies (yes, after the Neogreek extras);
I need to make a bit of a critical note to those quotations from SMB 374. For the first one, after an integration mentioned by Voigt as "vix probabile", I was seeing an iambic meter (3/12/24 0:34), say x–u–x–x, hence I thought of -εἰ φάνεισ' ὄρησθα, "having appeared in the (something), you see" (0:50). Could also be a third-person present, so "she (does something) having appeared, (as) you see", I think now (7/12/24 17:11). Going on with this past these two lines presented a problem. I initially produced the following line breaking at 1:05 on 3/12:
To solve this locus desperatos, I thought maybe it's tercets, so two x–u–x–x and something else which I can't discern. That's 1:06 on 3/12. This is assuming some gap sizes, in particular the nu of φάνεισα.
That same night, at 1:16, I started trying to fit the other quotation to:
xx–uu–ux
xx–uu–ux
xx–uu–u–u–x
(gl | gl | phal)
I initially assumed πόλ]λακ[ι] ζώοισαν έχει̣, featuring anaclasis, would be the first line in a tercet. Later, the following night to be precise, I looked at the papyrus, and assumed the following gap widths:
I would really have liked ἀπαλάμνῳ to end a phalecean, but I am NOT starting over with a different gap size :).
And then I realized I had assumed gap widths for quotation 1, and since these are supposed to be the same column, the gaps had to be coherent. And 10 letters in the last line here just wasn't. So scrap that all. The next morning I came back and, assuming 1-2 letters instead of 10, I ended up with the following:
The beginning is a bit squeezed, with 4 syllables in 8 letters in l. 2 and 2 in 4 in l. 3, but I guess it can work? Let's replace things like "1-2 letters" with serieses of dots:
For the standard Sappho selection, and thus the German anthology, I will be dropping all the commentary bits of both quotations, except «κ]α̣ὶ̣ [π]ε̣ρὶ τὴν | Κλέϊ]ν ὕ̣στ̣ε[ρο]ν καὶ τοῦτο | οὔ]τως λ[έγ]ει̣·» for the first one, since it's the reason for its inclusion in the Sappho and her daughter group.
I will make a single series for both Romagnolo and German, and one for Spanish and Greek, and I've come up with an episode division, which is in the blog's index.
A few religious fragments (part 1): 8 fragments;
A few religious fragments (part 2): 5 more fragments;
A few religious fragments (part 3): Prayer to Hera;
Moral fragments (part 1): 7 fragments;
Moral fragments (part 2): 6 fragments;
To her brother Charaxus;
To her wetnurse;
To the Nereids, and a Curse;
Idyll with Aphrodite;
Hymn to Aphrodite;
Kypris Poem;
Ode to Anactoria;
Sappho 16;
Gongyla;
Ode to a beautiful woman;
Beauty: 11 more fragments;
To Arignota;
I wish I were dead;
I wish to visit the underworld;
Two tombstones;
More fragments related to Aphrodite group;
Andromeda: a risible enemy (Against and Derision of Andromeda);
Series Sappho auf Deutscher Sprache
+ Saffo in Rumãgnöl
Two Standard Sappho anthologies, one series
The fragments list and the episode list are at "Standard Sappho selecion". If the spoiler for the former is not open, the percentages below may be bogus.
The German is translated for /, or %.
The Romagnolo is translated for /, or %.
The Spanish is translated for /, or %.
The German needs…
Long:
The following non-@Sic fragments given critical notation overhaul:
Ἀδάκρυτον | Wer keine Träne hat (II.11);
Μέσδον τί γὰρ ἦν ἔμοι | Was hätte ich besser (V.6);
Θεράπαιναν Ἀφροδίτας | Begleiterin von Aphrodite (VII.5);
Κυθερήας τρόφος | Säugling der Kytherea (VII.6);
Ἀπαλάμνῳ | Dem Bösewicht (VIII.7);
Πρὸς Κλέιν | An Kleis (IX.1);
Πρὸς Κλέιν πάλιν | Noch an Kleis (IX.2);
Ἄγχι γὰρ ἀμέρα | Denn der Tag ist jetzt nah bei uns (XV.4);
Τάνδε φυλάσσετε | Schützt ihr sie (XV.11);
Ἄρχαι στίχων πλειόνων ποιήτων | Anfangen von Zeilen von viele Dichtern (Pinax 1, XVII.1);
Εὔποδα νύμφαν | Braut mit schönen Füße (Pinax 2, XVII.2);
ἔγω δὲ φίλημμ' ἀβροσύναν | Ich liebe die Zartheit (XXII.2);
Short:
The newest Italian version of Tethnaken implemented;
I formerly composed separate opening for the two series, which is found here under «Opening for the Saffo auf Deutscher Sprache series».
I then translated the fragments cover (21/11/24 22:33-22:41, tweaking Gut->Schön in l. 4 at 23:00) as follows:
Sappho, honiglächelnde reine Sappho,
Violettenhaarige, was du schreiben
Mit Gedichten wolltest, möcht' ich versteh'n und
Schön übersetzen.
The Romagnolo opening part 1 from 20/11/24 12:21 and found here under «Opening for the Saffo in Rumãgnöl series», whereas part 2 from 21/11/24 21:24-21:26:
Bëla Saffo cun 'e surìș ad mél
E i cavèll 'd viulètt, quell ch' t avlìva diř
Int'al tu frãmmęt,
21:24.
me a vrèbb capiř->capi'-l
Par tradùș-al bę.
21:26.
i frãmmęt though, or maybe al puisèj
21:27.
me a-l avrèbb capiř e tra-
dușar par bę
21:28.
Idk when, but I decided that this crossover German-Romagnol series will have opening part 2 with German as voice 2 and Romagnol as voice 3, and the part 1 found under «Opening for crossovers of the previous two series» here.
The series should introduce each fragment in its episodes in German and Romagnol, explaining the links thought up between fragments briefly. No poetry there.
Project: Romagnolo quasi-edition
One day I thought it would be great if someone did an edition of Sappho in a dialect. Then I thought it could be me. But those tatters… and the commentaries… so I decided to compromise, and add Romagnolo groups. For now, I just list the SMB fragments not present in the Romagnolo anthology above, and what I want to do with them:
SMB 7 is the fake P.GC. fragment that went into KP, so NOPE;
SMB 25-77 are tatters with little intelligible material (if any), so NOPE;
SMB 78 part 1 has barely any complete words so NOPE, part 2 is a bit of a stretch but at least one line "Potnia d' Ayos" is complete so YES;
SMB 362 "Commento 2" quotes 2-3 NOPE, one is metrically unintelligible and the other is "son/daughter of the";
SMB 363-364 too tattery so NOPE;
SMB 365 "Commento 3" has quotes "Λάτως", "μένην [ | ] καὶ χάριε . [", and "] Ἄτθιδος̣", single words are NOPE and that unintelligible 2 is also NOPE;
SMB 366 "Commento 4" aka "syndygos" YES;
SMB 367" Commento 5" quotes 1-2 "λ̣ω κε μόρραν" and "ων μοισάων" are glossemata so NOPE quote 3 "νην ἀπὺ τῶδ' ἐ|[στι με]μ̣όρμενον" YES;
SMB 368-373 are commentaries if they are Sappho-related soNOPE;
SMB 375-543 some are ditto some are adespota all are tatters so NOPE;
Glossemata for Greek-Romagnolo crossover? That's 544-573 plus a ffew above;
SMB 575-582 NOPE not getting into Edmonds inventions in Romagnolo.
Note also that «SMB 197 and 207 should be mentioned with Dika and Mnasidika fragments resp», in the relevant episodes of the German-Romagnolo series and the Greek-Spanish series too. The intention is to create some Greek-Romagnolo episodes with shared groups, but not to have all the groups of either anthology in the other.
Just a thought, and a list, no other work done.
Project:
Ἀνθολογία Ψάπφως Νεοελληνικά
Antología de Safo en Español
Series Ψάπφω στη Νεοελληνική
+ Safo en Español
Two Standard Sappho anthologies (the Greek one having extras), one series
Like the project two above, this has two anthologies, whose fragments list are at Standard Sappho selection, and one series, which should introduce each fragment in its episodes, this time in Greek and Spanish, explaining the links thought up between fragments briefly. No poetry there.
The Spanish is translated for /, or %, mostly due to the selection of translations I found online. The Greek progress will be computed after the extras. Again, the percentages may be bogus if the list spoilers are not open.
Yes, I decided to downscale the Greek edition to an extension of this selection, for which I have decided to add extra groups at the end with the fragments listed below. I have the Greek version of the cover, as well as of the Idyll and a bunch more fragments, plus the Greek-Spanish opening dated 11/12/24 16:46 and found under «Two openings for crossovers of the Safo en Español and Ψάπφω στη Νεοελληνική series» here, and its 12/8/25 1:31/32 re-edition, which changes voices 3-4 so 3 does Greek and 4 does Spanish and is found under the same header.
[T]Miscellanea:
Ipselon oreon (SMB 300, LP inc. 14);
Opsi gar arxato (SMB 311, LP inc. 19);
Triboleter (SMB 302, LP inc. 22);
Ayatan (SMB 314, Campbell inc. 25B);
[T]Mentioning fluids:
Ferite (SMB 93, LP 37);
Idros amfotera (SMB 310, LP inc. 12);
Klaien dakrysin (SMB 313, Campbell inc. 25A);
Parts of invented or real greater fragments:
[T]Eraman men ego sethen a te palai pota (SMB 106 included in LP 49);
[T]Smikra moi pais emmenai (SMB 99 included in LP 49);
[T]Kalaifis (included in SMB 110 and LP 44);
[T]Brentheio (SMB 100, included in LP 94);
[T]Kapalais ypathymidas (included in SMB 134 and LP 94);
Olbie gambre inizio (Bergk 100);
Mellikhroos d'ep'imerto (Bergk 101);
Aiparthenos (Bergk 97);
[T]Egon d'em'aytai (Bergk 92);
Ego de filem' abrosynan (Bergk 80);
[T]Amoiban (XXXIII.5) l. 1 (Bergk 63);
[T]Amoiban (XXXIII.5) l. 2 (Bergk 64);
Emethen d' ekhestha lathan (Bergk 24);
E tin'alon (Bergk 25);
Ego de ken'otto tis eratai (Bergk 16);
[T]Ottinas gar (Bergk 14);
[T]Pais o choros (included in SMB 4 LP 2);
[T]Hermogenes Idyll quote (included in SMB 4 LP 2);
[T]Athenaeus Idyll quote (included in SMB 4 LP 2);
Inventions of critics:
[T]Taisde tais emais' etaraisi (SMB 89, not by Sappho but misconstruable as such from the Athenaeus quote of XXVI.8 just above);
Alla pan tolmaton (Extra line at end of SMB 5 LP 31(?));
[T]Eraman combo menga (SMB 584, LP 49);
It was in no way inappropriate (Edmonds version of Eri infatti anche tu una tenera bimba = SMB 19, LP 27);
Zaftheron tais opsias ganos (SMB 575, indirect quote from LP 196) E 90; has the meter of Edmonds 82, which is undecipherable as of now;
[T]Filtaton (SMB 577, indirect quote from LP 198) E 31;
[T]Dios gar pais est' o chrysos (SMB 579, indirect quote from LP 204.1) E 110; assumed to have meter hipp | gl | gl | hipp;
[T]Kotharos gar o chrysos iō (SMB 580, indirect quote from LP 204.2) E 109; assumed to be of meter gl^{Nc};
Damosion (SMB 581, indirect quote from LP 209) E 92; has the meter of Edmonds 82, which is undecipherable as of now;
Diplasian nykta (SMB 576, indirect quote from LP 197) E 84A; assumed to have the impenetrable meter of Edmonds 84;
Sappho Anthology in Chinese, Japanese Chôka, Korean, and Vietnamese (O);
Mkusanyiko wa Saffo kwa Kiswahili, Kizulu na Kilingala (O);
Antulugia 'd Saffo an Piasintéin, Parmesan e Lunigianéis;
Antulugia di Saffo in Napulitano, Cilendano, Cilindanu e Vibunisi;
Antuluggia ṙi Saffo 'n Třapanisi, Missinisi e Muoṙicanu;
Sappho Anthology in Palestinian Arabic and Hebrew;
Antologi av Sapfo på Bokmål, Nynorsk, Svenska, och Dansk;
Sappo kā sankalan' Hińdī aur' Pańjābī meṅ;
Sappho anthology in English and AAVE (O);
Sappho ob Doge Lesbos (Dogespeak);
Antologia di Saffo in Italiano, Portoghese, Rumeno e Bulgaro;
Antologia di Saffo "4 angoli della Basilicata";
Antologia de Safo en Castellano, Catalán, Gallego, y Vasco;
At the end of July 2025, I listed the fragments in the Hungarian anthology in order from best to "worst" according to me, then I made tiers, resulting in the below.
S tier:
To Arignota;
KP;
Idyll;
I wish I had died;
Ode to Anactoria;
Tender women;
Love shook my heart;
Ode to a beautiful woman;
Gongyla;
SEL;
You left me;
To the Nereids.
A tier:
You came;
Let's sing for the couple!
If I still had milk;
On Cleis;
I don't think any woman;
In violent storms;
Hymenaeum;
Hymn to Aphrodite;
Two thoughts;
Bittersweet love;
The moon has set;
To Charaxus;
To the Wernurse;
On the doves;
On the cicada.
B tier:
Stand before me;
The gifts of the Muses;
Sappho 16;
Against Andromeda;
Divine Hera;
Sappho 16b.
C tier:
If only;
A destre to die possesses me;
About her exile;
Libation;
Full moon;
Cretan women;
Timas;
Pelagon;
Aithopia.
D tier:
Rustic woman;
I pray (may there now be festivity).
And of course these projects deal with the S tier. «Those are all fragments translated to Romagnolo too, so I will include that as a column-filler. I don't think I'll include any other translations. I considered Sicilian and Neapolitan, but translating all that to Neapolitan too… too much :).», um yeah, that aged well :).
So at some point I imagined a series with two mes conversing about the fragments in the two dialects. I described that original project with «Intends to translate my top 12 favorite Sappho fragments into these two dialects, to show their great divergence, and as an homage to my home region.» here in this list.
That one has since been launched on 4/11/25, and needs to:
Implement newest Italian version of Tethnaken;
But then, of course, I wanted to do more dialects. And then the crazy completely got me and I added other languages and dialects thereof :) Hence the other anthologies:
Romagnolo and Bolognaise are the dialects of my paternal aunt (and father of course) and her husband, and Ferrarese was added in there because doing all the Aemilian dialects together was too many so I split Aemilia into two and lumped Romagna in with the eastern half :);
Florentine and Pisano… well the former I was able to pull off a good translation in for the Ostrakon Florentinum and the latter represents my study town, and together they'd represent Tuscany; and since there's a highway called FiPiLi, Livorno appeared :);
Piedmontese and Genoese are the dialects Mattia Calcagno can contribute for; except he doesn't know the former that well, and then I split this into two with a bunch more dialects :);
Tarantino, Foggiano, and Scorranese are Apulian dialects I can do myself; I then found resources for Leccese, and decided to do complete Salento with my SEL consultants + Leccese, and leave the other two with Sannicandrese, with my SEL consultant; but Leccese is with Salicese, so Scorranese has to be present, and since Leccese has a dictionary to it I ditched Salicese; maybe I should add an anthology in Griko and Greko?
Romanesco, Ciociaro, and Neapolitan, which would be representing Latium and then going into Campania as Ciociaro is kind of in between the other two;
Trentino, Ladin, Cimbrian, and Mòcheno represent Trentino and I can do them;
Triestino and Friulian is to show that not all of Friuli speaks Friulian;
Piedmontese, Sanfratellano, Sicilian and Pantesco… the last two are because my Pantesco consultant said «it's not Sicilian but Pantesco language», so this anthology will show that (or disprove it), and the other two are to show how Sanfratellano is something of a blend of Piedmontese and Sicilian; if the Sanremasco consultant is willing, I might expunge Piedmontese from the Genoese anthology and make it Sanremasco-Genoese;
Campidanese Logudorese and Gallurese represent Sardinia, and I was supposed to be able to do them, except the Logudorese dictionary doesn't seem to be accessible by my browsers anymore, secure connection bullshit;
Irpinian, Abruzzese, and Sambenedettese are souther dialects;
As are Molisano, Lucano and northern Calabrian (which is to be Cosentino I guess); the last of those was removed since it's in the Calabrian quartet anthology
Töitschu d'Issime and Aymavillien represent the Aosta valley with dialects I have contacts for, and Titsch de Gressoney and Thuilien are the places in that region where I spent a holiday :);
Perugino, Aconetano, Spoletino and Fermano represent Umbria and Marche; I originally wasn't sure between doing the first two or the latter two, but maybe I'll do Perugino-Spoletino and Anconetano-Fermano, the two regions as separate anthologies; then I decided to split the regions again, and include the tips of the Marche with Durantin (Urbania) and Asculanë (Ascoli Piceno)
Tosk and Gheg, just to show their differences :);
Parmigiano Reggiano Reggino, so Reggino-Reggiano was a semi-joke to get Reggino in, and Parmigiano is another joke because parmigiano reggiano :);
Veneziano, Veronese, Cittadellese and Gosaldese represent Veneto with dialects I have contacts for;
Moroccan Arabic, Classical Arabic, and Gulf Arabic, to show the huge differences between the two endpoints of the Arabic dialect continuum, and use Classical as a basis (since I can do it myself) to sing the other two translations over as double voices (so I don't have to do meter in dialects);
Riggitanu (Reggino), Vibonese, Cosentino, and Coriglianese, dubbed "dialetti Calabresi" in the anthology title, are again to represent Calabria;
Chinese, Japanese Chôka, Korean, and Vietnamese, because why not :);
Swahili, Zulu, and Lingala, just to get some Africa in here :), with languages I should be able to do myself;
Piacentino, Parmigiano, and Lunigianese are the remaining Aemilian dialect groups;
Neapolitan, Cilentano, Southern Cilentano, and Vibonese should show how the first two are similar and the latter two as well, but the two Cilentano are rather different;
Trapanese, Messinese, and Modicano represent the three corners of the island of Sicily;
Palestinian Arabic and Hebrew are a peace wish for the two populations of the Israel-Palestine area;
Bokmål, Nynorsk, Swedish, and Danish are to show how similar the languages are;
Hindi and Punjabi are just to do more Punjabi I suppose, and more HIndi too :);
English and AAVE is mostly for the latter;
Sappho ob Doge Lesbos is for April Fools, and has the English speaker slowly devolve into Dogespeak to then give up on singing his translation :); maybe as he devolves he becomes less opaque, until he is just a disembodied voice at the end; the episode for "You left me" should start «En: Hi everyone! Doge: Henlo frens! En: Right. Dissn hissn»; this one is planned to come out on the blog on 1/4/26, while the series will occupy the April Fools specials for like 10 years to come :);
Also, this includes 4 extra fragments: «If I still had milk» and «On Cleis», because I wanted to use "potat" for "child" :), «Let's sing for the couple!», for when Raya eventually gets spayed and a new female is introduced to the Shirosuki household, and «The moon has set», for when Shiro is taken away from females in heat because it drives him crazy;
Italian-Portuguese-Romanian-Bulgarian represents the GSSI porters, most of which are Italian, then there's Adriana (Romanian), José (Angolan), and Gabriela (Bulgarian); I'd like for them to do the spoken parts, but we'll see :); most of the Italian porters are actually from L'Aquila so maybe Aquilan is even more representative?
The penult one and the Piedmont and Liguria ones have titles explaining their reasoning, and are in Melfitano-Materano-Santarcangelese-Lauriese (very ambitious, potentially impossible), Occitano-Piemontese-Walser-Novarese (or some other Lombard in Piedmont, the Walser being something in Piedmont not Titsch or Töitschu), and Sanremasco-Genovese-Lericino… well that was the original plan, but Sanremo doesn't really seem available, so upon meeting a couple from Savona who seemed to know people from Ventimiglia I changed course :);
Then we have a sort of "language diversity in Spain".
Anthology episodes all have one fragment except the Ode to Anactoria + Love shook my heart one and the Ode to a beautiful woman + Gongyla one. Pity leaving SEL and You left me each on its own, but they really don't combine well
A few have opening-part-ones, to be found at the Introes+ post, and are marked (O). Triestin-Furan actually has two. Dogespeak has one, but the post didn't get it yet as of 12/2/26.
To give statuses, let me re-list the fragments:
To Arignota (31 lines);
KP (15 lines);
Idyll (16 lines);
I wish I had died (30 lines);
Ode to Anactoria (20 lines);
Tender women (9 lines);
Love shook my heart (2 lines);
Ode to a beautiful woman (13 lines);
Gongyla (11+11: two versions);
The stars and the moon (4 lines);
You left me (4 lines);
To the Nereids (20 lines);
The cover fragment for the openings (4 lines).
If I still had milk (16 lines), Dogespeak only;
On Cleis (4 lines), Dogespeak only; ;
Let's sing for the couple! (10 lines), Dogespeak only;
Novarese or whatever: /13, aka %; linewise, /190, aka %;
Occitan: /13, aka %; linewise, /190, aka %;
Ventimigliese: /13, aka %; linewise, /190, aka %;
Lericino: /13, aka %; linewise, /190, aka %;
Spanish: /13, aka %; linewise, /190, aka %;
Catalan: /13, aka %; linewise, /190, aka %;
Galician: /13, aka %; linewise, /190, aka %;
Basque: /13, aka %; linewise, /190, aka %;
Savonese: /13, aka %; linewise, /190, aka %;
Walser in Piedmont: /13, aka %; linewise, /190, aka %;
Here is the list of the episodes for these series:
To her friend Arignota, covering fr. 1;
Two prayers to Aphrodite, covering frr. 2-3;
I wish I were dead, covering fr. 4;
To Anactoria, covering fr. 5;
Heartbreak, covering frr. 6-7;
Beauty, covering frr. 8-9;
Two Sapphic stanzas, covering frr. 10-11;
To the Nereids, covering fr. 12;
Sappho and children, covering frr. 13-14 (If I still had milk + On Cleis) of Dogespeak;
Wedding and abandonment, covering frr. 15-16 (Let's sing for the couple + The moon has set) of Dogespeak;
The first episodes of series have their scripts. Here is the 2-dialect/language version.
A+B: Hi everyone!
A: Today's fragment comes from a rather faint and gappy parchment. * claps hands * * image appears *
B: But what do we do with that big hole in the middle? And the missing bits at the start? And oh my Jackie Chan meme!
* both squint at parchment * *Jackie appears to squint himself *
A: Yeah, it's not easy to read this. Indeed, you will hear the incomplete text at the end, there are a few tercets with a lot of uncertainties. Luckily, however, that's mostly at the start and end.
B: Really? Wow! People read that faint of a thing and produce a mostly-uncertainty-free text?
A: Yeah, there's far worse in the way of faint 🙂
B: That's not that faint?! Also, incomplete text?
A: Indeed. Exactly what can be seen on the parchment, with stratagems to render uncertain letters, and no integrations, so all the gaps are fully there
B: Oh, a text that gets performed to show the gaps and uncertainties. Cool! But what is this fragment about?
A: The fragment is presumably addressed to Arignota, a friend of Sappho's.
B: Presumably? So we don't know who this is addressed to?
A: Well, considering the name is an adjective meaning "well-known" and the first two tercets require pretty heavy corrections to make sense…
B: A talking name! Arignota, "well-known". So since that start is a mess, we don't know if it's addressed to this Arignota, or is talking about some well-known…
A: Goddess. Well-known goddess. Or goddesses.
B: Goddess or goddesses. Gotcha.
A: The first two tercets mention another friend, possibly Anactoria, who has left Mytilene to live in Sardis, but often recalls her past life with Sappho and the addressee.
B: An abandoner, possibly Anactoria, who left Mytilene for Sardis but now misses her life with Sappho. Why not go back?
A: Who knows. Perhaps she was married off. And besides, the most legible part of the poem is about how she shines amidst the women of Sardis like the full moon amidst the stars, and then goes off on a long natural scene, so maybe she even likes her life there. Although the last part…
B: So she settled and got herself a family there, and is the prettiest of women there, like the moon is the brightest of stars. That's the content of the middle part of the poem, plus this long tangent describing a night-time natural scene. But then?
A: Then she craves to see her friends again, and amidst great uncertainty it seems she's screaming for them to reach her there
B: Oh dear, poor Anactoria or whoever, so desperate to see her friends again, or so it seems through a crazy dose of uncertainty in the parchment.
A: Btw, the parchment has more to offer, but the rest is barely intelligible and seems to possibly be another poem, hence why we're not hearing it today
B: A second poem in the part of the parchment with the big hole? Oh my, that must surely be terribly unintelligible, thank goodness we don't have to sit through the holes!
A: Alright, so, goodbye to you, I'm singing Greek and translations!
B: Goodbye everyone, he'll be singing all versions!
Bri: Ve salüdi tücc!
Berg: Ve salüde töcc!
Bri: El framment d'incoeu el ven de 'na pergamena assossenn sbiavida e piena de büs. * claps hands * * image appears *
Berg: Ma cósa a m'gh'à de fà con chèl büsù 'n del mès? E i tochèi che i s'è perdicc al prensépe? E pòta Jackie vé sà a vèd 'sta ròba che sagònd me te gh'é ergót de dì!
* both squint at parchment * *Jackie appears to squint himself *
Bri: Eh già, l'è minga facil de leegg 'sta ròba chì. In efèt te sentaree el test incomplet a la fin, e ghe son di terzini pieni de dübi. Par fortüna peroo i è de solit a la fin e al principi.
Berg: Debù? Wow! La zent l'è buna de lès 'na ròba issé sbiaida e lassà póch döbe in quat al tèst?
Bri: Eh già, la gh'è roba ben pegg de questa in quant a sbiavidüra 🙂
Berg: Comè? L'è mia tat sbiaida?! E pò, tèst incomplét?
Bri: Propi inscì. Precisament quel che s'el ved sü la carta-pegora, cunt di fübertii per distingü i lèteri incerti, e gnanca 'n cumpletament, gnanca 'na integrassiun, inscì che tücc i büs i se senten perfetament
Berg: Oh, ü test che 'l se canta per fà éd i büs e i döbe. Bèl laùr! Ma de cósa 'l parla ol framént?
Bri: El framment prubabilment el parla a Arignota, üna amisa de Saffo.
Berg: Probabilmènt? Dóca a m' sà gnach a chi che la parla 'sta poeséa?
Bri: Beh, dal mument che el nom l'è 'n agetìv ch'el voeur dì "ben cugnussüda" e i primi dò terzini i gh'a bisògn de curressiùn fiss grevi per avégh sens…
Berg: Ü nòm che 'l parla! Arignota, "bé cognossìda". Dóca co 'l casì de chèl prensépe a m'sà mia se 'l parla a 'sta Arignota o 'l parla de quach vergü bé cognossìt…
Bri: De 'na dèa. 'Na dèa ben cugnussüda. O di dèi ben cugnussüdi.
Berg: Üna dea o di dee. Ó capì.
Bri: I primi do terzini i parlen de n'altra amisa, forsi, che la gh'ha lassà Mitilene per viv a Sardi, ma la se regorda de spess de la soa vita passada cunt Saffo e cunt quèla che ghe parla el framment.
Berg: Üna che l'a bandunà Saffo, forbé Anattoria, che l'a lassà Mitilene per Sardi ma adèss gha manca la sò ida con Saffo. E perchè la va mia indré?
Bri: E chi 'l sa. Forsi la s'è spusada. E comunq, la part püssée leegibil de la puesìa. la parla de cuma che la brila tra i donn de Sardi cuma la lüna piena tra i stèll, e poeu la fa 'na lünga descrissiùn de 'na scèna natüral, dunca forsi la ghe pias anca la soa vita là. Anca si l'ültima part…
Berg: Dóca la s'è stabilida là e la s'è fàcia 'na faméa, e l'è la dòna piö bèla de töte chèle de là, comè la lüna l'è la piö lüminusa di stèle. Chèst l'è ol sogèt de la part centràl de la poeséa, insèma co 'sta lónga tangènte che la descrìv 'na scèna naturàl nuturna. Ma pò?
Bri: Poeu la smania de ved i sò amisi amò, e tra tant dübi el par che l'è dré a vusà perchè i vaga là da lee.
Berg: O Signur, pòera Anattoria o chi che l'è, co ü desidére issé disperàt de véd i sò amisi n'ótra ólta, comè che 'l par tra i döbe infinicc e macc de la carta pégora.
Bri: A proposit, la carta-pégora la gh'a altra roba, ma el rest s'el capiss quasi per niente e el par forsi 'n'altra puesìa, e per quest el sentum minga incoeu
Berg: Üna sagònda poeséa 'n de la part de la carta pégora co 'l büsù? Pota, la gh'ha pròpe d'èss spaentusamènt impenetrabel, méno mal che a m'gh'à mia de sentì töcc i büs!
Bri: Ben, alura mo' mi te salüdi e canti el Greco e i tradüssiùn.
Berg: E mé ve salüde töcc e lasse cantà lü.
A+B+C: Hi everyone!
A: Today's fragment comes from a rather faint and gappy parchment. * claps hands * * image appears *
B: But what do we do with that big hole in the middle? And the missing bits at the start? And oh my Jackie Chan meme!
C: This is the only source of the poem? My dear, that really takes a squint! And the gaps!
* all three squint at parchment * *Jackie appears to squint himself *
A: Yeah, it's not easy to read this. Indeed, you will hear the incomplete text at the end, there are a few tercets with a lot of uncertainties. Luckily, however, that's mostly at the start and end.
You sent
B: Really? Wow! People read that faint of a thing and produce a mostly-uncertainty-free text?
C: I'm in disbelief too! How do you get a text that is mostly free of uncertainties with all the gaps and faintness?
A: Yeah, there's far worse in the way of faint 🙂 (like the other side of this thing)
C: Wait what? Worse? More faint? The other side?
B: That's not as faint as the other side? Also, incomplete text?
A: Indeed. Exactly what can be seen on the parchment, with stratagems to render uncertain letters, and no integrations, so all the gaps are fully there
C: A text with gaps and also, uncertainties. Wait, how do you perform uncertainties? I guess you alter the pronunciation of the consonants?
A: Exactly. You'll hear all the clicks 🙂
B: Oh, a text that gets performed to show the gaps and uncertainties. Cool! But what is this fragment about? Also, clicks?
C: Yeah, what do you mean clicks?
A: * makes bilabial, dental, and velar clicks * The fragment is presumably addressed to Arignota, a friend of Sappho's.
B: Presumably? So we don't know who this is addressed to?
A: Well, considering the name is an adjective meaning "well-known" and the first two tercets require pretty heavy corrections to make sense…
C: A talking name! Arignota, "well-known". So since that start is a mess, we don't know if it's addressed to this Arignota, or is talking about some well-known…
B: A fragment possibly addressed to Ms. "Well-known", or maybe that's about something well-known.
A: Goddess. Well-known goddess. Or goddesses.
C: Goddess or goddesses. Gotcha.
B: So the poem mentions goddesses. Or a goddess. Uh-huh.
A: The first two tercets mention another friend, possibly Anactoria, who has left Mytilene to live in Sardis, but often recalls her past life with Sappho and the addressee.
B: An abandoner, possibly Anactoria, who left Mytilene for Sardis but now misses her life with Sappho. Why not go back?
C: Yeah, why doesn't this other friend, Anactoria of whatever, just go back to the friends she's missing?
A: Who knows. Perhaps she was married off. And besides, the most legible part of the poem is about how she shines amidst the women of Sardis like the full moon amidst the stars, and then goes off on a long natural scene, so maybe she even likes her life there. Although the last part…
C: Ah, the joys of marrying someone from abroad 🙂.
B: So she settled and got herself a family there, and is the prettiest of women there, like the moon is the brightest of stars. That's the content of the middle part of the poem, plus this long tangent describing a night-time natural scene. But then?
C: Yeah, what's after the "moon amidst the stars" metaphor and the long natural-scene tangent?
A: Then she craves to see her friends again, and amidst great uncertainty it seems she's screaming for them to reach her there
C: So she wants them to go visit her. Nay, craves for them to.
B: Oh dear, poor Anactoria or whoever, so desperate to see her friends again, or so it seems through a crazy dose of uncertainty in the parchment.
C: A craving in the most uncertain part of the parchment.
A: Btw, the parchment has more to offer, but the rest is barely intelligible and seems to possibly be another poem, hence why we're not hearing it today
B: A second poem in the part of the parchment with the big hole? Oh my, that must surely be terribly unintelligible, thank goodness we don't have to sit through the holes!
C: So I guess the craving is not really in the most uncertain part of the parchment, is it? That would be this possible second poem we're not hearing today.
A: Alright, so, singing time! My turn first!
B: And I'll be second!
C: And I'll be third!
A+B+C+D: Hi everyone!
A: Today's fragment comes from a rather faint and gappy parchment. * claps hands * * image appears *
B: But what do we do with that big hole in the middle? And the missing bits at the start? And oh my Jackie Chan meme!
C: This is the only source of the poem? My dear, that really takes a squint! And the gaps!
D: What the heck is this? A devilish eyesight test? How did we get a poem out of this?
* all four squint at parchment * *Jackie appears to squint himself *
A: Yeah, it's not easy to read this. Indeed, you will hear the incomplete text at the end, there are a few tercets with a lot of uncertainties. Luckily, however, that's mostly at the start and end.
B: Really? Wow! People read that faint of a thing and produce a mostly-uncertainty-free text?
C: I'm in disbelief too! How do you get a text that is mostly free of uncertainties with all the gaps and faintness?
D: I hardly even see ink, and people can get a poem out of that? And without being extremely unsure if they read it right?
A: Yeah, there's far worse in the way of faint 🙂 (like the other side of this thing)
C: Wait what? Worse? More faint? The other side?
B: That's not as faint as the other side? Also, incomplete text?
D: Other side? Fainter? Incomplete text at the end of the episode?
A: Indeed. Exactly what can be seen on the parchment, with stratagems to render uncertain letters, and no integrations, so all the gaps are fully there
C: A text with gaps and also, uncertainties. Wait, how do you perform uncertainties? I guess you alter the pronunciation of the consonants?
A: Exactly. You'll hear all the clicks 🙂
B: Oh, a text that gets performed to show the gaps and uncertainties. Cool! But what is this fragment about? Also, clicks?
C: Yeah, what do you mean clicks?
D: How many sounds do you have to use to encode two whole Greek alphabets, one certainly read, one uncertainly read, plus entirely illegible letters? No wonder there's clicks involved in this incomplete text at the end of the episode!
A: * makes bilabial, dental, and velar clicks * The fragment is presumably addressed to Arignota, a friend of Sappho's.
B: Presumably? So we don't know who this is addressed to?
D: Yeah, how do we not know for sure who this is addressed to? Oh wait, look at that beginning… but you gave a name!
A: Well, considering the name is an adjective meaning "well-known" and the first two tercets require pretty heavy corrections to make sense…
C: A talking name! Arignota, "well-known". So since that start is a mess, we don't know if it's addressed to this Arignota, or is talking about some well-known…
B: A fragment possibly addressed to Ms. "Well-known", or maybe that's about something well-known.
D: What the heck kinda name is "Well-known"? No wonder we're unsure, it could also be something well-known!
A: Goddess. Well-known goddess. Or goddesses.
C: Goddess or goddesses. Gotcha.
B: So the poem mentions goddesses. Or a goddess. Uh-huh.
D: So either Ms. Well-known, or any number of well-known goddesses.
A: The first two tercets mention another friend, possibly Anactoria, who has left Mytilene to live in Sardis, but often recalls her past life with Sappho and the addressee.
B: An abandoner, possibly Anactoria, who left Mytilene for Sardis but now misses her life with Sappho. Why not go back?
C: Yeah, why doesn't this other friend, Anactoria of whatever, just go back to the friends she's missing?
D: Did this other friend, Anactoria or whoever, leave Sappho and the addressee to get married? So she can't go back from Sardis to Mytilene, even though she misses her past life?
A: That is indeed a possibility. Not like we know for sure, though. Besides, the most legible part of the poem is about how she shines amidst the women of Sardis like the full moon amidst the stars, and then goes off on a long natural scene, so maybe she even likes her life there. Although the last part…
C: Ah, the joys of marrying someone from abroad 🙂.
B: So she settled and got herself a family there, and is the prettiest of women there, like the moon is the brightest of stars. That's the content of the middle part of the poem, plus this long tangent describing a night-time natural scene. But then?
C: Yeah, what's after the "moon amidst the stars" metaphor and the long natural-scene tangent?
D: I bet she's enjoying "shining amidst Lydian women like the full moon amidst the stars"… but after a long tangent of a natural night-time scene to go with this metaphor, what do we have? Huge uncertainty?
A: Then she craves to see her friends again, and amidst great uncertainty it seems she's screaming for them to reach her there
C: So she wants them to go visit her. Nay, craves for them to.
B: Oh dear, poor Anactoria or whoever, so desperate to see her friends again, or so it seems through a crazy dose of uncertainty in the parchment.
C: A craving in the most uncertain part of the parchment.
D: So I was right: uncertainty with a probable side of craving for a visit from her friends.
A: Btw, the parchment has more to offer, but the rest is barely intelligible and seems to possibly be another poem, hence why we're not hearing it today
B: A second poem in the part of the parchment with the big hole? Oh my, that must surely be terribly unintelligible, thank goodness we don't have to sit through the holes!
C: So I guess the craving is not really in the most uncertain part of the parchment, is it? That would be this possible second poem we're not hearing today.
D: Though I am curious to hear what this possible second poem from the super-gappy part of the parchment sounds like!
* link to Sicilian episode with timecodes for poem appears on screen *
A: Alright, so, singing time! My turn first!
B: And I'll be second!
C: And I'll be third!
D: And I'm fourth!
The second episodes also have their 2-dialect script:
A: Hi everyone!
B: Hi everyone!
A: Today we look at two prayers to Cypris, aka Aphrodite, which are of very different natures.
B: And why are we praying Aphrodite in these two fragments? Also, Cypris? Anything to do with the island of Cyprus?
A: Yes indeed, there is a rock in the sea off Cyprus where she is said to have been born, and she was venerated there since the XII century BC.
B: Wow ever since the Myceneans? That is a long tradition of venerating her in Cyprus, where the rock she was born near is! But why are we praying her?
A: The first fragment is a very tormented prayer, in which Sappho asks for reprieve from some serious torment, probably unrequited love.
B: Poor Sappho, tormented by a love that is not given back to her...
A: This one comes from two paoyri and two... no, one quotation.
B: Two different papyri for the same poem? And what was the hesitation on the number of quotations?
A: That was because, before papyrus 2 came to light in 2014, two quotations were thought to belong in there, but papyrus two drove one out.
B: Ah, so we have a complicated textual history, where two quotations got integrated into papyrus 1 and then papyrus 2 wasn't compatible with one of them.
A: Even more complicated than that, because there's lots of variants, there's an extra little scrap originally published separately then joined into our papyrus 3, and there's even a point in papyrus two which was misread by experts.
B: Wow it's worse than I thought! So summing up, we have two quotations, papyrus 1 seems to include both, papyrus 2 drives one quote out, multiple supplements are created for the papyri+quotation combo, little scrap contradicts them all and makes others appear, then suddenly a misreading of papyrus two gets caught, and more versions ensue?
A: Exactly. Which leads us right into fragment 2, where misreadings also happened.
B: Wow two for two on the misreadings?
A: Yup. So this second one is a prayer for the goddess to appear at a feast. The location of the feast is described in great detail, then divine nectar is poured for the feast, as a godly gift.
B: Prayer for an epiphany, uh-huh. Feast in a detailedly described place, pouring of nectar as a gift from the goddess... Who pours it?
A: Depends on how you read the ostrakon this comes from.
B: The what?
A: Ostrakon. Basically a piece of clay with the fragment on it. There are also quotations, both of them misquoted in some way.
B: So we have a big piece of clay plus two misquotations, and thia ostra... this clay thing was misread. Do the similarities with the other fragment end here?
A: Not quite, there's also the shared meter, the Sapphic stanza.
B: Oh, they're both in Sapphics. So you were saying we don't know who pours the nectar. Care to elaborate?
A: Well the version we'll be hearing reads "Gladly let me [...] pour", but another version, which from examining the ostrakon doesn't seem correct to me, reads "Taking [something] [...] pour", so in version 1 it's the speaker pouring, in version 2 it's Aphrodite.
B: Hmm, so two possible readings leading to either Aphrodite or "the speaker" pouring... The speaker, you say? So the "I" of the poem, but isn't that Sappho?
A: Not necessarily. In fact, given how little we know about this "I", one would rather imagine a rather generic person. For example, Sappho was said to participate in rites of passage into adulthood for young women in Mytilene, and that's who the "I" could be: one of these noble young women coming of age.
B: So the "I" occupies very little space in the poem, which makes us think it's not Sappho but rather a noble young woman passing into adulthood at this feast. Sappho was in fact said to have roles in Aphrodite-linked rites like this one.
A: Rites of passage like that also happened in Crete, famously, and that is probably why Aphrodite is asked to come to this holy abode from Crete.
B: So this festival has a famous analogue in Crete, which Aphrodite is asked to leave to come to the present ceremony. I assume we get two incomplete texts?
A: Yes, at least 2. Depends whether I decide to record the intermediate steps to the various forms.
B: Ah, so we might get a text history in singing, or at the very least, the two final incomplete texts. I guess I now leave the people here as you prepare to sing.
A: Yup, see you next time!
A: Yup, so as usual, goodbye! See you in the next episode where we're back at the parchment, with the other page.
B: Ooh the return of the super faded parchment? That will be fun with the incomplete text!
A: Absolutely. Not to mention the other side *shudder*... But enough with the spoilers, bye!
B: Other side? Now I'm curious...
+ + + + + + + + +
10 crazy Sappho anthologies
It's 10 more anthologies like the ones in the previous row, I just didn't wanna set up counters for all these when almost all are at zero :). Languages:
Umatilla-Navajo-Cherokee anthology;
Nahuatl-Mayan anthology;
"Language diversity of India" (Hindustani-someDravidian-Santali-Bodo/Manipuri) anthology
"Language diversity of China (1)" (Mandarin-Hokkien-Tibetan-Uyghur) anthology
"Language diversity of China (2)" (Cantonese-Yi-Zhuang-Mongolian) anthology
"Language diversity of Uganda" (Luganda-Acholi-Nubi) anthology
"Language families of South Africa" (English-Zulu-Khoekhoe-!Xóõ) anthology
Russian-Mari-Nenets anthology
English-Warlpiri-Leerdil-Bunuba anthology
Dyirbal-Mbabaram anthology;
Actually, I have even crazier Umatilla projects in mind: and Umatilla-Wallawalla anthology, and a full Umatilla Sappho edition.
Well yes, we're at zero, of course, except for English and Zulu and Russian and Mandarin, which all have SEL and English has a few more
Youtube series going over all the translations of poetry past the fall of the Western Roman Empire. We have, as per the opening (cfr. here under «Opening for the Poetry after the Classics series»), 🎵Leopardi, Shakespeare, two troubadours, Donne, Sydney, then Spencer, Milton, Chaucer, and Yeats, and Meng Haoran, and Hu Shi, Blake, Coleridge, Dante, Baudelaire, and Storck and other authors, e Storck ed altri autori🎵. Some episodes will be crossovers with Badslation Reviews.
Composing the opening is what prompted the name change from former «Mick Gorro and a few poems outside the Classics».
Giacomo Leopardi
L'infinito in English and Chinese, part 1 (@BR); planned for 5/10/31;
L'infinito in English and Chinese, part 2 (English started, Chinese unmade); planned for 21/10/31; no tune as of 24/10/24;
Alla luna in English and Chinese, part 1 (@BR); planned for 19/10/31;
Alla luna in English and Chinese, part 2 (unmade); planned for 26/10/31; no tune as of 24/10/24;
Il pensiero dominante in Greek (started); no tune as of 24/10/24;
Canto notturno di un pastore errante dell'Asia Greek (wholly unmade); no tune as of 24/10/24;
Alla sua donna Greek (wholly unmade); no tune as of 24/10/24;
William Shakespeare
Romeo e Giulietta, passi scelti (all hendecasyllabics translations), planned for 3/10/32; no tune as of 24/10/24;
Romeo e Giulietta, discorso del balcone e finale in alessandrini, planned for 10/10/32; no tune as of 24/10/24;
Partner's beautiful, loved not so much (Shall I compare thee to a summer's day? @TP + My mistress' eyes are nothing like the sun @BR for this one, maybe remake?) in Italian, planned for 17/10/32; no tune as of 24/10/24;
True love (Let me not to the marriage of true minds in Italian; no tune as of 24/10/24;
True love and time's scythe (Let me not to the marriage of true minds and the final couplet of When I do count the clock that tells the time) in Italian, planned for 24/10/32; no tune as of 24/10/24;
William IX of Aquitaine, "Un vers de dreyt nien", stanzas 1-2 in Italian, will be coupled to the next item, planned for 31/10/32; no tune as of 24/10/24;
Bernart de Ventadorn, "Chantars no pot gaire valer", stanza 1 in Italian and English, will be coupled to the previous item, planned for 31/10/32; no tune as of 24/10/24;
John Donne
A Valediction: @BR-@TP crossover uploaded 30/12/24, abusing Atoma again (cfr. Blake entry for the form of that song); specifically, we will have English quatrain 1 + Italian sextet 1 sung to a stretched chorus, then Italian quatrain 1 sung as a verse, then repeat that for the next stanza, and then we go two by two since the sextets end here so we can do two English quatrains to a single chorus, and then a double verse with the corresponding Italian; hopefully that doesn't leave out an odd number of quatrains :); also, maybe fix up the italian;
Batter my heart (@BR); prayer sonnet; is the "Per Cristo con Cristo e in Cristo" tune applicable to this? Anyway, conceive some kind of cantilation of sorts; planned for 27/4/31;
Sir Philip Sydney: A sad moon (one @BR, one remake), planned for 3/7/33; no tune as of 24/10/24;
Edmund Spenser: A mortal thing so to immortalize, @PC-@Ψ crossover planned for 10/7/33; no tune as of 24/10/24;
John Milton: When I consider how my light is spent, planned for 17/7/33; no tune as of 24/10/24;
Geoffrey Chaucer: Balade de bon conseyl; planned for 29/8/26; no tune as of 24/10/24;
William Butler Yeats: Easter 1916, planned for 24/7/33; no tune as of 24/10/24;
Mèng Hàorán
Chūn Xiǎo, English and Arabic (9 – yes, I'm cheating a little, because this video is low quality and has bad Arabic translations, so I don't want it as the first episode; the below is an update/reaction to this);
Chūn Xiǎo revisited (10 – reacts to the old video, correcting all the mistakes (aside from some Arabic grammar ones it seems), then sings the poem with English, English equimetrical, Arabic cantilated, Arabic double-syllable, Arabic near-equimetrical, and then goes on to reinterpret the poem and sing accordingly remade double-syllable and equimetrical-or-almost-such translations into both English and Arabic);
Chūn Xiǎo, corrections to the Arabic translations and a new English one for the new interpretation;
Liang ge huang hudie; planned for 6/4/31; original musicated, Idk what to do with the translations;
Bing zhong de ta shu (@BR); planned for 13/4/31;
Bing zhong de ta shu remakes (unmade); planned for 20/4/31; half a line musicated as of 24/10/24;
William Blake:
London; since Atoma has its chorus in octosyllabe and its verses in iambic pentameters, the English can be sung to the chorus's tune and the Italian to the verses' tune; hence the mixed performance in the video, with two stanzas in English, then their Italian version, then the other two in English and Italian;
London by Blake vs. Composed upon Westminster Bridge by Wordsworth; yet unplanned, as a remedy to the badslation of the current Blake episode, and a compare-and-contrast between the two poems, the latter of which has no translation yet, while Blake is already retranslated;
Fragments of the Divine Comedy: Latin lines in Italian (Paradise VII 1-3, Purgatory II 46, Paradise XV 28-30); planned for 20/7/31; no tune as of 24/10/24;
Fragments of the Divine Comedy: two excerpts in English (Inferno I 1-12, Inferno III 1-9 – @BR); planned for 27/7/31; no tune as of 24/10/24;
Charles Baudelaire: Correspondances; planned for 30/3/31; no tune as of 24/10/24;
Adam Storck, Ellens dritter Gesang (aka Schubert's Ave Maria), stanza 1 in Italian, planned for 6/7/31;
Unknown, A lityl Geste of Robyn Hode and his Meiny, ll. 1-48; sung to the Pokemon theme song's tune, each verse doing 4 lines in ME and 4 in translation (aside from two groups of 4 lines which are done first both in ME and then both in translation), and as for the chorus… I originally conceived, at 21:41 on 27/11/24, a mixed-language chorus:
I shal tel | of a good yeman
His namė was Robyn Hood
I will sing | of a good yeoman
His name was Robin Hood
Then I thought I'd just go fully Modern English; I started at 22:22 with:
Hark he hark, all ye gentlemen
All ye who have free-born blood
Then at 22:23:
Hear ye now, listen, gentlemen,
All ye who have been born free,
Hear ye now of this Robin Hood:
A good yeoman was he.
And finally at 22:24:
Hear my song, listen gentlemen
...
Hear my song about Robin Hood:
Ultimately changed to «Hear my song, hear of Robin Hood» at 22:24; thus, we have two versions of the chorus and, translating back to Middle English, a third one; here they are:
1:
I shal tel | of a good yeman
His namė was Robyn Hood
I will sing | of a good yeoman
His name was Robin Hood
2:
Hear my song, listen, gentlemen,
All ye who have been born free,
Hear my song, hear of Robin Hood:
A good yeoman was he.
3:
Lithe ye, lithe gentilmen,
All ye who weren bore free:
Lithe ye of this Robyn Hode,
A gode yeman was he.
And I will be using 2 and mentioning this all in the intro;
Unknown, Iroha uta, English and Italian; uploaded 11/12/21;
Unknown, Iroha uta, Chinese and Hindi, uploaded 15/6/25;
London by Blake vs. Composed upon Westminster Bridge by Wordsworth; yet unplanned, as a remedy to the badslation of the current Blake episode, and a compare-and-contrast between the two poems, the latter of which has no translation yet, while Blake is already retranslated;
Clemente Rebora, Dall'immagine tesa, Japanese and English; I started the translations, did one line so far; I envision a tripled-me @PC episode;
Youtube series going over all, or most of, my translations of Latin and Ancient Greek poetry.
As you can see, there is a playlist for this series, with one episode. The second one will come out next weekend (writing 24/1/24). The list below gives the status of each episode. Maybe more than one Catullus elegiac poem will use the same couplet tune, who knows. i will list the authors, and for each author have a nested list of all relevant episodes, with upload number if they are already uploaded. The existing ones will be at the top of the nested lists. I will not include the title in all the episodes here, just imagine it's there at the beginning in the appropriate language.
Homer, Iliad, book 1 ll. 8-53, "Pestis" in "pseudo-recto-tono", aka the wrath of Apollo (3);
Pseudo-recto-tono is my trick to avoid both setting this behemoth (and the one below) to music and just reading it and its translation out. The intro to this video explains how it works. There will also be some Lucrece videos with this trick, for which I have prepared a Latin intro and will eventually translate it into Italian. That intro can be found below at the Lucrece section;
Homer, Iliad, book 3 ll. 15-76, "A truce is established" (set to some kind of 7/8 music, performed in hemiolic style); planned for 8/12/24; on 23/10/24 I made 3 tunes, for single lines, couplets, and tercets, after splitting the passage into such groups; here they are;
Lone line: D E F | G E F E || E DD | C# D E A || FF A | F G A F || G EE | G F E D || C#C# D | E D C# E || DDD | F D (D)
Couplets: D E F | G E F E || E DD | C# D E A || FF A | F G A F || G EE | G F E D || C#C# D | E D B D || C# D E | C#C#(C#)
E F G | A G F E || D F D | G A Bb G || A F# A | D E F# D || G Bb D | Bb C D Bb || AA F | E G F E || DD A | DD(D)
Tercets: D E F | G E F E || E DD | C# D E A || FF A | F G A F || G EE | G F E D || C#C# D | E D B D || C# D E | C#C#(C#)
E F G | A G F E || D F D | G A Bb G || F DD | E G F E || A F D | F G G A || F#F# A | D F# A F# || G A Bb | D C Bb G
F D Bb | C A F A || Bb G E | D E F A || G A Bb | Bb A A G || F G A | AA G F || E F G | FF EE || DDD | A F D;
AI vs. the Iliad opening, for the things at AIliad; needs tunes for the Sapphic and Alcaic stanza versions, or maybe just steal from something Sappho? We'll see…;
Amore lieto ed eterno: Catullo CIX e un graffito di Pompei; Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others, probably; that's for Catullus, the graffiti will probably have an own tune and definitely add Greek to the intro languages; actually, the intro I made for Catullus will need an update; planned for 17/10/27; no tune as of 24/10/24;
Bugie e tradimento: Catullo, carme LXX; Callimaco, XXV; Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others, probably; planned for 31/10/27; no tune as of 24/10/24;
Il tradimento fa amare di più: Catullo, carmi LXXII ed LXXXV; Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others, probably; no tune as of 24/10/24;
Tristezza: Catullo, carme LXXVII (Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others); no tune as of 24/10/24;
Addio fratello: Catullo, carme CI (Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others); last line musicated (half-stolen from the Pelagon epigram's second line) as of 24/10/24;
Lucrezio: Inno a Venere (Lucrece, De rerum natura I 1-43); will get Latin-Italian metered intro; first line is set to music; will feature in "Tria proœmia hemiolica" alongside Virgil's and Ovid's opening; no tune as of 24/10/24;
Lucrezio: Elogio di Epicuro (Lucrece, De rerum natura I 62-79); PRT, probably use that term in the bilingual Latin-Italian introduction; hemiolic, planned for 14/11/27;
Lucrezio: Contro le superstizioni (Lucrece, De rerum natura I 80-101); PRT, probably use that term in the bilingual Latin-Italian introduction; hemiolic, planned for 21/11/27;
Lucrezio: Felicità (Lucrece, De rerum natura II 1-22); PRT, probably use that term in the bilingual Latin-Italian introduction;
Lucrezio: Un peso sul cuore (Lucrece, De rerum natura III 1054-1076); PRT, probably use that term in the bilingual Latin-Italian introduction;
All but the first of these will use the pseudo-recto-tono trick from Homer (see above), as mentioned in the Latin intro I prepared recently (haven't gotten around to the Italian version yet).
Vōbīs Lucretiī partem librī hodje ipse
Præsentō, vertīque eam ad Ītalicum. Canam illam
Prīma Latīnē atque inde idiōmate Ītalicō ipse,
Stȳlō ūtens cui Ītalicē nōmen posuī ipse
Pseudo-retto-tono. Audīte ea et gaudēte!
Oggi a voi di Lucrezio un brano io vo' presentare
Che in Italiano ho tradotto. La canto in Latino dapprima,
Poi in lingua Italiana, usando lo stile che chiamo
Pseudo-retto-tono. A tutti voi buon ascolto!
Callimachus XXV, featured in "Bugie e tradimento: Catullo, carme LXX; Callimaco, XXV"; Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others, probably; planned for 31/10/27;
Menander:
Un frammento di commedia in traduschifo Latino (Menander, Theophoroumene, fr. 1); crossover with @BR, bilingual English-Italian segment with reading or pseudo-recto-tonoing of the badslation;
Un frammento di commedia in Latino e Italiano (Menander, Theophoroumene, fr. 1); trilingual AG-Latin-Italian iambic trimeter intro; will be fun to figure out a tune that accommodates original, good Latin, and Italian; no tune as of 24/10/24;
Ovid: L'incipit di Ovidio (Ovid, Metamorphoses I 1-4); will feature in "Tria proœmia hemiolica" alongside Virgil's and Lucrece's opening; half of l. 1 musicated as of 24/1/24;
Horace:
Lettera a Celso Albinovano (Letters I 8), bilingual Latin-Italian hexameter intro; no tune as of 24/10/24;
Ode a Licinio (Odes II 10), bilingual Latin-Italian Sapphics intro; no tune as of 24/10/24;
Carpe Diem, ovvero Ode a Leuconoe (Odes I 11), what kind of intro? no tune as of 24/10/24;
Alcæus vs. Horātius (Alc. Voigt 332 and Horace Odes I 37, yet untranslated); no tune as of 24/10/24; will certainly share tune with Alcæus fragment;
Phaedrus, with one episode per fable, containing a @BR for the "limping hexameters" translation, and the performance of both the Latin and the AG iambic trimeter translation; not sure what to do about the introes and the tunes, as of 3n/11/24; the three fables:
Fable 10: Lupus, vulpis, et simius iudex (The wolf, the fox, and the monkey-judge);
Fable 15: Asinus ad senem pastorem (The donkey and the old shepherd);
Fable 31: Milvus et columbae (The hawk and the doves);
Virgil: Sparsa Vergilii fragmenta (Virgil, Æneid, I 1-11, I 33, IV 15-19); presumably to get Latin-Italian hexameter intro; this will not use any pseudo-recto-tono, as that would force me to modify the intro composed this morning (4/6/24), so I will musicate the opening (2 lines as of 24/10/24), the random line, and both the original and translation of the Dido monologue, unless I can somehow fit the translation to the original's tune; here is the intro:
Vōbīs Vergiliī præsentō nunc trēs partēs
Æneadis, quæ ego in Ītalicam linguam trādūxī.
Cantābō primum illa Latīnē, atque Ītalicē inde.
Oggi a voi di Virgilio tre parti vo' presentare
Dell'Eneide, che io ho tradotto in Italiano.
Canto prima in Latino, e poi in Italiano concludo.
Audīte et gaudēte! A tutti voi buon ascolto!
the opening will also feature in "Tria proœmia hemiolica" alongside Lucrece's and Ovid's opening; this will not quite be a doublet, since Sparsa Vergilii fragmenta will not be hemiolic, but Tria proœmia hemiolica will; more thought may need to be put into this, like, same tune but alter the values for this rhythm thing, or different tunes?
Alcaeus:
Νῦν χρῆ μεθύσθην vs. Nunc est bibendum: Alcæus vs. Horatius (Alc. Voigt 332 and Horace Odes I 37, yet untranslated); planned for 29/8/27; no tune as of 24/10/24; will definitely share tune with Horace ode;
A Zeus padre (Voigt 69), bilingual AG-Italian Sapphics intro; planned for 5/9/27; no tune as of 24/10/24;
Maledetto Pittaco! (Voigt 70), bilingual AG-Italian intro in whatever that meter is («alternating x–u– xx–uu–ux and regular lesser asclepiads with the Italians taking the first kind of line as Alcaic hendecasyllabics», as per old version of this list); planned for 12/9/27; no tune as of 24/10/24;
Fermati! (Voigt 119), bilingual AG-Italian Alcaics intro; planned for 19/9/27; no tune as of 24/10/24;
A Era regina (Voigt 129), bilingual AG-Italian Alcaics intro; planned for 26/9/27; no tune as of 24/10/24;
Il triste esilio (Voigt 130b); Aeolic-Italian intro in «gt.Ascl./gt.Ascl./xx–uu–u–x/gr.Ascl.», as the old list described this; planned for 3/10/27; no tune as of 24/10/24;
Unknown authors:
Epigrams at the Thermopylae: a tale of retranslations (@BR/@NRR crossover for the Latins); planned for 10/10/27;
Epigrams at the Thermopylae: the final result, plus English and Italian (read the whole Herodotus passage, singing the Remake 2 Latin translations and probably declaiming, or whatever the English word is, the Italian and English ones); planned for 24/10/27; no tune as of 24/10/24;
Amore lieto ed eterno: Catullo CIX e un graffito di Pompei; Latin-Italian metered intro ready, will musicate one couplet and recycle the tune for the others, probably; that's for Catullus, the graffiti will probably have an own tune and definitely add Greek to the intro languages; actually, the intro I made for Catullus will need an update; planned for 17/10/27; no tune as of 24/10/24; probably sharing the tune of the graffity with one couplet of the Catullus fragment;
For Alcaeus-@Cl crossovers for the HS5 translations, see «Opening for crossovers of the Mick Gorro and the Classics and Ἀλκαῖος ὀ Μιτυλήναος series» here.
Youtube series detailing all the pitfalls I fell into when dealing with Japanese songs, and how those caused me to make translations that were horribly wrong.
Wait for answers to this JSE question or comments on this Quora question about">this Quora question (which I want to cross-post if it has no answers in like a week) or comments on this Quora post about Pazuru;
Wait for English of Nee ima sugu aitai yo to make sure you got it right;
Ask question to clarify gaman (relates to Hitohira no hanabira);
Romio to Shinderera might require an episode;
When this question gets an answer, work it into the relevant @Pit episode;
Katoitaliótika
Video series meant to recount all my interactions with Griko songs, including any critical discussion on the text and its spelling. Yes, including explaining the spelling systems I came up with for Griko. And Greko of course.
The Quora space posts (the Kalinifta and Ela ela mu kondà ones for now) consitute a sort of proto-script for two videos, and most of what I've done about this idea. Apart from preparing the theme song, and of course the behind-the-scenes critical work on the texts… which is currently kinda stuck on a list of 30 questions that came out of the massive update I rolled out on Tuesday 12/9.
These are basically the only songs that really need an episode, considering that so far all the songs I'm aware of have lyrics in a well-defined place and I'm probably not gonna look for other versions on purpose. Although one or two don't have a YT vid, so maybe something will come out of that.
I'm currently leaving the Ela ela mu kondà supermix alone for a while, as I gotta go back to that billion questions and systhematize everything and see what questions remain after all those Nick Nicholas answers.
The opening is ready to appear in this weekend's (13-14/1/24) video's bonus.
A lifetime of translations (@LT): (post) and playlist
Youtube series going over all, or most of, my translations on this blog, and giving any anecdotes related to them, any motivation for the translation, any info on how I met the original.
Not even started, though the opening theme exists, now with 3 English voices and an Italian one. I have devised a temporary episode splitting
A blast from the past (Episode 1: all the way to HS1), upload planned for 3/11/30;
Reaching the Sappho doors (Episode 2: From HS2 to just before starting Sappho), upload planned for 17/11/30;
Sappho, chunk 1 (Episode 3: Finishing HS3), New Year's special 2031; this episode and the next should probably make use of the term "paraSchrödingal", coined 26/10/24 12:05 presumably to refer to translation tweaks tucked away into the PN that never made it into the files;
The rest of Sappho (Episode 4: Up to HS4 August, aka August 2011), upload planned for 22/2/32; since I harmonized my song in the period of this episode, the remake of the Italian, whose current video performs it absolutely appallingly, shall close this video;
Finishing High School (Episode 5), upload planned for 6/6/32;
Blogless university (Episode 6: up to May 2017), upload planned for 2/10/33; will include Baby Gorro bonus of Zai women de shijie li Romanian video from 17/10/2012;
From opening the blog to Graduation (Episode 7: up to March 2018), upload planned for 16/10/33;
Reaching the doors of the PhD (Episode 8, PhDS), unplanned;
New friends, new languages, and a lot of dug-up Chinese (Episode 9, PhD1); unplanned;
Lots of Greek, and an Indian poetess (Episode 10, PhD2); unplanned;
Hindi translations, the rise of Albanian, and Sappho's revenge (Episode 11, PhD3); unplanned;
Blog archaeology and remakes from Japanese (Episode 12, up till summer of PhD4); unplanned;
The rise of Portuguese and more remakes (Episode 13, up to Manto de açucenas English); unplanned;
Sappho until graduation and beyond (Episode 14, up to Jan '24); unplanned;
Post-doc and maximum Sapphus (Episode 15, Feb '24 to Jan '25); unplanned;
More post-doc and… did I say maximum Sapphus? Yeah no, THIS is it :) (Episode 16, Feb '25 to Jan '26); unplanned;
Youtube series going over my early translations into Chinese and Japanese that were terrible because I was just starting out.
I already have the opening recorded, and it will appear in the bonus of this weekend's (13-14/1/24) video. This series will go over translations from my first year of studying both languages, which is the last of high school, and schoolyear 2011-2012. As I have already done MickG in chrono for those translations by now (the idea of this series was born precisely while doing that), I should have a full episode list
Signore delle cime, verse 1, Italian-Chinese;
Anata ga iru kara, Detective Conan cut version, Japanese-Chinese;
Still for your love, English section, English-Japanese (two versions);
Anywhere by Avantasia, English-Chinese;
Wǒ by Dave Wong, Chinese-Japanese;
More than words by Extreme, English-Chinese and English-Japanese;
Sempre cantiam al rifiorir del giorno, Italian-Chinese;
'O surdato 'nnammurato, Neapolitan-Chinese;
Katakan tak cinta aku, Indonesian-Chinese;
Bulan menjadi saksi, Indonesian-Chinese (with corrections) and Indonesian-Japanese;
Correspondances by Baudelaire, French-Chinese;
Sam1 jan5 by Dave Wong, Cantonese-Japanese;
Time after time, Japanese-Chinese;
Gushi de jiaose by Dave Wong, Chinese-Japanese;
Weihe liulei by Dave Wong, Chinese-Japanese;
Shenshen de ai by Li Maoshan, Chinese-Japanese;
Ikanaide by Tamaki Kōji, Japanese-Chinese;
Pazuru, Japanese-Chinese;
Gaosu wo ni bu ai wo by Gang Bao, Chinese-Japanese;
Xintong by Huan Zi, Chinese-Japanese;
Wangle ni wangle wo by Dave Wong, Chinese-Japanese;
L'Infinito by Leopardi, Italian-Chinese;
Alla luna by Leopardi, Italian-Chinese;
Shôjo no koro ni modotta mitai ni, Japanese-Chinese;
Happy birthday, Japanese-Chinese;
Kimi ga ireba, Japanese-Chinese;
Aitai yo, Japanese-Chinese;
Still for your love, Japanese-Chinese;
Lela, Portuguese-Chinese;
Tsukiakari no michishirube, Japanese-Chinese;
Hitohira no hanabira, Japanese-Chinese;
While the opening was already found in the bonus here at 5:39-6:06, I reviewed it because I'm way past my PhD. Both versions are found here under «Two openings for the A lifetime of translations series», though only the original has a score.
Youtube series going over all the translations of poetry made by me which didn't get a video for any reason. This will mostly be Sappho translations not in Ψάπφω ἀ Λεσβία which are bad for whatever reason, but may include other bad translations.
Non è dolor nel mondo definitely belongs here, not sure about other non-classics poetry translations, will have to evaluate.
Commentary on the text: to Gongyla, or to Abanthis?
Latin and Italian translation reviews, English badslation reviews (see Gongyla: a difficult reconstruction); this was planned for this series as «The Gongyla poem: two versions, two English badslations»;
Critical note and translation/badslation reviews for Ode to a beautiful woman (LP 23 SMB 18), the Italian badslation being reviewed at the end because of a change of plans between recording sessions; includes «As fair as Hermione (LP 23), in ugly Italian (@Ψ crossover)»;
Mystery Gongyla: what it is, why I musicated it, and when;
Performance of MG: Modern Greek and Italian, one voice each;
Gongyla, "Vulgate version", Ancient Greek with Italian rhyming pseudo-barbarous meter translation and HS3 Latin Sapphic stanza translation;
Ode to a beautiful woman, Edmonds+ version, Ancient Greek with HS4 Latin Sapphic stanza translation (slightly shoehorned into the tune) and English rhyming pseudo-barbarous meter translation, and Italian barbarous meter translation;
Ode to a beautiful woman, Tedeschi version, Ancient Greek with Italian barbarous meter translation;
Kleis, Ancient Greek with Italian rhyming barbarous meter translation and probably the other HS4 translations, shoehorned into the tune, as they will probably be metrically fixed for the Sicilian episode;
Gongyla, Campbell version, Ancient Greek with Italian rhyming pseudo-barbarous meter translation and HS3 Latin Sapphic stanza translation;
Mick Gorro and the Classics + Ψάπφω ἀ Λεσβία[ | Saffo di Lesbo] + Saffu in Siçilianu: Catullus&Sappho: Ode to Anactoria, aka the Catullus part of "Catullus and Sappho: Ode to Anactoria in Italian and English, and Catullus LI in English" ǂ Catullus and Sappho: Ode to Anactoria ǂ Three-way crossover between the three series in the title, to compare the new Italian and English translations of the Sappho fragment (LP 31 SMB 15), and the Greek Italian and English translations of Catullus LI, plus the Italian and Sicilian translations of the Livrea version of the poem, newly adopted after reading his article on reconstructing stanza 5 to be the antecedent to Catullus's fourth ǂ uploaded 31/8/25;
High school me vs. these fragments, concluding with SF w Italian badslation review then Ancient Greek with Latin metrical and Italian and English barbarous meter translations, and SF x translation review for alternate Italian and Ancient Greek with Latin metrical and English1, Italian, and English2 barbarous meter translations;
How they were combined and integrated:
Combo 1 SMB 161 "Ye cowered" has contributions from LP 62, 71 l. 8, 87(14) ll. 4-end;
Combo 2 SMB 162 "O dream, through dark night" has contributions from LP 63 and 87(13);
Combo 3 SMB 163 "About her exile" has contributions from LP 68(a), 70, 75(a);
Combo 4 SMB 164 "We played" has contributions from LP 68(b) and 69; this and its contributing LP fragments should probably be performed here, just to end the video with something musical;
Combo 5 SMB 165 "To Mika" has contributions from LP 71 ll. 1-7, 61, 87(14) ll. 1-3;
Combo 6 SMB 166 "Against Andromeda" has contributions from LP 86, 67(a), 65, 60, 66(c), and P.Oxy. 1787 fr. 3 col. i, which apparently was never included in a Sappho edition and confined in the papyrus transcription until the papyri were combined, and with 7 letters and some vestiges it doesn't give much;
Performance of incomplete texts of comboes;
Combo 4, Ancient Greek with Italian barbarous meter translation;
"Leda" (LP 166) at Mythic'lly good? Let’s hear some myths!; aka «Bad Italian Leda myth (LP 166) (@Ψ crossover)», although I think I ended up reclassing this as OK;
"Ancella di Afrodite" (LP 132) at Mythic'lly good? Let’s hear some myths!; aka «The handmaid of Aphrodite (LP inc. 23) is horrified at these three badslations (@Ψ crossover)», really? Horrified? I performed all of them! Well except the English, I remade that;
The opening has existed for ages, but for now has only been shown in short forms in crossovers. However, at 0;40 on 7/9/25 as I updated the todo list, I thought I could have its first part, then the first part of whatever it crossovers with (I imagined @Cl and @Ψ), then the crossover forms I've been using so far.
Project: Sappho translation tables
I want to set a bunch of counters to make a huge Sappho table where every fragment is pitted against any edition/anthology and given a translation percentage (lines translated / lines total). This should replace @MGS, since the rest of @MGS was planning videos and that is done in the related entries.
Actually, considering the wealth of "grouped anthologies" together with the Dogespeak one, I'm gonna make a separate table for these, with fragments on the columns and languages/dialects on the rows (Dogespeak will have 4 extra columns), whereas the one with Spanish Chinese Greek German Italian Hungarian Latin Romagnolo GreekBM SpanishBM will have the fragments on the rows and the editions/anthologies on the columns.
Zero work done, aside from maybe the anthologies' and Italian edition's counters though those really only give the translated lines numbers and only in the code as they are then all summed together.
I want to get to the rework by implementing the various change points one by one, as I do the rest of the chrono index, and after finishing the Sappho files post and the Paracritical Note post (Italian only). The wannabe OS file which never made it into the chrono index's list, containing the status of things on 6/3/11, was implemented into the post, and noted in the index, except for any tweaks after it.
Post: HS Sappho: Evidence (outside diary and poem notebooks/noteblocks)
Convert all the Sappho files and printouts (lists S, OS, SP on the chronological index of translations) into a post.
The draft currently contains S1 and SP1, along with a few notes. The plan, as per the draft, is as follows.
I should have all the comparisons I need up to S10 already;
Include S(P)2 by copypasting from S2 and then putting in the annotations; I make them a single tab because S2 is the file that was printed into SP2;
First copypaste that tab so as to have it without annotations so I can upgrade it to S3 (a comparison I can definitely make since they are both docs);
Copypaste S3 and upgrade to S4 (a comparison I can definitely make since they are both docs);
Copypaste that and upgrade it to S5 (I extrapolated this comparison from S4-S7);
Copypaste S5 and upgrade to S6 (and that comparison was Draftable-made);
Copypaste S6 and upgrade to SP3 with the comparison extrapolated from S4-S7 and the comparison of the "apparitions" between S5 S6 SP3 S7;
Copypaste S6 again and upgrade to S7 (another extrapolation from S4-S7 and S5-S6-SP3-S7);
Then I have extrapolated S7-S7b so I can do that (I actually have that comparison for Italian and English from Draftable, though the headers seem to have behaved bizarrely); this is the same as SP4, so the tab will be S7b/SP4 and include the annotations of SP4;
S7b is also to be upgraded to S8 (Draftable comparison);
SP5 must be extrapolated between S8-S9 (Draftable);
Printouts from SP4 on have overlays, and in some cases even extra pages; for overlays, I will to the headers an OS number wrapped by 上, and you can find the OSs at the bottom; I assume extra pages are also OSs, but in any case, for extra pages I wrap whatever reference I need to use in 页; so 上 OS<number>; for overlays (which I assume all match OSs) and 页 OS<number> for extra pages matching OSs;
Then I take S8 again and upgrade to S9;
Interpolate SP6 between S8 and S10 for numbered fragments; compare the lettered ones by sight with S9, as there are only 58 or 68 translations from such fragments in S9, and most of those fragments are super-hecking-short; I can't interpolate between S9 and S10, can I? I'd be assuming S9 is strictly anterior, which I don't know…;
Then S9 upgrades to S10, for which I have a comparison; it's interesting that Draftable-comparability is not a transitive relation, since S7-S8 was impossible, but S6-S10 was possible, and so were S8-S9 and S9-S10…;
Copypaste S10 and upgrade to S11, for which Draftable comes to the rescue;
Copypaste S11 and upgrade to S12, as extrapolated from S11-S14 for Latin and Greek, and done with Draftable for Italian and English; why some files are read with weird mojibakes in Latin and Greek by Draftable, I have no clue; I would really like to train Draftable to see through these mojibakes, but the related Fb page won't message me back and I obviously cannot figure out such a thing on my own;
Copypaste S12 and upgrade to S13, for which Draftable works;
Since S12 and S13 compare, I can look at the very few changes between them and presumably conclude that SP7 is, in all those respects, the same as S12; as for whether it's strictly anterior to S12 or identical to it, well, S11 and S12 don't compare except for Italian and English; for Latin and Greek, I guess I extrapolate from S11-S14;
S12-S14 don't quite compare, but those 7857 changes seem to be mostly clear bullshit even from the previews, so just scrolling should let me isolate the true changes from the garbage and distill a comparison;
S14-S15 will have to be done via TeXShop since Draftable doesn't cooperate on it;
S15-S16 seems to be in the same boat as S12-S14, which makes me suspect that a) S12-S16 may be viable, and b) if I make a pdf of S15 I will be able to compare successfully; and a) is immediately confirmed, so I guess I do that and interpolate everything else instead? b) is instead disproved, since I already made S15_fixed.pdf, and it doesn't compare to S16, although it's still in the weird state of the clear bullshit changes, and there's far fewer of those, since apparently those docs get read as having a bunch of extra spaces which the pdfization removed;
S16-S17 fixed seems to be again full of clear bullshit changes; I wonder what causes them;
S17-S18 is another one full of clear bullshit; I wonder if S16-S18 is viable? Yes it is!
S18-S19 is viable, if a bit lengthy because of page number changes that will probably number in the hundreds;
S20 is just the first page of S19, and probably a bunch of other files;
S19 and S21 are identical;
S21 and S22 are full of bullshit changes, I wonder if S19 doc will compare with S22… 1631 changes, and they seem to mostly be moves not recognised as such; maybe we can avoid TeXShop on this one;
I will assume S22 and S22b differ only in the latter having checkmarks and annotations, since S22 and S21 don't compare at all; it's almost as if Draftable could not read S22 past the annotations, and compared complete Gibberish for S22b.
Unfortunately, after writing this out, I was not able to put in S2-S4 as I planned, and will probably do so tonight. And now I wonder how old this sentence is :). It's currently 12/2/26, and I don't think I've touched that once in the past like 2y….
Paracritical Note post - Italian
Post containing the whole of the Paracritical Note I wrote back in high School about my Sappho work of the time
The draft currently contains most of the intro and all of the text, with the markings for the different files. What's taking forever is to properly format it, and to make the section index at the top. I currently have both formatting and index for the first 3 sections, and the fourth one is indexed but a WIP on the formatting side.
Operation: Saffo in Metrica Barbara Comparative Numbering Table
Make table 3: SMB in column 1, Safo: Poemas in column 2, CPS (Chinese Poetic Sappho) in column 3, LP in column 4, SSN (Neogreek anthology, yet unlaunched) in column 5. Sources, maybe, or maybe not.
Low-priority, recently detected (as of adding the operation on 10n/8/24), not really on my mind.
Intends to translate LP 34 into at least one dialect for each group on this map.
The post was posted 26/4/25 0:43:01. Here is the list of groups, in the order they will appear in the relevant @Ψ episode, with the status of each group.
Li5: example places: Ventimiglia and Sanremo; M.N. may ask friends from Ventimiglia if they can contribute, otherwise, or if I get fed up of waiting, I'll tell M.S. to contact his friend from Sanremo; well actually the friend she had in mind is not sure to be from Ventimiglia, we'll see if that friend can cover any of the remaining groups; I decided to heck with that friend, and asked for the Sanremo contact; got the contact, wrote to her; she gave me the contact of someone in Famija Sanremasca, and I emailed the guy; he replied, and hist last email ,dated 22/10/25, says he has a translation with some variants that he wanted to discuss with friends, that he was looking for an appropriate vocalization, and that he was waiting for names for Imperiese; then he sent a translation, I metricized it with a gap, he filled the gap, and I am awaiting a final approval which I basically expect;
Li4: example places: Imperia, hence my joining Sei di Imperia se… on Fb and posting… well pretty sure I posted something but can't find it even with activity log, so here's a new post from during this update :); the older post was declined, possibly automatically; the Sanremasco guy should have names by now, I should soon contact him; he pointed out there's two different dialects in Imperia, one more Ligurian, one influenced by Piedmontese, and I think I'll go with the former; although an anthology of Sappho in both might be interesting :); yeah no, that anthology has since become 4-Ligurian :); anyway, the Faccini twins, met at dinner after my brother's concert in Lucca on 31/1/26, may have a contact for this;
Pi1: Mattia Calcagno translated it to Torinese, I fixed the meter;
OC (Occitano): example places: Monviso and Pomaretto; R.D.'s contact N.P. told me to contact the scuola Italiana in Pomaretto, and they sent me something on 1/8; it didn't arrive; I made a version and sent it to N.P. on 6/8; she said they'd sent; she told them to resend; they resent on 5/8, and the following night I replied with a metrified version (still with a doubtful part); reply came today (22/8) and I think we have a final version, just verify I'm not misplacing stress marks and choose between a few options of l. 2 and two of l. 3; well actually the rereply came and we have a final version, though ëncâro is kind of the wrong meaning of ancora, but whatever; IPA came as I updated this list on 14/11/25;
FP (Val D'Aosta): D.F. asked someone, who couldn't find a consultant, but suggested joining this Fb group, which I did; L.B.B. told me to message her, then was solicited by I.A. from WA above, and provided versione in 4 different dialects, as well as the contact for Pi3;
Pi3: R.D., contact given to me by L.B.B. from FP, made his version which I metricalified, and gave me a contact for OC and one for Lo4;
Pi2: F.P. will presumably contribute; actually, his mother got his father A. to contribute, and the metricalified version got near-approved, fixed, approved, audioed, the audio revealed two problems, fixes again, final approval;
WA (Walser): I.A. and I came to a version in Töitschu, the Walser dialect from Issime (Val D'Aosta);
Lo4 (northernmost tips): sample places: Domodossola (Pi) and Chiavenna (Lmb); M.A., possibly from Alpe Devero, said she couldn't help; no idea who to ask otherwise; R.D.'s contact M.V.G. found a contact from Montescheno and we have a version pending final approval; which came the day after writing this;
Lo1 (Western): made my Brianzolo version, would like to do Varesino (Varesotto?) too; actually no, I got a Craveggese version through the Lo4 contact, and that version's metricalization is approved;
Lo2 (Eastern): let's completely reset this, and say I eventually managed to do Bergamasco on my own and that was approved by the cleaning lady in Dorga with "not even a Bergamasco could have done it so well" :);
Lo3 (southern): Made my Lodigiano version with this dictionary and grammar page, Lodi should be in the area; my boss is from San Rocco al Porto, and we put together a version in her dialect;
Em4 (Piacentino-Bobbiese): sample places, of course, Piacenza and Bobbio; have a lady from Piacenza at the Uni (S.G.), but neither she nor her parents speak the dialect; to sum up the rest, I joined Sei di Piacenza se… on Fb and posted, got a comment, eventually the commenter contacted a prospective consultant that sent me a version right as I was updating this list on 29/8/25 and I metrified it the same day, with a small edit happening a couple days later;
Em2 (Western): sample place: Parma, where my uncle has a contact by the surname of Petronini who apparently knows the dialect well; over the Xmas holidays I was told this person didn't feel confident in his dialect skills; maybe the Faccini twins will find someone; M.S.'s friend turned out to be from Sestola, which is Em1 like Bologna;
Li3 (Ligurian in Piedmont): V.T. will involve the president of the Società Storica del Novese; she abandoned the idea and asked a lady who speaks the dialect well, she sent her a version (or gave it to her on paper?) which she has to transcribe with all the correct accents, and will send to me on 14/9 or 15/9/25; the version reached me on 20/9, I metrified it, and it is pending approval; approval came today, 4/10/25;
Li2 (Eastern): Lericino has been done, with my friend M.A. contacting a friend of his who's better at the dialect, this friend producing two inmetrical version, and me fixing one of them;
Li1 aka Genoese: made my version with this dictionary, Calcagno made his, both were corrected by L.P. via email;
Em5 (Lunigianese): F.S. (my Sl2 consultant) has a son-in-law from Aulla, with whom I already reached a final-approved version;;
Em1 (Eastern): made my Bolognese, fixed by M.B. (my uncle who's from there) with doubts on how to say "fills"; my friend from Bologna at Uni couldn't find that info either; I rephrased the second half to avoid the problem, result is pending; as is the Reggiano which came in two days prior and was immediately metricised;
Ve1 (Central): I know a girl from Porto Viro whom I can only contact with Fb, but her chat is unusable for some reason, and she never interacted with my post on her timeline; a mutual friend is contacting her about this; even her friend at whose graduation I met this girl isn't getting answers from her; DT at my Uni is from Stigliano, which is either Ve1 or Ve2, but doesn't seem willing to contribute on this front; oh Porto Viro is in Ve1? Well then screw that girl, my hairdresser is from Cittadella and we made a version :);
Ve2: sample place: Venezia; made my Veneziano version; Sei di Venezia se… and posted this; I also got a contact from my brother of a "letterato" from Venice, and WA'd him right away; and he approved the version, and I only noted it about a month later here :);
Ve3 (Eastern): sample places: Udine and Palmanova; M.I. lives near the latter and said she could possibly get a version; No M.I. contact, unfortunately; unless her one contact can find someone; Trieste's also in there, so I joined Sei di Trieste se but my post had no reaction; I tried making a version myself, which is pending post acceptance in the group; M.I., the Fr1 consultant, contacted a friend from Trieste, who sent their own version, which I metricised; pending approval; she also suggested Pordenonese and Triestino are very different, so I decided to do Pordenonese and Trevigiano in addition to Triestino; the one-edit approval came from the Triestino contact, along with contacts for Pordenone and Slovene; the former will eventually get to work with other friends on my request;
Fr2 (Western): sample places: Travesio or better Vajont; Consultant via M.I.? Just joined Sei di Vajont se…; it would seem I have finally found a group which rejects non-citizens, as I was apparently rejected twice, once before the last update, once today (22/8); tried a third time; one post of mine got through, and apparently there's no Vajontese… because there are two of them; no-one in the group seems to be willing to contribute either dialect tho…; No M.I. contact, unfortunately;
Fr1 (Central-Eastern): made a Friulian version with this dictionary, M.I.'s mother approved it, her friend sent an inmetrical one with apparent grammar mistakes, and I found something wrong in mine which I asked her to ask her mom about; and apparently both can be used and the version IS fine;
SL(ovenian): sample place may be Gorizia; boh? If Carynthian is not too different, Mitterer's Carynthian friends will come to the rescue; my brother also gave me a contact for Gorizia, which should be in this area; I WA'd him right away; about a month after he replied and agreed to contribute, I note he hasn't yet sent a version :); apparently I really misunderstood, he didn't agree, he said he couldn't, not for Friulian Slovene at least; he did approve my standard Slovenian attempt; the contact I got from the Triestino contact declared herself inadequate, and neither she nor the Triestino guy have other suggestions, so this unfortunately regresses to no-version no-contact; S.R., the Lucchese guy, may have a contact;
Fr3 (Carnico): Consultant through M.I.? Sample places: Ravascletto and Monai; none of which have a Fb group apparently, so I really hope M.I. can come up with something :); No M.I. contact, unfortunately; Tolmezzo, Cavazzo Carnico, and Moggio Udinese are also in this area; Monai is an older name for Ravascletto; I joined the groups for Moggio, where my post was declined and retried, for Cavazzo, where one post was removed and another one is pending but the link doesn't work, and for Tolmezzo just now, where my post was instaremoved so this is Sarpi N.0; well Moggio replied and we have the translation so screw all other places :); pending audio;
Cb (Central Bavarian): Josef G. Mitterer made his version;
ST (SüdTirol): Josef G. Mitterer made his Val Pusteria version;
LA (Ladino): made my Badiotto version with a dictionary I couldn't find again, Mitterer approved;
Ve7: sample places: Cortina D'Ampezzo, Malga Ciapela; actually, it would seem Gosaldo, where I have a brother-found contact in M.d.C., is in this area, and she and her father contributed and approved a final version;
Tr(entino): made my version with this dictionary, B (a friend of mine who is from there but doesn't speak the dialect) asked her mom for comments, and got a modified version, then with mediated interactions I came up with two metrical versions, and B's mom stopped responding to the friend; the Salicese consultant (see Sl2 below) knows someone from Trentino and will probably ask for comments eventually; asked B again, got another unmetrical version, came up with a third metrical version, sent an audio, friend says it was approved, curious to hear from someone from Trento, which is the dictionary's dialect, to see what they say, maybe all these changs are an effect of Mezzocoronese vs. Trentese;
Mòcheno: Mitterer said he'll come up with something which «hopefully won't take much patience» :); well it ended up taking enough patience that I tried it myself, and got it approved with a few tweaks :);
CI(mbrian): made my version with an online dictionary and grammar, Josef G. Mitterer approved it, then when presented with it again for IPA offered a tweak that screwed the meter up, and approved one of my meter fix attempts;
Ve4 (Trevigiano): Francesco Baldessari doesn't speak dialect, but M.d.D., contact found by my brother, can put me in contact with a Belluno person who also knows AG; or apparently just make the translation herself, as she doesn't seem to be mentioning anyone doing the translation; except she's from Gosaldo, not Belluno, and that turns out to be in Ve7, so I joined Sei di Belluno se… and posted this, which managed to get a comment and my reply to it despite being pending, I have no clue how; I added my attempt to that post;
Ve6 (High Vicentino): sample place: Asiago, hence my joining Sei di Asiago se… and posting this;;
Ve5 (Veronese): C.D. (one of my primary school teachers in England) is from Verona, and we put a version together in her dialect;
Em3 (Northern): made my Ferrarese version, M.C. (contact from my brother) and some friends improved it but made it inmetrical, I touched it up, approval came;
Ro: made my version in the Russi dialect;
Ms: my friend from Cartoceto won't reply on WA, but the other organ player at my Pisa church contacted his Pesarese friend with whom, communicating through the organ player, we finalized a Pesarese version, so screw the Cartoceto girl :); I also wanted Urbino, for which I told my friend to ask the Pesarese guy; he didn't quite catch on, distracted by the Ascolano guy I told him he should contact, and the Macerata contact (see Mc2) gave me the contact of L.S. for Urbania, which I think will replace Urbino; he does not reply on WA; this is also outdated, I wrote again he said he was moving and would put himself to the task the following week, and did so yesterday (writing 5/2/26), and we have a final version and audio;
To1 (Aretino): Vanna on Quora converted my putative Aretino to Chianino;
To3 (Senese): sample place is obviously Siena, but my Senese attempt would coincide with the Grossetano one; joined Sei di Siena se… and posted this; Faccini twins? Maybe M.S.'s friend living there can find someone? Or the Sardinian professor at the Uni Stranieri Siena?
To2: Florentine was made by A.M.; I also have a pending version in Pratese, which I used to think was in To7 above;
To7 (Pistoiese): sample places: Pistoia (of course) and Prato; made my Pratese attempt, M.S. got me a Pratese contact who is going to study the attempt and submit it to an ``evem more DOC'' Pratese when she gets back from the CL vacation; except Prato ain't in that area, but in the Florentine area, so I joined Sei di Pistoia se and posted this; added an attempt to the post, and the commenter said "Direi perfetta", so this is awaiting the pronunciation voice note;
To9 (Apuan): sample places: Isola Santa and Barga; made a Garfagnino version, no idea how to find a contact unless M.S. or S.R. have any acquaintances from there…; well this is out of date; I've been waiting for a reply from a contact given by M.S. for ages, I'm in a group that also doesn't answer, and the Faccini twins may have a contact;
To8 (Lucchese): I know two people from Lucca (L.A. and S.R.) and one from Viareggio (S.G.), the last of which is going to try translating this by getting ahold of a dictionary; and then he decided it was impossible, so I contacted S.R., who was willing to try, but I beat him to it with an online dictionary, and he approved one of my two versions;
To5 (Pisano-Livornese): G.V. and I put together a Pisano version;
To6 (Elbano): F.S. got her cousine involved; the result of asking her not to worry about meter was I got the Italian version with Elbano accent sent to me :); so that was easy, and got a tweak which is pending approval; that cousin should tell me if the tweak is OK and send me a sung version, as she is a soprano and I sent F.S. (on cousin's request) a score made specifically for her (I had one with Greek and Hindi); the new version got reviewed and eventually approved between 21 and 28/9/25;
To4 (Grossetano-Amiatino): sample place Grosseto, of course; sent my Grossetano attempte to F.L., a guy from Grosseto in the Pisa CL choir, on 7/8, finally got an answer on 21/9, with a couple fixes; on 13/12/25 we finally sat down to get the needed phonetic info, hence the diacritici version in the post; will send an audio eventually so he can comment on my accent;
La3 (Tuscia viterbese): sample place Viterbo; boh? Can't try Viterbese for lack of resources; I'd have M.F. as a contact, but P.F. said she probably doesn't speak the dialect, and suggested I try G.M. instead, I think for this group, but maybe for the Latina one (can't see where she's from); waiting for her reply on WA; also joined Sei di Gallese se… and posted this pending thing;
Ub2 (Southern): Fabrizio Bartoloni on Quora has a megadictionary of Spoletino, and his friend who's native in Spoletino sent his version, then through FB we fixed it, and now this Maomao has approved the version and will soon send me an audio of it for pronunciation issues; welp, took some months to notice this was still in this state, while the audio had long since arrived :);
Ub1 (Northern): made my Perugino version with "Wikidonca the bible", as Julia Otaku on Quora calls it; waiting for news from my friend M.F., who's from Perugia but doesn't speak the dialect since her mom is from Macerata and her dad from Ascoli, but will ask friends for Perugino and her parents for the respective dialects; she wrote to a friend for each town, and only the Perugina replied, essentially approving the translation;
Mc1 (Anconitano): sample place Ancona, of course; made my Anconetano version, M.C. (cfr. Mc2) knows someone from there, sent him the version; that is oooold stuff tho, M.C. has not been able to contact the guy, and through a contact for Macerata (see Mc2) I got ahold of another contact for Anconetano, who didn't reply to emails and Messenger messages, but then I WhatsApped, and we settled the Anconetano;
Mc2 (Maceratese-Fermano): made my Belmontese (with an online small dictionary) which was converted to Fermano with the help of M.C. (a friend from there); still waiting for news from M.F.'s Maceratese girl friend (see Ub1 above); or not; I got another contact from G.B., specifically A.R., with whom I put together a Maceratese version; he also commented on my Belmontese;
Mm: made my Sambenedettese version, we'll see what M.F.'s Ascolana friend (cfr. Ub1 above) says; submitted it to C.d.L as well, still no answer; nope; I have another contact, namely G.B., who corrected my version and eventually we came to a metrical approved version; also, I got his contact from P.P., my contact for Ascoli given to me by A.R. (see Mc2); and finally Ascolano is also done with;
Ab3 (Teramano): my second cousin-in-law's brother (cfr. Ab1 below) has a friend from Teramo who has contributed;
Ab1 (Adriatic Eastern): I know a guy from Vasto (contacted), a girl from Pescara, a girl from Popoli (won't reply), and a guy from Cepagatti (contacted), though that may be Ab3 instead; I found out I have a second cousin-in-law, L.P., who is from Lanciano, and I have a version fixed from her brother's contribution, which was approved with a couple tweaks;
Ab2 (Marsica-Peligna): sample place Pescina; Asked F.O., who IIRC is from Avezzano (Sb) with a house in Pescina (Ab2); he couldn't directly contribute, nor could a friend he contacted, but this friend is looking; also joined Sei di Pescina se…, posting this; no news from Pescina, even when I asked the Ab1 second cousin-in-law to ask her brother; but Sulmona is in the same area, and I should have a contact from there, namely A.M., whom I contacted;
Sb (Sabino): made my Aquilan and P.I. (a local lady) corrected it;
La2 (Central-Northern): sample places: Latina; boh? Rietese is unattemptable, and looking for a Latinese dictionary ends up in Latin :); also Rieti is in the Sb group, IIRC from checking last friday (30/5/25); had C.C. as a contact, P.F. said she probably doesn't speak dialect; Sei di Latina se…, which I joined and posted this on (how it's Pending if it's full of comments I have no clue), gave me a consultant for Sezzino, and the knowledge there are at least three kinds of dialects, whence I decided to join Sei di Terracina se… as well, posting this; M.S. gave me a Frosinone contact, I called him on 1/2/26 and he's consulting a poet friend for Ciociaro and trying to find someone for Terracina or similar; well the Terracinese contact did contribute, and will hopefully soon comment on my metrical version; the Sezzino girle, nope;
La1 (Romanesco): made a Romanesco version, M.T. (a Roman friend in Pisa CL) changed one thing about it;
Cm2: sample places: Frosinone, Cassino; made a Ciociaro version, but E.L.'s mother, who is from Frosinone, said she doesn't speak dialect enough; I have a Fb friend from Arpino (C.T.) whom I contacted, but he also doesn't speak dialect; S.P., a guy from Fermo in Pisa CL, said he knows someone from there, waiting for news on that; I also joined Sei di Frosinone se…, posting this; M.S. gave me T.Q.'s contact, I sent him an SMS (no WA on his side!), waiting for a reply; should ask M.S. if his Fb friend T.Q. is the same T.Q. as the number he gave me; yes it was the same, but then I called him and he's consulting a poet friend because he's not confident in his dialect skills I guess; TQ contributed, the version is pending audio;
Ml: sample place anything in Molise :); my friend from Termoli said he needs to ask others, which is complicated since he now lives in Abruzzo; he couldn't find anything, but my friend from Lucca has a contact in Campobasso, who delivered yesterday (28/8), at last, and then vanished before providing the audio; I metrified it, pending approval; consultant seems to have vanished; another consultant emerged and recorded an audio, from which I tweaked the metrical version a bit; still waiting for approval; he says "È giusto", so I count it as approved;
CR (Croatian), for which I have no sample pace and I somehow ignored it completely up til the 4/10/25 update of this list;
Arbëresh: sample places: Ururi, piana degli Albanesi; probably gonna ask Quora English for help, since there are Albanians there; maybe the Albanian corner will comment on the single Arbëresh version I produced, probably a mix between Ururi and Piana degli Albanesi Arbëreshes, given the dictionary I used is from the former and the grammar from the latter; I just joined the Ururi group and posted this; Vibonese contact found a Cerchiara contact and we fixed the version;
Pu4: made a Foggiano version, should I contact the DAB driver who is from there? M.C. knows someone from Foggia but he lost his contact; M.A. (the Lericino guy) contacted this "Zighi", who sent my version back with the Ys changed to Us, meaning he essentially approved it; but then I tweaked it so this is back to pending approval, might contact G.I. about it;
Pu5 (Garganico): sample places: Vieste, Peschici, San Nicastro Garganico; I.A.C. (lady from S.N.C. in Pisa CL choir) was pressured into thinking about it bit by bit after I tried something with online resources and probably produced a messy version of another dialect;
Cm1 (Napoletano): made my Neapolitan version and A.G. (a friend from Caserta) corrected it, changing one singular thing;
Cm3 (Beneventano): sample place Benevento, of course; either the Quoran Luigi Castronuovo, or no idea; should work out if Caserta is Cm3 or Cm1, and if the former, maybe my Casertano friend A.G. can change my Neapolitan to Casertano? I think I found an old acquaintance from this group, but can't remember who it was; nah nah, M.C., a colleague of dad whom I met the first time I went to Pisa after winning my post-doc position, is from there and sent me a version while I updated, and my metricization was approved;
Cm4: sample place Avellino; Irpino made with an online dictionary, D.F. works in Avellino which is in the group and has students who barely speak Italian, so he will submit my version; no news from him, did I even ask Carpinelli for this aside from finding a Beneventano for the audio? Or di dI ask for Cm5? Well Irpino was settled with a friend of D.F.'s mom;
Cm5 (Cilentano): sample place: Agropoli; either Luigi Castronuovo or boh; I do know someone from Cassino, but he's not replying; also, this summer I'll be on vacation in that area, maybe a local will contribute? Although that's in the mixed Cm5-Ce (Cilentano meridionale) area, so what dialect will I find? Cassino is actually Cm2 so screw that :); I joined Sei di Agropoli se… and posted this; no news from there, I may have asked Carpinelli, I found E.L. is from Campagna which I'd like to add as a transition area but he cannot directly contribute, maybe he can find someone more knowledgeable;
Ce (Cilentano meridionale): sample places: Palinuro, Marina di Camerota, Camerota, Sapri; I joined Sei di Sapri se…, got 2-3 posts autodeleted, went to Sei di Palinuro se…, got my version from there, fixed the meter and had that approved, and unjoined Sapri;
Griko: sample place: Castrignano de' Greci, just 'cause one of my dictionaries is from there :); made with a bunch of online dictionary and the Ciuricepedì grammar, will eventually ask Quora about it; will Nick be willing to comment :)? Asked ciuricepedì, still awaiting an answer; just joined Sei di Calimera se (couldn't find Castrignano among Fb groups) and posted this which is pending; it was then approved, someone commented the translation "mi sembra un caos", I edited the post and it went back to pending;
Sl2 (Leccese): Salicese version made with F.S. (Pisa CL); I also attempted Leccese, which was seriously modified by a contact, then I metricized it, and with very little change the result was approved; he's gonna have it cross-checked by a professor friend, whom he'll also ask for a Griko contact; he will also look for a contact from Scorrano, so I can have that version also corrected;
Sl1 (Brindisino): L.C., the Salicese lady's husband, is from Brindisi and we made a version;
Pu2 (Apulo-Salentino): Tarantino made, and EL's father from Taranto is in the same situation as her mother from Frosinone :); Pisa CL had A.P. to offer, who corrected my version which was almost already good;
Pu1: my Barese version got corrected by A.d.M.;
Pu3 (Apulo-Lucani): Materano made with the help of G.P. (a friend from there and another Pisa CL choirist) and his mother; would be nice to also get a dialect from this group tha'ts spoken in Apulia…
Lu1 (Vulture-Melfese): sample place: Lavello; boh? Messaged Sei di Lavello se…, which is a page not a group;
GB (Galloitalico Basilicata): sample place: Potenza, hence me joining Sei di Potenza se… on Fb; I have a Potenzese version made with an online dictionary; it doesn't seem Galloitalic at all, but the map would suggest otherwise; should ask Quora about this, and also, who can correct it? Probably L.S., the Potenzese acquaintance I contacted last Friday (30/5), except he ghosted me once I sent him the version…; I posted on that group thrice, two got declined, the third one is up;
Lu2 (Appenninici-Metapontini): sample place: Policoro; DT's mother-in-law is from Policoro, and he told me he knows a dialectal poetess from those areas; waiting for an update; both of them, IIRC, essentially ghosted him on this front :); S.R., the Lucchese guy, has a "musicmate" from Santarcangelo di Basilicata, and she, like the Molisano contact, is taking her sweet time to get to this :); as it turns out, she was waiting for a contribution from a more dialect-proficient uncle; I recently got a version and metricised it, and it is pending;
Lu3 (archaic Lausberg Area): sample places: Lauria, Francavilla, for which I joined Sei di francavilla se… on Fb, and hoping it's for the right Francavilla I posted my earlier attempt at Francavillese, awaiting comments; except there are many Francavillas in Italy, and the dictionary I found was for Francavilla Angitola in Ca1, whereas I wanted Francavilla in Sinni; not sure where the group is from, and nobody's answering; I also joined Sei di Lauria se as a result, posting this which is pending;
Cs2 (Alto Cosentino): S.P.'s friend from Corigliano Calabro contacted a philosopher who produced an initial version, then we fixed the meter;
Cs1 (Cosentino): sample place: Cosenza; I know several girls from there, none of which reply to me on Fb; one of them, M.B., seems to not reply on Instagram either, and M.F. gave me her number but apparently it's an old number because no WA and anyway no reply to my SMS; how this was marked as done Idk, but I joined Sei di Cosenza se because screw all those non-answerers, and posted this; dad also has a friend in Arcavacata, so that may be my consultant; as it turns out, this guy is from Vibo, which is Ca1; we'll be doing Vibonese, and hopefully, living in Arcavacata, he'll be able to find someone for Cosentino as well; he has found a guy ages ago, but the guy wasn't very social and I only had news of him on 31/1, when we finally dealt with the Cosentino; audio being awaited;
Ca1 (Catanzarese): contacted F.C. (a friend from Lamezia), but he stopped replying when I introduced the idea; should probably contact his sister; tried tweaking my Reggino into Gasperinese based on an online dictionary, probably produced a mess :); his sister M., whom I contacted on 30/5, told me her dialect is mixed between her parents' dialects and that of Lamezia, she contacted friends and they suggested Franz Tropea, whom I contacted, and she put me in contact with her mother L., with whom I put together a Serrastrettese version; Vibonese has also been done (cfr. the Cs1 item);
Grecanico: sample place: Chorio Roghudi; will eventually try to Grecanic-ify the Griko I made; that probably requires the Caranastasis-Casile dictionary to be complete first tho; hoped To Ddomadi Greko on Fb would help, but when I pitched this they asked me if I'd join the Greko week this summer…; so I joined Sei di Roghudi se instead;
Ca2 (Calabrese meridionale): made my Reggino with an online dictionary, my friend from there won't reply, I also had L.F. (a friend from Locri at Uni) convert my Reggino to Locrese;
Si4 (Southwest): A.M. and I finalized a Modicano version;
Si2 (Catania): I know a guy from Catania, and then there's the Si1 duo; also, I.A.C.'s father is from Catania IIRC; and he commented on my Sicilian version, so we now have two versions because of an inconsistent correction he made; waiting for news; I also joined Sei di Catania se and posted this; Faccini twins may contribute a contact; in the meantime I realized C.A.A. is from there and she basically said my generic Sicilian, with one word change, is Catanese, so whatever Mr. Costanzo said is in doubt; will wait for a third opinion; Dr. Catania, Lamperti's assistant, never commented on my YT vids;
GS (Galloitalico di Sicilia): did the Sanfratellano version, my contact said to pretend it was fine because "non ci sono più sanfratellani veri, sono tutti surrogati", and unfortunately there is no Sanfratello group AFAICT; except there is, called "San Fratello il mio paese", and I joined and posted this, which produced a bunch of comments but then went silent;
Si1 (Messinese): «I know two girls from Messina, otherwise it's either Luigi Coccimiglio, Maria Agata Petralia, or boh», I originally wrote, but the Pisa CL choir lady from Palermo may be able to make Messinese too; and then MN's mother is from Furnari so I asked MN to ask her mother, and in the meantime I found G.C. (an old acquaintance from Messina) who made her version and I metrical-ified it; still waiting for comments on that version from the Furnari mother of MN, and the Tonnarella (Furnari) contact that S.P. and wife have; I also tried to contact L.R., mostly for an audio since G.C. says she doesn't have the accent anymore, but she won't reply; my brother then gave me the contacts of G.B. for Marche (see Mc2) and R.V. for Messina, and we reached a final approved version with her, with audio'
Si6 (Eolie): ditto; although my boss E.C. may be able to get ahold of someone by her father(-in-law?)'s bar in Filicudi; I also joined ISOLE EOLIE, but my post got declined; tried again, pending; declined, tried again today, already declined in 45min, is there another group? Several, in fact, including ISOLE EOLIE NEL CUORE E LE NOSTRE DOTI ARTISTICHE E CREATIVE, where my post is pending;
Si3 (Ennese): sample place: Caltanissetta; Si1 duo or bust; or maybe E.M., my Palermitano friend who lives in Caltanissetta, can find a contact; he takes ages to reply, and eventually just stopped altogether; so I asked my brother,who may have a contact, and also joined Sei di Enna se, another sample place and the group's namesake, and my post is still pending; the cellist who played with my brother at the end of October gave me a contact from Caltanissetta, and this S.G. is not replying on Insta; then she replied, sent a version, approved the metricalization, and audio is being awaited; turns out Rosario, the hairdresser in Pisa, is from that area; should have asked for a reading, I guess :); I asked instead if he had contacts from the missing areas, and he didn't reply;
Si7 (Palermitano): «I know two guys from Palermo and one from Isola delle femmine, and then there's the Si1 duo», but really, V.R. in the Pisa CL choir is from Palermo and already told me two things to change in my Sicilian to make it Palermitano, and will ask her father for more eventually; when and if she remembers :); and she did ask, so I have a version;
Si5 (Agrigentino): magic duo? The flutist in my hometown has a "consuocera" from there, she sent the fragment to her daughter-in-law twice; she tried her DIL's mother, who was less busy, and she provided a version, which I metrical-ified, but she dares not submit the correction and ask for approval and an audio; a friend in Dorga has his father from Agrigento and will submit my version when he visits dad, but no audio is likely to come from him apparently; the flutist sent me an approval message IIRC; still awaiting the audio;
Si8 (Trapanese): sample place Trapani of course, and my former physiotherapist contributed a version whose partial metricisation is awaiting approval and the remaining line is plagued by uncertainties that need to be resolved before I metricise; and everything has been settled;
Si9 (Pantesco – Pantelleria): Pantelleria, and more specifically this post, yielded a consultant with whom I got to a version; I thought that was it, but the audio was of her original version, so I'm waiting for the audio of the right first half;
Si10 (Pelagio – Lampione Linosa Lampedusa): joined Sei di Lampedusa se and posted this; not as quick as the Panteschi huh :);
Sa1 (Campidanese): sample places: Cagliari, Pula; Luca Guala and Juanne Antoni Sanna are Sardinian Quorans; I know two Sardinians as well: C.C. shares my office and contributed to Sa2, M.M. is an old acquaintance who is from Pula (Campidanese) according to Fb; I have half a version in what would like to be Campidanese but is based on a dictionary of everything Sardinan so probably ended up as a mix; M.N. has contacted a friend from there, I also found an old acquaintance (B.B.) from Cagliari; so either M.N.'s friend, or M.M., or B.B.; the half version was remade and completed; sent a Taz Hi sticker to M.M. on Fb, no view; no reply from B.B. or from F.G.; texted what should be M.M.'s number (it was the one I had), no answer; since the Campidano is so huge, I thought of doing a triangle: Cagliari/Pula-Oristano-Gairo; well Gairo is because I came across Sei di Gairo se by chance and joined and posted this; the other vertex is a province capital, and I joined the relevant group and posted this; time to solicit M.N.; meant to call M.M. today, but I forgot; got feedback from M.N., only one correction, but it sounds like the contact's grasp of the dialect isn't super good; M.V.C. sent me a Campidanese version with no more specifications, I metricised it, and have been waiting for comments for over a month (see Sa3 below); M.V.C. then gave me the contacts of a Sardinian professor in Siena, I wrote to him, can he solve this Campidanese mess?
Sa2 (Nuorese): officemate C.C. is from Nuoro and converted my Logudorese to Nuorese;
Sa3 (Logudorese): sample places: Malcomer, Nulvi, probably Goceano which is IIRC a mountain range; made my version with an online dictionary by a guy from Berchidda, but who can check it? One of the duo? Well actually G.P. is from Nulvi and we finalized a version in that dialect; M.V.C. has been sent the Logudorese and Nulvese versions, and will "move a few contacts", like her aunt for Goceanino (who already contributed a version currently pending approval as of 11/10/25), and someone for Campidano (who also already contributed and has a pending version as of 11/10/25);
Co1 (Gallurese): sample place: Palau; boh? G.I. (Foggiana) goes on vacation there IIRC, can she contribute? I should probably consult her for the latest Foggiano tweaks too…; I have a version, but couldn't find a group to join; actually, I joined Sei di Palau se… where my post is pending approval; I also have a prospective contact from Palau; no news from anywhere, will the Sardinian professor mentioned in the Sa1 item be able to contribute?
Co3 (Corso oltremontano / Pumontincu): sample place: La Maddalena, hence why I joined Sei di Maddalena se and posted this; will the Sardinian professor mentioned in the Sa1 item be able to contribute?
Co2 (Sassaresu): sample places: Sassari, Castelsardo; I have an old acquaintance from Sassari in P.P., waiting for a reply; G.P. has Castellanese guests, we're working on a Castellanese version; I have one, but it's pending approval; I also tried SEI DI SASSARI SE..... NUOVO!! ( Inserzioni ) but they seem to be Sapri all over again; did I join another Sassari group? Yup, Sei di Sassari se; will the Sardinian professor mentioned in the Sa1 item be able to contribute?
CA (Alghero Catalan): sample place Alghero of course, is there even any other place in this group? We'll see if SOS Alghero: la parola agli algheresi will yield anything via… are you bleeping serious? ANOTHER SAPRI GARBAGE GROUP? Maybe Alghero Ieri...Alghero oggi...e dintorni? Nope, Sapri 4; WTF is wrong with these groups?! Will the Sardinian professor mentioned in the Sa1 item be able to contribute? Can Carpinelli find a contact?
We're starting to get there. Out of groups:
(%) have an approved version;
(%) have a version pending final approval;
(%) have a consultant but no version;
(%) have no version and no consultant but a Fb group I joined for them;
(%) have nothing but may have a consultant, typically through someone else who needs to find said contact.
Here is the list of desired dialects, with a couple additions marked [A] due to reasons other than the map's dialect areas:
Another dialect project, but for the Ostrakon Florentinum fragment, and in way fewer dialects.
Here is the list of dialects, with indication of resources to be used. This is an idea from 20/8/25 1:01, originally thought of for the Kypris Poem, but doing the Ostrakon into Florentine was an even older idea dated before 4/8/25, so I decided to hit two birds with one stone :).
Russiano (Romagnolo) DONE with my knowledge and some Ercolani dictionary use, needs approval (a couple words are made up from Italian), meant to cover for Marchigiano settentrionale as well;
Abruzzese with this, maybe passing through Sei di Pescara se which I haven't joined yet, or maybe through my Ab1 contact from SEL dialetti; meant to cover for Marchigiano meridionale as well;
Campobassano with S.R.'s contact (cfr. the MI item in SEL dialetti);
Napoletano with my knowledge and maybe something online, like Glosbe;
Palinurese if the group doesn't tell me to screw off :);
So basically only Italian-based dialects, one dialect per macrogroup, with a couple caveats. For now, I have done out of , i.e. %.
Also, for anthology reasons, I have to add the following dialects:
The first of a series of posts intending to translate LP 34 into one official language per country in the respective continent.
List of languages yet to be worked out. Posted tonight (3n/5/25). For now I have:
German for Germany, though I wanted to get Plattdeutsch and Sorbian as second voices; for Austria, I'd superimpose Central Bavarian and possibly Carynthian second voices onto the German;
Italian (SMB version 2) for Italy;
Italian (SMB version 3) for San Marino, since whatever contact I had for Rimini is either uncontacted or unreplying, and my post on the San Marino group got zero attention;;
English for the UK, will probably do Irish for Ireland;
Albanian for Albania, wanted to do Kosovar Albanian for Kosovo but we'll see;
French for France;
Hungarian for Hungary;
Spanish for Spain;
Czech for Czechia;
Slovak for Slovakia;
Serbo-Croatian as work in progress with Transatlantic on Quora, not sure for which country, maybe I can find some stuff to use as double voices?
Portuguese for Portugal;
Latin for Vatican City;
Turkish for Cyprus;
Romanian for Romania and Moldova;
Bulgarian for Bulgaria;
Macedonian for North Macedonia;
Russian for Russia;
Finnish for Finland;
Catalan for Andorra;
Romansh for Switzerland;
Dutch for the Netherlands and Belgium;
Polish for Poland,;
Slovene for Slovenia;
Danish for Denmark,;
Swedish for Sweden;
Nynorsk for Norway;
Gheg Albanian for Kosovo;
Icelandic for Iceland;
Still quite a long way to go. Here is the list of countries with their planned language(s) (* marks languages with a version):
Icelandic* for Iceland;
Irish for Ireland;
English*, Welsh, Scottish Gaelic, and Saint for the UK;
Portuguese* for Portugal;
Spanish* for Spain;
Catalan* for Andorra;
Italian* for Italy;
Latin* for the Vatican;
Other Italian* for San Marino;
French* and Italian* for Monaco;
French* for France;
Romansh* for Switzerland, maybe with double voices for the other three official languages;
German* for Liechtenstein;
Luxembourgish* for Luxembourg;
French* and Dutch* for Belgium;
Dutch* and one Frisian for the Netherlands;
German* and Upper Sorbian for Germany;
Danish* and Faroese for Denmark;
Nynorsk* for Norway;
Swedish* for Sweden;
Finnish* for Finland;
Estonian for Estonia;
Latvian for Latvia;
Lithuanian for Lithuania;
Polish* and Silesian for Poland;
Slovak* for Slovakia;
Czech* for the Czech republic;
German* and Central Bavarian* for Austria;
Slovene* for Slovenia;
Serbo-Croatian* and Ruthenian for Croatia;
Serbo-Croatian* and English* for Bosnia and Herzegovina (Dayton Agreement);
Serbo-Croatian* and Gheg Albanian* for Montenegro;
Albanian* for Albania;
Modern Greek* for Greece;
Cypriot Greek and Turkish* for Cyprus; Turkish sent in for approval;
Maltese for Malta;
Gheg Albanian* for Kosovo;
Macedonian* for North Macedonia;
Bulgarian* for Bulgaria;
Serbo-Croatian* and Rusyn for Serbia;
Hungarian* for Hungary;
Romanian* for Romania;
Romanian*, Ukrainian and Russian* for Moldova;
Ukrainian for Ukraine;
Belarusian for Belarus;
Russian* for Russia.
If I didn't mess up the counters, that should amount to languages of which done, i.e. a translation percentage of %.
The stars, the moon, and the official languages of Asia (SEL Asia)
Another post intending to translate LP 34 into one official language per country in the respective continent.
List of languages yet to be worked out. Post unposted as of 9/8/25. I only have Chinese (in its own "barbarous meter" to which the tune has been adapted), Japanese (in Chôka, with a tune adaptation), and Hindi (in barbarous meter), and also Arabic, in a bunch of versions including an actual Sapphic stanza, my consultants Maomao (the Spoletino guy) and Elizabet (guest of V.R. the Palermitano lady) have stopped writing to me; prompted the latter yesterdau (30/5), still no answer; will soon prompt Maomao; in the end the Sapphic stanza translation is pretty close to being barbarous Sapphic as well; I also have Tagalog, which my cleaning lady basically refused to comment on so I tried Quora and still no answer. Still quite a long way to go.
Update from 11/6/25
So far I have:
Japanese for Japan, improved and approved by T.T.;
Mandarin for Chinese;
Tagalog for the Philippines, which my cleaning lady seems to refuse to comment on;
Urdu for Pakistan, approved by @ATaj;
Hindi for India, approved by @ATaj, but I wanna do Telugu as well, to avoid missing out on the Dravidian family, and to hopefully have a consultant in @ATaj, who hopefully will soon comment on the Urdu; pretty sure she denied being a valid consultant :);
Korean for the Korea, improved and approved by Haesu Lee;
Vietnamese for the Vietnam, approved by Vinh Huynh;
Classical Arabic, approved by Maomao and by someone native, as a base for a bunch of countries;
Turkish to be approved by Habitué's wife;
Georgian approved by Portofranco girls;
I've decided to do the following for the Arab countries:
Oman: Classical-Peninsular (Hijazi actually), plus Malayalam or Mehri;
Palestine: Classical-Palestinian;
Qatar: Classic-Gulf, plus Malayalam;
Saudi Arabia: Classical-Peninsular (Hijazi actually);
Syria: Classical + Elizabet's translation with corrections;
Emirates: Classical and English;
Yemen: Classical-Peninsular (Hijazi actually), plus Mehri/Soqotri/Rahizi;
As for the Maomao version, that goes either into Saudi Arabia or into the Emirates (to support Arabic against the English invasion :) ). Btw, Elizabet is a Syrian guest in the Palermitano lady's house (see SEL dialetti), and Maomao is the Spoletino guy (see SEL dialetti again).
With that, and noting that Cyprus counts as Europe because of its Greek side, Northern Cyprus doesn't count, and Russia counts as Europe unless I do some obscure tundra language for Siberia, the planned languages are (* marks those with a version):
Pashto for Afghanistan;
Armenian for Armenia, which is Caucasus thus Asia;
Azerbaijani for Azerbaijan, ditto;
Classical*-Bahrani-Gulf for Bahrain;
Bengali for Bangladesh;
Dzongkha for Bhutan;
Tutong/Kedayan/Belait/Murut/Dusun/Bisaya for Brunei;
Khmer for Cambodia;
Chinese (Mandarin)* for China;
Georgian* and Abkhaz (since for most of the world Abkhazia is part of this country) for Georgia, Caucasus; the former has been approved;
Hindi*, Punjabi, and Tamil for India;
Indonesian* and Sundanese for Indonesia;
Persian for Iran;
Classical*-Mesopotamian-Hijazi for Iraq;
Hebrew for Israel;
Japanese* and Ainu for Japan;
Classical*-Jordanian(sedentary = levantino)-Jordanian(bedouin) for Jordan;
Kazakh for Kazakhstan, Caucasus;
Korean* for North Korea;
Korean* and Jeju for South Korea; /li>
Classical Arabic*, Gulf Arabic, and Persian for Kuwait;
Kyrgyz for Kyrgyzstan;
Lao for Laos; partially attempted, had to relax meter to "Laophic stanza" –x–x–[uu/–]–x–x three times + –[uu/–]–x, then after translating half of it with that meter I decided to use the Sapphic stanza scheme but with – meaning overlong and u meaning short or long, so I have to retry that;
Classical*-Levantine for Lebanon;
Malay=Indonesian and Tatana (Sabah Hakka style) for Malaysia; yeah so the Indonesian version, as far as I, Anton Xie, and ChatGPT can tell, is also fine for Malaysian, so I will reuse it;
Dhivehi for the Maldives;
Mongolian for Mongolia;
Burmese for Myanmar;
Nepali for Nepal;
Classical*-Hijazi, plus Malayalam or Mehri for Oman;
Urdu* for Pakistan;
Tagalog* for the Philippines;
Classical*-Gulf, plus Malayalam for Qatar;
Classical*-Hijazi (and maybe Maomao*) for Saudi Arabia;
Tamil, Chinese (Mandarin)*, Hokkien, and English* for Singapore;
Sinhala for Sri Lanka;
Classical* + Elizabet*'s translation with corrections for Syria;
Tajik (basically accented Persian) and Russian for Tajikistan;
Thai for Thailand; partially attempted, IIRC meter gave me serious trouble, wondering if the Lao trick will be useful here…
Tetum for Timor-Leste;
Turkish* for Turkey aka Asia Minor; sent in for approval;
Turkmen for Turkmenistan, Caucasus I think;
Classical* and English* (and maybe Maomao*) for UAE;
Uzbek for Uzbekistan;
Vietnamese* for Vietnam;
Classical*-Hijazi, plus Mehri/Soqotri/Rahizi for Yemen;
Palestinian Arabic for Palestine;
Hokkien for Taiwan, and maybe a Formosan language.
Counting varieties of Arabic as separate languages, not counting the partial Turkish and Georgian, and counting Ainu and a Formosan language as to be done, and assuming I didn't mess up the counters, that results in languages of which done, i.e. a translation percentage of %.
I will try to launch SEL Asia as a post as soon as possible, though it's gonna be long and I have a Latin Sappho anthology coming first [um, how old is this bit? That anthology was launched months ago by 20/11/25! Not sure what to replace it with though, with the multidialect anthologies, SEL Europe, the SDT episodes, and probably a lot more…]. So much to do, so little time…
The stars, the moon, and the official languages of Africa (SEL Africa)
Another post intending to translate LP 34 into one official language per country in the respective continent.
List of languages yet to be worked out. Post unposted as of 9/8/25. I have done, or intend to do the following languages, with * marking the done ones:
Classical Arabic* and Berber for Algeria;
Umbundu for Angola;
Yoruba for Benin;
Tswana for Botswana;
Mooré for Burkina Faso;
Kirundi for Burundi;
Kwa for Cameroon;
Cabuverdianu Creole for Cape Verde;
Sango for the Central African Republic;
Classical Arabic* and French* for Chad;
Comorian for the Comoros (perhaps that page I contacted when investigating Nunga wa oh can help?);
Lingala and Kikongo for the Democratic Republic of the Congo;
Lingala and Kituba for the Republic of the Congo;
Classical Arabic*, French*, and Somali for Djibouti;
Classical Arabic* and Egyptian for Egypt;
Fang and Annobonese Creole for Equatorial Guinea;
Tigrinya*(half) for Eritrea;
Swazi for Eswatini;
Amharic for Ethiopia;
Mbete for Gabon;
Fula for The Gambia;
Ga for Ghana;
Malinké for Guinea;
Pulaar for Guinea-Bissau;
Baoulé for the Ivory Coast;
Kikuyu and Swahili for Kenya;
Sotho for Lesotho;
Mande for Liberia;
Classical Arabic* and Libyan for Libya, and if Libyan is the same as Egyptian, add Berber;
Malagasy for Madagascar;
Chichewa for Malawi;
Bambara for Mali (consultant present);
Classical Arabic* and Soninke for Mauritania;
Mauritius creole for Mauritius;
Classical Arabic* and Darija for Morocco;
Swahili* and Tsonga for Mozambique;
Khoekhoegowab for Namibia;
Hausa for Niger;
Igbo for Nigeria;
Kinyarwanda for Rwanda;
Forro Creole for São Tomé and Príncipe;
Wolof* for Senegal;
Seychellois Creole for the Seychelles;
Mende for Sierra Leone;
Somali for Somalia;
Zulu for South Africa (my brother had it approved by a taxi driver);
Acholi and Bari for South Sudan;
Classical Arabic* and Kadaru (Nubian) for Sudan;
Swahili* and Shambala for Tanzania;
Ewe for Togo;
Classical Arabic* and Tunisian for Tunisia;
Luganda for Uganda;
Bemba for Zambia;
Northern Ndebele and Shona for Zimbabwe (Novi?);
Maybe sneak in Réunionnais, just because Sega Jacquot 🙂;
How do I use the Xhosa I made, which was meant as pseudometrical for abundance of short syllables but turns out vowel quantity isn't marked? Maybe a second voice for South Africa? I mean, Zulu is only spoken in SA and Xhosa is official only in SA and Zimbabwe, so…
If I didn't mess up the counters, that should amount to languages of which done, i.e. a translation percentage of %.Will try to launch this soon, though a bunch of Sappho anthologies and SEL Asia have precedence.
The stars, the moon, and the official languages of North America (SEL North America)
Another post intending to translate LP 34 into one official language per country in the respective continent. Countries with respective language(s):
Kriol and Warlpiri for Australia;
Fijian for Fiji;
Gilbertese for Kiribati;
Marshallese for the Marshall Islands;
Pohnpeian for the Federated States of Micronesia;
Nauruan for Nauru;
Mãori for New Zealand;
Palauan for Palau;
Tok Pisin but probably not just that (!) for Papua New Guinea;
Samoan for Samoa;
Pijin for the Solomon Islands;
Tongan for Tonga;
Tuvaluan for Tuvalu;
Bislama for Vanuatu;
Pukapukan for the Cook Islands;
Niuean for Niue;
Hawaiian and Tahitian, because I can't do a project like this and skip all of Polynesia, come on!
List of languages yet to be worked out. Post unposted as of 27/4/25. Got English for USA (um, not official but…), Spanish for Idk which LAm country, and French for Canada.
The stars, the moon, and the official languages of South America (SEL South America)
Another post intending to translate LP 34 into one official language per country in the respective continent.
List of languages yet to be worked out. Post unposted as of 27/4/25. I hope not to reuse Spanish again :). I hope to get:
The stars, the moon, and the official languages of Oceania (SEL Oceania)
Another post intending to translate LP 34 into one official language per country in the respective continent.
List of languages yet to be worked out. Post unposted as of 27/4/25. I hope to avoid reusing English.
The stars, the moon, and a quartet of conlangs (SEL Conlangs)
Intends to translate LP 34 into 4 conlangs: Esperanto, Klingon, Quenya (aka Elvish), and my own Hèĺno/vĺna lãgy or however it's spelled :).
Esperanto is done, Klingon needs to be metricalized, the other two are wholly untouched.
The stars, the moon, and the dialects of… where?
Intends to mimic SEL dialetti for other countries yet undetermined.
As per a 17/1/26 12:53 self-message «Would be interesting to do dialect projects for other countries, like Idk, China, Japan, France, USA, UK, Russia... does Russia even have dialects?».
My fourth idea is the only one completed so far, so cfr. above;
"Nostalgia for youth", I suppose:
"If I still had milk" (LP 21);
"Oh tender women" (LP 24(a));
"The gifts of the Muses" (LP 58 with the 2003(?) Cologne papyrus);
"You were also a tender young child" (LP 27);
Memory-themed short poem inspired by Αἴ με τίμιαν (LP 32) and Κατθάνοισα δὲ κείσῃ ("Dead shalt thou lie", LP 55) and Μνάσεσθαί τινα φαῖμι ("Someone will remember", aka LP 147), and Ἀλλ' ἔμ' ὄλβιαν (ROS 5.A.x) and Λάθα μέν τινας ἐψεύσατο (ROS 5.A.xx) from Edmonds; looks like I wasn't too convinced with this idea, since I marked it all with a ?;
Wedding-song from Epithalamia and Let's sing for the couple!, and Edmonds' "Ὦ βρύοισ' ἔρων βροδίων" (ROS 5.A.xxii); another unconvincing idea;
Sad song from fusions in Italian anthology, essentially the same as the corresponding Sappho medley, and another unconvincing idea;
Sappho medleys
Combinations of Sappho fragments into musicated sequences or dialogues.
The first one, «Sappho, her lyre, and her friends», was started apparently on 6/2/21, and is stored in the file "Sappho medley_20210319". The idea is there: it's a dialogue between Sappho and her lyre, and then Gongyla appears. The links between fragments, and the musics, are all incomplete.
Sappho: "To the lyre" (LP 118);
Lyre replies with "Forever a maiden I shall be" (C 44A);
Sappho: "Coming down from the sky" (LP 54), with the initial line «Τὸν Ἔρωτ' ἐν ὀνείρῳ τιν' ἔβλεψ' αύτα ἔγω ποτα», and "Bittersweet love" (LP 130-131), both connecting to the "λυσιμέλης Ἔρος οὔδαμα πίλναται" the lyre just sang;
Sappho: Μέλημα τὦμον (LP 163, now addressed to Atthis);
Sappho: Ὦ σὺ πακτίδων ἐμμελεστέρα / Βρόδων ἀβροτέρα / Καὶ χρύσω τιμιωτέρα (mixing LP 156 with the 5th and 7th hyperbolæ of Edmonds 61);
Sappho: «[Καλλέλοιπάς μ’. Ὦμ’.] Ἐμέθεν δ’ ἔχησθα / ‹Ἤ σὺ› λάθαν, [φιλτάτα,] ἤ τιν’ ἄλλον / ‹Μᾶλλον› ἀνθρώπων ἐμέθεν φίλησθα; / [Τὶς δέ νύ κ' εἴη;]» (LP 129(a)+(b) – I had no idea this 18:12 7/2/21 integration existed :) );
Sappho and lyre (speaking to Atthis): «Τίς ‹σοι› δ' ἀγροΐωτις ‹θαλύει νῦν› νόον, ‹ὄττα δὴ› / Στόλαν ἀγροΐωτιν ‹περιβαίνει τοι› ἐπεμμένα, / Οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων?» ("Rustic woman", LP 57, integrated by Edmonds and me);
Sappho alone: "Love shook my heart" (LP 47), then καὶ ποθήω καὶ μάομαι (LP 36), then «ὄττινας γὰρ / ⌟Εὖ θ⌞έω, κῆνοί με μ⌟άλιστα σ⌞ίνν⌟ον⌞- / τ⌝' ⌟ἐξ ἀ⌞δοκή[τω.] (the ending of the poem that was recently detached from LP 16 – can we call it LP 16b?);
Sappho, deep in sadness, goes up a bit in the poem whence the last extract is taken, with:
She then addresses Gongyla, her friend, who hasn't yet come on stage, with the "vulgate" version at Gongyla: a difficult reconstruction (LP 22 part 2), starting with σπόλαν σάν because what comes before that is too heavily invented by me (maybe I can come up with a better integration though :) );
Gongyla comes on stage with «ἔγω δ' ἐπὶ μαλθάκαν / τύλαν ‹κα›σπολέω μέλε͞α» and «Κα‹ίνα›ν μέν τε τύλαν κα‹τὰ› σὰ σπολέ‹ω μέλε›͜α» (both from LP 46, second one is Edmonds' emendation of the second, more corrupted part of the quotation);
Sappho and the lyre to Gongyla: "Ode to a beautiful woman" (LP 23);
Sappho to Gongyla: «Ἀστέρων πάντων ὀ κάλιστος [εἶ σύ. / εἶ δή.]» (LP 104(b), integration is mine);
A combination of "There dieth, oh Cytherea" (LP 140(a)) and "Alas for Adonis" (LP 168);
Gongyla now pipes up with: «Ἀρτίως ‹μ'› ἀ χρυσοπέδιλος Αὔως / [Ἦλθε κὔμμε]» (LP 123 as corrected and completed by Edmonds and me), as if to say «With all this singing it's now dawn already» (Iambic Pentameter 22:34 19/8/23);
«About daughter», where I don't even have a list of fragments yet, and was unsure whether to make it or not;
«To her friends», ditto.
Paracritical Note post - English
Translating the Paracritical note to English
Unstarted, the Italian isn't ready to be posted yet, and this comes way later than posting.
Post: Video Scripts
This aims to gather all the non-post things I made for my videos, i.e. mostly so-called TeX helpers, and protoscripts, which will thus be taken out of wherever they are in the todo list, but also the thought processes currently sitting in spoilers under the @Ψ project.
Conceived it during the update that added it (24/12/25), so obviously zero work. Pretty low-priority, considering all the Sappho I have around….
Operation: Fb post mismatches?
Aims to check the Facebook posts post for mismatches between headers and edit counts, and fix them both there and in the relevant Fb posts.
Zero work done so far.
Operation: Papyri transcription post's images
For some bizarre reasons, those pic just don't display. It's not like the links are broken. Idk what's going on, but I have to replace them. And there's a ton, hence the project.
Literally put here to have it written somewhere but not even start it yet.
Operation: Todo list shenaynays
The first 5 such shenaynays came to mind during the 14n/9/25 update, the seventh one is dated. the sixth is from after the seventh and within the 22/1/26 update:
Implement counters for the non-Italian Sappho editions;
Translate the titles of the entry for Chôka de no Saffō from the current Sicilian-anthology ones to the English ones in the Chôka anthology;
Spell the titles of the Neogreek anthology's extra fragments in Greek letters (not Latin);
Massively update and complete @MGS;
Give non-Italian editions and non-Hungarian non-Latin anthologies in the todo list counters that give the number of total lines and translated lines, for a different perspective on the progress percentage; idea had for SMB at 15:06 on 20/1/26 and extended to other posts at 16:45.
«Literally put here to have it written somewhere but not even start it yet» was the original status. As you can see, «Create spoilers for navigatability» was done and dropped from the description. Also, the first item gained "non-Italian" as SMB was dealt with.
Operation: mysteries
There are a couple mysteries around my translations, as can be seen in the status. The idea for most of these is to dig through screenshots, incentivising the Screenshot diary project.
No work. List:
Piel canela Chinese was made at a mysterious date between Sep 2014 and Jun 2017;
About the Italian version of Catullus 5, I have versions «E i rumori dei vecchi troppo arcigni» and «E de' vecchi sever gl'insulsi suoni» which I can't find anywhere so far;
I'm pretty sure I had a «Gua siunn-beh ka li sio-mia-mia» around sometime, which would be the start of a Min Nan version of Ballata del-l’amore vero;
Zhende haoxiang ni has a tweak that was not SS-dated because the SS were al-legedly lost, except I'm pret-ty sure there is no huge hole in the SS starting just before 19/12/17, so look through those; no SS to date it, but that 16/12/17 11:52 SS isn't showing the by-then-already-posted You're half of my soul, so something's amiss»;
The change from "roamer" to "loafer" in the English at Lōng-tsú--ê sim-tsîng has yet to be dated more pre-cisely than «between 2/7/17 and 28/1/18»; all instances of loafer in self-chat are from 2023, so that change cannot be dated better via self-chat
English Spring Dawn (non-equimetrical); not in self-chat, so either SS or made for the video (maybe during the recording);
Bulan menjadi saksi Romagnolo has this mysterious beginning date «partly in a December night between the 8th and the 20th, partly on Dec 24, and partly on Dec 25th 2017»; self-chat only chimes in in the night between 24/12 and 25/12/17, so nothing there about this;
«Tian jia reworks «between Jun 25 2017 and Jan 15 2018», quoth post; no SS are found for it up to and in-cluding round 343. However, 26/12/17 14:12:46 shows Leopardi reworks almost complete, and those come just before Tian Jia in the note».
Dig into SS eventually, hoping to date the recording of Baby Gorro vids;
Translation of SMB 6 has uncertain date, the guess is 8/7/21, SS need to be consulted about it; it is not in my self-chat, nor in my diary, nor in any post as far as Google knows;
All the poem intros of videos of the Sappho series and the Classics series;
The tunes for Sappho fragments;
The fragment-specific introes in the Sicilian and Japanese Sappho episodes;
The openings for various series.
Post launched 6/5/15 15:48, lots of things missing..
Project: Reordering and navigatability update to the introes post
Aims to reorder things into classes and give one button to toggle each class, and an extra button to show everything at the above project's post.
No time for it now.
Project: Score for history of Tethnaken tune
Aims to convert the somewhat convoluted history of the tune for "I wish I were dead", currently on the previous entry's post in some haphazard notation I made up to send tunes over Facebook Messengers without voice notes, into a readable score.
Very low-priority, not even started, if the partial scores and the partial pic-full history I made way back when are not to be counted.
Operation: Index shenanigans
This is the merger of five previous operations, one of which (Operation: Durations in video index) was deleted from the list as it is complete, where I wanted to:
Add the recording and publishing dates next to the upload dates for the various videos (Operation: Recording and publishing dates in video index); «I hope to complete this soon», yeah, sure :);
Use a different separator than a comma, namely ǂ, for video index entries currently formated as «title, relevant post(s), recording date, upload date» (Operation: Video index séparés);
Implement a bunch of toggle buttons to let people customize which parts of the chrono index show up for them and which don't (Operation: Index customization);
Add the names of the songs' lyricists and music authors (作词 and 作曲 in Chinese) to each entry of the video index, the old ones will have it just before the upload date, the new ones will include it in the video title (Operation: Lyricist and musicator names in video index); in fact, «Along with lyricists and composers, which have their slot, the video title slots should include performers, either in the titles or as prefixes thereto»;
Address the issue of histories just saying "See above" or similar (Not originally a project).
The following should also be kept in mind:
Some video titles need language fixes;
A bunch of entries don't have Badslation Reviews when they should be crossovered with it.
Here are the statuses for each of the five:
The recording dates are present from the start of Jun '24 to the present, and to any videos whose RAWs have been uploaded, and should appear for videos no more recent than Easter 2020 in the 1/3/26 index update; the publishing dates are a new idea added to the list with the 20n/10 update;
This has actually been essentially complete for quite some times, but I'd like to keep the caveats below here;
content lists with no prefaced post links are used as séparés, and complicated Sappho video entries require more thought; "updated" and "recorded" should probably always be capitalized, as should anything at the start of a slot;
I should probably use a script to assign the symbol so that, if I ever want to change it, I can change it all times in one fell swoop instead of having to go through all of them again;
Very low on my priority list, and extremely long and probably boring task; it's the upgrade to the current "Toggle HS3-HS4 Sappho translations to Latin, English, and Italian" button, and the other toggle buttons «Toggle Sappho translations from Saffo in metrica barbara and Chinese Poetic Sappho», «Toggle Sappho translations from the Japanese, Sicilian, German, Romagnolo, Modern Greek, Spanish, and Hungarian anthologies», «Toggle Sappho translations from the post "Ostrakon Florentinum, Fiorentino, ed altri dialetti"», and «Toggle Sappho translations from posts for the "The stars and the moon" projects», which coincidentally are all Sappho translation categories; on that note, I plan to give Sappho tatters and Sappho glossemata their own class, which will be hidden by default, an idea from 22/5/25 13:06;
Detective Conan song videos (or at least videos of Shôjo no koro ni modotta mitai ni), at least from some point on, do have that info already; I set out to do all videos up to and including Easter 2020, but stopped at Sempurna (26/10/18) because OMG it is BORING AND LOOOONG… I eventually got to that Easter, and now this will be on a very back burner for a long time; I also have some uncertainties in what I've done, namely:
Razón de vivir is consistently attributed to Victor Heredía, except Google says «Songwriters: Djavan Caetano Viana / Douglas Lars Fieger», and the name Mercedes Sosa also floats around, so who wrote the lyrics and who composed the tune?
Who the heck authored and musicated U mustazzu, Sot 'e lët, and when I get to them U ciuffu and… no OK, La mamma is by Otello Profazio… wait is that the author or the performer? And the other three?
Ditto for Si maritau Řosa, and I'm wondering what performer I can put in since there are a billion…
Who musicated Meraviglioso? Is it Modugno?
Gua--e sim lai tsi-u li is a Hokkien version of Wo zhi zaihu ni, but who wrote those Hokkien lyrics?
Who is behind Sarang-hae?
What about Chipi Chipi?
Is Yogi Jang behind the lyrics of Ai-lin-a to-ui khi?
Is the band The Manhattan Brothers really behind both lyrics and tune to Qongqothwane?
Who is behind Pa ret ap domi and Pareche Ponzipo?
Is Como hacer musicated by the lyricist?
Who is behind Sempurna aside from the band who allegedly created it?
Is Calcanhotto really behind the tune to Aconteceu?
Are Vent fin and Mi vòtu really of unknown author and musicator?
Is Maretta Campi really behind the lyrics of Povera voce?
Is Shahram Shabpareh really behind the lyrics and tune of Pariyâ or just the performer?
Is Ákos Daskalópoylos really behind the lyrics to Anapse?
And then there's the performers, of which probably only Shôjo has names and the videos up to and including 13/4/20 (Easter 2020) have names, with the doubt on whether the version of Malaika I heard in a movie was by Belafonte and Makeba; next edit may or may not add performers for the remaining 2020 videos;
Not high priority, will happen… eventually.
Project: Alcaeus anthology
I want to make an Alcaeus anthology including the HS5 translations and more translations, in Italian barbarous meter, of course.
The series opening is found under «Opening for the Ἀλκαῖος ὀ Μιτυλήναος series» here.
That same day, I tried starting a list of fragments. I started from Campbell, rejecting fragments 1-4 and accepting 5. That, however, was very holey, so I wanted to see if Edmonds had anything of this fragment. This led to me starting an Edmonds-Campbell number comparison, which gave me the following numbers for the first few Edmonds fragments in Campbell.
E1: C 307 ++++ e.g.;
E2: C 308(b);
E3: C 308(a) (raw quote in Edmonds);
E4: C 308(c) and more (ditto);
E5: Raw quote for Sappho's Κῆ δ' ἀμβροσίας μὲν (LP 141);
E6: C 325;
E7: Raw quote f it;
E8: C 349(a);
E9: Points to 3, WTF Edmonds?
E10: C. inc. 6;
E11: C 41 ll. 17-20;
E12: C 310;
E13: C 327;
E14: C 34;
E15: C 354;
E16: C 343;
E17: C 45;
E18: C 364;
E19: C 140;
E20: C 388;
E21: C inc. 10;
E22: C 372;
E23: C 400;
E24: C 330;
E25: C 382;
E26: C 39 ll. 3-4;
E27: C 39 ll. 5-end+e.g.;
E28: 404 not found, looks like an Edmonds invention;
E29: C 426 (raw quote);
E30: C 427 (raw quote);
E31: C 396;
E32: C 313;
E33: C 385;
E34: 404 not found;
E35: C 312;
E36: C 355;
E37: C 208;
E38: C 6;
E39: 404 not found;
E40: C 334;
E41: C 112;
E42: C 332;
E43: C 361;
E44: C 314;
E45*: C 336;
E46*: C 412;
E47*: C 331;
E48* e.g.: C 444;
E49: C 309;
E50: C 141;
E51: C 429;
E51A: C 406 Eustathius;
E52: C 402;
E53: C inc. 22;
E54: 404 not found;
E55: C 311;
E56: C 351;
E57: C 365;
E58: C 383;
E59: C 376;
E60: 404 not found;
E61: 404 not found;
E62: C 393;
E63: C 315;
E64: C 433 (both raw quotes);
E65: C 437;
E66: C 438;
E67: C 442 (raw quote);
E68: C 68;
E69: C 69;
E70: C 70;
E71: C 71;
E72: C 72;
E73: C 73;
E74: C 76;
E75: C 75;
E76: C 74;
E77: C 67;
E78: C 353;
E79: C 391;
E80: C 439;
E81: C 360;
E82: C 358;
E83: C 387;
E84: C 373;
E85: C 349;
E86: C 10B l. 1;
E87: C 356;
E88: C 328;
E89: 404 not found;
E90: C 339;
E91: C 349(c);
E92: C 10B l. 5;
E92A: C 337;
E93: Supplement in C 45, whifch E17 incorrectly reconstructed;
E94: C 435;
E95 e.g.: C 440 (raw quote);
E96 e.g.: C 441 (raw quote);
E97 e.g.: C 443 (raw quote);
E98: C 403;
E99: 404 not found;
E100: C 404;
E101: C inc. 7;
E102: Supplement in C 130B l. 6;
E103: C 405;
E104: C 407;
E105: C 408;
E106: C 409;
E107: Included in critical note for C 204;
E108: C 411;
E108A: C 413;
E109: C 415;
E110: 404 not found;
E111: C 418;
E112: 404 not found;
E112A: C 395;
E113: C 420;
E114: C 445;
E115: C 421;
E116: C 422;
E117: C 410;
E118: C 423;
E119: C 424.2;
E119A: C 419;
E120: C 42;
E121: C 428;
E122: C 38A;
E123: C 368;
E124: C 384 + C Sappho 137 part 1;
E125: C 374;
E126: C 366;
E127: 404 not found;
E128: Contains C 51(b) and C 380; 380 can be supplemented into 51(b), which is one line of a papyrus fragment; Edmonds supplements 380 into that line, and e.g.s the next two lines;
E129: C 397;
E130: C 317(a);
E131: C 317(b);
E132: C 377;
E133: C 350;
E134: C 48;
E135: C 318;
E136: Mentioned in crit note of C 414 as merely the reference «Et. mag. 533 33»;
E137A*: C 378;
E137B*: C 363;
E138* (raw quote): 404 not found;
E139*: Supplemented into C 130A l. 1;
E140*: C 341;
E141: C 345;
E142: C 340;
E143: C 344;
E144: C 392;
E145: C 375;
E146: C 371;
E147: C 394;
E148: C 370;
E149 (raw quote): C 432 (raw quote);
E150 e.g.: C 434 (raw quote);
E151: C 446;
E152: C 399;
E153: C 379;
E154: 404 not found;
E155: 404 not found;
E156: C 58;
E157: C 338;
E158: C 335;
E159: C 362;
E160: C 348;
E161: C 347(a) (On summer, which Campbell suggests to integrate with what Edmonds has as Sappho 94);
E162: C 352;
E163: C 346;
E164: C 50;
E165: C 319;
E166: C 367;
E167: C 342;
E168: C 369;
E169: C 333;
E170: C 401(a);
E171: C 401(b);
E172: C 322;
E173: C 320;
E174: C 381;
E175: C 10B l. 4;
E176 (also E Sappho 64): C Sappho 191;
E177: C 417;
Note that Campbell 404A, aka the glossema βλῆρ, is ascribed by Hesychius to "Ἀλκμαιωνι", an obviously corrupt name, but is it Alcæus (as LP V and C would have it) or Alcman, as Edmonds Alcman 148 would have it?
I have also done the same with Bergk:
B1: C 307(a);
B2: C 307(c+b+d2);
B3: C 308(b);
B4: C 308(c+d);
B5: C 447;
B6: C 308(a);
B7: C 325;
B8: C 425;
B9: C 327;
B10: C 349(a);
B11 (raw quote): C 349 (raw quote);
B12: "Ἄεισον ἄμμι τὰν ἰόκολπον", supplemented into C Sappho 21 and E Sappho 42;
B13: C 386;
B14: C 310;
B15: C 140;
B16: C 319;
B17: C 355;
B18: C 208;
B19: C 6;
B20: C 332;
B21: C 331;
B22: C 388;
B23: More or less E28 (same indirect quote source, different reconstructions);
B24: C 427;
B25: E50 (supplemented in C 141);
B26: C 334;
B27: C inc. 10;
B28: C inc. 6;
B29: C 372;
B30: C 400;
B31: C 330;
B32: In a complicate relationship with C 428(a); NB: B32, E121, C 428: Herodotus sums up (b), Strabo quotes part (a), C reads a direct quote from Strabo and stops at that, with meter that doesn't work, and leaves the rest as words by Strabo; Edmonds will be Edmonds :); Bergk takes Strabo's words and reconstructs another meter, which breaks down in l. 2 whereas C's breaks down in l. 1;
B33: C 350 (both parts);
B34: C 338;
B35: C 335;
B36: C 362 (both parts);
B37: C 348;
B38: C 429; B says this is from the same poem as B37;
B39: C 347(a)+(b), cicada fragment;
B40: C 352;
B41: C 346;
B42: Supplemented in E164 and C 50;
B43: C 322;
B44: C 342;
B45: C 367;
B46: C 368;
B47: C 369;
B48: C 387;
B49: C 354;
B50: C 360;
B51: C 359;
B52: C 376;
B53: C 333;
B54: E124;
B55: C 374;
B56: C 366;
B57: E127;
B58: E86 (supplemented in C 10B l. 1);
B59: C 380;
B60: C 397;
B61: C 356;
B62: C 337;
B63: C 382;
B64: C 396;
B65: C 336;
B66: C 328;
B67: 404 not found; crit note hides C inc. 19, C 394, and C 370, as well as probably C 401;
B68: C 378 = E137A;
B69: C 313;
B70: C 311;
B71: C 349(c);
B72: C 320;
B73: C 361;
B74: C 363;
B75: C 385;
B76: C 314;
B77: C 351;
B78: C 365;
B79: C 341;
B80: C 309;
B81: C 345;
B82: C 343;
B83: C 340;
B84: C 317(a);
B85: C 353;
B86: C 392;
B87: C 381;
B88: C inc. 4;
B89: E54;
B90: C 364;
B91: C 383;
B92: C 377;
B93: C 391;
B94: E92 (C 10B l. 5);
B95: E175 (C 10B l. 4);
B96: C 393;
B97: C 315;
B98: C 317(b);
B99: Non-e.g. E93 (supplement in C 45);
B100: C 375;
B101: C 318;
B102: C 371;
B103 (raw quote): C 432 (raw quote);
B104: C 433;
B105: C 434;
B106: C 435;
B107: C inc. 15(a);
B108: C 437;
B109: C 438;
B110: C 439;
B111: C 440;
B112: C 441;
B113: C 442;
B114: C 443;
B115: C 444;
B116: C 402;
B117: C 403;
B118: 404 not found;
B119: C 404;
B120 (2 raw quotes): E34;
B121: E139 (different quote, also supplement in C 130A, where the quote is giving a full line while B only has half of it);
B122: C 404A;
B123: E102 (supplement in C 130B l. 6);
B124: C 405;
B125: C 407;
B126: C 408;
B127: C 409;
B128: E107 (included in crit for C 204);
B129: C 406 quote 2 (aka E51A) plus part of quote 1;
B130: E108 (C 411 same glossema but different quote);
B131: C 412 quote 2;
B132: C 415;
B133: C 312;
B134: Has C 414 quote 2, something reminiscent of E 136, C 414 quote 1, and what seems to be a distortion of E136, same source but different text;
B135: C 413;
B136: E110;
B137: C 418;
B138: C 417;
B139: 404 not found;
B140: C 419;
B141: C 420;
B142: C 422;
B143: C 410;
B144: C 446;
B145: Has C 421 and more quotes, none of which is in E;
B146: C 423;
B147: C 398;
B148: C 399;
B149: C 424 quote 2;
These raw quotes which open Bergk (up to at least B4) are so annoying to find. I have started converting all this to a comparative numbering table with Campbell, Lobel-Page, Voigt, Edmonds, Bergk, and Me. I've inserted the first 120 LP fragments so far, and any Campbell "side fragments" there may have been on the way.
Let me quote the intro of the post draft: «This is a tool for me to construct my Alcæus anthology. It is a comparative numbering table just like the one I made for Sappho a bunch of years ago, but with way fewer sources: it's just Campbell 1977, Lobel-Page 1955, Voigt 1971, Edmonds 1922, Bergk 1843, and my anthology of course, which may at least at the start just have X for fragments not included, and a checkmark plus a theme for those included. I'm making this in order to select the fragments by comparing the sources, and to assign them to groups for the ordering of the anthology, which is not going to be ordered by meter. Campbell numbers are going to be followed by either an inclusion symbol or an equality symbol, the former if Campbell omits some lines of the LP fragments of the same number, the latter if not. If the C number is not the same fragment in LP, the corresponding LP fragment will be in the following row.».
I will definitely make an episode with wine-related songs, probably using the Alcaeus integration of "On summer" to be distinct from the one used in the Sappho "Gioia e natura" episode [7/3/25, not sure what integrations I was referring to here…]. I also had the idea of crossovering the opening with the @Cl one for the @Cl Alcaeus episodes, and the vague idea of a @Alc/@Ψ crossover for Θέλω τί τ' εἴπην, but definitely the Glossemata and the Proverbs. The crossover openings would in both cases just superimpose the one voice above with the "jingle" parts of the other series' openings.
I think I will just devise standard tunes for each meter that appears in my anthology and use the same tune for all fragments of the same meter. I composed one for ionic a minore tetrapodies, using Εμε δειλαν εμε πασαν κακοτατος πεδεχοισαν (which I'm pretty sure I actually sang with πασαν even though it's obviously supposed to be παισαν) on 11/11/24 at 9:19, and the tune was D F AA AA D C DC AA F G AA AA G F GF DD.
For Sappho-Alcaeus crossovers, the opening is found at «Opening for crossovers of the Ἀλκαῖος ὀ Μιτυλήναος and Ψάπφω ἀ Λεσβία series» here. For a maxi-crossover of Alcaeus, Ψάπφω ἀ Λεσβία, Sappho aut deutscher Sprache, and Hànyǔ shígē de Sāfú (Chinese Sappho), the opening is there under «Opening for crossovers of the Ἀλκαῖος ὀ Μιτυλήναος, Ψάπφω ἀ Λεσβία, Hànyǔ shígē de Sāfú, and Sappho auf Deutscher Sprache series».
I also musicated Δευρο συμπωθι as DC B DD CA BB (13/11/24 2:50) and translated it as «Vieni e con me bevi» (2:51), and musicated Χαιρε και πω τανδε as DC B CD CA BC BB (same day 2:52), for the wine-related episode(s). I hope I can put two of those together, one with Kan tsit pue and one with Liu-long kau Tam-tsui. I will also see if I can put together a sad exile-related episode, probably crossovering with Sappho's exile-related combo fragments, and a navigation metaphors episode. Will see what other themes I can put together episodes for. First though I need to have the fragments list.
About the openings, the form Μιτυληνιος is incorrect. It definitely needs to be -ναος (Attic -ναῖος), and I'm not sure if it should start Μιτυ- or Μυτι-, as I noted 13/11/24 1:07.
The opening of Ψάπφω ἀ Λεσβία | Saffo di Lesbo + Ἀλκαῖος ὀ Μυτιλήναος | Alceo di Mitilene: Sappho 16 vs. Thévenaz and Most: discussion (technically the first episode of the series, mentioning an Alcæus fragment as a comparandum then performing it with Italian translation) uses «Opening for crossovers of the Ἀλκαῖος ὀ Μιτυλήναος and Ψάπφω ἀ Λεσβία series».
All of these openings, some of them somewhat changed, are put together and will appear at the end of the next video, which comes out 1/12/24.
Alcaeus-@Cl crossover opening: «Opening for crossovers of the Mick Gorro and the Classics and Ἀλκαῖος ὀ Μιτυλήναος series».
My kind is mankind, part 1:
Woe to me - Homo sum
We've already seen a few @ATaj poems and medleys here: May the mirror not hide her, The pen of God, Home is following my thoughts, Love – când ko. There are a couple more.
One I called by a couple names and eventually "Woe in far-away lands", as is the title of the post draft, and as it is in the video I recorded today (16/3/24) and uploaded the day before Palm Sunday (aka on 23/3/24). I haven't translated it and probably won't (except a literal Italian translation in the post), but I made a video of it as a sort of teaser trailer for the other one, which includes one of the poems that make up this one, with the tune slightly altered to better fit the new context. I have extracted the history of the tune and prepared a legible version in a post draft, where I have also included the poems and the lyrics to the medley (which change the poems slightly), along with Italian translations of the three things. This was written way back when, and I assume, on 7/3/25, that it referred to this post posted on the upload day of the video, or maybe to the draft of the Monster Medley for which cfr. the next paragraph.
The other one is "My Kind is Mankind", aka "Monster Medley". This is a combination of 4 poems by @ATaj, three in English and one in Urdu, organized as a mixed-language dialogue between the poet (English, two poems), an Uyghur woman (English, one poem), and the two protagonists of the last poem, the only one in Urdu. I am also arranging this as a four-voice song, which will have a musical English/Urdu - French/English translation.
On 17/2/24 at 2:09 I decided this «will be a two-parter», and some time later I decided the two parts will be two separate videos. This project pertains to the first part.
This part already has a consistent chunk in music from 2020. I have reconstructed the history of the base text of the medley and of this music chunk. The former is fully included in the post draft, the latter is in the works.
On 10/2/24 at 12:00, I conceived an intro for an Asmā series, which went «Tãjuddin, / Tãjuddin, / Tãjuddin, / Tãjuddin, / Asmã Asmã / Tãjuddin. / Asmã Asmã / Tãjuddin.», to the tune of Bā luóbo (拔萝卜), and instantly discarded it, because I do not want to associate her with a nursery rhyme about a turnip that won't get pulled. During her visit at my house in the mountains, I conceived another intro, to the tune of Mick Gorro and the Classics, going «असमा के कविताएँ As'mā ke kavitāeḃ». I will use it for both parts of this medley. I do have to change ke to kī की, since kavitāeṅ is feminine, and I will show the Urdu spelling as well, «عاصمہ کے کوتائیں».
The full title is "Incompleta ac forsan inedita", and this is a translation laboratory. The idea is to any translations in there that don't yet have a post to put them in. This translates to an urge to record them, since I post them when I record them.
The post itself gives you the status of this.
Operation: Rime Shenanigans
On 17/2/24, I posted The Rime of the Ancyent Marinere, in music. For my non-English-speaking Italian viewers, I want to side the Rime with its Italian translation found here at Italian Wikisource. I also want to create a version which matches the video, with its text tweaks and mis-singings. And I also have a couple tune tweaks to implement.
Very low priority. May chip away at it, but with the Monster Medley (at least its first part) being a priority right now I think this won't be touched anytime soon.
SDQP list
List of all the diary and poem notebook and poem noteblock mentions of Sappho, on the model of the SD list in the chronological index.
The list of mentions is ready, I just have to convert it to HTML and add it into the index, which also involves isolating the generic references into a point SDQP1, just like SD1. Will hopefully start with the next index update. [That was written on 2/12/23, and on 7/3/25 I say: nope, that didn't happen :). This is on extended standby on account of a billion other things.]
HS4 chronological index
List of all the translations I made in the fourth year of high school in chronological order of starting point (more comments at the Blog index in the "List of translations in order of starting date" tab).
All that's missing is to verify the current order and dating of the translations against a more file-oriented (rather than fragment-oriented) analysis of the various files, and the SDQP stuff. The Sappho files post and, of course, the SDQP list are a part of this. The plan is:
Finish the Sappho files post;
Finish the Paracritical Note post;
Implement anything that comes up from the previous item, and check that every new element of every file is properly reported;
Implement the SDQP list's news.
Operation: CoTAP post
Convert the CoTAP, a file which details the history of the Homer translations, into a post.
This is more of a curiosity post for anyone interested in even more detail than the relevant posts (1, 2, 3, and 4) already give. Very low priority, not even on my mind beyond putting it here.
I have found a couple errors and incompletenesses at that table, so I plan to first check all of it to ensure it's correct, then, assuming at least LP, Campbell, and Edmonds are fully in the table, check all ROS stuff to ensure it's in. That should make the table correct and complete. Then maybe check table 2.
Low-priority, just detected (as of writing on 2/5/24), not really on my mind.
Operation: Sensible links in Fb posts post
This blog has a Facebook page, which it shares with the Decipherment blog (see one of the last projects of this list), as well as a Posts on the blog's Facebook page post which lists them all with their contents, and thus serves as a sort of edit log for the blog. Some of the Facebook links are absurdly long because Fb do be like that sometimes. This project aims to go shorten those stupid links.
Not even started, and pretty unimportant. Could be lower priority, but I expect it not to be too long, hence the placement.
My kind is mankind, part 2:
A picture of injustice
We've already seen a few @ATaj poems and medleys here, and a list of them (as well as one that is not yet here) can be found in part 1 of this "Monster Medley".
The title of this is "My Kind is Mankind", and it is a combination of 4 poems by @ATaj, three in English and one in Urdu, organized as a mixed-language dialogue between the poet (English, two poems), an Uyghur woman (English, one poem), and the two protagonists of the last poem, the only one in Urdu. I am also arranging this as a four-voice song, which will have a musical English/Urdu - French/English translation.
On 17/2/24 at 2:09 I decided this «will be a two-parter», and some time later I decided the two parts will be two separate videos. This project pertains to the second part.
Yet to be started, as part 1 obviously comes first. Although it is possible that I will start the musication and translation of part 2 before recording/uploading part 1. Editing either part will probably be long, because I'm going to be extra careful in lining up the voices and having them in tune with each other, more than I did with any multi-voice video up till now (writing 2/3/24).
On 10/2/24 at 12:00, I conceived an intro for an Asmā series, which went «Tãjuddin, / Tãjuddin, / Tãjuddin, / Tãjuddin, / Asmã Asmã / Tãjuddin. / Asmã Asmã / Tãjuddin.», to the tune of Bā luóbo (拔萝卜), and instantly discarded it, because I do not want to associate her with a nursery rhyme about a turnip that won't get pulled. During her visit at my house in the mountains, I conceived another intro, to the tune of Mick Gorro and the Classics, going «असमा के कविताएँ As'mā ke kavitāeḃ». I will use it for both parts of this medley. I do have to change ke to kī की, since kavitāeṅ is feminine, and I will show the Urdu spelling as well, «عاصمہ کے کوتائیں».
Operation: MickG in posts
The idea is to add links to all my videos in their relevant posts.
The reasons are presumably 1. Link rot for YT song videos, which is somewhat counteracted by my videos, and 2. People reading e.g. Sappho posts won't find the tunes, or know they exist, if my videos with said tunes aren't linked to in the post. In any case, this is pretty low priority, as it's long and not very important IMO.
Project: Update Spelling and Transliterations post
I've had it in my "Future weekends" todo list to «Add Griko and Greko and maybe Pontic and Lombard to the spelling and transliteration post» for freaking ever, and since I needed a place to put something, I made it into a project :).
Not on my mind at all for now, just added the project to note that my ASCII-only transliteration system for Tigrinya uses «a /ɐ/ à /'ɐ/ aa /a/ àa /'a/ i' hh /ħ/ 3 /ʕ/ 2 /ʔ/ hhaabi'2a». Not sure why that final word is even there, but I'll leave it in :).
Operation: Romagnolo dash reduction
Update the Romagnolo orthography to reduce its usage of dashes.
I don't even have clear rules in mind for this, I just know I'm using too many dashes :).
Stari Most horrors
Long post detailing the horrors of the album Stari Most by the Piccola Banda Ikona. For an idea of the situation, cfr. my CoL post on it as well as Παραληρήματα Ikona, the series on the Ancient Greek tracks of the album, as well as Pleiades, the one such track that doesn't classify as a "delirium" and hence isn't covered by the series.
No work done so far beyond the CoL post, which will be the basis for this one.
MickConlangs 2: glossaries and translation remake
Now that MickConlangs, the script for my video about my attempts at conlanging during High School (2007-2012), is posted, and the video is also up, I realized the Chinese-Conlang translation I made back then was crap. This operation is to remake it, and also make glossaries of the 3 conlangs (mostly the third since the others all have less than 10 words each). The name of this project will be the title of the relevant post, which will not get its own video besides the performance of the remade Conlang translation.
This will be a post, of course, and as such is wholly unmade, The translation remake is already like 1/3-1/2 done though, having its first section complete. It's also rhyming, which is not really for granted, but definitely easier when you can just make up words as you go :).
Index by languages: overhaul
Gigantic overhaul in the look of the index by languages:
The tables shall only contain the number of translated items per pair;
Hovering over the number will show the list of posts in the format "POST LINK | LINK TO VIDEO / REFERENCE TO POEM", unless there's multiple items in a single post, in which case I either list them all or don't list them; the latter is typically done in case of riddles or proverbs or presumably hard-to-find songs;
The same list of posts will also be shown below the tables as an index, so that hovering isn't needed to see the post lists;
Non-"artistic" translations will have their own list;
The edit list is now (6/1/24) long enough to warrant a spoiler to tuck it away into.
Slight variations in a song text, if multiple versions are translated, will not lead to different items. Different integrations to Sappho poems will be counted separately only if the meaning is substantially different. For example, the Kypris poem will count as two, because the addition of the Obbink papyrus completely changed (or rather, provided) the meaning, while the P.GC. addition doesn't change it significantly IIRC. Of course, I'm counting items, not translations, so translation remakes don't give items.
I have overhauled all of table 1. It's a titanic feat, and single rows can take ages. Hence why I'm abandoning it, except for maybe some occasional nibbles, to concentrate on the monster medley and a couple other things.
About the Italian and English rows, I've decided that posts containing dozens of translations for a single pair, especially if prose translations, will only be shown via a + in the respective cell, rather than counting all the translated items and adding that count to the total.
Operation: video replacement
A bunch of videos in the Chinese songs post and in the index and in God knows what posts are unavailable; I've identified the unavailable videos in the first 111 items of the index, and found replacements for most of them (though some don't have the lyrics of those posts), and that took some 2h.
I've also long since fixed years 6-10 of the Chinese songs post for this issue, and will probably not bother with the rest, since most of those are downloaded already and were found as downloads or with enough info to find the song and check the lyrics.
Description aside, on 6/11/23 I listed all the then-unavailable videos in the index, and that night I started replacing them.
Post containing all the Chinese (and Chinese-"dialect") songs I've come across since I started learn-ing Chinese, presented with text in characters and transliteration (cfr. here for Min and Hakka), and Eng-lish and Italian translations.
Launched on 14/8/17. The index should be almost complete, with only the last few songs missing. The songs that are present are up to a certain point in my second year of learning Chinese. Only the first two songs are completely presented, the others lack the transliteration and Italian version.
A few years ago, I was recom-mended some videos with clips from tons of different-language versions/covers/parodies of Despa-cito (I mean, Θες παστίτσιο isn't really a version, is it now?). I ended up assembling a vast list of those, and started a big post to contain the lyrics and translations into Eng-lish of all of them. This project is to complete that post (linked to on the left)
The post was launched on 20/6/20. I will not go over each of the versions to see how much it is currently covered in the post.
The post was launched on 8/8/17, and I haven't done anything about that translation, just said that "one day I will do it" (总有一天会翻译； / 今天却没有时间。 in the post).
Un pö 'd ignaquël: l'eraditê 'd i Gorini 'd Rumãgna
Post about the "heritage" of the Romagnolo branch of my family, including all the familiar language usage and the sayings that came from that branch, and also a short grammar of the Romagnolo variety they speak in Russi.
I drafted this all the way back on at least 17/10/17, then edited it a few times sparsely, and eventually abandoned it altogether no later than 25/8/19. I only just remembered about it yesterday (1/9/23) and gave it one more edit.
Translation reworks
Some of my translations need improvement, usually because I didn't fully understand the song I translated.
At least four former candidates have been fixed: 阿花, 流浪到淡水, 一条手巾仔, the last of which yet unposted (but present in IAFI), and 浪子的心情. Current candidates:
只有你;
爱情的力量;
袂使讲的秘密;
落山风;
深深的爱 Hakka;
心疼;
烟仔歌;
毋想伊 (clear up what 做你去 means, the substitution 让你去 doesn't convince me);
无奈的相思;
老妹啊花;
男人的汗;
深深的爱B;
啊花阿龙;
爱人仔缀人走;
雨水我问你;
爱拼才会赢;
一生只有你;
Possibly 出外靠朋友;
Possibly 真的爱只有你;
我的心内只有你;
三声无奈 to be remade;
感谢你深深的爱;
Possibly 爱流浪;
追追追 to be remade and paired with English version once deciphered;
爱人是行船人;
故乡的月;
放手;
系讲无佢侪汝爱涯无那;
涯系真宗个客家人;
Possibly 田无沟水不流;
春田花花幼稚园校歌 including Wiki Cantonese and my glosses;
原来你不曾爱过我.
Operation: rhyming remakes
I want to remake a bunch of translations to make them rhyme.
No work. The list, moved here for consistency with other projects, is:
I spelled the lyrics of Sanam terī qasam in Devanagari, but apparenty the song is in Urdu, so I should spell it accordingly.
Very low priority, I just wanted to get this off misc info partial timestamped, will do it eventually but I hate fighting with text directionality and I also hate how inaccurate Urdu spelling is at representing sounds (and this comes from someone who's Italian, not English :) ).
Operation: Secure index links
A bunch of links in the indexes have http:// instead of https://. I want to use only secure https links.
Very low priority, not even sure why this annoyed me, will happen eventually but probably not anytime soon.
Operation: color gradients
Use color gradients for letters split between papyrus fragments in color-coded collages, i.e. make such letters be of a gradient color between the colors of the fragments, with more of the color of the fragment they're mostly in if applicable.
Very low on my priority list, just listing it here because I saw yesterday that I have an old draft with the code for such gradients in it.
Operation: Retroactive channel shenanigans
This is the merger of 4 operations starting with Retroactive, namely:
Retroactive captions for standard videos: Aims to add captions to older "standard" videos, i.e. those consisting of just an intro, an original, and translations, perhaps mixed together;
Retroactive video splits: Aims to add timecode splits to all old videos. The upcoming ones should get split this way as they are uploaded;
Retroactive Captions: The idea is to add captions to all of the older videos, two tracks per video in fact, one with video language + Italian, the other one with English instead of Italian;
Retroactive captions for long bilingual spoken parts: Aims to add captions as in the name;
Review what belongs in Fun songs and what doesn't [added 16n/5/26].
As you can see, it's easy to lose track of what's in the todo list and what isn't, as 1 and 3 are duplicates :). Here are the statuses of all 4 as of 14/11/25:
Low priority, but higher than others in this group because the Rime of the Ancyent Marinere is hard to understand. Not arpeggioing the chords covers my voice, unfortunately.
Just thought of this. Zero progress for now.
This is pretty low on the priority list, and it's a lot of videos that I have to retroactively caption. Will take forever. May eventually list the videos that need captions. Will not caption the Italian-Engish bilingual videos, or the @Pit ones.
Very low priority, probably utopistic, I do those parts bilingual precisely to dodge captions, but it would still be nice for the option to exist. Not sure this will ever happen, with how much work it is (and it will become more and more!).
Very low priority too, will get to it eventually.
Operation: Video versions
For every video on the channel, I want to make sure the corresponding post has tabs to match the video, in case I made tweaks later. Those tabs should be labeled "Video version".
A few such tabs already exist. I plan to compile a list of translations that need such a tab, starting in the coming weeks, and proceeding in bits. For now (22/2/25), I have:
Geste;
Iliad opening Latin;
Pestis Latin;
Truce Latin;
Shei lai ai wo Hakka is missing a verse in the video version, which doesn't match the video. Get it from the other version;
Operation: Description Revamps
I want to complement the description of my videos with the playlist(s) they belong to and their RAW recording(s).
Time is scarce, and this is not super-high-priority. I'll get to it eventually. It's being done for new videos.
Video idea: phonetic shenanigans
Answers two questions:
Should we Italians listen to those who say English /æ/ and /ʌ/ should be approximated with our /a/ and /ɔ/ rather than /ɛ/ and /a/ as we do now?
Why does English /ɔ/ sound to Italian ears nothing like Italian /ɔ/ but definitely like Italian /o/? (Although the answer may just be a sound shift the dictionary IPA hasn't kept up with);
Why do some Americans claim the Aussie pronunciation of "no" sounds like "nor" or "noiru"?
I've thought about it several times, but never written any sort of script, and may never do that anyway.
Live Turkish translation video
A video where I translate a song into Turkish live, to show how I work.
All I have is I'm probably completing Seigneur où es-Tu Turkish in that video.
Live decipherment video
A video where I decipher a song live, to show how I work.
All I have is I'm doing Najher' in that video, because I kinda planned it ever since June 2021.
Osas video
So there's this video that went kinda viral a few years ago where this African guy is being inter-viewed for some reason, then his name is asked, and he replies with a long-ass name that leaves the interviewer incredulous. I came across this, was completely ap-palled at the transcription floating around, and made a short video, titled «Uvuvwevwevwe Anyetnwe-mwebfwe Ugwemubwyem Osas», where I pronounced the name the way I heard it in the video. I have since revised that transcription, as evidenced in this Fb post, where the name appears as «Uvùvwe-vwevwe Enyètywemwebfwe Uǵwe-mùǵwyem Osàs».
In that post, I also transcribe the name of his parents, which appeared in a new video a few years later, namely Uvùvwevwevwe Enyètywemwe-bfwe Uǵwemwèkae Eèb́wede Eè-nderu Uǵumwèbwe and Ebebè-ćyećye Emèsyerye Emendè Eènde-ru Ugumwèbwe.
Even later, another video came out, supposedly portraying the son of this guy, which I then transcribed as «Qwazawaza-qwaqwiqwalaqwaza Qx'zablaza (with qwi oscillating between qwi kwi and wi) is how I hear it from him. Perhaps zablʌza or zabloza. The person that comes in at the end says Qwazalazaqwachiqwala-qwaza Qx'zabulaza. Perhaps with k's instead of q's in the name».
The plan is to make a video on how I hear all these names and how they should be spelled accordingly.
No work done about this yet.
Chat log of antiquity
I have a chat with myself on Fb. Starting last Sep (2022), I'm making a log of it in a series of files I update rather frequently. I'd like to make the log of the part before Sep 2022.
2013-2016 covered, not much stuff. The rest is only copypasted so as not to lose the messages to any Fb bullshit (like locking me out as happened recently). I plan to try to do occasional sessions of (at least at the start) one month per session where I recover the timestamps of everything, and the contents of images and clips. Lots is left, and time is scarce.
On 14/2/23 at 14:46, I self-messaged «Potential improvements on the dates of 87-38=49 translations between U4 and U5», adding less than a minute later «I mean significant improvements». This has been sitting in my misc info partial timestamped file for ages now, and I've recently wondered what it referred to. I'm assuming the improvements are suspected to possibly come from this project, so now I'm putting this here :).
Operation: CD
I received a "coupon" for the recording of a CD of song translations last Christmas (Xmas 2022), and work on this is stuck at just the possible track lists, recently remade after being told I should stick to just translations rather than originals + translations. The durations are approximations based either on videos or on me singing the songs. I will not link every song to the relevant post, that would be way too long and I'd like to be done with this thing sooner than later :). It's all songs translated either to or from either English or Italian.
Lista Italiana (70:34, 30 brani):
一支小雨伞 Tsi̍t ki sió hōo-suànn (Un piccolo ombrello, Min Nan - Italiano), ~2:18;
Everlasting (Giapponese-Italiano), ~2:30;
深深的爱 Shēnshēn de ài (Amore profondo, Cinese, Ci xin chang xiangyi), ~1:14;
Se tu fossi (Italiano), ~1:47;
双人枕头 Siang-lâng tsim-thâu (Cuscino doppio, Min Nan), ~1:05;
Ty (Te, Albanese), ~3:06;
तेरे इश्क की बारिश में Tere iśqǝ kī bāriśǝ meṅ (Nella pioggia del tuo amore), ~4:04;
Mos u ngut' (Non ti affrettare, Albanese), ~1:03;
Lela (Galiziano), ~2:10;
只有你 Zhǐyǒu nǐ (Tu sola, Cinese), ~2:10;
Gjërat kan' ndryshuar (Le cose sono cambiate, Albanese), ~2:42;
Я встре́тил вас Ĵa vstrĵétil vas (Io vi ho incontrata, Russo), ~3:19;
忘れないで Wasurenaide (Non ti dimenticar, Giapponese), ~3:40;
あなたがいるから Anata ga iru kara (Siccome ci sei tu, Giapponese), ~2:47;
Time after time - 花舞う街で Time after time - hana mau machi de (Time after time - tra le danze dei fior, Giapponese), ~3:24;
深深的爱 Tshim-tshim ê ài (Amore profondo, Min Nan, Siunn-khi kiann-kue--e loo), ~3:00;
当你孤单你会想起谁？Dāng nǐ gūdān nǐ huì xiǎngqǐ shéi? (Quando sei sola a chi penserai?, Cinese), ~3:18;
あなたがいるから Anata ga iru kara (Because you are there, Japanese), ~2:47;
사랑해 Sarang hae (You I love, Korean), ~3:00;
深深个爱 Chim-chim kài òi (Deep love, Hakka), ~0:49;
深深的爱 Tshim-tshim ê ài (Deep love, Min Nan, Siunn-khi kiann-kue--e loo), ~3:00;
我的歌声里 Wǒ de gēshēng lǐ (In my singing voice, Chinese), ~2:39;
明日我是谁? Ming4-jat6 ngo5 si6 seoi4? (Who will I now be?, Cantonese), ~1:32;
三声无奈 Sann siann bô-nāi (Completely helpless, Min Nan), ~3:29;
在风中呼唤你的名字 Zài fēng zhōng hūhuàn nǐ de míngzi (Shouting out your name in the wind, Chinese), ~3:50;
谁来爱我? Shéi lái ài wǒ? (Who will love me?, Chinese), ~2:10;
落山风 Lo̍h-suann-hong (Wind from the mounts at dusk, Min Nan), ~2:00;
能否不想妳? Nang4 faU4 bat1 soeng2 nei5? (Can I not love thee?, Cantonese), ~3:30;
爱人仔到底佗位去? Ài-lîn-á tàu-té tó-uī khì? (My darling love, where did you go?, Min Nan), ~1:38;
我的心内只有你 Guá ê sim lāi tsí ū lí (In my heart I have but thee, Min Nan), ~2:08;
明天 Míngtiān (Tomorrow, Chinese), ~2:38;
想念你 Xiǎngniàn nǐ (I miss thee, Chinese), ~4:19;
夜雾 Yè wù (Night fog, Chinese), ~2:44;
黄昏里 Huánghūn lǐ (Twilight, Chinese), ~1:42;
是否真的爱我? Shìfǒu zhēnde ài wǒ? (Do you really love me?, Cinese), ~1:13;
是你是你是你 Shì nǐ shì nǐ shì nǐ ('Tis you 'tis you 'tis you, Chinese), ~3:30;
真的好想你 Zhēn de hǎoxiǎng nǐ (I miss you so bad, Chinese), ~3:51;
牵阮的手 Khan gún ê tshiú (You hold my hand, Min Nan), ~0:53;
Still for your love (Japanese), ~2:20;
今生今世 Gam1-sang1 gam1-sai3 (This whole life through, Cantonese), ~2:22;
Mixed list (71:30, 29 songs; optionally remove Alloy na m'agapas, getting down to 70:01 and 28 songs):
一支小雨伞 Tsi̍t ki sió hōo-suànn (Un piccolo ombrello, Min Nan - Italiano), ~2:18;
Everlasting (Giapponese-Italiano), ~2:30;
深深的爱 Shēnshēn de ài (Amore profondo, Cinese, Ci xin chang xiangyi), ~1:14;
Se tu fossi (Italiano), ~1:47;
双人枕头 Siang-lâng tsim-thâu (Double pillow, Min Nan), ~1:05;
Ty (Te, Albanese), ~3:06;
तेरे इश्क की बारिश में Tere iśqǝ kī bāriśǝ meṅ (Nella pioggia del tuo amore), ~4:04;
Mos u ngut' (Non ti affrettare, Albanese), ~1:03;
只有你 Zhǐyǒu nǐ (Only you, Chinese), ~2:10;
Я встре́тил вас Ĵa vstrĵétil vas (Io vi ho incontrata, Russo), ~3:19;
Time after time - 花舞う街で Time after time - hana mau machi de (Time after time - tra le danze dei fior, Giapponese), ~3:24;
深深的爱 Tshim-tshim ê ài (Amore profondo, Min Nan, Siunn-khi kiann-kue--e loo), ~3:00;
当你孤单你会想起谁？Dāng nǐ gūdān nǐ huì xiǎngqǐ shéi? (Quando sei sola a chi penserai?, Cinese), ~3:18;
明日我是谁? Ming4-jat6 ngo5 si6 seoi4? (Who will I now be?, Cantonese), ~1:32;
Από μέσα πεθαμένος Apó mesa pethaménos (Morto dentro, Greco), ~2:38;
在风中呼唤你的名字 Zài fēng zhōng hūhuàn nǐ de míngzi (Shouting out your name in the wind, Chinese), ~3:50;
三声无奈 Sann siann bô-nāi (Completely helpless, Min Nan), ~3:29;
谁来爱我? Shéi lái ài wǒ? (Who will love me?, Chinese), ~2:10;
Που να τα πω? Poý na ta pō? (Dove le dirò?, Italiano), ~2:56;
爱人仔到底佗位去? Ài-lîn-á tàu-té tó-uī khì? (Amor, dove hai voluto andar?, Min Nan), ~1:38;
我的心内只有你 Guá ê sim lāi tsí ū lí (Nel mio cuor tu sola stai, Min Nan), ~2:08;
是否真的爱我? Shìfǒu zhēnde ài wǒ? (M'ami per davvero?, Cinese), ~1:13;
Ἀλλού να μ’ αγαπᾶς! Alloý na m' agapás! (Altrove amami!, Greco), ~1:29;
是你是你是你 Shì nǐ shì nǐ shì nǐ ('Tis you 'tis you 'tis you, Chinese), ~3:30;
Σ’ αγαπάω S' agapáō (Ti amo, Greco), ~2:03;
真的好想你 Zhēn de hǎoxiǎng nǐ (Mi manchi da morir, Cinese), ~3:51;
牵阮的手 Khan gún ê tshiú (Tienmi la man, Min Nan), ~0:53;
今生今世 Gam1-sang1 gam1-sai3 (This whole life through, Cantonese), ~2:22;
Operation: diary
Join all the various pieces of my diary together, and translate any-thing that isn't in Italian to Italian.
I have assembled the whole diary from the beginning to 23/9/09, the end of the second handwritten notebook of the Latin diary. Yes, this part is all in Latin. I have also joined together the last notebook with the parts written on computer between 24/3/11 and 6/8/11, as well as everything that goes all the way to May 2012, which is where Latin is abandoned in favour of Italian. The 2012 part is integrated with a few things from notebooks, and I have more integrations to make. There are also some 10 notebooks left to digitize, and more computer parts to include in there. In going through all this, I should be mindful of references to video: Aveva un bavero: while the relevant "a few more todo items" item is gone, because I edited the post, I wasn't quite able to determine the date at which I met the song, and as I go through the various diary entry I should keep an eye out just in case something in there clears this up.
Screenshot diary
Summarize the boatload of old and recent screenshots I have into a sort of diary.
Not started yet.
Digitizations
Convert a bunch of stuff related to my poems, found either on loose sheets or on the poem notebook/noteblocks, into digital form.
For now, I have one page of one noteblock fully converted, and the whole of the last noteblock converted "the fast way".
Operation: LaTeX CorPoM
The CorPoM is my corpus of poetry, i.e. the place where I list all my poems in chronological order with as detailed a history as I can get. I want to transition it to LaTeX and, in the process, take project Digitizations into account.
Not started yet.
Operation: LaTeX COM
The COM is my corpus of musical works, i.e. the place where I list all my tunes and music pieces in chronological order with as detailed a history as I can get. I want to transition it to LaTeX and, in the process, take project Digitizations into account if need be.
Not started yet. Remember to include "Milan f*ck you", "Il più grande uomo-scimmia del Pleistocene", and perhaps "Pro-prot pro-prot pro-prot prot prot", which the current COM forgot about.
Project: Crush Piece
One of the tunes in the COM is linked to this idea of making a piece where different instruments would play the tune, perhaps with harmonies (not sure what I thought way back when, definitely going polyphonic now), for lengths of time depending on how long each of my high school and middle school crushes lasted, and more or less forte depending on how intense the crushes were.
I've given it a bit of thought, as in maybe I should make each execution of the tune correspond to a year of crushing, and when there's no crush everything should play together very faintly, and maybe have the Gaia instrument, which was to last super long, recover the tune of the song I made for her, but then again maybe I make each execution match two years of crushing, and then that instrument just gets a single full execution. Will think more.
Operation: LaTeX Canzoniere
The Canzoniere is my collection of poetry where all the poems not in X language are provided with a translation. At the moment, it is in Word, with Italian translations. I plan to convert it to LaTeX, taking projects Digitizations and Operation: LaTeX CorPoM into account. Appendixes: "poesie didattiche" (didactic poems, which are poems related to school topics), "versi a caso" (random lines, i.e. iambic pentameters and endecasillabi and other kinds of lines that I identify in random segments of speech or thought, either mine, or others'), "intro di video" (video intros, typically the metered intros of Sappho videos).
I started before I found project Digitizations, and didn't get very far. I didn't even use the "parallel" package to side the texts and translations. The first appendix should already be ready, but in Word. The second one has its material gathered together in a single file, the third one has several files, practically one per intro.
Operation: English Canzoniere
Change the X of the Canzoniere (see above) from Italian to English in a new version of the Canzoniere.
Unstarted.
Operation: Canzoniere anthology
Make an anthology of my poems to put on the blog.
This obviously has to follow all the other Canzoniere-related projects, so it's stalled until then. Or does it? I decided to go ahead and at least make the list, which I report here. UT means untranslated, otherwise the target languages will be listed. The bracketed numbers are those the poems have in my Canzoniere at the moment.
[1]I love my classmate Consonni (English, already here with Italian);
[2]Für Alena (English, already here with [2]Italian);
[274]Of my many thoughts you're queen (English, already here with Italian);
[5]My love for you (English, song for Gaia, already here with [5?]Italian translations);
[8,UT}I love you darling dear (maybe; English);
[9]Nel core mio com'un gran vuot'io sento (Italian with [71]English, [420]Chinese, [421]Zulu, and [422]French);
[12]Amor mai non mi fu più ver di questo + [11,PT]A scuola le giornate più noiose (Italian; the former was then completed into a [80]sonnet with [81]English, turn this into 4-quatrain sonnet and translate [11] to English to complete the translation);
[13,UT]O mea vita meo in corde + [14,PT]Ride sol tu care (Latin with partial [118]Greek);
[15-16,UT]Latin phaleceans;
Γέλα, ἥλιέ μου (Ancient Greek phaleceans with Italian singable translation and non-singable hendecasyllabics one);
[24,UT]A te pensavo anche mentre, una sera, / pel glutine mangiato vomitavo (Italian);
[26,UT]Quand'anche a letto colla febbre i' era (for Gaia; Italian);
[26,UT]O Dio del ciel, di tutto 'l crëatore (Italian);
[33]Nun singen dir wird ich mein Liebeslied (German with [49]English and [86+]Italian);
[34,UT]Some friends I did invite the other day (English);
[37]Pararé alguna vez (Spanish with [85]Italian);
[39,UT]A direct voice I'll try to give my thought (English);
[40]I enter school with my schoolbag behind (English with Italian);
[42+55+124,UT]Ballad for Chri, apparently split across multiple poems (English);
[50,UT] Ci allegriam tutti insieme: a scuola 'nfatti (Italian);
[60,UT]Sono continuamente sconcentrato (Italian);
[UT]Maybe join the first quatrains of the "I' voglio imaginar l'amore mio" poems (53, 127, and , not 70) into a mildly funny poem;
[72]Latin Sapphics (with [171?]Greek);
[75]Latin Alcaics (with [154]Greek and [312]Italian); end it with [76]O quam dulce fuit (Latin, has [78]Greek but NO ITALIAN!);
[89]Celeste Dio, di tutto 'l crëatore (Italian with [110]French and [125]Romagnolo);
[94,UT]Saranno pure solo cazzi miei (Italian);
[99, UT]Or buona Pasqua ti voglio augurare (Italian);
[105,PT]Babbo, fôrsi t'dvirèst durmìr ad piò (Romagnolo with partial [104]Italian which was actually a ditched start which then went into the Romagnolo);
[119]Greek Sapphics (Aeolic with [126]Italian and [138]Latin);
[122]Greek elegiacs (Ionic pastiche with [?]Italian);
[508,UT]We Michi, amica mïa! Come stai? (If completion is possible – Italian);
[509,UT]O amica nuova, nota da sì poco (Italian);
[510,UT]Sui sassi in un ruscel s'ha da saltare (Italian);
[513,UT]现在挂大风 Xiànzài guā dà fēng (Chinese);
[515,UT]O M.T., meraviglia novella (Italian);
[516,UT]Una sera pensavo e componevo (Italian);
[517,UT]O Dio del ciel, di tutto il crëatore, / FatTi trovare (Italian);
[525,UT]Un abbraccio che tu ti senti a casa (Italian);
[526,UT]Mi sono ricordato di un sonetto (Italian);
[528,UT]O Bie Youfu (Italian);
[530,UT]O bella e cara Bie Youfu (Italian);
[531,UT]Per non mancar l'abbraccio di saluto (Italian);
[532,UT]O Dio del ciel, di tutto il crëatore / Io voglio ritrovare il gaudio immenso (Italian);
[536]Κρυπτὸν δ' ἔστ' ἀγάπη (Greek with [537]Latin);
[NaN,UT]La grinta, l'interesse e la passione (Italian).
And you guys have zero clue how long it took me to make this fricking list :).
Operation: Translation anthology for self-publishing
Make an anthology of translations with some kind of fil rouge to the sequence, and self-publish on Kindle Direct Publishing.
This was suggested by Asmā, and she just reminded me as of writing this on 2/5/24. I'm putting this behind a bunch of stuff and haven't given it much thought since she first suggested that just before COVID :).
Translation candidates
The list of songs I may translate at some point is below.
No work unless something is in IAFI. In which case I'd probably have removed it by now.
Operation: megadiary
Write down all the memories of the period before the Latin diary as well as the hiatus between Italian diary and English diary (11/3/18 - 23/9/20) and any non-work memory of the first part of the English diary, when it was still a Math diary. Integrate that with any old file or notebook that gives interesting additions. Include also the Screenshot diary.
I have recovered a bunch of old notebooks and files to analyze. That's it so far.
Operation: picless COM
There exists such a thing as a music-writing LaTeX package. Once Operation: LaTeX COM is done, the next step is figuring out how to use that package in order to avoid having a bunch of pictures of musical notations in that COM.
Very low priority, and is subsequent to LaTeX COM anyway, which is also pretty low priority.
Operation Mick GorRAWs
Uploading raw recordings to a separate channel and linking them in the video index. Doing this mostly not to lose the RAWs if I break another HD (which luckily only seemed to have already happened, apparently losing another huge batch of RAWs including that of MickConlangs and most of those for Salelaka and the Despacitos, for example, but cfr. my self-answer to this Quora question; unfortunately I don't think MickConlangs is in there, that should be recent enough to be in the first broken HD… or maybe that is also fake-broken? I doubt it… we'll see), but also, maybe someone is interested in seeing bloopers? We'll see. Doesn't cost anything to do this anyway, does it now?
As of 12/2/26, there are 169 videos on the channel, many of which are multichunk and should therefore get splits in their descriptions.
Finally added this here on 19/3/26 after having it in mind since like Nov 2025 and splitting it from the next project about 2 days ago, this channel is for the many second voices I come up with for songs, mostly church hymns but not only. Povera voce and the nearby-in-time videos are examples, actually.
Given this was added so late, you can guess how low-priority it is for me :). Zero work done, save for what was cited above and maybe some other videos from the main channel.
Channel 4: MickWhatever
Finally added this here on 19/3/26 after having it in mind since like Nov 2025 and splitting it from the previous project about 2 days ago, this channel is for just random songs I want to upload, like:
Je partirai, which is already on the main channel;
The songs from the show Don Matteo I recently transcribed or transcription-requested:
The Sambenedettese songs G.B. sent to me which are not on Youtube.
This channel is also for other "song shenanigans", like switching the tunes of songs in the Common Meter around.
Given this was added so late, you can guess how low-priority it is for me :). Zero work done, save for what was cited above, where the CM songs are Su i' filobus di Fiesole, Sul tramme di Posillipo, the Rime of the Ancyent Marinere, and Atthida, plus probably many more but those are the ones I have in mind (won't bother with Robyn Hode, but the Pokemon theme song, definitely).
Operation: Ela ela
A few eons ago, I ran into "Ela ela mu kondà", this pair of songs, one in Calabrian Greko and one in Salentino Griko, and dug into the lyrics to find many other possible stanzas. I then created a supermix of all this stuff, and started an Italian translation for it. Recently, I have started a Greko-Teochew and Griko-Min Nan translation. Both translations can be found, in their infancies, at WIAFI (see relevant entry here). The aim of this project is to finish fixing up the lyrics (cfr. this megapost on the subject) and complete the translations.
This is pretty low on the priority list, also because I'm kinda hoping to do this when Karanastasis-Casile (the Italian version of Karanastasis' Greko lexicon) is completely published and in my hands, and maybe Nick Nicholas will then be willing to help me again :). i should probably get the original Greek, TBH, because the Casile version expunges the Griko material. In any case, all I've done aside from the initial bout of work is to prepare the intro bit «Σήμμερι εσά ππρεσεντέω ένα τραούδι... κατωιταλιωτικό τι εβώ μετέφρασα άcε Γρίκο ες Μιν Ναν τcαι άcε Γρέκο ες Τιότcιου» at 11:18 on 6/4/24.
Operation: Stiđđa matutina
Long ago, I translated the song to Chinese. I didn't know the tune, so I had to just keep the syllable count. I must check that the translation fits the tune, in the sense that the tune should not, so to speak, clash with the "parsing" of the translation.
I still don't know the tune. I've asked A.S. to investigate. She told me she'd ask some guy who apparently was more likely (in her view) than A.M. to know about it, but last time I asked her for news she said she'd asked A.M. so A.M. would give me news when there was news, and that's also when I got Stiđđa d'amuri, which immediately went onto the Translation candidates list, so see below. So Idk. I guess I still have no news, but I'm really out of people to ask about this.
On 30 or 31/8/24, at my brother's concert, I asked another Sicilian person, and she suggested the song seemed to be from IIRC the Trapani or Messina area, and to contact Peppe Cubeta and his band. Which I did, and no news still, they don't know the song either.
Operation: "E Allora"
Translate E allora Italian-Mandarin Neapolitan-Hakka Milanese-Cantonese, localizing it to Chinese places.
This has been an idea of mine for ages, randomly coming to mind now and then, but i have no idea where to localize it. I guess I have to post about it on CoL or… no actually, I should post on my Quora space, asking for help from a Chinese person who hopefully can suggest appropriate places. I need a Hakka-speaking seaside place ("Fa i bagni qua, certissimo?" refers to the sea, right?) and a Cantonese-speaking place whence tourists go to the Hakka place.
Operation: Mako Sotek
A few ages ago I saved this song as a translation candidate. About half as many ages ago, I finally tried cracking it, kinda failed, tried transcribing it, and decided I didn't like it. Actually this part was last august, so Aug 2024. Anyway I requested proofreading for the transcription, and eventually got this comment with another transcription. The operation is to process that, comparing with what I hear, and update my transcription accordingly.
Obviously very low priority, considering this has been lying there for like 8 months with me not even remembering to add something here about it. And barely ever thinking about it, even.
Operation: Kajla
«Don't forget about https://www.quora.com/unanswered/How-correct-are-the-Finnish-translations-in-the-source-comment-In-particular-how-many-objects-did-I-ust-the-wrong-case-for, you will eventually need it for the Katja Kajla Finnish song», said the Blog todo list on my computer. Not sure why I didn't put that here from the start.
Not even thinking about this now, it's just on my todo list.
This is a partial musication of a poem by I don't remember who. The idea is to either finish the musication, because the current partial one is missing a pretty fundamental part of the poem, and then translate the result, or not do anything at all.
Not even thinking about this now, it's just on my todo list.
Looks like the idea was to try to fill in the XXX in that transcription. Or maybe to straight-up try to transcribe it, and it has since been done.
I asked Quora, Quora delivered, I posted the Quora almost-completion and translation to LT, and then asked a friend from Reggio to help me complete the last XXX and the translation. He gave his own transcription. I compared both to what I heard, and came up with an almost-complete text, with two uncertain points only, and a consequent translation.
I sent the text to the incorrect lyrics forum, and it got edited in. I also changed my translation to the "consequent" one mentioned above. Now I am waiting for the friend and the Quoran to comment on my work. I also made a sum-up post on Le Lingue with the whole history, asking for help. It has gone unnoticed.
I've had a couple ideas, and have looked into Musolino's history, but there are still some interpretative uncertainties, and the two solutions I proposed for the uncertain text passages are still tentative and need confirmation from one of those two guys or some other Quoran. I'm thinking of contacting another Reggino friend since the one I've contacted so far isn't answering lately.
Quora Qs and As
I have saved a bunch of Quora questions to be answered (or something) and answers to be edited (which nowadays means a massive comment for each of them) or read.
The things are there, dusting up in old files :).
Misc info
After Replacement inactive stuff was dismembered, with only items 2 and 6 of the list below remaining (1 was dealt with, 3-5 were integrated into the Language intros file, and 7 was outdated and in the "active" part of the "Replacement" already), I merged those two into another file called misc info, which I will give some detail about in the status.
So this file is a bunch of info of various nature. The hitherto uncited OS files have been replaced by the Baby Gorro list below, but I do want to keep a mention of OS25, which will probably be used to post-date translations as I complete HS4 chronological index.
Baby Gorro video list (excluding Wo de hao xiongdi zh-en feat. Michela at the U3 bar in Bicocca, which I cannot upload of course):
Lord Randal (audio 26/10/09, video 14/11/09); uploaded 31/3/24;
P. 156: SMB 23.11-12 + SMB 19 Ε unintegrated + SMB 24 χωρίς 2.D.xvi;
P. 158: SMB 156.3-11 + SMB 261 + SMB 55;
P. 160: SMB 82 + SMB 209.3-9 + SMB 247 + SMB 316;
Sappho Comparative Numbering Table mishaps
E84A is mapped to CPS 392 but it's 391, and a bunch more after CPS 391 are misnumbered;
There are two CPS 167 in the table. Inc. 8 is not CPS 167;
LP inc. 25A IS in CPS, but the table says no;
Lekatsas I.26 is included in LP 15b, not equal because it drops the incomplete stanza;
L I.27 should not be equated to LP 16, but to whatever Edmonds number this corresponds to, since P.Oxy. 2166(a) wasn't a thing in Lekatsás;
I.28 vs LP 17 should probably be in the same situation, though Edmonds there is placed with LP…;
Switch from Roman Numerals to Greek ones like Lekatsas uses, this way you avoid the issue of Lekatsas potentially skipping VI. Si I is alpha. blah blah, V is epsilon, VII is Z, VIII is eta;
Make A (for Adespota?) into I for Incerti. Actually, IL;
A.30 should be marked as included in LP 148;
LP 200 can't be Lekatsas raw quote, that probably belongs in the safopoemas column just before the Lekatsas one;
156.2 C is L A.23 l. 2;
The Suda found in the L column was supposed to be in the sources column;
I.27 is E38+E39, because E splits ex adoketo from Sappho 16;
III.4 is indeed E70, but check the other numbers;
E148 is VIII.8, not A.8;
B51 is kapalais ypathymidas so « Probably in a book V Crit » -> «In V.1 crit»;
Ditto for B55 Brentheio;
«1 ll. 23-26 + 1A» is missing a IV (or a delta, I guess);
LP137 is A.19a + A.19b;
Proto-SDQP list;
List of Sappho fragments found in Rosati's anthology, where I assume the -D marks were for those that had an @Ψ episode but were never updated past when they were just LP 34 57 and 130, so I update that accordingly:
Hymn to Aphrodite (LP 1);
"Idyll with Aphrodite" (LP 2, D);
"Prayer to the Nereids" (LP 5, D);
Sappho 16 (D);
"Ode to Anactoria" (LP 31, D);
"The stars and the moon" (LP 34, D);
"Love shook my heart" (LP 47, D);
"You came" (LP 48+);
"I loved you, Atthis" (LP 49);
"Dead shalt thou lie" (LP 55);
"Rustic woman" (LP 57);
"I wish I were dead" (LP 94);
"O Atthis!" (LP 96, D);
"Sweet mother" (LP 102);
"Like the sweet apple" (LP 105(a));
"Like the hyacynth" (LP 105(c));
"Bittersweet love" (LP 130, D);
"Kleis" (LP 132, D);
List of numbered translations (i.e. translations of fragments with SF numbers, not SF letters) not present at all in S11:
"Like the sweet apple" (LP 105(a)) Latin;
"Like the hyacynth" (LP 105(x)) Latin;
"Forever a maiden" (C 44A) Latin;
"O Atthis!" (LP 96) ll. 7-24 Latin;
"The porter" (LP 110(a)) Latin;
"Happy bridegroom" (LP 112) Latin and English;
"No other maiden" (LP 113) Latin and English;
"Divine Hera" (LP 17) Latin;
Most of all translations of Hector and Andromacha;
Japanese songs emerging from the past:
Dogi dogi Mōningu (see bookmark, from session 109);
Yelaixiang Japanese from session 121; session 127 is 3/4/13, 126 is from 2/4, 118 is 10/3/13;
9/9/14 10:56:11 screenshot shows 牵你的手 走咱的路; the previous 10:52:34 shows me looking up the song's vid on YT;
10/12/18 18:50 note save vs. 18:33:53 9/9/14 SS: identical up to The enemy within which is where SS stops; 18:35:43 I go edit in ai jiangshan geng ai meiren and probably the link following it in the note save;
Google Translate[yelaixiang ja-zh].html in Session 121 has Yelaixiang ja in year 2!
CJK songs from the recent past:
Japanese songs
Found 12/2/24 20:21 in this video, at 58:56 and neighbourhood; also found 15/4/24 22:10, at ~43:40-≤45:44 in this livestream VOD; the song is this one;
1/5/24 21:15, this video has a Japanese song at 27:47-28:19, can't find it, the piece in the video seems to go そのままで クワンなんて なにをなひい 空がボクを 愛せよに 風が吹く ながせよに きついてよ ボクはもう いつならさばに行く;
On 4/5/24, or in the night between 3 and 4, I watched JaidenAnimations' video on her passion for Hatsune Miku, so I went to look up this singer, and self-sent Harmonize at 3:18.
On 4/6/24 at 16:06 I found this 4/6/22 post, which I'd guess is a memory, containing part of this Japanese song (video found 5/6/24 17:15) as its soundtrack;
On 2/2/25 at 16:13 I opened Avenoso's Fb story, which included this song, apparently; not sure what the lyrics below are, but they don't seem to match the link;
On 27/6/25 at 17:02, I self-sent this video, which contains the start of this song;
On 26/7/25 at 13:36, I self-sent this short, which contains parts of this song;
On 26/9/25 at 14:59 I self-sent this short, containing a song (or part of one?) whose lyrics are «血泥ついたって守りたい / 革命道中だってきみに夢中 / 暗闇指紋世界で見つけた / センチメンタルな恋»;
On 17/11/25 at 12:24 I self-sent this short, containing (part of) this song;
On 31/1/26 at 9:53 I self-sent this video, whose ending song doesn't seem to be online and should be titled "Jiodyūdo kimi wa watashi no sasae da";
On 19/2/26 at 18:21 I self-sent this video of the song "Suteki da ne", recommended to me by Lorenzo Ferreri;
On 23/3/26 at 10:54 I self-sent this short having in its soundtrack a part of the song Chidori by Yorushika;
On 29/5/24 at 22:24 I self-sent this YT vid, which contains a Cantonese song performed by the video's maker Olly;
On 9/7/24 at 0:34, I self-sent this Fb vid which has parts of a Cantonese song at 0:25-0:34;
That same video has part of a Chinese song at 0:34-0:37; part of that song is also at 0:10-0:23 in this Fb vid, found 11:26 20/7/24; the song is this one (video found 14/9/24 16:18);
From a wrong Shazam of the vacanzina's anthem, 27/7/24 15:18 gives this song;
On 8/8/24 at 10:11 I found this Fb vid, which has part of a Chinese song at 0:43-end, the lyrics starting way later and seeming to include "友谊分开 无法挽回 藏在心中", "说出口了", "青春不再"; unfortunately Googling that gives nothing and Shazam can't deal with the stupid pitch-ups of these Rocky Dog videos;
On 31/8/24 at 0:35 I found this Fb vid which has a clipping of this song (YT vid found 16:30 14/9/24);
On 12/10/24 at 10:08, Anton Xie sent to a Hakka Chat the following Hakka rendition of La Cucaracha, as I self-forwarded it 29/10/24 7:56:
Khi chat ko
蜞蚻歌
La cucaracha
恁多人今下做蜞蚻
An to nyin kin ha co khi chat
有工作个時還毋怕
Jiu kung cok kai shi han m pha
無做麼到三更半夜
Mo co mai to sang kong pan ja
遐人命毋久會伸車
Ka nyin miang m kiu boi chun cha
阿哥阿妹也做蜞蚻
A ko a moi ja co khi chat
夜夜落酒店落酒巴
Ja ja lok ciu tiam lok ciu pa
食酒唱歌嘻嘻哈哈
Shit ciu chong ko hi hi ha ha
人生短短目眨下
Nyin sen ton ton muk sap ha
半夜做蜞蚻半夜做蜞蚻
Pan ja co khi chat pan ja co khi chat
三更半夜毋使睡
Sang kong pan ja m shi shoi
阿這唱下歌阿該跳下舞
A li chong ha ko a kai thiau ha bu
遐下䬷吾頭顱牯
Ka ha sha nga theu na ku
While looking for the previous song, I found these lyrics 9/6/26 14:11:02, whose matching video I only found between the lyrics and 14:25:07;
Looking for the video to the previous song led me to this video, which I found between 14:11:02 and 15:25:07, before the previous song's video but after its lyrics;
Randomly found this song on LT, self-sent 26/1/26 22:59;
Bù yán: this song, found randomly on LT and self-sent 4/4/26 13:18;
Mejikuhibiniu (lyrics), links self-sent 28/3/26 4:46, song found as sountrack at end of this short self-sent 23/3/26 10:54 (the short of J29);
Hindi translations "Actually to be corrected" as far as the 6/8/24 23:28 summary was concerned:
Άναψε καινούργιο μου φεγγάρι;
爱流浪;
Aconteceu;
忘れないで;
Ατθίδα seems only partially corrected;
我的歌声里;
Ψάπφω στη Νεοελληνική translations shared with Σαπφούς άπαντα:
Sappho 16b;
Idyll old;
The stars and the moon;
Ode to Anactoria;
Let's sing for the couple!;
Idyll new;
Hymn to Aphrodite;
Kypris Poem;
Aithopia;
Idle-barking tongue;
Sappho 16 Thévenaz;
Miscellaneous diary-related info;
Former Replacement inactive stuff:
Urdu couplet to analyze metrically:
ہم نے تیرے بعد محبت کو۔۔۔۔
جب بھی لکھا گناہ لکھا۔۔
Wolof problems from So why: left there to rot; "So why" is a song in a mix of African languages I hoped to fully decipher and maybe somehow map to another language mix; can't link Lyricstranslate because my transcription request for it was unpublished;
Wannabe new Replacement inactive stuff:
Some todo diary stuff related to Operation: diary;
Most of Operation: mysteries;
More stuff removed from the Replacement's "Future weekends" section:
Rework history of Hector and Andromacha English with t.poem in mind (see also above);
Who is crying in Weihe liulei? Naze naiteru to wakaranai eliminates the problem, but English has you and Italian+Sicilian have I, and Japanese has kimi;
List of things to be digitized for Operation: Digitizations;
Investigate all questions in the list at "Contributors stuff", complement that by looking at all my Quora and SX questions as well as all the LT stuff I interacted with that I can trace, then script the whole "A lifetime of translations" series and start making episodes;
REFLECTION: Should I analyze Pa ty (Gheg), or make a big post of extra Gheg features which goes over whatever I find in some songs and nowhere else, saving me a bunch of analyses?
Blog where I plan to include all the maths I did in Uni and PhD
As the title implies, I originally planned to post on it once a month. As you can see, it's no longer stuck with me looking for a PhD that started on 1/11/2018 and has ended on 21/9/23 because I updated it, and now it says it's on an undeterminately long standby. The last post was already a month late because that's how long it took to put it together, and then the translations blog and the PhD took over and relegated it in a corner of my mind.
Mettakhda min el-ayam (lyrics resolved, but I'm afraid this should be moved to the next category, seeing as it seems to be Egyptian Arabic which I can't seem to parse with Wiktionary…);
Ndatekateka (lyrics and Portuguese translation found in Fb note, as per a Youtube comment), if I can ever get my hands on the lyrics; here is a video link that works as of 20/2/26, and here's the song on LT;
Olonamba (all I have is a possible partial transcription, cfr. note), if I can ever get my hands on the lyrics; here is a video link that works as of 20/2/26, and here's the song on LT;
Kolofeka (all I have is a "traduçäo possivel" in the Youtube comments), if I can ever get my hands on the lyrics; here is a video link that works as of 20/2/26, and here's the song on LT;
So why (has since been unpublished): choose target languages perhaps, see what decipherment can be done; Quora may help; Kelechi didn't do anything about this);
Bêrîvanê (Kurdish, taxi to Sabiha airport), lyrics:
Cane Canê Canê!
Kulîlka li mala Xanê
Asmere bêrîvanê
Min bi qurbanê rebenê
Danî derde qelenê
Navê lawik nizanim
Navê keçke Siltanê
Poz gulê xizim zerê
Kesera ser keserê
Κάθε μέρα
σ'ερωτεύομαι
απ' την αρχή
χορεύω μαζί σου
το πιο ερωτικό ταγκό
του κόσμου όλου
για φιγούρες
έχουμε τις λέξεις
Έναν χορό τελετουργικό
της σχέσης μας
γνωριστήκαμε χορεύοντας
κρατιόμαστε
ο ένας απ' τον άλλο
τα κορμιά μας....
σα να 'ξεραν από πάντα
το ρυθμό
Λικνιζόμαστε με χάρη....
η χαρά μας..... μεγάλη
στο ταγκό της ζωής μας!
Thumak chalat ramchandra (How TF this ended up in Portuguese under the appearance of "Kaoma – Quando" I have no clue… or why the link literally says kaoma-quando-lyrics but then it leads to this Hindi song, and adding -0 after .html actually leads to Kaoma – Quando, which I'm pretty sure is what I actually found…);
Salve caput cruentatum – or maybe the whole RHYTHMICA ORATIO AD UNUM QUOD MEMBRORUM CHRYSTI PATIENTIS ET A CRUCE PENDENTIS, for a long time attributed to St. Bernard of Clairvaux, now declared to be by Arnolfo da Lovanio;
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