長歌でのサッフォー Chôka de no Saffō

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

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

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

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

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

Σύστασις αʹ· Ἔρος φρένας τίνασσον 集団しゅうだん一いち： 心こころゆる 恋こいのせいでは αʹ· Πρὸς τὴν Κύπριδα Πῶς̣ κε δή τις οὐ θαμέω̣ς ἄσαιτο, Κύπρι, δἐσ̣πο̣ι̣ν̣'; Ὄττινα̤ ｢δ｣ὴ φίλ̣｢ησθα｣ [καἰ] θέλοι μάλιστα πάθε̤ι̤ 'κ̣δα̤[κρύην οὐκ] ὀνέχησθα. Πᾷ [β]άλοισά̤ μ' ἀλεμάτω̣ς δαΐ̤σδ[ης] εἰμέρ‹ῳ› λύ{ι̣}σαντ̣ι̣ γόν', ὢ μεγ̤ί̤σ̤[τα;] Πόλ[λ]α πάμ̤π̤αν μ' οὐ πρό̣[τερ' ᾖσθ' ἀπέχθης,] οὔτ' ὀ̣νέ̤ερχ̤｢θ｣αι φαῖμ' ἀπ' ἀμμέων] σέ· θέλω [δύνασθαι μήκετ' οὔτως τοῦ]το πάθη[ν! Φρένεσσι παῦσε τὰν θύελ]λ̣αν! ἔγω δ' ἔμ' αὔτᾳ τοῦτο σύνοιδα· ὄττι τοὶς] β̤[ρ]ό̣τοις [ποτ]α̤ [οὔ κεν εἴη Πάμπαν εὐτύχην·] ἔ̣ν' ἄμ' [ἄμμιν ἔμμεν Δεύομ' ἀνθρώπων γ]ε̣ [u–u–x –uu–x] βʹ· Δύο νοήματα Οὐκ οἶδ' ὄττι θέω· δύο μοι τὰ νοήματα. ２：思考しこうは二ふたつ 心こころにの 事こと分わからない： 思考しこうは二ふたつ。 γʹ· Γλύκηα μᾶτερ Γλύκηα μᾶτερ, οὔτοι δύναμαι κρέκην τὸν ἴστον πόθῳ δάμεισα παῖδος βραδίναν δι’ Ἀφροδίταν. ３：甘あまい母はは 甘あまい母はは アフロでィーテは この心こころ 男おとこのここへ／にの 憧あこがれで とても優やさしく 満みたしたわ／を。 このままで この織物おりものを 遣やり続つづけれぬ。 δʹ· Ἔρος δ' ἐτίναξέ μοι φρένας                  Ἔρος δ᾽ ἐτίναξέ ‹μοι› φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων. ４：我わが心こころ揺ゆる 山やまの上うえ 柏かしわに強つよく 吹ふき付つける 風かぜのように 情欲じょうよくは 私わたしの心こころ 強つよく揺ゆらした。 εʹ· Γλυκύπικρος Ἔρος Ἔρος δηὖτέ μ’ ὀ λυσιμέλης δόνει γλυκύπικρον ἀμάχανον ὄρπετον, Ἄτθι, σοὶ δ᾽ ἔμεθεν μὲν ἀπήχθετο φροντίσδην, ἐπὶ δ’ Ἀνδρομέδαν πότῃ. ςʹ(α)· Πρὸς Ἀριγνώταν [Πῆλ' ἄπεστιν Ἀνακτορί' ἀ φίλα Τὸν λέπτον ϝ' ἀπὺ] Σαρδ̣ί̤ω̤[ν Πρὸς σὲ πό]λ̤λ̤α̣κι τ̣υίδε̤ [νῶν ἔχοισα] 3 ὤς π̣ο̤[τ' ἐ]ζ̤ώομεν β̤ε̤[(.)]β̤ά̤ω̤ς ἔχε̣[ν σὲ̣ θέα‹ι̊› ϝ̣ι̣κέλ̤αν, Ἀρί̣- γ̣ν̣ώτα, σ̤ᾶ̤‹ι̊› δ̤ὲ̤ μάλιστ' ἔ̣χαι̤ρε μόλπᾳ(ι̊)· 6 νῦν δ̣ὲ Λύ̣δαισιν ἐ‹μ›πρ̣έπε{ε}ται γυνα̣ί̣- κ̣ε̣σσιν ὤς ποτ̣' ἀελίω δύντος ἀ βροδοδ̣άκτ̣υλ̣ο̣ς̣ ‹σελάννα›, 9 πάν̤τα πε‹ρ›ρέχοισ' ἄστρα, φάος δ' ἐπί- σχει θάλασσαν ἐ̤π' ἀλμύραν ἴσως καὶ πολυανθέμοις ἀρούρα̣ις̣, 12 ἀ δ' ‹ἐ›έρ̣σα κάλα κέχυται, τεθά- λ‹α›ισι δὲ β̣ρ̣όδα κἄπαλ' ἄν- θρυσκα καὶ μελίλωτος ἀνθ̤εμώδης· 15 πό̣λλα δ̣ὲ ζαφοίταισ', ἀγάνα̣ς ἐ̣πι{ιι}- μνάσθεισ' Ἄτθιδος, ἰμέρωι̣̊ λ̣έπτ̤αν ποι φρένα, κῆ̤ρ̤ ἄ̤σ̤α̤‹ι̊› βό̤ρ̣ητα̣ι, 18 κ̣ῆθ‹ι› δ̣' ἔλ̤θην ἄμμ' ὄ̤ξ̤υ β̤ό(α̣)· τ̤ὰ̤ δ̤' οὐ νῶ̣(ι̊)ν ‹γ›' ἄ̤π̣υ̤στα̣ ν̣ὺξ̣{[.]} πολύω̣ς̣ γαρύ̣ε̣‹ι› δ[(.)]ι̤' ἄλος̣ πό̣[ρω]ν̤ τ̤ὸ̤ μ̤έσσον. 21 ςʹ(β)· Εὔμαρες μὲν οὐκ ἄμμι θέαισι μόρφαν ἐξίσωσθαι Ε̤ὔμ̣αρ̣ες̤ [μ]ὲν οὐκ ἄμ̤μι θέαισι μόρ- φαν ἐπή̤[ρα]τ̤ον ἐξίσω̣- σθ̣αι συ [κάλ]λ̤ος̤ ἔ̣χησθ' Ἀδ̤[(.)]ω̣νίδηον, 3 κ̣ρ̣ε̤ῖ̣σ̤[σον, ἆ! xx–] . . . (.) τὸ[ν ἄν]δ̣ρα τι μᾶλλ̤ο̤ν̤ ἔ̤[στι; δι'] α̤ἴ̤θερος κ̤α̣ὶ δε̣μ̣[ uu– ] . . ος̣ Ἀφροδίτα 6 κἄμμ̣ι̣ κ̤[άλπιδο]ς̣ ν̣έκταρ ἔχευ' ἀπὺ χρυσ‹ία›ς̣ (.) [u–]｢.｣λ̣ο̣ΐ̣α̣{σσθα̣ι} καί]τ̤' ἄ̣πουρ'· ｢ἀ｣[πάλαισ]ι̤ χέ̣ρσ̣ι̣ Πε̣ί̣θ̣ω 9 . . . . . . [xx–u] ἐ̣θ｢έλ｣η̣σεν ἠ- xx–uu πόλλ]α̤κις xx–u–] . ε̣δ . . . δ̣ια̣ιτ̣｢｣ 12 ] ἐ̤ς τὸ Γεραίσ̣τιον ] . ν φίλαι ἄπ]υ̣σ̣το̣ν οὖδεν ὄ[ττι 15 –u– αὔτ' ἐς ἴ]ε̤ρον ἴξο̣[μαι ６（b）：女神めがみたちの　美うつくしさ　張はり合あうことが　難むずかしい 我我われわれは 女神めがみたちの 美うつくしさ 張はり合あうことが 難むずかしい、 その美うつくしさ アドーニス 匹敵ひってきするよ/さ。 彼かれよりも もっと綺麗だれだ！ ………… 人類じんるいの 誰だれかは他ほかに なんのこと 出来できるかな？ ………… 空気くうきを通とおり ………… アフロディーテは 黄金おうごんの 投手とうしゅから御酒みき 本当ほんとうに 家いえから遠とおく 注そそいだよ 我々われわれにも ………… ペートーは 柔やわらかい手てで … …ことが 欲ほしかった ………… 頻繁ひんぱんに ………… 愛いとしい乙女おとめ！ ………… ゲライストスの 神田しんでんへ あたしがつくよ 全まったくに 驚おどろかさない, この事ことが ………… ζʹ· Ἀοίδα ἐς τὰν Ἀνακτορίαν Φαίνεταί μοι κῆνος ἴσος θέοισιν Ἔμμεν’ ὤνηρ, ὄττις ἐνάντιός τοι Ἰσδάνει καὶ πλάσιον ἆδυ φωνεί- σας ὐπακούει Καὶ γελαίσας ἰμέροεν. τό μ’ ἦ μάν Καρδίαν ἐν στήθεσιν ἐπτόαισεν. Ὠς γὰρ ‹ἔς› σ' ἴδω βρόχε', ὤς με φώναισ' οὖδεν ἔτ’ εἴκει, Ἀλλὰ κὰμ μὲν γλῶσσα ϝέϝαγε, λέπτον Δ’ αὔτικα χρῷ πῦρ ὐπαδεδρόμακεν, Ὀππάτεσσι δ’ οὖδεν ὄρημμ’, ἐπιρρόμ- βεισι δ᾽ ἄκουαι, Ψῦχρα δ’ ἴδρως κακχέεται, τρόμος δὲ Παῖσαν ἄγρει, χλωροτέρα δὲ ποίας Ἔμμι, τεθνάκην δ᾽ ὀλίγω ’πιδεύης φαίνομ’ ἔμ’ αὔτᾳ· Ἀλλὰ πᾶν τόλματον, ἐπεί ‹κ' ἄεργον, Ψάπφ', ὀνειδίσαις ἄτε› καὶ πένητα [Ὤς ἀπόλλυνται βασίληες ὄλβι- αί τε πόληες]. Σύστασις βʹ· Κάλλος 集団しゅうだん二に： 美うつくしさ 心こころを触さわる ηʹ· Κέλομαί σε, Γογγύλα Καμ με Τυί]δ̣ε̣, φ̤[ιλτάτα, κ]έλομαι σ[πόλαν σάν, Γο]γ̤γύλ̣α̣, π̣[έφα]νθι λάβοισ̣α̣ μ̤ά̤[λαν Γλα]κ̣τίνα̣ν̤· σ̣ὲ δηὖτε πόθος̣ τ̣[έουτος] Ἀμφιπότατ̣αι Τὰν κάλαν· ἀ γὰρ κατάγω̤γις αὔ[τ]α [μ' Ἐπτόαισ' ἴδο̣[ι]σαν· ἔγω δὲ χα̣ίρω· Καὶ γὰρ αὔτ̤α δὴ τ̣[όδ]ε μέμφ̤[εταί σοι Κ]υπρογέν[ηα· Τ]ᾶ̤ς ἄρ̣αμα̤[ι Τ̤οῦτο τὦ[πος Β]όλλομα̤[ι … ] Κὰτ τὸν Τεδέσκι καὶ κάμ με Τυί]δ̣ε̣, φ̤[ιλτάτα· κ]έλομαι σ[' ἀείδην Γο]γ̤γύλ̣α̣ν̤, [Ἄβα]νθι, λάβοισ̣α̣ν̤ ἄ̤[βραν Πᾶ]κ̣τιν, ἆ̣ς̤ σ̣ε δηὖτε πόθος̣ τ̣[έουτος] Ἀμφιπότατ̣αι Τὰν κάλαν· ἀ γὰρ κατάγω̤γις αὔ[τ]α[ν Ἐπτόαισ' ἴδο̣[ι]σαν· ἔγω δὲ χα̣ίρω· Καὶ γὰρ αὔτ̤α δή π̣[οτ'] ἐμέμφ̤[ετ' ὔμμε Κ]υπρογέν[ηα· Ὠ̤ς ἄρ̣αμα̤[ι Τ̤οῦτο τὦ[πος Β]όλλομα̤[ι … ] θʹ· Ἀοίδα ἐς κάλαν γύναικα […………………… …………………… …] ἔ̤ρωτος ἤλ̣γ̣[ει …… Ὠς ἔγω γὰρ ἄν]τ̣ι̣ον εἰσίδω σ[ε Φαίνεταί μ'οὐδ'] Ἐ̤ρμιόνα τεαύ̤[τα Ἔμμεναι,] ξάνθαι̊ δ' Ἐλέναι̊ σ' ἐΐσ[κ]ην [Οὖδεν ἄει]κες, Ὠς θέ]μ̤ις θνάταις· τόδε δ' ἴσ[θι] τᾶι̊ σᾶι̊ [Καρδίαι̊] π̣αίσαν κέ μ̣ε τᾶν μερίμναν Ταῖσ' ἀϝέλ]λ̤αισ' ἀντίδ[οσιν, π]ό̤θοις δὲ̤ [Πάντας ἄγην σοί. Λωτίνοις δὲ πρὸς δροσόεν]τας ὄχθοις Βᾶν κ' αἰ ἔθναισκές ποτ', ἐπαινέσω σ'] ἄ͜ιν Ὤς μοι ἔσσετ', ἄμμε δὲ παν]ν̣υχίσ̤[δ]η̣ν [Πόλλα ποθήω.] ι(α)ʹ· Φίλτατον Γαίας γένος Ὀρράνω τε [Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν [Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ- τῳ τις ἔραται. [Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι [Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθ̣οισα Κ̤άλ̤λ̣ο̣ς̤ [ἀνθ]ρώπων Ἐλένα̤ [τ]ὸ̤ν ἄνδρα Τ̣ὸν̤ [πανάρ]ι̤στον Κ̤αλλ[ίποι]σ̣' ἔβα 'ς Τροΐαν πλέο̣ι̣σα Κωὐδ[ὲ π]α̤ῖ̣δος οὐδὲ φίλων τοκήων Π̣ά[μπαν] ἐμνάσθ' ἀλλὰ παράγ̤αγ' αὔταν [Κ]ω̤[ὐκ ἀέκοι]σαν [Κύπρις· ἄγν]αμπτον γὰρ [ἔχει] ν̣όημμα [Καὶ τέ]λ̤ε̤ι̤ κούφως τ[ό κέ πο]ι̤ ν̣οήσῃ̣ [Ὤς] μ̤ε̣ νῦν Ἀνακτορί[ας ὀ]νέμναι- [σ' οὐ] π̣ἀρ̣εοίσας. [Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα Κ̣ἀμάρυχ̣μα λάμπρον ἴδην προσώπω Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι [Πεσδομ]άχεντας ι(β)ʹ· Ὄλβος οὔποτ' ἐστι βρότοισι πλήρης [Ὀλβίοι]ς̤ μὲν οὐ δύνατον γένεσθαι [πάμπ]α̤ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι [ἔστιν ἔσλων μοῖραν·] ἔγω δ' ἔμ̣' α̤ὔ̣τ̣ᾳ Τοῦτο σύνοιδα. [Στρόφαι τινές δύνανται τυίδε ἀπολωλέκεσθαι.] [–u–x–u] . . . . . γ̤έ̤νεσθαι Ο[u–x–]｢.｣ . ἔ̤β̤ας ἐπ' ἄκρας Τα[u–x–]ν χ｢ί｣ον'· ἀ̣ δὲ πόλλα Πρὸς [uu–x] Ὠς δ[u–x–uu]｢.｣ως ἀπέχθην Το[u–x] . ε̣ . δύ̣να̣(.)τ̣', ὄτ̤τ̤ινας γ̤ὰρ Εὖ θ̤έ̤ω̣, κ̤ῆ̤νοί με μάλ̤ισ̣τα σίννοντ̣' ἐξ ἀδοκή[τω.] ι(γ)ʹ· Φίλτατον Γαίας γένος Ὀρράνω τε [Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν [Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ- τῳ τις ἔραται. [Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι [Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθ̣οισα Κ̤άλ̤λ̣ο̣ς̤ [ἀνθ]ρώπων Ἐλένα̤ [τ]ὸ̤ν ἄνδρα Τ̣ὸν̤ [πανάρ]ι̤στον Κ̤αλλ[ίποι]σ̣' ἔβα 'ς Τροΐαν πλέο̣ι̣σα Κωὐδ[ὲ π]α̤ῖ̣δος οὐδὲ φίλων τοκήων Π̣ά[μπαν] ἐμνάσθ' ἀλλὰ παράγ̤αγ' αὔταν Ο̤[ὐδὲ θέλοι]σαν [Κύπρις· ἂ γν]αμπτον π̣αρ[άγει] ν̣όημμα [Τὦμον,] ὠ̤ς̤ κούφως τ[ετόρη]ν̤ ν̣οήσῃ̣ [Κἄ]μ̤ε̣ νῦν Ἀνακτορί[ας ὀ]νέμναι- [σ' οὐ] π̣ἀρ̣εοίσας. [Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα Κ̣ἀμάρυχ̣μα λάμπρον ἴδην προσώπω Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι [Πεσδομ]άχεντας [Ἀλλ' ἔρο]ν̤ μὲν οὐ δύνατον γένεσθαι [πάμπ]α̤ν ἀνθρώπ[ῳ, π]εδέχην δ' ἄρασθαι [Τῶ κάλω λέλογχεν·] ἔγω δ' ἔμ̣' α̤ὔ̣τ̣ᾳ Τοῦτο σύνοιδα. ι(δ)ʹ· Ὄττινας γὰρ εὖ θέω [Στρόφαι τινές δύνανται τυἴδε ἀπολωλέκεσθαι.] [Φαῖσί σ' αὔταισιν τό]τ̣α̣ σ̣υ̣γ̤γ̤έ̤νεσθαι Ο[u–x–]｢.｣ . . . ἆς ἐπ' ἄκρας Τα[u–x–]ν χ｢ί｣ον'· ἀ̣ δὲ πόλλα Πρὸς [uu–x] Ὠς δ[u–x–uu]｢.｣ων ἀπέχθην Το[u–x] . ε̣ . δύ̣να̣(.)τ̣', ὄτ̤τ̤ινας γ̤ὰρ Εὖ θ̤έ̤ω̣, κ̤ῆ̤νοί με μάλ̤ισ̣τα σίννοντ̣' ἐξ ἀδοκή[τω.] ιαʹ· Κλέϊς Ἔστι μοι κάλα πάϊς, || χρυσίοισιν ἀνθέμοισιν ἐμφέρη‹ν› ἔχοισα μόρφαν, || Κλέϊς ‹μοι› ἀγαπάτα, ἀντί τᾶς ἔγω οὐδὲ Λυδίαν || παῖσαν οὐδ' ἔρανναν. [Λέσβον ἐσλάβοιμί κεν… ] １１：クレイス あたくしの 愛いとしい娘むすめ 咲さく花はなの 如ごときに綺麗きれい。 私わたしなら 彼女かのじょの代かわり 全体ぜんたいの リュウディアーと 最愛さいあいの レスボス島しまも 受うけ取とらないわ。 ιβʹ· Ἄστερες καὶ σελάννα Ἄστερες μὲν ἀμφὶ κάλαν σελάνναν Ἂψ/Αἶψ' ἀπυκρύπτοισι φάεννον εἶδος, Ὄπποτα πλήθοισα μάλιστα λάμπῃ ἀργυρία γᾶν. １２：月つきと星星ほしぼし 銀色ぎんいろに 輝かがやく月つきは この地球ちきゅう 光ひかりで満みたす あの時ときは、 綺麗きれいな月つきを 巡めぐる星ほし 明あかるい笑顔えがお 二度にどと／早はやく匿かくまう。 Σύστασις γʹ· Ἀπὸ χαράς τᾶς ἀγάπας ἐς ἐπιφανίαις θεάων 集団しゅうだん三さん： 恋こいの喜よろこび 女神めがみの啓示けいじ ιγʹ· Ἦλθες ἦλθες, κά‹λ'› ἐπόησας, ἔγω δέ σ᾿ ἐμαιόμαν, ὂν δ᾿ ἔ‹ψυ›ξας ἔμαν φρένα καιομέναν πόθῳ· χαῖρε πόλλα ‹σὺ κάλ’› ἰσάριθμά ‹τε› τῷ χρόνῳ. Version A Version B １３：そのお出いで 憧あこがれる 私わたしのために ここにきて あなたはきっと 良よいことを 本当ほんとうにした。 切望せつぼうが 燃もえる心こころを 来くることで 深ふかく冷さました。 全体ぜんたいの その人生じんせいに 良よいことを 楽たのしめること この希望きぼうだわ。 １３：そのお出いで 憧れが 溢あふれる我われに 共ともにいた あなたはまさに 親切しんせつを 大おおに示しめした。 切望せつぼうが 燃もえる心こころを そのお出いで 深ふかく冷さました。 このままでの あなたのために 途切とぎれない 喜悦きえつを取とろう 我わがそう望のぞむ。 ιδʹ· Εἰδύλλιον σὺν τᾷ Ἀφροδίτᾳ Δ̤εῦρύ μ̌' ἐκ̌ Κρήτας π̣ρ̣[οφάνη]|｢θ' ἔ｣ναυ‹λ›ον Ἄγνον ὄππ̣[ᾳ δὴ] | χάριεν μὲν ἄλσος Μαλί̣[αν] | β̤ῶμοι δ' ἔν̣ι θυμιάμε- νοι | [λι]β̤ανώτω ἐν δ̌' ὔδωρ ψῦχρον̤ | ｢κε｣λ̣άδ̌ε̌ι̌ δ̣ι' {δ}ὔσ̣‹δ›ων Μαλίαν | βρόδ̌οισ‹ι› δ̌ὲ πα̌ῖ̌ς̣ ὀ χῶρος {Κ}Ἐ̌σκί|αστ' α̣ἰθυσσομένων̣ δὲ φύλλω[ν] | Κ̣ῶ̣μ̤α καταίρ̣ε̌ι̌{ον} Ἐν δὲ λείμω[ν] | ἰπ̣π̣όβοτος τέθαλε̣ {Τ̣ω̣τ̣ι} ᾽Ἠ̣{ν}ρι|ν̌ο̣ίσ‹ιν› ἄνθεσιν αἰ ‹δ› ἄη̌τα̤ι Μέλλι|χα πνέ̤ο̤ισιν [ἐπ' ἄμμ' ἀπ' ὠρά- νω κατίοισαι.] Ἔνθα δὴ σὺ̣ δ̣ό̣ς̣ μ̣[ε] | θ̤έλ̣ο̣ισα Κύπρι Χρυσί̌αισ‹ιν› ἐν κυ|λί̣κ̣ε̤σσιν ἄ‹β›ρως ‹ὀ›μ‹με›μείχμενον θαλ̣ία̌ι̌σ̣̌ι̣ | (｢.｣) ν̤έ̤κ̣τ̣αρ ‹οἰ›νοχόαισα[ι]. ιεʹ· Χερρόμακτρα [Νύκτι τᾷδε σύ μ' εἴσαο, Ὦ χρυσόστεφαν' Ἀφροδίτ' Ὄναρ ἀθανάτω τέω πλέκοισα Κρᾶτος ἀμβροσίαν κόμαν,] Χε‹ρ›ρόμακτρα δὲ κὰ‹κ κ›ό‹μα›ν, Πορφύρα κατα‹ρ›ταμένα, τὰ Τῖμας Ἔς ‹τ›' ἔπεμψ’ ἀπὺ Φωκάας, Δῶρα τίμια κὰ‹κ κ›ό‹μα›ν. ιςʹ· Ὕμνος πρὸς τὴν Ἀφροδίταν Ποικιλόθρον’ ἀθάνατ’ Ἀφρόδιτα, Παῖ Δίος, δολόπλοκε, λίσσομαί σε· Μή μ’ ἄσαισι μήτ’ ὀνίαισι δάμνα, Πότνια, θῦμον, Ἀλλὰ τυίδ’ ἔλθ’, αἴ ποτα κἀτέρωτα, Τᾶς ἔμας αὔδως ἀίοισα πήλυι, Ἔκλυες, πάτρος δὲ δόμον λίποισα Χρύσιον ἦλθες, Ἀρμ’ ὐπασδεύξαισα, κάλοι δέ σ’ ἆγον Ὤκεες στροῦθοι περὶ γᾶς μελαίνας, Πύκνα δίννεντες πτέρ’ ἀπ’ ὠράνωἴθε- ρος διὰ μέσσω, Αἶψα δ’ ἐξίκοντο· σὺ δ’, ὦ Μάκαιρα, Μηδιάσαισ’ ἀθανάτῳ προσώπῳ, Ἤρε’ ὄττι δηὖτε πέπονθα, κὤττι Δηὖτε κάλημι, Κὤττι μοι μάλιστα θέλω γένεσθαι Μαινόλᾳ θύμῳ· «τίνα δηὖτε †πείθω ‹Κ›αί σ’ ἄγην† ἐς ‹ϝ›ὰν φιλότατα, τίς τ’, ὦ Ψάπφ’, ἀδικήει; Καὶ γὰρ αἰ φεύγει, ταχέως διώξει, Αἰ δὲ δῶρα μὴ δέκετ’, ἄλλα δώσει, Αἰ δὲ μὴ φίλει, ταχέως φιλήσει, Κωὐκ ἐθέλοισα». Ἔλθε μοι καὶ νῦν, χαλέπαν δὲ λῦσον Ἐκ μερίμναν, ὄσσα δέ μοι τέλεσσαι θῦμος ἰμέρρει, τέλεσον· σὺ δ᾽ αὔτα σύμμαχος ἔσσο. ιζʹ· Πότνια Ἥρα Πλάσιον δή μ[' ἄμφι β]ρ̤̣έ̤̣μ̤̣οισ' ἀ[γέσθ]ω, Πότνι' Ἦρα, σὰ χ[αρίεσ]σ̤̣' ἐόρτ̣α̤̣ Τὰν ἀράταν Ἀτρ[εΐδα]ι̤̣ π̤ό̤ησαν- τ' οἰ βασίληες Ἐκτελέσσαντες μ̣[εγα]λ̣οις ἀέθλοι[ς Πρῶτα μὲν πὲρ Ἴ̤[λιο]ν̤̣, ἄψερον δὲ̣ Τυίδ' ἀπορμάθεν̣̣[τες· ὄδ]ον γὰρ ε̣ὔρ̣η̤̣[ν Οὐκ ἐδύναντο Πρὶν σὲ καὶ Δί' ἀντ̤[ίαον] π̣εδέλθην Καὶ Θυώνας ἰμμ̤̣[ερόεντα] πα̤̣ῖδα̣ Νῦν δὲ κ[ἄμμες σοὶ γερά]ρ̤̣α̤̣ π̣όημεν Κὰτ τὸ πά[λαιον Ἄγνα καὶ κα̣[λ'· εἶσι δὲ τυίδ' ὄδ' ὄχ]λος Παρθε̤̣[νων τ' ἄμ' εὐχομέναν γ]υν̤̣αίκων· Ἀμ̣φὶ σ̣ὸ[ν βῶμον πύκιναι θέλοισι] Μέτρ' ὀλ[ολύσδην ] . . α̣ν̣ιλ[[ Ἔμμεν[ .]ρ̣απικε[ ιηʹ· Περὶ τὸ τέλεσαι ἐόρταν … π]α̣ρ̣κάλεισ̣ι τ̣ᾶς ἐλ̣[ πά]μ̤παν οὐκ ἔχη[σθα, πόθεν δυναίμαν, μ]ᾶτερ, ἐόρταν φαιδί]μ̣αν ὤραι̊ τέλε[σαι; τὸ δ' ἐστὶ χάρμ' ἐ]π̣αμέρων· ἔμ[ε δ' εὔφρον' εἴη τυγχά]νην, θ̣ᾶς ἄμ̣[μι θέοι δίδωσι βάρμ]ο̣ν ἄκουσαι Καὶ χέλ]υ̤ν' οὖτος δὲ̣[u–u–x μᾶλλον] ἢ νῦν ἀβλαβ[έως u–x –u]α̤ς δίδων τ̣α[u–u–x –u π]όησεν· ] τ̤ό̤ν̣ κ̣ε̤ [ ]ἐ̣πισ̣σ̣｢.｣[ –u– ἄ]ν̤υστον· ο̣[–u–x κῆ]ν｢ο｣ τελέσθ̣η[ν –]｢.(.)｣ σ̣' ἔγω πάμ̣π̣[αν uu–u–x –u] . αν̣ γλῶσσα[ν uu–u–x –] . ταπυγνώ[–uu–u–x – ἄ]ρ' ὀφέλλης –] ἔρων ε (.) . ｢.｣[–uu–u–x ]τ̣τ̣ . . . . .[ … Σύστασις δʹ· Ἐπιθαλάμια 集団しゅうだん四よん： 婚礼こんれいの詩うた ιθʹ· Ἔκτωρ καὶ Ἀνδρομάχα Κυπρο  ̣[         22-24 letters    ]αι  ̣ Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις Ἴδαος τάδε κα[ῖν]α [φόρ]ε̤̣ις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος «[Eἶς ἢ πλείονες ἂπ στίχοι εἶσι, τελεύταος Τούτων ἐν δὲ τελεύτᾳ ἴσως ἔχεν      Ἰλίω] Τᾶς τ᾽ ἄλλας Ἀσίας [τά]δ̣᾽ ἔσ̤αν κλέος̣ ἄφθιτον· Ἔκτωρ κ‹ο›ἰ συν̣έται̣ρ̤̣[ο]ι̣ ἄ̣γ̤̣οι̤̣σ᾽ ἐλικώπιδ̣α̣ Θήβας ἐξ ἰέρας Πλακίας τ᾽ ἀπ̤̣᾽ [ἀϊ]‹ν›νάω Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον Πόντο̣ν̣· πόλλα δ̣᾽ [ἐλί]γ̣ματα χρ̣ύσια κἄμματα Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ι̤̣λ᾽ ἀθύρματα, Ἀργύρ̤̣[α τ᾽] ἀνάριθμα ποτήρια κἀλέφαις. Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρ̤̣ουσε̣ π̤άτ̣[ηρ] φίλος· Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρ̤̣ύ̣χ[ορο]ν φίλοις· Αὔ̤̣τικ’ Ἰλίαδαι σ̤̣ατί̤̣να̤̣ι̤̣[ς] ὐπ’ ἐϋ̣τρόχοι̣ς Ἆγ̣[ο]ν αἰμονίοις̣· ἐ̤̣π̤̣[έ]β̤αινε̣ δὲ̤̣ παῖς ὄχλος Γ̣υ̤̣νάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν̤̣ τ̣’ ἀ[παλ]ο̤̣σ̣φ̣ύρω‹ν›· Χῶρις δ̤̣’ αὖ Περάμοιο θύ̤̣γ̣[α]τ̤̣ρ̤ες [ἐπήϊσαν] Ἴππ̣[οις] δ̣’ ἄ̤̣νδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα, σὺν δ’ ἴσαν] Π[άντ]ε̤̣ς ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [ἴεν μέγας] Δ[ᾶμος], κ̤̣ἀν̣ιόχοι φ[αλάροισι κεκαδμέναις] Π̣[ώλοις ἔ]ξαγο[ν ἐκ πόλεως τότα τᾶς φίλας. Στίχοις τυίδε λέγοισιν ἀπέμμεν ἄπαντες αὖ. [Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς [Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες] Ὄ̤̣ρ̣μα‹ν›α̤⌞[ι τότα Τρῶες ἔβαι]νον ἐς Ἴλιο[ν], Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη⌞[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το] Καὶ ψ[ό]φο[ς κ]ροτάλ⌞[ων, λίγε]ως δ’ ἄρα πάρ̣[θενοι] Ἄειδον μέλος ἄγν̤̣⌞[ον, ἴκα]νε δ’ ἐς̣ α̤̣ἴ̤̣[θερα] Ἄχω θεσπε̣σί̣[α], γέλ̤⌞[ος Πάντᾳ δ’ ἦς κὰτ ὄδο⌞[ις Κράτηρες ⌜φίαλ⌝α̣ι̣ ρ̤⌜ο⌞⌝[. . .] . ε̣δ̣ε̣ [. .] . [.] . [ Μύρρα καὶ κασία λίβ⌞ανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣ ⌜Γύ⌝ν⌜αικες δ⌝’ ὀ⌜λό̤λυσδ⌝ο⌞ν̣ ὄ̣σαι προγενέστερα[ι], ⌜Πάντες δ’ ἄνδρ⌝ε⌜ς⌝ ἐ̣⌞πήρατον ἴαχον ὄρθιον ⌜Πάον’ ὀνκαλέο⌝ν⌜τες⌞ ἐκάβολον εὐλὐραν, ῎⌜Υμνην δ' Ἔκτορα κἈ⌞νδρομάχαν θεοίκελ̤̣ο̤̣[ις Δευτέρῳ τῷ ἔγω λέγον· «Ἂπ στίχοι εἶσι τυίδ’», Ἔνθα ψάπφικον ἄλλο πόημα πότηρχ' ἴσως. κʹ· Δαύοις Δαύοις ἀπάλας ἐτα‹ί›ρας ἐν στήθεσιν . ２０：眠ねむれるように 溺愛できあいな 彼女かのじょ抱　だかれて 眠ねむれるように。 καʹ· Ἀείσωμεν ὑπὲρ τῶ ζεύγεος [–u–x–uu–u–x –u–x–uu–u–x Καίτ' ἄραμαι τάνδε διπλάσιάν μοι νύκτ[α γέ]ν̣[εσθαι.] πάρθενοι δ[ὲ ταίσδεσι πρὸς θύραισιν] παννυχίσδοι̤̣[σ]α̣̣ι̤̣[, πολύολβε γάμβρε,] σὰν ἀείδοιε̤̣ν φ[ιλότατα καὶ νύμ-] φας ἰοκόλπω. ἀλλ᾽ ἐγέρθε̤̣ι̣ς, ἠϊθ[έοις καλέσσαις] στεῖχε σοὶς ὐμάλικ̤̣[ας, ὠς ἐλάσσω] ἤπερ ὄσσον ἀ λιγ̣ύφω̤̣[νος ὄρνις] ὔπνον [ἴ]δωμ̣εν. κβʹ· ᾽Υμήναον Ἴψοι δὴ τὸ μέλαθρον, ὐμήναον, ἀέρρετε, τέκτονες ἄνδρες· ὐμήναον. 5 γάμβρος ϝῖσος Ἄρευι, ὐμήναον, ἄνδρος μεγάλω πόλυ μέσδων, ὐμήναον. Πέρροχος, ὤς ποτ' ἄοιδος ᾽Υμήναον Ὀ Λέσβιος ἀλλοδάποισιν. ᾽Υμήναον κγ· Οἶον τὸ γλυκύμαλον Σαπφοῦς ἦν ἄρα μήλῳ μὲν εἰκάσαι τὴν κόρην οἶον τὸ γλυκύμαλον ἐρεύθεται ἄκρῳ ἐπ’ ὔσδῳ, ἄκρον ἐπ’ ἀκροτάτῳ, λελάθοντο δὲ μαλοδρόπηες· οὐ μὰν ἐκλελάθοντ’, ἀλλ’ οὐκ ἐδύναντ’ ἐπίκεσθαι… τὸν νυμφίον τε Ἀχιλλεῖ παρομοιῶσαι καὶ εἰς ταὐτὸν ἀγαγεῖν τῷ ἥρωϊ τὸν νεανίσκον ταῖς πράξεισι. κδʹ· Οἴαν τὰν ὐάκινθον Οἴαν τὰν υάκινθον ἐν ὤρεσι ποίμενες ἄνδρες πόσσι καταστείβοισι, χάμαι δέ τε πόρφυρον ἄνθος... κεʹ· Ὄλβιε γάμβρε Ὄλβιε γάμβρε, σοὶ μὲν δὴ γάμος ὠς ἄραο ἐκτετέλεστ’, ἔχηις δὲ πάρθενον, ἂν ἄραο. Σοὶ χάριεν μὲν εἶδος, ὄππατα δ’ ‹ἐστί, νύμφα›, μέλλιχ’, ἔρος δ’ ἐπ’ ἰμέρτῳ κέχυται προσώπῳ· 5 ‹Δῆλα τὰ δὴ› τετίμακ’ ἔξοχά σ’ Ἀφροδίτα. Σύστασις εʹ· Λύπα, ὄργα, ἔχθρα 集団しゅうだん五ご： 悲かなしみと 怒いかりと敵意てきい κςʹ· Καλλέλοιπάς με [Καλλέλοιπάς μ’. Ὦμ’.] Ἐμέθεν δ’ ἔχησθα ‹ Ἤ σὺ› λάθαν, [φιλτάτα,] ἤ τιν’ ἄλλον ‹Μᾶλλον› ἀνθρώπων ἐμέθεν φίλησθα; [Τίς δέ κεν εἴην;] ２６：あたくしを　引ひき離はなしたわ！ あたくしを 引ひき離はなしたわ！ 忘わすれたか？ あたくしよりも 他ほかの人ひと 愛あいしているか？ 誰だれだろうかな？ κζʹ· Δέδυκε μὲν ἀ σελάννα Λόγος αʹ Δέδυκε μὲν ἀ σελάννα καὶ Πληΐαδες· μέσαι δὲ νύκτες, παρὰ δ’ ἔρχετ’ ὤρα· ἔγω δὲ μόνα κατεύδω. Λόγος βʹ Δέδυκε μὲν ἀ σελάννα καὶ Πλ‹εί›αδές· ‹εἰσι› μέ‹σ›σαι· νύκτ‹ο›ς ‹δὲ› παρ‹έ›ρχετ’ ὤρα· ἔγω δὲ μόνα κατεύδω. ２７：太陰たいいんが　すでに沈しずんだ 第一だいいちのバージョン 太陰たいいんや 昴すばるがすでに あの海うみの 下したに沈しずんだ。 真夜中まよなかの 時間じかんがまさに 早はやく経たつ。 このまま我われが 一人ひとりで眠ねむる。 第二だいにのバージョン 太陰たいいんは 海うみに沈しずんだ、 昴星ぼうせいは 空そらの半分はんぶん 通とおったの 夜よるの時間じかんが 早はやく経たつ。 このまま我われが 一人ひとりで眠ねむる。 κηʹ· Ἀγροΐωτις Τίς ‹σοι› δ' ἀγροΐωτις ‹θαλύει νῦν› νόον, ‹ὄττα δὴ› Στόλαν ἀγροΐωτιν ‹περιβαίνει τοι› ἐπεμμένα, Οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων; ２８：粗野そやな女性じょせいは 足首あしくびの 上うえに上あげない 本当ほんとうに 粗野そやな衣服いふくを 着きる時ときは その心こころを 引ひきつける 粗野そやな女性じょせいは 誰だれだろうがな？ κθʹ· Στάθι κἄντα Καὶ ἡ Σαπφὼ δὲ πρὸς τὸν ὑπερβαλλόντως θαυμαζόμενον τὴν μορφὴν καὶ καλὸν εἶναι νομιζόμενόν φησι· [Σὺ] στᾶθί ‹ν' ἔνθα› κἄντα ‹μεθέν›, φίλος, καὶ τὰν ἐπ' ὄσσοις ὀμπέτασον χάριν. λʹ· Κατθάνοισα δὲ κείσῃ Κατθάνοισα δὲ κείσῃ ͜οὐδέ ποτα μναμοσύνα σέθεν ἔσσετ᾿ οὐδέ πόθα ͜‹εἰς› ὔστερον· οὐ γὰρ πεδέχῃς βρόδων τὼν ἐκ Πιερίας, ἀλλ᾿ ἀφάνης κἀν Ἀίδα δόμῳ φοιτάσῃς πεδ᾿ ἀμαύρων νεκύων ἐκπεποταμένα. λαʹ· Μνάσετάι τις Μνάσεσθαί τινα φαῖμι καὶ ‹ὔσ›τερον ἀμμέων. λβʹ· Κατὰ Ἀνδρομέδαν ] . ακάλα . [ x–uu– – Δίος ἐξ] αἰγιόχω λά[χοισα x–uu– – ] . Κ̣υθέρη' εὐ̣χ̣ομ[έναι̊ μ' ἄρηξον x–uu– –uu– πρόφρ]ο̤ν ἔχοισα θῦμο̣[ν x–uu– κλ]ῦθί μ' ἄρας αἴ π[οτα κἀτέρωτα x–uu– –uu– ]ας π̣ρολίποισα Κ[ύπρον x–uu– –uu ἦλθε]ς̤ πεδ' ἔμαν ἰώ[αν x–uu– –uu– –] . ν χα̣λέπαι̊ μ̤[ερίμναι̊ [γʹ στίχοι ἀπεβλήθησαν] ] . ν ]α̣ θέ]ων μακ̤[άρων –uu– –uu– ] τ̣ύ̤χοισα [κ]αὶ τοῦτ ἐπίκει̤[ρην, ἄγ', ἐμον πῆμα] θέλ' ὦν τ', ἀπαίσᾱν [δ]αίμων ὀλοφ[ώι̊α φρένας, ὦμοι τέ]λ̤εσον νόημμα σ̤ὺ μὰν ἐφίλης̣ [καί μ' ἐτέλης πάντα γ]ε, τῶν̣ κάλημι ν̤ῦν δ' ἔννεκα [τοῦτ' ἄρκεσον ὦμοι] πεδὰ θῦμον αἶψα τόδ' αἴτιον οὔτ' [αἶσχρον, ἔφα, κὤ]σ̣σα τύχην θελήσηι̊ς ο̣ὐδὲν πόλυ πά̣[σασθαι, ἀλάθως γὰ]ρ ἔμοι μάχεσθαι 7 ο]ὐδ' Ἀ̤[νδ]ρομέ[δ' οἶ', ὄσσα δίαιται χ]λιδάναι̊ 'πίθεισα ἔρξ', οὐ] λ̤ελάθ̣[ην ἀθανάτοις ἔστ]ι, σὺ δ' εὖ γὰρ οἶσθα κ̤ρότην Νέμε[σιν κῆνον ὂς αἶσχρ' οἶδε κρ]έτει τ' ἀό̣λ̣λ̣εω̤ν̤ Ψάπφοι, σ̣ε φίλ[εισ' ἀμφ' ὀχέεσ' ἤρμοσε κύ]κ̣λα σ[οί τε] Κύπρωι̣̊ β̣[α]σίλ[η' ἦλθ' ἰκετεύοισα Δί' αἶψα σέ]μνα κ̣αί τοι μέγα δ[ῶρον Κρονίδαις ϝο]ῖ̤ κατέν̤[ευσ' ὀπάσδην ὄ]σσοις φαέθων̤ [Ἀέλοις φέγγεσιν ἀμφιβ]ά̣σ̣κ[ει πάνται̊ κλέος [ἔσλον καί σ' ἐνν Ἀχέρ̣[οντος . ] . . [. . . . . . .]ν̣π̣[ [ςʹ στίχοι ἀπεβλήθησαν] ]ηρος λγʹ· Περὶ ἐξορίας [6 x–uu–] . . [–uu κα]ὶ̣ γάρ μ' ἀπὺ τᾶς ἔμ̣[ας γᾶς] ἄ̣μ[ι]λ̤λ' ἀ̤[πεκίν]η̤σ' ἀδο̤[κήτως μέν,] ὔ̤μως δ' ἔγεν[το μ]νᾶμ[' –uu– ἀλ]λ̣ὰ [u– –u] ἴσαν θέοισιν [νῦ]ν̣ δ' εἶμ' ἐ[πὶ ταύτᾱν ὀ]νίᾱν [δὴ καὶ] ἄσᾱν ἀλίτραν̤ [ἐπο]ρ̣σομέ̣ν[α, σὺν δ' ὀ]δ̣ύν̤[αισ' Ἀν]δρομέδαν̣ [ὐ]π̤άξ[ει ἀπ]ά̤λικ' ὐπ' ἄ[ρμ' ὐψ]ιμέδο̤[ισ'] Ἄρ[τεμι]ς̤ ἀ μ̣ά̣κα̣[ιρ]α· [ἀ δ'] ο̤ὐ̤κ̤ [ἀ]βά[κην] μὰ‹ν› στέ̣[ρ]εον δὲ τρόπον α[ἰσ]χ̤ύ- οὔτι]ς γ̣ὰρ ἔ̣παυ[σ' ὄ]γ̤κ[ον ἐν αὔται̊,] κ̣όρο̤ν οὐ κατίσ[]χει̤ [νη[ται [ἦ] μάν κ̣' ἀπύ̤θ̣υσ̣' [ὦ]κ̣' ἀ[γέλα]ν̣ Τ̤υνδαρίδαι[σιν ἄρνων] καὶ] ἀρμονίας δ' ἀσυ[χ]ί̤α̤[ι̤̊] κὰ[τ] χαρίεντ' ἀρ̤[έσκοι γ]άθην χόρον, ἆ, α[ἴ] κ' ἄδολον μ̤ηκέτι συν[ πᾶκτιν] δ̤ὲ λίγηαν̤ Μεγάραν̤ [τὰ]ν̣ ἀ[κάλ]α[ν λάβοισαν ἴδην δύν]ατόν σφι̤[uu– –uu–u–x x–uu] πάντεσσι̤[u– –uu– –uu–u–x x–]επ[.] . [u––uu––uu–u–x λδʹ· Κατὰ Πωλυανακτίδαις [xx–uu–ux x–uu–u–x–ux xx–uu–ux ὄ]ρ̤γας̤ π̤εδὰ βαῖο[ν –x–u] . α ἄ̣ δ̣σ̣[φ]οῖ Πωλυανακ̤τ̣[ίδ]α̣ι̣ς̣ [] α̤｢ὔ｣ταις Σαμία‹ι›σιν̣ ἐν̤ το̣ῖσ' α̤｢ ｣      οὐκ̣ ἦ̤ν̤ ‹ἐν› χόρδαισι διακρέ̣κην                  Κό[ρ]ωνις ο̣λ̣ι̣σ̣β̣ο̤δόκοι̣σ｢ι｣ περ̣κα̣θθ̤ώ̤μ̤ενος τ̣ε̤ούτ̤｢οι｣σι φιλο̣φ̤[ρό]νως [π]ᾶ̣κ̣τ̤ι̤ς̣ δ' ἐλ̣ελίσδ̤[ε]ται προ̤σ̣ανέ̣ως {[. . (.)]｢. (.) .｣[.]}｢εὔ｣φω̣ν̤ο̣ς̣ δ̣ὲ δι' ὄ[στί]ων̤ [ἔρπει] μ̤υάλω δ' ἐ̤[πε]ί κ̤' ἔ̣νη τρ̣[έχε]ι {χ . .} λεʹ· Πρὸς Ἀπόλλωνα [Λάτως] τ̣ε̤ ｢κ｣α̤ὶ Δ̣ί̣[ος] πάϊ[ς –u–x x] ｢.｣ . . ε . . . [.] ἔπι̤[]θ̤' ὄ̣ργιον [Γρύνηα]ν̣ ὐλώ̤δη λί̣πων [καὶ σὸν κλύ]τ̣ο̣ν̣ χ̣ρ̣η̣[σ]τή̣ριον [–].[.]｢. . (.)｣ . . (｢.｣)[u–x xx–] . εϋμες̣ ｢.｣ [.] ｢. (.)｣ . [.]ων [x–u–] . . . . [. . . . . . . (.)]. . . . [.]. ([.]) . ἀ[μ]έ̣ραις｢.｣. [x–]ρ̤σανον τ[ᾶ]ν̤ ὀ̤ρ̣γ̣ί̣αν [x–u θ]ύσο̤μ̣ε̣ν [ux x–u]ν ὐμνε[–ux] κ̣α̣[ὶ]｢.｣[u–x]ε̣να｢.(.)｣[.]φο . [. . .]ν· ἀδε̣λφέαν ὠς παῖ[σι –] . ο̣ . (.) [.] ｢. .｣ . [ux] {.} ο̤ὔτις δε̣[. . .]κ' εἴ̣[η] θέ̣λη[ι {.]｢.｣[. . (.)]} δεί̣χ̣ν̣υσ[ίν γ]ε δηὖτε Π̤ω̣λυα̤ν̣ακτίδαν τὸν μάρ̤γον̣ ὄν̣｢δ｣ε̣ιξα̣ι θέλω λςʹ· Κατάρα . . . . . ]α̣ μάκαι[ρα. . . . . . . . . . ]εὐπλο.[. . . . . . . . . .κ]ρ̤̣ᾶτος κα[ὶ . . . . . . . . . ] [ὄσσα δὲ πρ]όσθ’ [ἄμ]βροτε κῆ[ν’ ἔλυσεν] . . . . . ]αταις̣ [ἀ]ν̣εμ̣[- κρέτησαι [σὺν κάλᾳ] τ̣ύχᾳ λίμ̣[]ε̣νος κλ[ύτοιο . . . . . ].[. . . ἄγνα [Κύ]πρι, κα[ί σ]ε πι[κροτάτ]α̣ν ἐπεύ[ροι μη]δὲ καυχάσ[α]ιτο τόδ’ ἐννέ[ποισα Δ]ωρίχα, τὸ δεύ[τ]ερον ὠς πόθε[ννον εἰς] ἔρον ἦλθε. Σύστασις ςʹ· Ψάπφω καὶ ἄδελφος ϝός 集団しゅうだん六ろく： サッフォーと兄あに λζʹ· Πρὸς Νηρήϊδας Πότνιαι Νηρήϊδες̤, ἀ̤β̤λάβη[ν μοι Τὸν̤ κ̣ασίγνητον δ[ό]τε τυί̣δ' ἴκε̣σθα[ι Κὤτ̤τ̤ι ϝῶι̊ θύμωι̊ κε̤ θέλη γένεσθαι Κῆνο τελέσ̤θην· Ὄσσα δὲ πρ̤όσθ' ἄμβροτε πάντα λῦσ[αι, Καὶ φίλοισι ϝοῖσι χάραν γένεσθαι Κὠνίαν ἔχθροισι, γ̣ένοιτο δ' ἄμμι Μ̣ή̣δαμα μ̣ήδεις Τὰν κα̣σιγνήταν δὲ θ̣έλοι πόη̤σθα[ι Μέ]σδονος̤ τίμας, [ὀν]ίαν δὲ λύγραν Ἐκλύ]οι̤[τ]ο τοῖσι π̤[ά]ρ̤οιθ' ἀχε̣ύων [Αὖτος ἐδά]μ̤να Κῆρ, ὄνειδο]ς̤ εἰσαΐω[ν], τ̤ὸ κ' ἐγ χρῶι̊ Κἄ]μ̣μ̣' [ἔπηλ]λ̤' ἐπαγ[ορί]αι̊ πολίτ̤αν Ὤ̤ς̤ ποτ' οὐ̤[κ ἄ]λ̤λω̤ς̤, [ἐσύ]νηκε δ' αὖτ' οὐ δεν διὰ ｢μ｣ά̤κρω Καί τι μᾶ̤[λλ]ον αἰ κ[λ]έο[ς ἐ]ν̤ [βρότοι]σ̤ι Γ̤νώσε̣｢τ｣' ἂ̤ψ [οἶ]ον̣, σὺ [δ]ὲ̤, Κύπ̤[ρ]ι σ̤[έμ]να, Οὐκ̣ ὄν̣｢ε｣[κτον κα]τ̤θ̤εμ[έν]α κάκαν [ὔβ- ριν, πίθε ἄμ]μ̤ι̤ ληʹ· Εὔχα ὤστε ἀποτρέπην χειμερίαις πορείαις [–u–x–uu–u–x –u–x–] ἔπι[θ]ε̣ς μά[καιρα –u–x–]ε̣ γάνος δὲ καὶ [x –uu–x –u–x–u τ]υχαι̊ σὺν ἔσλαι̊    .[ –u–x– λί]μ̤ενος κρέτησαι –u–x–uu γ]ᾶς μελαίνας [–uu–x Ἐν θυέλλαισι ζαφ]έλοισι ναῦται [ἐκφοβήθεντες μ]εγάλαις ἀήται̣[ς ἄββαλον τὰ φόρτι]α κἀπὶ χέρσω [πλοῖον ὄκελλαν· μὴ μάλιστ’ ἔγωγ’] ἄ̤μοθεν πλέοιμ̣[ι χειμάσαντος μη]δὲ τὰ φόρτι’ εἶκ[α ἐς βάθηα πόντο]ν̣ ἄτιμ’, ἐπείκη̣, [πάντα βάλοιμι· αἰ δὲ Νήρηϊ προ]ρέοντι πόμ̤π̤α̤[ι̊ ἐννάλωι̊ τἄμ’ ἐξέσετ]αι δέκε̣[σθαι φόρτι’, ὠς τάχιστά γ’ ἄραμαι ὠς τ'] εἴ[- αι̊ με προσέλθην. –u–x–uu–]ι̣ν ἔργα̣[ –u–x–uu–u] χ̣έρσω̣[. –u–x–uu–u–]γ̣α –uu–x –u–x–uu–].́ρ̣ . [x –u–x–uu–u–x –u–x–uu–u–x –uu–x] λθʹ· Ἄεισμα τῶν ἀδέλφων "Π[όλλα ἐλπίσδω γε Χάραξον ἄμμι Πλήαι̊ ἔλθην νᾶϊ"· πρέποι κεν αὖτον Μᾶλ]λο̣[ν ἐλπίσδην κατἴδην σάαι̊ σὺν νᾶΐ] σε, Μα̤[ῖα,] Ἀλλ' ἄϊ θρύλησθα Χάραξον ἔλθην νᾶϊ σὺ‹ν› πλ‹ή›ᾳ· τὰ μὲν̣, οἴο̣μ̣αι, Ζεῦς οἶδε σὔμπαντές τε θέοι, σὲ δ' οὐ χρὴ ταῦτα νό‹η›σθαι, ἀλλὰ καὶ πέμπην ἔμε καὶ κέλεσθαι πόλλα λί̣σσεσθαι βασι̣λ̣ήαν Ἤ̣ραν ἐξίκεσθαι τυίδε σάαν ἄγοντα νᾶα Χάραξον, κἄμμ' ἐπεύρην ἀρτέ̤̣μεας· τὰ δ' ἄλλα πάντα δαιμόνεσσ̣ιν ἐπιτρόπωμεν· εὔδια̣ι ‹γ›ὰ̣ρ̣ ἐκ μεγάλαν ἀήτα̣ν̣ αἶψα̣ π̣έ̤̣λονται· τῶν κε βόλληται βασίλευς Ὀλύμπω Δαίμον' ἐκ πόνων ἐπάρωγον ἤδη περτρόπην, κῆνοι μάκαρες πέλονται καὶ πολύολβοι. Κ̣ἄμμες, αἴ κε τὰν κεφά̣λ̣α̣ν ἀέρρ̣η Λάριχος, καὶ δή ποτ' ἄνηρ ‹γ›ένηται, καὶ μάλ' ἐκ πόλλαν βαρυθυ̣μίαν̣ κεν αἶψα λύθειμεν. μʹ· Πρὸς Χάραξον Λόγος αʹ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ] δώσην. . . . . . [ 4 Αἰ κλ]ύτων μ̤έν̣ τ’ ἐπ[πότεαι πεδ’ ἄνδρων κωὐ κ]άλων κἄσλων, ἐ̤[νέπεις δὲ χαίρην τοὶς φ]ί̤λοις, λύπης τέ μ[ε, σοὶ γένεσθαι φαὶς ἔ]μ̤’ ὄνειδος, 8 ἦτορ] οἰδήσαις, ἐπὶ τα̤[ῦτ’ ἀρέσκε͜ο καρδ]ί̤αν· ἄσαιο· τὸ γὰρ ν̤[όημμα τὦ]μ̣ον οὐκ οὔτω μ̣[αλάκως χόλᾳ παί- δων] διάκηται· 12 ἀλλ]ὰ̣ μ̣ὴ̤ δ̣ό̤αζε· [γέροντας ὄρνῑς οὐκ ἄγρη βρό]χ̣ις· συνίημ[’ ἔγω σε οἶ πρὶν ἐσπό]λ̤ης κακότατο[ς, οἴῳ δ’ ἀντετέθη]μεν 16 δαΐῳ. Σὺ δ’ ὦ]ν ἀτέραις, με[μήλων λωι̊όνων, τίθ]η φρένας· εὔ[κολον γὰρ νῶν τράφοισ]α̣ τοὶς μάκα[ρας σάφ’ οἶδ’ ἔ- μοι παρέοντας.] 20 –u–-x–]α̣[u–u–x –u–x–uu–u–x –u–x–uu–u–x –uu–x] 20 Λόγος βʹ . . . . . . . . . . . . . . . . . . . . [–u– τύ κεν δοκίμοις χάριν μοι οὐκ ἀπυ]δώσην. . . . . . [ 4 [συμφ]ύτων μ̤έν̣τ' ἐπτ[ατόνοις λύραισι καὶ κ]άλων κἄσλων ἐ̤[πέων ἀπέλλης τοὶς φ]ί̤λοις, λύπης τέ μ[ε, κἀπορίπτης εἰς ἔ]μ̤' ὄνειδος. [ᾦ κεν] οἰδήσαις ἐπί τᾶ̤[ι̊ τε λώβαι̊ καρδ]ί̤αν· ἄσαιο· τὸ γὰρ ν̤[όημμα τὦ]μ̣ον οὐκ οὔτω μ̣[αλάκως πρὸς ὄργαν σὰν] διάκηται. –]α̣ μ̣η̤δ̣[u–uu–u–x –u–x–uu–u–x –u–x–uu–u–x –uu–x] Σύστασις ζʹ· Νοσταλγία τᾶς νεότατος 集団しゅうだん七しち： 若者わかものに 深ふかい懐旧かいきゅう μαʹ· Ἦσθα καὶ γὰρ δὴ σὺ πάϊς ποτ' ἄβρα . . . . . . . . . . . . . . . ]κ̤̣αιπ̤̣[. . . . . . . . . . ] . [.] . [.]ν̣οσ[. . . . . – ^ ^ – ]σι·[. . . . . 4 ἦσθ]α̤̣ καὶ γὰρ δ̤̣ὴ σὺ̣ πάϊς ποτ' [ἄβρα κἀφ]ί̣λ̣η̤̣ς μέλ̤̣πεσθ'· ἄγι ταῦτα [πάντα σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος ἄ]δρα χάρισσαι· σ]τ̤̣είχομεν γὰρ ἐς γάμον· εὖ δὲ̤̣ [δέρκῃ κα]ὶ σὺ τοῦτ'· ἀλλ' ὄττι τάχιστ̣α [παίσαις πα]ρ̤̣[θ]ένοις ἄπ[π]εμπε, θέοι [δ' ἄτιμον μηδὲ]ν ἔ̣̣χοιεν̣. ἀστίβης] ὄ̣δος̤̣ μ̤̣[έ]γ̤̣αν εἰς Ὄλ̣[υμπον Ἔστιν ἀ]νθρώ[πῳ ἀ]νθρώ[πῳ ]αίκ . [ [................ ................] μβʹ· Ὦ ἄγαναι γύναικες Αἶσ’ ἔγων ἔφ]αν· “ Ἄγα̤[ναι γύναικες, Ο]ἶ̤[α μ]εμνάσεσθ' ἄ̤[ϊ μέχρι γῆρας, κ]αί γ̣' ἄρ' ἄ̣μμε̣ς ἐν νεό̤[τατι λάμπραι̊] Ταῦ̣τ' ἐ̤π̣όημ̣μεν· Πό̣λλα̣ ｢μ｣ὲν γὰρ καὶ κά[λα κἄγν' ἐν αὔται] ἐ̤κ̣π̤ο̤ν̤[ήσ]α̤μεν· πόλι[ν αὖ λιποίσαις ῎Υ]μμε̤ [μ'] ὀ[ξ]ε̣ίαις δ̣[άκεν αὖ βλεποίσαι̊ Κ]ῆ̤[ρ] ὀ̤ν̤[ίαισιν Ἴμμερος.] μγʹ· Αἰ δέ μοι γάλακτος ἔτ' ἦν Κὰτ τὸν Ἔδμονδζ [Αἰ δέ μοι γάλακτο]ς̤̣ ἐπάβ̤̣ολ' ἦσ̤̣[κε τωὔθατ' ἢ παίδ]ω̤̣ν δολόφυν [ποήσ]ε̤̣[ι ἀρμένα, τότ' οὐ] τρομέροις πρ̤̣[ὸς ἄ]λλα [λέκτρα κε πόσσι 4 ἐρχόμαν· νῦν δὲ] χρόα γῆρας ἤδη [μυρίαν ἄμμων ῤύτι]ν ἀμφιβάσκει [κωὐ πρὸς ἄμμ' Ἔρως] π̤̣έτ̤̣αται διώκων [ἀλγε]σ̣ί[δωρος· ] τᾶς ἀγαύας ] . α· λάβοισα [δ' ἀδύφωον πᾶκτιν] ἄ̤̣εισον ἄμμι [τὰν ἰόκολπον. ἔ]ρ̤̣ων μά̣λ̣ιστα ] ἆ̣ς π[λά]ναται̣ [................ ................] Κὰτ τὸν Τεδέσκι καὶ τὸν Ἔδμονδζ καὶ κάμ με [Αἰ δέ μοι γάλακτο]ς̤̣ ἐπάβ̤̣ολ' ἦσ̤̣[κε τωὔθατ' ἢ παίδ]ω̤̣ν δολόφυν [ποήσ]ε̤̣[ι ἀρμένα, πόσσ' οὐ] τρομέροις πρ̤̣[ὸς ἄ]λλα [λέκτρα κ' ἰοίην· 4 πάντα μοι κάρφει] χρόα γῆρας ἤδη [κὠνία τὦμον νόο]ν ἀμφιβάσκει [κἄμε δὴ πόθο]ς̤̣ π̤̣έτ̤̣αται διώκων [ἀλγε]σ̣ί[δωρος· ]τας ἀγαύας ]ε̤̣α· λάβοισα [δ' ἀδύφωνον πᾶκτιν] ἄ̤̣εισον ἄμμι [τὰν ἰόκολπον. μακά]ρ̤̣ων μά̣λ̣ιστα ἐπὶ γ]ᾶς π[λά]ναται̣ [................ ................] μδʹ· Μοίσαν δῶρα ὔμμες πεδὰ Μοίσαν ἰο]κ｢ό｣λ̣πων κάλα δῶρα παῖδες σπουδάσδετε καὶ τὰ]ν̤ φιλάοιδον λιγύραν χελύνναν·[ ἔμοι δ' ἄπαλον πρίν] π̤οτ̣' [ἔ]οντα χρόα γῆρας ἤδη ἐπέλλαβε, λεῦκαι δ' ἐ]｢γ｣έ̤νοντο τρίχες ἐκ μελαίναν, βάρυς δέ μ' ὀ θ̤ῦμο̤ς πεπόηται, γόνα δ' οὐ φέροισι, τὰ δή ποτα λαίψη̤ρ' ἔον ὄρχησθ' ἴσα νεβρίοισιν. [ταῦ]τα στεναχί‹σδ›ω θαμέως ἀλλὰ τί κεν ποείην; ἀ̤γ̤ή̣ραον ἄνθρωπον ἔοντ' οὐ δύνατον γένεσθαι· καὶ γάρ πο̣τ̣α̤ Τίθωνον ἔφαντο βροδόπαχυν Αὔων ἔρωι̊͜ ἀ̣ν̤[ί'] ἄπ̤εισαν βάμεν εἰς ἔσχατα γᾶς φέροισα｢ν｣ ἔοντα̤ [κ]ά̣λον καὶ νέον, ἀλλ' αὖτον ὔμως ἔμαρψε[ χρόνω‹ι̊› πόλ̣ι̣ον̣ γ̣ῆ̣ρας ἔχ̤[ο]ν̤τ̤' ἀ̣θ̣α̤νάταν ἄκο̣ιτιν.[ Σύστασις η· Περὶ τὸ ἀοιδάμεν 集団しゅうだん八はち： 歌うたう事こと Old text Revised text μεʹ· Κρέσσονι θῆται στύματι πρόκοψιν . . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . ο]ἶδα [–x . . . .] . πέρι̣[ . . .] . εικε . [. . . . . . . . . . . . . . . . . . . . . . ]η̣α[ x–uu––uu––uu– φ]ύ̤γοισα[ x–u ἐχίδνας] . [.] . [uu––u ὄδοντ]ι̤ δάχθην x–uu– πάγ]χ̣υ̣ θ[έ]οι· [Κ]α̣λ̣λ̣[ιόπα, σὺ δ' α]ὔταν . . . . . . . . . . . . . ] . χ̣θο . ｢.｣ατι . [......]εισα x–uu– κεκλο]μένα τὰν̣ [πολυ]ώ̤νυμόν σε̣ x–uu– κρέσσο]ν̤ι θῆται στ̣[ύ]μα[τι] πρό̤κοψιν̣ ４５：より良く歌うたう　人ひと勝かてように 。。。読よんだ。。。 。。。の回まわりに。。。 。。。逃にげたから。。。 蛇へびにより 我われが噛かまれた 。。。神々かみがみが 全まったく。。。 。。。でもあなた、 アアカリオパー。。。 多おおい名なが あるのあなたを 読よんだ時とき より良よく歌うたう 人ひと勝かてように。 μεʹ· Κρέσσονι θῆται στύματι πρόκοψιν . . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . .ο]ἶδα [–x . . . .] . πέρι̣[ . . .] . εικε . [. . . . . . . . . . . . . . . . . . . . . . ]η̣α [ x–uu––uu φαῖσ' Εὐρυδίκαν φ]ύ̤γοισα̣[ν θήρηντά γ' Ἀρίσ]τ̤[αι]ο̤ν̤ [ἐχίδνας ποτ' ὄδοντ]ι̤ δάχθην Δύσθυμοι ἔον πάγ]χ̣υ̣ θ[έ]οι· [Κ]α̣λ̣λ̣[ιόπα, σὺ δ' α]ὔταν . . . . . . . . . . . . . ] . χ̣θο . ｢.｣ατι . [. . . . . .]εισα x–uu– κεκλο]μένα τὰν̣ [πολυ]ώ̤νυμόν σε̣ Κὰτ ὄττι θέλει κρέσσο]ν̣ι θῆται στ̣[ύ]μα[τι] πρό̤κοψιν̣ ４５：良よい声こえで　演技えんぎしように 。。。読よんだ。。。 。。。の回まわりに。。。 エウリュディケーは ある時ときに アリスタイオス 逃にげる時とき 蛇へびの歯はにより 齧かじられた だから神々かみがみ 悲かなしくに／悲かなしみに なったと話はなし；／きた物語ものがたり； でもあなた、 アアカリオパー あの方まったを。。。 多おおい名なが あるのあなたを 読よんだ時とき 人ひとはより良よい 音声おんせいで 願ねがいに依よると／願ねがいのように 演技えんぎしように。 μςʹ· Νῦν θαλία παρέστω Λόγος αʹ ] . οὐ . [ ] ε̣ὐχο̣μ̣[ ] . νῦν θ̣α̣λ̣[ί]α̣ π̤α̤[ρέστω ] . νέρθε δὲ γ̤ᾶς π̣ερ̣[ίσ]χ̤ο̣ι̣ [κλέος μέγα μοίσε]ι̤ον ἔχο̤ι̣σαν̣ ｢γ｣έρας ὠς̣ [ἔ]ο̣ικεν [πάνται̊ δέ με θαυμά]ζ̣οιεν ἆ̣ς νῦν ἐπὶ γᾶς ἔοισαν [κάλεισι χελίδω] λιγύ̤ρ̣α̣ν [αἴ] κεν ἔλοισα πᾶκτιν[ ἤ βάρβιτον ἤ τάνδε χέ]λ̣υ̣ν̣｢ν｣α̣ν̣ θ̤αλάμοισ̤' ἀε̣ίδω. Λόγος βʹ ] . ο . [ ] ε̣ὐχο̣μ̣[ ἔμαισιν ἐταίραις ἄμ' ἔμο]ι̤ νῦν θ̣α̣λ̣[ί]α̣ γ̤ε̤[νέσθω ἐπεὶ δέ κε γήραισα θάν]ω̤, νέρθε δὲ γ̤ᾶς γέν̣[ω]μ̤α̣ι̣ [καὶ μοισόπολων ἔσ]λ̤ον ἔχο̤ι̣σαν̣ ｢γ｣έρας ὠς̣ [ἔ]ο̣ικεν οὔ κέν μ' ἔτι θαυμά]ζ̣οιεν ὠ̣ς νῦν ἐπὶ γᾶς ἔοισαν· φαίνην δὸς ἀοίδαν] λιγύ̤ρ̣α̣ν [αἴ] κεν ἔλοισα πᾶκτιν[ ἔμαισι φίλαισίν γ' ἀ]λ̤ύ̤ω̤ κ̤αὶ̤ κ̤άλα, Μοῖσ̤', ἀε̣ίδω. μζʹ· Πρὸς χέλυνναν Ἄγι δὴ χέλυ δῖά μοι φωνάεσσά ‹νυ› γ‹ίγ›ν‹ε›ο ４７：ライア－に 神聖しんせいな ライアー、我われに 歌うたってきてね！ μηʹ· Ἔμαις ἑταίραις Τάδε νῦν ἐταίραις Tαῖς ἔμαις τέρποισα κάλως ἀείσω. ４８：友達ともだちのため 友達ともだちを 喜よろこばすよう 素敵すてきに歌うたう Σύστασις θ· Πρὸς φίλοις, σύμβουλαι 集団しゅうだん九きゅう： 友達ともだちに 申もうす言葉ことばと 忠告ちゅうこくと μθʹ· Πρὸς Δίκαν Σαπφὼ δ' ἁπλούστερον τὴν αἰτίαν ἀποδίδωσιν τοῦ στεφαοῦσθαι ἡμᾶς, λέγουσα τάδε· σὺ δὲ στεφάνοις, ὦ Δίκα, πέρθεσθ᾿ ἐράτοις φόβαισιν ὄρπακας ἀνήτ‹ω› συν‹α›έρραισ᾿ ἀπάλαισ‹ι› χέρσιν· εὐάνθεα γὰρ ‹παρ›πέλεται καὶ Χάριτ‹α›ς μακαίραι‹ς› μᾶλλον ποτόρην· ἀστεφανώτοισι δ᾿ ἀπυστρέφονται. νʹ· Περὶ θέρεος Λόγος ὀ Ἀλκαίῳ δίδων· Περὶ θέρεος [Τέγγε π‹ν›εύμονας οἴνῳ· τὸ γὰρ ἄστρον περιτέλλεται, ἀ δ' ὤρα χαλέπα, πάντα δὲ δίψαισ‹'› ὐπὰ καύματος. ἄχει δ' ἐκ πετάλων ‹›άδεα‹› τέττιξ,] πτερύγων δ' ὔπ‹α› κακχέει λιγύραν ‹πύκνον› ἀοίδαν, ‹θέρος› ὄ‹π›ποτα‹› φλόγιον κα‹τ'› ἔ‹λ›ᾶν ‹πε›πτάμενον ‹πάντα› καταυ‹άν›η‹ι̊›. [ἄνθει δὲ {καὶ} σκόλυμος· νῦν δὲ γύναικες μιαρώταται, λέπτοι δ‹'› ἄνδρες, ἐπεὶ ‹καὶ› κεφάλαν καὶ γόνα‹› Σείριος ἄ‹σδ›ει.] Λόγος ὀ Ψάπφοι δίδων· Περὶ τέττιγος [xx–] πτερύγων δ' ὔπ‹α› κακχέει λιγύραν ἀοίδαν ὄ‹π›ποτα‹› φλόγόν ‹κε κὰγ γ›ᾶν ἐπιπτάμενο‹ς› καταύ‹λ›η‹ι̊› ναʹ· Πρὸς Μίκαν [x–uu– –uu– οὐδὲ θέ]μις σε Μίκα [x–uu– ἄμμι γ]έλα[ν, ἀλ]λά σ’ ἔγω̣ὐκ ἐάσω [x–u γυναίκω]ν̣ φιλότ[ατ’] ἤλεο Πενθιλήᾱν̤ [x–uu– τοῦτο φρένας] δάκν̤[ε πολύ]τροπ’, ἄμμα̣[ις, κήναισι γάρ, οὐκ ἄμμι,] μέλ̣[ος] τι γλύκερον χ̤[α]ρ[ίσδη]ι̤̊ ἔγεντ̣ο̣ [δὲ νῦν ἀρμονί]α μελλιχόφων[ος α]ὔ̤ραν οὐ γὰρ κ[άλαμος ταῦτα μελίσ]δει, λίγυραι δ᾽ ἄη[τα]ι̣ νβʹ· Οὐ γὰρ θέμις θρῆνον [xx–uu] οὐ γὰρ θέμις ἐν μοισοπόλων ‹δόμῳ› θρῆνον ἔμμεν' ‹ἄπαυστον, Κλέι,› οὔ κ’ ἄμμι πρέποι τάδε. νγʹ· Ὀ μὲν γὰρ κάλος ὀ μὲν γὰρ κάλος ὄσσον ἴδην πέλεται ‹κάλος›, ὀ δὲ κἄγαθος αὔτικα καὶ κάλος ἔσ‹σε›ται. νδʹ· Ὀ πλοῦτος ἄνευ τᾶς ἀρέτας Ὁ δὲ πλοῦτος οὐ μόνος ὢν καθ' ἑαυτόν, ἀλλὰ καὶ ἀρετῇ κεκοσμημένος, καιρίως τῶν τε ἑαυτοῦ ἀγαθῶν καὶ τῆς ἀρετῆς ἀπολαύει, συνετὴν ἔχων τὴν φροντίδα πρὸς τὸ ἀγρεύειν τὰ καλά. Τούτων γὰρ τὸ ἕτερον καθ' ἑαυτὸ οὐχ ἡδύ· Ὀ πλοῦτος ἄνευ ‹τᾶς› ἀρέτας οὐκ ἀσίνης πάροικος, Τᾷ δ' ἀμφοτέρων κράσ‹ει ἔν'› εὐδαιμονίας τό ‹γ’› ἄκρον νεʹ· Ἀβάκην τὰν φρέν' ἔχω xx ἀλλά τις οὐκ ἔμμι παλιγκότων ὄργαν, ἀλλ᾽ ἀβάκην τὰν φρέν’ ἔχω. ux νςʹ· Μαψυλάκαν γλῶσσαν σκιδναμένας ἐν στήθεσιν ὄργας μαψυλάκαν γλῶσσαν πεφύλαχθε. ５６：不易ふえきに吠ほえる　その舌したを 腹立はらだちが 心こころに燃もえる その時ときは、 不易ふえきに吠ほえる その舌したを その気配きくりで 引ひき止とめるべき。 νζʹ· Οὐ δοκίμωμι Ψαύην δ' οὐ δοκίμωμ' ὀράνω δύσ‹ι› πάχε‹σιν›. ５７：待またない あたくしは この二にの腕うでで 大空おおぞらを 届とどき触ふれ合あう ことを待またない。 νηʹ· Οὐδ' ἴαν δοκίμωμι Οὐδ' ἴαν δοκίμωμι προσίδοισαν φάος ἀλίω ἔσσεσθαι σοφίαν πάρθενον εἰς οὐδένα πω χρόνον τοιαύταν. Σύστασις ι· Μυθολογία 集団しゅうだん十しゅう： 神話しんわの破片はへん νθʹ· Ἔλθοντ' ἐξ ὀράνω Πρώτην δέ φασι χλαμύδα ὀνομάσαι Σαπφὼ ἐπὶ τοῦ Ἔρωτος εἰποῦσαν· [Τὸν Ἔρωτ' ἐν ὀνείρῳ τιν' ἔβλεψ' αύτα ἔγω ποτα] Ἔλθοντ' ἐξ ὀράνω πορφυρίαν περθέμενον χλάμυν. ξʹ· Περὶ Λήδας Φαῖσι δή ποτα Λήδαν ὐακινθίνων εὔρην ὤϊον [ἀνθέ͜ων] πεπυκαδμένον [ὔπο]. ６０：レーダについて 人ひとはそう言いう： レーダーは ヒアシンス花はな 隠かくしたの 卵たまごをいつか 見みつけたわ. ξαʹ· Ἐπὶ τᾶν περιστεράων ταῖσι ‹δὴ› ψῦχρος μὲν ἔγεντ' ὀ θῦμος, πὰρ δ᾽ ἴεισι τὰ πτέρα [–u–x] Version A Version B ６１：鳩はとについて 心こころには 凍こごえてるから 羽はね降　ふりさせた。 ６１：鳩はとについて 魂たましいが 凍こおらせた時とき、 羽はねは潰ついえた。 ξβʹ· Χρύσειοι ἐρέβινθοι Χρύσειοι ‹δ'› ἐρέβινθοι ἐπ' ἀϊόνων ἐφύοντο. ６２：黄金おうごんの豆まめ 海岸かいがんに 黄金色こがねいろな 豆まめは生うまれた。 ξγʹ· Λάτω καὶ Νιόβα Καλοῦσι γοῦν καὶ αἱ ἐλεύθεραι γυναῖκες ἔτι καὶ νῦν καὶ αἱ παρθένοι τὰς συνήθεις καὶ φίλας ἑταίρας, ὡς ἡ Σαπφώ· Λάτω καὶ Νιόβα μάλα μὲν φίλαι ἦσαν ἔταιραι. ６３：ラートーと　ニオバー二人ふたり ラートーと ニオバー二人ふたり お互たがいに とても愛いとしい 友達ともだちでした。 ξδʹ· Ἀϊπάρθενος ἔσσομαι .. ]σανορεσ . . [ Φοίβῳ χρυσοκό]μᾳ, τὸν ἔτικτε Κόω κ[όρα μίγεισ’ εὐρυβίᾳ Κρ]ονίδᾳ μεγαλωνύμῳ [ Ἄρτεμις δὲ θέων] μέγαν ὄρκον ἀπώμοσε· 5 «[νὴ τὰν σὰν κεφά]λαν, ἀϊπάρθενος ἔσσομαι [ἄδμης οἰοπό]λων ὀρέων κορύφαισ᾽ ἔπι [θηρεύοισ’· ἄγι καὶ τά]δε νεῦσον ἔμαν χάριν». [ὢς εἶπ’· αὐτὰρ ἔνευ]σε θέων μακάρων πάτηρ, [πάρθενον δ’ ἐλαφάβ]ολον ἀγροτέραν θέοι 10 [ἄνθρωποί τε κάλε]ισιν ἐπωνύμιον μέγα. [κήνᾳ λυσιμέλης] Ἔρος οὐδάμα πίλναται· ] . [ . ] . . . . α̣φόβε[ . . ] .́ .ω· ξεʹ· Κατθνάσκει, Κυθέρηα κατθνάσκει, Κυθέρη’, ἄβρος Ἄδωνις· τί κε θεῖμεν; καττύπτεσθε, κόραι, καὶ κατερείκεσθε χίτωνας. Σύστασις ια· Κατθἀνην δ' ἴμμερός τις ἔχει με 集団しゅうだん十一しゅういち： 死亡しぼうを望のぞむ ξςʹ· Ἔρμαις γ' εἴσηλθε . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . τ̣ου[x–uu–u–u–x] 3 ἦρ’ α[– xx–uu–ux] δῆρα τ . [uu–ux] Γογγύλα τ̤’ [ἔφατ’ “Οὔ τι πᾷ τάδ’ ἔγνως,] 6 ἦ τι σᾶμ’ ἔθε̣[άσαο ταῖσ' ὀπώ-] παισι;” “Μάλιστά γ̣'”· [εἶπον· Ἔρ-] μαις̣ γ̣’ εἴσηλθ᾽ ἔπο̣[ρος Δίος· τάδ᾿ αὔτῳ] 9 εἶ̣πο‹ν›· “ὦ δέσποτ᾽ ἐπ̤[τατόνω λύρας ο]ὐ̤ μὰ γὰρ μάκαι⌟ρ̣αν̣ [ἔγω ο]ὔδεν ἄδομ᾽ ἔπ⌟αρθ᾽ ἀγαν̤ [ἄσαισι,] 12 κατθάνην δ᾽ ἴ⌟μερός τις ἔ̤[χει με καὶ] λ̣ωτίνοις δρ⌟οσό̣ε̣ν̣τ̣α̣ς̤ ὄ̤- χ̣[θ]ο̣ι̣ς̣̣ ἴδην Ἀ⌟χ̣ε̣ρ̤[οντος –u–x 15 κ]ὰ̣δ ‹δ᾽› ἐ‹ς› Ἀ͜ίδ｢α｣ [δόμον βάμεν –ux –] . ν̣ δε̣τ̣ομ̣[u–ux] Μ̣ή̣τ̣ις̣ σ̣[–uu–u–u–x]”. 18 ξζʹ· Τεθνάκην δ' ἀδόλως θέλω ["Ἄτθιδ' οὐδ' ἒν ἄρ' ὄ]ψ̤[ομαι] Τεθνάκην δ' ἀδόλως θέλω"· Ἄ με ψισδομένα κατ̣ε̤λί‹μ›πανεν Πόλλα, καὶ τόδ' ἔειπέ̤ μ̤ο̤ι̤· "Ὦι̊μ' ὠς δεῖνα πεπ[όνθ]α̤μεν, Ψάπφ'! Ἦ̤ μάν̣ σ̣' ἀέκο̤ι̤σ̤' ἀ̣πυλιμπάνω!"· Τάν δ' ἔγω τάδ' ἀ̣μειβ̣ό̤μαν· "Χαίροισ' ἔρχ̣εο̣ κἄ̣με̣θεν Μέμναισ̣', οἶσ̣θ̣α̣ γὰρ ὤς ‹σ›ε πεδήπομεν, Α̣ἰ δὲ μή,͜ ἀ̣λλά σ' ἔγ̣ω θέλω Ὄ̣μνα̣ι̣σ' ἄν̣θ̤ε̣α̤ κ̣α̣[ὶ φρ]ά̣σ̣αι Ὄσ̣σ̣' ἴ̤μ̤μ̤ε̤[ρτα τ]ε̤ καὶ κάλ' ἐ̣πάσχομεν Πό̣[λλοις γὰρ στεφάν]οις ἴων Καὶ [βρόδων κρ]ο̤κίων τ̣' ὔμοι Κ̣ὰπ̣ [πλόκων] π̣αρ' ἔμοι π‹ε›ρεθήκα‹ο›, Κα̣ὶ π̣ό̤[λλαις ὐπα]θ̣ύμιδας 15 Πλέ̣κ[τ]α̤[ις ἀμφ'] ἀ̤πάλαι̊ δέραι̊ Ἀνθέ̣ων ἐ̣ρ̤[άτων] πεποημμέ̣ναις, Καὶ πάν̣τ̣α̣ χ̤[ρόα σὸ]ν̣ μ̣ύ̣ρω[ι̊] Βρενθείωι̤̊ τ̤[ε κόμ]α̤ν̣ β̤ρ̣ό̣δ̣ω̤ν̣ Ἐξαλείψαο κα̣[ὶ βασ]ι̣λη̣ί̣ω‹ι̊›, Καὶ στρώμν[αν ἐ]π̤ὶ μολθ̤άκαν Ἀπάλαν πὰρ̤ [ἄβρω]ν̤ β̤ρ̤ό̣δ̣ω̣ν Ἐ̣ξίης̣ πόθο̣[ν ἄβρα νε]α̤νίδων, Κωὔτε τι̣ς [χόρος οὔ]τ̣ε τι {τ̣ι̣} Ἴρον οὐδ' ὔ[δατος ῤέ]｢ο｣ν̣ 25 Ἔ̣πλ̤ετ' ὄππ̣[οθεν ἄμ]μ̤ες ἀπ̣έσκομεν, Οὐκ ἄλσος τ̤[ι κὰτ εἴ]α̤ρος [Πάρηλθεν κροτάλω]ν̤ ψόφος [Κωὔ καταμέριαι μ]ε̤λ̤α̤οίδιαι. Σύστασις ιβ· Ἐπιγράμματα 集団しゅうだん十二しゅうに： 三みっつの警句けいく ξηʹ· Τίμαδος ἐπιγράμμα Τίμαδος ἄδε κόνις, τὰν δὴ πρὸ γάμοιο θάνοισαν δέξατο Φερσεφόνας κυάνεος θάλαμος, ἆς καὶ ἀποφθιμένας παῖσαι νεόθαγι σιδάρῳ ἄλικες ἰμμέρταν κρᾶτος ἔθεντο κόμαν. ξθʹ· Πελάγωνος ἐπιγράμμα Τῷ γρίπει Πελάγωνι πάτηρ ἐπέθηκε Μένισκος Κύρτον καὶ κώπαν, μνᾶμα κακοζοΐας. οʹ· Ἀνάθημα τᾷ Ἀρτέμιδι Παῖδες, ἄφωνος ἔοισα τόδ' ἐννέπω, αἴ τις ἔρηται, φώναν ἀκαμάταν κατθεμένα πρὸ πόδων· Αἰθοπίᾳ με κόρᾳ Λάτως ἀνέθηκεν Ἀρίστα Ἀ Ἐρμοκλείδα τῶ Σαϋναϊάδα, σὰ πρόπολος, δέσποινα γυναίκων· ᾆ σὺ χάρεισα πρόφρων ἀμμετέραν εὐκλέϊσον γενέαν.

Group 1: Heart-shaking love Jūdan ichi: Kokoro yuru Koi no sê de wa 1: To Cypris How would anyone not be consumed, O Cypris, queen? Whomever you truly love, Even when he above all wishes to burst into tears, You do not hold him back. How can you strike me then idly tear me apart With craving that has melted my knees, o greatest ones? So many times you were at first wholly not hateful to me, And, I say, you didn't keep Away from me; I want to be able To no longer thus endure this! Stop the storm Of [my] thoughts! And for myself I know That it could never be possible for mortals To be fully happy; for one person to be With me I crave indeed [… …] Literal Back-translation Italiano 2: Two thoughts I don't know what to say: two are my thoughts. 2: Two thoughts Dentro nel mio cuor, Indicibile per me, Coppia di pensieri c'è. 2: Two thoughts Deep within my heart, Both unspeakable, there are Two thoughts very far apart. 2: Shikô wa futatsu Kokoro ni no Koto wakaranai: Shikô wa futatsu. 3: Oh sweet mother Sweet mother, I can indeed no longer weave my web, Being overcome with desire of a boy because                                             [of tender Aphrodite. 3: Amai haha Amai haha, Afurodīte wa Kono kokoro Otoko no ko e/ni no Akogare de Totemo yasashiku Mitashita wa/wo. Kono mama de Kono orimono wo Yaritsudzukerenu. 4: Love shook my heart                  Love shook my Heart, like a wind that has fallen unto oaks down a mountain. 4: Wa ga kokoro yuru Yama no ue Kashiwa ni tsuyoku Fukitsukeru Kaze no yô ni Jôyoku wa Watashi no kokoro Tsuyoku yurashita. 5: Bittersweet love Body-melting love shakes me again, A bittersweet invincible beast. Atthis, it has become hateful to you To give heed to me, and to Andromeda you fly away. 6a: To Arignota [Dear Anactoria is far away, Often turning [her gentle] mind [From] Sardis [to you] hither      3 [And] how we used to live: with certainty she believed You to be equal to a goddes, o Arignota, and enjoyed your singing very much;      6 Now shines she among Lydian Women as, after sunset, Does the rosy-fingered moon,      9 Outshining all the stars, and directs [her] light To the briny sea And equally to the multiflowered countryside,      12 And beautiful dew has poured down, and there have bloomed Roses, and tender chervils, And the flower-like melilot;      15 And wandering a lot, remembering Of gentle Atthis, with desire [She] devours [her] delicate mind, and [her] heart with longing,      18 And shrill are her cries for us to come there; which are not Unheard for us, for the many-eared night Speaks them [to us] across the straits of the sea.      21 6b: Divine beauty is not easy for us to attain It is not easy for us to be equal To goddesses in lovely beauty, You have Adonis-like beauty,      24 Better, in fact! … to man what more Is granted? Through the air And … Aphrodite      27 Poured nectar from a golden pitcher To us too… Indeed far from the border. Peitho with [her] tender hands      30 … wished … often …      33 … to the Geræstium … dear … It is not at all unheard of      33 That I myself will come to the temple 6b: Megami-tachi no    utsukushisa    hariau koto ga    muzukashii Wareware wa Megami-tachi no Utsukushisa Hariau koto ga Muzukashii, Sono utsukushisa Adōnisu Hitteki suru yo/sa. Kare yori mo Motto kirê da! ………… Jinrui no Dareka wa hoka ni Nan no koto Dekiru ka na? ………… Kūki wo toori ………… Afurodīte wa Ōgon no Tōshu kara miki Hontô ni Ie kara tooku Sosoida yo Wareware ni mo ………… Pētō wa Yawarakana te de … …koto ga Hoshikatta ………… Hinpan ni ………… Itoshii otome! ………… Geraisutosu no Shinden e Atashi ga tsuku yo Mattaku ni Odorokasanai, Kono koto ga ………… 7: Ode to Anactoria That man to me seems equal To the gods, who sits before thee, And, close [to you], listens [to you] Sweetly speaking, And charmingly smiling. Which truly Shakes [my] heart in [my] chest. Indeed, once I've seen you shortly, No more voice comes to me, But my tongue is snapped, a thin Flame has immediately sneaked under my body, With [my] eyes I see nothing, [My] ears buzz, [My] sweat pours down coldly, tremor Seizes [me] wholly, paler than grass I am, and to myself I seem Not far from dying· But everything must be dared, for the inactive, O Sappho, you should reproach like the poor: Thus kings and thriving cities Are destroyed· Group 2: Beauty Jūdan ni: Utsukushisa kokoro wo sawaru 8: I beseech you, Gongyla My version Hither, my dear, I beseech you: take Your milky-white robe, oh Gongyla, And make your appearance: again such great desire Flutters around you, The beautiful one; for that dress Shakes me up when I see it, and I rejoice: Indeed the Cyprus-Goddess herself Blames this of you; I pray her… This word… I want… … ] Version of Tedeschi and me Hither, my dear: I beseech you to sing Of Gongyla, oh Abanthis, taking your sweet Harp, while again such great desire Flutters around you, The beautiful one; for [your] dress Shook her up when she saw it, and I rejoice: Indeed the Cyprus-Goddess herself once Blamed this of you two; As I pray… This word… I want… … ] 9: Ode to a beautiful woman […………………… …………………… …] suffered for love …… For when I see you before [me], It seems to me that even Hermione is not Such [a beauty], and comparing you to blonde Helen [Seems] not at all unseemly, As far as is allowed of mortals; know this in your Heart: to the storms Of all my anxieties I bring a remedy, and all My desires to you. To Acheron's dewy lotus-flowered banks I would go if you died, forever I will praise you In every way possible to me, and I really wish For us to spend a whole night together. 10a: Dearest offspring of Uranus and Gaia Some say it's a platoon of infantry, others that it's one of chivalry, Others that it's a fleet that over this black earth Is the most beautiful thing; I say that it's whatever One loves. It's entirely easy to make everyone Understand this, for Helen, who had [next to her] A lot of human beauty, her husband, Best of all men, Left, and sailed off to Troy, And didn't remember her child or her dear parents At all, but, not even unwilling, Was led away By Cypris: for she has unbending will, And easily fulfils whatever she thinks of. Thus I now remembered Anactoria, Who is not present. Her beloved footfall I would like to see, And the bright sparkle of her face, Rather than the chariots of the Lydians, and [Lydians] Fighting by land in their shields. 10b: Men cannot be fully happy It is not possible for men To become fully happy, but [they] can pray to have A share of good luck. And I for myself Know this. [Stanzas may have been lost.] … happen … you walked on the summit … snow; and she often Towards…[ As… I/they was/were led away … can; for those Whom I treat well, those harm me the most Out of the blue. 10c: Dearest offspring of Uranus and Gaia Some say it's a platoon of infantry, others that it's one of chivalry, Others that it's a fleet that over this black earth Is the most beautiful thing; I say that it's whatever One loves. It's entirely easy to make everyone Understand this, for Helen, who had [next to her] A lot of human beauty, her husband, Best of all men, Left, and sailed off to Troy, And didn't remember her child or her dear parents At all, but, not wanting that, Was led away By Cypris: for she leads my bending mind, Astray whenever she wishes to lightly wound me. Thus I now remembered Anactoria, Who is not present. Her beloved footfall I would like to see, And the bright sparkle of her face, Rather than the chariots of the Lydians, and [Lydians] Fighting by land in their shields. It is not possible for a man To fully have his wish, but pray to have A share of good, that has been granted [to him]. And I for myself Know this. 10d: Those I love most [Stanzas may have been lost.] … were then together … as long as on the summit … snow; and she often Towards…[ As… -ly aversed … can; for those Whom I treat well, those harm me the most Out of the blue. 11: Kleis I have a beautiful child, similar in beauty To golden flowers, my beloved Kleis. In exchange for her I wouldn't take all of Lydia Nor dear Lesbos 11: Kureisu Atakushi no Itoshii musume Saku hana no Gotoki ni kirê. Watashi nara Kanojo no kawari Zentai no Ryūdiā to Saiai no Resubosu shima mo Uketoranai wa. 12: The stars and the moon The stars around the beautiful moon Once again / Quickly hide their shiny faces As she, being full, more than anytime shines On the earth, silver. 12: Tsuki to hoshiboshi Gin'iro ni Kagayaku tsuki wa Kono chikyū Hikari de mitasu Ano toki wa, Kirêna tsuki wo Meguru hoshi Akarui egao Nidoto/Hayaku kakumau. Group 3: From joy of love to visions of goddesses Jūdan san: Koi no yorokobi, Megami no kêji English Italiano 13: You came You came, you did good, I yearned for you, You cooled my heart which was burning with desire: May you enjoy many good situations, equal in number to [your] life. 13: You came Venendo qui per me, che ti bramavo, Di certo tu un gran bene mi facesti. Il cuore che di gran disìo m'ardeva Venendo, nel profondo rinfrescasti. Che tu durante tutta la tua vita Tanti ben goda è la mia speranza. Version A Version B 13: Sono oide Akogareru Watashi no tame ni Koko ni kite Anata wa kitto Yoikoto wo Hontô ni shita. Setsubô ga Moeru kokoro wo Kuru koto de Fukaku samashita. Zentai no Sono jinsê ni Yoikoto wo Tanoshimeru koto Kono kibô da wa. 13: Sono oide Akogare ga Afureru ware ni Tomo ni ita Anata wa masa ni Shinsetsu wo Oo ni shimeshita. Setsubô ga Moeru kokoro wo Sono oide Fukaku samashita. Kono mama de Anata no tame ni Togirenai Kietsu wo torô: Wa ga sô nozomu. 14: Idyll with Aphrodite Appear hither to me from Crete to this holy Abode, where there is a truly graceful grove Of apple trees, and there are altars burning With incense; In the grove, cool water flows through the boughs Of the apple trees, and by roses the whole place Is shaded, and as the leaves rustle Deep sleep takes [us]; And a horse-nourishing meadow has bloomed With spring flowers, and the winds Honey-sweetly blow toward us coming down From the sky. Here willingly grant to me, Cypris, To pour into golden cups The nectar gracefully mixed WIth festive joy. 15: Handcloths Tonight you sat me down, O golden-garlanded Aphrodite,' In [my] dream braiding of your immortal Head the divine hair, And hanging down from your hair, Purple handcloths, which Timas Sent you from Phocæa, Precious gifts [hanging] down from your hair. 16: Hymn to Aphrodite Ornate-throned immortal Aphrodite, Wile-weaving daughter of Zeus, I beg you: Do not overpower with ache and anguish, O queen, my heart, But come here, if ever in other times, Hearing my voice from far away, You listened, and leaving [your] father's golden House, you came, Yoking [your] cart, and rapid pretty Sparrows led you over black earth, Frequently flapping [their] wings, from the sky Through the middle of the ether,, And quickly they arrived; and you, o Blessed one, A smile on [your] immortal face, Asked what I'd suffered again, and why I was invoking [you] again, And what I wanted the most to happen to me, Crazy at heart: «Whom again should I persuade To lead you to your love as well? Who, o Sappho, is wronging you? Indeed if she flees, she will soon chase [you], If she doesn't take [your] gifts, she'll give [her own], If she doesn't love [you], she will soon, Even if she doesn't want to». Come to me now as well, and set me free From oppressive anxieties, and what my heart craves To see happen to me, make it happen; and you yourself Be my ally. 17: Queen Hera Let your graceful, roaring feast, Queen Hera, be brought around me, Which the songs of Atreus, the kings, Prayed for, Having completed great deeds First around Troy, then Having set sail hither; they could not find Their way Before seeking you and Zeus god of the suppliants, And the lovely son of Thyne. Now we too, following the old [tradition], Make these majestic, holy, And beautiful [rites] for you; a cowd Of maidens and praying women makes its way hither: They want to, packed tightly around your altar, Measuredly cry aloud. ] … to be … (come to the temple?) 18: On celebrating a feast … They call unto… Do you not have a way at all that I could, O mother, perform A shining feast at the [proper] time? That is A joy to those who live but a day; may it happen To me to be cheerful, until the gods grant us To hear the harp And the lyre; this… … more unharmedly than now… …giving… …made; …him who… …sat… … ready … … fulfil that … I totally … … tongue … … desperation … … you should … of loves … Group 4: Wedding songs Jūdan yon: Konrê no uta 19: Hector and Andromacha Cyprus…   ̣[         22-24 letters    ]αι  ̣ The messenger came running, pushed forth by the might of [his] legs, The speedy messenger of Ida, bearing these tidings: «[One ore more lines are missing, the last of which Probably ended with      Of Troy] And of the rest of Asia these things were the undecaying glory; Hector and his companions are leading From sacred Thebes and ever-flowing Placia The quick-glancing tender Andromacha by ship over the briny Sea; and many golden bracelets, and purple Robes, and beautiful flower embroideries, motley adornments, And countless silver wine-cups, and ivory. Thus spoke he; and readily dear father leapt up; And the news went through the spacious city to [his] loved ones; At once the sons of Ilium to the well-running chariots Yoked the mules; and the whole crowd came Of women and of tender-ankled maidens; Separately went the daughters of Priam, And the men yoked the horses to the chariots, and together there All the unmarried men, and far and wide went the great [went People, and the charioteers led the excelling foals With white patches outside the dear city then. Everyone says that some lines are missing here. When once again on the carriages there went the god-like Hector and Andromacha, then all together The people of Troy went to set out to sacred Ilium. And the sweet-sounding flute and the cithara mixed together With the sound of castanets, and clear-tonedly the maidens Sang a sacred song, and to the air there went A divinely sweet echo, laughter … And everywhere in the streets there was … Bowls and cups … Myrrh and cassia and incense [the fire] accepted [within itself].̣ And all the elder women cried aloud, And all the men cried out a delightful high-pitched Pæana, calling unto the far-darting sweet-lyred [Apollo], To sing of Hector and Andromacha, the god-like ones. The second time where I said «Missing lines here», Perhaps another poem by Sappho started there. 20: May you sleep May you sleep in the bosom of a tender girlfriend . 20: Nemureru yô ni Dekiaina Kanojo dakarete Nemureru yô ni. 21: Let's sing for the couple [–u–x–uu–u–x –u–x–uu–u–x Indeed I pray for this] night To become twice as long for me.] May maidens before these doors, Staying up all night, very happy bridegroom, Sing the love of you and of The violet-bosomed bride. But wake up, fetch those of your age, And set off, so that we may see Even less sleep that the sweet-voiced Bird will. 22: Hymenæum Up high the roof, Hymenæum, Raise ye, o carpenters: Hymenæum, The groom is equal to Ares, Hymenæum, Much larger than a large man, Hymenæum, Superior, like the Lesbian Hymenæum, Singer to those of foreign lands. Hymenæum. 23: Like the sweet apple Sappho used to compare the bride to an apple: As the sweet apple blushes on the high branch, High on the highest [branch], and the pluckers forget it: Indeed they don't forget, but can't reach [it]… [She used] to like the groom to Achilles, and put the young man on par with the hero in his achievements. 24: Like the hyatyncth Like the hyacinth on the mountains is treaded on By the feet of the shepherds, and the purple flower on the ground... 25: Happy bridegroom Happy bridegroom, to you the wedding that you yearned for Has been fulfilled, and you have the maiden you yearned for. You have graceful looks, o bride, and honey-sweet Eyes, and love has been poured on your lovable face: With these evident things Aphrodite has exceedingly honored you. Group 5: Grief, rage, enmity Jūdan go: Kanashimi to Ikari to teiki 26: You have left me You have left me. Ay me! Have you Forgotten me, my darling? Or do you love Another person more than me? And if so, who is (s)he? 26: Atakushi wo    Hikihanaseta wa! Atakushi wo Hikihanasita wa! Wasureta ka? Atakushi yori mo Hoka no hito Aishite iru ka? Dare darô ka na? 27: The moon has set Version 1 The moon has set And the Pleiads, the night Is half-gone, and time flies by; Yet alone I lie. Version 2 The moon has set The Pleiads are halfway through the sky, The time of night passes by; Yet alone I lie. 27: Taiin ga    Sude ni shizunda Dai-ichi no bājon Taiin ya Subaru ga sude ni Ano umi no Shita ni shizunda. Mayonaka no Jikan ga masa ni Hayaku tatsu. Kono mama ware ga Hitori de nemuru. Dai-ni no bājon Taiin wa Umi ni shizunda, Bôsê wa Sora no hanbun Tootta no Yoru no jikan ga Hayaku tatsu. Kono mama ware ga Hitori de nemuru. 28: Rustic woman What rustic woman bewitches now your mind, as she Goes around you wearing a rustic dress, Not being able to pull her robe above her ankles? 28: Soyana josê wa Ashikubi no Ue ni agenai Hontô ni Soyana ifuku wo Kiru toki wa Sono kokoro wo Hikitsukeru Soyana josê wa Dare darô ka na? 29: Stand before me And Sappho says to the one who is excessively Admired for his looks and considered handsome: Stand thou here and before me, [as a] friend, And spread out the grace in [your] eyes. 30: Dead shalt thou lie Dead shalt thou lie, and never memory Of thee will be until the end, for thou Hast no share in the roses of Pieria, But having flown 'midst lightless dead souls, thou, Even in Hades' house uncouth, shalt wander. 31: Someone will remember I say that even till the end someone will remember us. 32: Against Andromeda …peaceful… …having received from ægis-bearing Zeus… …Cytherea, succour me as I pray [to you]… …having a gracious heart… …hear my prayers, if even in another time… …having left Cyprus… …you came to my cry… …by painful solicitude… [Three lost lines] … … From the blessed gods … having obtained … May you wish to cut off this calamity as well for me, you of all The goddess with the most astute heart, oh, fulfil my wish: You indeed loved [me] and used to grant everything for which I invoked Now due to this defend me once more according to my wish! [[you], «This cause is not unbecoming», said [she], «and what you wish to obtain Is not at all much to get, for even Andromeda cannot      7 Overtly fight me, and what she did confiding in a voluptuous lifestyle Is not [possible] to forget for the gods; and indeed you know well That Nemesis strikes the one who is familiar with evil, and prevails over Sappho, loving you the venerable queen of Cyprus fit wheels [everyone». To [her] carriages, and for you she quickly went to entreat Zeus, And a great gift the son of Cronus nodded assent for her to grant to you: To all those whom the shining Sun surrounds with [its] beams, Everywhere [your] noble fame [will arrive ?] … And you on Acheron's [banks ?] … … [6 lost lines] … 33: About her exile … for out of my land A conflict suddenly chased me … however the memory Was not … but … equal to the gods. Now though I'm roused against the culprit of these griefs And vexations, and with the pains will Artemis the blessed one, Who rules from above, lead elderly Andromeda under [her] cart, And she will be ashamed of her character, not gentle, but stubborn, For no-one halted the arrogance in her, [so she] doesn't hold back [her]. She/One could indeed quickly offer a herd of lambs to the sons [insolence [And] enjoy the peace of music in in a graceful              [of Tyndar, Delightful place of dance, ah, if honest no longer … And to see Megara the mild with [her] clear-toned harp, It would be possible to them … … they all … … 34: Against the Polyanactids … … … … after a short while … … the Polyanactids … … to the Samian women … Make to resonate in the plectrum-welcoming Strings, banqueting Friendlily with such people The harp is made to vibrate gently, And, sweet-voiced, through the bones It slithers, and once it's in, runs through the marrow. 35: To Apollo Son of Leto and Zeus, … come to the feast, Leaving woody Grynea And your famous oracle … … … in days … of feasts … … sing … [And?] … sister … Like a child … No-one … want … They show … again of the Polyanactids I want to put the glutton on display. 36: Curse … blessed one … … [good for sailing ?] … of the head and … … For what mistakes he made before, he made amends … [may he reach The [famous] harbor [with good] luck … [O holy] Cypris, may she find you very bitter, May Doricha not be loud-spoken Saying that she came to a desired love A second time. Group 6: Sappho and her brother Jūdan roku: Saffō to ani 37: To the Nereids Queen Nereids, grant me That my brother may come here unscathed, And whatever he may wish in his heart, Fulfil it; [Let him] make amend for all his past mistake, And be a joy for his friends And a grief for his enemies; and for us May nobody ever be one; And may he wish to make his sister More greatly honored, and may he free From mournful grievances those, whose hearts He formerly crushed with his Mourning, hearing a reproach, which could have struck Even us in the flesh because of the citizens' blame, As ever, not differently, but he realized it Not at all after long, And even more [will he understand] if he learns What fame is like among mortals; and you, queen Cypris, Burying up an unbearable offense, Be persuaded by us. 38: Prayer to avert stormy journeys . . . . . . . . . . … you persuaded, o blessed one, … brightness and . . . . . … with good luck … to reach a harbor … black earth [. . . . . In violent storms, sailors, Fearing for the great winds, Throw away their cargo, and towards land They steer the ship; May I above all not set sail from anywhere When a storm has arisen, nor throw All the cargo I had into the deep sea, whether precious Or worthless; If Nereus, in his flowing pageant In the sea, should happen to receive my Cargo, I pray him to let it come to me As quick as possible. … works … land … . . . . . ] … … … . . . . . ] 39: Brothers poem «I truly hope Charaxus to us With a full ship may come»: it would be More appropriate of you to hope to see him With a safe ship, wet nurse, But you always chatter for Charaxus to come With a full ship, which, I believe, Zeus And all the gods know, but you needn't Think about that, But rather send me [out], and pray me Tu pray queen Hera a lot So that Charaxus may come here steering A safe and sound ship, And find us safe and sound; All The rest, let us entrust to the gods: For fair weather from great winds Are quickly born; And those whom the king of Olympus wants A helper god to lead out Of suffering, those remain blessed And full of joy. And we, if Larichus raises His head, and sometime becomes a real man, Would be set free even From [our] great heaviness of heart. 40: To Charaxus Version 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . … give. If you fly to renowned men And not handsome and good ones, and say goodbye To your loved ones, and pain me, saying that I Have become your reproach, Swollen in your heart, may your satisfy Your heart with such things, and be satiated; for my thought Does not easily yield to the rage Of children; But err not: a trap Won't catch old birds; I know you, To how much evilness you previously set forth, And what foe I'm up against. Therefore, thinking about better things, Change your thoughts; for, since I've nurtured An easily-satisfied mind, I know for sure that Are on my side.                          [the blessed [gods] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Version 2 . . . . . . . . . . . . . . . . . . . . You might find it wise to not Return my favor. You keep away the lovers of words Noble and beautiful, born for the seven-toned Lyres, and pain me, and hurl Reproach at me. Perhaps all swollen up in this reproach, with the outrage Satiate your heart, for my thought Is not so easily affected By your rage. … nor(?) … . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group 7: Nostalgia for youth Jūdan shichi: Wakamono ni Fukai kaikyū 41: You were also a tender young child . . . . . . . . . . … … … For you also once were a tender child And loved to sing: come, tell yourself All these things, and from that heart Generously gratify us; For we're going to a wedding; and well and clearly You also see this; but as fast as possible Send away all the maidens, and may the gods Find no dishonour. The road to great Olympus is untrodden … for man … [................ ................] 42: O tender women To them I said: «Tender women, Such things as will be remembered near old age, We too indeed in out bright youths Have done them. Many things indeed both beautiful and good we worked out Back then; and to me, as I saw You'd left the city, desire Bit the heart With sharp griefs. 43: If I still had milk Edmonds version If my teats still had a share Of milk, or my womb was still fit For child-making, then with untrembling feet I would go to another Bed; but now already old age Surrounds my body with a myriad wrinkles, And Eros the pain-giver no longer Flies toward me; … of the noble … … taking The sweet-voiced harp, sing to us Of the violet-bosomed one. … above all of loves … as long as (s)he wanders … … Tedeschi-Edmonds-Gorini version If my teats still had a share Of milk, or my womb was still fit For child-making, then with untrembling feet to another Bed I would go; Old age already withers up all my skin, And grief surrounds my mind, And pain-giving desire flies Chasing me; … of the noble … … taking The sweet-voiced harp, sing to us Of the violet-bosomed one. … above all of the blessed (gods?) … (s)he wanders over the Earth … … 44: Gifts of the Muses Hasten ye toward the beautiful gifts of the violet-bosomed Muses, Oh children, and [toward] the song-loving clear-toned lyre; My once-tender body old age already Has seized, and [my] hair, from black, has turned white, And my heart has turned heavy, and my knees support me no longer, Which were once as nimble in dancing as the fawns. I often lament these things, but what could I ever do? It's impossible for him who is human to become ageless. Indeed once they said that rosy-fingered Dawn, leaving the For love, went bringing Tithonus to the ends of the Earth, [reins When he was handsome and young, but still grey old age, In time, seized him, who had an immortal wife. Group 8: On singing Jūdan hachi: Utau koto Old text Revised text 45: May she give success to the best mouth … I called … … around … … … since she fled … … be bitten by the tooth of a snake … … the gods totally; but you, Calliope, her … … [Once she] has called you of many names … May progress be given to the better mouth. 45: Yoriyoku utau    Hito kate yô ni …yonda… …no mawari ni… …nigeta kara… Hebi niyori Ware ga kamareta …kamigami ga Mattaku… …demo anata, Aa Kariopā, Ooi na ga Aru no anata wo Yonda toki Yoriyoku utau Hito kate yô ni. 45: Perform with a better voice … I called … … around … … … they say Eurydice,] having fled [Aristæus who was chasing her,] was bitten [by the tooth of a snake (And)] the gods [were wholly sad; but you, o Calliope,] her … … having called] unto you of [many] names, [As she wishes, may she] perform with a [better] voice. 45: Yoriyoi koe de / Engi shiyô ni …yonda… …no mawari ni… Euryudikē wa Aru toki ni Arisutaiosu Nigeru toki Hebi no ha niyori Kajirareta Dakara kamigami Kanashiku ni / Kanashimi ni Natta to hanashi / Kita monogatari (?). Demo anata, Ā Kariopā, Ano kata wo … Ooi na ga Aru no anata wo Yobidashita Hito wa yoriyoi Onsei de Negai ni yoru to / Negai no yô ni(?) Engi shiyô ni 46: May there now be festivity Version 1 … not … … I pray … May there now be festivity … And underground may [] have The great glory of the Muses, having gifts as is becoming. And everywhere] they would marvel at me while, as I am on earth, They call [me] a clear-toned swallow if, having taken the harp, Or the barbiton or that lyre, I sing to wedding beds. Version 2 … not … … I pray … For me and my companions may there now be festivity, And after, grown old, I die and end up underground, Though I will keep the noble privilege of the servants of the Muses, as is They would not marvel at me as they do now as I'm on earth;    [befitting, Let [my] clear-toned song shine if, having taken the harp, For my loved ones I should be stirred, and, o Muse, sing beautiful things. 47: To her lyre Come indeed, divine lyre, to me Start now to speak. 47: Raiā ni Shinsêna Raiā, ware ni Utatte kite ne! 48: To my friends These things now I will sing Beautifully, delighting my friends. 48: Tomodachi no tame Tomodachi wo Yorokobasu yô Suteki ni utau Group 9: To friends, advice Jūdan kyū: Tomodachi ni    mousu kotoba to    Chūkyoku to 49: To Dica But Sappho expresses more simply the reason for our practice of wearing garlands when she says: But you, o Dica, put lovely garlands around your hair, Having bound stems of anise together with your tender hands; For it happens that even the blessed Graces had rather see Flowery things, and turn away from the ungarlanded. 50: On summer Wet your lungs with wine, for the star is coming round, The hour is harsh, everything is in thirst under the burning heat, There sings from the leaves the sweet cicada, and from below the wings It constantly pours down a clear song, when summer, Fiery in its sun's heat, dries everything up. There blooms the artichoke; now women are at their ugliest, But men are feeble, for Sirius their heads and knees Parches. 51: To Mica … nor is it licit for you, Mica, … to laugh at us, but I will not let you … you chose the friendship of the women of the house of Penthilus … this, o wily one, has bitten our hearts, For to those, not to us, you gift a sweet song, But now there has formed a sweet-sounding harmony of breezes: It is not indeed the flute singing this, but the shrill winds. 52: No lament is allowed It is not licit for there to be in the house of those who serve the Muses An unending mourning, Kleis: nor would such a thing become us. 53: He who's fair He who is fair remains fair [only] to be seen, He who is also good, will immediately also be fair. 54: Money without virtue Money, not when it is alone by itself, but being also embellished by virtue, opportunely enjoys the benefits of its own and those of virtue, and has a wise concern for pursuing good things. For each of these two on its own is not sweet: Money without virtue is not a safe neighbour; In the use of both lies the height of happiness. 55: I have a gentle mind … for I am not one of those spiteful with rage, but have a gentle mind. … 56: Idle-barking tongue As anger spreads through [your] chest, Guard ye your idly-barking tongue. 56: Fueki ni hoeru    Sono shita wo Haradachi ga Kokoro ni moeru Sono toki wa, Fueki ni hoeru Sono shita wo Sono kikuri de Hikitomeru beki. 57: I don't expect I don't expect touch the sky with two arms. 57: Matanai Atakushi wa Kono ni no ude de Oozora wo Todokifureau Koto wo matanai. 58: No-one I believe will I do not believe that any maiden who has seen The light of the sun will, at any time, be So skilful. Group 10: Mythology Jūdan jū: Shinwa no hahen 59: Coming down from the sky Sappho is said to have been the first to mention a chlamys, when she said [this] about Eros: [In a dream, I myself saw Eros once,] Having come down from the sky, clad in a purple chlamys. 60: On Leda They say that indeed Leda once found An egg covered by flowers Of hyacinth. 60: Rēda ni tsuite Hito wa sô iu: Rēdā wa Hiashinsu hana Kakushita no Tamago wo itsuka Mitsuketa wa. 61: On the doves And their heart became cold, And they let their wings fall. Version A Version B 61: Hato ni tsuite Kokoro ni wa Kogoeteru kara Hane furisaseta. 61: Hato ni tsuite Tamashii ga Kooraseta toki, Hane wa tsuieta. 62: Golden chickpeas Golden chickpeas were born on the shore. 62: Ôgon no mame Kaigan ni Koganeirona Mame wa umareta. 63: Latona and Niobe Even today free women and yonng girls call their intimate and dear friends' companions ' like Sappho: Leto and Niobe were very dear companions. 63: Rāto to    Niobā futari Rātō to Niobā futari Otagai ni Totemo itoshii Tomodachi deshita. 64: Forever a maiden I will be … To golden-haired Phoebus, whom the daughter of Coeus bore, Having mingled with the great-named son of Cronus, Artemis swore the gods' great oath:    [god of the high clouds, «Yea, by your head, I will forever be a maiden Unwed, hunting on the tops of the lonely Mountains: come, grant this for my sake». Thus spoke [she]; and the father of the blessed gods granted it, And both gods and men call her by the great title Of virgin, deer shooter, huntress. To her body-melting Eros never goes near. … 65: There dieth, Cytherea There dieth, o Cytherea, delicate Adonis; what shall we do? Beat your breasts, girls, and rend your clothes. Group 11: But a certain wish to die possesses me Jūdan jūichi: Shibô wo nozomu 66: There came Hermes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . … … For long… And Gongyla said: "You could never know this, Or did you see some sign With your eyes?" "Of course" I said; Hermes Came to us, the minister of Zeus; to him I spoke thus: "O lord of the seven-toned lyre, Indeed by the blessed one I Get no pleasure from being seized by anxieties, But some desire to die possesses me, And to see the dewy, lotus-covered Banks of Acheron … And to go down to Hades' home … … Nobody … 67: I really wish I were dead «I will never see Atthis, And I truly wish I were dead». And crying a lot she was leaving Me, and told me this: «Alas, what terrible things we've suffered, O Sappho: unwilling indeed I leave you» To her I replied thus: «Leave with joy, and of me Remember: for you know we cared for you. If not, then I want To remind you the flowers and declare [to you] What lovely and beautiful things we have experienced; For many a garland of violets And of roses and crocuses likewise You placed down along your locks beside me, And many woven Necklaces round your tender neck, Made of dear flowers, And your whole body with perfume Costly, and your hair with rose essence, Regal essence, you anointed, And on soft delicate Beds, beside tender roses, You gently satisfied the longing of young women, And there never was dancing ground nor Temple nor spring of water From which we kept away Nor by springtime did the noise Of clappers neglect any wood, Nor [our] daily singing». Group 12: Epigrams Jūdan jūni: Mittsu no kêku 68: Epigram of Timas This is the ash of Timas, whom, dead before [her] wedding The black nuptial chamber of Persephone received; Once she had died, all the girls of her age With freshly-sharpened blade cut the hair off [their] head. 69: Epigram of Pelagon To Pelagon the fisher his father, Meniscus, has gifted Basket and oar, memorials of a sorry life. 70: Offering to Artemis Maidens, though I have no voice, I declare this to whoever asks, Having a tireless voice placed before [my] feet· To Aethopia, daughter of Leto, Arista dedicated me, Daughter of Hermoclides son of Saunaiadas, You attendant, o queen of women: take pleasure in her And, gracious, honour our family.

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

Σύστασις αʹ· Ἔρος φρένας τίνασσον 集団しゅうだん一いち： 心こころゆる 恋こいのせいでは αʹ· Πρὸς τὴν Κύπριδα Πῶς̣ κε δή τις οὐ θαμέω̣ς ἄσαιτο, Κύπρι, δἐσ̣πο̣ι̣ν̣'; Ὄττινα̤ ｢δ｣ὴ φίλ̣｢ησθα｣ [καἰ] θέλοι μάλιστα πάθε̤ι̤ 'κ̣δα̤[κρύην οὐκ] ὀνέχησθα. Πᾷ [β]άλοισά̤ μ' ἀλεμάτω̣ς δαΐ̤σδ[ης] εἰμέρ‹ῳ› λύ{ι̣}σαντ̣ι̣ γόν', ὢ μεγ̤ί̤σ̤[τα;] Πόλ[λ]α πάμ̤π̤αν μ' οὐ πρό̣[τερ' ᾖσθ' ἀπέχθης,] οὔτ' ὀ̣νέ̤ερχ̤｢θ｣αι φαῖμ' ἀπ' ἀμμέων] σέ· θέλω [δύνασθαι μήκετ' οὔτως τοῦ]το πάθη[ν! Φρένεσσι παῦσε τὰν θύελ]λ̣αν! ἔγω δ' ἔμ' αὔτᾳ τοῦτο σύνοιδα· ὄττι τοὶς] β̤[ρ]ό̣τοις [ποτ]α̤ [οὔ κεν εἴη Πάμπαν εὐτύχην·] ἔ̣ν' ἄμ' [ἄμμιν ἔμμεν Δεύομ' ἀνθρώπων γ]ε̣ [u–u–x –uu–x] βʹ· Δύο νοήματα Οὐκ οἶδ' ὄττι θέω· δύο μοι τὰ νοήματα. ２：思おもいが二ふたつ 心こころには 言葉ことばにできぬ 思おもいが二ふたつ。 γʹ· Γλύκηα μᾶτερ Γλύκηα μᾶτερ, οὔτοι δύναμαι κρέκην τὸν ἴστον πόθῳ δάμεισα παῖδος βραδίναν δι’ Ἀφροδίταν. ３：母君ははぎみよ 母君ははぎみよ アフロディーテの 御力みちからで 我われは男おのこに 恋こいをして 機織はたおりをなす 暇いとま無なかりき δʹ· Ἔρος δ' ἐτίναξέ μοι φρένας                  Ἔρος δ᾽ ἐτίναξέ ‹μοι› φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων. ４：我わが心こころ揺ゆる 山上やまがみの 柏かしわに強つよく 打うちつくる 風かぜの如ごときに 我が心こころ揺ゆる。 εʹ· Γλυκύπικρος Ἔρος Ἔρος δηὖτέ μ’ ὀ λυσιμέλης δόνει γλυκύπικρον ἀμάχανον ὄρπετον, Ἄτθι, σοὶ δ᾽ ἔμεθεν μὲν ἀπήχθετο φροντίσδην, ἐπὶ δ’ Ἀνδρομέδαν πότῃ. ςʹ(α)· Πρὸς Ἀριγνώταν [Πῆλ' ἄπεστιν Ἀνακτορί' ἀ φίλα Τὸν λέπτον ϝ' ἀπὺ] Σαρδ̣ί̤ω̤[ν Πρὸς σὲ πό]λ̤λ̤α̣κι τ̣υίδε̤ [νῶν ἔχοισα] 3 ὤς π̣ο̤[τ' ἐ]ζ̤ώομεν β̤ε̤[(.)]β̤ά̤ω̤ς ἔχε̣[ν σὲ̣ θέα‹ι̊› ϝ̣ι̣κέλ̤αν, Ἀρί̣- γ̣ν̣ώτα, σ̤ᾶ̤‹ι̊› δ̤ὲ̤ μάλιστ' ἔ̣χαι̤ρε μόλπᾳ(ι̊)· 6 νῦν δ̣ὲ Λύ̣δαισιν ἐ‹μ›πρ̣έπε{ε}ται γυνα̣ί̣- κ̣ε̣σσιν ὤς ποτ̣' ἀελίω δύντος ἀ βροδοδ̣άκτ̣υλ̣ο̣ς̣ ‹σελάννα›, 9 πάν̤τα πε‹ρ›ρέχοισ' ἄστρα, φάος δ' ἐπί- σχει θάλασσαν ἐ̤π' ἀλμύραν ἴσως καὶ πολυανθέμοις ἀρούρα̣ις̣, 12 ἀ δ' ‹ἐ›έρ̣σα κάλα κέχυται, τεθά- λ‹α›ισι δὲ β̣ρ̣όδα κἄπαλ' ἄν- θρυσκα καὶ μελίλωτος ἀνθ̤εμώδης· 15 πό̣λλα δ̣ὲ ζαφοίταισ', ἀγάνα̣ς ἐ̣πι{ιι}- μνάσθεισ' Ἄτθιδος, ἰμέρωι̣̊ λ̣έπτ̤αν ποι φρένα, κῆ̤ρ̤ ἄ̤σ̤α̤‹ι̊› βό̤ρ̣ητα̣ι, 18 κ̣ῆθ‹ι› δ̣' ἔλ̤θην ἄμμ' ὄ̤ξ̤υ β̤ό(α̣)· τ̤ὰ̤ δ̤' οὐ νῶ̣(ι̊)ν ‹γ›' ἄ̤π̣υ̤στα̣ ν̣ὺξ̣{[.]} πολύω̣ς̣ γαρύ̣ε̣‹ι› δ[(.)]ι̤' ἄλος̣ πό̣[ρω]ν̤ τ̤ὸ̤ μ̤έσσον. 21 ςʹ(β)· Εὔμαρες μὲν οὐκ ἄμμι θέαισι μόρφαν ἐξίσωσθαι Ε̤ὔμ̣αρ̣ες̤ [μ]ὲν οὐκ ἄμ̤μι θέαισι μόρ- φαν ἐπή̤[ρα]τ̤ον ἐξίσω̣- σθ̣αι συ [κάλ]λ̤ος̤ ἔ̣χησθ' Ἀδ̤[(.)]ω̣νίδηον, 3 κ̣ρ̣ε̤ῖ̣σ̤[σον, ἆ! xx–] . . . (.) τὸ[ν ἄν]δ̣ρα τι μᾶλλ̤ο̤ν̤ ἔ̤[στι; δι'] α̤ἴ̤θερος κ̤α̣ὶ δε̣μ̣[ uu– ] . . ος̣ Ἀφροδίτα 6 κἄμμ̣ι̣ κ̤[άλπιδο]ς̣ ν̣έκταρ ἔχευ' ἀπὺ χρυσ‹ία›ς̣ (.) [u–]｢.｣λ̣ο̣ΐ̣α̣{σσθα̣ι} καί]τ̤' ἄ̣πουρ'· ｢ἀ｣[πάλαισ]ι̤ χέ̣ρσ̣ι̣ Πε̣ί̣θ̣ω 9 . . . . . . [xx–u] ἐ̣θ｢έλ｣η̣σεν ἠ- xx–uu πόλλ]α̤κις xx–u–] . ε̣δ . . . δ̣ια̣ιτ̣｢｣ 12 ] ἐ̤ς τὸ Γεραίσ̣τιον ] . ν φίλαι ἄπ]υ̣σ̣το̣ν οὖδεν ὄ[ττι 15 –u– αὔτ' ἐς ἴ]ε̤ρον ἴξο̣[μαι ６（b）：女神めがみたちの　美うつくしさ　張はり合あうことが　難むずかしい 我我われわれは 女神めがみたちの 美うつくしさ 張はり合あうことが 難むずかしい、 その美うつくしさ アドーニス 匹敵ひってきするよ/さ。 彼かれよりも もっと綺麗だれだ！ ………… 人類じんるいの 誰だれかは他ほかに なんのこと 出来できるかな？ ………… 空気くうきを通とおり ………… アフロディーテは 黄金おうごんの 投手とうしゅから御酒みき 本当ほんとうに 家いえから遠とおく 注そそいだよ 我々われわれにも ………… ペートーは 柔やわらかい手てで … …ことが 欲ほしかった ………… 頻繁ひんぱんに ………… 愛いとしい乙女おとめ！ ………… ゲライストスの 神田しんでんへ あたしがつくよ 全まったくに 驚おどろかさない, この事ことが ………… ζʹ· Ἀοίδα ἐς τὰν Ἀνακτορίαν Φαίνεταί μοι κῆνος ἴσος θέοισιν Ἔμμεν’ ὤνηρ, ὄττις ἐνάντιός τοι Ἰσδάνει καὶ πλάσιον ἆδυ φωνεί- σας ὐπακούει Καὶ γελαίσας ἰμέροεν. τό μ’ ἦ μάν Καρδίαν ἐν στήθεσιν ἐπτόαισεν. Ὠς γὰρ ‹ἔς› σ' ἴδω βρόχε', ὤς με φώναισ' οὖδεν ἔτ’ εἴκει, Ἀλλὰ κὰμ μὲν γλῶσσα ϝέϝαγε, λέπτον Δ’ αὔτικα χρῷ πῦρ ὐπαδεδρόμακεν, Ὀππάτεσσι δ’ οὖδεν ὄρημμ’, ἐπιρρόμ- βεισι δ᾽ ἄκουαι, Ψῦχρα δ’ ἴδρως κακχέεται, τρόμος δὲ Παῖσαν ἄγρει, χλωροτέρα δὲ ποίας Ἔμμι, τεθνάκην δ᾽ ὀλίγω ’πιδεύης φαίνομ’ ἔμ’ αὔτᾳ· Ἀλλὰ πᾶν τόλματον, ἐπεί ‹κ' ἄεργον, Ψάπφ', ὀνειδίσαις ἄτε› καὶ πένητα [Ὤς ἀπόλλυνται βασίληες ὄλβι- αί τε πόληες]. Σύστασις βʹ· Κάλλος 集団しゅうだん二に： 美うつくしさ 心こころを触さわる ηʹ· Κέλομαί σε, Γογγύλα Καμ με Τυί]δ̣ε̣, φ̤[ιλτάτα, κ]έλομαι σ[πόλαν σάν, Γο]γ̤γύλ̣α̣, π̣[έφα]νθι λάβοισ̣α̣ μ̤ά̤[λαν Γλα]κ̣τίνα̣ν̤· σ̣ὲ δηὖτε πόθος̣ τ̣[έουτος] Ἀμφιπότατ̣αι Τὰν κάλαν· ἀ γὰρ κατάγω̤γις αὔ[τ]α [μ' Ἐπτόαισ' ἴδο̣[ι]σαν· ἔγω δὲ χα̣ίρω· Καὶ γὰρ αὔτ̤α δὴ τ̣[όδ]ε μέμφ̤[εταί σοι Κ]υπρογέν[ηα· Τ]ᾶ̤ς ἄρ̣αμα̤[ι Τ̤οῦτο τὦ[πος Β]όλλομα̤[ι … ] Κὰτ τὸν Τεδέσκι καὶ κάμ με Τυί]δ̣ε̣, φ̤[ιλτάτα· κ]έλομαι σ[' ἀείδην Γο]γ̤γύλ̣α̣ν̤, [Ἄβα]νθι, λάβοισ̣α̣ν̤ ἄ̤[βραν Πᾶ]κ̣τιν, ἆ̣ς̤ σ̣ε δηὖτε πόθος̣ τ̣[έουτος] Ἀμφιπότατ̣αι Τὰν κάλαν· ἀ γὰρ κατάγω̤γις αὔ[τ]α[ν Ἐπτόαισ' ἴδο̣[ι]σαν· ἔγω δὲ χα̣ίρω· Καὶ γὰρ αὔτ̤α δή π̣[οτ'] ἐμέμφ̤[ετ' ὔμμε Κ]υπρογέν[ηα· Ὠ̤ς ἄρ̣αμα̤[ι Τ̤οῦτο τὦ[πος Β]όλλομα̤[ι … ] θʹ· Ἀοίδα ἐς κάλαν γύναικα […………………… …………………… …] ἔ̤ρωτος ἤλ̣γ̣[ει …… Ὠς ἔγω γὰρ ἄν]τ̣ι̣ον εἰσίδω σ[ε Φαίνεταί μ'οὐδ'] Ἐ̤ρμιόνα τεαύ̤[τα Ἔμμεναι,] ξάνθαι̊ δ' Ἐλέναι̊ σ' ἐΐσ[κ]ην [Οὖδεν ἄει]κες, Ὠς θέ]μ̤ις θνάταις· τόδε δ' ἴσ[θι] τᾶι̊ σᾶι̊ [Καρδίαι̊] π̣αίσαν κέ μ̣ε τᾶν μερίμναν Ταῖσ' ἀϝέλ]λ̤αισ' ἀντίδ[οσιν, π]ό̤θοις δὲ̤ [Πάντας ἄγην σοί. Λωτίνοις δὲ πρὸς δροσόεν]τας ὄχθοις Βᾶν κ' αἰ ἔθναισκές ποτ', ἐπαινέσω σ'] ἄ͜ιν Ὤς μοι ἔσσετ', ἄμμε δὲ παν]ν̣υχίσ̤[δ]η̣ν [Πόλλα ποθήω.] ι(α)ʹ· Φίλτατον Γαίας γένος Ὀρράνω τε [Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν [Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ- τῳ τις ἔραται. [Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι [Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθ̣οισα Κ̤άλ̤λ̣ο̣ς̤ [ἀνθ]ρώπων Ἐλένα̤ [τ]ὸ̤ν ἄνδρα Τ̣ὸν̤ [πανάρ]ι̤στον Κ̤αλλ[ίποι]σ̣' ἔβα 'ς Τροΐαν πλέο̣ι̣σα Κωὐδ[ὲ π]α̤ῖ̣δος οὐδὲ φίλων τοκήων Π̣ά[μπαν] ἐμνάσθ' ἀλλὰ παράγ̤αγ' αὔταν [Κ]ω̤[ὐκ ἀέκοι]σαν [Κύπρις· ἄγν]αμπτον γὰρ [ἔχει] ν̣όημμα [Καὶ τέ]λ̤ε̤ι̤ κούφως τ[ό κέ πο]ι̤ ν̣οήσῃ̣ [Ὤς] μ̤ε̣ νῦν Ἀνακτορί[ας ὀ]νέμναι- [σ' οὐ] π̣ἀρ̣εοίσας. [Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα Κ̣ἀμάρυχ̣μα λάμπρον ἴδην προσώπω Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι [Πεσδομ]άχεντας ι(β)ʹ· Ὄλβος οὔποτ' ἐστι βρότοισι πλήρης [Ὀλβίοι]ς̤ μὲν οὐ δύνατον γένεσθαι [πάμπ]α̤ν ἀνθρώπ[οις, π]εδέχην δ' ἄρασθαι [ἔστιν ἔσλων μοῖραν·] ἔγω δ' ἔμ̣' α̤ὔ̣τ̣ᾳ Τοῦτο σύνοιδα. [Στρόφαι τινές δύνανται τυίδε ἀπολωλέκεσθαι.] [–u–x–u] . . . . . γ̤έ̤νεσθαι Ο[u–x–]｢.｣ . ἔ̤β̤ας ἐπ' ἄκρας Τα[u–x–]ν χ｢ί｣ον'· ἀ̣ δὲ πόλλα Πρὸς [uu–x] Ὠς δ[u–x–uu]｢.｣ως ἀπέχθην Το[u–x] . ε̣ . δύ̣να̣(.)τ̣', ὄτ̤τ̤ινας γ̤ὰρ Εὖ θ̤έ̤ω̣, κ̤ῆ̤νοί με μάλ̤ισ̣τα σίννοντ̣' ἐξ ἀδοκή[τω.] ι(γ)ʹ· Φίλτατον Γαίας γένος Ὀρράνω τε [Ο]ἰ μὲν ἰππήων στρότον οἰ δὲ πέσδων Οι δὲ νάων φαῖσ' ἐπ[ὶ] γᾶν μέλαι[ν]αν [Ἔ]μμεναι κάλλιστον· ἔγω δὲ κῆν' ὄτ- τῳ τις ἔραται. [Πά]γ̣χυ δ' εὔμαρες σύνετον πόησαι [Π]ά̣ντι τ[ο]ῦ̣τ̣'· ἀ γὰρ πόλυ περσκέθ̣οισα Κ̤άλ̤λ̣ο̣ς̤ [ἀνθ]ρώπων Ἐλένα̤ [τ]ὸ̤ν ἄνδρα Τ̣ὸν̤ [πανάρ]ι̤στον Κ̤αλλ[ίποι]σ̣' ἔβα 'ς Τροΐαν πλέο̣ι̣σα Κωὐδ[ὲ π]α̤ῖ̣δος οὐδὲ φίλων τοκήων Π̣ά[μπαν] ἐμνάσθ' ἀλλὰ παράγ̤αγ' αὔταν Ο̤[ὐδὲ θέλοι]σαν [Κύπρις· ἂ γν]αμπτον π̣αρ[άγει] ν̣όημμα [Τὦμον,] ὠ̤ς̤ κούφως τ[ετόρη]ν̤ ν̣οήσῃ̣ [Κἄ]μ̤ε̣ νῦν Ἀνακτορί[ας ὀ]νέμναι- [σ' οὐ] π̣ἀρ̣εοίσας. [Τᾶ]ς ‹κ›ε βολλοίμαν ἔρ̣ατόν τε βᾶμα Κ̣ἀμάρυχ̣μα λάμπρον ἴδην προσώπω Ἢ̣ τὰ Λύδ̣ων ἄρματα κἀν ὄπλοισι [Πεσδομ]άχεντας [Ἀλλ' ἔρο]ν̤ μὲν οὐ δύνατον γένεσθαι [πάμπ]α̤ν ἀνθρώπ[ῳ, π]εδέχην δ' ἄρασθαι [Τῶ κάλω λέλογχεν·] ἔγω δ' ἔμ̣' α̤ὔ̣τ̣ᾳ Τοῦτο σύνοιδα. ι(δ)ʹ· Ὄττινας γὰρ εὖ θέω [Στρόφαι τινές δύνανται τυἴδε ἀπολωλέκεσθαι.] [Φαῖσί σ' αὔταισιν τό]τ̣α̣ σ̣υ̣γ̤γ̤έ̤νεσθαι Ο[u–x–]｢.｣ . . . ἆς ἐπ' ἄκρας Τα[u–x–]ν χ｢ί｣ον'· ἀ̣ δὲ πόλλα Πρὸς [uu–x] Ὠς δ[u–x–uu]｢.｣ων ἀπέχθην Το[u–x] . ε̣ . δύ̣να̣(.)τ̣', ὄτ̤τ̤ινας γ̤ὰρ Εὖ θ̤έ̤ω̣, κ̤ῆ̤νοί με μάλ̤ισ̣τα σίννοντ̣' ἐξ ἀδοκή[τω.] ιαʹ· Κλέϊς Ἔστι μοι κάλα πάϊς, || χρυσίοισιν ἀνθέμοισιν ἐμφέρη‹ν› ἔχοισα μόρφαν, || Κλέϊς ‹μοι› ἀγαπάτα, ἀντί τᾶς ἔγω οὐδὲ Λυδίαν || παῖσαν οὐδ' ἔρανναν. [Λέσβον ἐσλάβοιμί κεν… ] １１：クレイス あたくしの 愛いとしい娘むすめ 咲さく花はなの 如ごときに綺麗きれい。 私わたしなら 彼女かのじょの代かわり 全体ぜんたいの リュウディアーと 最愛さいあいの レスボス島しまも 受うけ取とらないわ。 ιβʹ· Ἄστερες καὶ σελάννα Ἄστερες μὲν ἀμφὶ κάλαν σελάνναν Ἂψ/Αἶψ' ἀπυκρύπτοισι φάεννον εἶδος, Ὄπποτα πλήθοισα μάλιστα λάμπησ’ ἀργυρία γᾶν. １２：月つきと星星ほしぼし 銀色ぎんいろに 輝かがやく月つきは この地球ちきゅう 光ひかりで満みたす その時ときに、 綺麗きれいな月つきを 巡めぐる星ほし 輝かがやき隠かくす 今いまは再ふたたび／瞬またなきの間まに。 Σύστασις γʹ· Ἀπὸ χαράς τᾶς ἀγάπας ἐς ἐπιφανίαις θεάων 集団しゅうだん三さん： 恋こいの喜よろこび 女神めがみの啓示けいじ ιγʹ· Ἦλθες ἦλθες, κά‹λ'› ἐπόησας, ἔγω δέ σ᾿ ἐμαιόμαν, ὂν δ᾿ ἔ‹ψυ›ξας ἔμαν φρένα καιομέναν πόθῳ· χαῖρε πόλλα ‹σὺ κάλ’› ἰσάριθμά ‹τε› τῷ χρόνῳ. Version A Version B １３：そのお出いで 憧あこがれる 私わたしのために ここにきて あなたはきっと 良よいことを 本当ほんとうにした。 切望せつぼうが 燃もえる心こころを 来くることで 深ふかく冷さました。 全体ぜんたいの その人生じんせいに 良よいことを 楽たのしめること この希望きぼうだわ。 １３：そのお出いで 憧れが 溢あふれる我われに 共ともにいた あなたはまさに 親切しんせつを 大おおに示しめした。 切望せつぼうが 燃もえる心こころを そのお出いで 深ふかく冷さました。 このままでの あなたのために 途切とぎれない 喜悦きえつを取とろう 我わがそう望のぞむ。 ιδʹ· Εἰδύλλιον σὺν τᾷ Ἀφροδίτᾳ Δ̤εῦρύ μ̌' ἐκ̌ Κρήτας π̣ρ̣[οφάνη]|｢θ' ἔ｣ναυ‹λ›ον Ἄγνον ὄππ̣[ᾳ δὴ] | χάριεν μὲν ἄλσος Μαλί̣[αν] | β̤ῶμοι δ' ἔν̣ι θυμιάμε- νοι | [λι]β̤ανώτω ἐν δ̌' ὔδωρ ψῦχρον̤ | ｢κε｣λ̣άδ̌ε̌ι̌ δ̣ι' {δ}ὔσ̣‹δ›ων Μαλίαν | βρόδ̌οισ‹ι› δ̌ὲ πα̌ῖ̌ς̣ ὀ χῶρος {Κ}Ἐ̌σκί|αστ' α̣ἰθυσσομένων̣ δὲ φύλλω[ν] | Κ̣ῶ̣μ̤α καταίρ̣ε̌ι̌{ον} Ἐν δὲ λείμω[ν] | ἰπ̣π̣όβοτος τέθαλε̣ {Τ̣ω̣τ̣ι} ᾽Ἠ̣{ν}ρι|ν̌ο̣ίσ‹ιν› ἄνθεσιν αἰ ‹δ› ἄη̌τα̤ι Μέλλι|χα πνέ̤ο̤ισιν [ἐπ' ἄμμ' ἀπ' ὠρά- νω κατίοισαι.] Ἔνθα δὴ σὺ̣ δ̣ό̣ς̣ μ̣[ε] | θ̤έλ̣ο̣ισα Κύπρι Χρυσί̌αισ‹ιν› ἐν κυ|λί̣κ̣ε̤σσιν ἄ‹β›ρως ‹ὀ›μ‹με›μείχμενον θαλ̣ία̌ι̌σ̣̌ι̣ | (｢.｣) ν̤έ̤κ̣τ̣αρ ‹οἰ›νοχόαισα[ι]. ιεʹ· Χερρόμακτρα [Νύκτι τᾷδε σύ μ' εἴσαο, Ὦ χρυσόστεφαν' Ἀφροδίτ' Ὄναρ ἀθανάτω τέω πλέκοισα Κρᾶτος ἀμβροσίαν κόμαν,] Χε‹ρ›ρόμακτρα δὲ κὰ‹κ κ›ό‹μα›ν, Πορφύρα κατα‹ρ›ταμένα, τὰ Τῖμας Ἔς ‹τ›' ἔπεμψ’ ἀπὺ Φωκάας, Δῶρα τίμια κὰ‹κ κ›ό‹μα›ν. ιςʹ· Ὕμνος πρὸς τὴν Ἀφροδίταν Ποικιλόθρον’ ἀθάνατ’ Ἀφρόδιτα, Παῖ Δίος, δολόπλοκε, λίσσομαί σε· Μή μ’ ἄσαισι μήτ’ ὀνίαισι δάμνα, Πότνια, θῦμον, Ἀλλὰ τυίδ’ ἔλθ’, αἴ ποτα κἀτέρωτα, Τᾶς ἔμας αὔδως ἀίοισα πήλυι, Ἔκλυες, πάτρος δὲ δόμον λίποισα Χρύσιον ἦλθες, Ἀρμ’ ὐπασδεύξαισα, κάλοι δέ σ’ ἆγον Ὤκεες στροῦθοι περὶ γᾶς μελαίνας, Πύκνα δίννεντες πτέρ’ ἀπ’ ὠράνωἴθε- ρος διὰ μέσσω⌞, Αἶψα δ’ ἐξίκοντο· σὺ δ’, ὦ Μάκαιρα, Μηδιάσαισ’ ἀθανάτῳ προσώπῳ, Ἤρε’ ὄττι δηὖτε πέπονθα, κὤττι Δηὖτε κάλημι, Κὤττι μοι μάλιστα θέλω γένεσθαι Μαινόλᾳ θύμῳ· «τίνα δηὖτε †πείθω ‹Κ›αί σ’ ἄγην† ἐς ‹ϝ›ὰν φιλότατα, τίς τ’, ὦ Ψάπφ’, ἀδικήει; Καὶ γὰρ αἰ φεύγει, ταχέως διώξει, Αἰ δὲ δῶρα μὴ δέκετ’, ἄλλα δώσει, Αἰ δὲ μὴ φίλει, ταχέως φιλήσει, Κωὐκ ἐθέλοισα». Ἔλθε μοι καὶ νῦν, χαλέπαν δὲ λῦσον Ἐκ μερίμναν, ὄσσα δέ μοι τέλεσσαι θῦμος ἰμέρρει, τέλεσον· σὺ δ᾽ αὔτα σύμμαχος ἔσσο. ιζʹ· Πότνια Ἥρα Πλάσιον δή μ[' ἄμφι β]ρ̤̣έ̤̣μ̤̣οισ' ἀ[γέσθ]ω, Πότνι' Ἦρα, σὰ χ[αρίεσ]σ̤̣' ἐόρτ̣α̤̣ Τὰν ἀράταν Ἀτρ[εΐδα]ι̤̣ π̤ό̤ησαν- τ' οἰ βασίληες Ἐκτελέσσαντες μ̣[εγα]λ̣οις ἀέθλοι[ς Πρῶτα μὲν πὲρ Ἴ̤[λιο]ν̤̣, ἄψερον δὲ̣ Τυίδ' ἀπορμάθεν̣̣[τες· ὄδ]ον γὰρ ε̣ὔρ̣η̤̣[ν Οὐκ ἐδύναντο Πρὶν σὲ καὶ Δί' ἀντ̤[ίαον] π̣εδέλθην Καὶ Θυώνας ἰμμ̤̣[ερόεντα] πα̤̣ῖδα̣ Νῦν δὲ κ[ἄμμες σοὶ γερά]ρ̤̣α̤̣ π̣όημεν Κὰτ τὸ πά[λαιον Ἄγνα καὶ κα̣[λ'· εἶσι δὲ τυίδ' ὄδ' ὄχ]λος Παρθε̤̣[νων τ' ἄμ' εὐχομέναν γ]υν̤̣αίκων· Ἀμ̣φὶ σ̣ὸ[ν βῶμον πύκιναι θέλοισι] Μέτρ' ὀλ[ολύσδην ] . . α̣ν̣ιλ[[ Ἔμμεν[ .]ρ̣απικε[ ιηʹ· Περὶ τὸ τέλεσαι ἐόρταν … π]α̣ρ̣κάλεισ̣ι τ̣ᾶς ἐλ̣[ πά]μ̤παν οὐκ ἔχη[σθα, πόθεν δυναίμαν, μ]ᾶτερ, ἐόρταν φαιδί]μ̣αν ὤραι̊ τέλε[σαι; τὸ δ' ἐστὶ χάρμ' ἐ]π̣αμέρων· ἔμ[ε δ' εὔφρον' εἴη τυγχά]νην, θ̣ᾶς ἄμ̣[μι θέοι δίδωσι βάρμ]ο̣ν ἄκουσαι Καὶ χέλ]υ̤ν' οὖτος δὲ̣[u–u–x μᾶλλον] ἢ νῦν ἀβλαβ[έως u–x –u]α̤ς δίδων τ̣α[u–u–x –u π]όησεν· ] τ̤ό̤ν̣ κ̣ε̤ [ ]ἐ̣πισ̣σ̣｢.｣[ –u– ἄ]ν̤υστον· ο̣[–u–x κῆ]ν｢ο｣ τελέσθ̣η[ν –]｢.(.)｣ σ̣' ἔγω πάμ̣π̣[αν uu–u–x –u] . αν̣ γλῶσσα[ν uu–u–x –] . ταπυγνώ[–uu–u–x – ἄ]ρ' ὀφέλλης –] ἔρων ε (.) . ｢.｣[–uu–u–x ]τ̣τ̣ . . . . .[ … Σύστασις δʹ· Ἐπιθαλάμια 集団しゅうだん四よん： 婚礼こんれいの詩うた ιθʹ· Ἔκτωρ καὶ Ἀνδρομάχα Κυπρο  ̣[         22-24 letters    ]αι  ̣ Κᾶρυξ ἦ̣λ̣θ̣[ε] θ̣ό[ων δυνάμι μ]ε̣λ̣[έων ἔ]θ̣εις Ἴδαος τάδε κα[ῖν]α [φόρ]ε̤̣ις̣ τ̣άχυ̣ς̣ ἄγγ̣ε̣λος «[Eἶς ἢ πλείονες ἂπ στίχοι εἶσι, τελεύταος Τούτων ἐν δὲ τελεύτᾳ ἴσως ἔχεν      Ἰλίω] Τᾶς τ᾽ ἄλλας Ἀσίας [τά]δ̣᾽ ἔσ̤αν κλέος̣ ἄφθιτον· Ἔκτωρ κ‹ο›ἰ συν̣έται̣ρ̤̣[ο]ι̣ ἄ̣γ̤̣οι̤̣σ᾽ ἐλικώπιδ̣α̣ Θήβας ἐξ ἰέρας Πλακίας τ᾽ ἀπ̤̣᾽ [ἀϊ]‹ν›νάω Ἄβραν Ἀνδρομάχαν ἐνὶ ν̣αῦσιν̣ ἐπ’ ἄλ̣μ̣υρ̣ον Πόντο̣ν̣· πόλλα δ̣᾽ [ἐλί]γ̣ματα χρ̣ύσια κἄμματα Πορφύρ[α κά]λα τ’ αὖ τ[ρό]ν̤α̣, πο̣ί̣κ̣ι̤̣λ᾽ ἀθύρματα, Ἀργύρ̤̣[α τ᾽] ἀνάριθμα ποτήρια κἀλέφαις. Ὤς εἲπ̣’· ὀτραλέως δ’ ἀνό̣ρ̤̣ουσε̣ π̤άτ̣[ηρ] φίλος· Φάμα δ’ ἦ̤λ̤θε κατὰ πτ̣ό̣λιν εὐρ̤̣ύ̣χ[ορο]ν φίλοις· Αὔ̤̣τικ’ Ἰλίαδαι σ̤̣ατί̤̣να̤̣ι̤̣[ς] ὐπ’ ἐϋ̣τρόχοι̣ς Ἆγ̣[ο]ν αἰμονίοις̣· ἐ̤̣π̤̣[έ]β̤αινε̣ δὲ̤̣ παῖς ὄχλος Γ̣υ̤̣νάι̣κ̣ων τ’ ἄμα π[αρ]θ̤ενί̣κ̣α̣ν̤̣ τ̣’ ἀ[παλ]ο̤̣σ̣φ̣ύρω‹ν›· Χῶρις δ̤̣’ αὖ Περάμοιο θύ̤̣γ̣[α]τ̤̣ρ̤ες [ἐπήϊσαν] Ἴππ̣[οις] δ̣’ ἄ̤̣νδρες ὔπαγο‹ν› ὐ̣π’ ἄ̣ρ[ματα, σὺν δ’ ἴσαν] Π[άντ]ε̤̣ς ‹ἀ›ί̣[θ]εοι· μεγάλω[σ]τ̣ι δ̤’ [ἴεν μέγας] Δ[ᾶμος], κ̤̣ἀν̣ιόχοι φ[αλάροισι κεκαδμέναις] Π̣[ώλοις ἔ]ξαγο[ν ἐκ πόλεως τότα τᾶς φίλας. Στίχοις τυίδε λέγοισιν ἀπέμμεν ἄπαντες αὖ. [Ὄτα δεῦτ’ ὀχέων ἐπέβαν ἴ]κελοι θέοι[ς [Ἔκτωρ Ἀνδρομάχα τ’, ὄλοι] ἄγνον ἀόλ̣[λεες] Ὄ̤̣ρ̣μα‹ν›α̤⌞[ι τότα Τρῶες ἔβαι]νον ἐς Ἴλιο[ν], Αὖ̣λος δ’ ἀ̣δ̣υ̤[μ]έ̣λη⌞[ς κίθαρίς] τ’ ὀνεμ‹ε›ί‹χ›νυ[το] Καὶ ψ[ό]φο[ς κ]ροτάλ⌞[ων, λίγε]ως δ’ ἄρα πάρ̣[θενοι] Ἄειδον μέλος ἄγν̤̣[ον, ἴκα]νε δ’ ἐς̣ α̤̣ἴ̤̣[θερα] Ἄχω θεσπε̣σί̣[α], γέλ̤⌞[ος Πάντᾳ δ’ ἦς κὰτ ὄδο⌞[ις Κράτηρες ⌜φίαλ⌝α̣ι̣ ρ̤⌜ο⌞⌝[. . .] . ε̣δ̣ε̣ [. .] . [.] . [ Μύρρα καὶ κασία λίβ⌞ανό[ς] τ’ ὀνε̣δ̣έχνυτο.̣ ⌜Γύ⌝ν⌜αικες δ⌝’ ὀ⌜λό̤λυσδ⌝ο⌞ν̣ ὄ̣σαι προγενέστερα[ι], ⌜Πάντες δ’ ἄνδρ⌝ε⌜ς⌝ ἐ̣⌞πήρατον ἴαχον ὄρθιον ⌜Πάον’ ὀνκαλέο⌝ν⌜τες⌞ ἐκάβολον εὐλὐραν, ῎⌜Υμνην δ' Ἔκτορα κἈ⌞νδρομάχαν θεοίκελ̤̣ο̤̣[ις Δευτέρῳ τῷ ἔγω λέγον· «Ἂπ στίχοι εἶσι τυίδ’», Ἔνθα ψάπφικον ἄλλο πόημα πότηρχ' ἴσως. κʹ· Δαύοις Δαύοις ἀπάλας ἐτα‹ί›ρας ἐν στήθεσιν . ２０：眠ねむれるように 溺愛できあいな 彼女かのじょ抱　だかれて 眠ねむれるように。 καʹ· Ἀείσωμεν ὑπὲρ τῶ ζεύγεος [–u–x–uu–u–x –u–x–uu–u–x Καίτ' ἄραμαι τάνδε διπλάσιάν μοι νύκτ[α γέ]ν̣[εσθαι.] πάρθενοι δ[ὲ ταίσδεσι πρὸς θύραισιν] παννυχίσδοι̤̣[σ]α̣̣ι̤̣[, πολύολβε γάμβρε,] σὰν ἀείδοιε̤̣ν φ[ιλότατα καὶ νύμ-] φας ἰοκόλπω. ἀλλ᾽ ἐγέρθε̤̣ι̣ς, ἠϊθ[έοις καλέσσαις] στεῖχε σοὶς ὐμάλικ̤̣[ας, ὠς ἐλάσσω] ἤπερ ὄσσον ἀ λιγ̣ύφω̤̣[νος ὄρνις] ὔπνον [ἴ]δωμ̣εν. κβʹ· ᾽Υμήναον Ἴψοι δὴ τὸ μέλαθρον, ὐμήναον, ἀέρρετε, τέκτονες ἄνδρες· ὐμήναον. 5 γάμβρος ϝῖσος Ἄρευι, ὐμήναον, ἄνδρος μεγάλω πόλυ μέσδων, ὐμήναον. Πέρροχος, ὤς ποτ' ἄοιδος ᾽Υμήναον Ὀ Λέσβιος ἀλλοδάποισιν. ᾽Υμήναον κγʹ· Οἶον τὸ γλυκύμαλον Σαπφοῦς ἦν ἄρα μήλῳ μὲν εἰκάσαι τὴν κόρην οἶον τὸ γλυκύμαλον ἐρεύθεται ἄκρῳ ἐπ’ ὔσδῳ, ἄκρον ἐπ’ ἀκροτάτῳ, λελάθοντο δὲ μαλοδρόπηες· οὐ μὰν ἐκλελάθοντ’, ἀλλ’ οὐκ ἐδύναντ’ ἐπίκεσθαι… τὸν νυμφίον τε Ἀχιλλεῖ παρομοιῶσαι καὶ εἰς ταὐτὸν ἀγαγεῖν τῷ ἥρωϊ τὸν νεανίσκον ταῖς πράξεισι. κδʹ· Οἴαν τὰν ὐάκινθον Οἴαν τὰν υάκινθον ἐν ὤρεσι ποίμενες ἄνδρες πόσσι καταστείβοισι, χάμαι δέ τε πόρφυρον ἄνθος... κεʹ· Ὄλβιε γάμβρε Ὄλβιε γάμβρε, σοὶ μὲν δὴ γάμος ὠς ἄραο ἐκτετέλεστ’, ἔχηις δὲ πάρθενον, ἂν ἄραο. Σοὶ χάριεν μὲν εἶδος, ὄππατα δ’ ‹ἐστί, νύμφα›, μέλλιχ’, ἔρος δ’ ἐπ’ ἰμέρτῳ κέχυται προσώπῳ· 5 ‹Δῆλα τὰ δὴ› τετίμακ’ ἔξοχά σ’ Ἀφροδίτα. Σύστασις εʹ· Λύπα, ὄργα, ἔχθρα 集団しゅうだん五ご： 悲かなしみと 怒いかりと敵意てきい κςʹ· Καλλέλοιπάς με [Καλλέλοιπάς μ’. Ὦμ’.] Ἐμέθεν δ’ ἔχησθα ‹ Ἤ σὺ› λάθαν, [φιλτάτα,] ἤ τιν’ ἄλλον ‹Μᾶλλον› ἀνθρώπων ἐμέθεν φίλησθα; [Τίς δέ κεν εἴην;] ２６：あたくしを　引ひき離はなしたわ！ あたくしを 引ひき離はなしたわ！ 忘わすれたか？ あたくしよりも 他ほかの人ひと 愛あいしているか？ 誰だれだろうかな？ κζʹ· Δέδυκε μὲν ἀ σελάννα Λόγος αʹ Δέδυκε μὲν ἀ σελάννα καὶ Πληΐαδες· μέσαι δὲ νύκτες, παρὰ δ’ ἔρχετ’ ὤρα· ἔγω δὲ μόνα κατεύδω. Λόγος βʹ Δέδυκε μὲν ἀ σελάννα καὶ Πλ‹εί›αδές· ‹εἰσι› μέ‹σ›σαι· νύκτ‹ο›ς ‹δὲ› παρ‹έ›ρχετ’ ὤρα· ἔγω δὲ μόνα κατεύδω. ２７：太陰たいいんが　すでに沈しずんだ 第一だいいちのバージョン 太陰たいいんや 昴すばるがすでに あの海うみの 下したに沈しずんだ。 真夜中まよなかの 時間じかんがまさに 早はやく経たつ。 このまま我われが 一人ひとりで眠ねむる。 第二だいにのバージョン 太陰たいいんは 海うみに沈しずんだ、 昴星ぼうせいは 空そらの半分はんぶん 通とおったの 夜よるの時間じかんが 早はやく経たつ。 このまま我われが 一人ひとりで眠ねむる。 κηʹ· Ἀγροΐωτις Τίς ‹σοι› δ' ἀγροΐωτις ‹θαλύει νῦν› νόον, ‹ὄττα δὴ› Στόλαν ἀγροΐωτιν ‹περιβαίνει τοι› ἐπεμμένα, Οὐκ ἐπισταμένα τὰ βράκε' ἔλκην ἐπὶ τῶν σφύρων; ２８：粗野そやな女性じょせいは 足首あしくびの 上うえに上あげない 本当ほんとうに 粗野そやな衣服いふくを 着きる時ときは その心こころを 引ひきつける 粗野そやな女性じょせいは 誰だれだろうがな？ κθʹ· Στάθι κἄντα Καὶ ἡ Σαπφὼ δὲ πρὸς τὸν ὑπερβαλλόντως θαυμαζόμενον τὴν μορφὴν καὶ καλὸν εἶναι νομιζόμενόν φησι· [Σὺ] στᾶθί ‹ν' ἔνθα› κἄντα ‹μεθέν›, φίλος, καὶ τὰν ἐπ' ὄσσοις ὀμπέτασον χάριν. λʹ· Κατθάνοισα δὲ κείσῃ Κατθάνοισα δὲ κείσῃ ͜οὐδέ ποτα μναμοσύνα σέθεν ἔσσετ᾿ οὐδέ πόθα ͜‹εἰς› ὔστερον· οὐ γὰρ πεδέχῃς βρόδων τὼν ἐκ Πιερίας, ἀλλ᾿ ἀφάνης κἀν Ἀίδα δόμῳ φοιτάσῃς πεδ᾿ ἀμαύρων νεκύων ἐκπεποταμένα. λαʹ· Μνάσετάι τις Μνάσεσθαί τινα φαῖμι καὶ ‹ὔσ›τερον ἀμμέων. λβʹ· Κατὰ Ἀνδρομέδαν ] . ακάλα . [ x–uu– – Δίος ἐξ] αἰγιόχω λά[χοισα x–uu– – ] . Κ̣υθέρη' εὐ̣χ̣ομ[έναι̊ μ' ἄρηξον x–uu– –uu– πρόφρ]ο̤ν ἔχοισα θῦμο̣[ν x–uu– κλ]ῦθί μ' ἄρας αἴ π[οτα κἀτέρωτα x–uu– –uu– ]ας π̣ρολίποισα Κ[ύπρον x–uu– –uu ἦλθε]ς̤ πεδ' ἔμαν ἰώ[αν x–uu– –uu– –] . ν χα̣λέπαι̊ μ̤[ερίμναι̊ [γʹ στίχοι ἀπεβλήθησαν] ] . ν ]α̣ θέ]ων μακ̤[άρων –uu– –uu– ] τ̣ύ̤χοισα [κ]αὶ τοῦτ ἐπίκει̤[ρην, ἄγ', ἐμον πῆμα] θέλ' ὦν τ', ἀπαίσᾱν [δ]αίμων ὀλοφ[ώι̊α φρένας, ὦμοι τέ]λ̤εσον νόημμα σ̤ὺ μὰν ἐφίλης̣ [καί μ' ἐτέλης πάντα γ]ε, τῶν̣ κάλημι ν̤ῦν δ' ἔννεκα [τοῦτ' ἄρκεσον ὦμοι] πεδὰ θῦμον αἶψα τόδ' αἴτιον οὔτ' [αἶσχρον, ἔφα, κὤ]σ̣σα τύχην θελήσηι̊ς ο̣ὐδὲν πόλυ πά̣[σασθαι, ἀλάθως γὰ]ρ ἔμοι μάχεσθαι 7 ο]ὐδ' Ἀ̤[νδ]ρομέ[δ' οἶ', ὄσσα δίαιται χ]λιδάναι̊ 'πίθεισα ἔρξ', οὐ] λ̤ελάθ̣[ην ἀθανάτοις ἔστ]ι, σὺ δ' εὖ γὰρ οἶσθα κ̤ρότην Νέμε[σιν κῆνον ὂς αἶσχρ' οἶδε κρ]έτει τ' ἀό̣λ̣λ̣εω̤ν̤ Ψάπφοι, σ̣ε φίλ[εισ' ἀμφ' ὀχέεσ' ἤρμοσε κύ]κ̣λα σ[οί τε] Κύπρωι̣̊ β̣[α]σίλ[η' ἦλθ' ἰκετεύοισα Δί' αἶψα σέ]μνα κ̣αί τοι μέγα δ[ῶρον Κρονίδαις ϝο]ῖ̤ κατέν̤[ευσ' ὀπάσδην ὄ]σσοις φαέθων̤ [Ἀέλοις φέγγεσιν ἀμφιβ]ά̣σ̣κ[ει πάνται̊ κλέος [ἔσλον καί σ' ἐνν Ἀχέρ̣[οντος . ] . . [. . . . . . .]ν̣π̣[ [ςʹ στίχοι ἀπεβλήθησαν] ]ηρος λγʹ· Περὶ ἐξορίας [6 x–uu–] . . [–uu κα]ὶ̣ γάρ μ' ἀπὺ τᾶς ἔμ̣[ας γᾶς] ἄ̣μ[ι]λ̤λ' ἀ̤[πεκίν]η̤σ' ἀδο̤[κήτως μέν,] ὔ̤μως δ' ἔγεν[το μ]νᾶμ[' –uu– ἀλ]λ̣ὰ [u– –u] ἴσαν θέοισιν [νῦ]ν̣ δ' εἶμ' ἐ[πὶ ταύτᾱν ὀ]νίᾱν [δὴ καὶ] ἄσᾱν ἀλίτραν̤ [ἐπο]ρ̣σομέ̣ν[α, σὺν δ' ὀ]δ̣ύν̤[αισ' Ἀν]δρομέδαν̣ [ὐ]π̤άξ[ει ἀπ]ά̤λικ' ὐπ' ἄ[ρμ' ὐψ]ιμέδο̤[ισ'] Ἄρ[τεμι]ς̤ ἀ μ̣ά̣κα̣[ιρ]α· [ἀ δ'] ο̤ὐ̤κ̤ [ἀ]βά[κην] μὰ‹ν› στέ̣[ρ]εον δὲ τρόπον α[ἰσ]χ̤ύ- οὔτι]ς γ̣ὰρ ἔ̣παυ[σ' ὄ]γ̤κ[ον ἐν αὔται̊,] κ̣όρο̤ν οὐ κατίσ[]χει̤ [νη[ται [ἦ] μάν κ̣' ἀπύ̤θ̣υσ̣' [ὦ]κ̣' ἀ[γέλα]ν̣ Τ̤υνδαρίδαι[σιν ἄρνων] καὶ] ἀρμονίας δ' ἀσυ[χ]ί̤α̤[ι̤̊] κὰ[τ] χαρίεντ' ἀρ̤[έσκοι γ]άθην χόρον, ἆ, α[ἴ] κ' ἄδολον μ̤ηκέτι συν[ πᾶκτιν] δ̤ὲ λίγηαν̤ Μεγάραν̤ [τὰ]ν̣ ἀ[κάλ]α[ν λάβοισαν ἴδην δύν]ατόν σφι̤[uu– –uu–u–x x–uu] πάντεσσι̤[u– –uu– –uu–u–x x–]επ[.] . [u––uu––uu–u–x λδʹ· Κατὰ Πωλυανακτίδαις [xx–uu–ux x–uu–u–x–ux xx–uu–ux ὄ]ρ̤γας̤ π̤εδὰ βαῖο[ν –x–u] . α ἄ̣ δ̣σ̣[φ]οῖ Πωλυανακ̤τ̣[ίδ]α̣ι̣ς̣ [] α̤｢ὔ｣ταις Σαμία‹ι›σιν̣ ἐν̤ το̣ῖσ' α̤｢ ｣      οὐκ̣ ἦ̤ν̤ ‹ἐν› χόρδαισι διακρέ̣κην                  Κό[ρ]ωνις ο̣λ̣ι̣σ̣β̣ο̤δόκοι̣σ｢ι｣ περ̣κα̣θθ̤ώ̤μ̤ενος τ̣ε̤ούτ̤｢οι｣σι φιλο̣φ̤[ρό]νως [π]ᾶ̣κ̣τ̤ι̤ς̣ δ' ἐλ̣ελίσδ̤[ε]ται προ̤σ̣ανέ̣ως {[. . (.)]｢. (.) .｣[.]}｢εὔ｣φω̣ν̤ο̣ς̣ δ̣ὲ δι' ὄ[στί]ων̤ [ἔρπει] μ̤υάλω δ' ἐ̤[πε]ί κ̤' ἔ̣νη τρ̣[έχε]ι {χ . .} λεʹ· Πρὸς Ἀπόλλωνα [Λάτως] τ̣ε̤ ｢κ｣α̤ὶ Δ̣ί̣[ος] πάϊ[ς –u–x x] ｢.｣ . . ε . . . [.] ἔπι̤[]θ̤' ὄ̣ργιον [Γρύνηα]ν̣ ὐλώ̤δη λί̣πων [καὶ σὸν κλύ]τ̣ο̣ν̣ χ̣ρ̣η̣[σ]τή̣ριον [–].[.]｢. . (.)｣ . . (｢.｣)[u–x xx–] . εϋμες̣ ｢.｣ [.] ｢. (.)｣ . [.]ων [x–u–] . . . . [. . . . . . . (.)]. . . . [.]. ([.]) . ἀ[μ]έ̣ραις｢.｣. [x–]ρ̤σανον τ[ᾶ]ν̤ ὀ̤ρ̣γ̣ί̣αν [x–u θ]ύσο̤μ̣ε̣ν [ux x–u]ν ὐμνε[–ux] κ̣α̣[ὶ]｢.｣[u–x]ε̣να｢.(.)｣[.]φο . [. . .]ν· ἀδε̣λφέαν ὠς παῖ[σι –] . ο̣ . (.) [.] ｢. .｣ . [ux] {.} ο̤ὔτις δε̣[. . .]κ' εἴ̣[η] θέ̣λη[ι {.]｢.｣[. . (.)]} δεί̣χ̣ν̣υσ[ίν γ]ε δηὖτε Π̤ω̣λυα̤ν̣ακτίδαν τὸν μάρ̤γον̣ ὄν̣｢δ｣ε̣ιξα̣ι θέλω λςʹ· Κατάρα . . . . . ]α̣ μάκαι[ρα. . . . . . . . . . ]εὐπλο.[. . . . . . . . . .κ]ρ̤̣ᾶτος κα[ὶ . . . . . . . . . ] [ὄσσα δὲ πρ]όσθ’ [ἄμ]βροτε κῆ[ν’ ἔλυσεν] . . . . . ]αταις̣ [ἀ]ν̣εμ̣[- κρέτησαι [σὺν κάλᾳ] τ̣ύχᾳ λίμ̣[]ε̣νος κλ[ύτοιο . . . . . ].[. . . ἄγνα [Κύ]πρι, κα[ί σ]ε πι[κροτάτ]α̣ν ἐπεύ[ροι μη]δὲ καυχάσ[α]ιτο τόδ’ ἐννέ[ποισα Δ]ωρίχα, τὸ δεύ[τ]ερον ὠς πόθε[ννον εἰς] ἔρον ἦλθε. Σύστασις ςʹ· Ψάπφω καὶ ἄδελφος ϝός 集団しゅうだん六ろく： サッフォーと兄あに λζʹ· Πρὸς Νηρήϊδας Πότνιαι Νηρήϊδες̤, ἀ̤β̤λάβη[ν μοι Τὸν̤ κ̣ασίγνητον δ[ό]τε τυί̣δ' ἴκε̣σθα[ι Κὤτ̤τ̤ι ϝῶι̊ θύμωι̊ κε̤ θέλη γένεσθαι Κῆνο τελέσ̤θην· Ὄσσα δὲ πρ̤όσθ' ἄμβροτε πάντα λῦσ[αι, Καὶ φίλοισι ϝοῖσι χάραν γένεσθαι Κὠνίαν ἔχθροισι, γ̣ένοιτο δ' ἄμμι Μ̣ή̣δαμα μ̣ήδεις Τὰν κα̣σιγνήταν δὲ θ̣έλοι πόη̤σθα[ι Μέ]σδονος̤ τίμας, [ὀν]ίαν δὲ λύγραν Ἐκλύ]οι̤[τ]ο τοῖσι π̤[ά]ρ̤οιθ' ἀχε̣ύων [Αὖτος ἐδά]μ̤να Κῆρ, ὄνειδο]ς̤ εἰσαΐω[ν], τ̤ὸ κ' ἐγ χρῶι̊ Κἄ]μ̣μ̣' [ἔπηλ]λ̤' ἐπαγ[ορί]αι̊ πολίτ̤αν Ὤ̤ς̤ ποτ' οὐ̤[κ ἄ]λ̤λω̤ς̤, [ἐσύ]νηκε δ' αὖτ' οὐ δεν διὰ ｢μ｣ά̤κρω Καί τι μᾶ̤[λλ]ον αἰ κ[λ]έο[ς ἐ]ν̤ [βρότοι]σ̤ι Γ̤νώσε̣｢τ｣' ἂ̤ψ [οἶ]ον̣, σὺ [δ]ὲ̤, Κύπ̤[ρ]ι σ̤[έμ]να, Οὐκ̣ ὄν̣｢ε｣[κτον κα]τ̤θ̤εμ[έν]α κάκαν [ὔβ- ριν, πίθε ἄμ]μ̤ι̤ ληʹ· Εὔχα ὤστε ἀποτρέπην χειμερίαις πορείαις [–u–x–uu–u–x –u–x–] ἔπι[θ]ε̣ς μά[καιρα –u–x–]ε̣ γάνος δὲ καὶ [x –uu–x –u–x–u τ]υχαι̊ σὺν ἔσλαι̊    .[ –u–x– λί]μ̤ενος κρέτησαι –u–x–uu γ]ᾶς μελαίνας [–uu–x Ἐν θυέλλαισι ζαφ]έλοισι ναῦται [ἐκφοβήθεντες μ]εγάλαις ἀήται̣[ς ἄββαλον τὰ φόρτι]α κἀπὶ χέρσω [πλοῖον ὄκελλαν· μὴ μάλιστ’ ἔγωγ’] ἄ̤μοθεν πλέοιμ̣[ι χειμάσαντος μη]δὲ τὰ φόρτι’ εἶκ[α ἐς βάθηα πόντο]ν̣ ἄτιμ’, ἐπείκη̣, [πάντα βάλοιμι· αἰ δὲ Νήρηϊ προ]ρέοντι πόμ̤π̤α̤[ι̊ ἐννάλωι̊ τἄμ’ ἐξέσετ]αι δέκε̣[σθαι φόρτι’, ὠς τάχιστά γ’ ἄραμαι ὠς τ'] εἴ[- αι̊ με προσέλθην. –u–x–uu–]ι̣ν ἔργα̣[ –u–x–uu–u] χ̣έρσω̣[. –u–x–uu–u–]γ̣α –uu–x –u–x–uu–].́ρ̣ . [x –u–x–uu–u–x –u–x–uu–u–x –uu–x] λθʹ· Ἄεισμα τῶν ἀδέλφων "Π[όλλα ἐλπίσδω γε Χάραξον ἄμμι Πλήαι̊ ἔλθην νᾶϊ"· πρέποι κεν αὖτον Μᾶλ]λο̣[ν ἐλπίσδην κατἴδην σάαι̊ σὺν νᾶΐ] σε, Μα̤[ῖα,] Ἀλλ' ἄϊ θρύλησθα Χάραξον ἔλθην νᾶϊ σὺ‹ν› πλ‹ή›ᾳ· τὰ μὲν̣, οἴο̣μ̣αι, Ζεῦς οἶδε σὔμπαντές τε θέοι, σὲ δ' οὐ χρὴ ταῦτα νό‹η›σθαι, ἀλλὰ καὶ πέμπην ἔμε καὶ κέλεσθαι πόλλα λί̣σσεσθαι βασι̣λ̣ήαν Ἤ̣ραν ἐξίκεσθαι τυίδε σάαν ἄγοντα νᾶα Χάραξον, κἄμμ' ἐπεύρην ἀρτέ̤̣μεας· τὰ δ' ἄλλα πάντα δαιμόνεσσ̣ιν ἐπιτρόπωμεν· εὔδια̣ι ‹γ›ὰ̣ρ̣ ἐκ μεγάλαν ἀήτα̣ν̣ αἶψα̣ π̣έ̤̣λονται· τῶν κε βόλληται βασίλευς Ὀλύμπω Δαίμον' ἐκ πόνων ἐπάρωγον ἤδη περτρόπην, κῆνοι μάκαρες πέλονται καὶ πολύολβοι. Κ̣ἄμμες, αἴ κε τὰν κεφά̣λ̣α̣ν ἀέρρ̣η Λάριχος, καὶ δή ποτ' ἄνηρ ‹γ›ένηται, καὶ μάλ' ἐκ πόλλαν βαρυθυ̣μίαν̣ κεν αἶψα λύθειμεν. μʹ· Πρὸς Χάραξον Λόγος αʹ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ] δώσην. . . . . . [ 4 Αἰ κλ]ύτων μ̤έν̣ τ’ ἐπ[πότεαι πεδ’ ἄνδρων κωὐ κ]άλων κἄσλων, ἐ̤[νέπεις δὲ χαίρην τοὶς φ]ί̤λοις, λύπης τέ μ[ε, σοὶ γένεσθαι φαὶς ἔ]μ̤’ ὄνειδος, 8 ἦτορ] οἰδήσαις, ἐπὶ τα̤[ῦτ’ ἀρέσκε͜ο καρδ]ί̤αν· ἄσαιο· τὸ γὰρ ν̤[όημμα τὦ]μ̣ον οὐκ οὔτω μ̣[αλάκως χόλᾳ παί- δων] διάκηται· 12 ἀλλ]ὰ̣ μ̣ὴ̤ δ̣ό̤αζε· [γέροντας ὄρνῑς οὐκ ἄγρη βρό]χ̣ις· συνίημ[’ ἔγω σε οἶ πρὶν ἐσπό]λ̤ης κακότατο[ς, οἴῳ δ’ ἀντετέθη]μεν 16 δαΐῳ. Σὺ δ’ ὦ]ν ἀτέραις, με[μήλων λωι̊όνων, τίθ]η φρένας· εὔ[κολον γὰρ νῶν τράφοισ]α̣ τοὶς μάκα[ρας σάφ’ οἶδ’ ἔ- μοι παρέοντας.] 20 –u–-x–]α̣[u–u–x –u–x–uu–u–x –u–x–uu–u–x –uu–x] 20 Λόγος βʹ . . . . . . . . . . . . . . . . . . . . [–u– τύ κεν δοκίμοις χάριν μοι οὐκ ἀπυ]δώσην. . . . . . [ 4 [συμφ]ύτων μ̤έν̣τ' ἐπτ[ατόνοις λύραισι καὶ κ]άλων κἄσλων ἐ̤[πέων ἀπέλλης τοὶς φ]ί̤λοις, λύπης τέ μ[ε, κἀπορίπτης εἰς ἔ]μ̤' ὄνειδος. [ᾦ κεν] οἰδήσαις ἐπί τᾶ̤[ι̊ τε λώβαι̊ καρδ]ί̤αν· ἄσαιο· τὸ γὰρ ν̤[όημμα τὦ]μ̣ον οὐκ οὔτω μ̣[αλάκως πρὸς ὄργαν σὰν] διάκηται. –]α̣ μ̣η̤δ̣[u–uu–u–x –u–x–uu–u–x –u–x–uu–u–x –uu–x] Σύστασις ζʹ· Νοσταλγία τᾶς νεότατος 集団しゅうだん七しち： 若者わかものに 深ふかい懐旧かいきゅう μαʹ· Ἦσθα καὶ γὰρ δὴ σὺ πάϊς ποτ' ἄβρα . . . . . . . . . . . . . . . ]κ̤̣αιπ̤̣[. . . . . . . . . . ] . [.] . [.]ν̣οσ[. . . . . – ^ ^ – ]σι·[. . . . . 4 ἦσθ]α̤̣ καὶ γὰρ δ̤̣ὴ σὺ̣ πάϊς ποτ' [ἄβρα κἀφ]ί̣λ̣η̤̣ς μέλ̤̣πεσθ'· ἄγι ταῦτα [πάντα σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος ἄ]δρα χάρισσαι· σ]τ̤̣είχομεν γὰρ ἐς γάμον· εὖ δὲ̤̣ [δέρκῃ κα]ὶ σὺ τοῦτ'· ἀλλ' ὄττι τάχιστ̣α [παίσαις πα]ρ̤̣[θ]ένοις ἄπ[π]εμπε, θέοι [δ' ἄτιμον μηδὲ]ν ἔ̣̣χοιεν̣. ἀστίβης] ὄ̣δος̤̣ μ̤̣[έ]γ̤̣αν εἰς Ὄλ̣[υμπον Ἔστιν ἀ]νθρώ[πῳ ]αίκ . [ [................ ................] μβʹ· Ὦ ἄγαναι γύναικες Αἶσ’ ἔγων ἔφ]αν· “ Ἄγα̤[ναι γύναικες, Ο]ἶ̤[α μ]εμνάσεσθ' ἄ̤[ϊ μέχρι γῆρας, κ]αί γ̣' ἄρ' ἄ̣μμε̣ς ἐν νεό̤[τατι λάμπραι̊] Ταῦ̣τ' ἐ̤π̣όημ̣μεν· Πό̣λλα̣ ｢μ｣ὲν γὰρ καὶ κά[λα κἄγν' ἐν αὔται] ἐ̤κ̣π̤ο̤ν̤[ήσ]α̤μεν· πόλι[ν αὖ λιποίσαις ῎Υ]μμε̤ [μ'] ὀ[ξ]ε̣ίαις δ̣[άκεν αὖ βλεποίσαι̊ Κ]ῆ̤[ρ] ὀ̤ν̤[ίαισιν Ἴμμερος.] μγʹ· Αἰ δέ μοι γάλακτος ἔτ' ἦν Κὰτ τὸν Ἔδμονδζ [Αἰ δέ μοι γάλακτο]ς̤̣ ἐπάβ̤̣ολ' ἦσ̤̣[κε τωὔθατ' ἢ παίδ]ω̤̣ν δολόφυν [ποήσ]ε̤̣[ι ἀρμένα, τότ' οὐ] τρομέροις πρ̤̣[ὸς ἄ]λλα [λέκτρα κε πόσσι 4 ἐρχόμαν· νῦν δὲ] χρόα γῆρας ἤδη [μυρίαν ἄμμων ῤύτι]ν ἀμφιβάσκει [κωὐ πρὸς ἄμμ' Ἔρως] π̤̣έτ̤̣αται διώκων [ἀλγε]σ̣ί[δωρος· ] τᾶς ἀγαύας ] . α· λάβοισα [δ' ἀδύφωον πᾶκτιν] ἄ̤̣εισον ἄμμι [τὰν ἰόκολπον. ἔ]ρ̤̣ων μά̣λ̣ιστα ] ἆ̣ς π[λά]ναται̣ [................ ................] Κὰτ τὸν Τεδέσκι καὶ τὸν Ἔδμονδζ καὶ κάμ με [Αἰ δέ μοι γάλακτο]ς̤̣ ἐπάβ̤̣ολ' ἦσ̤̣[κε τωὔθατ' ἢ παίδ]ω̤̣ν δολόφυν [ποήσ]ε̤̣[ι ἀρμένα, πόσσ' οὐ] τρομέροις πρ̤̣[ὸς ἄ]λλα [λέκτρα κ' ἰοίην· 4 πάντα μοι κάρφει] χρόα γῆρας ἤδη [κὠνία τὦμον νόο]ν ἀμφιβάσκει [κἄμε δὴ πόθο]ς̤̣ π̤̣έτ̤̣αται διώκων [ἀλγε]σ̣ί[δωρος· ]τας ἀγαύας ]ε̤̣α· λάβοισα [δ' ἀδύφωνον πᾶκτιν] ἄ̤̣εισον ἄμμι [τὰν ἰόκολπον. μακά]ρ̤̣ων μά̣λ̣ιστα ἐπὶ γ]ᾶς π[λά]ναται̣ [................ ................] μδʹ· Μοίσαν δῶρα ὔμμες πεδὰ Μοίσαν ἰο]κ｢ό｣λ̣πων κάλα δῶρα παῖδες σπουδάσδετε καὶ τὰ]ν̤ φιλάοιδον λιγύραν χελύνναν·[ ἔμοι δ' ἄπαλον πρίν] π̤οτ̣' [ἔ]οντα χρόα γῆρας ἤδη ἐπέλλαβε, λεῦκαι δ' ἐ]｢γ｣έ̤νοντο τρίχες ἐκ μελαίναν, βάρυς δέ μ' ὀ θ̤ῦμο̤ς πεπόηται, γόνα δ' οὐ φέροισι, τὰ δή ποτα λαίψη̤ρ' ἔον ὄρχησθ' ἴσα νεβρίοισιν. [ταῦ]τα στεναχί‹σδ›ω θαμέως ἀλλὰ τί κεν ποείην; ἀ̤γ̤ή̣ραον ἄνθρωπον ἔοντ' οὐ δύνατον γένεσθαι· καὶ γάρ πο̣τ̣α̤ Τίθωνον ἔφαντο βροδόπαχυν Αὔων ἔρωι̊͜ ἀ̣ν̤[ί'] ἄπ̤εισαν βάμεν εἰς ἔσχατα γᾶς φέροισα｢ν｣ ἔοντα̤ [κ]ά̣λον καὶ νέον, ἀλλ' αὖτον ὔμως ἔμαρψε[ χρόνω‹ι̊› πόλ̣ι̣ον̣ γ̣ῆ̣ρας ἔχ̤[ο]ν̤τ̤' ἀ̣θ̣α̤νάταν ἄκο̣ιτιν.[ Σύστασις η· Περὶ τὸ ἀοιδάμεν 集団しゅうだん八はち： 歌うたう事こと μεʹ· Κρέσσονι θῆται στύματι πρόκοψιν . . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . .ο]ἶδα [–x . . . .] . πέρι̣[ . . .] . εικε . [. . . . . . . . . . . . . . . . . . . . . . ]η̣α [ x–uu––uu φαῖσ' Εὐρυδίκαν φ]ύ̤γοισα̣[ν θήρηντά γ' Ἀρίσ]τ̤[αι]ο̤ν̤ [ἐχίδνας ποτ' ὄδοντ]ι̤ δάχθην Δύσθυμοι ἔον πάγ]χ̣υ̣ θ[έ]οι· [Κ]α̣λ̣λ̣[ιόπα, σὺ δ' α]ὔταν . . . . . . . . . . . . . ] . χ̣θο . ｢.｣ατι . [. . . . . .]εισα x–uu– κεκλο]μένα τὰν̣ [πολυ]ώ̤νυμόν σε̣ Κὰτ ὄττι θέλει κρέσσο]ν̣ι θῆται στ̣[ύ]μα[τι] πρό̤κοψιν̣ ４５：良よい声こえで　演技えんぎしように 。。。読よんだ。。。 。。。の回まわりに。。。 エウリュディケーは ある時ときに アリスタイオス 逃にげる時とき 蛇へびの歯はにより 齧かじられた だから神々かみがみ 悲かなしくに／悲かなしみに なったと話はなし；／きた物語ものがたり； でもあなた、 アアカリオパー あの方まったを。。。 多おおい名なが あるのあなたを 読よんだ時とき 人ひとはより良よい 音声おんせいで 願ねがいに依よると／願ねがいのように 演技えんぎしように。 μςʹ· Νῦν θαλία παρέστω Λόγος αʹ ] . οὐ . [ ] ε̣ὐχο̣μ̣[ ] . νῦν θ̣α̣λ̣[ί]α̣ π̤α̤[ρέστω ] . νέρθε δὲ γ̤ᾶς π̣ερ̣[ίσ]χ̤ο̣ι̣ [κλέος μέγα μοίσε]ι̤ον ἔχο̤ι̣σαν̣ ｢γ｣έρας ὠς̣ [ἔ]ο̣ικεν [πάνται̊ δέ με θαυμά]ζ̣οιεν ἆ̣ς νῦν ἐπὶ γᾶς ἔοισαν [κάλεισι χελίδω] λιγύ̤ρ̣α̣ν [αἴ] κεν ἔλοισα πᾶκτιν[ ἤ βάρβιτον ἤ τάνδε χέ]λ̣υ̣ν̣｢ν｣α̣ν̣ θ̤αλάμοισ̤' ἀε̣ίδω. Λόγος βʹ ] . ο . [ ] ε̣ὐχο̣μ̣[ ἔμαισιν ἐταίραις ἄμ' ἔμο]ι̤ νῦν θ̣α̣λ̣[ί]α̣ γ̤ε̤[νέσθω ἐπεὶ δέ κε γήραισα θάν]ω̤, νέρθε δὲ γ̤ᾶς γέν̣[ω]μ̤α̣ι̣ [καὶ μοισόπολων ἔσ]λ̤ον ἔχο̤ι̣σαν̣ ｢γ｣έρας ὠς̣ [ἔ]ο̣ικεν οὔ κέν μ' ἔτι θαυμά]ζ̣οιεν ὠ̣ς νῦν ἐπὶ γᾶς ἔοισαν· φαίνην δὸς ἀοίδαν] λιγύ̤ρ̣α̣ν [αἴ] κεν ἔλοισα πᾶκτιν[ ἔμαισι φίλαισίν γ' ἀ]λ̤ύ̤ω̤ κ̤αὶ̤ κ̤άλα, Μοῖσ̤', ἀε̣ίδω. μζʹ· Πρὸς χέλυνναν Ἄγι δὴ χέλυ δῖά μοι φωνάεσσά ‹νυ› γ‹ίγ›ν‹ε›ο ４７：ライア－に 神聖しんせいな ライアー、我われに 歌うたってきてね！ μηʹ· Ἔμαις ἑταίραις Τάδε νῦν ἐταίραις Tαῖς ἔμαις τέρποισα κάλως ἀείσω. ４８：友達ともだちのため 友達ともだちを 喜よろこばすよう 素敵すてきに歌うたう Σύστασις θ· Πρὸς φίλοις, σύμβουλαι 集団しゅうだん九きゅう： 友達ともだちに 申もうす言葉ことばと 忠告ちゅうこくと μθʹ· Πρὸς Δίκαν Σαπφὼ δ' ἁπλούστερον τὴν αἰτίαν ἀποδίδωσιν τοῦ στεφαοῦσθαι ἡμᾶς, λέγουσα τάδε· σὺ δὲ στεφάνοις, ὦ Δίκα, πέρθεσθ᾿ ἐράτοις φόβαισιν ὄρπακας ἀνήτ‹ω› συν‹α›έρραισ᾿ ἀπάλαισ‹ι› χέρσιν· εὐάνθεα γὰρ ‹παρ›πέλεται καὶ Χάριτ‹α›ς μακαίραι‹ς› μᾶλλον ποτόρην· ἀστεφανώτοισι δ᾿ ἀπυστρέφονται. νʹ· Περὶ θέρεος Λόγος ὀ Ἀλκαίῳ δίδων· Περὶ θέρεος [Τέγγε π‹ν›εύμονας οἴνῳ· τὸ γὰρ ἄστρον περιτέλλεται, ἀ δ' ὤρα χαλέπα, πάντα δὲ δίψαισ‹'› ὐπὰ καύματος. ἄχει δ' ἐκ πετάλων ‹›άδεα‹› τέττιξ,] πτερύγων δ' ὔπ‹α› κακχέει λιγύραν ‹πύκνον› ἀοίδαν, ‹θέρος› ὄ‹π›ποτα‹› φλόγιον κα‹τ'› ἔ‹λ›ᾶν ‹πε›πτάμενον ‹πάντα› καταυ‹άν›η‹ι̊›. [ἄνθει δὲ {καὶ} σκόλυμος· νῦν δὲ γύναικες μιαρώταται, λέπτοι δ‹'› ἄνδρες, ἐπεὶ ‹καὶ› κεφάλαν καὶ γόνα‹› Σείριος ἄ‹σδ›ει.] Λόγος ὀ Ψάπφοι δίδων· Περὶ τέττιγος [xx–] πτερύγων δ' ὔπ‹α› κακχέει λιγύραν ἀοίδαν ὄ‹π›ποτα‹› φλόγόν ‹κε κὰγ γ›ᾶν ἐπιπτάμενο‹ς› καταύ‹λ›η‹ι̊› ναʹ· Πρὸς Μίκαν [x–uu– –uu– οὐδὲ θέ]μις σε Μίκα [x–uu– ἄμμι γ]έλα[ν, ἀλ]λά σ’ ἔγω̣ὐκ ἐάσω [x–u γυναίκω]ν̣ φιλότ[ατ’] ἤλεο Πενθιλήᾱν̤ [x–uu– τοῦτο φρένας] δάκν̤[ε πολύ]τροπ’, ἄμμα̣[ις, κήναισι γάρ, οὐκ ἄμμι,] μέλ̣[ος] τι γλύκερον χ̤[α]ρ[ίσδη]ι̤̊ ἔγεντ̣ο̣ [δὲ νῦν ἀρμονί]α μελλιχόφων[ος α]ὔ̤ραν οὐ γὰρ κ[άλαμος ταῦτα μελίσ]δει, λίγυραι δ᾽ ἄη[τα]ι̣ νβʹ· Οὐ γὰρ θέμις θρῆνον [xx–uu] οὐ γὰρ θέμις ἐν μοισοπόλων ‹δόμῳ› θρῆνον ἔμμεν' ‹ἄπαυστον, Κλέι,› οὔ κ’ ἄμμι πρέποι τάδε. νγʹ· Ὀ μὲν γὰρ κάλος ὀ μὲν γὰρ κάλος ὄσσον ἴδην πέλεται ‹κάλος›, ὀ δὲ κἄγαθος αὔτικα καὶ κάλος ἔσ‹σε›ται. νδʹ· Ὀ πλοῦτος ἄνευ τᾶς ἀρέτας Ὁ δὲ πλοῦτος οὐ μόνος ὢν καθ' ἑαυτόν, ἀλλὰ καὶ ἀρετῇ κεκοσμημένος, καιρίως τῶν τε ἑαυτοῦ ἀγαθῶν καὶ τῆς ἀρετῆς ἀπολαύει, συνετὴν ἔχων τὴν φροντίδα πρὸς τὸ ἀγρεύειν τὰ καλά. Τούτων γὰρ τὸ ἕτερον καθ' ἑαυτὸ οὐχ ἡδύ· Ὀ πλοῦτος ἄνευ ‹τᾶς› ἀρέτας οὐκ ἀσίνης πάροικος, Τᾷ δ' ἀμφοτέρων κράσ‹ει ἔν'› εὐδαιμονίας τό ‹γ’› ἄκρον νεʹ· Ἀβάκην τὰν φρέν' ἔχω xx ἀλλά τις οὐκ ἔμμι παλιγκότων ὄργαν, ἀλλ᾽ ἀβάκην τὰν φρέν’ ἔχω. ux νςʹ· Μαψυλάκαν γλῶσσαν σκιδναμένας ἐν στήθεσιν ὄργας μαψυλάκαν γλῶσσαν πεφύλαχθε. ５６：意味いみなく騒さわぐ　その舌したを 腹立はらだちで 心こころ煮もえ立たつ その時ときは、 意味いみなく騒さわぐ 汝なが舌したを 己おのが心こころで 止とめしむるべし。 νζʹ· Οὐ δοκίμωμι Ψαύην δ' οὐ δοκίμωμ' ὀράνω δύσ‹ι› πάχε‹σιν›. ５７：待またない あたくしは この二にの腕うでで 大空おおぞらを 届とどき触ふれ合あう ことを待またない。 νηʹ· Οὐδ' ἴαν δοκίμωμι Οὐδ' ἴαν δοκίμωμι προσίδοισαν φάος ἀλίω ἔσσεσθαι σοφίαν πάρθενον εἰς οὐδένα πω χρόνον τοιαύταν. Σύστασις ι· Μυθολογία 集団しゅうだん十しゅう： 神話しんわの破片はへん νθʹ· Ἔλθοντ' ἐξ ὀράνω Πρώτην δέ φασι χλαμύδα ὀνομάσαι Σαπφὼ ἐπὶ τοῦ Ἔρωτος εἰποῦσαν· [Τὸν Ἔρωτ' ἐν ὀνείρῳ τιν' ἔβλεψ' αύτα ἔγω ποτα] Ἔλθοντ' ἐξ ὀράνω πορφυρίαν περθέμενον χλάμυν. ξʹ· Περὶ Λήδας Φαῖσι δή ποτα Λήδαν ὐακινθίνων εὔρην ὤϊον [ἀνθέ͜ων] πεπυκαδμένον [ὔπο]. ６０：レーダについて 人ひとはそう言いう： レーダーは ヒアシンス花はな 隠かくしたの 卵たまごをいつか 見みつけたわ. ξαʹ· Ἐπὶ τᾶν περιστεράων ταῖσι ‹δὴ› ψῦχρος μὲν ἔγεντ' ὀ θῦμος, πὰρ δ᾽ ἴεισι τὰ πτέρα [–u–x] Version A Version B ６１：鳩はとについて 心こころには 凍こごえてるから 羽はね降　ふりさせた。 ６１：鳩はとについて 魂たましいが 凍こおらせた時とき、 羽はねは潰ついえた。 ξβʹ· Χρύσειοι ἐρέβινθοι Χρύσειοι ‹δ'› ἐρέβινθοι ἐπ' ἀϊόνων ἐφύοντο. ６２：黄金おうごんの豆まめ 海辺うみべにて 生うまれた豆まめの 色いろは黄金おうごん。 ξγʹ· Λάτω καὶ Νιόβα Καλοῦσι γοῦν καὶ αἱ ἐλεύθεραι γυναῖκες ἔτι καὶ νῦν καὶ αἱ παρθένοι τὰς συνήθεις καὶ φίλας ἑταίρας, ὡς ἡ Σαπφώ· Λάτω καὶ Νιόβα μάλα μὲν φίλαι ἦσαν ἔταιραι. ６３：ラートーと　ニオバー二人ふたり ラートーと ニオバー二人ふたり 愛あいし合あい 仲なか睦　むつまじく 絆きずなは深ふかく。 ξδʹ· Ἀϊπάρθενος ἔσσομαι .. ]σανορεσ . . [ Φοίβῳ χρυσοκό]μᾳ, τὸν ἔτικτε Κόω κ[όρα μίγεισ’ εὐρυβίᾳ Κρ]ονίδᾳ μεγαλωνύμῳ [ Ἄρτεμις δὲ θέων] μέγαν ὄρκον ἀπώμοσε· 5 «[νὴ τὰν σὰν κεφά]λαν, ἀϊπάρθενος ἔσσομαι [ἄδμης οἰοπό]λων ὀρέων κορύφαισ᾽ ἔπι [θηρεύοισ’· ἄγι καὶ τά]δε νεῦσον ἔμαν χάριν». [ὢς εἶπ’· αὐτὰρ ἔνευ]σε θέων μακάρων πάτηρ, [πάρθενον δ’ ἐλαφάβ]ολον ἀγροτέραν θέοι 10 [ἄνθρωποί τε κάλε]ισιν ἐπωνύμιον μέγα. [κήνᾳ λυσιμέλης] Ἔρος οὐδάμα πίλναται· ] . [ . ] . . . . α̣φόβε[ . . ] .́ .ω· ξεʹ· Κατθνάσκει, Κυθέρηα κατθνάσκει, Κυθέρη’, ἄβρος Ἄδωνις· τί κε θεῖμεν; καττύπτεσθε, κόραι, καὶ κατερείκεσθε χίτωνας. Σύστασις ιαʹ· Κατθἀνην δ' ἴμμερός τις ἔχει με 集団しゅうだん十一しゅういち： 死亡しぼうを望のぞむ ξςʹ· Ἔρμαις γ' εἴσηλθε . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . τ̣ου[x–uu–u–u–x] 3 ἦρ’ α[– xx–uu–ux] δῆρα τ . [uu–ux] Γογγύλα τ̤’ [ἔφατ’ “Οὔ τι πᾷ τάδ’ ἔγνως,] 6 ἦ τι σᾶμ’ ἔθε̣[άσαο ταῖσ' ὀπώ-] παισι;” “Μάλιστά γ̣'”· [εἶπον· Ἔρ-] μαις̣ γ̣’ εἴσηλθ᾽ ἔπο̣[ρος Δίος· τάδ᾿ αὔτῳ] 9 εἶ̣πο‹ν›· “ὦ δέσποτ᾽ ἐπ̤[τατόνω λύρας ο]ὐ̤ μὰ γὰρ μάκαι⌟ρ̣αν̣ [ἔγω ο]ὔδεν ἄδομ᾽ ἔπ⌟αρθ᾽ ἀγαν̤ [ἄσαισι,] 12 κατθάνην δ᾽ ἴ⌟μερός τις ἔ̤[χει με καὶ] λ̣ωτίνοις δρ⌟οσό̣ε̣ν̣τ̣α̣ς̤ ὄ̤- χ̣[θ]ο̣ι̣ς̣̣ ἴδην Ἀ⌟χ̣έ̣ρ̤[οντος –u–x 15 κ]ὰ̣δ ‹δ᾽› ἐ‹ς› Ἀ͜ίδ｢α｣ [δόμον βάμεν –ux –] . ν̣ δε̣τ̣ομ̣[u–ux] Μ̣ή̣τ̣ις̣ σ̣[–uu–u–u–x]”. 18 ξζʹ· Τεθνάκην δ' ἀδόλως θέλω ["Ἄτθιδ' οὐδ' ἒν ἄρ' ὄ]ψ̤[ομαι] Τεθνάκην δ' ἀδόλως θέλω"· Ἄ με ψισδομένα κατ̣ε̤λί‹μ›πανεν Πόλλα, καὶ τόδ' ἔειπέ̤ μ̤ο̤ι̤· "Ὦι̊μ' ὠς δεῖνα πεπ[όνθ]α̤μεν, Ψάπφ'! Ἦ̤ μάν̣ σ̣' ἀέκο̤ι̤σ̤' ἀ̣πυλιμπάνω!"· Τάν δ' ἔγω τάδ' ἀ̣μειβ̣ό̤μαν· "Χαίροισ' ἔρχ̣εο̣ κἄ̣με̣θεν Μέμναισ̣', οἶσ̣θ̣α̣ γὰρ ὤς ‹σ›ε πεδήπομεν, Α̣ἰ δὲ μή,͜ ἀ̣λλά σ' ἔγ̣ω θέλω Ὄ̣μνα̣ι̣σ' ἄν̣θ̤ε̣α̤ κ̣α̣[ὶ φρ]ά̣σ̣αι Ὄσ̣σ̣' ἴ̤μ̤μ̤ε̤[ρτα τ]ε̤ καὶ κάλ' ἐ̣πάσχομεν Πό̣[λλοις γὰρ στεφάν]οις ἴων Καὶ [βρόδων κρ]ο̤κίων τ̣' ὔμοι Κ̣ὰπ̣ [πλόκων] π̣αρ' ἔμοι π‹ε›ρεθήκα‹ο›, Κα̣ὶ π̣ό̤[λλαις ὐπα]θ̣ύμιδας 15 Πλέ̣κ[τ]α̤[ις ἀμφ'] ἀ̤πάλαι̊ δέραι̊ Ἀνθέ̣ων ἐ̣ρ̤[άτων] πεποημμέ̣ναις, Καὶ πάν̣τ̣α̣ χ̤[ρόα σὸ]ν̣ μ̣ύ̣ρω[ι̊] Βρενθείωι̤̊ τ̤[ε κόμ]α̤ν̣ β̤ρ̣ό̣δ̣ω̤ν̣ Ἐξαλείψαο κα̣[ὶ βασ]ι̣λη̣ί̣ω‹ι̊›, Καὶ στρώμν[αν ἐ]π̤ὶ μολθ̤άκαν Ἀπάλαν πὰρ̤ [ἄβρω]ν̤ β̤ρ̤ό̣δ̣ω̣ν Ἐ̣ξίης̣ πόθο̣[ν ἄβρα νε]α̤νίδων, Κωὔτε τι̣ς [χόρος οὔ]τ̣ε τι {τ̣ι̣} Ἴρον οὐδ' ὔ[δατος ῤέ]｢ο｣ν̣ 25 Ἔ̣πλ̤ετ' ὄππ̣[οθεν ἄμ]μ̤ες ἀπ̣έσκομεν, Οὐκ ἄλσος τ̤[ι κὰτ εἴ]α̤ρος [Πάρηλθεν κροτάλω]ν̤ ψόφος [Κωὔ καταμέριαι μ]ε̤λ̤α̤οίδιαι. Σύστασις ιβ· Ἐπιγράμματα 集団しゅうだん十二しゅうに： 三みっつの警句けいく ξηʹ· Τίμαδος ἐπιγράμμα Τίμαδος ἄδε κόνις, τὰν δὴ πρὸ γάμοιο θάνοισαν δέξατο Φερσεφόνας κυάνεος θάλαμος, ἆς καὶ ἀποφθιμένας παῖσαι νεόθαγι σιδάρῳ ἄλικες ἰμμέρταν κρᾶτος ἔθεντο κόμαν. ξθʹ· Πελάγωνος ἐπιγράμμα Τῷ γρίπει Πελάγωνι πάτηρ ἐπέθηκε Μένισκος Κύρτον καὶ κώπαν, μνᾶμα κακοζοΐας. οʹ· Ἀνάθημα τᾷ Ἀρτέμιδι Παῖδες, ἄφωνος ἔοισα τόδ' ἐννέπω, αἴ τις ἔρηται, φώναν ἀκαμάταν κατθεμένα πρὸ πόδων· Αἰθοπίᾳ με κόρᾳ Λάτως ἀνέθηκεν Ἀρίστα Ἀ Ἐρμοκλείδα τῶ Σαϋναϊάδα, σὰ πρόπολος, δέσποινα γυναίκων· ᾆ σὺ χάρεισα πρόφρων ἀμμετέραν εὐκλέϊσον γενέαν.

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

Gli Hakka devono avere canti propri

Orbene, oggi abbiamo una canzone Hakka, 摇滚吧！山歌, alias «Yâu-kwún pa! San-ko», alias «Roccheggiamo! Canzone popolare». Anche se per me sarebbe più sensato il titolo 客家人爱有自家个歌, alias «Hak-ka nyîn òi yìu tshìi-ka kè ko», alias «Gli Hakka devono avere canzoni proprie». Comunque, sentiamo IAFI:

18/6/22 18:11 I randomly think of this song and translate part of it to Italian, the first half of l. 2 going from «Se io canto,» to «A cantare» to «Nel mio canto» to the below form, and I fix "Beh?" to "Ué" at 0:31 on 23/6:
Il 18/6/22 alle 18:11 penso a caso a questa canzone e ne traduco un pezzo in Italiano, colla prima metà della seconda riga che va da «Se io canto,» a «A cantare» a «Nel mio canto» alla forma sotto, ed aggiusto "Beh?" a "Ué" alle 0:31 del 23/6:

Beh? Ma perché
Io cantando da solo sto?

On 9/8/22 in the evening, I think back to this, and, somewhere before 22:48, probably close to that, surely after 22:40, I start a continuation, and eventually I almost complete the below at 23:13, with changes coming in the next day at 12:08, 12:13, and 12:20-12:25, which is where I actually finish this thing. As I put this in here, 13/8/22 23:53, I change «Quanti sono che ancor le sanno cantar» to «Quanti son che ancora le sanno cantar?», and then at 0:30 on 9/11/22 to «Quanti sono che ancor le san cantar?».
la sera del 9/8/22, penso di nuovo a questa cosa, e, da qualche parte prima delle 22:48, probabilmente vicino a quell'ora, di sicuro dopo le 22:49, inizio una continuazione, e alla fine quasi completo la traduzione sotto alle 23:13, con cambiamenti che arrivano il giorno dopo alle 12:08, 12:13, e 12:20-12:25, ed in quest'ultimo range di orari finisco per davvero 'sta cosa. Mettendola qui il 13/8/22 alle 23:53, cambio «Quanti sono che ancor le sanno cantar» in «Quanti son che ancora le sanno cantar?», e poi alle 0:30 del 9/11/22 in «Quanti sono che ancor le san cantar?».
Però «Cantavi e la luna / Rideva "Ho-ho!".» è proprio sbagliato, quindi prima di registrare ne faccio un «Cantavi, ridendo, / Finché sorgeva la luna.» alle 12:13/14 del 18/11/23, e registrando ci metto lo yeah. L'altra cosa, «Io sto a cantare», anche se l'ho registrato, mi piace poco, perché non è italiano standard, quindi alle 15:02 l'ho cambiato in «Io vo' cantare» mentre tagiavo il video.
A sinistra la traduzione cantabile, a destra una letterale. Ben, vediamola!

«月光光 秀才郎 骑白马 过莲塘»： 还记得 N年前 汝你唱个的 老山歌 哦吔吔吔吔吔吔…… 汝你唱到月光 都笑呵呵吔 想当年 汝你每日唱 一开声 就有人和 看今朝 客家山歌 慢慢地 分被人添放忘记 呜呜……究竟还有几多多少人 会唱山歌 呜呜呜……好想再听听 汝你唱山歌 ＊客家人 爱要有自家自己个的歌 客家歌也 能让人疯狂 涯我今唱等着 瑶滚山歌 请汝你同跟涯我 一下来唱 涯我唱歌 可惜无没人来和 涯我毋不知 该那系是么人谁个的错 涯我今唱等着 自家自己个的歌＊ 请你毋好不要 啰哩啰嗦 ＊ 汝你毋不唱 就毋好不要啰哩啰嗦 吔……做么个为什么 涯我唱歌无没人来和 吔……做么个为什么 瑶滚山歌无没人欣赏 ＊ 请你毋好不要 啰哩啰嗦 ＊ 你毋好不要 啰哩啰嗦 «Nyet kong-kong, Siu-tshoi-long Khi phak ma Ko len-thong»: Ricordo ancor Il canto che Anni fa Cantavi con me. Oooo eeee… Cantavi, ridendo, Finché sorgeva la luna, yeah. Al tuo canto Di ogni dì Qualcun sempre S'univa qui, Or però Le vecchie canzon Pian pianin Se le scordano Mm… Quanti sono che ancor le san cantar? Mm… Vorrei tanto risentir te cantar! *Gli Hakka devon Canti loro avere Le lor canzoni Fanno impazzire! Un canto rock Tradizionale Or canto: non mi Vuoi seguire? Canto anche Se son da solo, Di chi sia colpa Io non so proprio.* La mia canzone Io sto cantando: Non perder tempo Blaterando! * La mia canzone Io vo' cantare, Se non canti, Non blaterare! Ué! Ma perché Io cantando da solo sto? Ué! Ma perché A nessuno piace il canto? * La mia canzone Io sto cantando: Non perder tempo Blaterando! * La mia canzone Io vo' cantare, Tu non star A blaterare!

«Nyėt-kwong kwong Sìu-tshôi-lông Khî phȧk ma Kwò liên-thông»： Hân kì-tet En nyên tshiên Nyî chòng kè Láu san-ko Oh ei yei yei yei yei yei… Nyî chòng tàu nyėt-kwong Tu siàu ho-ho ei Sióng tong-nyên Nyî mi-nyit chòng Yit khoi-shang Tshìu yìu nyîn fô Khòn kim-cau Hak-ka san-ko Màn-màn tet Pun nyîn thiam piòng U u… kìu-kin hân yìu kí-to nyîn Vòi chòng san-ko? U u u… háu sióng tsài thang-thang Nyî chòng san-ko ＊Hak-ka nyîn Òi yìu tshìi-ka kè ko Hak-ka ko ya Nên yòeng nyîn fung-khwông Ngâi kim chòng-tén Yâu-kwún san-ko Tshiáng nyî thûng ngâi Yit-hà lôi chòng Ngâi chòng ko Khó-sit mâu nyîn lôi fó Ngâi m ti 'è hè mài-nyîn kè tshò Ngâi kim chòng-tén Tshìi-ka kè ko Tshiáng nyî m-mó Lô-lî-lô-sô ＊ Nyî m chòng Tshìu m-mó lô-lî-lô-sô Hey… tsò mak-kè Ngâi chòng ko mâu nyîn fo? Hey… tsò mak-kè Yâu-kwún san-ko mâu nyîn hiun-shóng? ＊ Tshiáng nyî m-mó Lô-lî-lô-sô ＊ Nyî m-mó Lô-lî-lô-sô «La luna splende Un talento fiorente Su un cavallo bianco Attraversa Len-thong»: Ancora ricordo La vecchia canzone di collina Che tu cantavi N anni fa Oh hey ye ye ye…… Cantavi fino al sorgere della luna Sempre ridendo, ha-ha, ye! Penso a quel'anno Che cantavi ogni giorno [E] appena iniziavi a cantare Qualcuno ti cantava dietro Vedo che di questi giorni Le canzoni di collina Hakka Lentamente La gente se le scorda Oo oo… alla fine in quanti sono Che ancora san cantare le canzoni di collina? Oo oo oo… vorrei tanto sentirti Di nuovo cantare canzoni di collina * La gente Hakka Dovrebbe avere canzoni sue Anche le canzoni Hakka Fanno impazzire la gente Ora sto cantando Un canto di collina rock Per favore canta Insieme a me! Io canto Peccato che nessuno mi canta dietro Non so Di chi questo sia colpa * Ora sto cantando La mia canzone Per favore non fare La chiacchierona * Ora sto cantando La mia canzone Tu non canti? Allora non fare la chiacchierona Hey… perché Io canto e nessuno mi canta dietro? Hey… perché Nessuno più apprezza le canzoni di collina rock? * Ora sto cantando La mia canzone Per favore non fare La chiacchierona * Ora sto cantando La mia canzone Non fare La chiacchierona

Leone

Oggi abbiamo una canzone zulù che in un certo senso sicuramente conoscete tutti, ma in altro senso probabilmente non conosce pressoché nessuno. Ma che sto a di, direte voi. Beh, parliamo di Mbube, "Leone", appunto, e precisamente della versione originale di Solomon Linda. Ora, questa versione probabilmente non la conoscete. Però di questa canzone ci sono millanta riedizioni, e una parte della canzone, nientemeno che il pezzo ripetuto ad nauseam per quasi tutta la canzone, è stato storpiato dagli americani e infilato in In the jungle: è l'"Awimmawè", o meglio "Uyimbube", "È un leone". E anche l'introduzione di In the jungle è rubata a questa versione di Uyimbube, la trovate proprio in fondo. Per maggiori informazioni su questa canzone e le sue versioni, cfr. il mio post in merito sul blog di decifrazioni (in English).
Ma storie e versioni a parte, veniamo alla traduzione, Italiana. E ovviamente volgiamo subito lo sguardo a IAFI, dove questa traduzione si trova da oltre un anno ormai:

14/8/22 13:38 I randomly translate the chorus as «Leone / È un leon», then at 13:43 I add the "Ah". Upon putting this here, on 20/8/22 at 23:49 and 23:53, I first go with «Sempre, fratello, tu porti a noi buona sorte, sì!» for l. 1, then «Sempre, fratello, la buona sorte tu porti a noi!», and finally I think maybe everything should be subject "he/it", so «la buona sorte lui porta». At 23:57 I go back to subject "you", inspired by a translation of this version. Then, as I listen to the Solomon Linda version and render the double voices, at 0:00 I hear "uyimbube mama", and once again revert to subject "he". By 0:02, I think I've exhausted the possible versions of the chorus, save for the "iiii" one which gave rise to the famous tune in the Disney version. Well, aside from "Rit 3", which is a minor adaptation of "Rit 1" from 0:05. "Rit 4" is from 0:07. "Rit 5" is from 0:08. "Rit 6" is from 0:09. "Rit 3.5" is from 0:14, realizing I'd mistranscribed mentally. Ditto "Rit 3.75", from 0:18. Here's the result

Il 14/8/22 alle 13:38 traduco a caso il ritornello come «Leone / È un leon», poi alle 13:43 aggiungo l'"Ah". Mettendo qua 'sta roba, il 20/8/22 alle 23:49 e alle 23:53, prima vado di «Sempre, fratello, tu porti a noi buona sorte, sì!» per il v. 1, poi «Sempre, fratello, la buona sorte tu porti a noi!», e infine penso che magari tutto dovrebbe avere soggetto "lui/esso", quindi «la buona sorte lui porta». Alle 23:57 torno al soggetto "tu", ispirato da una traduzione di questa versione. Poi, ascoltando la versione di Solomon Linda [qui presa per originale] e rendendo le doppie voci, alle 0:00 sento "uyimbube mama", e di nuovo torno al soggetto "lui". Ora delle 0:02, penso di aver esaurito le possibili versioni del ritornello, salvo quella con "iiii" che ha dato origine alla famosa melodia della versione Disney [l'intro di cui sopra]. Beh, salvo il "Rit 3", alterazione minore del "Rit 1" tradotto alle 0:05. Il "Rit 4" è delle 0:07. Il "Rit 5" è delle 0:08. Il "Rit 6" è delle 0:09. Il "Rit 3.5" è delle 0:14, rendendomi conto di aver trascritto mentalmente sbagliando. Idem per il "Rit 3.75", delle 0:18. Ecco il risultato

Dopodiché c'è la versione dello spoiler sotto, seguita dal commento «Alright, the next two is just Wi wi wi and Mbube uyí. 2:31-end is probably "Ah mbube, ah mbube, ah mbube, ah mama!"» (OK, le prossime due sono solo Wi wi wi e Mbube uyi…, da 2:31 alla fine è probabilmente "Ah mbube, ah mbube, ah mbube, ah mama!").

Sempre, fratello,
La buona sorte lui porta a noi!
Aaaa aa aa aa aaa!

Leone
È un leon!
È un leon!
È un leon!

[Rit 1]
Leone (Iiiiii)
È un leon!
È un leon! (È un leone, mamma)
È un leon!

[Rit 1]

[Rit 2]
Leone (Ah, un leon!)
È un leon! (Ah, un leon!)
È un leon! (Ah, mamma, mamma)
È un leon!

[Rit 2]

[Rit 3]
Leone (Wiiiiii)
È un leon! (Wi wi)
È un leon! (È un leone, mamma)
È un leon!

[Rit 3.5]
Leone (Iiiiii)
È un leon! (Wi wi wi)
È un leon! (Wima, mamma)
È un leon!

[Rit 2] (for these two Rits the background stops the Uyimbube and goes with just Uyí)

[Rit 2]

[Rit 3.75]
Leone (Iiiiii)
È un leon! (Wi wi wi)
È un leon! (Wi, mamma, mamma)
È un leon!

[Rit 3.75]

[Rit 4]
Leone (Ah)
È un leon! (Ah)
È un leon! (Un leone, mamma)
È un leon!

[Rit 5]
Leone (Ah, un leon!)
È un leon! (Ah, mamma)
È un leon! (Mamma, mamma)
È un leon!

[Rit 6] (back to Uyí we go)
Leone (Wiiiiii)
È un leon! (Wi wi wi)
È un leon! (Wi, mamma)
È un leon!

Oh castro, mo' come lo produco il testo originale? Avrei dovuto farlo in IAFI… andiamo a riascoltare! Questo commento dovrebbe aiutarmi… Qualsiasi cosa renda "uyi" come "è…" è della notte del 6/11/23, data di abbozzamento di questo post. Due ritornelli sono appena fatti alle 0:59. Gli ultimi tre sono dell'1:12-1:14. E vediamo 'sta canzone :)!

Njalo elamani Uyawaleth' amathamsanqa Aaaa mbube (la la la la la) Mbube Uyimbube Uyimbube Uyimbube Mbube (Yiiiii) Uyimbube Uyimbube (uyimbube mama) Uyimbube Mbube (Yiiiii) Uyimbube Uyimbube (uyimbube ma) Uyimbube Mbube (Aa mbube) Uyimbube (aa mbube) Uyimbube (aa mama mama) Uyimbube Mbube (Aa mbube) Uyimbube (aa mbube) Uyimbube (aa mama mama) Uyimbube Mbube (Iiii) Uyimbube (uyi uyi) Uyimbube (uyimbube mama) Uyimbube Mbube (Iiii ii) Uyimbube (uyi uyi) Uyimbube (uyi wa mama) Uyimbube Mbube (Eh, mbube) Uu-yii (Eh, mbube) Uuu-yiim (Eh, mama mama) Yiim Mbube (Eh, mbube) Uu-yii (Eh, mbube) Uuu-yiim (Eh, mama ma) Yiim Mbube (Yiiiii) Uyimbube (uyi uyi) Uyimbube (uyi mama mama) Uyimbube Mbube (Yiiiii) Uyimbube (uyi uyi) Uyimbube (uyi mama mama) Uyimbube Mbube (Aa) Uyimbube (aa) Uyimbube (aa mama mama) Uyimbube Mbube (Aa) Uyimbube (aa mama) Uyimbube (aa mama mama) Uyimbube Mbube (Uyiii) Uu-uyii (Uyiii uyi uyi) Uyii (Uyi mama) Yiim Mbube (Iii) Uu-yii (Uyi uyi) Uyii (Uyiii) Yiim Uyii-e (Iii uyi uyi) Uu-yiim (Uyi uyi-ii uyi uyi uyi) Iim (Ii uyi uyi) Iim Mbube (Aa mbube) Uyimbube (aa mbube) Uyimbube (aa mbube) Iii ooo (aa kaa waa)

Sempre, fratello, La buona sorte lui porta a noi! Aaaa aa aa aa aaa! Leone È un leon! È un leon! È un leon! Leone (Iiiiii) È un leon! È un leon! (È un leone, mamma) È un leon! Leone (Iiiiii) È un leon! È un leon! (È un leone, mamma) È un leon! Leone (Ah, un leon!) È un leon! (Ah, un leon!) È un leon! (Ah, mamma, mamma) È un leon! Leone (Ah, un leon!) È un leon! (Ah, un leon!) È un leon! (Ah, mamma, mamma) È un leon! Leone (Wiiiiii) È un leon! (È è) È un leon! (È un leone, mamma) È un leon! Leone (Iiiiii) È un leon! (Wi wi wi) È un leon! (Wima, mamma) È un leon! Leone (Ah, un leon!) Ah, è… (Ah, un leon!) È… (Ah, mamma, mamma) È… Leone (Ah, leon!) Ah, è… (Ah, leon!) È… (Ah, mamma, ma) È… Leone (Iiiiii) È un leon! (Wi wi wi) È un leon! (Wi, mamma, mamma) È un leon! Leone (Iiiiii) È un leon! (Wi wi wi) È un leon! (Wi, mamma, mamma) È un leon! Leone (Ah) È un leon! (Ah) È un leon! (Ah, mamma, mamma) È un leon! Leone (Ah) È un leon! (Ah) È un leon! (Ah, mamma, mamma) È un leon! Leone (Wiiiiii) È… (Wi wi wi) È… (Wi, mamma) È… Leone (Wiiiiii) È… (È è) È… (È) È… Leone (È è è) È… (È è è è è) È… (È è è) È… Leone (Ah, un leon!) È un leon! (Ah, un leon!) È un leon! (Ah, un leon!) Leeee-oooon! (Aaaah kaaah waaah!)

Azzurro

Were you expecting a post in Italian? Well, too bad for you :). We have an Italian song translated to English, Azzurro. Let's hear IAFI!
On 16/6/23, after ditching the French, I try the same in English at 21:21, and by 21:25 the chorus is complete, then I continue and, by 21:42, I have verse 1 and the start of verse 2, with «It feels like when I was a churchboy,», which changes to the below form at 5:15 (yes, I couldn't catch sleep :) ) the following night. Shortly before lunch, at 13:21-13:22, I do verse 3. Over a longish time period which ends at 17:05 that day, I put together the following intertwining:

All through the year I look for summer,
And here it is now so suddenly.
I'm on my own here in the city
For she's already left for the sea.
I here a whistle above the rooftops:
It's just an airplane abōve me.

Chorus
Too azure,
The afternoon it is too azure and long
For me
I realize
That I am left without a resource
Here without thee,
At which point
I almost think I'll take the train and come there,
Come there to thee
However the train of wishes
Within my thoughts can only backwards go.

This feels like back in oratory
With so much sunshine so long ago.
[Quelle domeniche da solo
In un cortile, a passeggiar
Ora mi annoio più di allora
Neanche un prete per chiacchierar]

Chorus

I seek some Africa in the/my garden,
'Tween oleander and baobab
Just like used to in my childhood,
But there are people, one/I can no more.
They are now watering your roses,
The lion's not there: where could he be?

Due to this Hungarian translation (which I submitted because the current author never bothered to but then it was reattributed to the rightful author), at 16:42 on 18/6/23 I consider «Too sky-blue» instead of «Too azure», but Idk. Then, the same day, I do verse 2 at 19:17-19:22, posting the complete version to Lyricstranslate at 19:24. At 9:02 the next day I think of the "sky-blue" version of the second "azzurro", i.e. «The afternoon is too sky-blue / And lengthy for me». For now, I leave "azure", as per LT
The result of that is the below, modulo the tweaks «Use azure the first time and sky-blue the second» (30/9/23 10:51) and «I have no resources if you are / Not here with me» (13:14, formerly «That I am left without a resource / Here without thee»), the latter being post-recording.
Let's see this song!

Cerco l'estate tutto l'anno E all'improvviso eccola qua Lei è partita per le spiagge E sono solo quassù in città Sento fischiare sopra i tetti Un aeroplano che se ne va Rit.: Azzurro Il pomeriggio è troppo azzurro E lungo per me Mi accorgo Di non avere più risorse Senza di te E allora Io quasi quasi prendo il treno E vengo, vengo da te Il treno dei desideri Nei miei pensieri all'incontrario va Sembra quand'ero all'oratorio Con tanto sole, tanti anni fa Quelle domeniche da solo In un cortile, a passeggiar Ora mi annoio più di allora Neanche un prete per chiacchierar Rit. Cerco un po' d'Africa in giardino Tra l'oleandro e il baobab Come facevo da bambino Ma qui c'è gente, non si può più Stanno innaffiando le tue rose Non c'è il leone, chissà dov'è Rit.

All through the year I look for summer, And here it is now so suddenly. I'm on my own here in the city For she's already left for the sea. I here a whistle above the rooftops: It's just an airplane abōve me. Chorus Too azure, The afternoon it is too sky-blue And long for me I realize I have no resources if you are Not here with me, At which point I almost think I'll take the train and come there, Come there to thee However the train of wishes Within my thoughts can only backwards go. This feels like back in oratory With so much sunshine so long ago, Those lonely Sundays in the courtyard When I would walk there all on my own… Now I get bored more than I used to, There is no priest here to say hello. Chorus I seek some Africa in my garden, 'Tween oleander and baobab Just like used to in my childhood, But there are people, I can no more. They are now watering your roses, The lion's not there: where could he be? Chorus

Life goes on, bra

I'm sure with that title you all already know what song we're dealing with today :). And yes, it is indeed Ob-La-Di, Ob-La-Da, by the Beatles, which I translated to Greek, Albanian, Italian, and the chorus to French too, will complete it eventually. Let's hear IAFI on all this:

1. In the evening of 1/2/22, I randomly have Papaveri e papere Greek version and Obladi Oblada on my mind, and I think «Έτσι, άστα!» could be a good rendering of «Life goes on, bra!», so by 18:18 I finish the chorus:
   
   Οβλαντί, οβλαντά,
   Έτσι, άσ' τα!
   Έτσι η ζωή, λα-λα!
   
   Putting this here, I realize it should have been Ομπλαντί Ομπλαντά. It's 11:36. 3/2/22 2:27 I add ë́n' to l. 3, thus getting:
   
   Ο-μπλα-ντί, ο-μπλα-ντά,
   Έτσι, άσ' τα!
   Έτσ' είν' η ζωή, λα-λα!
   
   3/2/22 15:46 I translate the line «Take O-bla-di-bla-da» into Πάρ' Ο-μπλα-ντί-μλα-ντά».
   22/8/22 I want to send this to Kika but only the chorus is too little, so at 18:04-18:14 I do verse 1. Kika then exhorts me to finish it, so since I'm unwilling to work I finish it, 19:36-20:16. After a couple Kika corrections, at 22:23 that evening, I have the below version, modulo a change from the following day fixing "Ο Ντέσμοντ λέει στην Μόλλυ" at 18:03, and one at 20:19 of 3/9/22 fixing «Το βράδυ αυτή, να, στο συγκρότημα τραγουδά» to «Το βράδυ αυτή ακόμη στο συγκρότημα τραγουδά» first and to the below afterwards:
   
   and so far the IAFI version is current, and is the one that will be recorded tomorrow. The only thing is that the choice between Φορά στο σπίτι η Μόλλυ λίγο μακιγιάζ and Η Μόλλυ μακιγιάρεται στο σπίτι, να, is from 14:39 on 29/9/23.
2. Around 22:40 on 2/2/22, I start an Albanian translation, doing the chorus and «Këndo Obladi-blada!». As I ready the intertwining you see below, I realize it's "take", not "sing", so I fix it to merr in the afternoon of 3/2/22.
   
   
   
   Desmond has a barrow in the marketplace
   Molly is the singer in a band
   Desmond says to Molly, "Girl, I like your face"
   And Molly says this as she takes him by the hand
   
   Chorus
   Ob-la-di, ob-la-da
   K'shtu ësh jeta!
   La la, ikën jeta k'shtu.
   
   Chorus
   
   Desmond takes a trolley to the jeweler's store
   Buys a twenty carat golden ring (rin-ring)
   Takes it back to Molly waiting at the door
   And as he gives it to her she begins to sing (sing)
   
   Chorus x2 (la la la)
   Yeah
   
   In a couple of years
   They have built a home sweet home
   With a couple of kids running in the yard
   Of Desmond and Molly Jones (ha ha ha ha)
   
   Happy ever after in the market place
   Desmond lets the children lend a hand (arm!) (leg!)
   Molly stays at home and does her pretty face
   And in the evening she still sings it with the band Yes!
   
   Chorus
   
   Hey!
   
   Chorus
   
   In a couple of years
   They have built a home sweet home (home: H-O-M-E)
   With a couple of kids running in the yard
   Of Desmond and Molly Jones (ha ha ha ha ha ha ha)
   Hey!
   
   Happy ever after in the market place
   Molly lets the children lend a hand (foot!)
   Desmond stays at home and does his pretty face
   And in the evening she's a singer with the band
   Yeah!
   
   Chorus
   
   Hey!
   
   Chorus
   (ha ha ha ha)
   
   And if you want some fun (ha ha ha ha ha ha ha)
   Merr Ob-la-di-bla-da (ha ha ha ha ha ha ha ha)
   (Ha ha ha ha)
   Ahh...
   Thank you (ha ha)
   
   On 23/1/23, in a moment when I'm especially not feeling like working, I take this up again, and finally complete it 18:57-20:08, putting everything together the next day, with a tweak at 15:29.
   
   Here we instead have a change. I tried to sing verse 1, and thought «Dhe Molly, tu marr' dor'n e tij, thot' kështu» would fit better with "dorën e tij". That was 14:16(?) on 29/9/23.
3. 22/8/22 19:35 I translate the first two lines of verse 1 of this, and recover the translation of the chorus from the Italian version. At 13:44-45 on 5/9/22, I do part of the "couple of years" section. As I add that here, on 7/9/22 at 0:08, I change "un banchetto ha" to "un banchetto ci ha" in l. 1. At 0:10, I think of «Prendi Ob-la-di-bla-da» and then «Vai di O-bla-di-bla-da», and at 0:12 I think of «Per divertirti un po'». So now we make an intertwining:
   
   
   
   Desmond al mercato un banchetto ha,
   Molly è la cantante di una band.
   Desmond says to Molly «Girl, I like your face!»,
   And Molly says this as she takes him by the hand:
   
   Rit.
   Ob-la-di, o-bla-da,
   È la vita!
   La, la vita è questa qua.
   
   Desmond takes a trolley to the jeweler's store
   Buys a 20 carat golden ring
   Takes it back to Molly waiting at the door
   And as he gives it to her, she begins to sing:
   
   Rit.
   Ob-la-di, o-bla-da,
   È la vita!
   La, la vita è questa qua.
   
   In a couple of years,
   Una dolce casa han lor
   Con due bimbi che corrono
   Per la casa
   Di Desmond e Molly Jones
   
   Happy ever after in the market place
   Desmond lets the children lend a hand
   Molly stays at home and does her pretty face
   And in the evening, she still sings it with the band
   
   Rit.
   Ob-la-di, o-bla-da,
   È la vita!
   La, la vita è questa qua.
   
   
   Happy ever after in the market place
   Molly lets the children lend a hand
   Desmond stays at home and does his pretty face
   And in the evening, she's a singer with the band
   
   Rit.
   Ob-la-di, o-bla-da,
   È la vita!
   La, la vita è questa qua.
   
   Per divertirti un po',
   Vai di O-bla-di-bla-da!
   
   Then, on 5/10/22, for some reason I decide to stop working and continue this, and at 22:57-23:00 and 23:25-23:39 I do verse 1, then at 23:41-23:47 I complete the below version; "Per la casa" remains in the French-Italian intertwining, and is re-corrected to "Nel giardino" 17/10/25 14:45;
4. On 26/10/22, thinking of, and perhaps singing, the Greek version, I map Greek ás' ta to French Ne t'en fais pas, and at 19:18 end up with:
   
   Obladi Oblada
   Ne t'en fais pas!
   La-la, la vie c'est comme ça.
   
   I then also translate the last two lines, in swapped order, at 0:16 the following night:
   
   Pour t'amuser un peu,
   Prends Obladi-blada.
   
   I only get back to it years later, on 17/10/25, finishing the job at 1:44-2:16; it would appear I lost a tweak that was in IAFI, namely «17/3/25 16:59 I change c'est to va: «La vie va comme ça»», as per IAFI. Also, «T'es très belle en vérité» didn't fit the tune, so at 23:40 on 24/10/25 I changed it to «Ton visage me plaît».

We then have tweaks from the recording day of Italian and Greek, namely 30/9/23:

• First, I realize it's yard not home, so I fix Που στο σπίτι τρέχουν / Το της οικογένειας Δζόνζ» at 11:59…
• …«që vrapojn' në sht'pin'» at 11:59…
• …and «Per la casa» at 12:01;
• Finally, since Google says it's tregún not trégun, I change «në tregun ka» at 13:44…
• And since it also says gardhín not gárdhin, «në gardhin» gets its elision.

So let's see this song, shall we?

Desmond has a barrow in the marketplace Molly is the singer in a band Desmond says to Molly, "Girl, I like your face" And Molly says this as she takes him by the hand Chorus: Ob-la-di, ob-la-da Life goes on, brah La, la, how the life goes on 2x Desmond takes a trolley to the jeweler's store Buys a 20 carat golden ring (ring) Takes it back to Molly waiting at the door And as he gives it to her, she begins to sing (sing) Chorus (la la la, yeah) In a couple of years They have built a home, sweet home With a couple of kids running in the yard Of Desmond and Molly Jones (ha-ha-ha-ha-ha-ha) Happy ever after in the market place Desmond lets the children lend a hand (arm, leg) Molly stays at home and does her pretty face And in the evening, she still sings it with the band (yes) Chorus In a couple of years They have built a home, sweet home With a couple of kids running in the yard Of Desmond and Molly Jones (hey) Happy ever after in the market place Molly lets the children lend a hand Desmond stays at home and does his pretty face And in the evening, she's a singer with the band (yeah) Chorus (yeah) And if you want some fun Take Ob-la-di-bla-da Thank you Ο Ντέσμοντ ένα κιόσκι έχει στην αγορά, Η Μόλλυ σε συγκρότημα τραγουδά. Λέει στην Μόλλυ ο Ντέσμοντ· "'σύ μ' αρέσεις, αχ!", Κι η Μόλλη λέει, ενώ το χέρι του κρατά· Επωδός· Ο-μπλα-ντί, ο-μπλα-ντά, Έτσι, άσ' τα! Έτσ' είν' η ζωή, λα-λα! (2x) Ο Ντέσμοντ πάει με τρόλεϋ στα κοσμήματα Ν' αγοράσει δαχτυλίδι, ναι. Πάλι πάει στην Μόλλυ εκεί στην πόρτα, και Ενώ σ' αυτήν το δίνει, εκείνη τραγουδά· Επωδός Δύο χρόνι' έπειτα Έχουν σπίτι αυτοί γλυκό, Κι έχουνε δυο παιδιά Που τρέχουν στην αυλή Την της οικογένειας Δζόνζ. Χαίρονται για πάντα αυτοί στην αγορά, Ο Ντέσμοντ βοηθάτ' απ' τα παιδιά, Φορά στο σπίτι η Μόλλυ λίγο μακιγιάζ, Το βράδυ ακόμη στο συγκρότημα τραγουδά Επωδός Δύο χρόνι' έπειτα Έχουν σπίτι αυτοί γλυκό, Κι έχουνε δυο παιδιά Που τρέχουν στην αυλή Την της οικογένειας Δζόνζ. Χαίρονται για πάντα αυτοί στην αγορά, Η Μόλλυ βοηθάτ' απ' τα παιδιά, Φορά στο σπίτι ο Ντέσμοντ λίγο μακιγιάζ, Το βράδυ ακόμη αυτή στο συγκρότημα τραγουδά. Επωδός Με κέφι να περνάς, Πάρ' Ο-μπλα-ντί-μλα-ντά! Desmond al mercato ha il suo mini-stand, Molly è la cantante in una band. Desmond dice a Molly «Sei bellissima!», E lei lo prende per la mano e poi gli fa: Rit. Ob-la-di, o-bla-da, È la vita! La, la vita è questa qua. Desmond col carrello dal gioiellere va Un anello d'oro per comprar. Poi lo porta a Molly che alla porta sta, E mentre glielo mette al dito, lei gli fa: Rit. Ed in un paio di annetti Una dolce casa han lor Con due bimbi che corrono Nel giardino Di Desmond e Molly Jones Per sempre contenti al mercato là, Desmond dai bambini si fa aiutar. Molly resta a casa per truccarsi un po', E poi la sera nel suo gruppo canta ancor. Rit. Ed in un paio di annetti Una dolce casa han lor Con due bimbi che corrono Nel giardino Di Desmond e Molly Jones Per sempre contenti al mercato là, Molly dai bambini si fa aiutar. Desmond resta a casa per truccarsi un po', E poi la sera lei nel gruppo canta ancor. Rit. Per divertirti un po', Vai di O-bla-di-bla-da!

Desmond në tregun ai ka një tavolin', Molly ësh këngëtari në një grup. Desmond i thot' Molly: «Vajz', më pelqesh ti!», Dhe Molly, tu marr' dorën e tij, thot' kështu: Refren Ob-la-di, ob-la-da K'shtu ësh jeta! La la, ikën jeta k'shtu. 2x Desmond shkon në dyqan bizhuterish, Edhe e blen një unaz' e art'. (ar-art') Ia sjell Molly që nga dera o tu prit', Edhe ndërsa ia jep, ajo fillon k'to kâjk: (kâjk!) Refren (la la la, yeah) Dhe pas dy vitevet, Kon' ndërtu ata sthëpi Edhe kon' dy fëmij' që vrapojn' n' gardhin E Desmond dhe Mōllȳ (Jones ha ha ha ha ha ha ha) Jon' n' përjet' të lumtur në tregun ata, Edhe Desmond f'mijët i ndihmon, Molly rrin në sht'pin dhe vendos makijazh, Në mbrëma ajo në grup akoma po këndon. (yes!) Refren (hey!) Dhe pas dy vitevet, Kon' ndërtu ata sthëpi (sht'pi, s-h-të-pi) Edhe kon' dy fëmij' që vrapojn' n' gardhin E Desmond dhe Mōllȳ (Jones ha ha ha ha ha ha ha) Jon' n' përjet' të lumtur në tregun ata, Edhe Molly f'mijët i ndihmon, Desmond rrin në sht'pin dhe vendos makijazh, Në mbrëma ajo në grup akoma po këndon. (yeah!) Refren (hey) Nëse don m'u argëtu, (ha ha ha ha ha ha ha) Merr Ob-la-di-bla-da (ha ha ha ha ha ha ha ha) Thank you (ha ha) O Ntésmont éna kióski éxë sti̱n agorá, I̱ Mólly se sygkróti̱ma tragoydá. Léë sti̱n Mólly o Ntésmont: "'sý m' arésës, akh!", Ki i̱ Mólli̱ léë, enṓ to khéri toy kratá: Epōdós: O-mpla-ntí, o-mpla-ntá, Étsi, ás' ta! Éts' ë́n' i̱ zōí̱, la-la! (2x) O Ntésmont páë me tróleÿ sta kosmí̱mata N' agorásë dakhtylídi, nä. Páli páë sti̱n Mólly ekë́ sti̱n pórta, kä Enṓ s' af̆tí̱n to dínë, ekë́ni̱ tragoydá: Epōdós Dýo khróni' épëta Ékhoyn spíti af̆tö́ glykó, Ki ékhoyne dyo pädiá Poy trékhoyn sti̱n av̆lí̱ Ti̱n ti̱s ökogénëas Dzónz. Khä́rontä gia pánta af̆tö́ sti̱n agorá, O Ntésmont boi̱thát' ap' ta pädiá, Forá sto spíti i̱ Mólly lígo makigiáz, To vrády akómi̱ sto sygkróti̱ma tragoydá Epōdós Dýo khróni' épëta Ékhoyn spíti af̆tö́ glykó, Ki ékhoyne dyo pädiá Poy trékhoyn sti̱n av̆lí̱ Ti̱n ti̱s ökogénëas Dzónz. Khä́rontä gia pánta af̆tö́ sti̱n agorá, I̱ Mólly boi̱thát' ap' ta pädiá, Forá sto spíti o Ntésmont lígo makigiáz, To vrády akómi̱ af̆tí̱ sto sygkróti̱ma tragoydá. Epōdós Me kéfi na pernás, Pár' O-mpla-ntí-mpla-ntá! Desmond il a un petite brouette au marché, Molly elle est la chanteuse d'un groupe. Desmond dit à Molly «Ton visage me plaît!», Et en prenant sa main ellė lui dit tout court: Réf. Ob-la-di, o-bla-da, Ne t'en fais pas! La-la, la vie va comme ça. Desmond porte sa brouette dans une bijouterie, Un anneau tout d'or il veut acheter, Il le porte à Molly qui à la porte est restée, Pendant qu'il le mef sur son doigt, elle chante ainsi: Réf. Et dans une pairé d'années Ils ont une douce maison Avec une pairé d'gamins Qui courent dans le jardin De Desmond et Molly Jones Maintenant ils vivėnt heureux au marché, Desmond par les gamins s'fait aider, Molly reste à la maison pout s'maquiller E dans son groupe le soir encore elle va chanter. Réf. Et dans une pairé d'années Ils ont une douce maison Avec une pairé d'gamins Qui courent dans le jardin De Desmond et Molly Jones Maintenant ils vivent tous heureux au marché, Molly par les gamins s'fait aider, Desmond reste à la maison pout s'maquiller E dans ce groupė-là le soir il va chanter. Réf. Pour t'amuser un peu, Prends O-bla-di-bla-da!

Che siano una cosa sola

Oggi abbiamo una canzone italiana, Che siano una sola cosa, tradotta in Greco. Al solito, sentiamo che dice IAFI:

On 15/4/23, as the exercises go on, this song gets performed, and I start trying a Greek translation. 17:08-17:17 I produce: [Il 15/4/23, mentre si svolgono gli esercizi [spirituali], viene eseguita questa canzone, e io attacco a tentare una traduzione greca. Alle 17:08-17:17 produco:]

Να είναι μόν' ένα πράγμα
Να ο κόσμος είδει,
Να είναι μια αγάπη (μόνο μια αγάπη)
Να ο κόσμος πιστεύει.

Η μηχανή του κόσμου

Then on the evening of 18/4/23 I do some more work, ending up with the following after a couple tweaks the next day: [Poi la sera del 18/4/23 faccio un po' più di lavoro, arrivando a quanto segue dopo un paio di modifichette il giorno seguente:]

Επωδός·
Να 'ναι ένα ενιαίο πράγμα
Ώστε ο κόσμος νά 'δει,
Να 'ναι μια ενιαία αγάπη
Ὤστε ο κόσμος να πιστεύει.

Η μηχανή του κόσμου,
Των λαών η ιδιοτέλεια/αυτοφιλία
Schiacciano e condannano
Chi non vale niente.
Davanti a queste cose
C'è chi maledice,
Μα ο γιος του Παντοκράτωρος,
Χριστός, τι να ζητάει?

I send that to Kika at 12:39, and she replies at 15:44/45 with the following full translation I have yet to digest (I don't think it quite fits the tune, or I'd adopt it as is, provided it rhymed enough): [Lo mando alla Kika alle 12:39, e lei risponde alle 15:44/45 con la seguente traduzione completa che devo ancora digerire (non credo stia tanto nella musica, sennò l'adotterei così com'è, ammesso che rimi abbastanza):]

Νά ‘ναι (όλοι) όλα ένα,
Ώστε ο κόσμος να δει.
Νά ‘ναι μι’ αγάπη μόνο /νά’ναι όλα μι’αγάπη,
Ώστε ο κόσμος να πιστέψει.

Τα γρανάζια του κόσμου,
Ο εγωισμός των ανθρώπων,
Συντρίβουν και καταδικάζουν
Όσους είναι ανάξιοι.
Σε τετοιες καταστάσεις
Κάποιοι καταριούνται.
Μα ο Υιός του Παντοδύναμου,
Ο Χριστός, τι ζητάει?

Όλη η κακία μας
Ας μην φέρει απογοήτευση,
Έχουμε την υπόσχεση
Ότι θα σώσει τα πάντα;
Κι αν ακόμα η προσπάθειά σου
Δείχνει να μην αλλάζει τίποτα,
Όχι, μην σταματάς,
Αλλά σαν τον Χριστό προσευχήσου.

I finally get around to reading this the night between 24 and 25/4/23, completing the translation 0:16-0:42 and sending it to Kika. She replies the next morning and, with a little back and forth, within the day the following version is agreed upon: [Finalmente arrivo a legger questa cosa le notte tra il 24 e il 25/4/23, completando la traduzione alle 0:16-0:42 e mandandola alla Kika. Lei risponde la mattina seguente e, dopo un po' di avanti e indietro, entro la giornata concordiamo per la seguente versione:], che poi è la versione finale.

Bon, e allora vediamola mo'! Per ora vi metto Italiano e Greco affiancati, senza traslitterare quest'ultimo, così mi risparmio una valanga di a capo e l'intera traslitterazione. Prima o poi probabilmente arriverò con un'altra traduzione "riempicolonna" e aggiungerò anche la traslitterazione.

Rit. Che siano una sola cosa Perché il mondo veda, Che siano un solo amore Perché il mondo creda. La macchina del mondo, L'egoismo della gente Schiacciano e condannano Chi non vale niente; Davanti a queste cose C'è chi maledice, Ma il Figlio del Potente, Cristo, cosa chiede? Rit. Tutto il nostro male Non ci porti delusione, Abbiamo la promessa Che tutto salverà, Ed anche se il tuo sforzo Non sembra cambiar niente, No, non ti fermare, Ma come Cristo prega: Rit.

Επωδός· Νά ‘ναι όλοι κι όλα ένα, Ώστε ο κόσμος να δει, Νά ‘ναι όλοι μι’αγάπη, Ώστε ο κόσμος να πιστέψει. Του κὀσμου τα γρανάζια, Των ανθρώπων ο εγωισμός Πάντα εκμηδενίζουν Όποιον είν' ανάξϊος. Σε τέτοιες καταστάσεις Καταριούνται κάποιοι, Μα ο Υιός του Παντοδύναμου, Ο Χριστός, τι θα ζητάει? Επωδός Όλη η κακία μας Ας μην φέρει απογοήτευση· Έχουμε την υπόσχεση Πως τα πάντα θα σωθούν. Κι αν τίποτα δεν νοιώθεις Ότι αλλάζεις, κι αν προσπαθώντας, Όχι, να μην πάψεις, Μα σαν τον Χριστό προσεύχου. Επωδός

Personale

Noooo! Davvero? Sto finalmente facendo la bozza di questo post? No perché è una traduzione (anzi sono due traduzioni) che ho iniziato (anzi iniziate) nel lontano 2021, ultimato tipo a maggio, e pianificato per luglio per il canale, e invece è già Settembre e questa povera canzone è stata ritardata all'inverosimile. Trattasi di Προσωπικό, canzone greca che dà il titolo al blog, e che ho tradotto in Italiano e in Francese. Al solito, sentiamo IAFI:

1. «On 26/10/21 I try to translate Prosōpikó to Italian. At 11:02 I have» (Il 26/10/21 cerco di tradurre Prosōpikó in Italiano. Alle 11:02 ho):
   
   Perché è difficile amāre,
   E ancor di più lo è amāre
   
   «At 11:03 I tweak l. 1 as «Perché è difficile assai amar», and at 11:05 I do another line «Una persona a lūngo», ending up with» (alle 11:03 modifico la riga 1 come «Perché è difficile assai amar», ed alle 11:05 faccio un'altra riga «Una persona a lūngo», arrivando ad avere):
   
   Perché è difficile amāre, / Perché è difficile assai amar
   E ancor di più lo è amāre
   Una persona a lūngo
   
   «I then decide to ditch this because it's awful, so I move to French. But that is not the end of it, because way later, at midnight on 14/12/21» (Decido poi di abbandonare 'sta cosa perché è tremenda, quindi mi sposto sul Francese. Ma questa non è la fine, perché molto più tardi, a mezzanotte del 14/12/21):
   
   Perché è difficile nutrīre amor,
   È ancor di più lo è nutrīre amor => nutrīrlo per
   La stessa persona a lūngo
   
   «And that's what I'm left with for a very long time. Finally, on 11/5/23, in a time period where I'm basically completing translation after translation, I decide to take this up again, and complete it between 16:05 and 16:57, with minor tweaks later that day and while assembling the complete version, which is ready by 0:51 the following night» (E questo è il punto cui resto per un tempo molto lungo. Finalmente, l'11/5/23, in un periodo in cui sto completando traduzione dopo traduzione, decido di riprendere questa, e la completo tra le 16:05 e le 16:57, con modifichette minori più tardi quel giorno e mentre assemblo la versione completa, che è pronta per le 0:51 della notte seguente), e segue la versione in questione, che è quella sotto ma con «Con forza / (E attrazione) / E attrazione / (E pelle calda) / E pelle calda»; la versione corrente di questo arriva solo alle 11:35 del giorno seguente;
2. «Same song as above, when I ditch the Italian (ha ha ha!), I do the first three lines» (Stessa canzone di sopra, quando abbandono l'Italiano (ha ha ha!), faccio le prime tre righe) (11:06 26/10/21):
   
   Parce qu'il est bien difficilė d'aimer,
   Et même plus difficilė d'aimer
   La mêmė personne pour longtemps,
   
   «In the dead of night, at 5:11 on 13/12/21, I remake it almost identical, the only difference being c'est vs. il est, which I decide to keep, meaning that for now we have» (Nel cuore della notte, alle 5:11 del 13/12/21, le rifaccio quasi identiche, con unica differenza il c'est al posto di il est, che decido di tenere, il che significa che per ora abbiamo):
   
   Parce que c'est bien difficilė d'aimer,
   Et même plus difficilė d'aimer
   La mêmė personne pour longtemps,
   
   «My plan to publish this in 2021, soon after starting it in fact, definitely went down the drain :). Indeed, I only took this up just after the Italian, on 11/5/23, doing the sung parts 16:57-17:04 and the spoken parts 17:06-17:30, with minor tweaks the following night, leading to the following complete version» (Il mio piano di pubbliare questa cosa nel 2021, anzi poco dopo averla iniziata, è sicuramente finito nel cesso :). Infatti, l'ho ripresa solo dopo l'Italiano, l'11/5/23, facendo le parti cantate alle 16:57-17:04 e quelle parlate alle 17:06-17:30, con modifichette minori la notte seguente, portando alla seguente versione completa), che è quella di sotto.

Quanto sopra si riferisce solo alle versioni originali. Quelle del video hanno delle modifiche in più fatte durante la registrazione.
Bon, e dunque andiamo a vedere questa canzone!

• Versione originale
• Versione del video

[Επειδή η ζωή μας Μοιάζει να φυραίνει μέρα τη μέρα, Δε θα πει πως η ζωή Δεν αξίζει τον κόπο.] * Επειδή είναι δύσκολο να αγαπάς [Επειδή σ’ αγάπησα και σ’ αγαπώ ακόμη Κι ας μην είν' όπως παλιά,] Και δυσκολότερο να αγαπάς Τον ίδιον άνθρωπο για καιρό, [Δε θα πει πως πέθανε η αγάπη,] Κάνοντας σχέδια και παιδιά, Καυγάδες, εκδρομές, [Κουράστηκε ίσως, σαν κάθε τι που ανασαίνει.] Έρωτα, χρέη, αρρώστιες, Χριστούγεννα, Κυριακές [Επειδή περνάς δύσκολες μέρες Σκυμμένη σε χαρτιά και γκρεμούς Που δεν κλείνουν Κι εγώ πηδάω, τις νύχτες επι κοντώ Λαχανιάζοντας, Δε θα πει πως δεν έχουμε Μοίρα στον ήλιο, Έχουμε την δική μας μοίρα.] Επειδή είναι δύσκολο να αγαπάς [Επειδή πότε είσαι άνθρωπος Και πότε πουλί,] Και δυσκολότερο να αγαπάς Τον ίδιο άνθρωπο για καιρό, [Φέρνεις στο σπίτι μας ψωμάκια μικρά της αποδημίας] Κάνοντας σχέδια και παιδιά, Καυγάδες, εκδρομές, [Κι ελπίζουνε τα παιδιά μας Σε καλύτερες μέρες.] Έρωτα, χρέη, αρρώστιες, Χριστούγεννα, Κυριακές [Επειδή λες όχι, και ναι, Κι ύστερα όχι, και δεν παραιτείσαι, Ντρέπομαι για τα ίσως, Τα μπορεί τα δικά μου, Μα δεν αλλάζω, Όπως δεν αλλάζεις κι εσύ, Αν αλλάζαμε, Θα ήμαστε πάλι δυο άγνωστοι Και θα αρχίζαμε 'πό το άλφα. Τώρα ξέρουμε πού πονάς, Πού σωπαίνω, Πότε γίνεται παύση, Διακοπή αίματος Και κρυώνουν τα σώματα, Ώσπου μυστικό δυναμό Να φορτίσει πάλι τα μέλη με δύναμη] Με δύναμη [Κι έλξη] Κι έλξη [Και δέρμα ζεστό.] Και δέρμα ζεστό. Επειδή είναι δύσκολο να αγαπάς [Επειδή σ’ αγάπησα και σ’ αγαπώ ακόμη Κι ας μην είν' όπως παλιά,] Και δυσκολότερο να αγαπάς Τον ίδιον άνθρωπο για καιρό, [Δε θα πει πως πέθανε η αγάπη,] Κάνοντας σχέδια και παιδιά, Καυγάδες, εκδρομές, [Κουράστηκε ίσως, σαν κάθε τι που ανασαίνει.] Έρωτα, χρέη, αρρώστιες, Χριστούγεννα, Κυριακές [Και Δευτέρες, νόστιμα φαγητά Και καμένα, θέλοντας ο καθένας Να είν' ο άλλος γεφύρι και δέντρο Και πηγή κατά τις περιστάσεις Ή και όλα μαζί στην ανάγκη,] Δε θα πει πως εγώ Δεν μπορώ να γίνω κάτι Από αυτά ή και όλα μαζί Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Ας είμαι, λέω, σκλάβος Ας είμαι, λέω, σκλάβος Της αγάπης. [Δε θα πει πως δεν έχουμε Μοίρα στον ήλιο, Έχουμε την δική μας μοίρα.] Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Ας είμαι, λέω, σκλάβος Ας είμαι, λέω, σκλάβος Της αγάπης. (Solo perché la nostra vita Pare seccarsi giorno dopo giorno, Non vuol dire che la vita Non valga la pena.) * Dato che è difficile nutrīre amor, (Siccome ti ho amata e ti amo ancora Anche se non è come una volta) È ancor di più lo è nutrīre amor A lungo per la stessa persona (Non vuol dire che l'amore sia morto) Facendo figli e progetti E litigi e gite speciali, (Magari s'è stancato, come tutto ciò che respira) L'amore, debiti, malanni, Domeniche, Natali (Solo perché passi giorni difficili, Piegata tra scartoffie, e scogli Che non si chiudono, E io salto coll'asta ogni notte, Ansimando, Non vuol dire che non abbiamo Una parte del sole, Abbiamo la nostra parte.) Dato che è difficile nutrīre amor, (Siccome a volte sei persona, E a volte uccello,) È ancor di più lo è nutrīre amor A lungo per la stessa persona (Porti a casa nostra Delle pagnotte per il loro viaggio,) Facendo figli e progetti E litigi e gite speciali, (E i nostri bambini sperano In giorni migliori.) L'amore, debiti, malanni, Domeniche, Natali (Siccome tu dici no, e sì, E poi no, e non ti arrendi, Mi vergogno dei "forse", Dei miei stessi "può darsi", Ma non cambio, Come non cambi neanche tu, Se cambiassimo, Saremmo di nuovo due sconosciuti, E cominceremmo da capo. Ora sappiamo dove tu soffri, Dove io taccio, Quando capita una pausa, Un'interruzione del flusso sanguigno E ci si gelano i corpi, Finché una dinamo segreta Ci ricarica di nuovo le membra con forza.) Di forza (Di attrazione) Di attrazione (Di pelle calda) Di pelle calda * (E i Lunedì, e cibi deliziosi E bruciati, volendo ciascuno di noi Che l'altro sia un ponte e un albero E una sorgente a seconda delle circostanze O anche tutto insieme se c'è bisogno) Non vuol dire che io Non possa diventare una Di quelle cose o anche tutte insieme Pur se dovrò passare Una vita in schiavitù, Pur se dovrò passare Una vita in schiavitù, Che io sia dunque schiavo Che io sia dunque schiavo Dell'amore (Non vuol dire che non abbiamo Una parte del sole, Abbiamo la nostra parte.) Pur se dovrò passare Una vita in schiavitù, Pur se dovrò passare Una vita in schiavitù, Che io sia dunque schiavo Che io sia dunque schiavo Dell'amore

[Epëdí̱ i̱ zōí̱ mas Möázë na fyrä́në méra ti̱ méra, De tha pë pōs i̱ zōí̱ Den axízë ton kópo.] * Epëdí̱ ë́nä dýskolo na agapás [Epëdí̱ s' agápi̱sa kä s' agapṓ akómi̱ Ki as mi̱n ë́n' ópōs paliá,] Kä dyskolótero na agapás Ton ídio ánthrōpo gia käró, [De tha pë pōs péthane i̱ agápi̱,] Kánontas skhédia kä pädiá, Kav̆gádes, ekdromés, [Koyrásti̱ke ísōs, san káthe ti poy anasä́në.] Érōta, khréi̱, arrṓsties, Khristoýgenna, Kyriakés [Epëdí̱ pernás dýskoles méres Skymméni̱ se khartiá kä gkremoýs Poy den klënoyn Ki egṓ pi̱dáō, tis nýkhtes epi kontṓ Lakhaniázontas, De tha pë pōs den ékhoyme Mö́ra ston í̱lio, Ékhoyme ti̱n dikí̱ mas më́ra.] Epëdí̱ ë́nä dýskolo na agapás [Epëdí̱ póte ë́sä ánthrōpos Kä póte poylí,] Kä dyskolótero na agapás Ton ídio ánthrōpo gia käró, [Férnës sto spíti mas Psōmákia mikrá ti̱s apodi̱mías] Kánontas skhédia kä pädiá, Kav̆gádes, ekdromés, [Ki elpízoyne ta pädiá mas Se kalýteres méres.] Érōta, khréi̱, arrṓsties, Khristoýgenna, Kyriakés [Epëdí̱ les ókhi, kä nä, Ki ýstera ókhi, kä den parätë́sä, Ntrépomai gia ta ísōs, Ta mporë́ ta diká moy, Ma den allázō, Ópōs den allázës ki esý, An allázame, Tha í̱maste páli dyo ágnōstö Kä tha arkhízame 'pó to álfa. Tṓra xéroyme poý ponás, Poý sōpä́nō, Póte gínetä páf̆si̱, Diakopí̱ ä́matos Kä Kryṓnoyn ta sṓmata, Óspoy mystikó dynamó Na fortísë páli ta méli̱ me dýnami̱] Me dýnami̱ [Ki élxi̱] Ki élxi̱ [Kä dérma zestó.] Kä dérma zestó. Epëdí̱ ë́nä dýskolo na agapás [Epëdí̱ s' agápi̱sa kä s' agapṓ akómi̱ Ki as mi̱n ë́n' ópōs paliá,] Kä dyskolótero na agapás Ton ídio ánthrōpo gia käró, [De tha pë pōs péthane i̱ agápi̱,] Kánontas skhédia kä pädiá, Kav̆gádes, ekdromés, [Koyrásti̱ke ísōs, san káthe ti poy anasä́në.] Érōta, khréi̱, arrṓsties, Khristoýgenna, Kyriakés [Kä Def̆téres, nósti̱ma fagi̱tá Kä kaména, thélontas o kathénas Na ë́n' o állos gefýri kä déntro Kä pi̱gí̱ katá tis peristásës Í̱ kä óla mazí sti̱n anágki̱,] De tha pë pōs egṓ Den mporṓ na gínō káti Apó af̆tá í̱ kä óla mazí Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá As ë́maä, léō, sklávos As ë́maä, léō, sklávos Της αγάπης. [De tha pë pōs den ékhoyme Mö́ra ston í̱lio, Ékhoyme ti̱n dikí̱ mas më́ra.] Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá As ë́maä, léō, sklávos As ë́maä, léō, sklávos Της αγάπης. (Seulement parce que nôtre vie Parait se sécher jour à jour, Ça veut pas dire que la vie Ne vaille pas la peine) * Comme qu'il est bien difficilė d'aimer, (Seulement parce que je t'ai aimée et je t'aime encore, Même si c'est pas comme une fois,) Et même plus difficilė d'aimer La même personnė pour longtemps (Ça veut pas dire que l'amour est mort,) En faisant des projets, des enfants, Des excursions et des querelles, (Il est peut-être fatigué, comme toute les chose qui respirent.) L'amour, des dettes, des maladies, Des Dimanches, des Noëls. (Seulement parce que tu passes des jours difficiles, Accroupie entre paperasses et écueils Qui ne se ferment pas E moi je saute chaque nuit avec une perche, En haletant, Ça veut pas dire que l'on n'a pas Una part du soleil, On a bien nôtre part.) Comme qu'il est bien difficilė d'aimer, (Seulement parce que parfois tu es homme, Et parfois oiseau,) Et même plus difficilė d'aimer La même personnė pour longtemps (Et t'apportes à notre maison Des petits pains pour leur voyage,) En faisant des projets, des enfants, Des excursions et des querelles, (Et les enfants espèrent En des jours meilleurs,) L'amour, des dettes, des maladies, Des Dimanches, des Noëls. (Seulement parce que tu dis non, et oui, Et enfin non, et tu ne te rends pas, J'ai honte des "peut-être", De mes propres "il se peut", Mais je ne change pas, Comme même toi tu ne changes pas, Si l'on changeait, L'on serait de nouveau deux inconnus, Et l'on recommencerait du début. Maintenant l'on sait où tu suffres, Où je me tais, Quand il se passe un pause, Une interruption du flux du sang, Et nos corps se font froids, Jusqu'à ce qu'une dynamo secrète Nous recharge encore les membres avec la force) Avec d'la force, (D'l'attraction,) D'l'attraction, (De la peau chaude.) De la peau chaude. * (Et les Lundis, des aliments délicieux Et des brûlés, voulant chacun de nous Que l'autre soit un pont et un arbre Et une source selon les circumstances, Ou même tout ensemble dans le besoin) Ça veut pas dire que moi Je ne puisse devenir rien De tout ça, ou même tout ensemble Et même si j' devrais vivre Toute la vie en esclavage, Et même si j' devrais vivre Toute la vie en esclavage, Que je puisse être esclavė Que je puisse être esclavė De l'amour (Ça veut pas dire que l'on n'a pas Una part du soleil, On a bien nôtre part.) Et même si j' devrais vivre Toute la vie en esclavage, Et même si j' devrais vivre Toute la vie en esclavage, Que je puisse être esclavė Que je puisse être esclavė De l'amour

[Επειδή η ζωή μας Μοιάζει να φυραίνει μέρα τη μέρα, Δε θα πει πως η ζωή Δεν αξίζει τον κόπο.] * Επειδή είναι δύσκολο να αγαπάς [Επειδή σ’ αγάπησα και σ’ αγαπώ ακόμη Κι ας μην είν' όπως παλιά,] Και δυσκολότερο να αγαπάς Τον ίδιον άνθρωπο για καιρό, [Δε θα πει πως πέθανε η αγάπη,] Κάνοντας σχέδια και παιδιά, Καυγάδες, εκδρομές, [Κουράστηκε ίσως, σαν κάθε τι που ανασαίνει.] Έρωτα, χρέη, αρρώστιες, Χριστούγεννα, Κυριακές [Επειδή περνάς δύσκολες μέρες Σκυμμένη σε χαρτιά και γκρεμούς Που δεν κλείνουν Κι εγώ πηδάω, τις νύχτες επι κοντώ Λαχανιάζοντας, Δε θα πει πως δεν έχουμε Μοίρα στον ήλιο, Έχουμε την δική μας μοίρα.] Επειδή είναι δύσκολο να αγαπάς [Επειδή πότε είσαι άνθρωπος Και πότε πουλί,] Και δυσκολότερο να αγαπάς Τον ίδιο άνθρωπο για καιρό, [Φέρνεις στο σπίτι μας ψωμάκια μικρά της αποδημίας] Κάνοντας σχέδια και παιδιά, Καυγάδες, εκδρομές, [Κι ελπίζουνε τα παιδιά μας Σε καλύτερες μέρες.] Έρωτα, χρέη, αρρώστιες, Χριστούγεννα, Κυριακές [Επειδή λες όχι, και ναι, Κι ύστερα όχι, και δεν παραιτείσαι, Ντρέπομαι για τα ίσως, Τα μπορεί τα δικά μου, Μα δεν αλλάζω, Όπως δεν αλλάζεις κι εσύ, Αν αλλάζαμε, Θα ήμαστε πάλι δυο άγνωστοι Και θα αρχίζαμε 'πό το άλφα. Τώρα ξέρουμε πού πονάς, Πού σωπαίνω, Πότε γίνεται παύση, Διακοπή αίματος Και κρυώνουν τα σώματα, Ώσπου μυστικό δυναμό Να φορτίσει πάλι τα μέλη με δύναμη] Με δύναμη [Κι έλξη] Κι έλξη [Και δέρμα ζεστό.] Και δέρμα ζεστό. Επειδή είναι δύσκολο να αγαπάς [Επειδή σ’ αγάπησα και σ’ αγαπώ ακόμη Κι ας μην είν' όπως παλιά,] Και δυσκολότερο να αγαπάς Τον ίδιον άνθρωπο για καιρό, [Δε θα πει πως πέθανε η αγάπη,] Κάνοντας σχέδια και παιδιά, Καυγάδες, εκδρομές, [Κουράστηκε ίσως, σαν κάθε τι που ανασαίνει.] Έρωτα, χρέη, αρρώστιες, Χριστούγεννα, Κυριακές [Και Δευτέρες, νόστιμα φαγητά Και καμένα, θέλοντας ο καθένας Να είν' ο άλλος γεφύρι και δέντρο Και πηγή κατά τις περιστάσεις Ή και όλα μαζί στην ανάγκη,] Δε θα πει πως εγώ Δεν μπορώ να γίνω κάτι Από αυτά ή και όλα μαζί Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Ας είμαι, λέω, σκλάβος Ας είμαι, λέω, σκλάβος Της αγάπης. [Δε θα πει πως δεν έχουμε Μοίρα στον ήλιο, Έχουμε την δική μας μοίρα.] Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Κι αν είναι να περάσω Μιαν ζωήν στη σκλαβιά Ας είμαι, λέω, σκλάβος Ας είμαι, λέω, σκλάβος Της αγάπης. (Solo perché la nostra vita Pare seccarsi giorno dopo giorno, Non vuol dire che la vita Non valga la pena.) * Dato che è difficile nutrīre amor, (Siccome ti ho amata e ti amo ancora Anche se non è come una volta) È ancor di più lo è nutrīre amor A lungo per la stessa persona (Non vuol dire che l'amore sia morto) Facendo figli e progetti E litigi e gite speciali, (Magari s'è stancato, come tutto ciò che respira) L'amore, debiti, malanni, Domeniche, Natali (Solo perché passi giorni difficili, Piegata tra scartoffie, e scogli Che non si chiudono, E io salto coll'asta ogni notte, Ansimando, Non vuol dire che non abbiamo Una parte del sole, Abbiamo la nostra parte.) Dato che è difficile nutrīre amor, (Solo perché a volte sei persona, E a volte uccello,) È ancor di più lo è nutrīre amor A lungo per la stessa persona (Porti a casa nostra Delle pagnotte per il loro viaggio,) Facendo figli e progetti E litigi e gite speciali, (E i nostri bambini sperano In giorni migliori.) L'amore, debiti, malanni, Domeniche, Natali (Siccome tu dici no, e sì, E poi no, e non ti arrendi, Mi vergogno dei "forse", Dei miei stessi "può darsi", Ma non cambio, Come non cambi neanche tu, Se cambiassimo, Saremmo di nuovo due sconosciuti, E cominceremmo da capo. Ora sappiamo dove tu soffri, Dove io taccio, Quando capita una pausa, Un'interruzione del flusso sanguigno E ci si gelano i corpi, Finché una dinamo segreta Ci ricarica di nuovo le membra di forza.) Di forza (Di attrazione) Di attrazione (Di pelle calda) Di pelle calda * (E i Lunedì, e cibi deliziosi E bruciati, volendo ciascuno di noi Che l'altro sia un ponte e un albero E una sorgente a seconda delle circostanze O anche tutto insieme se c'è bisogno) Non vuol dire che io Non possa diventare una Di quelle cose o anche tutte insieme Pur se dovrò passare Una vita in schiavitù, Pur se dovrò passare Una vita in schiavitù, Che io sia dunque schiavo Che io sia dunque schiavo Dell'amore (Non vuol dire che non abbiamo Una parte del sole, Abbiamo la nostra parte.) Pur se dovrò passare Una vita in schiavitù, Pur se dovrò passare Una vita in schiavitù, Che io sia dunque schiavo Che io sia dunque schiavo Dell'amore

[Epëdí̱ i̱ zōí̱ mas Möázë na fyrä́në méra ti̱ méra, De tha pë pōs i̱ zōí̱ Den axízë ton kópo.] * Epëdí̱ ë́nä dýskolo na agapás [Epëdí̱ s' agápi̱sa kä s' agapṓ akómi̱ Ki as mi̱n ë́n' ópōs paliá,] Kä dyskolótero na agapás Ton ídio ánthrōpo gia käró, [De tha pë pōs péthane i̱ agápi̱,] Kánontas skhédia kä pädiá, Kav̆gádes, ekdromés, [Koyrásti̱ke ísōs, san káthe ti poy anasä́në.] Érōta, khréi̱, arrṓsties, Khristoýgenna, Kyriakés [Epëdí̱ pernás dýskoles méres Skymméni̱ se khartiá kä gkremoýs Poy den klënoyn Ki egṓ pi̱dáō, tis nýkhtes epi kontṓ Lakhaniázontas, De tha pë pōs den ékhoyme Mö́ra ston í̱lio, Ékhoyme ti̱n dikí̱ mas më́ra.] Epëdí̱ ë́nä dýskolo na agapás [Epëdí̱ póte ë́sä ánthrōpos Kä póte poylí,] Kä dyskolótero na agapás Ton ídio ánthrōpo gia käró, [Férnës sto spíti mas Psōmákia mikrá ti̱s apodi̱mías] Kánontas skhédia kä pädiá, Kav̆gádes, ekdromés, [Ki elpízoyne ta pädiá mas Se kalýteres méres.] Érōta, khréi̱, arrṓsties, Khristoýgenna, Kyriakés [Epëdí̱ les ókhi, kä nä, Ki ýstera ókhi, kä den parätë́sä, Ntrépomai gia ta ísōs, Ta mporë́ ta diká moy, Ma den allázō, Ópōs den allázës ki esý, An allázame, Tha í̱maste páli dyo ágnōstö Kä tha arkhízame 'pó to álfa. Tṓra xéroyme poý ponás, Poý sōpä́nō, Póte gínetä páf̆si̱, Diakopí̱ ä́matos Kä Kryṓnoyn ta sṓmata, Óspoy mystikó dynamó Na fortísë páli ta méli̱ me dýnami̱] Me dýnami̱ [Ki élxi̱] Ki élxi̱ [Kä dérma zestó.] Kä dérma zestó. Epëdí̱ ë́nä dýskolo na agapás [Epëdí̱ s' agápi̱sa kä s' agapṓ akómi̱ Ki as mi̱n ë́n' ópōs paliá,] Kä dyskolótero na agapás Ton ídio ánthrōpo gia käró, [De tha pë pōs péthane i̱ agápi̱,] Kánontas skhédia kä pädiá, Kav̆gádes, ekdromés, [Koyrásti̱ke ísōs, san káthe ti poy anasä́në.] Érōta, khréi̱, arrṓsties, Khristoýgenna, Kyriakés [Kä Def̆téres, nósti̱ma fagi̱tá Kä kaména, thélontas o kathénas Na ë́n' o állos gefýri kä déntro Kä pi̱gí̱ katá tis peristásës Í̱ kä óla mazí sti̱n anágki̱,] De tha pë pōs egṓ Den mporṓ na gínō káti Apó af̆tá í̱ kä óla mazí Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá As ë́maä, léō, sklávos As ë́maä, léō, sklávos Της αγάπης. [De tha pë pōs den ékhoyme Mö́ra ston í̱lio, Ékhoyme ti̱n dikí̱ mas më́ra.] Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá Ki an ë́nä na perásō Mian zōí̱n sti̱ sklaviá As ë́maä, léō, sklávos As ë́maä, léō, sklávos Της αγάπης. (Seulement parce que nôtre vie Parait se sécher jour à jour, Ça veut pas dire que la vie Ne vaille pas la peine) * Comme il est bien difficilė d'aimer, (Comme je t'ai aimée et je t'aime encore, Même si ce n'est pas comme une fois,) Et même plus difficilė d'aimer La même personnė pour longtemps (Ça veut pas dire que l'amour est mort,) En faisant des projets, des enfants, Des excursions et des querelles, (Il est peut-être fatigué, comme toute les chose qui respirent.) L'amour, des dettes, des maladies, Des Dimanches et des Noëls. (Seulement parce que tu passes des jours difficiles, Accroupie entre paperasses et écueils Qui ne se ferment pas E moi je saute chaque nuit avec une perche, En haletant, Ça veut pas dire que l'on n'a pas Una part du soleil, On a bien nôtre part.) Comme il est bien difficilė d'aimer, (Comme parfois tu es homme, Et parfois oiseau,) Et même plus difficilė d'aimer La même personnė pour longtemps (T'apportes à notre maison Des petits pains pour leur voyage,) En faisant des projets, des enfants, Des excursions et des querelles, (Et nos enfants espèrent En des jours meilleurs.) L'amour, des dettes, des maladies, Des Dimanches et des Noëls. (Comme tu dis non, et oui, Et enfin non, et tu ne te rends pas, J'ai honte des "peut-être", De mes propres "il se peut", Mais je ne change pas, Comme même toi tu ne changes pas, Si l'on changeait, L'on serait de nouveau deux inconnus, Et l'on recommencerait du début. Maintenant l'on sait où tu suffres, Où je me tais, Quand il se passe un pause, Une interruption du flux du sang, Et nos corps se font froids, Jusqu'à ce qu'une dynamo secrète Nous recharge encore les membres avec la force) Avec d'la force, (D'l'attraction,) D'l'attraction, (De la peau chaude.) De la peau chaude. * (Et les Lundis, des aliments délicieux Et des brûlés, voulant chacun de nous Que l'autre soit un pont et un arbre Et une source selon les circumstances, Ou même tout ensemble dans le besoin) Ça veut pas dire que moi Je ne puisse devenir rien De tout ça, ou même tout ensemble Et même si j' devrais vivre Toute la vie en esclavage, Et même si j' devrais vivre Toute la vie en esclavage, Que je puisse être esclavė Que je puisse être esclavė De l'amour (Ça veut pas dire que l'on n'a pas Una part du soleil, On a bien nôtre part.) Et même si j' devrais vivre Toute la vie en esclavage, Et même si j' devrais vivre Toute la vie en esclavage, Que je puisse être esclavė Que je puisse être esclavė De l'amour