The Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Love, Worship and Death
Some Renderings from the Greek Anthology
Author: Rennell Rodd
Release Date: April 19, 2011 [EBook #35907]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK LOVE, WORSHIP AND DEATH ***
Produced by Andrea Ball & Marc D'Hooghe at
http://www.freeliterature.org (From images generously made
available by the Internet Archive.)
Among the many diverse forms of expression in which the Greek genius has been revealed to us, that which is preserved in the lyrics of the anthology most typically reflects the familiar life of men, the thought and feeling of every day in the lost ancient world. These little flowers of song reveal, as does no other phase of that great literature, a personal outlook on life, kindly, direct and simple, the tenderness which characterised family relations, the reciprocal affection of master and slave, sympathy with the domestic animals, a generous sense of the obligations of friendship, a gentle piety and a close intimacy with the nature gods, of whose presence, malignant or benign, the Greek was ever sensitively conscious. For these reasons they still make so vivid an appeal to us after a long silence of many centuries. To myself who have lived for some years in that enchanted world of Greece, and have sailed from island to island of its haunted seas, the shores have seemed still quick with the voices of those gracious presences who gave exquisite form to their thoughts on life and death, their sense of awe and beauty and love. There indeed poetry seems the appropriate expression of the environment, and there even still to-day, more than anywhere else in the world, the correlation of our life with nature may be felt instinctively; the human soul seems nearest to the soul of the world.
The poems, of which some renderings are here offered to those who cannot read the originals, cover a period of about a thousand years, broken by one interval during which the lesser lyre is silent. The poets of the elegy and the melos appear in due succession after those of the epic and, significant perhaps of the transition, there are found in the first great period of the lyric the names of two women, Sappho of Lesbos, acknowledged by the unanimous voice of antiquity, which is confirmed by the quality of a few remaining fragments, to be among the greatest poets of all times, and Corinna of Tanagra, who contended with Pindar and rivalled Sappho's mastery. The canon of Alexandria does not include among the nine greater lyrists the name of Erinna of Rhodes, who died too young, in the maiden glory of her youth and fame. The earlier poets of the melos were for the most part natives of
'the sprinkled isles,
Lily on lily that overlace the sea.'
Theirs is the age of the austerer mood, when the clean-cut marble outlines of a great language matured in its noblest expression. Then a century of song is followed by the period of the dramatists during which the lyric muse is almost silent, in an age of political and intellectual intensity.
A new epoch of lyrical revival is inaugurated by the advent of Alexander, and the wide extension of Hellenic culture to more distant areas of the Mediterranean. Then follows the long succession of poets who may generally be classified as of the school of Alexandria. Among them are three other women singers of high renown, Anyte of Tegea, Nossis of Locri in southern Italy, and Moero of Byzantium. The later writers of this period had lost the graver purity of the first lyric outburst, but they had gained by a wider range of sympathy and a closer touch with nature. This group may be said to close with Meleager, who was born in Syria and educated at Tyre, whose contact with the eastern world explains a certain suggestive and exotic fascination in his poetry which is not strictly Greek. The Alexandrian is followed by the Roman period, and the Roman by the Byzantine, in which the spirit of the muse of Hellas expires reluctantly in an atmosphere of bureaucratic and religious pedantry.
These few words of introduction should suffice, since the development of the lyric poetry of Greece and the characteristics of its successive exponents have been made familiar to English readers in the admirable work of my friend J.W. Mackail. A reference to his Select Epigrams from the Greek Anthology suggests one plea of justification for the present little collection of renderings, since the greater number of them have been by him translated incomparably well into prose.
Of the quality of verse translation there are many tests: the closeness with which the intention and atmosphere of the original has been maintained; the absence of extraneous additions; the omission of no essential feature, and the interpretation, by such equivalent as most adequately corresponds, of individualities of style and assonances of language. But not the least essential justification of poetical translation is that the version should constitute a poem on its own account, worthy to stand by itself on its own merits if the reader were unaware that it was a translation. It is to this test especially that renderings in verse too often fail to conform. I have discarded not a few because they seemed too obviously to bear the forced expression which the effort to interpret is apt to induce. Of those that remain some at least I hope approach the desired standard, failing to achieve which they would undoubtedly be better expressed in simple prose. And yet there is a value in rendering rhythm by rhythm where it is possible, and if any success has been attained, such translations probably convey more of the spirit of the original, which meant verse, with all which that implies, and not prose.
The arrangement in this little volume is approximately chronological in sequence. This should serve to illustrate the severe and restrained simplicity of the earlier writers as contrasted with the more complex and conscious thought, and the more elaborate expression of later centuries when the horizons of Hellenism had been vastly extended.
The interpretation of these lyrics has been my sole and grateful distraction during a period of ceaseless work and intense anxiety in the tragic years of 1914 and 1915.
R.R.
INDEX OF AUTHORS
MIMNERMUS—CARPE DIEM
SAPPHO—
I. A BITTER WORD
II. THE BELOVED PRESENCE
III. HESPER
IV. OUT OF REACH
ANACREONTICA—
I. LOVE'S CHALLENGE
II. BACCHANAL
III. HER PORTRAIT
IV. METAMORPHOSIS
V. APOLOGIA
UNKNOWN—ANACREON'S GRAVE
SIMONIDES—
I. ON THE SPARTANS
II. ON THE ATHENIANS
PLATO—
I. A GRAVE IN PERSIA
II. STARWORSHIP
III. THE UNSET STAR
IV. LAIS
PERSES—A RUSTIC SHRINE
ANYTE OF TEGEA—
I. A SHRINE BY THE SEA
II. THE GOD OF THE CROSS-ROADS
ADDAEUS—THE ANCIENT OX
ASCLEPIADES—THE PRAISE OF LOVE
MICIAS—A WAYSIDE FOUNTAIN
CALLIMACHUS—CAST UP BY THE SEA
NOSSIS—
I. ROSES OF CYPRIS
II. RINTHO'S GRAVE
LEONIDAS OF TARENTUM—
I. ERINNA
II. THE FOUNTAIN HEAD
DIONYSUS—THE ROSE OF YOUTH
DAMAGETUS—THEANO
ARCHIAS—
I. THE HARBOUR GOD
II. A GRAVE BY THE SEA
MELEAGER—
I. LOVE'S QUIVER
II. THE CUP
III. ZENOPHILE
IV. LOVE AND DEATH
V. LOVE'S MALICE
VI. ASCLEPIAS
VII. HELIODORA
VIII. THE WREATH
IX. LIBATION
X. THE GRAVE OF HELIODORA
XI. HIS EPITAPH
CRINAGORAS—ROSES IN WINTER
JULIUS POLYAENUS—
AN EXILE'S PRAYER
ANTIPATER OF THESSALONICA—
A GRAVE AT OSTIA
UNKNOWN—
FRIENDSHIP'S EPITAPH
UNKNOWN—
THE COUNSEL OF PAN
BÉNITIER
THE END OF THE COMEDY
STRATO—THE KISS
AMMIANUS—THE LORD OF LANDS
ALPHEUS—MYCENAE
MACEDONIUS—THE THRESHOLD
NOTES
MIMNERMUS
7TH CENTURY B.C.
CARPE DIEM
Hold fast thine youth, dear soul of mine, new lives will come to birth,
And I that shall have passed away be one with the brown earth.
SAPPHO
7TH AND 6TH CENTURY B.C.
I
A BITTER WORD
Dying thou shalt lie in nothingness, nor after
Love shall abide here nor memory of thee;
For thou hast no portion in the roses of Pieria;
But even in the nether world obscurely shalt thou wander
Flitting hither thither with the phantoms of the dead.
Note 1
II
THE BELOVED PRESENCE
Blest as the Gods are esteem I him who alway
Sits face to face with thee and watching thee forgoes not
The voice that is music and the smile that is seduction,
Smile that my heart knows
Fluttered in its chambers. For lo, when I behold thee
Forthwith my voice fails, my tongue is tied in silence,
Flame of fire goes through me, my ears are full of murmur,
Blinded I see naught:
Sweat breaketh forth on me, and all my being trembles,
Paler am I grown than the pallor of the dry grass,
Death seemeth almost to have laid his hand upon me.—
Then I dare all things.
Note 2
III
HESPER
Thou, Hesper, bringest homeward all
That radiant dawn sped far and wide:
The sheep to fold, the goat to stall,
The children to their mother's side.
IV
OUT OF REACH
Like the apple that ripens rosy at the end of a branch on high,
At the utmost end of the utmost bough,
Which those that gather forgot till now.
Nay, did not forget, but only they never might come thereby.
ANACREONTICA
ANACREON, 6TH CENTURY B.C.
I
LOVE'S CHALLENGE
Love smote me with his jacinth wand and challenged me to race,
And wore me down with running till the sweat poured off my face,
Through breaks of tangled woodland, by chasms sheer to scale,
Until my heart was in my lips and at the point to fail.
Then as I felt his tender wings brush lightly round my head,
''Tis proven that thou lackest the strength to love,' he said.
Note 3
II
BACCHANAL
When Bacchus hath possessed me my cares are lulled in wine,
And all the wealth of Croesus is not more his than mine:
I crown my head with ivy, I lift my voice to sing,
And in my exultation seem lord of every thing.
So let the warrior don his arms, give me my cup instead,
If I must lie my length on earth, why better drunk than dead.
III
HER PORTRAIT
Master of all the craftsmen,
Prince of the Rhodian art,
Interpret, master craftsman,
Each detail I impart,
And draw as were she present
The mistress of my heart.
First you must match those masses
Of darkly clustered hair,
And if such skill be in your wax
The scent that harbours there;
And where the flowing tresses cast
A warm-toned shadow, trace
A forehead white as ivory,
The oval of her face.
Her brows you must not quite divide
Nor wholly join, there lies
A subtle link between them
Above the dark-lashed eyes.
And you must borrow flame of fire
To give her glance its due,
As tender as Cithera's
And as Athena's blue.
For cheek and nostril rose-leaves
And milk you shall enlist,
And shape her lips like Peitho's
Inviting to be kissed.
Let all the Graces stay their flight
And gather round to deck
The outline of her tender chin,
The marble of her neck.
And for the rest—bedrape her
In robe of purple hue,
With here and there to give it life
The flesh tint peeping through.
Now hold thy hand,—for I can see
The face and form I seek,
And surely in a moment's space
I think your wax will speak.
Note 4
IV
METAMORPHOSIS
If she who, born to Tantalus,
As Niobe we know,
Was turned to stone among the hills
Of Phrygia long ago;
If Proene by such magic change
Was made a bird that flies,
Let me become the mirror
That holds my lady's eyes!
Or let me be the water
In which your beauty bathes,
Or the dress which clinging closely
Your gracious presence swathes;
Or change me to the perfume
You sprinkle on your skin,
Or let me be the pearl-drop
That hangs beneath your chin;
And if not these the girdle
You bind below your breast;
Or be at least the sandal
Your little foot hath pressed.
V
APOLOGIA
The brown earth drinks from heaven, and from the earth the tree,
The sea drinks down the vapour, and the sun drinks up the sea,
The moon drinks in the sunlight; now therefore, comrades, say
What fault have you to find in me if I would drink as they?
AUTHOR UNKNOWN
ANACREON'S GRAVE
You that pass this place of graves
Pause and spill a cup for me,
For I hold Anacreon's ashes,
And would drink as once would he.
SIMONIDES
556-467 B.C.
THE PLATAEAN EPITAPHS
I
ON THE SPARTANS
These who with fame eternal their own dear land endowed
Took on them as a mantle the shade of death's dark cloud;
Yet dying thus they died not, on whom is glory shed
By virtue which exalts them above all other dead.
II
ON THE ATHENIANS
If to die nobly be the meed that lures the noblest mind,
Then unto us of all men in this was fortune kind.
For Greece we marched, that freedom's arm should ever round her fold;
We died, but gained for guerdon renown that grows not old.
PLATO
429-347 B.C.
I
A GRAVE IN PERSIA
Far from our own Ægean shore
And the surges booming deep,
Here where Ecbatana's great plain
Lies broad, we exiles sleep.
Farewell, Eretria the renowned,
Where once we used to dwell;
Farewell, our neighbour Athens;
Beloved sea, farewell!
Note 5
II
STARWORSHIP
Thou gazest starward, star of mine, whose heaven I fain would be,
That all my myriad starry eyes might only gaze on thee.
III
THE UNSET STAR
Star that didst on the living at dawn thy lustre shed,
Now as the star of evening thou shinest with the dead!
IV
LAIS
I that through the land of Hellas
Laughed in triumph and disdain,
Lais, of whose open porches
All the love-struck youth were fain,
Bring the mirror once I gazed in,
Cyprian, at thy shrine to vow,
Since I see not there what once was,
And I would not what is now.
PERSES
4TH CENTURY B.C.
A RUSTIC SHRINE
I am the god of the little things,
In whom you will surely find,
If you call upon me in season,
A little god who is kind.
You must not ask of me great things,
But what is in my control,
I, Tychon, god of the humble,
May grant to a simple soul.
Note 6
ANYTE OF TEGEA
4TH CENTURY B.C.
I
A SHRINE BY THE SEA
This is the Cyprian's holy ground,
Who ever loves to stand
Where she can watch the shining seas
Beyond the utmost land;
That sailors on their voyages
May prosper by her aid,
Whose radiant effigy the deep
Beholding is afraid.
II
THE GOD OF THE CROSS-ROADS
I, Hermes, by the grey sea-shore,
Set where the three roads meet,
Outside the wind-swept garden,
Give rest to weary feet;
The waters of my fountain
Are clear, and cool, and sweet.
ADDAEUS
4TH CENTURY B.C.
THE ANCIENT OX
The ox of Alcon was not led to the slaughter when at length
Age and the weary furrow had sapped his olden strength.
His faithful work was honoured, and in the deep grass now
He strays and lows contentment, enfranchised from the plough.
ASCLEPIADES
3RD CENTURY B.C.
THE PRAISE OF LOVE
Sweet is the snow in summer thirst to drink, and sweet the day
When sailors see spring's garland bloom and winter pass away.
But the sweetest thing on earth is when, one mantle for their cover,
Two hearts recite the Cyprian's praise as lover unto lover.
MICIAS
3RD CENTURY B.C.
A WAYSIDE FOUNTAIN
Rest here beneath the poplars,
When tired with travelling,
And drawing nigh refresh you
With water from our spring.
So may you keep in memory
When under other skies
The fount his father Simus set
By the grave where Gillus lies.
CALLIMACHUS
3RD CENTURY B.C.
CAST UP BY THE SEA
Who were you, shipwrecked sailor? The body that he found,
Cast on the beach, Leontichus laid in this burial mound;
And mindful of his own grim life he wept, for neither he
May rest in peace who like a gull goes up and down the sea.
NOSSIS
3RD CENTURY B.C.
I
ROSES OF CYPRIS
Of all the world's delightful things most sweet is love. The rest,
Ay, even honey in the mouth, are only second best.
This Nossis saith. And only they the Cyprian loves may know
The glory of the roses that in her garden grow.
II
RINTHO'S GRAVE
Give me a hearty laugh, and say
A friendly word and go thy way.
Rintho was I of Syracuse,
A modest song bird of the muse,
Whose tears and smiles together sown
Have born an ivy all my own.
Note 7
LEONIDAS OF TARENTUM
3RD CENTURY B.C.
I
ERINNA
The lyric maid Erinna, the poet-bee that drew
The honey from the rarest blooms the muses' garden grew,
Hath Hades snatched to be his bride. Mark where the maiden saith,
Prophetic in her wisdom, 'How envious art thou, Death!'
Note 8
II
THE FOUNTAIN HEAD
Pause not here to drink thy fill
Where the sheep have stirred the rill,
And the pool lies warm and still—
Cross yon ridge a little way,
Where the grazing heifers stray,
And the stone-pine's branches sway
O'er a creviced rock below;
Thence the bubbling waters flow
Cooler than the northern snow.
DIONYSUS
2ND CENTURY B.C. (?)
THE ROSE OF YOUTH
Girl with the roses and the grace
Of all the roses in your face,
Are you, or are the blooms you bear,
Or haply both your market ware?
DAMAGETUS
2ND CENTURY B.C.
THEANO
These words, renowned Phocæa, were the last Theano said,
As she went down into the night that none hath harvested.
Hapless am I, Apellichus, beloved husband mine,
Where in the wide, wide waters is now that bark of thine?
My doom hath come upon me, and would to God that I
Had felt my hand in thy dear hand on the day I had to die.
ARCHIAS
1ST CENTURY B.C.
I
THE HARBOUR GOD
Me, Pan, whose presence haunts the shore,
The fisher folk set here,
To guard their haven anchorage
On the cliff that they revere;
And thence I watch them cast the net
And mind their fishing gear.
Sail past me, traveller: for I send
The gentle southern breeze,
Because of this their piety,
To speed thee over seas.
II
A GRAVE BY THE SEA
I, shipwrecked Theris, whom the tide
Flung landward from the deep,
Not even dead may I forget
The shores that know not sleep.
Beneath the cliffs that break the surf
My body found a grave,
Dug by the hands of stranger men,
Beside the cruel wave:
And still ill-starred among the dead
I hear for evermore
The hateful booming of the seas
That thunder on the shore.
MELEAGER
1ST CENTURY B.C.
I
LOVE'S QUIVER
By Heliodora's sandalled foot, and Demo's waving hair,
By Dorothea's wreath of blooms unbudding to the air,
By Anticlea's winsome smile and the great eyes of her,
And by Timarion's open door distilling scent like myrrh,
I know the god of love has spent his arrows winged to smart,
For all the shafts his quiver held I have them in my heart.
II
THE CUP
The cup takes heart of gladness, whose boast it is to be
Sipped by the mouth of love's delight, soft-voiced Zenophile.
Most favoured cup! I would that she with lips to my lips pressed
Would drink the soul in one deep draught, that is my body's guest.
III
ZENOPHILE
Sweet is the music of that air, by Pan of Arcady,
Thou drawest from the harpstrings, too sweet, Zenophile;
The thronging loves on every side close in and press me nigh,
And leave me scarce a breathing space, so whither can I fly?
Is it thy beauty or thy song that kindles my desire,
Thy grace, or every thing thou art? For I am all on fire.
IV
LOVE AND DEATH
Friend Cleobulus, when I die
Who conquered by desire,
Abandoned in the ashes lie
Of youth's consuming fire,
Do me this service, drench in wine
The urn you pass beneath,
And grave upon it this one line,
'The gift of Love to Death.'
V
LOVE'S MALICE
Cruel is Love, ah cruel, and what can I do more
Than moaning love is cruel, repeat it o'er and o'er?
I know the boy is laughing and pleased that I grow grim,
And just the bitter things I say are the bread of life to him.
But you that from the grey-green wave arising, Cyprian, came,
'Tis strange that out of water you should have borne a flame.
VI
ASCLEPIAS
Like the calm sea beguiling with those blue eyes of hers,
Asclepias tempteth all men to be love's mariners.
VII
HELIODORA
Say Heliodore, and Heliodore, and still say Heliodore,
And let the music of her name mix with the wine you pour.
And wreath me with the wreath she wore, that holds the scent of myrrh,
For all that it be yesterday's, in memory of her.
The rose that loveth lovers, the rose lets fall a tear
Because my arms are empty, because she is not here.
VIII
THE WREATH
White violet with the tender-leaved narcissus I will twine,
And the laughing lips of lilies with myrtle blooms combine;
And I will bind the hyacinth, the dark red-purple flower,
With crocus sweet and roses that are the lovers' dower,
To make the wreath that Heliodore's curl-scented brow shall wear,
To strew with falling petals the glory of her hair.
IX
LIBATION
Pour out as if for Peitho, and for the Cyprian pour,
Then for the sweet-voiced Graces, but all for Heliodore;
For there is but one goddess whose worship I enshrine,
And blent with her beloved name I drink the virgin wine.
X
THE GRAVE OF HELIODORA
Tears for thee, Heliodore, and bitter tears to shed,
If all that love has left to give can reach thee with the dead;
Here at thy grave I offer, that tear-drenched grave of thine,
Libation of my longing before affection's shrine.
Forlorn I mourn thee, dearest, in the land where shadows dwell,
Forlorn, and grudge the tribute death could have spared so well.
Where is the flower I cherished? Plucked by the god of doom;
Plucked, and his dust has tarnished the scarce unbudded bloom.
I may but pray thee, mother earth, who givest all thy best,
Clasp her I mourn for ever close to thy gentle breast.
XI
HIS EPITAPH
Tread softly, ye that pass, for here
The old man rests his head,
And sleeps the sleep that all men must
Among the honoured dead.
Meleager, son of Eucrates,
Who linked the joyous train
Of Graces and of Muses
With love's delicious pain.
From Gadara, the sacred land,
I came and god-built Tyre,
But Meropis and pleasant Cos
Consoled life's waning fire.
If thou be Syrian, say Salaam,
Or Hail, if Greek thou be,
Say Naidios, if Phœnician born,
For all are one to me.
CRINAGORAS
1ST CENTURY B.C.
ROSES IN WINTER
In spring it was we roses
Were used to bloom of old,
Who now in midmost winter
Our crimson cells unfold,
To greet thee on the birthday
That shall thy bridal bring.
'Tis more to grace so fair a brow
Than know the suns of spring.
JULIUS POLYAENUS
1ST CENTURY B.C.
AN EXILE'S PRAYER
Among the myriad voices that seek to win thine ear
From those whose prayers are granted, from those who pray in fear,
O Zeus of Scheria's holy plain, let my voice reach thee too,
And hearken and incline the brow that binds thy promise true.
Let my long exile have an end, my toil and travel past,
Grant me in my own native land to live at rest at last!
ANTIPATER OF THESSALONICA
1ST CENTURY B.C.
A GRAVE AT OSTIA
Ausonian earth contains me
That was a Libyan maid,
And in the sea's sand hard by Rome
My virgin form was laid.
Pompeia with a mother's care
Watched o'er my tender years,
Entombed me here among the free,
And gave me many tears.
Not as she prayed the torch was fired,
She would have burned for me;
The lamp which took the torch's place
Was thine, Persephone.
AUTHOR UNKNOWN
FRIENDSHIP'S EPITAPH
This stone, my good Sabinus, although it be but small,
Shall be of our great friendship a witness unto all.
Ever shall I desire thee, and thou, if this may be,
Forbear to drink among the dead the lethe-draft for me.
Note 9
THE COUNSEL OF PAN
In this green meadow, traveller, yield
Thy weary limbs to rest:
The branches of the stone pine sway
To the wind from out the west;
The cricket calls, and all noon long
The shepherd's piping fills
The plane-grove's leafy shadows
By the spring among the hills.
Soothed by these sounds thou shalt avoid
The dogstar's autumn fires,
And then to-morrow cross the ridge;—
Such wisdom Pan inspires.
BÉNITIER
Touch but the virgin water, clean of soul,
Nor fear to pass into the pure god's sight:
For the good a drop suffices. But the whole
Great ocean could not wash the unclean white.
THE END OF THE COMEDY
Fortune and Hope, a long adieu!
My ship is safe in port.
With me is nothing left to do,
Make other lives your sport.
Note 10
STRATO
2ND CENTURY A.D.
THE KISS
It was at even and the hour in which good-nights are bid
That Mœris kissed me, if indeed I do not dream she did.
Of all the rest that happened there is naught that I forget,
No word she said, no question of all she asked,—and yet
If she indeed did kiss me, my doubt can not decide,
For how could I still walk the earth had I been deified!
AMMIANUS
2ND CENTURY A.D.
THE LORD OF LANDS
Though till the gates of Heracles thy land-marks thou extend,
Their share in earth is equal for all men at the end;
And thou shalt lie as Irus lies, one obol all thy store,
And be resolved into an earth that is thine own no more.
Note 11
ALPHEUS
2ND CENTURY A.D.
MYCENAE
The cities of the hero age thine eyes may seek in vain,
Save where some wrecks of ruin still break the level plain.
So once I saw Mycenae, the ill-starred, a barren height
Too bleak for goats to pasture,—the goat-herds point the site.
And as I passed a greybeard said, 'Here used to stand of old
A city built by giants, and passing rich in gold.'
Note 12
MACEDONIUS
6TH CENTURY A.D.
THE THRESHOLD
Spirit of Birth, that gave me life,
Earth, that receives my clay,
Farewell, for I have travelled
The stage that twixt you lay.
I go, and have no knowledge
From whence I came to you,
Nor whither I shall journey,
Nor whose I am, nor who.
In this, No. 68 of the Sappho fragments, I have followed the reading
κατθάνοισα δὲ κείσεαι οὐδέ ποτα μναμοσύνα
σέθεν
ἔσσετ' οὐδ' ἔρος εἰς ὔστερον·
rather than
κατθάνοισα δὲ κείσεαι πότα, κωὐ μναμοσύνα σέθεν.
ἔσσετ' οὔτε τότ' οὔτ' ὔστερον·
'Dying thou shalt lie in nothingness, nor of
thee
There nor thereafter shall memory abide.'
A portion of this fragment was adopted by Catullus.
Anacreon's date is 563-478 B.C. It must, alas, be admitted that the poems attributed to him are, with the exception of a few fragments, all of them dubious and most of them certainly spurious. He had a great number of imitators down to a much later time, and a considerable number of the pseudo-Anacreontic poems are preserved in an appendix to the Palatine anthology. It may be assumed that some of them reflect a portion of his spirit, and many of them are graceful in conceit and beautiful in form. The specimens here given must be classed upon the productions of his later imitators, although they are inserted in the place where in chronological order the real Anacreon would have followed.
The portraiture of the Greeks was executed with tinted wax, and not with colours rendered fluid by a liquid or oily medium. The various tints and tones of wax were probably laid on with the finger tips or with a spatula.
There was more than one Plato, but the great Plato is evidently referred to in the prefatory poem of Meleager as included among the poets of his anthology.
Captives from Eretria were established in a colony in Persia by Darius after the first Persian war. The colony at Ardericca was, however, hundreds of miles from Ecbatana.
If the epigram on Lais is not attributed to the great Plato by the most competent authorities, the dates of the two famous courtesans who bore the name would not exclude the possibility of his being the author.
Tychon is identified with Priapus.
Rintho founded a new school of serio-comic drama about 300 B.C. The ivy was sacred to Dionysus, in whose worship the drama had its origin.
Also attributed to Meleager. The phrase, βάσκανος ἔσσ' Ἀΐδα, here quoted is from Erinna's lament for Baucis, one of the rare surviving lyrics of the Rhodian poetess.
The anonymous epigrams here inserted are probably not in their proper chronological places. But as they could not be definitely assigned to any date I have placed them between the two categories of B.C. and A.D.
There is a Latin version of this epigram on a tomb in the pavement of a church in Rome (S. Lorenzo in Panisperna).
Inveni portum, spes et fortuna valete,
Nil mihi vobiscum, ludite nunc alios.
Irus was the beggar of the Odyssey who ran messages for the suitors of Penelope. The obol referred to is the small coin placed between the lips of the dead to pay the toll to the ferryman of Hades.
It is interesting to know from the evidence of Alpheus, who visited the sites of the Homeric cities, that nearly two thousand years ago the site of Mycenae was just as it remained until the excavations of Schliemann.
End of the Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
*** END OF THIS PROJECT GUTENBERG EBOOK LOVE, WORSHIP AND DEATH ***
***** This file should be named 35907-h.htm or 35907-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/5/9/0/35907/
Produced by Andrea Ball & Marc D'Hooghe at
http://www.freeliterature.org (From images generously made
available by the Internet Archive.)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.