https://livingpoets.dur.ac.uk/w/api.php?action=feedcontributions&feedformat=atom&user=Paola+Bassino 2026-05-17T14:50:21Z User contributions MediaWiki 1.39.6 https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4526 2015-09-02T20:20:47Z

<p>Paola Bassino: /* Ε1 ΙII */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}<br /> <br /> The text provided here follows D. Clay, ''Archilochos Heros: The Cult of Poets in the Greek Polis'' (Cambridge, MA 2004). Readers should consult his edition for a full commentary and apparatus.<br /> <br /> {{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysus, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the ‘Archilocheion’ and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called ‘The Meadows’, to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysus…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysus…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E2 I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε2 Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around…ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4525 2015-09-02T20:20:11Z

<p>Paola Bassino: /* E1 II */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}<br /> <br /> The text provided here follows D. Clay, ''Archilochos Heros: The Cult of Poets in the Greek Polis'' (Cambridge, MA 2004). Readers should consult his edition for a full commentary and apparatus.<br /> <br /> {{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysus, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the ‘Archilocheion’ and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called ‘The Meadows’, to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E2 I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε2 Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around…ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4515 2015-09-02T09:21:34Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}<br /> <br /> The text provided here follows D. Clay, ''Archilochos Heros: The Cult of Poets in the Greek Polis'' (Cambridge, MA 2004). Readers should consult his edition for a full commentary and apparatus.<br /> <br /> {{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block A I ==<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Block A I ==<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I (Vb) ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4514 2015-09-02T09:20:23Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}<br /> <br /> The text provided here follows D. Clay, ''Archilochos Heros: The Cult of Poets in the Greek Polis'' (Cambridge, MA 2004). Readers should consult his edition for a full commentary and apparatus.<br /> <br /> {{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E2 I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε2 Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4510 2015-08-27T17:36:13Z

<p>Paola Bassino: /* B */</p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block A I ==<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Block A I ==<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I (Vb) ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4509 2015-08-27T17:35:56Z

<p>Paola Bassino: /* B */</p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block A I ==<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == B ==<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I (Vb) ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4508 2015-08-27T17:32:48Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == B ==<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == B ==<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I (Vb) ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4507 2015-08-27T17:29:18Z

<p>Paola Bassino: /* Block Ε2 column Ι */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E2 I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε2 Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4506 2015-08-27T17:28:11Z

<p>Paola Bassino: /* Block E2 column I */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E2 I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4505 2015-08-27T17:27:01Z

<p>Paola Bassino: /* Block Ε1 column ΙII */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4504 2015-08-27T17:26:08Z

<p>Paola Bassino: /* Block E1 column III */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == E1 III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4503 2015-08-27T17:25:11Z

<p>Paola Bassino: /* Block E1 column II */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == E1 II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4502 2015-08-27T17:23:42Z

<p>Paola Bassino: /* Block Ε1 column ΙΙ */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Ε1 ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Block E1 column II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4501 2015-08-27T17:23:14Z

<p>Paola Bassino: /* Block Ε1 column Ι */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Ε1 Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> <br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block Ε1 column ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block E1 column II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4500 2015-08-27T17:22:54Z

<p>Paola Bassino: /* Block Ε1 column Ι */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block Ε1 column Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Ε1 Ι == <br /> <br /> ...when...of the Parians...<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block Ε1 column ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block E1 column II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4499 2015-08-27T17:17:37Z

<p>Paola Bassino: /* Block C Column II */</p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I (Vb) ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4498 2015-08-27T17:17:01Z

<p>Paola Bassino: /* Block C Column I */</p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I (Vb) ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4497 2015-08-27T17:16:19Z

<p>Paola Bassino: /* A IV a+b */</p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a + b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4496 2015-08-27T17:16:06Z

<p>Paola Bassino: /* Block A Column IV */</p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> For Demeas has recorded not only matters concerning Paros, but also about the deeds done by Archilochus and the piety of Archilochus towards all the gods and his zeal for his fatherland. Indeed he recalls the many and great good deeds done by the poet and made these things public to…and Demeas has recorded each of the things done or written by Archilochus according to each archon year, and he began from when Eur[…] was archon. From this time he describes how a fifty-oared ship carried ambassadors from the Milesians to Paros, and on its return to Miletus was destroyed in the strait of Naxos. One of these men, whose name was Coiranus, was taken up and saved by a dolphin, and was carried to land at the shores of the Syrians and fled to a cave. From there he returned to his own land again. But the cave even now still exists and from that man is called the ‘Coiraneion’, and therein dwells Poseidon Hippios, just as the poet made mention of him, saying the following: “out of fifty men Poseidon Hippios left Coiranus…”.<br /> <br /> …but the Parians claim the Thracians restored all the gold to them again. The poet himself makes this clear when he also says the following: “…the son of Peisistratos brought men [skilled in?] the aulos and lyre to Thrace and had pure gold as gifts for the Thracian dogs. For their own profit they made trouble” because, after killing the Thracians, some of the men died at the hands of the Parians, others [after killing (?)] the pirate Sapae(?) died at the hands of the Thracians.<br /> <br /> After these events Amphitimus became archon again, and in these matters Archilochus shows clearly how they decisively defeated the Naxians in the following verses: “blessed Athena stands alongside them in battle, the child of loud-rumbling Zeus, and she stirred the heart for battle of the people filled with much grief…during that day on land he asked someone else: so many fields he left behind with (pitiless(?)) of all: but by the will of the Olympian gods…”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == A IV a+b ==<br /> <br /> The poet makes this clear by speaking thus “… strong…against [an army(?)]…now penned in…somehow Hermes saved me…with the strong…” because Glaucus…strong(?) in battle in Thasos…the poet makes it clear in these verses: “Glaucus, which of the gods overturned your mind and wits…may you remember the land…daring terrible things…which you have taken by spear also… gold he has and bronze…” to Thasos….and next to companions(?)…courage in the face of stout defeat… before coming to such things…perseverance in the shields…of Thasos…what’s there. The poet makes clear that Demeas spoke the truth about this city by saying the following: “a thousand men” …then had women…but some of the gate…of Thasos… that he speaks the truth…the sign is necessary…something “… you fear even though you have excelled…” sailor… and with victory…around… “spears. She overpowered the mind of some of these…Athena child of Zeus around…for the fatherland…there lies a tower visible from everywhere, a marvel…we constructed [it] from stones…men of Lesbos…placing around our hands…Zeus, the strength of the Olympians…for the swift ships we brought misery until dark while we stood toiling around the tower…and they placed great courage…clothed in iron”.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column I ==<br /> <br /> “…against enemies… relentless in… avoiding” since many of the men were in poor spirit, he spoke again: “from deer their will [turned?]…” and when he fought in a sea battle…he showed himself to be a noble man, killing many…by his opponents…he met his end. And turning the enemy to flight, the Parians sunk two ships, men and all. But after these events the remaining men took the body and returned again to Paros. They brought Archilochus and gave him a funeral at public expense and buried him extravagantly, and they concentrated most of all on the deeds done by him that he sang about. They were not angry if in the past Archilochus said something derogatory about the city in his poems.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block C Column II ==<br /> <br /> He seemed to say…alone, but also…<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> == Block B Column VII ==<br /> <br /> …his own mother…and…his fatherland. Demeas remembers once again Archilochus here…<br /> <br /> “Who inscribed you on this stone, servant of the Muses? Who glorifies you, young man, son of Telesicles?”&lt;br /&gt;<br /> “I’ll tell you the truth, if you don’t know: he is a noble man and not lacking excellence, Sostheus the son of Prosthenes. He provided my song, sung far and wide, with its share of everlasting honours.<br /> <br /> The rudder of prudence… Paros.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=News_and_Events&diff=4495 2015-08-27T17:00:03Z

<p>Paola Bassino: /* News &amp; Events */</p> <hr /> <div>=== News &amp; Events ===<br /> * Paola Bassino will be presenting a paper entitled ''The Tradition of the Contest between Homer and Hesiod'' on 11th September 2015 at the international conference ''Contests of Speech and Song'', St Anne’s College, Oxford. <br /> <br /> * There will be a panel entitled [http://www.rsa.org/blogpost/1134779/187862/Living-Poets-Renaissance-Visions-of-Ancient-Authors ''Living Poets: Renaissance Visions of Ancient Authors''] at the annual Renaissance Society of America meeting on 26-28th March 2015.<br /> <br /> * An exhibition entitled ''Face-to-Face Encounters with Ancient Authors: Portraits in Libraries'' is opening on 29th January 2015 at the History of the Book Gallery and Cosin's Library at Durham Palace Green Library.<br /> <br /> * Erika Taretto will be presenting a paper entitled ''Sites of Memory and Ancient Reception of Poets: Archilochos on Paros'' at the 146&lt;sup&gt;th&lt;/sup&gt; Annual Meeting of the Society for Classical Studies, January 8-11, 2015, New Orleans, LA.<br /> <br /> * Nora Goldschmidt will be presenting a paper entitled ''Authoring Virgil'' on 6th December 2014 at the Virgil Society, Senate House, Malet Street, London WC1E 7HU.<br /> <br /> * Nicholas Freer will be presenting a paper entitled ''Epicureanism and Vergil's Carthage Episode (Aeneid 1 and 4)'' on 19th November 2014, 11.30am, at the Classics and Ancient History Work-in-Progress Seminar, Palace Green 20, Durham University.<br /> <br /> * There will be an event [https://www.dur.ac.uk/ias/events/events_listings/?eventno=21830 ''Face-to-Face Encounters with Ancient Authors: Portraits in Libraries''] on 17th-23rd November 2014, 2-4pm, at Cosin's Library, Palace Green, Durham.<br /> <br /> * Barbara Graziosi will be presenting a paper entitled ''Homeros Kosmopolites: Homer, Citizen of the World'' on 15th November 2014 at the conference [http://odiseja.eu/locations/ljubljana/ ''Odysseus Visiting the Capitals of Europe''] at the Museum of Modern Art, Ljubljana.<br /> <br /> * The international conference [[Tombs of the Poets Programme|Tombs of the Poets: Between Text and Material Culture]] will be held at Durham University on 12th-14th September 2014.<br /> <br /> * There will be a free event [https://www.dur.ac.uk/classics/events/whowashomer/ Who Was Homer?] featuring award-winning author Gillian Cross on 28th June 2014, 12-4pm, in the Pemberton Building, Palace Green, Durham.<br /> <br /> * Francesca Richards has been awarded a grant from the Classical Association for schools workshops and public events in June 2014.<br /> <br /> &lt;noinclude&gt;<br /> ----<br /> <br /> == Archived ==<br /> <br /> ==== News &amp; Events ====<br /> <br /> * Barbara Graziosi presented a paper entitled ‘The Book of Songs and Homer Compared’ at Beijing University on 14-15 April 2014.<br /> <br /> * Verity Platt gave a paper on ‘The Greek Artist in the Roman Imagination’ at the Institute of Classical Studies, London on 5th March 2014.<br /> <br /> * Nora Goldschmidt and Barbara Graziosi presented a panel at the American Philological Association Annual Meeting on 4th January 2014, entitled ‘[http://apaclassics.org/sessionpanel-title/tombs-of-poets-material-reception-of-ancient-literature Tombs of the Poets: The Material Reception of Ancient Literature]’<br /> <br /> * Nora Goldschmidt's new book, [http://ukcatalogue.oup.com/product/9780199681297.do ''Shaggy Crowns: Ennius’ Annales and Virgil’s Aeneid''], has been published by OUP.<br /> <br /> * Francesca Richards presented a paper entitled ‘The Spennymoor Odyssey’ at Corpus Christi, Oxford on 30th November 2013 as part of the [http://classicsincommunities.org/conference.php Classics in Communities conference].<br /> <br /> * Nora Goldschmidt gave a paper entitled ‘Epic Examples: Ennius and Virgil’ at the University of St Andrews on 12 October 2013.<br /> <br /> * Nora Goldschmidt presented a paper entitled ‘Reading the ‘Implied Author’ in Lucretius’ ''De rerum natura''’ at the University of Edinburgh on 30 September - 1 October 2013.<br /> <br /> * Nicholas Freer, Nora Goldschmidt, and Andrew Laird gave papers on representations of Virgil at the University of Cambridge on 5-7 September 2013.<br /> <br /> * Barbara Graziosi spoke about Homer in the European imagination at the University of Uppsala on 16 June 2013.<br /> <br /> * On 13 April 2013 Barbara Graziosi presented the Living Poets project as part of the festival ''Classici Contro'' in the Teatro Olimpico and the Palazzo Leoni Montanari, Vicenza. For further information, photographs, and media coverage, see http://lettere2.unive.it/flgreca/CCRSt.htm<br /> <br /> * Nick White’s article “Training Tesseract for Ancient Greek OCR” has been published in [http://www.eutypon.gr/eutypon/e-cont-28-29.html Eutypon 28-29].<br /> <br /> * Barbara Graziosi delivered a lecture on Petrarch’s sense of time (and Walcott’s) at the Institute of Advanced Study, on 18 February 2013, 1 pm.<br /> <br /> &lt;/noinclude&gt;</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=News_and_Events&diff=4494 2015-08-27T16:59:31Z

<p>Paola Bassino: /* News &amp; Events */</p> <hr /> <div>=== News &amp; Events ===<br /> * Paola Bassino will be presenting a paper entitled ''The tradition of the contest between Homer and Hesiod'' on 11th September 2015 at the international conference ''Contests of Speech and Song'', St Anne’s College, Oxford. <br /> <br /> * There will be a panel entitled [http://www.rsa.org/blogpost/1134779/187862/Living-Poets-Renaissance-Visions-of-Ancient-Authors ''Living Poets: Renaissance Visions of Ancient Authors''] at the annual Renaissance Society of America meeting on 26-28th March 2015.<br /> <br /> * An exhibition entitled ''Face-to-Face Encounters with Ancient Authors: Portraits in Libraries'' is opening on 29th January 2015 at the History of the Book Gallery and Cosin's Library at Durham Palace Green Library.<br /> <br /> * Erika Taretto will be presenting a paper entitled ''Sites of Memory and Ancient Reception of Poets: Archilochos on Paros'' at the 146&lt;sup&gt;th&lt;/sup&gt; Annual Meeting of the Society for Classical Studies, January 8-11, 2015, New Orleans, LA.<br /> <br /> * Nora Goldschmidt will be presenting a paper entitled ''Authoring Virgil'' on 6th December 2014 at the Virgil Society, Senate House, Malet Street, London WC1E 7HU.<br /> <br /> * Nicholas Freer will be presenting a paper entitled ''Epicureanism and Vergil's Carthage Episode (Aeneid 1 and 4)'' on 19th November 2014, 11.30am, at the Classics and Ancient History Work-in-Progress Seminar, Palace Green 20, Durham University.<br /> <br /> * There will be an event [https://www.dur.ac.uk/ias/events/events_listings/?eventno=21830 ''Face-to-Face Encounters with Ancient Authors: Portraits in Libraries''] on 17th-23rd November 2014, 2-4pm, at Cosin's Library, Palace Green, Durham.<br /> <br /> * Barbara Graziosi will be presenting a paper entitled ''Homeros Kosmopolites: Homer, Citizen of the World'' on 15th November 2014 at the conference [http://odiseja.eu/locations/ljubljana/ ''Odysseus Visiting the Capitals of Europe''] at the Museum of Modern Art, Ljubljana.<br /> <br /> * The international conference [[Tombs of the Poets Programme|Tombs of the Poets: Between Text and Material Culture]] will be held at Durham University on 12th-14th September 2014.<br /> <br /> * There will be a free event [https://www.dur.ac.uk/classics/events/whowashomer/ Who Was Homer?] featuring award-winning author Gillian Cross on 28th June 2014, 12-4pm, in the Pemberton Building, Palace Green, Durham.<br /> <br /> * Francesca Richards has been awarded a grant from the Classical Association for schools workshops and public events in June 2014.<br /> <br /> &lt;noinclude&gt;<br /> ----<br /> <br /> == Archived ==<br /> <br /> ==== News &amp; Events ====<br /> <br /> * Barbara Graziosi presented a paper entitled ‘The Book of Songs and Homer Compared’ at Beijing University on 14-15 April 2014.<br /> <br /> * Verity Platt gave a paper on ‘The Greek Artist in the Roman Imagination’ at the Institute of Classical Studies, London on 5th March 2014.<br /> <br /> * Nora Goldschmidt and Barbara Graziosi presented a panel at the American Philological Association Annual Meeting on 4th January 2014, entitled ‘[http://apaclassics.org/sessionpanel-title/tombs-of-poets-material-reception-of-ancient-literature Tombs of the Poets: The Material Reception of Ancient Literature]’<br /> <br /> * Nora Goldschmidt's new book, [http://ukcatalogue.oup.com/product/9780199681297.do ''Shaggy Crowns: Ennius’ Annales and Virgil’s Aeneid''], has been published by OUP.<br /> <br /> * Francesca Richards presented a paper entitled ‘The Spennymoor Odyssey’ at Corpus Christi, Oxford on 30th November 2013 as part of the [http://classicsincommunities.org/conference.php Classics in Communities conference].<br /> <br /> * Nora Goldschmidt gave a paper entitled ‘Epic Examples: Ennius and Virgil’ at the University of St Andrews on 12 October 2013.<br /> <br /> * Nora Goldschmidt presented a paper entitled ‘Reading the ‘Implied Author’ in Lucretius’ ''De rerum natura''’ at the University of Edinburgh on 30 September - 1 October 2013.<br /> <br /> * Nicholas Freer, Nora Goldschmidt, and Andrew Laird gave papers on representations of Virgil at the University of Cambridge on 5-7 September 2013.<br /> <br /> * Barbara Graziosi spoke about Homer in the European imagination at the University of Uppsala on 16 June 2013.<br /> <br /> * On 13 April 2013 Barbara Graziosi presented the Living Poets project as part of the festival ''Classici Contro'' in the Teatro Olimpico and the Palazzo Leoni Montanari, Vicenza. For further information, photographs, and media coverage, see http://lettere2.unive.it/flgreca/CCRSt.htm<br /> <br /> * Nick White’s article “Training Tesseract for Ancient Greek OCR” has been published in [http://www.eutypon.gr/eutypon/e-cont-28-29.html Eutypon 28-29].<br /> <br /> * Barbara Graziosi delivered a lecture on Petrarch’s sense of time (and Walcott’s) at the Institute of Advanced Study, on 18 February 2013, 1 pm.<br /> <br /> &lt;/noinclude&gt;</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Eustathius,_Commentary_to_Homer%C3%A2%C2%80%C2%99s_Odyssey_ad_11.277&diff=4493 2015-08-27T16:36:52Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Eustathius, ''Commentary on Homer’s Odyssey'' 11.277}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;<br /> τὸ δὲ ἁψαμένη βρόχον αἰπὺν ἀντὶ τοῦ κρεμάσασα, ἢ μᾶλλον ἐκδήσασα ὑψόθεν. τοῦτο γὰρ δηλοῖ τὸ αἰπὺν, ὡς δηλοῖ ἐπαχθὲν καὶ τὸ, ἀφ’ ὑψηλοῖο μελάθρου. ἰστέον δὲ ὅτι πολλῶν προσώπων ἀψαμένων βρόχους ἐπὶ λύπαις ἔπαθον οὕτω κατὰ τὴν παλαιὰν ἱστορίαν καὶ οἱ Λυκαμβίδαι ἐπὶ τοῖς Ἀρχιλόχου ποιήμασι, μὴ φέροντες τὴν ἐπιφορὰν τῶν ἐκείνου σκωμμάτων. ἦν γὰρ ὁ ἀνὴρ δεινὸς ὑβρίζειν.<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> The phrase ‘She fixed the noose on high’ is used instead of ‘hanging’, or rather that she tied the noose from above. The word ‘[on] high’ makes this clear, as made also clear earlier by the phrase ‘from the rafters above’. It ought to be known that many figures in ancient history have suffered so much because of their pains they have ‘fixed the noose’, and the daughters of Lycambes because of the poems of Archilochus, so they did not have to endure the onslaught of that one’s insults. For he was dreadfully skilled at doing wrong.<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Eustathius, ''Commentary on Homer’s Odyssey'' 11.277}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4476 2015-08-20T11:30:53Z

<p>Paola Bassino: /* Block Ε1 column ΙII */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;<br /> == Block Ε1 column Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> <br /> == Block Ε1 column ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> <br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> <br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> == Block Ε1 column Ι == <br /> <br /> ...when...of the Parians...<br /> <br /> == Block E1 column II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> <br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley…grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic...not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> <br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4475 2015-08-20T11:29:11Z

<p>Paola Bassino: /* Block E1 column II */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;<br /> == Block Ε1 column Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> <br /> == Block Ε1 column ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> <br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> <br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> == Block Ε1 column Ι == <br /> <br /> ...when...of the Parians...<br /> <br /> == Block E1 column II ==<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to the Muses, Apollo Mousagetes, and Memory; and also to sacrifice to and obtain good omens from Zeus the Hyperdexios, Athena Hyperdexia, Poseidon Asphaleios, Hercules, and Artemis Eukleia, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to establish an altar in the sanctuary, which he was building, and to sacrifice on it to Dionysius, the Nymphs, and the Seasons, to also sacrifice to and obtain good omens from Apollo Prostaterios, Poseidon Asphaleios, and Hercules, and finally to send sacrifices to Delphi for Apollo as a thanks for deliverance.<br /> <br /> To Mnesiepes the god declared in an oracle it be fitting and best to honour Archilochus the poet in accordance with the god’s plans. And because Apollo declared these things in an oracle, we call the location the 'Archilocheion' and establish the altars, sacrifice to the gods and Archilochus, and honor him, in accordance with what the god prophesised to us. And about the events we wanted to inscribe, the following has been handed down to us by men of old, and we have elaborated on them ourselves: for they say when Archilochus was still very young, he was sent by his father Telesicles to the field, and to the neighborhood called 'The Meadows', to bring a cow for sale. He woke up before dawn, while the moon was bright, and took the cow to the city. But when he came to the place called 'The Cliffs', he seemed to see a crowd of women. He believed they were coming from work as they went to the city, and he playfully mocked them. They received him with amusement and laughter and asked him if he brought the cow to sell it. And when he said yes, they said they would give him a worthy reward for it. With these words the women as well as the cow disappeared, and at his feet he saw a lyre. He stood dumbstruck, but after some time he came to his senses and grasped that the women who had appeared were the Muses, and they had given him a lyre as a gift. He took the lyre, went back to the city, and revealed all that had happened to his father. Telesicles was amazed when he heard the tale and saw the lyre. First, he conducted a search for the cow over the entire island but could not find it. Next, when he was chosen along with Lycambes as a delegate to consult the oracle at Delphi on behalf of the city, he left town very eagerly wanting to learn what had happened to them. When they arrived and went to the seat of the oracle, the god gave Telesicles the following response:<br /> <br /> &lt;blockquote&gt;<br /> “Immortal and storied, o Telesicles, will your son be amongst men, the one who first greets you when you leap off your ship to your dear fatherland.”<br /> &lt;/blockquote&gt;<br /> <br /> When they arrived back at Paros during the festival of Artemis, Archilochus was the first of his children to come up and greet his father. And when they arrived home, Telesicles asked if the items required for the festival were available, as it was late in the day…<br /> <br /> == Block Ε1 column ΙII ==<br /> …singer(?)…lyre…Archilochus…at the beginning…during the festival…amongst us…they say Archilochus…improvising…some of the citizens…teaching…what has been handed down…he adorned…herald to Paros…[''indecipherable'']…and attended…and others…prepared the…his friends…O Dionysius…groats of barley……grapes not yet ripe…dark figs…the fucker…when these words were spoken…the audience took it badly…very iambic…not understanding…was of the fruits…what was spoken to the…in the judgment…after not much time...the men lost the strength in their genitals…the city sent some delegates to obtain an oracle about these events, and the god spoke the following oracle:<br /> <br /> &lt;blockquote&gt;<br /> “Why with judgments against the law…you have come to the Pytho. It is not possible before a remedy…until you honour Archilochus the servant of the Muses.”<br /> &lt;/blockquote&gt;<br /> <br /> After these words were proclaimed…they remembered…the words of that one…failed miserably…Dionysius…<br /> <br /> == Block Ε2 column Ι ==<br /> One would believe Archilochus was a noble man if he learned from the many other events. It is a large task to record each in detail, but in brief…we will show. When there was once heavy war against the Naxians…by the citizens…with words about them…as it stands against…of his fatherland and…he made clear… he called them…to aid without delay…and spoke about them…now all…they will burn all around… ships, sharp...of the enemies, is dry…during the day, boldness…who greatly desiring…attacked the battle lines of the Naxians?…the cutting down of trees…the men held…this would be for the people…so without anger…and of the brothers…of whom they cut off…he fell under the blows…these things to my heart…from below…but all the same dying…know now, if you (or “indeed”)…the utterances he who will…some men in Thasos…and of Torone…others who came on swift ships…from Paros…and brother…heart…the fire which now surrounds(?)…in the suburb…they mistreat the earth…Erxias, ravaging(?)…for whom he sent you on the road…favourable…<br /> …then as he prayed…the gods heard and…they brought to pass his prayers, all…he was a good man…in battles…from the land…later in time…of the citizens…with fifty...these sailed…he was brave…he killed…the ships that were sinking…<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Who_We_Are&diff=4461 2015-08-05T14:55:11Z

<p>Paola Bassino: /* Nora Goldschmidt */</p> <hr /> <div>== Staff ==<br /> <br /> ===== Barbara Graziosi =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Barbara.jpg|link=]]&lt;/div&gt;<br /> Barbara Graziosi is Principal Investigator of ''Living Poets: A New Approach to Ancient Poetry''. She is Professor of Classics at Durham University, and Director – for the Arts and Humanities – of the Institute of Advanced Study. She is the author of ''Inventing Homer: The Early Reception of Epic'' (Cambridge, 2002), and co-author with Johannes Haubold of ''Homer: The Resonance of Epic'' (London, 2005) and ''Iliad 6: A Commentary'' (Cambridge, 2010). Together with Emily Greenwood she edited ''Homer in the Twentieth Century: Between World Literature and the Western Canon'' (Oxford, 2005); and, together with G. R. Boys-Stones and P. Vasunia, she edited ''The Oxford Handbook of Hellenic Studies'' (Oxford, 2009). Her latest book, ''The Gods of Olympus: A History'', will appear in 2013 (in British, American, German, Dutch and Italian editions). She regularly reviews for The ''Times Higher Education Supplement'', and writes for the ''London Review of Books''.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Nora Goldschmidt =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Nora.jpg|link=]]&lt;/div&gt;<br /> Nora Goldschmidt is Lecturer in Classics and Ancient History at Durham University and Research Fellow in Latin Literature and its Reception on the ‘Living Poets’ project (2012-15). She holds degrees in English and Classics and has strong interests in Latin poetry and classical reception. Her first book, based on a DPhil from Magdalen College, Oxford, ''Shaggy Crowns: Ennius’ Annales and Virgil’s Aeneid'', is published by OUP (2013). Her current monograph project, ''Afterlives of the Roman Poets: Biofiction and the Reception of Latin Poetry'', examines biofictional receptions of the Roman poets from antiquity to modernity through a series of case studies ranging from a medieval 'autobiography' of Ovid purportedly found sealed in his tomb to the modern 'The Death of the Author' in Hermann Broch's ''Der Tod des Vergil''. <br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Nick White =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Nick.jpg|link=]]&lt;/div&gt;<br /> Nick White is the IT research consultant for the Living Poets project. His background is in the social sciences, holding a BA and MA in Anthropology from the Universities of Lampeter and Sussex respectively. Since then he has done a variety of web development and system administration jobs. He has been involved in the free and open source software community for some years, regularly contributing code to a wide variety of different projects, and maintaining several. Since joining Living Poets he has started to learn Ancient Greek, developed Optical Character Recognition for the language, and published an article about training the Tesseract OCR program to recognise Ancient Greek in [http://www.eutypon.gr/eutypon/e-cont-28-29.html ''Eutypon'' 28-29 (2012)].<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> ===== Erika Taretto =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Erika.jpg|link=]]&lt;/div&gt;<br /> Erika Taretto is a doctoral research student at Durham University, and holds BA and MA degrees in Classics from the University of Turin. Her doctoral dissertation, ''Poets and Places of Ancient Greece'', focuses on a selection of sites linked to the biographies of the ancient Greek poets, such as Thebes (Pindar), Paros (Archilochos), and Alexandria (Homer). Since antiquity poetic landscapes have played a central role in shaping the relationship between poets and their admirers. Erika collects and analyses evidence for the cult of poets, and for (pseudo-)biographical stories involving poets in specific landscapes. The aim of her research is to investigate the role of landscape in the formation and transmission of the biographical poetic traditions.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> ===== William Wallis =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:William.jpg|link=]]&lt;/div&gt;<br /> William Wallis is a doctoral research student at Durham University. He studied Classics at Christ’s College, Cambridge, and graduated with a first-class BA in 2011. William is interested primarily in ancient sculpture and its reception and re-use from antiquity to the present day. His doctoral dissertation, ''Looking at Portraits, Reading Biographies: The Relationship between Lives and Images'', focuses on how ancient portraiture was related to the biography and re-imagination of its subjects, on how this relationship between representation and biography changed over time in the classical world, and on how it has affected the modern study of iconography since the Renaissance. This has led to a particular interest in the collections and publications of Fulvio Orsini, whose work is fundamental both for the reception of ancient portraiture and for the development of modern iconography.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Paola Bassino =====<br /> <br /> Paola Bassino is ERC Research Fellow at Durham University. She holds a PhD from Durham University, and MA and BA degrees from the University of Turin. Her research interests lie in archaic Greek epic, and its ancient reception and transmission. Her doctoral dissertation, a revised version of which is currently under review by De Gruyter, was a critical edition and commentary on the ''Certamen Homeri et Hesiodi''. She is also co-editing a volume on ''Confict and Consensus in Early Hexameter Poetry'' with Lilah Grace Canevaro and Barbara Graziosi (Cambridge University Press). She has written an article on the textual transmission of the ''Certamen'' (''ZPE'' 180) and one on the epic poet Lesches (''Classics''@, the online journal of the Centre for Hellenic Studies, Harvard), as well as the Guide to Homer on this website. For her next book project - inspired by and inspiring a module she had designed and taught at Durham - she plans to work on Sophistic approaches to the epic tradition.<br /> <br /> ===== Nicholas Freer =====<br /> <br /> Nicholas Freer is an ERC Research Fellow at Durham University. After completing his undergraduate studies at Oxford and UCL, he remained at UCL for his Masters and PhD degrees in Classics. His research interests lie in Latin literature and its reception, with an emphasis on the poetry of the late Republican and Augustan era. His AHRC-funded doctoral dissertation explored Virgil’s engagement with the works of his teacher, the Epicurean poet and philosopher Philodemus, and his current research examines the reception of Roman poetry within the ancient biographical tradition. He is also co-editing a volume on Virgil’s ''Georgics'', which investigates the poem’s contribution to the history of Western art, thought, and literature. His next major research project will be a book-length study of Epicureanism in Virgil’s ''Aeneid''.<br /> <br /> == Senior Collaborators ==<br /> <br /> * Dr. Peter Heslin<br /> * Prof. Andrew Laird<br /> * Prof. Verity Platt<br /> * Dr. Divya Tolia-Kelly<br /> <br /> == Editorial Board ==<br /> <br /> * Prof. Barbara Graziosi<br /> * Prof. Andrew Laird<br /> * Prof. Verity Platt<br /> <br /> == Research Assistants ==<br /> <br /> ===== Francesca Richards =====<br /> <br /> : Francesca is a doctoral research student at Durham University. She studied for BA in Ancient World Studies at UCL, followed by a MA in Classical Civilisation at Birkbeck, with a dissertation on the Perseus myth in British and American children's literature. Her AHRC-funded doctoral project investigates the reception of Homer's ''Odyssey'' in post-1800 English-language children's literature, with a particular focus on the ways in which authors have engineered first encounters with the poem, and the legacy created through their interventions. Francesca is primarily responsible for public engagement activities based on Living Poets research. She is currently working with the theatre company Changeling Productions, who deliver theatre workshops in local schools and community centres focusing on how Homer can be reimagined and relocated in their own experiences.<br /> <br /> [[Category:HideModDate]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Sosthenes_inscription&diff=4460 2015-07-25T10:21:07Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Sosthenes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;<br /> &lt;poem&gt;<br /> {{#lemma: [ἀναγέγραφεν] γὰρ [Δ]ημέας οὐ μόνον περὶ Πά[ρου, ἀλλὰ καὶ]<br /> [περὶ ὧν πέπ]ρα̣κ̣ται ὑπὸ Ἀρχιλό̣χ̣ου καὶ τῆς Ἀρχιλόχ[ου περὶ πάν-] <br /> [τας τοὺς θεοὺς] εὐσ̣&lt;ε&gt;βείας καὶ τῆς περὶ τὴν π̣α̣τ[ρίδα σπου-] | [Σωσθένης Προσθένου τάδε ἀνέγραψεν ἐκ τῶν τοῦ Δημέου] / ἀναγέγραφεν] δ[’ ὁ Δ]ημέας οὐ μόνον περὶ τ[ῆς Πάρου / ἀλλὰ **]σιλ̣υ.π̣.λλλ̣ πολίτης Ἀρχίλο[χο Tarditi;}}<br /> [δῆς· ἀνέμνησ]ε̣ γὰρ τῶν πεπραγμένων ὑ[πὸ τοῦ ποι-]<br /> {{#linenum:5|left}} [ητοῦ] πολλῶν καὶ μεγάλων ἀγαθῶν <br /> [..]ς τοῦ ἀνηγαγωχότος ταῦτα εἰς αὐ[<br /> [.......ἀν]αγέγραφεν δὲ ὁ Δημέας ἕκαστα [τῶν τε πεπραγμέ-]<br /> [ν]ων καὶ γεγραμμένων ὑπὸ Ἀρχιλόχου κατ̣[’ ἄρχοντα]<br /> ἕ̣καστον καὶ ἦρκται ἀπὸ ἄρχοντος πρῶτον Εὐρ[….. ἐφ’ οὗ]<br /> {{#linenum:10|left}} {{#lemma: λεγεῖ πεντηκόντορο&lt;ν&gt; | δοκεῖ πεντηκόντορος Tarditi}} Μιλησίων πρέσβεις ἄγ[ουσα&lt;ν&gt; εἰς Πάρον]<br /> καὶ ἀνακομιζομένη&lt;ν&gt; ἐγ Μιλήτου διαφθαρῆνα[ι ἐν &lt;τῶι&gt; πορθμῶι]<br /> τῶι Ναξιακῶι καὶ σωθῆναι ἕνα τινὰ αὐτῶν, ὧι ὄ[νομα Κοίρα-]<br /> νος, ὑπὸ δελφῖνος ἀναλημφθέντα, καὶ ἐκπεσόν[τα εἰς τὸν]<br /> τ[ῶ]ν Συρίων {{#lemma: [αἰ]γι[αλὸ]ν | [λιμέν]α Tarditi}} εἴς τι σ[π]ήλαιον συνφυ[γεῖν καὶ]<br /> {{#linenum:15|left}} ἐκεῖθεν αὖτ[ις ἐλθεῖν εἰς] τὴν ἰδίαν· τὸ δὲ σπ[ήλαιον] <br /> ἔτι νῦν {{#lemma: ὑ[πάρχει | ὑπάρχον Tarditi}} καὶ ἀπ’ ἐκεί]νου Κοιράνει[ον καλεῖ-<br /> [τ]αι, κ[αὶ ναίει Ποσειδῶν ὁ ἵ]π̣πιος ἔντ[οσθε, καθ]- <br /> άπ[ερ ὁ ποιητὴς ποιεῖται αὐτο]ῦ μνήμη[ν, λέγων οὕ]- <br /> τ[ω] · {{#lemma: π[εντήκοντ’ ἀνδρῶν λίπε Κοίρα]ν[ο]ν ἵππ[ιος Ποσει-<br /> {{#linenum:20|left}} [δῶν]. | Fr. 192 West}}&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; {{#lemma: ]ΝΑΠ[ | πάλι]ν ἄρ[χων Tarditi}}<br /> ]ΞΟΛ[<br /> [lines 22-37 missing]<br /> [ ΕΤΑ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΡΟ<br /> [Α &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ΑΝΦΕΡΓ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> {{#linenum: 40|left}} [Υ&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]φον δὲ τὸ[ν χρυσὸν] <br /> [π]άντα τοὺς Θρ[ᾶικας λέ]γουσιν Πάριοι ἑα[υτοῖς]<br /> ἀποκατιστάνα[ι πάλιν˙ δι]ασαφεῖ δὲ τ[αῦτα]<br /> [καὶ] αὐτὸς ὁ[ποιητὴς λέγων· {{#lemma: ..]ατ[..]φυλ[ --- ]<br /> [τ]ο[ ca. 12 letters ]σαι[..]ι[…]θο[..]υπαραυ̣[ --- ]<br /> {{#linenum:45|left}} τροφα̣[ ca. 10 letters ]εκεμ̣[..]ο[…..]μ̣ενωτολα̣[ --- ]<br /> ε̣ιπ̣ε α̣σ[…] ι̣ω̣ν̣ πάις Πεισιστράτου ἄνδρας […]ω-<br /> λ̣ου̣ν̣τας αὐλὸν καὶ λύρην ἀνῆρ’ ἄγων εἰς Θάσον κυσ̣ὶ<br /> Θρήιξιν δῶρ’ ἔχων ἀκήρατον χρυσόν· οἰκείω&lt;ι&gt;[-]<br /> δὲ κέρδει ξύν’ ἐποίησαν κακά | Fr. 93a West}}, ὅτι τοὺς Θρᾶικας <br /> {{#linenum:50|left}} ἀποκτείναντες αὐτοὶ οἱ μὲν αὐτῶν ὑπὸ Παρί-<br /> ων ἀπώλοντο, οἱ &lt;δὲ&gt; †ληιστὰς Σάπας ὑπὸ τῶν Θραι-<br /> [κ]ῶν†. μετὰ ταῦτα πάλιν γίνεται ἄρχων Ἀμ-<br /> φ[ί]τιμος, καὶ ἐν τούτοις διασαφεῖ πάλιν, ὡς<br /> ἐ̣[ν]ίκησαν καρτερῶς τοὺς Ναξίους λέγων<br /> {{#linenum:55|left}} [ο]ὕτω· {{#lemma: τῶν δ’ Ἀθηναίη μάχη&lt;ι&gt; ἵλαος παρασταθεῖσα,<br /> πάις ἐρικτύπου Διός, καρδίην ὤρ̣ι̣νεν αὐτῆς τῆς πολύ-<br /> κλαύτου λεώ· [. .]υτων[..]αλλα κείνης ἡμέρης ἐπὶ χθ[όν]α<br /> ἄλλον ἤιτησεν· τόσους γὰρ ἐξεχώρησεν γύας νηλε[ ]<br /> [......]παντος· ἀλλὰ θεῶν Ὀλυμπίων νόων νη[- | Fr. 94 West}}<br /> &lt;/poem&gt;<br /> <br /> == A III ==<br /> <br /> &lt;poem&gt;<br /> [...................................]σ[…]<br /> [....................................]εος<br /> [...................................]γεπως<br /> [.....................................]ας<br /> {{#linenum:5|left}} [.....................................]ιτας<br /> [..................................]ν[...]<br /> [...................................]ντοο<br /> &lt;/poem&gt;<br /> <br /> == A IVa + b ==<br /> <br /> &lt;poem&gt;<br /> δηλοῖ ὁ ποιη̣τὴ[ς λέγων οὕτω· ---] καρτ̣[ε]ρὸ[̣ν]<br /> δὲ {{#lemma: ἐπὶ στρατηγ[- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> νῦν ἐεργμένω̣[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> πῆι μ’ ἔσωσ’ Ἑρμ̣[ῆς &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:5|left}} μ̣εν̣ος ἀλκίμωι σ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ται. | Fr. 95 West}} ὅτι δὲ Γλαῦκ[ος &amp;nbsp; &amp;nbsp; τῆι κατὰ τὴν Θά]-<br /> σον μάχηι κρατησ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δηλοῖ {{#lemma: ὁ ποιητὴ[ς ἐν τούτοις | ὁ ποιητὴ[ς λέγων οὕτω Tarditi}}· {{#lemma: Γλαῦκε, τίς σε θεῶν νό-]<br /> ον καὶ φρένας τρέ[ψας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:10|left}} γῆς ἐπιμνήσαιο τ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;δει-]<br /> νὰ τολμήσας με[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ἣν εἷλες αἰχμῆι καὶ λ̣[ | Fr. 96 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;χρυ-]<br /> σὸν δ’ ἔσκεν καὶ χαλ[κὸν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;] <br /> α̣ντ̣ης εἰς τὴν Θάσο[ν &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;<br /> {{#linenum:15|left}} {{#lemma: τησ̣ε καὶ παρ’ ἑτα[ιρ | τῆλε (?) καὶ παρετα[Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#lemma: της ἰ̣σ̣χυρᾶς ἥττ̣[ης] τολ[μ]η̣ | της γαύρας ἥτι[ς Tarditi}}<br /> πά̣[ρ]ος τοιαῦτα ἥ[κ]οντες̣ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ … ταῖς] ἀσ[π]ίσιν [κα]ρτε[ρ]ία[ν] &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..]ν τῆς Θάσου καὶ […]απα̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:20|left}} {{#lemma: τὸ ἐκεῖ | ἐφολκεῖ Tarditi}}. ὅτι δ’ ἀλη[θῆ λέγει ὁ Δημέας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ὑπὲρ ταύτης τῆς π[όλεως δηλοῖ ὁ ποιητὴς λέγων]<br /> τάδε· {{#lemma: χιλίους γὰρ ἄν[δ]ρας[.]κ̣[ | Fr. 97 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; ἔ-]<br /> πειτα γυναῖκας εἶ[χον &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;ἄλ-]<br /> λαι τι[νε]ς {{#lemma: τῆς πύλη̣ς̣ | το]ὺς υἱο[ὺ]ς Tarditi}} [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:25|left}} &amp;nbsp;[....6....]{{#lemma: εκ τῆς Θά̣σ[ου | * ]εκτης ὡς Tarditi}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [....6....]ν· ὅτι δ’ ἀλη[θῆ λέγει &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] σῆμ[α] δεῖ τιν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] τι πη[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ---------- ] μ[..]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:30}} [ ---------- ] ι̣ακ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ----------δ]έδοικας [το]ῖ’ ἀρι[στ]ε[ύσας &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]λ̣ο̣ι̣κ̣α̣[ .. ]ης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ν σ[.]θ̣εντα &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]νρ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:35}} [ ------------- ]γροι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]ποισ[.]ω[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]εισεπαν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]μαχ[ .. ] λ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]πο[...]συ[.]ηλ[.]ε[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:40}} [ ------------- ]ς ναύτης [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]η[...]ονδηα̣ι[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ ------------- ]{{#lemma: τη[...]δειν[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ] εταξυι̣ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [ -------------- ]σὺν δὲ νί[κηι &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:45}} [ -------------- ]λ’ ἀμφ[ὶ ] δ’ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...]ων δούρατ’ ἐκπ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [..σ]ε· τῶν δ’ ἐδάμν[ησ]ε̣ν̣ ν[όον-----------------παΐς]<br /> Ἀθηναίη Διός ἀμφ[ὶ] δ’ ὑ[ &amp;nbsp; &amp;nbsp; &amp;nbsp; ἤρ]<br /> κεσαν πρὸ π̣[α]τρίη[ς] χ̣ρημ̣[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> {{#linenum:50}} [κ]εῖτο πύργος ἀμφα[ὴ]ς̣ θ̣αῦ̣μα[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> [...] ἐγ λίθων ἐδε[ίμαμ]ε̣[ν ἄν- &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δ̣[ρ]ε[ς] αὐτοὶ Λεσβίω[ν ..]ει[ --- ]ν δ’ ἀ[μ̣]φ̣[ι]-<br /> θ[έντες χερσὶν ο[....]δ̣ι̣α̣ι̣μ̣ε̣ν̣ο̣ι̣[---]ων ἐσο[...]-<br /> σε̣ι Ζεὺς Ὀλυμπίω[ν σ]θέ[νος --- ν]η̣[υ]σὶν θοῆισιν πη-<br /> {{#linenum:55|left}} μ[ο]νὴν ἐπήγομ̣[εν] εἰς ζό[φον τ]ότ’ ἀμφὶ πύργον <br /> ἔστασαν πονε[ύμενοι ------------- μ]έγαν δ’ ἔθεν-<br /> το θυμὸν ἀμφε[----------------------]με[ν σίδ]η-<br /> ρο̣ν εἱμένη καλ[ | Fr. 98 West}} &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; ]<br /> &lt;/poem&gt;<br /> <br /> == Block C Column I (Vb) ==<br /> <br /> &lt;poem&gt;<br /> [------------------------------------ ἐ]πὶ δυσμεν[έας ------ ]<br /> [------------------------------------ ἀ]μείλιχον ἐν [ ---------]<br /> [---------------------------------- ἀλ]ευάμενος. πο̣[λλῶν]<br /> [δ’ ἀθυμησάντων πάλιν λέ]γει· ἐξ ἐλάφων ν[όον]<br /> {{#linenum:5|left}} [---------------------- καὶ ἐπειδ]ὴ ναυμαχίαι μαχόμ[ε]-<br /> [νος ....... γέγονεν ἀνὴ]ρ ἀγαθός, πολλοὺς<br /> [κτείνας .................................. ] ὑπὸ τῶν ἐναντίων<br /> [......................................... ἐτελ]εύτησεν. οἱ δὲ Πάριοι <br /> [τρέψαντες αὐτοὺς εἰς] φυγὴν δύο μὲν αὐτῶν<br /> {{#linenum:10|left}} [νῆας αὐτάνδρους κατεπόντι]σαν, τὰς δὲ λοιπὰς ἔ-<br /> [λαβον καὶ ἐπανελθόν]τες πάλιν εἰς τὴν Πά-<br /> [ρον μεταγαγόντες μετὰ τ]αῦτα τὸν Ἀρχίλοχον<br /> [εἰς τὸν δημόσιον ταφεῶνα] μεγαλοπρεπῶς ἔθα-<br /> [ψαν αὐτὸν περὶ πλείστ]ου ποιησάμενοι τὰ ὑ-<br /> {{#linenum:15|left}} [πὸ τούτου πραχθένθ’ ἃ ἤι]δεσαν, οὐκ ὀργισθέντες<br /> [εἴ τι πρότερον εἴρηκε] φαῦλον κατὰ τῆς πόλε-<br /> [ως ἐν τοῖς ποιήμασιν].<br /> ''vacat''<br /> &lt;/poem&gt;<br /> <br /> == Block C Column II (VIb) ==<br /> <br /> &lt;poem&gt;<br /> ι̣ε̣ιης[ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> δοκεῖ εἰρηκ[έναι [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> μόνος, ἀλλὰ καὶ [ &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;]<br /> ''vacat''<br /> &lt;/poem&gt;<br /> <br /> == Block B Column VII ==<br /> <br /> &lt;poem&gt;<br /> [----------------------------]λωνιο[----------------------------]<br /> [------------------------------------------------------------------]<br /> μητρὸς αὐτῆς [------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> {{#linenum:5|left}} [------------------------------------------------------------------]<br /> καὶ με[-----------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [------------------------------------------------------------------]<br /> [..] τῆς πατρίδος. καὶ Ἀρχιλόχου ἐνταῦθα π[άλιν]<br /> {{#linenum:10|left}} [μέμνεται ὁ Δημέας ------------------------------------------]<br /> [------------------------------------------------------------------]<br /> Τίς σε τὸν ἐμ πέτρηι Μουσῶν θεράποντ’ ἐχάραξεν,<br /> παῖ Τελεσικλῆος κοῦρε, καταγλαΐσας;<br /> Λέξω δή σοι ἐγὼ μάλ’ ἐτήτυμα, εἰ σὺ μὴ οἶδας·<br /> {{#linenum:15|left}}ἐσθλὸς ἐὼν ἀρετῆς τε οὐχ ὑπολειπόμενος<br /> Σωσθεὺς Προσθένου υἱὸς ἐμὴν πο[λύ]μ[νον ἀοι]δὴν<br /> τιμῶν ἀεν[άων] αἶσαν ὑπεσπάσατο.<br /> ''vacat''<br /> Σωφροσύνας {{#lemma: οἴακα [-----------------------------] ἐμε&lt;ῖ̣&gt;ο | οἴακα [νέμοντ- ]Tarditi}}<br /> [------------------------------------------------------------------]<br /> {{#linenum:20|left}}[------------------------------------------------------------------]<br /> [---------------------------------------------------------] Πάρος.<br /> ''vacat''<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Sosthenes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Mnesiepes_inscription&diff=4459 2015-07-25T10:16:30Z

<p>Paola Bassino: /* Block E2 column I */</p> <hr /> <div>{{DISPLAYTITLE:Mnesiepes inscription}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;<br /> == Block Ε1 column Ι == <br /> &lt;poem&gt;<br /> ………………………..κ]αὶ ὅτε<br /> ………………………..τῶν Π]αρίων<br /> ……………………..ι.…κρας<br /> ………………………..........<br /> {{#linenum:5|left}} ……………………….....ον<br /> ……………………….....ι<br /> . ……………………….....]ος<br /> &lt;/poem&gt;<br /> <br /> == Block Ε1 column ΙΙ ==<br /> &lt;poem&gt;<br /> Μνησιέπει ὁ θεὸς ἔ̣χ̣ρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> βω̣μὸν καὶ θ̣ύοντι ἐπὶ τούτου Μούσαις καὶ Ἀπόλλ[ω]ν[ι] <br /> Μουσαγέται καὶ Μνημοσύνει· θύειν δὲ καὶ καλλι-<br /> {{#linenum:5|left}} ερεῖν Διὶ Ὑπ̣ε̣ρ̣δεξ̣ίωι, Ἀθάναι Ὑπερδεξίαι,<br /> Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, Ἀρτέμιδι Εὐκλείαι.<br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> ἐν τῶι τεμένει, ὃ κατασκευάζει, ἱδρυσαμένωι<br /> {{#linenum:10|left}} βωμὸν καὶ θύοντι ἐπὶ τούτου Διονύσωι καὶ Νύμφαις <br /> καὶ Ὥραις· θύειν δὲ καὶ καλλιερεῖν Ἀπόλλωνι<br /> Προστατηρίωι, Ποσειδῶνι Ἀσφαλείωι, Ἡρακλεῖ, <br /> Πυθῶδε τῶι Ἀπόλλωνι σωτήρια πέμπειν[⋮]<br /> Μνησιέπει ὁ θεὸς ἔχρησε λῶιον καὶ ἄμεινον εἶμεν<br /> {{#linenum:15|left}} τι]μ̣ῶντι Ἀρχίλοχον τὸμ ποιητάν, καθ’ ἃ ἐπινοεῖ[⋮]<br /> Χρήσαντος δὴ τοῦ Ἀπόλλωνος ταῦτα, τόν τε τόπον<br /> καλοῦμεν Ἀρχιλόχειον καὶ τοὺς βωμοὺς ἱδρύμεθα<br /> καὶ θύομεν καὶ τοῖς θεοῖς καὶ Ἀρχιλόχωι καὶ<br /> τιμῶμεν αὐτόν, καθ’ ἃ ὁ θεὸς ἐθέσπισεν ἡμῖν.<br /> {{#linenum:20|left}}Π]ερὶ δὲ ὧν ἠβουλήθημεν ἀναγράψαι, τάδε παρα-<br /> δ]έδοταί τε ἡμῖν ὑπὸ τῶν ἀρχαίων καὶ αὐτοὶ πεπρα-<br /> [γ]ματεύμεθα[⋮] Λέγουσι γὰρ Ἀρχίλοχον ἔτι νεώτερον<br /> ὄντα πεμφθέντα ὑπὸ τοῦ πατρὸς Τελεσικλέους <br /> εἰς ἀγρόν, εἰς τὸν δῆμον, ὃς καλεῖται Λειμῶνες,<br /> {{#linenum:25|left}}[ὥ]στε βοῦν καταγαγεῖν εἰς πρᾶσιν, ἀναστάντα<br /> π̣ρώιτερον τῆς νυκτό̣ς, σελήνης λαμπούσης,<br /> [ἄ]γ̣ειν τὴμ βοῦν εἰς πόλιν· ὡς δ’ ἐγένετο κατὰ τὸν<br /> [τ]όπον, ὃς καλεῖται Λισσίδες, δόξαι γυναῖκας<br /> [ἰ]δ̣εῖν ἀθρόας· νομίσαντα δ’ἀπὸ τῶν ἔργων ἀπιέναι<br /> {{#linenum:30|left}}αὐ̣τὰς εἰς πόλιν προσελθόντα σκώπτειν, τὰς δὲ <br /> δ̣έ̣ξασθαι αὐτὸν μετὰ π̣αιδιᾶς̣ καὶ γέλωτος καὶ<br /> [ἐ]π̣ερωτῆσαι, εἰ πωλήσων ἄγει τὴμ βοῦν· φήσαντος δέ,<br /> [εἰ]πεῖν ὅτι αὐταὶ δώσουσιν αὐτῶι τιμὴν ἀξίαν·<br /> [ῥη]θέντων δὲ̣ τούτων αὐτὰς μὲν οὐδὲ τὴμ βοῦν οὐκέτι<br /> {{#linenum:35|left}}[φ]α̣νερὰς εἶναι, πρὸ τῶν ποδῶν δὲ λύραν ὁρᾶν αὐτόν·<br /> [κα]ταπλαγέντα δὲ καὶ μετά τινα χρόνον ἔννουν <br /> [γ]ε̣νόμενον ὑπολαβεῖν τὰς Μούσας εἶναι τὰς φανείσας <br /> [κα]ὶ̣ τὴν λύραν αὐτῶι δωρησαμένας· καὶ ἀνελό-<br /> [με]ν̣ον αὐτὴν πορεύεσθαι εἰς πόλιν καὶ τῶι πατρὶ<br /> {{#linenum:40|left}}[τὰ] γ̣ενόμενα δηλῶσαι[⋮] Τὸν δὲ Τελεσικλῆν ἀκού-<br /> [σα]ν̣τα καὶ τὴν λύραν ἰδόντα θαυμάσαι. καὶ πρῶτομ<br /> [μὲ]ν ζήτησιν ποιήσασθαι τ̣ῆ̣ς β̣οὸς κατὰ πᾶσαν<br /> [τὴ]ν̣ νῆσον καὶ οὐ δύνασθαι εὑρεῖν[⋮] Ἔπειθ’ ὑπὸ τῶν<br /> [πο]λ̣ιτῶν θεοπρόπον εἰς Δελφοὺς εἰρημένον μετὰ<br /> {{#linenum:45|left}}[Λυ]κάμβου χρησόμενον ὑπὲρ τῆς πόλεως, προθυμό-<br /> [τ]ε̣ρον ἀποδημῆσαι βουλόμενον καὶ περὶ τῶν <br /> [α]ὐ̣τοῖς συμβεβηκότων πυθέσθαι[⋮] Ἀφικομένων δὲ<br /> [καὶ] εἰσιόντων αὐτῶν εἰς τὸ μαντεῖον τὸν θεὸν<br /> [εἰ]πεῖν Τελεσικλεῖ τὸν χρησμὸν τόνδε⋮<br /> {{#linenum:50|left}} {{#lemma: [Ἀθ]ά̣νατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,<br /> [ἔ]σται ἐν ἀνθρώποισ̣ιν, ὃς ἂμ πρῶτός σε προσείπει<br /> [ν]η̣ὸς ἀποθρώισκοντα φίλην εἰς πατρίδα γαῖαν. | Cf. ''AP'' 14.113: Ἀθάνατός σοι παῖς καὶ ἀοίδιμος, ὦ Τελεσίκλεις,/ ἔσσετ’ ἐν ἀνθρώποισιν, ὃς ἂν πρῶτός σε προσείπηι/ νηὸς σῆς ἀποβάντα φίληι ἐν πατρίδι γαίηι.}}<br /> Παραγενομένων δ’ αὐτῶν εἰς Πάρον τοῖς Ἀρτε-<br /> μ̣ισίοις πρῶτον τῶμ παίδων Ἀρχίλοχον ἀπαν-<br /> {{#linenum:55|left}}τ̣ήσαντα προσειπεῖν τὸν πατέρα· καὶ ὡς ἦλθον <br /> οἴκαδε, ἐρωτήσαντος τοῦ Τελεσικλέους, εἴ τι τῶν<br /> ἀ̣νανκαίων ὑπάρχει, ὡς ἂν ὀψὲ τῆς ἡμέρας<br /> &lt;/poem&gt;<br /> <br /> == Block E1 column III ==<br /> &lt;poem&gt;<br /> [lines 1-5 missing]<br /> ΕΙ<br /> ΟΙ<br /> ΑΡ<br /> Ρ<br /> {{#linenum:10|left}}ΤΟ<br /> ΤΗ<br /> ἀοιδ<br /> σας<br /> λ̣ύραν<br /> {{#linenum:15|left}}Ἀρχιλο[χ<br /> ζ Ἐν ἀρχε[ῖ μὲν...<br /> τεῖ δ’ ἑορ[τεῖ...<br /> παρ’ ἡμῖν[<br /> φασὶν Ἀρ[χίλοχον ca. 18 letters αὐτο-]<br /> {{#linenum:20|left}}σχεδιάσ̣[αντα... <br /> τινὰς τῶν π[ολιτῶν<br /> διδάξαντα[<br /> παραδεδομ[ένα...<br /> κεκοσμημέ[ν- ca. 20 letters κή-]<br /> {{#linenum:25|left}}ρυκος εἰς Π[άρον<br /> ΕΛΗΣΕΝΩΙ<br /> καὶ συνακολο[υθ-<br /> των καὶ ἄλλων [ ca. 17 letters κατασκευ-]<br /> ασθέντων τὰ μ[ ca. 23 letters πα-]<br /> {{#linenum:30|left}}ρὰ τοὺς ἑταίρου[ς<br /> {{#lemma: Ὁ Διόνυσος σ̣[ <br /> οὐλὰς ΤΥΑΖ<br /> ὄμφακες α[<br /> σῦκα μελ[ιχρὰ<br /> {{#linenum:35|left}} οἰφολίωι ερ[ | Fr. 251 West}}<br /> Λεχθέντων [δὲ τούτων ...<br /> ὡς κακῶς ἀκ[ούσαντες <br /> ἰαμβικώτερο̣[ν <br /> οὐ κατανοήσ[αντες<br /> {{#linenum:40|left}}καρπῶν ἦν τα̣[<br /> ῥηθέντα εἰς τὴ[ν<br /> {{#lemma: ἐν τεῖ κρίσει[⋮] Μ[-------------μετ’ οὐ πολὺν] | ἐν τεῖ κρίσει[⋮] Μ[ετὰ δὲ Tarditi}}<br /> χρόνον γίνεσθ[αι------------τοὺς ἄνδρας ἀσθενεῖς]<br /> εἰς τὰ αἰδοῖα. [--------------------ἀποπέμψαι]<br /> {{#linenum:45|left}}τὴν πόλιν τινὰς [θεοπρόπους χρησομένους περὶ τού-]<br /> των, τὸν δὲ θεὸν [εἰπεῖν τὸν χρησμὸν τόνδε·]<br /> Τίπτε δίκαις ἀν[όμοις<br /> ἤλθετε πρὸς Π[υθῶ<br /> οὐκ ἔστιν πρὶν[ ἄκεσμα<br /> {{#linenum:50|left}} εἰς ὅ κεν Ἀρχίλ[οχον Μουσῶν θεράποντα τίητε.]<br /> Ἀναγγελθ[έντων δὲ τούτων<br /> μιμνησκό[μενοι-------------------------τῶν ἐ-]<br /> κείνου ῥη̣[μάτων...<br /> διημα[ρτημέν-<br /> {{#linenum:55|left}}Διον[υσ-<br /> ΠΙΑ̣<br /> ΑΠ<br /> &lt;/poem&gt;<br /> <br /> == Block E2 column I ==<br /> &lt;poem&gt;<br /> Νομίσειεν ἄν τις Ἀρχί[λοχον ἄνδρα ἀγαθὸν γενόμενον]<br /> καὶ ἐξ ἄλλων πολλῶν̣ μ̣α̣[θῶν, ἃ καθ’ ἕν ἕκαστον ἀνα-]<br /> γράφειν μακρόν, ἐν̣ ὀ̣[λίγ]ο̣[ις ] <br /> των δηλωσόμε[θα. Πολέμου γάρ ποτε πρὸς τοὺς Να-]<br /> {{#linenum:5|left}}ξίους ἰσχυροῦ ὄν[τος<br /> μενα ὑπὸ τῶν πολ̣[ιτῶν-----------------------------ῥή]<br /> μασι περὶ αὐτῶ[ν<br /> σας ὡς ἔχει {{#lemma: πρὸς̣ α[ | προ[θύμως Tarditi}}<br /> πατρίδος καὶ ὑ̣π̣[<br /> {{#linenum:10|left}}καὶ ἐνεφάνισεν̣<br /> ειν καὶ παρεκάλε̣[σεν<br /> βοηθεῖν ἀπροφ[ασίστως <br /> καὶ λέγει περὶ {{#lemma: αὐ[τῶ̣ν̣ | αὐτ[ῶν ἐν τεῖ ..... ὠιδεῖ (?) Tarditi}}<br /> ης νῦν π̣ά̣ντες<br /> {{#linenum:15|left}} {{#lemma: ἀμφικαπνίουσιν<br /> νηυσίν, ὀξεῖαι Δ̣[<br /> δηΐων, αὐαίνετ̣[αι<br /> ἡλίωι, θράσος Τ̣[<br /> οἳ μέγ’ ἱμείροντες<br /> {{#linenum:20|left}} Ναξίων δῦναι φά̣[λαγγας<br /> καὶ φυτῶν τομὴν̣<br /> ἄνδρες ἴσχουσιν̣<br /> Τοῦτό κεν λεὼι Μ[<br /> ὡς ἀμηνιτεὶ παρη̣[<br /> {{#linenum: 25|left}} καὶ κασιγνήτων Ν̣[<br /> τέων ἀπέθρισαν̣<br /> ἤριπεν πληγῆισι Δ̣[<br /> Ταῦτά μοι θυμὸς<br /> νειόθεν.Ο... ΔΕ[<br /> {{#linenum:30|left}} Ἀλλ’ ὁμῶς θανόν̣[τ<br /> Γνῶθι νῦν, εἴ το[ι<br /> ῥήμαθ’ ὃς μέλλε[ι<br /> Οἱ μὲν ἐν Θάσωι Ι[<br /> καὶ Τορωναί[ων̣<br /> {{#linenum:35|left}} οἱ δ’ ἐν ὠκείηισι [βάντες νηυσὶ<br /> ΚΑΙ...ἐκ Πάρ̣ο̣υ̣ Τ<br /> καὶ κασιγνή[τ̣]...Ε̣Ι̣Ν̣[<br /> θυμὸς ΑΛ...Α̣Γ̣...Λ̣Λ̣[<br /> πῦρ ὃ δὴ νῦν ἀ̣μ̣φ̣ι̣[<br /> {{#linenum:40|left}} ἐμ προαστίωι κε[<br /> Γῆν ἀεικίζουσι̣ν<br /> Ἐρξίη, καταδραμ̣[<br /> Τῶι σ’ὁδὸν στέλλ̣[ειν<br /> μηδὲ δεξίους ΕΠ[ | Fr. 89 West}}<br /> {{#linenum:45|left}}Εὐξαμένωι οὖν̣ α̣[ὐτῶι------------------------------ὑπή-]<br /> κουσαν οἱ θεοὶ καὶ [--------------------ἐπετέλεσαν τὰς]<br /> εὐχάς, πάντες [δὲ------------------ἄνδρα ἀγαθὸν γε-]<br /> νόμενον αὐτὸν Ε̣<br /> ἐν ταῖς μάχαις <br /> {{#linenum:50|left}}ἐκ τῆς χώρας Κ[<br /> {{#lemma: ὕστερόν τε χρόν̣[ον<br /> καὶ τῶν πολιτῶν<br /> ταῖς πεντηκοντ[όροις <br /> τούτων ἐπιπλε[ουσῶν<br /> {{#linenum:55|left}}ἀνδραγαθοῦντα̣ Κ̣Α̣[<br /> ἀποκτείναντα<br /> τὰς δὲ καὶ δυομέν[ας | Fr. 90 West }}<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Mnesiepes inscription}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Old_Comedy&diff=4458 2015-07-25T10:13:07Z

<p>Paola Bassino: /* c. Aristophanes, Peace 1298-1301 */</p> <hr /> <div>{{DISPLAYTITLE:Old Comedy}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> == a. Alexis, ''Archilochus'' fr. 22 ''PCG'' (in Athenaeus 14.644b) ==<br /> &lt;poem&gt;<br /> ὦ τὴν {{#lemma: εὐτυχῆ | εὐτυχῆ M: εὐτειχῆ Kassel-Austin}} ναίων Πάρον, ὄλβιε πρέσβυ,<br /> ἣ κάλλιστα φέρει χώρα δύο τῶν συναπασῶν,<br /> κόσμον μὲν μακάρεσσι λίθον, θνητοῖς δὲ πλακοῦντας.<br /> &lt;/poem&gt;<br /> <br /> == b. Cratinus, ''Archilochoi'' fr. 1 ''PCG'' (in Plut. ''Cimon'' 10.4) ==<br /> &lt;poem&gt;<br /> κἀγὼ γὰρ ηὔχουν Μητρόβιος ὁ γραμματεὺς<br /> σὺν ἀνδρὶ θείωι καὶ φιλοξενωτάτωι<br /> καὶ πάντ’ ἀρίστωι τῶν Πανελλήνων {{#lemma: πρόμωι | πρόμωι Muretus: πρώτωι M}}<br /> Κίμωνι λιπαρὸν γῆρας εὐωχούμενος <br /> {{#linenum:5|left}} αἰῶνα πάντα συνδιατρίψειν. ὁ δὲ λιπὼν<br /> βέβηκε πρότερος.<br /> &lt;/poem&gt;<br /> <br /> == c. Aristophanes, ''Peace'' 1298-1301 ==<br /> &lt;poem&gt;<br /> Παῖς Κλεωνύμου<br /> ἀσπίδι μὲν Σαΐων τις ἀγάλλεται, ἣν παρὰ θάμνωι <br /> ἔντος ἀμώμητον κάλλιπον οὐκ ἐθέλων.<br /> <br /> Τρυγαῖος<br /> {{#linenum:1300|left}} εἰπέ μοι ὦ πόσθων, ἐς τὸν σαυτοῦ πατέρ᾽ ᾁδεις;<br /> <br /> Παῖς Κλεωνύμου<br /> ψυχὴν δ᾽ ἐξεσάωσα—<br /> <br /> Τρυγαῖος<br /> κατῄσχυνας δὲ τοκῆας.<br /> &lt;/poem&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Old Comedy}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Eustathius,_Commentary_to_Homer%C3%A2%C2%80%C2%99s_Odyssey_ad_11.277&diff=4457 2015-07-25T10:09:29Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Eustathius, ''Commentary to Homer’s Odyssey'' 11.277}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;<br /> τὸ δὲ ἁψαμένη βρόχον αἰπὺν ἀντὶ τοῦ κρεμάσασα, ἢ μᾶλλον ἐκδήσασα ὑψόθεν. τοῦτο γὰρ δηλοῖ τὸ αἰπὺν, ὡς δηλοῖ ἐπαχθὲν καὶ τὸ, ἀφ’ ὑψηλοῖο μελάθρου. ἰστέον δὲ ὅτι πολλῶν προσώπων ἀψαμένων βρόχους ἐπὶ λύπαις ἔπαθον οὕτω κατὰ τὴν παλαιὰν ἱστορίαν καὶ οἱ Λυκαμβίδαι ἐπὶ τοῖς Ἀρχιλόχου ποιήμασι, μὴ φέροντες τὴν ἐπιφορὰν τῶν ἐκείνου σκωμμάτων. ἦν γὰρ ὁ ἀνὴρ δεινὸς ὑβρίζειν.<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Archilochus: A Guide to Selected Sources|Archilochus]]<br /> }}<br /> <br /> {{#set:Short title=Eustathius, ''Commentary to Homer’s Odyssey'' 11.277}}<br /> <br /> [[Category:Archilochus Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Archilochus:_A_Guide_to_Selected_Sources&diff=4456 2015-07-25T10:06:26Z

<p>Paola Bassino: /* Bibliography */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Donald E. Lavigne}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> == Author, authorial persona, and first-person poetry ==<br /> <br /> Archilochus, born in the Greek island of Paros in the eighth/seventh century BC (Jacoby 1941 and Lavelle 2002), is one of the most famous iambic poets of antiquity. However, his biography presents several difficulties. There are two main reasons for the complexities of his Life: 1) the fact that he is a prominent, active character in his poems and 2) the fact that the bulk of his extant poetry is fragmentary. One of the most tantalising pieces of evidence for dating Archilochus, fr. 122 West, which mentions an eclipse, illustrates the problem nicely. Because the poet is a character in his poems and because the description of the eclipse is narrated in the first person, we assume that this eclipse occurred in the lifetime of Archilochus. Therefore, after some calculation, we can show that the Aegean would have witnessed at least three eclipses from the late-eighth to the mid-seventh centuries, one of which must have burned the corneae of Archilochus and his fellow Parians (Blakeway 1936 with updates by Worthen 2010). This argument makes two problematic assumptions. First, and most obviously, the incomplete state of the poems does not allow us definitely to say that Archilochus is the speaker in a given poem (or even that a contemporary of the poet is speaking): in the case of this fragment, {{#lemma: Aristotle | [[Aristotle, Rhetoric 3.17.1418b.23-33|Arist. ''Rh.'' 3.17.1418b.23-33]]}} tells us that this poem was not in fact spoken by Archilochus. Secondly, the fact that an historical poet features himself as a character does not necessarily imply that the life of the persona equates to that of the poet (Dover 1964). In fact, much of the effect of Archilochus’ iambic poetry lies in the tension between the historical poet and his fictional persona (see Lavigne 2008).<br /> <br /> == Lycambes and his family ==<br /> <br /> The single most important aspect of Archilochus’ autobiography – important because directly connected to the reception of his poetry – is the episode of Lycambes and his daughters (frr. 172-81 and 196a West; for further discussion and bibliography, see Irwin 1998 and Hawkins 2008). According to a famous ancient tradition, Lycambes promised one of his daughters, Neobule, to the poet. After Lycambes changed his mind, Archilochus attacked the man and his daughters in his poetry, causing the suicide of Lycambes and the girls (see Carey 1986: 60 for the relevant sources). Horace’s famous statement in the {{#lemma: ''Epistles'' | [[Horace, Epistle 1.19.23-31 | Horace, ''Epistle'' 1.19.23-31]]}} that he was the first to bring Parian iambics to Rome, imitating the spirit and metre but not the material and words attacking Lycambes, is complicated by the fact that Horace does feature the Lycambids in his {{#lemma: ''Epodes'' | [[Horace, Epode 6.11-16 | Horace, ''Epode'' 6.11-16]]}} as a model for the power of his invective. In any event, it is clear that the Lycambids become exemplars of the deleterious effect of the poetry of Archilochus (and those who would imitate him). After Horace, {{#lemma: Ovid | [[Ovid, Ibis 43-64 | Ovid, ''Ibis'' 43-64]]}} too uses the threat of Archilochean vitriol towards Lycambes and his kin as indicative of the abusive potential of his poetry. As a result of these Roman poets and their commentators, the trope remains powerful over many centuries ({{#lemma: Eustathius | [[Eustathius, Commentary to Homer’s Odyssey ad 11.277 | Eust. ''In Od.'' 11.277]]}} mentions it in his commentary on the ''Odyssey''), although the actual poetry of Archilochus was eventually laid to the side and forgotten.<br /> <br /> == Archilochus’ death ==<br /> <br /> A story of Apollo’s esteem for Archilochus surrounds the death of the poet, as recounted for example in the Byzantine encyclopaedia known as {{#lemma: Suda | [[Suda s.v. ‘Archilochus’ | Suda, ‘Archilochus’]]}}. According to tradition, a shadowy figure called Calondas and nicknamed Korax (‘Crow’) killed the poet in war. After the poet’s death, Apollo required Archilochus’ killer to go to Tainarum, where Tettix (‘Cicada’) was buried, and to propitiate the soul of the poet with libations. As Lefkowitz points out, the connection may be that in a lost poem Archilochus referred to himself as a cicada (fr. 233 West, cf. Lefkowitz 2012: 29).<br /> <br /> == The cult of Archilochus ==<br /> <br /> The idea that Archilochus is a great poet, but that the content of his poetry is problematic, is prominent in antiquity, and is reflected in the single most interesting piece of evidence we have concerning Archilochus’ life, the inscription of one {{#lemma: Mnesiepes | [[Mnesiepes inscription]]}}, which details the particulars of the poet’s hero cult on Paros and dates from the third century BC (for a detailed study, see Clay 2004). The inscription of Mnesiepes was set up in the Archilocheion, a shrine dedicated to Archilochus and situated on Paros. Although the state of the inscription does not allow for certainty, it seems that the Parians recoiled from an early Archilochean performance associated with a Dionysiac context (fr. 251 West), and were stricken with impotence as a result. After consulting the oracle at Delphi, Apollo made it clear that Archilochus was to be celebrated, not castigated, for his poetry. In parallel, or perhaps in competition, with Hesiod (see [[Hesiod: A Guide to Selected Sources]]), the inscription records the story of Archilochus’ poetic initiation, showcasing the favour in which both the Muses and Apollo held the poet from his earliest days. The name of Mnesiepes, perhaps a speaking name meaning 'he who remembers the words' (Nagy 1979: 304), might suggest the existence of a poetic guild on Paros, not unlike the Homeridae in Chios (see [[Homer: A Guide to Selected Sources]]). Interesting in this regard is another inscription found in the Parian Archilocheion, set up by a certain Sosthenes in the first century BC. The {{#lemma: Sosthenes | [[Sosthenes inscription]]}} inscription seems to detail the battles in which Archilochus participated, citing several poems of a martial nature; perhaps Sosthenes narrated the death and burial of the poet before offering an iambic poem of his own. This poem reanimates Archilochus and has the poet censure Sosthenes himself for stealthily appropriating his poetry to establish Sosthenes’ own fame.<br /> <br /> == Archilochus and Homer ==<br /> <br /> In several ancient sources, Archilochus is regularly compared to Homer; this comparison is central feature of the reputation of Archilochus in antiquity. {{#lemma: Heraclitus | [[Heraclitus, fr. 42 D.-K. | Heraclit., fr. 42 D.-K.]]}} compares Archilochus to Homer as representatives of poetry tout court, and {{#lemma: Dio Chrysostom | [[Dio Chrysostom, Oration 33.11-12 | D.Chr. 33.11-12]]}} claims that his is an even better model to follow than Homer. {{#lemma: Velleius Paterculus | [[Velleius Paterculus, Roman History 1.5 | Vell. Pat. 1.5]]}} sums up the tradition of comparing the two poets, stating that Homer and Archilochus were simultaneously the inventors and most perfect practitioners of their particular genres. This tradition of comparison probably stems from the fact that both poets, as the Heraclitus passage suggests, were part of the rhapsodes’ repertoire (as is implied in {{#lemma: Plato’s ''Ion'' | [[Plato, Ion 530d-531a, 532a | Pl. ''Ion'' 530d-531a, 532a]]}}; for a detailed discussion, see Lavigne forthcoming). Nonetheless, ancient critics often chose to focus on the low register and anti-social message of much of Archilochus’ poetry in their assessment of the poet (cf. the early characterisation by Pindar). As Rotstein 2007 has shown, in the case of {{#lemma: Critias | [[Critias fr. 44 D.-K. ]]}} this particular portrayal is related to the socio-political situation of Critias’ own Athens, and thus serves as an example of the way in which the biographies of poets were used to particular poetic and political ends by those who narrated them (on Homer’s life, see Graziosi 2002).<br /> <br /> == Archilochus on stage and in epigram ==<br /> <br /> That Archilochus was beloved of the Muses and Apollo is proven by the popularity of his poetry throughout antiquity, but especially by the number of poets who channeled Archilochus in their own poetry. {{#lemma: The poets of ancient comedy | [[Old Comedy]]}} paid tribute to Archilochus (see Rosen 1988). Several epigrams treat Archilochus; {{#lemma: Theocritus | [[Theocritus, Epigram 21 Gow | Theoc. ''Ep.'' 21 Gow]]}}’ stands out for its focus on the positive qualities of Archilochus’ poetry. {{#lemma: Later epigrams | [[Gaetulicus, Anthologia Palatina 7.71.1-4 | ''AP'' 7.71.1-4]]}}, as well as a good deal of the Roman poetic use of Archilochus, centre around the most famous objects of the poet’s ire, Lycambes and his daughters.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Blakeway, A. A. 1936. ‘The Date of Archilochus’. In ''Greek Poetry and Life: Essays Presented to Gilbert Murray''. Oxford: 34-55.<br /> * Carey, C. 1986. ‘Archilochus and Lycambes’. ''CQ'' 36.1: 60-7.<br /> * Clay, D. 2004. ''Archilochos Heros. The Cult of Poets in the Greek Polis.'' Cambridge, MA.<br /> * Dover, K. J. 1964. ‘The Poetry of Archilochus’. In J. Poilloux, N. M. Kontoleon et al. eds. ''Archiloque: sept exposés et discussions.'' Geneva: 183-222.<br /> * Graziosi, B. 2002. ''Inventing Homer. The Early Reception of Epic.'' Cambridge.<br /> * Hawkins, T. 2008. ‘Out-Foxing the Wolf-Walker: Lycambes as Performative Rival to Archilochus’. ''CA'' 27.1: 93-114<br /> * Irwin, E. 1998. ‘Biography, Fiction, and the Archilochean Ainos’. ''JHS'' 118: 177-83.<br /> * Jacoby, F. 1941. ‘The Date of Archilochus’. ''CQ'' 35: 97-109<br /> * Lavelle, B. 2002. ‘The Apollodoran Date for Archilochus’. ''CPh'' 97.4: 344-351.<br /> * Lavigne, D. E. 2008. ‘The Persona of Archilochos and Iambic Performance’. In D. Katsonopoulou, I. Petropoulos, S. Katsarou eds. ''Paros II. Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7-9 October 2005.'' Athens: 91-113.<br /> * Lavigne, D. E. forthcoming. ‘Archilochus and Homer in the Rhapsodic Context’. In C. Carey and L. Swift, eds. ''Greek Iambos and Elegy: New Approaches.'' Oxford.<br /> * Lefkowitz, M. 2012 (1981). ''The Lives of the Greek Poets.'' Baltimore. <br /> * Nagy, G. 1979. ''The Best of the Achaeans. Concepts of the Hero in Archaic Greek Poetry.'' Baltimore and London.<br /> * Rosen, R. M. 1988. ''Old Comedy and the Iambographic Tradition.'' Atlanta.<br /> * Rotstein, A. 2007. ‘Critias’ Invective Against Archilochus’. ''CPh'' 102: 139-54.<br /> * Worthen, T. 2010. ‘Dating the Eclipse of Archilochus’. URL:<br /> https://www.academia.edu/6086781/Dating_Archilochus_by_his_Darkness_at_Noon_poem.<br /> &lt;/div&gt;<br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Donald E. Lavigne]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Archilochus:_A_Guide_to_Selected_Sources&diff=4455 2015-07-25T10:02:41Z

<p>Paola Bassino: /* The cult of Archilochus */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Donald E. Lavigne}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> == Author, authorial persona, and first-person poetry ==<br /> <br /> Archilochus, born in the Greek island of Paros in the eighth/seventh century BC (Jacoby 1941 and Lavelle 2002), is one of the most famous iambic poets of antiquity. However, his biography presents several difficulties. There are two main reasons for the complexities of his Life: 1) the fact that he is a prominent, active character in his poems and 2) the fact that the bulk of his extant poetry is fragmentary. One of the most tantalising pieces of evidence for dating Archilochus, fr. 122 West, which mentions an eclipse, illustrates the problem nicely. Because the poet is a character in his poems and because the description of the eclipse is narrated in the first person, we assume that this eclipse occurred in the lifetime of Archilochus. Therefore, after some calculation, we can show that the Aegean would have witnessed at least three eclipses from the late-eighth to the mid-seventh centuries, one of which must have burned the corneae of Archilochus and his fellow Parians (Blakeway 1936 with updates by Worthen 2010). This argument makes two problematic assumptions. First, and most obviously, the incomplete state of the poems does not allow us definitely to say that Archilochus is the speaker in a given poem (or even that a contemporary of the poet is speaking): in the case of this fragment, {{#lemma: Aristotle | [[Aristotle, Rhetoric 3.17.1418b.23-33|Arist. ''Rh.'' 3.17.1418b.23-33]]}} tells us that this poem was not in fact spoken by Archilochus. Secondly, the fact that an historical poet features himself as a character does not necessarily imply that the life of the persona equates to that of the poet (Dover 1964). In fact, much of the effect of Archilochus’ iambic poetry lies in the tension between the historical poet and his fictional persona (see Lavigne 2008).<br /> <br /> == Lycambes and his family ==<br /> <br /> The single most important aspect of Archilochus’ autobiography – important because directly connected to the reception of his poetry – is the episode of Lycambes and his daughters (frr. 172-81 and 196a West; for further discussion and bibliography, see Irwin 1998 and Hawkins 2008). According to a famous ancient tradition, Lycambes promised one of his daughters, Neobule, to the poet. After Lycambes changed his mind, Archilochus attacked the man and his daughters in his poetry, causing the suicide of Lycambes and the girls (see Carey 1986: 60 for the relevant sources). Horace’s famous statement in the {{#lemma: ''Epistles'' | [[Horace, Epistle 1.19.23-31 | Horace, ''Epistle'' 1.19.23-31]]}} that he was the first to bring Parian iambics to Rome, imitating the spirit and metre but not the material and words attacking Lycambes, is complicated by the fact that Horace does feature the Lycambids in his {{#lemma: ''Epodes'' | [[Horace, Epode 6.11-16 | Horace, ''Epode'' 6.11-16]]}} as a model for the power of his invective. In any event, it is clear that the Lycambids become exemplars of the deleterious effect of the poetry of Archilochus (and those who would imitate him). After Horace, {{#lemma: Ovid | [[Ovid, Ibis 43-64 | Ovid, ''Ibis'' 43-64]]}} too uses the threat of Archilochean vitriol towards Lycambes and his kin as indicative of the abusive potential of his poetry. As a result of these Roman poets and their commentators, the trope remains powerful over many centuries ({{#lemma: Eustathius | [[Eustathius, Commentary to Homer’s Odyssey ad 11.277 | Eust. ''In Od.'' 11.277]]}} mentions it in his commentary on the ''Odyssey''), although the actual poetry of Archilochus was eventually laid to the side and forgotten.<br /> <br /> == Archilochus’ death ==<br /> <br /> A story of Apollo’s esteem for Archilochus surrounds the death of the poet, as recounted for example in the Byzantine encyclopaedia known as {{#lemma: Suda | [[Suda s.v. ‘Archilochus’ | Suda, ‘Archilochus’]]}}. According to tradition, a shadowy figure called Calondas and nicknamed Korax (‘Crow’) killed the poet in war. After the poet’s death, Apollo required Archilochus’ killer to go to Tainarum, where Tettix (‘Cicada’) was buried, and to propitiate the soul of the poet with libations. As Lefkowitz points out, the connection may be that in a lost poem Archilochus referred to himself as a cicada (fr. 233 West, cf. Lefkowitz 2012: 29).<br /> <br /> == The cult of Archilochus ==<br /> <br /> The idea that Archilochus is a great poet, but that the content of his poetry is problematic, is prominent in antiquity, and is reflected in the single most interesting piece of evidence we have concerning Archilochus’ life, the inscription of one {{#lemma: Mnesiepes | [[Mnesiepes inscription]]}}, which details the particulars of the poet’s hero cult on Paros and dates from the third century BC (for a detailed study, see Clay 2004). The inscription of Mnesiepes was set up in the Archilocheion, a shrine dedicated to Archilochus and situated on Paros. Although the state of the inscription does not allow for certainty, it seems that the Parians recoiled from an early Archilochean performance associated with a Dionysiac context (fr. 251 West), and were stricken with impotence as a result. After consulting the oracle at Delphi, Apollo made it clear that Archilochus was to be celebrated, not castigated, for his poetry. In parallel, or perhaps in competition, with Hesiod (see [[Hesiod: A Guide to Selected Sources]]), the inscription records the story of Archilochus’ poetic initiation, showcasing the favour in which both the Muses and Apollo held the poet from his earliest days. The name of Mnesiepes, perhaps a speaking name meaning 'he who remembers the words' (Nagy 1979: 304), might suggest the existence of a poetic guild on Paros, not unlike the Homeridae in Chios (see [[Homer: A Guide to Selected Sources]]). Interesting in this regard is another inscription found in the Parian Archilocheion, set up by a certain Sosthenes in the first century BC. The {{#lemma: Sosthenes | [[Sosthenes inscription]]}} inscription seems to detail the battles in which Archilochus participated, citing several poems of a martial nature; perhaps Sosthenes narrated the death and burial of the poet before offering an iambic poem of his own. This poem reanimates Archilochus and has the poet censure Sosthenes himself for stealthily appropriating his poetry to establish Sosthenes’ own fame.<br /> <br /> == Archilochus and Homer ==<br /> <br /> In several ancient sources, Archilochus is regularly compared to Homer; this comparison is central feature of the reputation of Archilochus in antiquity. {{#lemma: Heraclitus | [[Heraclitus, fr. 42 D.-K. | Heraclit., fr. 42 D.-K.]]}} compares Archilochus to Homer as representatives of poetry tout court, and {{#lemma: Dio Chrysostom | [[Dio Chrysostom, Oration 33.11-12 | D.Chr. 33.11-12]]}} claims that his is an even better model to follow than Homer. {{#lemma: Velleius Paterculus | [[Velleius Paterculus, Roman History 1.5 | Vell. Pat. 1.5]]}} sums up the tradition of comparing the two poets, stating that Homer and Archilochus were simultaneously the inventors and most perfect practitioners of their particular genres. This tradition of comparison probably stems from the fact that both poets, as the Heraclitus passage suggests, were part of the rhapsodes’ repertoire (as is implied in {{#lemma: Plato’s ''Ion'' | [[Plato, Ion 530d-531a, 532a | Pl. ''Ion'' 530d-531a, 532a]]}}; for a detailed discussion, see Lavigne forthcoming). Nonetheless, ancient critics often chose to focus on the low register and anti-social message of much of Archilochus’ poetry in their assessment of the poet (cf. the early characterisation by Pindar). As Rotstein 2007 has shown, in the case of {{#lemma: Critias | [[Critias fr. 44 D.-K. ]]}} this particular portrayal is related to the socio-political situation of Critias’ own Athens, and thus serves as an example of the way in which the biographies of poets were used to particular poetic and political ends by those who narrated them (on Homer’s life, see Graziosi 2002).<br /> <br /> == Archilochus on stage and in epigram ==<br /> <br /> That Archilochus was beloved of the Muses and Apollo is proven by the popularity of his poetry throughout antiquity, but especially by the number of poets who channeled Archilochus in their own poetry. {{#lemma: The poets of ancient comedy | [[Old Comedy]]}} paid tribute to Archilochus (see Rosen 1988). Several epigrams treat Archilochus; {{#lemma: Theocritus | [[Theocritus, Epigram 21 Gow | Theoc. ''Ep.'' 21 Gow]]}}’ stands out for its focus on the positive qualities of Archilochus’ poetry. {{#lemma: Later epigrams | [[Gaetulicus, Anthologia Palatina 7.71.1-4 | ''AP'' 7.71.1-4]]}}, as well as a good deal of the Roman poetic use of Archilochus, centre around the most famous objects of the poet’s ire, Lycambes and his daughters.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Blakeway, A. A. 1936. ‘The Date of Archilochus’. In ''Greek Poetry and Life: Essays Presented to Gilbert Murray''. Oxford: 34-55.<br /> * Carey, C. 1986. ‘Archilochus and Lycambes.’ ''CQ'' 36.1: 60-7.<br /> * Clay, D. 2004. ''Archilochos Heros. The Cult of Poets in the Greek Polis.'' Cambridge, MA.<br /> * Dover, K. J. 1964. ‘The Poetry of Archilochus’. In J. Poilloux, N. M. Kontoleon et al. eds. ''Archiloque: sept exposés et discussions.'' Geneva: 183-222.<br /> * Graziosi, B. 2002. ''Inventing Homer. The Early Reception of Epic.'' Cambridge.<br /> * Hawkins, T. 2008. ‘Out-Foxing the Wolf-Walker: Lycambes as Performative Rival to Archilochus’. ''CA'' 27.1: 93-114<br /> * Irwin, E. 1998. ‘Biography, Fiction, and the Archilochean Ainos’. ''JHS'' 118: 177-83.<br /> * Jacoby, F. 1941. ‘The Date of Archilochus’. ''CQ'' 35: 97-109<br /> * Lavelle, B. 2002. ‘The Apollodoran Date for Archilochus’. ''CPh'' 97.4: 344-351.<br /> * Lavigne, D. E. 2008. ‘The Persona of Archilochos and Iambic Performance’. In D. Katsonopoulou, I. Petropoulos, S. Katsarou eds. ''Paros II. Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7-9 October 2005.'' Athens: 91-113.<br /> * Lavigne, D. E. forthcoming. ‘Archilochus and Homer in the Rhapsodic Context’. In C. Carey and L. Swift, eds. ''Greek Iambos and Elegy: New Approaches.'' Oxford.<br /> * Lefkowitz, M. 2012 (1981). ''The Lives of the Greek Poets.'' Baltimore. <br /> * Nagy, G. 1979. ''The Best of the Achaeans. Concepts of the Hero in Archaic Greek Poetry.'' Baltimore and London.<br /> * Rosen, R. M. 1988. ''Old Comedy and the Iambographic Tradition.'' Atlanta.<br /> * Rotstein, A. 2007. ‘Critias’ Invective Against Archilochus’. ''CPh'' 102: 139-54.<br /> * Worthen, T. 2010. ‘Dating the Eclipse of Archilochus’. URL:<br /> https://www.academia.edu/6086781/Dating_Archilochus_by_his_Darkness_at_Noon_poem.<br /> &lt;/div&gt;<br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Donald E. Lavigne]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Archilochus:_A_Guide_to_Selected_Sources&diff=4454 2015-07-25T10:01:20Z

<p>Paola Bassino: /* Archilochus’ death */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Donald E. Lavigne}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> == Author, authorial persona, and first-person poetry ==<br /> <br /> Archilochus, born in the Greek island of Paros in the eighth/seventh century BC (Jacoby 1941 and Lavelle 2002), is one of the most famous iambic poets of antiquity. However, his biography presents several difficulties. There are two main reasons for the complexities of his Life: 1) the fact that he is a prominent, active character in his poems and 2) the fact that the bulk of his extant poetry is fragmentary. One of the most tantalising pieces of evidence for dating Archilochus, fr. 122 West, which mentions an eclipse, illustrates the problem nicely. Because the poet is a character in his poems and because the description of the eclipse is narrated in the first person, we assume that this eclipse occurred in the lifetime of Archilochus. Therefore, after some calculation, we can show that the Aegean would have witnessed at least three eclipses from the late-eighth to the mid-seventh centuries, one of which must have burned the corneae of Archilochus and his fellow Parians (Blakeway 1936 with updates by Worthen 2010). This argument makes two problematic assumptions. First, and most obviously, the incomplete state of the poems does not allow us definitely to say that Archilochus is the speaker in a given poem (or even that a contemporary of the poet is speaking): in the case of this fragment, {{#lemma: Aristotle | [[Aristotle, Rhetoric 3.17.1418b.23-33|Arist. ''Rh.'' 3.17.1418b.23-33]]}} tells us that this poem was not in fact spoken by Archilochus. Secondly, the fact that an historical poet features himself as a character does not necessarily imply that the life of the persona equates to that of the poet (Dover 1964). In fact, much of the effect of Archilochus’ iambic poetry lies in the tension between the historical poet and his fictional persona (see Lavigne 2008).<br /> <br /> == Lycambes and his family ==<br /> <br /> The single most important aspect of Archilochus’ autobiography – important because directly connected to the reception of his poetry – is the episode of Lycambes and his daughters (frr. 172-81 and 196a West; for further discussion and bibliography, see Irwin 1998 and Hawkins 2008). According to a famous ancient tradition, Lycambes promised one of his daughters, Neobule, to the poet. After Lycambes changed his mind, Archilochus attacked the man and his daughters in his poetry, causing the suicide of Lycambes and the girls (see Carey 1986: 60 for the relevant sources). Horace’s famous statement in the {{#lemma: ''Epistles'' | [[Horace, Epistle 1.19.23-31 | Horace, ''Epistle'' 1.19.23-31]]}} that he was the first to bring Parian iambics to Rome, imitating the spirit and metre but not the material and words attacking Lycambes, is complicated by the fact that Horace does feature the Lycambids in his {{#lemma: ''Epodes'' | [[Horace, Epode 6.11-16 | Horace, ''Epode'' 6.11-16]]}} as a model for the power of his invective. In any event, it is clear that the Lycambids become exemplars of the deleterious effect of the poetry of Archilochus (and those who would imitate him). After Horace, {{#lemma: Ovid | [[Ovid, Ibis 43-64 | Ovid, ''Ibis'' 43-64]]}} too uses the threat of Archilochean vitriol towards Lycambes and his kin as indicative of the abusive potential of his poetry. As a result of these Roman poets and their commentators, the trope remains powerful over many centuries ({{#lemma: Eustathius | [[Eustathius, Commentary to Homer’s Odyssey ad 11.277 | Eust. ''In Od.'' 11.277]]}} mentions it in his commentary on the ''Odyssey''), although the actual poetry of Archilochus was eventually laid to the side and forgotten.<br /> <br /> == Archilochus’ death ==<br /> <br /> A story of Apollo’s esteem for Archilochus surrounds the death of the poet, as recounted for example in the Byzantine encyclopaedia known as {{#lemma: Suda | [[Suda s.v. ‘Archilochus’ | Suda, ‘Archilochus’]]}}. According to tradition, a shadowy figure called Calondas and nicknamed Korax (‘Crow’) killed the poet in war. After the poet’s death, Apollo required Archilochus’ killer to go to Tainarum, where Tettix (‘Cicada’) was buried, and to propitiate the soul of the poet with libations. As Lefkowitz points out, the connection may be that in a lost poem Archilochus referred to himself as a cicada (fr. 233 West, cf. Lefkowitz 2012: 29).<br /> <br /> == The cult of Archilochus ==<br /> <br /> The idea that Archilochus is a great poet, but that the content of his poetry is problematic, is prominent in antiquity, and is reflected in the single most interesting piece of evidence we have concerning Archilochus’ life, the inscription of one {{#lemma: Mnesiepes | [[Mnesiepes inscription]]}}, which details the particulars of the poet’s hero cult on Paros and dates from the third century BC (for a detailed study, see Clay 2004). The inscription of Mnesiepes was set up in the Archilocheion, a shrine dedicated to Archilochus and situated on Paros. Although the state of the inscription does not allow for certainty, it seems that the Parians recoiled from an early Archilochean performance associated with a Dionysiac context (fr. 251 West), and were stricken with impotence as a result. After consulting the oracle at Delphi, Apollo made it clear that Archilochus was to be celebrated, not castigated, for his poetry. In parallel, or perhaps in competition, with Hesiod (see [[Hesiod: A Guide to Selected Sources]]), the inscription records the story of Archilochus’ poetic initiation, showcasing the favour in which both the Muses and Apollo held the poet from his earliest days. The name of Mnesiepes, perhaps a speaking name meaning “he who remembers the words” (Nagy 1979: 304), might suggest the existence of a poetic guild on Paros, not unlike the Homeridae in Chios (see [[Homer: A Guide to Selected Sources]]). Interesting in this regard is another inscription found in the Parian Archilocheion, set up by a certain Sosthenes in the first century BC. The {{#lemma: Sosthenes | [[Sosthenes inscription]]}} inscription seems to detail the battles in which Archilochus participated, citing several poems of a martial nature; perhaps Sosthenes narrated the death and burial of the poet before offering an iambic poem of his own. This poem reanimates Archilochus and has the poet censure Sosthenes himself for stealthily appropriating his poetry to establish Sosthenes’ own fame.<br /> <br /> == Archilochus and Homer ==<br /> <br /> In several ancient sources, Archilochus is regularly compared to Homer; this comparison is central feature of the reputation of Archilochus in antiquity. {{#lemma: Heraclitus | [[Heraclitus, fr. 42 D.-K. | Heraclit., fr. 42 D.-K.]]}} compares Archilochus to Homer as representatives of poetry tout court, and {{#lemma: Dio Chrysostom | [[Dio Chrysostom, Oration 33.11-12 | D.Chr. 33.11-12]]}} claims that his is an even better model to follow than Homer. {{#lemma: Velleius Paterculus | [[Velleius Paterculus, Roman History 1.5 | Vell. Pat. 1.5]]}} sums up the tradition of comparing the two poets, stating that Homer and Archilochus were simultaneously the inventors and most perfect practitioners of their particular genres. This tradition of comparison probably stems from the fact that both poets, as the Heraclitus passage suggests, were part of the rhapsodes’ repertoire (as is implied in {{#lemma: Plato’s ''Ion'' | [[Plato, Ion 530d-531a, 532a | Pl. ''Ion'' 530d-531a, 532a]]}}; for a detailed discussion, see Lavigne forthcoming). Nonetheless, ancient critics often chose to focus on the low register and anti-social message of much of Archilochus’ poetry in their assessment of the poet (cf. the early characterisation by Pindar). As Rotstein 2007 has shown, in the case of {{#lemma: Critias | [[Critias fr. 44 D.-K. ]]}} this particular portrayal is related to the socio-political situation of Critias’ own Athens, and thus serves as an example of the way in which the biographies of poets were used to particular poetic and political ends by those who narrated them (on Homer’s life, see Graziosi 2002).<br /> <br /> == Archilochus on stage and in epigram ==<br /> <br /> That Archilochus was beloved of the Muses and Apollo is proven by the popularity of his poetry throughout antiquity, but especially by the number of poets who channeled Archilochus in their own poetry. {{#lemma: The poets of ancient comedy | [[Old Comedy]]}} paid tribute to Archilochus (see Rosen 1988). Several epigrams treat Archilochus; {{#lemma: Theocritus | [[Theocritus, Epigram 21 Gow | Theoc. ''Ep.'' 21 Gow]]}}’ stands out for its focus on the positive qualities of Archilochus’ poetry. {{#lemma: Later epigrams | [[Gaetulicus, Anthologia Palatina 7.71.1-4 | ''AP'' 7.71.1-4]]}}, as well as a good deal of the Roman poetic use of Archilochus, centre around the most famous objects of the poet’s ire, Lycambes and his daughters.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Blakeway, A. A. 1936. ‘The Date of Archilochus’. In ''Greek Poetry and Life: Essays Presented to Gilbert Murray''. Oxford: 34-55.<br /> * Carey, C. 1986. ‘Archilochus and Lycambes.’ ''CQ'' 36.1: 60-7.<br /> * Clay, D. 2004. ''Archilochos Heros. The Cult of Poets in the Greek Polis.'' Cambridge, MA.<br /> * Dover, K. J. 1964. ‘The Poetry of Archilochus’. In J. Poilloux, N. M. Kontoleon et al. eds. ''Archiloque: sept exposés et discussions.'' Geneva: 183-222.<br /> * Graziosi, B. 2002. ''Inventing Homer. The Early Reception of Epic.'' Cambridge.<br /> * Hawkins, T. 2008. ‘Out-Foxing the Wolf-Walker: Lycambes as Performative Rival to Archilochus’. ''CA'' 27.1: 93-114<br /> * Irwin, E. 1998. ‘Biography, Fiction, and the Archilochean Ainos’. ''JHS'' 118: 177-83.<br /> * Jacoby, F. 1941. ‘The Date of Archilochus’. ''CQ'' 35: 97-109<br /> * Lavelle, B. 2002. ‘The Apollodoran Date for Archilochus’. ''CPh'' 97.4: 344-351.<br /> * Lavigne, D. E. 2008. ‘The Persona of Archilochos and Iambic Performance’. In D. Katsonopoulou, I. Petropoulos, S. Katsarou eds. ''Paros II. Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7-9 October 2005.'' Athens: 91-113.<br /> * Lavigne, D. E. forthcoming. ‘Archilochus and Homer in the Rhapsodic Context’. In C. Carey and L. Swift, eds. ''Greek Iambos and Elegy: New Approaches.'' Oxford.<br /> * Lefkowitz, M. 2012 (1981). ''The Lives of the Greek Poets.'' Baltimore. <br /> * Nagy, G. 1979. ''The Best of the Achaeans. Concepts of the Hero in Archaic Greek Poetry.'' Baltimore and London.<br /> * Rosen, R. M. 1988. ''Old Comedy and the Iambographic Tradition.'' Atlanta.<br /> * Rotstein, A. 2007. ‘Critias’ Invective Against Archilochus’. ''CPh'' 102: 139-54.<br /> * Worthen, T. 2010. ‘Dating the Eclipse of Archilochus’. URL:<br /> https://www.academia.edu/6086781/Dating_Archilochus_by_his_Darkness_at_Noon_poem.<br /> &lt;/div&gt;<br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Donald E. Lavigne]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Archilochus:_A_Guide_to_Selected_Sources&diff=4453 2015-07-25T09:59:23Z

<p>Paola Bassino: /* Lycambes and his family */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Donald E. Lavigne}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> == Author, authorial persona, and first-person poetry ==<br /> <br /> Archilochus, born in the Greek island of Paros in the eighth/seventh century BC (Jacoby 1941 and Lavelle 2002), is one of the most famous iambic poets of antiquity. However, his biography presents several difficulties. There are two main reasons for the complexities of his Life: 1) the fact that he is a prominent, active character in his poems and 2) the fact that the bulk of his extant poetry is fragmentary. One of the most tantalising pieces of evidence for dating Archilochus, fr. 122 West, which mentions an eclipse, illustrates the problem nicely. Because the poet is a character in his poems and because the description of the eclipse is narrated in the first person, we assume that this eclipse occurred in the lifetime of Archilochus. Therefore, after some calculation, we can show that the Aegean would have witnessed at least three eclipses from the late-eighth to the mid-seventh centuries, one of which must have burned the corneae of Archilochus and his fellow Parians (Blakeway 1936 with updates by Worthen 2010). This argument makes two problematic assumptions. First, and most obviously, the incomplete state of the poems does not allow us definitely to say that Archilochus is the speaker in a given poem (or even that a contemporary of the poet is speaking): in the case of this fragment, {{#lemma: Aristotle | [[Aristotle, Rhetoric 3.17.1418b.23-33|Arist. ''Rh.'' 3.17.1418b.23-33]]}} tells us that this poem was not in fact spoken by Archilochus. Secondly, the fact that an historical poet features himself as a character does not necessarily imply that the life of the persona equates to that of the poet (Dover 1964). In fact, much of the effect of Archilochus’ iambic poetry lies in the tension between the historical poet and his fictional persona (see Lavigne 2008).<br /> <br /> == Lycambes and his family ==<br /> <br /> The single most important aspect of Archilochus’ autobiography – important because directly connected to the reception of his poetry – is the episode of Lycambes and his daughters (frr. 172-81 and 196a West; for further discussion and bibliography, see Irwin 1998 and Hawkins 2008). According to a famous ancient tradition, Lycambes promised one of his daughters, Neobule, to the poet. After Lycambes changed his mind, Archilochus attacked the man and his daughters in his poetry, causing the suicide of Lycambes and the girls (see Carey 1986: 60 for the relevant sources). Horace’s famous statement in the {{#lemma: ''Epistles'' | [[Horace, Epistle 1.19.23-31 | Horace, ''Epistle'' 1.19.23-31]]}} that he was the first to bring Parian iambics to Rome, imitating the spirit and metre but not the material and words attacking Lycambes, is complicated by the fact that Horace does feature the Lycambids in his {{#lemma: ''Epodes'' | [[Horace, Epode 6.11-16 | Horace, ''Epode'' 6.11-16]]}} as a model for the power of his invective. In any event, it is clear that the Lycambids become exemplars of the deleterious effect of the poetry of Archilochus (and those who would imitate him). After Horace, {{#lemma: Ovid | [[Ovid, Ibis 43-64 | Ovid, ''Ibis'' 43-64]]}} too uses the threat of Archilochean vitriol towards Lycambes and his kin as indicative of the abusive potential of his poetry. As a result of these Roman poets and their commentators, the trope remains powerful over many centuries ({{#lemma: Eustathius | [[Eustathius, Commentary to Homer’s Odyssey ad 11.277 | Eust. ''In Od.'' 11.277]]}} mentions it in his commentary on the ''Odyssey''), although the actual poetry of Archilochus was eventually laid to the side and forgotten.<br /> <br /> == Archilochus’ death ==<br /> <br /> A story of Apollo’s esteem for Archilochus surrounds the death of the poet, as recounted for example in the Byzantine encyclopaedia known as {{#lemma: Suda | [[Suda s.v. ‘Archilochus’ | Suda, ‘Archilochus’]]}}. According to tradition, a shadowy figure called Kalondas and nicknamed Korax (‘Crow’) killed the poet in war. After the poet’s death, Apollo required Archilochus’ killer to go to Tainarum, where Tettix (‘Cicada’) was buried, and to propitiate the soul of the poet with libations. As Lefkowitz points out, the connection may be that in a lost poem Archilochus referred to himself as a cicada (fr. 233 West, cf. Lefkowitz 2012: 29).<br /> <br /> == The cult of Archilochus ==<br /> <br /> The idea that Archilochus is a great poet, but that the content of his poetry is problematic, is prominent in antiquity, and is reflected in the single most interesting piece of evidence we have concerning Archilochus’ life, the inscription of one {{#lemma: Mnesiepes | [[Mnesiepes inscription]]}}, which details the particulars of the poet’s hero cult on Paros and dates from the third century BC (for a detailed study, see Clay 2004). The inscription of Mnesiepes was set up in the Archilocheion, a shrine dedicated to Archilochus and situated on Paros. Although the state of the inscription does not allow for certainty, it seems that the Parians recoiled from an early Archilochean performance associated with a Dionysiac context (fr. 251 West), and were stricken with impotence as a result. After consulting the oracle at Delphi, Apollo made it clear that Archilochus was to be celebrated, not castigated, for his poetry. In parallel, or perhaps in competition, with Hesiod (see [[Hesiod: A Guide to Selected Sources]]), the inscription records the story of Archilochus’ poetic initiation, showcasing the favour in which both the Muses and Apollo held the poet from his earliest days. The name of Mnesiepes, perhaps a speaking name meaning “he who remembers the words” (Nagy 1979: 304), might suggest the existence of a poetic guild on Paros, not unlike the Homeridae in Chios (see [[Homer: A Guide to Selected Sources]]). Interesting in this regard is another inscription found in the Parian Archilocheion, set up by a certain Sosthenes in the first century BC. The {{#lemma: Sosthenes | [[Sosthenes inscription]]}} inscription seems to detail the battles in which Archilochus participated, citing several poems of a martial nature; perhaps Sosthenes narrated the death and burial of the poet before offering an iambic poem of his own. This poem reanimates Archilochus and has the poet censure Sosthenes himself for stealthily appropriating his poetry to establish Sosthenes’ own fame.<br /> <br /> == Archilochus and Homer ==<br /> <br /> In several ancient sources, Archilochus is regularly compared to Homer; this comparison is central feature of the reputation of Archilochus in antiquity. {{#lemma: Heraclitus | [[Heraclitus, fr. 42 D.-K. | Heraclit., fr. 42 D.-K.]]}} compares Archilochus to Homer as representatives of poetry tout court, and {{#lemma: Dio Chrysostom | [[Dio Chrysostom, Oration 33.11-12 | D.Chr. 33.11-12]]}} claims that his is an even better model to follow than Homer. {{#lemma: Velleius Paterculus | [[Velleius Paterculus, Roman History 1.5 | Vell. Pat. 1.5]]}} sums up the tradition of comparing the two poets, stating that Homer and Archilochus were simultaneously the inventors and most perfect practitioners of their particular genres. This tradition of comparison probably stems from the fact that both poets, as the Heraclitus passage suggests, were part of the rhapsodes’ repertoire (as is implied in {{#lemma: Plato’s ''Ion'' | [[Plato, Ion 530d-531a, 532a | Pl. ''Ion'' 530d-531a, 532a]]}}; for a detailed discussion, see Lavigne forthcoming). Nonetheless, ancient critics often chose to focus on the low register and anti-social message of much of Archilochus’ poetry in their assessment of the poet (cf. the early characterisation by Pindar). As Rotstein 2007 has shown, in the case of {{#lemma: Critias | [[Critias fr. 44 D.-K. ]]}} this particular portrayal is related to the socio-political situation of Critias’ own Athens, and thus serves as an example of the way in which the biographies of poets were used to particular poetic and political ends by those who narrated them (on Homer’s life, see Graziosi 2002).<br /> <br /> == Archilochus on stage and in epigram ==<br /> <br /> That Archilochus was beloved of the Muses and Apollo is proven by the popularity of his poetry throughout antiquity, but especially by the number of poets who channeled Archilochus in their own poetry. {{#lemma: The poets of ancient comedy | [[Old Comedy]]}} paid tribute to Archilochus (see Rosen 1988). Several epigrams treat Archilochus; {{#lemma: Theocritus | [[Theocritus, Epigram 21 Gow | Theoc. ''Ep.'' 21 Gow]]}}’ stands out for its focus on the positive qualities of Archilochus’ poetry. {{#lemma: Later epigrams | [[Gaetulicus, Anthologia Palatina 7.71.1-4 | ''AP'' 7.71.1-4]]}}, as well as a good deal of the Roman poetic use of Archilochus, centre around the most famous objects of the poet’s ire, Lycambes and his daughters.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Blakeway, A. A. 1936. ‘The Date of Archilochus’. In ''Greek Poetry and Life: Essays Presented to Gilbert Murray''. Oxford: 34-55.<br /> * Carey, C. 1986. ‘Archilochus and Lycambes.’ ''CQ'' 36.1: 60-7.<br /> * Clay, D. 2004. ''Archilochos Heros. The Cult of Poets in the Greek Polis.'' Cambridge, MA.<br /> * Dover, K. J. 1964. ‘The Poetry of Archilochus’. In J. Poilloux, N. M. Kontoleon et al. eds. ''Archiloque: sept exposés et discussions.'' Geneva: 183-222.<br /> * Graziosi, B. 2002. ''Inventing Homer. The Early Reception of Epic.'' Cambridge.<br /> * Hawkins, T. 2008. ‘Out-Foxing the Wolf-Walker: Lycambes as Performative Rival to Archilochus’. ''CA'' 27.1: 93-114<br /> * Irwin, E. 1998. ‘Biography, Fiction, and the Archilochean Ainos’. ''JHS'' 118: 177-83.<br /> * Jacoby, F. 1941. ‘The Date of Archilochus’. ''CQ'' 35: 97-109<br /> * Lavelle, B. 2002. ‘The Apollodoran Date for Archilochus’. ''CPh'' 97.4: 344-351.<br /> * Lavigne, D. E. 2008. ‘The Persona of Archilochos and Iambic Performance’. In D. Katsonopoulou, I. Petropoulos, S. Katsarou eds. ''Paros II. Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7-9 October 2005.'' Athens: 91-113.<br /> * Lavigne, D. E. forthcoming. ‘Archilochus and Homer in the Rhapsodic Context’. In C. Carey and L. Swift, eds. ''Greek Iambos and Elegy: New Approaches.'' Oxford.<br /> * Lefkowitz, M. 2012 (1981). ''The Lives of the Greek Poets.'' Baltimore. <br /> * Nagy, G. 1979. ''The Best of the Achaeans. Concepts of the Hero in Archaic Greek Poetry.'' Baltimore and London.<br /> * Rosen, R. M. 1988. ''Old Comedy and the Iambographic Tradition.'' Atlanta.<br /> * Rotstein, A. 2007. ‘Critias’ Invective Against Archilochus’. ''CPh'' 102: 139-54.<br /> * Worthen, T. 2010. ‘Dating the Eclipse of Archilochus’. URL:<br /> https://www.academia.edu/6086781/Dating_Archilochus_by_his_Darkness_at_Noon_poem.<br /> &lt;/div&gt;<br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Donald E. Lavigne]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Who_We_Are&diff=4295 2015-05-15T11:56:04Z

<p>Paola Bassino: /* Paola Bassino */</p> <hr /> <div>== Staff ==<br /> <br /> ===== Barbara Graziosi =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Barbara.jpg|link=]]&lt;/div&gt;<br /> Barbara Graziosi is Principal Investigator of ''Living Poets: A New Approach to Ancient Poetry''. She is Professor of Classics at Durham University, and Director – for the Arts and Humanities – of the Institute of Advanced Study. She is the author of ''Inventing Homer: The Early Reception of Epic'' (Cambridge, 2002), and co-author with Johannes Haubold of ''Homer: The Resonance of Epic'' (London, 2005) and ''Iliad 6: A Commentary'' (Cambridge, 2010). Together with Emily Greenwood she edited ''Homer in the Twentieth Century: Between World Literature and the Western Canon'' (Oxford, 2005); and, together with G. R. Boys-Stones and P. Vasunia, she edited ''The Oxford Handbook of Hellenic Studies'' (Oxford, 2009). Her latest book, ''The Gods of Olympus: A History'', will appear in 2013 (in British, American, German, Dutch and Italian editions). She regularly reviews for The ''Times Higher Education Supplement'', and writes for the ''London Review of Books''.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Nora Goldschmidt =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Nora.jpg|link=]]&lt;/div&gt;<br /> Nora Goldschmidt is Research Fellow in Latin Literature and its Reception and, from October 2013, will hold a lectureship in Classics and Ancient History at Durham University. She holds degrees in English and Classics from UCL and Magdalen College, Oxford, and has strong interests in Latin poetry and classical reception: her article on Ennius’ post-textual reception in the Renaissance is available in ''Classical Receptions Journal'' 4.1 (2012), 1−19, and her monograph ''Shaggy Crowns: Ennius’ Annales and Virgil’s Aeneid'' is forthcoming in the Oxford Classical Monographs series. Her current project, ''Lives and Afterlives of the Roman Poets'', examines the biographical receptions of the Roman poets from antiquity to modernity. Rather than see poetic biography as a species of history, the book will treat biography as a creative mode of reading ancient texts, explored through a series of case studies from the thirteenth-century ''De vetula'', a pseudo-autobiography written in Ovid’s voice, to the modern ‘death of the author’ in Broch’s ''Der Tod des Vergil'' (1945).<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Nick White =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Nick.jpg|link=]]&lt;/div&gt;<br /> Nick White is the IT research consultant for the Living Poets project. His background is in the social sciences, holding a BA and MA in Anthropology from the Universities of Lampeter and Sussex respectively. Since then he has done a variety of web development and system administration jobs. He has been involved in the free and open source software community for some years, regularly contributing code to a wide variety of different projects, and maintaining several. Since joining Living Poets he has started to learn Ancient Greek, developed Optical Character Recognition for the language, and published an article about training the Tesseract OCR program to recognise Ancient Greek in [http://www.eutypon.gr/eutypon/e-cont-28-29.html ''Eutypon'' 28-29 (2012)].<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> ===== Erika Taretto =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Erika.jpg|link=]]&lt;/div&gt;<br /> Erika Taretto is a doctoral research student at Durham University, and holds BA and MA degrees in Classics from the University of Turin. Her doctoral dissertation, ''Poets and Places of Ancient Greece'', focuses on a selection of sites linked to the biographies of the ancient Greek poets, such as Thebes (Pindar), Paros (Archilochos), and Alexandria (Homer). Since antiquity poetic landscapes have played a central role in shaping the relationship between poets and their admirers. Erika collects and analyses evidence for the cult of poets, and for (pseudo-)biographical stories involving poets in specific landscapes. The aim of her research is to investigate the role of landscape in the formation and transmission of the biographical poetic traditions.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> ===== William Wallis =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:William.jpg|link=]]&lt;/div&gt;<br /> William Wallis is a doctoral research student at Durham University. He studied Classics at Christ’s College, Cambridge, and graduated with a first-class BA in 2011. William is interested primarily in ancient sculpture and its reception and re-use from antiquity to the present day. His doctoral dissertation, ''Looking at Portraits, Reading Biographies: The Relationship between Lives and Images'', focuses on how ancient portraiture was related to the biography and re-imagination of its subjects, on how this relationship between representation and biography changed over time in the classical world, and on how it has affected the modern study of iconography since the Renaissance. This has led to a particular interest in the collections and publications of Fulvio Orsini, whose work is fundamental both for the reception of ancient portraiture and for the development of modern iconography.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Paola Bassino =====<br /> <br /> : Paola Bassino is ERC Research Fellow at Durham University. She holds a PhD from Durham University, and MA and BA degrees from the University of Turin. Her research interests lie in archaic Greek epic, and its ancient reception and transmission. Her doctoral dissertation, a revised version of which is currently under review by De Gruyter, was a critical edition and commentary on the ''Certamen Homeri et Hesiodi''. She is also co-editing a volume on ''Confict and Consensus in Early Hexameter Poetry'' with Lilah Grace Canevaro and Barbara Graziosi (Cambridge University Press). She has written an article on the textual transmission of the ''Certamen'' (''ZPE'' 180) and one on the epic poet Lesches (''Classics''@, the online journal of the Centre for Hellenic Studies, Harvard), as well as the Guide to Homer on this website. For her next book project - inspired by and inspiring a module she had designed and taught at Durham - she plans to work on Sophistic approaches to the epic tradition.<br /> <br /> == Senior Collaborators ==<br /> <br /> * Dr. Peter Heslin<br /> * Prof. Andrew Laird<br /> * Prof. Verity Platt<br /> * Dr. Divya Tolia-Kelly<br /> <br /> == Editorial Board ==<br /> <br /> * Prof. Barbara Graziosi<br /> * Prof. Andrew Laird<br /> * Prof. Verity Platt<br /> <br /> == Research Assistants ==<br /> <br /> ===== Francesca Richards =====<br /> <br /> : Francesca is a doctoral research student at Durham University. She studied for BA in Ancient World Studies at UCL, followed by a MA in Classical Civilisation at Birkbeck, with a dissertation on the Perseus myth in British and American children's literature. Her AHRC-funded doctoral project investigates the reception of Homer's ''Odyssey'' in post-1800 English-language children's literature, with a particular focus on the ways in which authors have engineered first encounters with the poem, and the legacy created through their interventions. Francesca is primarily responsible for public engagement activities based on Living Poets research. She is currently working with the theatre company Changeling Productions, who deliver theatre workshops in local schools and community centres focusing on how Homer can be reimagined and relocated in their own experiences.<br /> <br /> [[Category:HideModDate]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Who_We_Are&diff=4294 2015-05-15T11:55:12Z

<p>Paola Bassino: /* Paola Bassino */</p> <hr /> <div>== Staff ==<br /> <br /> ===== Barbara Graziosi =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Barbara.jpg|link=]]&lt;/div&gt;<br /> Barbara Graziosi is Principal Investigator of ''Living Poets: A New Approach to Ancient Poetry''. She is Professor of Classics at Durham University, and Director – for the Arts and Humanities – of the Institute of Advanced Study. She is the author of ''Inventing Homer: The Early Reception of Epic'' (Cambridge, 2002), and co-author with Johannes Haubold of ''Homer: The Resonance of Epic'' (London, 2005) and ''Iliad 6: A Commentary'' (Cambridge, 2010). Together with Emily Greenwood she edited ''Homer in the Twentieth Century: Between World Literature and the Western Canon'' (Oxford, 2005); and, together with G. R. Boys-Stones and P. Vasunia, she edited ''The Oxford Handbook of Hellenic Studies'' (Oxford, 2009). Her latest book, ''The Gods of Olympus: A History'', will appear in 2013 (in British, American, German, Dutch and Italian editions). She regularly reviews for The ''Times Higher Education Supplement'', and writes for the ''London Review of Books''.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Nora Goldschmidt =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Nora.jpg|link=]]&lt;/div&gt;<br /> Nora Goldschmidt is Research Fellow in Latin Literature and its Reception and, from October 2013, will hold a lectureship in Classics and Ancient History at Durham University. She holds degrees in English and Classics from UCL and Magdalen College, Oxford, and has strong interests in Latin poetry and classical reception: her article on Ennius’ post-textual reception in the Renaissance is available in ''Classical Receptions Journal'' 4.1 (2012), 1−19, and her monograph ''Shaggy Crowns: Ennius’ Annales and Virgil’s Aeneid'' is forthcoming in the Oxford Classical Monographs series. Her current project, ''Lives and Afterlives of the Roman Poets'', examines the biographical receptions of the Roman poets from antiquity to modernity. Rather than see poetic biography as a species of history, the book will treat biography as a creative mode of reading ancient texts, explored through a series of case studies from the thirteenth-century ''De vetula'', a pseudo-autobiography written in Ovid’s voice, to the modern ‘death of the author’ in Broch’s ''Der Tod des Vergil'' (1945).<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Nick White =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Nick.jpg|link=]]&lt;/div&gt;<br /> Nick White is the IT research consultant for the Living Poets project. His background is in the social sciences, holding a BA and MA in Anthropology from the Universities of Lampeter and Sussex respectively. Since then he has done a variety of web development and system administration jobs. He has been involved in the free and open source software community for some years, regularly contributing code to a wide variety of different projects, and maintaining several. Since joining Living Poets he has started to learn Ancient Greek, developed Optical Character Recognition for the language, and published an article about training the Tesseract OCR program to recognise Ancient Greek in [http://www.eutypon.gr/eutypon/e-cont-28-29.html ''Eutypon'' 28-29 (2012)].<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> ===== Erika Taretto =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:Erika.jpg|link=]]&lt;/div&gt;<br /> Erika Taretto is a doctoral research student at Durham University, and holds BA and MA degrees in Classics from the University of Turin. Her doctoral dissertation, ''Poets and Places of Ancient Greece'', focuses on a selection of sites linked to the biographies of the ancient Greek poets, such as Thebes (Pindar), Paros (Archilochos), and Alexandria (Homer). Since antiquity poetic landscapes have played a central role in shaping the relationship between poets and their admirers. Erika collects and analyses evidence for the cult of poets, and for (pseudo-)biographical stories involving poets in specific landscapes. The aim of her research is to investigate the role of landscape in the formation and transmission of the biographical poetic traditions.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> ===== William Wallis =====<br /> <br /> &lt;div style=&quot;width:200px;float:left&quot;&gt;[[File:William.jpg|link=]]&lt;/div&gt;<br /> William Wallis is a doctoral research student at Durham University. He studied Classics at Christ’s College, Cambridge, and graduated with a first-class BA in 2011. William is interested primarily in ancient sculpture and its reception and re-use from antiquity to the present day. His doctoral dissertation, ''Looking at Portraits, Reading Biographies: The Relationship between Lives and Images'', focuses on how ancient portraiture was related to the biography and re-imagination of its subjects, on how this relationship between representation and biography changed over time in the classical world, and on how it has affected the modern study of iconography since the Renaissance. This has led to a particular interest in the collections and publications of Fulvio Orsini, whose work is fundamental both for the reception of ancient portraiture and for the development of modern iconography.<br /> &lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> ===== Paola Bassino =====<br /> <br /> : Paola Bassino is ERC Research Fellow at Durham University. She holds a PhD from Durham University, and MA and BA degrees from the University of Turin. Her research interests lie in archaic Greek epic, and its ancient reception and transmission. Her doctoral dissertation, a revised version of which is currently under review by De Gruyter, was a critical edition and commentary on the ''Certamen Homeri et Hesiodi''. She is also co-editing a volume on ''Confict and Consensus in Early Hexameter Poetry'' with Lilah Grace Canevaro and Barbara Graziosi (Cambridge University Press). She has written an article on the textual transmission of the ''Certamen'' (''ZPE'' 180) and one on the epic poet Lesches (''Classics''''@'', the online journal of the Centre for Hellenic Studies, Harvard), as well as the Guide to Homer on this website. For her next book project - inspired by and inspiring a module she had designed and taught at Durham - she plans to work on Sophistic approaches to the epic tradition. .<br /> <br /> == Senior Collaborators ==<br /> <br /> * Dr. Peter Heslin<br /> * Prof. Andrew Laird<br /> * Prof. Verity Platt<br /> * Dr. Divya Tolia-Kelly<br /> <br /> == Editorial Board ==<br /> <br /> * Prof. Barbara Graziosi<br /> * Prof. Andrew Laird<br /> * Prof. Verity Platt<br /> <br /> == Research Assistants ==<br /> <br /> ===== Francesca Richards =====<br /> <br /> : Francesca is a doctoral research student at Durham University. She studied for BA in Ancient World Studies at UCL, followed by a MA in Classical Civilisation at Birkbeck, with a dissertation on the Perseus myth in British and American children's literature. Her AHRC-funded doctoral project investigates the reception of Homer's ''Odyssey'' in post-1800 English-language children's literature, with a particular focus on the ways in which authors have engineered first encounters with the poem, and the legacy created through their interventions. Francesca is primarily responsible for public engagement activities based on Living Poets research. She is currently working with the theatre company Changeling Productions, who deliver theatre workshops in local schools and community centres focusing on how Homer can be reimagined and relocated in their own experiences.<br /> <br /> [[Category:HideModDate]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Embodiments_of_Literature&diff=4189 2015-04-10T17:03:43Z

<p>Paola Bassino: /* Bibliography */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Barbara Graziosi}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> Literature is often presented as something ethereal and intangible. It concerns the life of the mind, unconstrained by the material realities of the body. It does not depend on the senses, particularly: we can appreciate Homer by listening, reading, or touching Braille. These different sensory approaches affect our experience, of course, but we are still recognisably confronted with the same text. ''Logos'', language, and literature pertain to the mind rather than the body (and this explains, in part, why literature is placed above material culture in traditional hierarchies). There are, however, ways of thinking about literature as an embodied experience. Gorgias suggests one (''Encomium of Helen'' 7-9):<br /> <br /> &lt;blockquote&gt;εἰ δὲ βίαι ἡρπάσθη καὶ ἀνόμως ἐβιάσθη καὶ ἀδίκως ὑβρίσθη, δῆλον ὅτι ὁ ἁρπάσας ἢ ὑβρίσας ἠδίκησεν, ἡ δὲ ἁρπασθεῖσα ἢ ὑβρισθεῖσα ἐδυστύχησεν. [...] (8) εἰ δὲ λόγος ὁ πείσας καὶ τὴν ψυχὴν ἀπατήσας, οὐδὲ πρὸς τοῦτο χαλεπὸν ἀπολογήσασθαι καὶ τὴν αἰτίαν ἀπολύσασθαι ὧδε. λόγος δυνάστης μέγας ἐστίν, ὃς σμικροτάτωι σώματι καὶ ἀφανεστάτωι θειότατα ἔργα ἀποτελεῖ· δύναται γὰρ καὶ φόβον παῦσαι καὶ λύπην ἀφελεῖν καὶ χαρὰν ἐνεργάσασθαι καὶ ἔλεον ἐπαυξῆσαι. ταῦτα δὲ ὡς οὕτως ἔχει δείξω· (9) δεῖ δὲ καὶ δόξηι δεῖξαι τοῖς ἀκούουσι· τὴν ποίησιν ἅπασαν καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον· ἧς τοὺς ἀκούοντας εἰσῆλθε καὶ φρίκη περίφοβος καὶ ἔλεος πολύδακρυς καὶ πόθος φιλοπενθής, ἐπ' ἀλλοτρίων τε πραγμάτων καὶ σωμάτων εὐτυχίαις καὶ δυσπραγίαις ἴδιόν τι πάθημα διὰ τῶν λόγων ἔπαθεν ἡ ψυχή. &lt;/blockquote&gt;<br /> <br /> &lt;blockquote&gt;If she was seized by force, unlawfully constrained, and unjustly abused, it is clear that the man who seized or abused did wrong, and that the woman who was seized or abused suffered misfortune. […] (8) But if speech persuaded and deceived her soul, it is also not difficult to offer a defence for that and to dismiss the accusation in the following way. Speech is a powerful lord, which by the smallest and most invisible body achieves the most divine works; for it can stop fear, remove pain, produce joy, and increase pity. And I shall prove that this is the case; (9) and I must prove it to my listeners by reference to opinion as well. I consider and define all poetry as speech with metre. A fearful shudder, tearful pity, and grievous longing come upon those who hear it, and on account of words the soul suffers its own affliction at the successes and misfortunes of others’ affairs and bodies.&lt;/blockquote&gt;<br /> <br /> The corporeal nature of this passage is difficult to capture, in part because of the modern divide between mind and body: φρίκη περίφοβος, for example, becomes ‘a fearful fright’ in MacDowell’s standard translation, when the Greek describes a shudder. More strikingly, not once does MacDowell translate Gorgias’ σῶμα as ‘body’, even though it is the key term in our passage (see MacDowell 1982: 25). The small and invisible body of ''logos'' has very real power, he insists. The proof is its effect on the body of those who listen. Gorgias uses the most physical metaphor – rape – to illustrate what words can do. And yet even he must admit that the σῶμα of words cannot be apprehended directly – it cannot be touched or seen, even if its effects are felt in the body.<br /> <br /> This contribution explores the material reception of literature, by considering portraits and places associated with ancient literary figures. I return at the end to Gorgias’ challenging proposition: that we feel literature in our body.<br /> <br /> ==Portraits==<br /> <br /> The creation of the author is an aspect of the reception of his or her work. Just as the Lives of the ancient poets are largely based on their works, so are their portraits. So, for example, Demodocus is interpreted as an autobiographical character, and Homer is depicted as a blind bard. Or again, Sappho describes how painful it is when a girl leaves her circle, and an important (if neglected) vase depicts this moment of separation: <br /> <br /> <br /> &lt;center&gt;[[File: Kunstsammlungen_der_Ruhr-Universität,_Bochum.png‎|link=Kunstsammlungen der Ruhr-Universität, Bochum]]&lt;/center&gt;<br /> &lt;blockquote&gt;''Red-figure krater, Tithonus painter, ca 480 BCE: the figure on the left is named ‘Sappho’, the figure on the right is labelled ‘the girl’.'' <br /> ''Kunstsammlungen der Ruhr-Universität, Bochum.''&lt;/blockquote&gt;<br /> <br /> <br /> Sappho and ‘the girl’ (ἡ παῖς: a designation that could apply to several of her girls) are depicted walking in opposite directions, but looking back at each other. As an object, the krater is as unsettling as Sappho’s poems of separation. Many vases play on the theme of the amorous chase: because they are round, whoever chases will in turn be chased, in an exhilarating spiral, in which the viewer can take part by turning the vase round and round. This vase is more awkward to view and handle: the body goes one way, the gaze, the longing, (and, we are reminded, the poetry) quite another.<br /> <br /> There is some fun to be had when looking at material depictions of authors, and reading them as receptions of their work. The development of portrait types, for example, is influenced by literary canons, and simultaneously contributes to creating them. Juxtaposition with (and typological similarity to) other categories of portrait situates ancient authors within specific cultural and intellectual milieux: it transforms literary traditions into visual experiences and reifies them in the form of material objects. Portraits allow patrons to ‘possess’ specific literary traditions, genres or poems, and simultaneously generate an intellectual process by which the viewer is asked to ‘read’ the author’s work through the interpretation of specific details of physiognomy, expression, gesture, and placement in relation to other figures. Reading the image and reading the text become connected enterprises (Zanker 1995).<br /> <br /> Several ancient sources comment on the relationship between portrait and ''oeuvre''. Theocritus, for example, writes an epigram about a statue of Anacreon placed in the poet’s native island of Teos:<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> Θᾶσαι τὸν ἀνδριάντα τοῦτον, ὦ ξένε,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;σπουδᾷ, καὶ λέγ’, ἐπὴν ἐς οἶκον ἔνθῃς·&lt;br /&gt;<br /> “Ἀνακρέοντος εἰκόν’ εἶδον ἐν Τέωι,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;τῶν πρόσθ’ εἴ τι περισσὸν ᾠδοποιῶν.”&lt;br /&gt;<br /> προσθεὶς δὲ χὤτι τοῖς νέοισιν ἅδετο,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;ἐρεῖς ἀτρεκέως ὅλον τὸν ἄνδρα.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Look well upon this statue, stranger, and say, when you get home, “I saw the likeness of Anacreon in Teos, one of the greatest among the poets of old.” Add to this that he loved young men, and you will have accurately described the whole man.<br /> |}<br /> <br /> Here the whole legacy of Anacreon is reduced to a statue (whether real or made up in poetry) and a sentence: ‘he enjoyed young boys’. There is apparently no need to read Anacreon’s work: the stranger is simply invited to visit Anacreon’s place of birth, look at the statue, and remember Theocritus’ own pithy statement. Readers will thus know ‘the whole man’ by a very quick and simple process. Unsurprisingly, there has been some debate about the word ὅλον. Some readers take it at face value (Rossi 2001: 284-5), others point out that the mini biography provided by Theocritus cannot be taken to represent all of Anacreon’s ''oeuvre'', just as he fails to provide a satisfying ekphrasis of the statue (Bing 1988: 121). This seems true – and I add that Theocritus himself, as a poet, cannot possibly want to be reduced to a portrait and a sentence. His in-your-face Doric θᾶσαι at the beginning of this epigram (which is written in honour of an Ionian poet, after all, and purportedly placed on an Ionian island!) inscribes Theocritus’ own place of birth, as well as his voice and genre, in the composition, suggesting a more broad-ranging literary and personal engagement than his summary biography. Unlike the statue, literature is never confined to one place. As Pindar taught us ({{#lemma: ''Nemean'' 5.1-3 | [[Pindar, Nemean 5.1-3|Pind. ''N.'' 5.1-3]]}}), it can travel on every ship and skiff.<br /> <br /> Ovid has equally thought-provoking things to say about portraits and places (''Sorrows'' 1.7.1-14):<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> &lt;blockquote&gt;Siquis habes nostris similes in imagine uultus,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;deme meis hederas, Bacchica serta, comis.&lt;br /&gt;<br /> ista decent laetos felicia signa poetas:&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;temporibus non est apta corona meis.&lt;br /&gt;<br /> hoc tibi dissimula, senti tamen, optime, dici,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;in digito qui me fersque refersque tuo,&lt;br /&gt;<br /> effigiemque meam fuluo complexus in auro&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;cara relegati, quae potes, ora uides.&lt;br /&gt;<br /> quae quotiens spectas, subeat tibi dicere forsan&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;quam procul a nobis Naso sodalis abest!&quot;&lt;br /&gt; <br /> grata tua est pietas, sed carmina maior imago&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;sunt mea, quae mando qualiacumque legas,&lt;br /&gt; <br /> carmina mutatas hominum dicentia formas,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;infelix domini quod fuga rupit opus.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Whoever has a portrait of my face, remove the ivy, garland of Bacchus, from my hair. Such signs of fortune suit happy poets: a wreath is not fitting for my temples. Conceal – but know – that I say this to you, best friend, who carry me here and there on your finger, and who, clasping my image on the yellow gold, see the dear face, all that you can, of an exile. Whenever you look at it, perhaps you will be prompted to say, “How far away is our friend Ovid!” Your love is a comfort, but my verses are a better portrait, and I urge you to read them such as they are, verses that tell of human transformations, the work broken off by the unhappy flight of its author.<br /> |}<br /> <br /> <br /> Commentators move swiftly past the first lines – which they find embarassing, both to Ovid’s fan and to Ovid himself, who imagines this person. They move straight beyond the longing for physical contact to line 11, and discuss what Ovid has to say about the ''Metamorphoses'': the poem speaks of altered forms, and Ovid himself is an altered man. I suggest we should pay a bit more attention to the bust crowned with ivy, and the signet ring – not just as objects, but as objects that inspire physical responses to poetry. Removing the ivy means not just recognising Ovid’s unhappiness, but also his new work, the ''Tristia'', and ensuring that the author continues to remain an accurate ''imago'' of his oeuvre. As for the signet ring, new work by Chris Faraone on amulets may, in due course, provide an important interpretative framework. There is a well attested ritual whereby people who want to communicate with a god wear a signet ring with the deity’s image on it. Magical texts recommend wearing the image turned inwards, on the side of the palm, and sleeping with one ear next to it, in the hope that the god might send a message in a dream. This ritual of private communication may be relevant here. The addressee who loves Ovid needs to understand and yet dissimulate what the poet tells him (line 5, which is textually uncertain). There is the conceit of personal contact, even though Ovid does not even know who he may be addressing: ''siquis''. This person should not seek the poet just through portraits, however, but rather by finding new meaning in the ''Met''. This meaning is personal – not just for the poet, and his changed ''oeuvre'' and life – but personal to the reader, who needs to guard his interpretation as closely as he keeps his signet ring.<br /> <br /> Admiration for literature repeatedly finds expression in the desire to encounter the author face-to-face. Pliny comments (''NH'' 35.9) ''pariunt desideria non traditos uultus, sicut in Homero euenit''. Petrarch laments the fact that, because he lacks a proper translation of the ''Iliad'', he can only catch glimpses of Homer’s face ({{#lemma: ''Familiar Letters'' 24.12.2 | [[Petrarch, Familiar Letters 24.12.2|Petr. ''Fam.'' 24.12.2]]}}). In a different letter, he writes of embracing a copy of the ''Iliad'', as if he were actually touching his beloved friend Homer ({{#lemma: ''Familiar Letters'' 18.2.6 | [[Petrarch, Familiar Letters 18.2.6|Petr. ''Fam.'' 18.2.6]]}}). Elsewhere still, he admits that being close to an author has nothing to do with material objects. It is a personal connection, as if with a living person ‘made of flesh’, a connection that provides Petrarch with a suitable interlocutor and distances him from the ''uulgus'' ({{#lemma: ''Familiar Letters'' 8.3.6 | [[Petrarch, Familiar Letters 8.3.6|Petr. ''Fam.'' 8.3.6]]}}).<br /> <br /> Because the process of imagining the face and the body of the author involves a private and personal act of reading, real portraits can come into conflict with the imagined face. Libanius ({{#lemma: ''Letters'' 143.3 | [[Libanius, Letters 143.3|Lib. ''Ep.'' 143.3]]}}), for example, is desperate to obtain a portrait of Aristides, but when he actually receives one he refuses to accept that it is a true likeness (Petsalis-Diomidis 2006). Surely, he argues, Aristides could not have looked so healthy, or have such luscious hair! Eventually, on receiving a second portrait that agrees with the first, Libanius accepts that the images must reflect how Aristides actually looked. But he is still puzzled by the hair, and demands to know how it could have been so abundant. He also wants a full portrait ({{#lemma: ''Letters'' 143.5 | [[Libanius, Letters 143.5|Lib. ''Ep.'' 143.5]]}}).<br /> <br /> There are many other examples of desire for ancient authors (Güthenke forthcoming) and of disappointment with their portraits. John Cosin (1594–1672), Prince Bishop of Durham, ordered that his library on Palace Green be decorated with portraits of ancient philosophers and fathers of the Church, and insisted that that they be based on genuine ancient artefacts. When he actually saw them, however, he was appalled: ‘They look like Saracens!’ he declared in one of his furious letters to the artist.<br /> <br /> It seems, then, that portraits become sites of ''competitive'' reception, where different visions of ancient authors come to clash. The cognitive process by which the act of reading results in a private image of the author is destabilised by the objectivity of actual portraits.<br /> <br /> ==Places==<br /> <br /> Because bodies are located in space and time, embodied responses to literature clash with the intangible ubiquitousness of words. The krater depicting Sappho makes the point: bodies go their separate ways, but longing and poetry still connect them. Theocritus objects to ancient literary tourism: the Hellenistic desire to celebrate the poets in the places where they were born, through cultic statues and monuments (Clay 2004), is exposed as inadequate: he tells us to look at an Ionian poet, on an Ionian island, by addressing us in his own native Doric, θᾶσαι, and thus making us think of Sicily instead. Ovid speaks of the physical intimacy established by wearing a signet ring, and then suggests that the act of reading the ''Metamorphoses'' is equally close and personal. Petrarch embraces a Greek manuscript of Homer’s ''Iliad'', but then blames Homer for ‘having forgotten his Latin’ – i.e. for not having inspired adequate Latin translations. The problem is not just linguistic, for Petrarch: he resents Homer’s cultural and geographical distance, in an attitude of suspicion and superiority towards Byzantine culture (Dionisotti 1967). Bishop Cosin thinks that the ancient philosophers are like him, and is dismayed to find out that they look like Saracens.<br /> <br /> The problem of place and possession resonates through the history of classical culture, of course. We are all familiar with the distaste and disorientation of northern Europeans, when confronted with modern southerners living in ancient landscapes. When Freud visits the acropolis, physical closeness to the ancient world inspires a reflection on cultural distance, not least from his own father (Leonard forthcoming). The Sicilian poet Salvatore Quasimodo (Nobel laureate 1962) tries to capture his physical closeness to Aeschylus in an invective against an unnamed poet of the north:<br /> <br /> &lt;table&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''A un poeta nemico''&lt;br /&gt;<br /> Sulla sabbia di Gela colore della paglia&lt;br /&gt; <br /> mi stendevo fanciullo in riva al mare&lt;br /&gt; <br /> antico di Grecia con molti sogni nei pugni&lt;br /&gt; <br /> stretti nel petto. Là Eschilo esule&lt;br /&gt;<br /> misurò versi e passi sconsolati,&lt;br /&gt;<br /> in quel golfo arso l’aquila lo vide&lt;br /&gt;<br /> e fu l’ultimo giorno. Uomo del Nord, che mi vuoi &lt;br /&gt;<br /> minimo o morto per tua pace, spera:&lt;br /&gt;<br /> la madre di mio padre avrà cent’anni&lt;br /&gt;<br /> a nuova primavera. Spera: che io domani&lt;br /&gt;<br /> non giochi col tuo cranio giallo per le piogge.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''To a Hostile Poet''&lt;br /&gt;<br /> On the straw-coloured sands of Gela&lt;br /&gt;<br /> as a child I would lie by the ancient&lt;br /&gt;<br /> Grecian sea, many dreams in my breast&lt;br /&gt;<br /> and my clenched fists. Exiled Aeschylus there&lt;br /&gt; <br /> scanned over his verses and lines forlorn&lt;br /&gt;<br /> in the burning gulf where the eagle spied him&lt;br /&gt; <br /> that final day. Man of the North who wish me&lt;br /&gt; <br /> nothing, or dead, hope for your own peace:&lt;br /&gt; <br /> next spring my father’s mother will be&lt;br /&gt;<br /> a hundred years old. Hope that tomorrow I&lt;br /&gt;<br /> shall not be playing with your rain-yellowed skull.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/table&gt;<br /> <br /> Quasimodo alludes to ancient traditions about Aeschylus’ death, according to which a flying eagle saw the bald head of the poet, mistook it for a rock, and dropped a tortoise he was holding in his talons, in order to crack open its shell and eat it (the account may derive from an omen described in some lost play of Aeschylus). Quasimodo leaves out the colourful detail of the tortoise falling from the sky, because it does not fit the starkness of his poem. What he offers instead is the image of a forlorn figure in a vast landscape – a figure that is simultaneously Aeschylus and Quasimodo. It is only halfway through the epigram that the ancient and the modern poet part company. Unlike Aeschylus, Quasimodo is still alive, and does not plan to die any time soon: his grandmother has excellent genes, after all. It is his rival from the north who will go first, as rain falls on his yellowed skull. Quasimodo is still at play on the golden sands of Gela at the end of his poem. The suggestion is that the Sicilian Greek lives like Aeschylus – feels the ancient sand and sea through his own living body – whereas his northern rival can at best die like the ancient poet, with something nasty (rain or tortoise) falling on his head. Here too, competitive literary receptions are negotiated through embodied experience.<br /> <br /> What portraits and places bring to the fore are intensely personal responses to ancient literature. Scholars insist, quite rightly, that authorial representations depend on two factors: an interpretation of the author’s ''oeuvre'', and the conventions of biography, portraiture, and other relevant genres. To these two, I would add a third element that determines how ancient authors are represented: the lived, embodied experience of their readers and admirers.<br /> <br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> <br /> * Bing, P. 1988. ‘Theocritus’ Epigrams on the Statues of Ancient Poets.’ ''Antike und Abendland'' 34.2. 117-123. <br /> * Clay, D. 2004. ''Archilochos Heros: The Cult of Poets in the Greek Polis''. Cambridge, MA.<br /> * Dionisotti, C. 1967. ''Geografia e storia della letteratura italiana''. Turin.<br /> * Güthenke, C. forthcoming. ‘”Lives” as Parameter. The Privileging of Ancient Lives as a Category of Research around 1900.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> * Leonard, M. forthcoming. ‘Freud and the Biography of Antiquity.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography.'' Cambridge.<br /> * MacDowell , D. M. (ed.) 1982. ''Gorgias. Encomium of Helen''. Bristol. <br /> * Petsalis-Diomidis, A. 2006. ‘Sacred Writing, Sacred Reading: The Function of Aelius Aristides’ Self-Presentation as Author in the ''Sacred Tales''.’ In J. Mossman and B. McGing eds. ''The Limits of Ancient Biography''. Swansea. 193-211.<br /> * Rossi, L. 2001. ''The Epigrams Ascribed to Theocritus: A Method of Approach''. Leuven. <br /> * Zanker, P. 1995. ''The Mask of Socrates: The Image of the Intellectual in Antiquity.'' Berkeley and Los Angeles. <br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Barbara Graziosi]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Embodiments_of_Literature&diff=4188 2015-04-10T17:03:26Z

<p>Paola Bassino: /* Bibliography */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Barbara Graziosi}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> Literature is often presented as something ethereal and intangible. It concerns the life of the mind, unconstrained by the material realities of the body. It does not depend on the senses, particularly: we can appreciate Homer by listening, reading, or touching Braille. These different sensory approaches affect our experience, of course, but we are still recognisably confronted with the same text. ''Logos'', language, and literature pertain to the mind rather than the body (and this explains, in part, why literature is placed above material culture in traditional hierarchies). There are, however, ways of thinking about literature as an embodied experience. Gorgias suggests one (''Encomium of Helen'' 7-9):<br /> <br /> &lt;blockquote&gt;εἰ δὲ βίαι ἡρπάσθη καὶ ἀνόμως ἐβιάσθη καὶ ἀδίκως ὑβρίσθη, δῆλον ὅτι ὁ ἁρπάσας ἢ ὑβρίσας ἠδίκησεν, ἡ δὲ ἁρπασθεῖσα ἢ ὑβρισθεῖσα ἐδυστύχησεν. [...] (8) εἰ δὲ λόγος ὁ πείσας καὶ τὴν ψυχὴν ἀπατήσας, οὐδὲ πρὸς τοῦτο χαλεπὸν ἀπολογήσασθαι καὶ τὴν αἰτίαν ἀπολύσασθαι ὧδε. λόγος δυνάστης μέγας ἐστίν, ὃς σμικροτάτωι σώματι καὶ ἀφανεστάτωι θειότατα ἔργα ἀποτελεῖ· δύναται γὰρ καὶ φόβον παῦσαι καὶ λύπην ἀφελεῖν καὶ χαρὰν ἐνεργάσασθαι καὶ ἔλεον ἐπαυξῆσαι. ταῦτα δὲ ὡς οὕτως ἔχει δείξω· (9) δεῖ δὲ καὶ δόξηι δεῖξαι τοῖς ἀκούουσι· τὴν ποίησιν ἅπασαν καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον· ἧς τοὺς ἀκούοντας εἰσῆλθε καὶ φρίκη περίφοβος καὶ ἔλεος πολύδακρυς καὶ πόθος φιλοπενθής, ἐπ' ἀλλοτρίων τε πραγμάτων καὶ σωμάτων εὐτυχίαις καὶ δυσπραγίαις ἴδιόν τι πάθημα διὰ τῶν λόγων ἔπαθεν ἡ ψυχή. &lt;/blockquote&gt;<br /> <br /> &lt;blockquote&gt;If she was seized by force, unlawfully constrained, and unjustly abused, it is clear that the man who seized or abused did wrong, and that the woman who was seized or abused suffered misfortune. […] (8) But if speech persuaded and deceived her soul, it is also not difficult to offer a defence for that and to dismiss the accusation in the following way. Speech is a powerful lord, which by the smallest and most invisible body achieves the most divine works; for it can stop fear, remove pain, produce joy, and increase pity. And I shall prove that this is the case; (9) and I must prove it to my listeners by reference to opinion as well. I consider and define all poetry as speech with metre. A fearful shudder, tearful pity, and grievous longing come upon those who hear it, and on account of words the soul suffers its own affliction at the successes and misfortunes of others’ affairs and bodies.&lt;/blockquote&gt;<br /> <br /> The corporeal nature of this passage is difficult to capture, in part because of the modern divide between mind and body: φρίκη περίφοβος, for example, becomes ‘a fearful fright’ in MacDowell’s standard translation, when the Greek describes a shudder. More strikingly, not once does MacDowell translate Gorgias’ σῶμα as ‘body’, even though it is the key term in our passage (see MacDowell 1982: 25). The small and invisible body of ''logos'' has very real power, he insists. The proof is its effect on the body of those who listen. Gorgias uses the most physical metaphor – rape – to illustrate what words can do. And yet even he must admit that the σῶμα of words cannot be apprehended directly – it cannot be touched or seen, even if its effects are felt in the body.<br /> <br /> This contribution explores the material reception of literature, by considering portraits and places associated with ancient literary figures. I return at the end to Gorgias’ challenging proposition: that we feel literature in our body.<br /> <br /> ==Portraits==<br /> <br /> The creation of the author is an aspect of the reception of his or her work. Just as the Lives of the ancient poets are largely based on their works, so are their portraits. So, for example, Demodocus is interpreted as an autobiographical character, and Homer is depicted as a blind bard. Or again, Sappho describes how painful it is when a girl leaves her circle, and an important (if neglected) vase depicts this moment of separation: <br /> <br /> <br /> &lt;center&gt;[[File: Kunstsammlungen_der_Ruhr-Universität,_Bochum.png‎|link=Kunstsammlungen der Ruhr-Universität, Bochum]]&lt;/center&gt;<br /> &lt;blockquote&gt;''Red-figure krater, Tithonus painter, ca 480 BCE: the figure on the left is named ‘Sappho’, the figure on the right is labelled ‘the girl’.'' <br /> ''Kunstsammlungen der Ruhr-Universität, Bochum.''&lt;/blockquote&gt;<br /> <br /> <br /> Sappho and ‘the girl’ (ἡ παῖς: a designation that could apply to several of her girls) are depicted walking in opposite directions, but looking back at each other. As an object, the krater is as unsettling as Sappho’s poems of separation. Many vases play on the theme of the amorous chase: because they are round, whoever chases will in turn be chased, in an exhilarating spiral, in which the viewer can take part by turning the vase round and round. This vase is more awkward to view and handle: the body goes one way, the gaze, the longing, (and, we are reminded, the poetry) quite another.<br /> <br /> There is some fun to be had when looking at material depictions of authors, and reading them as receptions of their work. The development of portrait types, for example, is influenced by literary canons, and simultaneously contributes to creating them. Juxtaposition with (and typological similarity to) other categories of portrait situates ancient authors within specific cultural and intellectual milieux: it transforms literary traditions into visual experiences and reifies them in the form of material objects. Portraits allow patrons to ‘possess’ specific literary traditions, genres or poems, and simultaneously generate an intellectual process by which the viewer is asked to ‘read’ the author’s work through the interpretation of specific details of physiognomy, expression, gesture, and placement in relation to other figures. Reading the image and reading the text become connected enterprises (Zanker 1995).<br /> <br /> Several ancient sources comment on the relationship between portrait and ''oeuvre''. Theocritus, for example, writes an epigram about a statue of Anacreon placed in the poet’s native island of Teos:<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> Θᾶσαι τὸν ἀνδριάντα τοῦτον, ὦ ξένε,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;σπουδᾷ, καὶ λέγ’, ἐπὴν ἐς οἶκον ἔνθῃς·&lt;br /&gt;<br /> “Ἀνακρέοντος εἰκόν’ εἶδον ἐν Τέωι,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;τῶν πρόσθ’ εἴ τι περισσὸν ᾠδοποιῶν.”&lt;br /&gt;<br /> προσθεὶς δὲ χὤτι τοῖς νέοισιν ἅδετο,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;ἐρεῖς ἀτρεκέως ὅλον τὸν ἄνδρα.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Look well upon this statue, stranger, and say, when you get home, “I saw the likeness of Anacreon in Teos, one of the greatest among the poets of old.” Add to this that he loved young men, and you will have accurately described the whole man.<br /> |}<br /> <br /> Here the whole legacy of Anacreon is reduced to a statue (whether real or made up in poetry) and a sentence: ‘he enjoyed young boys’. There is apparently no need to read Anacreon’s work: the stranger is simply invited to visit Anacreon’s place of birth, look at the statue, and remember Theocritus’ own pithy statement. Readers will thus know ‘the whole man’ by a very quick and simple process. Unsurprisingly, there has been some debate about the word ὅλον. Some readers take it at face value (Rossi 2001: 284-5), others point out that the mini biography provided by Theocritus cannot be taken to represent all of Anacreon’s ''oeuvre'', just as he fails to provide a satisfying ekphrasis of the statue (Bing 1988: 121). This seems true – and I add that Theocritus himself, as a poet, cannot possibly want to be reduced to a portrait and a sentence. His in-your-face Doric θᾶσαι at the beginning of this epigram (which is written in honour of an Ionian poet, after all, and purportedly placed on an Ionian island!) inscribes Theocritus’ own place of birth, as well as his voice and genre, in the composition, suggesting a more broad-ranging literary and personal engagement than his summary biography. Unlike the statue, literature is never confined to one place. As Pindar taught us ({{#lemma: ''Nemean'' 5.1-3 | [[Pindar, Nemean 5.1-3|Pind. ''N.'' 5.1-3]]}}), it can travel on every ship and skiff.<br /> <br /> Ovid has equally thought-provoking things to say about portraits and places (''Sorrows'' 1.7.1-14):<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> &lt;blockquote&gt;Siquis habes nostris similes in imagine uultus,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;deme meis hederas, Bacchica serta, comis.&lt;br /&gt;<br /> ista decent laetos felicia signa poetas:&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;temporibus non est apta corona meis.&lt;br /&gt;<br /> hoc tibi dissimula, senti tamen, optime, dici,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;in digito qui me fersque refersque tuo,&lt;br /&gt;<br /> effigiemque meam fuluo complexus in auro&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;cara relegati, quae potes, ora uides.&lt;br /&gt;<br /> quae quotiens spectas, subeat tibi dicere forsan&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;quam procul a nobis Naso sodalis abest!&quot;&lt;br /&gt; <br /> grata tua est pietas, sed carmina maior imago&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;sunt mea, quae mando qualiacumque legas,&lt;br /&gt; <br /> carmina mutatas hominum dicentia formas,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;infelix domini quod fuga rupit opus.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Whoever has a portrait of my face, remove the ivy, garland of Bacchus, from my hair. Such signs of fortune suit happy poets: a wreath is not fitting for my temples. Conceal – but know – that I say this to you, best friend, who carry me here and there on your finger, and who, clasping my image on the yellow gold, see the dear face, all that you can, of an exile. Whenever you look at it, perhaps you will be prompted to say, “How far away is our friend Ovid!” Your love is a comfort, but my verses are a better portrait, and I urge you to read them such as they are, verses that tell of human transformations, the work broken off by the unhappy flight of its author.<br /> |}<br /> <br /> <br /> Commentators move swiftly past the first lines – which they find embarassing, both to Ovid’s fan and to Ovid himself, who imagines this person. They move straight beyond the longing for physical contact to line 11, and discuss what Ovid has to say about the ''Metamorphoses'': the poem speaks of altered forms, and Ovid himself is an altered man. I suggest we should pay a bit more attention to the bust crowned with ivy, and the signet ring – not just as objects, but as objects that inspire physical responses to poetry. Removing the ivy means not just recognising Ovid’s unhappiness, but also his new work, the ''Tristia'', and ensuring that the author continues to remain an accurate ''imago'' of his oeuvre. As for the signet ring, new work by Chris Faraone on amulets may, in due course, provide an important interpretative framework. There is a well attested ritual whereby people who want to communicate with a god wear a signet ring with the deity’s image on it. Magical texts recommend wearing the image turned inwards, on the side of the palm, and sleeping with one ear next to it, in the hope that the god might send a message in a dream. This ritual of private communication may be relevant here. The addressee who loves Ovid needs to understand and yet dissimulate what the poet tells him (line 5, which is textually uncertain). There is the conceit of personal contact, even though Ovid does not even know who he may be addressing: ''siquis''. This person should not seek the poet just through portraits, however, but rather by finding new meaning in the ''Met''. This meaning is personal – not just for the poet, and his changed ''oeuvre'' and life – but personal to the reader, who needs to guard his interpretation as closely as he keeps his signet ring.<br /> <br /> Admiration for literature repeatedly finds expression in the desire to encounter the author face-to-face. Pliny comments (''NH'' 35.9) ''pariunt desideria non traditos uultus, sicut in Homero euenit''. Petrarch laments the fact that, because he lacks a proper translation of the ''Iliad'', he can only catch glimpses of Homer’s face ({{#lemma: ''Familiar Letters'' 24.12.2 | [[Petrarch, Familiar Letters 24.12.2|Petr. ''Fam.'' 24.12.2]]}}). In a different letter, he writes of embracing a copy of the ''Iliad'', as if he were actually touching his beloved friend Homer ({{#lemma: ''Familiar Letters'' 18.2.6 | [[Petrarch, Familiar Letters 18.2.6|Petr. ''Fam.'' 18.2.6]]}}). Elsewhere still, he admits that being close to an author has nothing to do with material objects. It is a personal connection, as if with a living person ‘made of flesh’, a connection that provides Petrarch with a suitable interlocutor and distances him from the ''uulgus'' ({{#lemma: ''Familiar Letters'' 8.3.6 | [[Petrarch, Familiar Letters 8.3.6|Petr. ''Fam.'' 8.3.6]]}}).<br /> <br /> Because the process of imagining the face and the body of the author involves a private and personal act of reading, real portraits can come into conflict with the imagined face. Libanius ({{#lemma: ''Letters'' 143.3 | [[Libanius, Letters 143.3|Lib. ''Ep.'' 143.3]]}}), for example, is desperate to obtain a portrait of Aristides, but when he actually receives one he refuses to accept that it is a true likeness (Petsalis-Diomidis 2006). Surely, he argues, Aristides could not have looked so healthy, or have such luscious hair! Eventually, on receiving a second portrait that agrees with the first, Libanius accepts that the images must reflect how Aristides actually looked. But he is still puzzled by the hair, and demands to know how it could have been so abundant. He also wants a full portrait ({{#lemma: ''Letters'' 143.5 | [[Libanius, Letters 143.5|Lib. ''Ep.'' 143.5]]}}).<br /> <br /> There are many other examples of desire for ancient authors (Güthenke forthcoming) and of disappointment with their portraits. John Cosin (1594–1672), Prince Bishop of Durham, ordered that his library on Palace Green be decorated with portraits of ancient philosophers and fathers of the Church, and insisted that that they be based on genuine ancient artefacts. When he actually saw them, however, he was appalled: ‘They look like Saracens!’ he declared in one of his furious letters to the artist.<br /> <br /> It seems, then, that portraits become sites of ''competitive'' reception, where different visions of ancient authors come to clash. The cognitive process by which the act of reading results in a private image of the author is destabilised by the objectivity of actual portraits.<br /> <br /> ==Places==<br /> <br /> Because bodies are located in space and time, embodied responses to literature clash with the intangible ubiquitousness of words. The krater depicting Sappho makes the point: bodies go their separate ways, but longing and poetry still connect them. Theocritus objects to ancient literary tourism: the Hellenistic desire to celebrate the poets in the places where they were born, through cultic statues and monuments (Clay 2004), is exposed as inadequate: he tells us to look at an Ionian poet, on an Ionian island, by addressing us in his own native Doric, θᾶσαι, and thus making us think of Sicily instead. Ovid speaks of the physical intimacy established by wearing a signet ring, and then suggests that the act of reading the ''Metamorphoses'' is equally close and personal. Petrarch embraces a Greek manuscript of Homer’s ''Iliad'', but then blames Homer for ‘having forgotten his Latin’ – i.e. for not having inspired adequate Latin translations. The problem is not just linguistic, for Petrarch: he resents Homer’s cultural and geographical distance, in an attitude of suspicion and superiority towards Byzantine culture (Dionisotti 1967). Bishop Cosin thinks that the ancient philosophers are like him, and is dismayed to find out that they look like Saracens.<br /> <br /> The problem of place and possession resonates through the history of classical culture, of course. We are all familiar with the distaste and disorientation of northern Europeans, when confronted with modern southerners living in ancient landscapes. When Freud visits the acropolis, physical closeness to the ancient world inspires a reflection on cultural distance, not least from his own father (Leonard forthcoming). The Sicilian poet Salvatore Quasimodo (Nobel laureate 1962) tries to capture his physical closeness to Aeschylus in an invective against an unnamed poet of the north:<br /> <br /> &lt;table&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''A un poeta nemico''&lt;br /&gt;<br /> Sulla sabbia di Gela colore della paglia&lt;br /&gt; <br /> mi stendevo fanciullo in riva al mare&lt;br /&gt; <br /> antico di Grecia con molti sogni nei pugni&lt;br /&gt; <br /> stretti nel petto. Là Eschilo esule&lt;br /&gt;<br /> misurò versi e passi sconsolati,&lt;br /&gt;<br /> in quel golfo arso l’aquila lo vide&lt;br /&gt;<br /> e fu l’ultimo giorno. Uomo del Nord, che mi vuoi &lt;br /&gt;<br /> minimo o morto per tua pace, spera:&lt;br /&gt;<br /> la madre di mio padre avrà cent’anni&lt;br /&gt;<br /> a nuova primavera. Spera: che io domani&lt;br /&gt;<br /> non giochi col tuo cranio giallo per le piogge.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''To a Hostile Poet''&lt;br /&gt;<br /> On the straw-coloured sands of Gela&lt;br /&gt;<br /> as a child I would lie by the ancient&lt;br /&gt;<br /> Grecian sea, many dreams in my breast&lt;br /&gt;<br /> and my clenched fists. Exiled Aeschylus there&lt;br /&gt; <br /> scanned over his verses and lines forlorn&lt;br /&gt;<br /> in the burning gulf where the eagle spied him&lt;br /&gt; <br /> that final day. Man of the North who wish me&lt;br /&gt; <br /> nothing, or dead, hope for your own peace:&lt;br /&gt; <br /> next spring my father’s mother will be&lt;br /&gt;<br /> a hundred years old. Hope that tomorrow I&lt;br /&gt;<br /> shall not be playing with your rain-yellowed skull.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/table&gt;<br /> <br /> Quasimodo alludes to ancient traditions about Aeschylus’ death, according to which a flying eagle saw the bald head of the poet, mistook it for a rock, and dropped a tortoise he was holding in his talons, in order to crack open its shell and eat it (the account may derive from an omen described in some lost play of Aeschylus). Quasimodo leaves out the colourful detail of the tortoise falling from the sky, because it does not fit the starkness of his poem. What he offers instead is the image of a forlorn figure in a vast landscape – a figure that is simultaneously Aeschylus and Quasimodo. It is only halfway through the epigram that the ancient and the modern poet part company. Unlike Aeschylus, Quasimodo is still alive, and does not plan to die any time soon: his grandmother has excellent genes, after all. It is his rival from the north who will go first, as rain falls on his yellowed skull. Quasimodo is still at play on the golden sands of Gela at the end of his poem. The suggestion is that the Sicilian Greek lives like Aeschylus – feels the ancient sand and sea through his own living body – whereas his northern rival can at best die like the ancient poet, with something nasty (rain or tortoise) falling on his head. Here too, competitive literary receptions are negotiated through embodied experience.<br /> <br /> What portraits and places bring to the fore are intensely personal responses to ancient literature. Scholars insist, quite rightly, that authorial representations depend on two factors: an interpretation of the author’s ''oeuvre'', and the conventions of biography, portraiture, and other relevant genres. To these two, I would add a third element that determines how ancient authors are represented: the lived, embodied experience of their readers and admirers.<br /> <br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> <br /> * Bing, P. 1988. ‘Theocritus’ Epigrams on the Statues of Ancient Poets.’ ''Antike und Abendland'' 34.2. 117-123. <br /> * Clay, D. 2004. ''Archilochos Heros: The Cult of Poets in the Greek Polis''. Cambridge, MA.<br /> * Dionisotti, C. 1967. ''Geografia e storia della letteratura italiana''. Turin.<br /> * Güthenke, C. Forthcoming. ‘”Lives” as Parameter. The Privileging of Ancient Lives as a Category of Research around 1900.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> * Leonard, M. forthcoming. ‘Freud and the Biography of Antiquity.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography.'' Cambridge.<br /> * MacDowell , D. M. (ed.) 1982. ''Gorgias. Encomium of Helen''. Bristol. <br /> * Petsalis-Diomidis, A. 2006. ‘Sacred Writing, Sacred Reading: The Function of Aelius Aristides’ Self-Presentation as Author in the ''Sacred Tales''.’ In J. Mossman and B. McGing eds. ''The Limits of Ancient Biography''. Swansea. 193-211.<br /> * Rossi, L. 2001. ''The Epigrams Ascribed to Theocritus: A Method of Approach''. Leuven. <br /> * Zanker, P. 1995. ''The Mask of Socrates: The Image of the Intellectual in Antiquity.'' Berkeley and Los Angeles. <br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Barbara Graziosi]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Embodiments_of_Literature&diff=4187 2015-04-10T16:59:49Z

<p>Paola Bassino: </p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Barbara Graziosi}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> Literature is often presented as something ethereal and intangible. It concerns the life of the mind, unconstrained by the material realities of the body. It does not depend on the senses, particularly: we can appreciate Homer by listening, reading, or touching Braille. These different sensory approaches affect our experience, of course, but we are still recognisably confronted with the same text. ''Logos'', language, and literature pertain to the mind rather than the body (and this explains, in part, why literature is placed above material culture in traditional hierarchies). There are, however, ways of thinking about literature as an embodied experience. Gorgias suggests one (''Encomium of Helen'' 7-9):<br /> <br /> &lt;blockquote&gt;εἰ δὲ βίαι ἡρπάσθη καὶ ἀνόμως ἐβιάσθη καὶ ἀδίκως ὑβρίσθη, δῆλον ὅτι ὁ ἁρπάσας ἢ ὑβρίσας ἠδίκησεν, ἡ δὲ ἁρπασθεῖσα ἢ ὑβρισθεῖσα ἐδυστύχησεν. [...] (8) εἰ δὲ λόγος ὁ πείσας καὶ τὴν ψυχὴν ἀπατήσας, οὐδὲ πρὸς τοῦτο χαλεπὸν ἀπολογήσασθαι καὶ τὴν αἰτίαν ἀπολύσασθαι ὧδε. λόγος δυνάστης μέγας ἐστίν, ὃς σμικροτάτωι σώματι καὶ ἀφανεστάτωι θειότατα ἔργα ἀποτελεῖ· δύναται γὰρ καὶ φόβον παῦσαι καὶ λύπην ἀφελεῖν καὶ χαρὰν ἐνεργάσασθαι καὶ ἔλεον ἐπαυξῆσαι. ταῦτα δὲ ὡς οὕτως ἔχει δείξω· (9) δεῖ δὲ καὶ δόξηι δεῖξαι τοῖς ἀκούουσι· τὴν ποίησιν ἅπασαν καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον· ἧς τοὺς ἀκούοντας εἰσῆλθε καὶ φρίκη περίφοβος καὶ ἔλεος πολύδακρυς καὶ πόθος φιλοπενθής, ἐπ' ἀλλοτρίων τε πραγμάτων καὶ σωμάτων εὐτυχίαις καὶ δυσπραγίαις ἴδιόν τι πάθημα διὰ τῶν λόγων ἔπαθεν ἡ ψυχή. &lt;/blockquote&gt;<br /> <br /> &lt;blockquote&gt;If she was seized by force, unlawfully constrained, and unjustly abused, it is clear that the man who seized or abused did wrong, and that the woman who was seized or abused suffered misfortune. […] (8) But if speech persuaded and deceived her soul, it is also not difficult to offer a defence for that and to dismiss the accusation in the following way. Speech is a powerful lord, which by the smallest and most invisible body achieves the most divine works; for it can stop fear, remove pain, produce joy, and increase pity. And I shall prove that this is the case; (9) and I must prove it to my listeners by reference to opinion as well. I consider and define all poetry as speech with metre. A fearful shudder, tearful pity, and grievous longing come upon those who hear it, and on account of words the soul suffers its own affliction at the successes and misfortunes of others’ affairs and bodies.&lt;/blockquote&gt;<br /> <br /> The corporeal nature of this passage is difficult to capture, in part because of the modern divide between mind and body: φρίκη περίφοβος, for example, becomes ‘a fearful fright’ in MacDowell’s standard translation, when the Greek describes a shudder. More strikingly, not once does MacDowell translate Gorgias’ σῶμα as ‘body’, even though it is the key term in our passage (see MacDowell 1982: 25). The small and invisible body of ''logos'' has very real power, he insists. The proof is its effect on the body of those who listen. Gorgias uses the most physical metaphor – rape – to illustrate what words can do. And yet even he must admit that the σῶμα of words cannot be apprehended directly – it cannot be touched or seen, even if its effects are felt in the body.<br /> <br /> This contribution explores the material reception of literature, by considering portraits and places associated with ancient literary figures. I return at the end to Gorgias’ challenging proposition: that we feel literature in our body.<br /> <br /> ==Portraits==<br /> <br /> The creation of the author is an aspect of the reception of his or her work. Just as the Lives of the ancient poets are largely based on their works, so are their portraits. So, for example, Demodocus is interpreted as an autobiographical character, and Homer is depicted as a blind bard. Or again, Sappho describes how painful it is when a girl leaves her circle, and an important (if neglected) vase depicts this moment of separation: <br /> <br /> <br /> &lt;center&gt;[[File: Kunstsammlungen_der_Ruhr-Universität,_Bochum.png‎|link=Kunstsammlungen der Ruhr-Universität, Bochum]]&lt;/center&gt;<br /> &lt;blockquote&gt;''Red-figure krater, Tithonus painter, ca 480 BCE: the figure on the left is named ‘Sappho’, the figure on the right is labelled ‘the girl’.'' <br /> ''Kunstsammlungen der Ruhr-Universität, Bochum.''&lt;/blockquote&gt;<br /> <br /> <br /> Sappho and ‘the girl’ (ἡ παῖς: a designation that could apply to several of her girls) are depicted walking in opposite directions, but looking back at each other. As an object, the krater is as unsettling as Sappho’s poems of separation. Many vases play on the theme of the amorous chase: because they are round, whoever chases will in turn be chased, in an exhilarating spiral, in which the viewer can take part by turning the vase round and round. This vase is more awkward to view and handle: the body goes one way, the gaze, the longing, (and, we are reminded, the poetry) quite another.<br /> <br /> There is some fun to be had when looking at material depictions of authors, and reading them as receptions of their work. The development of portrait types, for example, is influenced by literary canons, and simultaneously contributes to creating them. Juxtaposition with (and typological similarity to) other categories of portrait situates ancient authors within specific cultural and intellectual milieux: it transforms literary traditions into visual experiences and reifies them in the form of material objects. Portraits allow patrons to ‘possess’ specific literary traditions, genres or poems, and simultaneously generate an intellectual process by which the viewer is asked to ‘read’ the author’s work through the interpretation of specific details of physiognomy, expression, gesture, and placement in relation to other figures. Reading the image and reading the text become connected enterprises (Zanker 1995).<br /> <br /> Several ancient sources comment on the relationship between portrait and ''oeuvre''. Theocritus, for example, writes an epigram about a statue of Anacreon placed in the poet’s native island of Teos:<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> Θᾶσαι τὸν ἀνδριάντα τοῦτον, ὦ ξένε,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;σπουδᾷ, καὶ λέγ’, ἐπὴν ἐς οἶκον ἔνθῃς·&lt;br /&gt;<br /> “Ἀνακρέοντος εἰκόν’ εἶδον ἐν Τέωι,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;τῶν πρόσθ’ εἴ τι περισσὸν ᾠδοποιῶν.”&lt;br /&gt;<br /> προσθεὶς δὲ χὤτι τοῖς νέοισιν ἅδετο,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;ἐρεῖς ἀτρεκέως ὅλον τὸν ἄνδρα.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Look well upon this statue, stranger, and say, when you get home, “I saw the likeness of Anacreon in Teos, one of the greatest among the poets of old.” Add to this that he loved young men, and you will have accurately described the whole man.<br /> |}<br /> <br /> Here the whole legacy of Anacreon is reduced to a statue (whether real or made up in poetry) and a sentence: ‘he enjoyed young boys’. There is apparently no need to read Anacreon’s work: the stranger is simply invited to visit Anacreon’s place of birth, look at the statue, and remember Theocritus’ own pithy statement. Readers will thus know ‘the whole man’ by a very quick and simple process. Unsurprisingly, there has been some debate about the word ὅλον. Some readers take it at face value (Rossi 2001: 284-5), others point out that the mini biography provided by Theocritus cannot be taken to represent all of Anacreon’s ''oeuvre'', just as he fails to provide a satisfying ekphrasis of the statue (Bing 1988: 121). This seems true – and I add that Theocritus himself, as a poet, cannot possibly want to be reduced to a portrait and a sentence. His in-your-face Doric θᾶσαι at the beginning of this epigram (which is written in honour of an Ionian poet, after all, and purportedly placed on an Ionian island!) inscribes Theocritus’ own place of birth, as well as his voice and genre, in the composition, suggesting a more broad-ranging literary and personal engagement than his summary biography. Unlike the statue, literature is never confined to one place. As Pindar taught us ({{#lemma: ''Nemean'' 5.1-3 | [[Pindar, Nemean 5.1-3|Pind. ''N.'' 5.1-3]]}}), it can travel on every ship and skiff.<br /> <br /> Ovid has equally thought-provoking things to say about portraits and places (''Sorrows'' 1.7.1-14):<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> &lt;blockquote&gt;Siquis habes nostris similes in imagine uultus,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;deme meis hederas, Bacchica serta, comis.&lt;br /&gt;<br /> ista decent laetos felicia signa poetas:&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;temporibus non est apta corona meis.&lt;br /&gt;<br /> hoc tibi dissimula, senti tamen, optime, dici,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;in digito qui me fersque refersque tuo,&lt;br /&gt;<br /> effigiemque meam fuluo complexus in auro&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;cara relegati, quae potes, ora uides.&lt;br /&gt;<br /> quae quotiens spectas, subeat tibi dicere forsan&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;quam procul a nobis Naso sodalis abest!&quot;&lt;br /&gt; <br /> grata tua est pietas, sed carmina maior imago&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;sunt mea, quae mando qualiacumque legas,&lt;br /&gt; <br /> carmina mutatas hominum dicentia formas,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;infelix domini quod fuga rupit opus.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Whoever has a portrait of my face, remove the ivy, garland of Bacchus, from my hair. Such signs of fortune suit happy poets: a wreath is not fitting for my temples. Conceal – but know – that I say this to you, best friend, who carry me here and there on your finger, and who, clasping my image on the yellow gold, see the dear face, all that you can, of an exile. Whenever you look at it, perhaps you will be prompted to say, “How far away is our friend Ovid!” Your love is a comfort, but my verses are a better portrait, and I urge you to read them such as they are, verses that tell of human transformations, the work broken off by the unhappy flight of its author.<br /> |}<br /> <br /> <br /> Commentators move swiftly past the first lines – which they find embarassing, both to Ovid’s fan and to Ovid himself, who imagines this person. They move straight beyond the longing for physical contact to line 11, and discuss what Ovid has to say about the ''Metamorphoses'': the poem speaks of altered forms, and Ovid himself is an altered man. I suggest we should pay a bit more attention to the bust crowned with ivy, and the signet ring – not just as objects, but as objects that inspire physical responses to poetry. Removing the ivy means not just recognising Ovid’s unhappiness, but also his new work, the ''Tristia'', and ensuring that the author continues to remain an accurate ''imago'' of his oeuvre. As for the signet ring, new work by Chris Faraone on amulets may, in due course, provide an important interpretative framework. There is a well attested ritual whereby people who want to communicate with a god wear a signet ring with the deity’s image on it. Magical texts recommend wearing the image turned inwards, on the side of the palm, and sleeping with one ear next to it, in the hope that the god might send a message in a dream. This ritual of private communication may be relevant here. The addressee who loves Ovid needs to understand and yet dissimulate what the poet tells him (line 5, which is textually uncertain). There is the conceit of personal contact, even though Ovid does not even know who he may be addressing: ''siquis''. This person should not seek the poet just through portraits, however, but rather by finding new meaning in the ''Met''. This meaning is personal – not just for the poet, and his changed ''oeuvre'' and life – but personal to the reader, who needs to guard his interpretation as closely as he keeps his signet ring.<br /> <br /> Admiration for literature repeatedly finds expression in the desire to encounter the author face-to-face. Pliny comments (''NH'' 35.9) ''pariunt desideria non traditos uultus, sicut in Homero euenit''. Petrarch laments the fact that, because he lacks a proper translation of the ''Iliad'', he can only catch glimpses of Homer’s face ({{#lemma: ''Familiar Letters'' 24.12.2 | [[Petrarch, Familiar Letters 24.12.2|Petr. ''Fam.'' 24.12.2]]}}). In a different letter, he writes of embracing a copy of the ''Iliad'', as if he were actually touching his beloved friend Homer ({{#lemma: ''Familiar Letters'' 18.2.6 | [[Petrarch, Familiar Letters 18.2.6|Petr. ''Fam.'' 18.2.6]]}}). Elsewhere still, he admits that being close to an author has nothing to do with material objects. It is a personal connection, as if with a living person ‘made of flesh’, a connection that provides Petrarch with a suitable interlocutor and distances him from the ''uulgus'' ({{#lemma: ''Familiar Letters'' 8.3.6 | [[Petrarch, Familiar Letters 8.3.6|Petr. ''Fam.'' 8.3.6]]}}).<br /> <br /> Because the process of imagining the face and the body of the author involves a private and personal act of reading, real portraits can come into conflict with the imagined face. Libanius ({{#lemma: ''Letters'' 143.3 | [[Libanius, Letters 143.3|Lib. ''Ep.'' 143.3]]}}), for example, is desperate to obtain a portrait of Aristides, but when he actually receives one he refuses to accept that it is a true likeness (Petsalis-Diomidis 2006). Surely, he argues, Aristides could not have looked so healthy, or have such luscious hair! Eventually, on receiving a second portrait that agrees with the first, Libanius accepts that the images must reflect how Aristides actually looked. But he is still puzzled by the hair, and demands to know how it could have been so abundant. He also wants a full portrait ({{#lemma: ''Letters'' 143.5 | [[Libanius, Letters 143.5|Lib. ''Ep.'' 143.5]]}}).<br /> <br /> There are many other examples of desire for ancient authors (Güthenke forthcoming) and of disappointment with their portraits. John Cosin (1594–1672), Prince Bishop of Durham, ordered that his library on Palace Green be decorated with portraits of ancient philosophers and fathers of the Church, and insisted that that they be based on genuine ancient artefacts. When he actually saw them, however, he was appalled: ‘They look like Saracens!’ he declared in one of his furious letters to the artist.<br /> <br /> It seems, then, that portraits become sites of ''competitive'' reception, where different visions of ancient authors come to clash. The cognitive process by which the act of reading results in a private image of the author is destabilised by the objectivity of actual portraits.<br /> <br /> ==Places==<br /> <br /> Because bodies are located in space and time, embodied responses to literature clash with the intangible ubiquitousness of words. The krater depicting Sappho makes the point: bodies go their separate ways, but longing and poetry still connect them. Theocritus objects to ancient literary tourism: the Hellenistic desire to celebrate the poets in the places where they were born, through cultic statues and monuments (Clay 2004), is exposed as inadequate: he tells us to look at an Ionian poet, on an Ionian island, by addressing us in his own native Doric, θᾶσαι, and thus making us think of Sicily instead. Ovid speaks of the physical intimacy established by wearing a signet ring, and then suggests that the act of reading the ''Metamorphoses'' is equally close and personal. Petrarch embraces a Greek manuscript of Homer’s ''Iliad'', but then blames Homer for ‘having forgotten his Latin’ – i.e. for not having inspired adequate Latin translations. The problem is not just linguistic, for Petrarch: he resents Homer’s cultural and geographical distance, in an attitude of suspicion and superiority towards Byzantine culture (Dionisotti 1967). Bishop Cosin thinks that the ancient philosophers are like him, and is dismayed to find out that they look like Saracens.<br /> <br /> The problem of place and possession resonates through the history of classical culture, of course. We are all familiar with the distaste and disorientation of northern Europeans, when confronted with modern southerners living in ancient landscapes. When Freud visits the acropolis, physical closeness to the ancient world inspires a reflection on cultural distance, not least from his own father (Leonard forthcoming). The Sicilian poet Salvatore Quasimodo (Nobel laureate 1962) tries to capture his physical closeness to Aeschylus in an invective against an unnamed poet of the north:<br /> <br /> &lt;table&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''A un poeta nemico''&lt;br /&gt;<br /> Sulla sabbia di Gela colore della paglia&lt;br /&gt; <br /> mi stendevo fanciullo in riva al mare&lt;br /&gt; <br /> antico di Grecia con molti sogni nei pugni&lt;br /&gt; <br /> stretti nel petto. Là Eschilo esule&lt;br /&gt;<br /> misurò versi e passi sconsolati,&lt;br /&gt;<br /> in quel golfo arso l’aquila lo vide&lt;br /&gt;<br /> e fu l’ultimo giorno. Uomo del Nord, che mi vuoi &lt;br /&gt;<br /> minimo o morto per tua pace, spera:&lt;br /&gt;<br /> la madre di mio padre avrà cent’anni&lt;br /&gt;<br /> a nuova primavera. Spera: che io domani&lt;br /&gt;<br /> non giochi col tuo cranio giallo per le piogge.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''To a Hostile Poet''&lt;br /&gt;<br /> On the straw-coloured sands of Gela&lt;br /&gt;<br /> as a child I would lie by the ancient&lt;br /&gt;<br /> Grecian sea, many dreams in my breast&lt;br /&gt;<br /> and my clenched fists. Exiled Aeschylus there&lt;br /&gt; <br /> scanned over his verses and lines forlorn&lt;br /&gt;<br /> in the burning gulf where the eagle spied him&lt;br /&gt; <br /> that final day. Man of the North who wish me&lt;br /&gt; <br /> nothing, or dead, hope for your own peace:&lt;br /&gt; <br /> next spring my father’s mother will be&lt;br /&gt;<br /> a hundred years old. Hope that tomorrow I&lt;br /&gt;<br /> shall not be playing with your rain-yellowed skull.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/table&gt;<br /> <br /> Quasimodo alludes to ancient traditions about Aeschylus’ death, according to which a flying eagle saw the bald head of the poet, mistook it for a rock, and dropped a tortoise he was holding in his talons, in order to crack open its shell and eat it (the account may derive from an omen described in some lost play of Aeschylus). Quasimodo leaves out the colourful detail of the tortoise falling from the sky, because it does not fit the starkness of his poem. What he offers instead is the image of a forlorn figure in a vast landscape – a figure that is simultaneously Aeschylus and Quasimodo. It is only halfway through the epigram that the ancient and the modern poet part company. Unlike Aeschylus, Quasimodo is still alive, and does not plan to die any time soon: his grandmother has excellent genes, after all. It is his rival from the north who will go first, as rain falls on his yellowed skull. Quasimodo is still at play on the golden sands of Gela at the end of his poem. The suggestion is that the Sicilian Greek lives like Aeschylus – feels the ancient sand and sea through his own living body – whereas his northern rival can at best die like the ancient poet, with something nasty (rain or tortoise) falling on his head. Here too, competitive literary receptions are negotiated through embodied experience.<br /> <br /> What portraits and places bring to the fore are intensely personal responses to ancient literature. Scholars insist, quite rightly, that authorial representations depend on two factors: an interpretation of the author’s ''oeuvre'', and the conventions of biography, portraiture, and other relevant genres. To these two, I would add a third element that determines how ancient authors are represented: the lived, embodied experience of their readers and admirers.<br /> <br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> <br /> * MacDowell , D. M. (ed.) 1982. ''Gorgias. Encomium of Helen''. Bristol. <br /> * Zanker, P. 1995. ''The Mask of Socrates: The Image of the Intellectual in Antiquity''. Berkeley and Los Angeles. <br /> * Rossi, L. 2001. ''The Epigrams Ascribed to Theocritus: A Method of Approach''. Leuven. <br /> * Bing, P. 1988. ‘Theocritus’ Epigrams on the Statues of Ancient Poets.’ ''Antike und Abendland'' 34.2. 117-123. <br /> * Petsalis-Diomidis, A. 2006. ‘Sacred Writing, Sacred Reading: The Function of Aelius Aristides’ Self-Presentation as Author in the ''Sacred Tales''.’ In J. Mossman and B. McGing eds. ''The Limits of Ancient Biography''. Swansea. 193-211.<br /> * Güthenke, C. Forthcoming. ‘”Lives” as Parameter. The Privileging of Ancient Lives as a Category of Research around 1900.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> * Clay, D. 2004. ''Archilochos Heros: The Cult of Poets in the Greek Polis''. Cambridge, MA.<br /> * Dionisotti, C. 1967. ''Geografia e storia della letteratura italiana''. Turin.<br /> * Leonard, M. forthcoming. ‘Freud and the Biography of Antiquity.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Barbara Graziosi]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Embodiments_of_Literature&diff=4186 2015-04-10T16:42:15Z

<p>Paola Bassino: /* Portraits */</p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Barbara Graziosi}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> Literature is often presented as something ethereal and intangible. It concerns the life of the mind, unconstrained by the material realities of the body. It does not depend on the senses, particularly: we can appreciate Homer by listening, reading, or touching Braille. These different sensory approaches affect our experience, of course, but we are still recognisably confronted with the same text. ''Logos'', language, and literature pertain to the mind rather than the body (and this explains, in part, why literature is placed above material culture in traditional hierarchies). There are, however, ways of thinking about literature as an embodied experience. Gorgias suggests one (''Encomium of Helen'' 7-9):<br /> <br /> &lt;blockquote&gt;εἰ δὲ βίαι ἡρπάσθη καὶ ἀνόμως ἐβιάσθη καὶ ἀδίκως ὑβρίσθη, δῆλον ὅτι ὁ ἁρπάσας ἢ ὑβρίσας ἠδίκησεν, ἡ δὲ ἁρπασθεῖσα ἢ ὑβρισθεῖσα ἐδυστύχησεν. [...] (8) εἰ δὲ λόγος ὁ πείσας καὶ τὴν ψυχὴν ἀπατήσας, οὐδὲ πρὸς τοῦτο χαλεπὸν ἀπολογήσασθαι καὶ τὴν αἰτίαν ἀπολύσασθαι ὧδε. λόγος δυνάστης μέγας ἐστίν, ὃς σμικροτάτωι σώματι καὶ ἀφανεστάτωι θειότατα ἔργα ἀποτελεῖ· δύναται γὰρ καὶ φόβον παῦσαι καὶ λύπην ἀφελεῖν καὶ χαρὰν ἐνεργάσασθαι καὶ ἔλεον ἐπαυξῆσαι. ταῦτα δὲ ὡς οὕτως ἔχει δείξω· (9) δεῖ δὲ καὶ δόξηι δεῖξαι τοῖς ἀκούουσι· τὴν ποίησιν ἅπασαν καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον· ἧς τοὺς ἀκούοντας εἰσῆλθε καὶ φρίκη περίφοβος καὶ ἔλεος πολύδακρυς καὶ πόθος φιλοπενθής, ἐπ' ἀλλοτρίων τε πραγμάτων καὶ σωμάτων εὐτυχίαις καὶ δυσπραγίαις ἴδιόν τι πάθημα διὰ τῶν λόγων ἔπαθεν ἡ ψυχή. &lt;/blockquote&gt;<br /> <br /> &lt;blockquote&gt;If she was seized by force, unlawfully constrained, and unjustly abused, it is clear that the man who seized or abused did wrong, and that the woman who was seized or abused suffered misfortune. […] (8) But if speech persuaded and deceived her soul, it is also not difficult to offer a defence for that and to dismiss the accusation in the following way. Speech is a powerful lord, which by the smallest and most invisible body achieves the most divine works; for it can stop fear, remove pain, produce joy, and increase pity. And I shall prove that this is the case; (9) and I must prove it to my listeners by reference to opinion as well. I consider and define all poetry as speech with metre. A fearful shudder, tearful pity, and grievous longing come upon those who hear it, and on account of words the soul suffers its own affliction at the successes and misfortunes of others’ affairs and bodies.&lt;/blockquote&gt;<br /> <br /> The corporeal nature of this passage is difficult to capture, in part because of the modern divide between mind and body: φρίκη περίφοβος, for example, becomes ‘a fearful fright’ in MacDowell’s standard translation, when the Greek describes a shudder. More strikingly, not once does MacDowell translate Gorgias’ σῶμα as ‘body’, even though it is the key term in our passage. The small and invisible body of ''logos'' has very real power, he insists. The proof is its effect on the body of those who listen. Gorgias uses the most physical metaphor – rape – to illustrate what words can do. And yet even he must admit that the σῶμα of words cannot be apprehended directly – it cannot be touched or seen, even if its effects are felt in the body.<br /> <br /> This contribution explores the material reception of literature, by considering portraits and places associated with ancient literary figures. I return at the end to Gorgias’ challenging proposition: that we feel literature in our body.<br /> <br /> ==Portraits==<br /> <br /> The creation of the author is an aspect of the reception of his or her work. Just as the Lives of the ancient poets are largely based on their works, so are their portraits. So, for example, Demodocus is interpreted as an autobiographical character, and Homer is depicted as a blind bard. Or again, Sappho describes how painful it is when a girl leaves her circle, and an important (if neglected) vase depicts this moment of separation: <br /> <br /> <br /> &lt;center&gt;[[File: Kunstsammlungen_der_Ruhr-Universität,_Bochum.png‎|link=Kunstsammlungen der Ruhr-Universität, Bochum]]&lt;/center&gt;<br /> &lt;blockquote&gt;''Red-figure krater, Tithonus painter, ca 480 BCE: the figure on the left is named ‘Sappho’, the figure on the right is labelled ‘the girl’.'' <br /> ''Kunstsammlungen der Ruhr-Universität, Bochum.''&lt;/blockquote&gt;<br /> <br /> <br /> Sappho and ‘the girl’ (ἡ παῖς: a designation that could apply to several of her girls) are depicted walking in opposite directions, but looking back at each other. As an object, the krater is as unsettling as Sappho’s poems of separation. Many vases play on the theme of the amorous chase: because they are round, whoever chases will in turn be chased, in an exhilarating spiral, in which the viewer can take part by turning the vase round and round. This vase is more awkward to view and handle: the body goes one way, the gaze, the longing, (and, we are reminded, the poetry) quite another.<br /> <br /> There is some fun to be had when looking at material depictions of authors, and reading them as receptions of their work. The development of portrait types, for example, is influenced by literary canons, and simultaneously contributes to creating them. Juxtaposition with (and typological similarity to) other categories of portrait situates ancient authors within specific cultural and intellectual milieux: it transforms literary traditions into visual experiences and reifies them in the form of material objects. Portraits allow patrons to ‘possess’ specific literary traditions, genres or poems, and simultaneously generate an intellectual process by which the viewer is asked to ‘read’ the author’s work through the interpretation of specific details of physiognomy, expression, gesture, and placement in relation to other figures. Reading the image and reading the text become connected enterprises (Zanker).<br /> <br /> Several ancient sources comment on the relationship between portrait and ''oeuvre''. Theocritus, for example, writes an epigram about a statue of Anacreon placed in the poet’s native island of Teos:<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> Θᾶσαι τὸν ἀνδριάντα τοῦτον, ὦ ξένε,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;σπουδᾷ, καὶ λέγ’, ἐπὴν ἐς οἶκον ἔνθῃς·&lt;br /&gt;<br /> “Ἀνακρέοντος εἰκόν’ εἶδον ἐν Τέωι,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;τῶν πρόσθ’ εἴ τι περισσὸν ᾠδοποιῶν.”&lt;br /&gt;<br /> προσθεὶς δὲ χὤτι τοῖς νέοισιν ἅδετο,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;ἐρεῖς ἀτρεκέως ὅλον τὸν ἄνδρα.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Look well upon this statue, stranger, and say, when you get home, “I saw the likeness of Anacreon in Teos, one of the greatest among the poets of old.” Add to this that he loved young men, and you will have accurately described the whole man.<br /> |}<br /> <br /> Here the whole legacy of Anacreon is reduced to a statue (whether real or made up in poetry) and a sentence: ‘he enjoyed young boys’. There is apparently no need to read Anacreon’s work: the stranger is simply invited to visit Anacreon’s place of birth, look at the statue, and remember Theocritus’ own pithy statement. Readers will thus know ‘the whole man’ by a very quick and simple process. Unsurprisingly, there has been some debate about the word ὅλον. Some readers take it at face value (Rossi), others point out that the mini biography provided by Theocritus cannot be taken to represent all of Anacreon’s ''oeuvre'', just as he fails to provide a satisfying ekphrasis of the statue (Bing). This seems true – and I add that Theocritus himself, as a poet, cannot possibly want to be reduced to a portrait and a sentence. His in-your-face Doric θᾶσαι at the beginning of this epigram (which is written in honour of an Ionian poet, after all, and purportedly placed on an Ionian island!) inscribes Theocritus’ own place of birth, as well as his voice and genre, in the composition, suggesting a more broad-ranging literary and personal engagement than his summary biography. Unlike the statue, literature is never confined to one place. As Pindar taught us ({{#lemma: ''Nemean'' 5.1-3 | [[Pindar, Nemean 5.1-3|Pind. ''N.'' 5.1-3]]}}), it can travel on every ship and skiff.<br /> <br /> Ovid has equally thought-provoking things to say about portraits and places (''Sorrows'' 1.7.1-14):<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> &lt;blockquote&gt;Siquis habes nostris similes in imagine uultus,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;deme meis hederas, Bacchica serta, comis.&lt;br /&gt;<br /> ista decent laetos felicia signa poetas:&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;temporibus non est apta corona meis.&lt;br /&gt;<br /> hoc tibi dissimula, senti tamen, optime, dici,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;in digito qui me fersque refersque tuo,&lt;br /&gt;<br /> effigiemque meam fuluo complexus in auro&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;cara relegati, quae potes, ora uides.&lt;br /&gt;<br /> quae quotiens spectas, subeat tibi dicere forsan&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;quam procul a nobis Naso sodalis abest!&quot;&lt;br /&gt; <br /> grata tua est pietas, sed carmina maior imago&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;sunt mea, quae mando qualiacumque legas,&lt;br /&gt; <br /> carmina mutatas hominum dicentia formas,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;infelix domini quod fuga rupit opus.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Whoever has a portrait of my face, remove the ivy, garland of Bacchus, from my hair. Such signs of fortune suit happy poets: a wreath is not fitting for my temples. Conceal – but know – that I say this to you, best friend, who carry me here and there on your finger, and who, clasping my image on the yellow gold, see the dear face, all that you can, of an exile. Whenever you look at it, perhaps you will be prompted to say, “How far away is our friend Ovid!” Your love is a comfort, but my verses are a better portrait, and I urge you to read them such as they are, verses that tell of human transformations, the work broken off by the unhappy flight of its author.<br /> |}<br /> <br /> <br /> Commentators move swiftly past the first lines – which they find embarassing, both to Ovid’s fan and to Ovid himself, who imagines this person. They move straight beyond the longing for physical contact to line 11, and discuss what Ovid has to say about the ''Metamorphoses'': the poem speaks of altered forms, and Ovid himself is an altered man. I suggest we should pay a bit more attention to the bust crowned with ivy, and the signet ring – not just as objects, but as objects that inspire physical responses to poetry. Removing the ivy means not just recognising Ovid’s unhappiness, but also his new work, the ''Tristia'', and ensuring that the author continues to remain an accurate ''imago'' of his oeuvre. As for the signet ring, new work by Chris Faraone on amulets may, in due course, provide an important interpretative framework. There is a well attested ritual whereby people who want to communicate with a god wear a signet ring with the deity’s image on it. Magical texts recommend wearing the image turned inwards, on the side of the palm, and sleeping with one ear next to it, in the hope that the god might send a message in a dream. This ritual of private communication may be relevant here. The addressee who loves Ovid needs to understand and yet dissimulate what the poet tells him (line 5, which is textually uncertain). There is the conceit of personal contact, even though Ovid does not even know who he may be addressing: ''siquis''. This person should not seek the poet just through portraits, however, but rather by finding new meaning in the ''Met''. This meaning is personal – not just for the poet, and his changed ''oeuvre'' and life – but personal to the reader, who needs to guard his interpretation as closely as he keeps his signet ring.<br /> <br /> Admiration for literature repeatedly finds expression in the desire to encounter the author face-to-face. Pliny comments (''NH'' 35.9) ''pariunt desideria non traditos uultus, sicut in Homero euenit''. Petrarch laments the fact that, because he lacks a proper translation of the ''Iliad'', he can only catch glimpses of Homer’s face ({{#lemma: ''Familiar Letters'' 24.12.2 | [[Petrarch, Familiar Letters 24.12.2|Petr. ''Fam.'' 24.12.2]]}}). In a different letter, he writes of embracing a copy of the ''Iliad'', as if he were actually touching his beloved friend Homer ({{#lemma: ''Familiar Letters'' 18.2.6 | [[Petrarch, Familiar Letters 18.2.6|Petr. ''Fam.'' 18.2.6]]}}). Elsewhere still, he admits that being close to an author has nothing to do with material objects. It is a personal connection, as if with a living person ‘made of flesh’, a connection that provides Petrarch with a suitable interlocutor and distances him from the ''uulgus'' ({{#lemma: ''Familiar Letters'' 8.3.6 | [[Petrarch, Familiar Letters 8.3.6|Petr. ''Fam.'' 8.3.6]]}}).<br /> <br /> Because the process of imagining the face and the body of the author involves a private and personal act of reading, real portraits can come into conflict with the imagined face. Libanius ({{#lemma: ''Letters'' 143.3 | [[Libanius, Letters 143.3|Lib. ''Ep.'' 143.3]]}}), for example, is desperate to obtain a portrait of Aristides, but when he actually receives one he refuses to accept that it is a true likeness (Petsalis-Diomidis). Surely, he argues, Aristides could not have looked so healthy, or have such luscious hair! Eventually, on receiving a second portrait that agrees with the first, Libanius accepts that the images must reflect how Aristides actually looked. But he is still puzzled by the hair, and demands to know how it could have been so abundant. He also wants a full portrait ({{#lemma: ''Letters'' 143.5 | [[Libanius, Letters 143.5|Lib. ''Ep.'' 143.5]]}}).<br /> <br /> There are many other examples of desire for ancient authors (Güthenke) and of disappointment with their portraits. John Cosin (1594–1672), Prince Bishop of Durham, ordered that his library on Palace Green be decorated with portraits of ancient philosophers and fathers of the Church, and insisted that that they be based on genuine ancient artefacts. When he actually saw them, however, he was appalled: ‘They look like Saracens!’ he declared in one of his furious letters to the artist.<br /> <br /> It seems, then, that portraits become sites of ''competitive'' reception, where different visions of ancient authors come to clash. The cognitive process by which the act of reading results in a private image of the author is destabilised by the objectivity of actual portraits.<br /> <br /> ==Places==<br /> <br /> Because bodies are located in space and time, embodied responses to literature clash with the intangible ubiquitousness of words. The krater depicting Sappho makes the point: bodies go their separate ways, but longing and poetry still connect them. Theocritus objects to ancient literary tourism: the Hellenistic desire to celebrate the poets in the places where they were born, through cultic statues and monuments (Clay), is exposed as inadequate: he tells us to look at an Ionian poet, on an Ionian island, by addressing us in his own native Doric, θᾶσαι, and thus making us think of Sicily instead. Ovid speaks of the physical intimacy established by wearing a signet ring, and then suggests that the act of reading the ''Metamorphoses'' is equally close and personal. Petrarch embraces a Greek manuscript of Homer’s ''Iliad'', but then blames Homer for ‘having forgotten his Latin’ – i.e. for not having inspired adequate Latin translations. The problem is not just linguistic, for Petrarch: he resents Homer’s cultural and geographical distance, in an attitude of suspicion and superiority towards Byzantine culture (Dionisotti). Bishop Cosin thinks that the ancient philosophers are like him, and is dismayed to find out that they look like Saracens.<br /> <br /> The problem of place and possession resonates through the history of classical culture, of course. We are all familiar with the distaste and disorientation of northern Europeans, when confronted with modern southerners living in ancient landscapes. When Freud visits the acropolis, physical closeness to the ancient world inspires a reflection on cultural distance, not least from his own father (Leonard). The Sicilian poet Salvatore Quasimodo (Nobel laureate 1962) tries to capture his physical closeness to Aeschylus in an invective against an unnamed poet of the north:<br /> <br /> &lt;table&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''A un poeta nemico''&lt;br /&gt;<br /> Sulla sabbia di Gela colore della paglia&lt;br /&gt; <br /> mi stendevo fanciullo in riva al mare&lt;br /&gt; <br /> antico di Grecia con molti sogni nei pugni&lt;br /&gt; <br /> stretti nel petto. Là Eschilo esule&lt;br /&gt;<br /> misurò versi e passi sconsolati,&lt;br /&gt;<br /> in quel golfo arso l’aquila lo vide&lt;br /&gt;<br /> e fu l’ultimo giorno. Uomo del Nord, che mi vuoi &lt;br /&gt;<br /> minimo o morto per tua pace, spera:&lt;br /&gt;<br /> la madre di mio padre avrà cent’anni&lt;br /&gt;<br /> a nuova primavera. Spera: che io domani&lt;br /&gt;<br /> non giochi col tuo cranio giallo per le piogge.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''To a Hostile Poet''&lt;br /&gt;<br /> On the straw-coloured sands of Gela&lt;br /&gt;<br /> as a child I would lie by the ancient&lt;br /&gt;<br /> Grecian sea, many dreams in my breast&lt;br /&gt;<br /> and my clenched fists. Exiled Aeschylus there&lt;br /&gt; <br /> scanned over his verses and lines forlorn&lt;br /&gt;<br /> in the burning gulf where the eagle spied him&lt;br /&gt; <br /> that final day. Man of the North who wish me&lt;br /&gt; <br /> nothing, or dead, hope for your own peace:&lt;br /&gt; <br /> next spring my father’s mother will be&lt;br /&gt;<br /> a hundred years old. Hope that tomorrow I&lt;br /&gt;<br /> shall not be playing with your rain-yellowed skull.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/table&gt;<br /> <br /> Quasimodo alludes to ancient traditions about Aeschylus’ death, according to which a flying eagle saw the bald head of the poet, mistook it for a rock, and dropped a tortoise he was holding in his talons, in order to crack open its shell and eat it (the account may derive from an omen described in some lost play of Aeschylus). Quasimodo leaves out the colourful detail of the tortoise falling from the sky, because it does not fit the starkness of his poem. What he offers instead is the image of a forlorn figure in a vast landscape – a figure that is simultaneously Aeschylus and Quasimodo. It is only halfway through the epigram that the ancient and the modern poet part company. Unlike Aeschylus, Quasimodo is still alive, and does not plan to die any time soon: his grandmother has excellent genes, after all. It is his rival from the north who will go first, as rain falls on his yellowed skull. Quasimodo is still at play on the golden sands of Gela at the end of his poem. The suggestion is that the Sicilian Greek lives like Aeschylus – feels the ancient sand and sea through his own living body – whereas his northern rival can at best die like the ancient poet, with something nasty (rain or tortoise) falling on his head. Here too, competitive literary receptions are negotiated through embodied experience.<br /> <br /> What portraits and places bring to the fore are intensely personal responses to ancient literature. Scholars insist, quite rightly, that authorial representations depend on two factors: an interpretation of the author’s ''oeuvre'', and the conventions of biography, portraiture, and other relevant genres. To these two, I would add a third element that determines how ancient authors are represented: the lived, embodied experience of their readers and admirers.<br /> <br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> <br /> * MacDowell , D. M. (ed.) 1982. ''Gorgias. Encomium of Helen''. Bristol. <br /> * Zanker, P. 1995. ''The Mask of Socrates: The Image of the Intellectual in Antiquity''. Berkeley and Los Angeles. <br /> * Rossi, L. 2001. ''The Epigrams Ascribed to Theocritus: A Method of Approach''. Leuven. <br /> * Bing, P. 1988. ‘Theocritus’ Epigrams on the Statues of Ancient Poets.’ ''Antike und Abendland'' 34.2. 117-123. <br /> * Petsalis-Diomidis, A. 2006. ‘Sacred Writing, Sacred Reading: The Function of Aelius Aristides’ Self-Presentation as Author in the ''Sacred Tales''.’ In J. Mossman and B. McGing eds. ''The Limits of Ancient Biography''. Swansea. 193-211.<br /> * Güthenke, C. Forthcoming. ‘”Lives” as Parameter. The Privileging of Ancient Lives as a Category of Research around 1900.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> * Clay, D. 2004. ''Archilochos Heros: The Cult of Poets in the Greek Polis''. Cambridge, MA.<br /> * Dionisotti, C. 1967. ''Geografia e storia della letteratura italiana''. Turin.<br /> * Leonard, M. forthcoming. ‘Freud and the Biography of Antiquity.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Barbara Graziosi]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Embodiments_of_Literature&diff=4185 2015-04-10T16:39:38Z

<p>Paola Bassino: </p> <hr /> <div>{{GuideHighlightBox}}<br /> {{Author|Barbara Graziosi}}<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> Literature is often presented as something ethereal and intangible. It concerns the life of the mind, unconstrained by the material realities of the body. It does not depend on the senses, particularly: we can appreciate Homer by listening, reading, or touching Braille. These different sensory approaches affect our experience, of course, but we are still recognisably confronted with the same text. ''Logos'', language, and literature pertain to the mind rather than the body (and this explains, in part, why literature is placed above material culture in traditional hierarchies). There are, however, ways of thinking about literature as an embodied experience. Gorgias suggests one (''Encomium of Helen'' 7-9):<br /> <br /> &lt;blockquote&gt;εἰ δὲ βίαι ἡρπάσθη καὶ ἀνόμως ἐβιάσθη καὶ ἀδίκως ὑβρίσθη, δῆλον ὅτι ὁ ἁρπάσας ἢ ὑβρίσας ἠδίκησεν, ἡ δὲ ἁρπασθεῖσα ἢ ὑβρισθεῖσα ἐδυστύχησεν. [...] (8) εἰ δὲ λόγος ὁ πείσας καὶ τὴν ψυχὴν ἀπατήσας, οὐδὲ πρὸς τοῦτο χαλεπὸν ἀπολογήσασθαι καὶ τὴν αἰτίαν ἀπολύσασθαι ὧδε. λόγος δυνάστης μέγας ἐστίν, ὃς σμικροτάτωι σώματι καὶ ἀφανεστάτωι θειότατα ἔργα ἀποτελεῖ· δύναται γὰρ καὶ φόβον παῦσαι καὶ λύπην ἀφελεῖν καὶ χαρὰν ἐνεργάσασθαι καὶ ἔλεον ἐπαυξῆσαι. ταῦτα δὲ ὡς οὕτως ἔχει δείξω· (9) δεῖ δὲ καὶ δόξηι δεῖξαι τοῖς ἀκούουσι· τὴν ποίησιν ἅπασαν καὶ νομίζω καὶ ὀνομάζω λόγον ἔχοντα μέτρον· ἧς τοὺς ἀκούοντας εἰσῆλθε καὶ φρίκη περίφοβος καὶ ἔλεος πολύδακρυς καὶ πόθος φιλοπενθής, ἐπ' ἀλλοτρίων τε πραγμάτων καὶ σωμάτων εὐτυχίαις καὶ δυσπραγίαις ἴδιόν τι πάθημα διὰ τῶν λόγων ἔπαθεν ἡ ψυχή. &lt;/blockquote&gt;<br /> <br /> &lt;blockquote&gt;If she was seized by force, unlawfully constrained, and unjustly abused, it is clear that the man who seized or abused did wrong, and that the woman who was seized or abused suffered misfortune. […] (8) But if speech persuaded and deceived her soul, it is also not difficult to offer a defence for that and to dismiss the accusation in the following way. Speech is a powerful lord, which by the smallest and most invisible body achieves the most divine works; for it can stop fear, remove pain, produce joy, and increase pity. And I shall prove that this is the case; (9) and I must prove it to my listeners by reference to opinion as well. I consider and define all poetry as speech with metre. A fearful shudder, tearful pity, and grievous longing come upon those who hear it, and on account of words the soul suffers its own affliction at the successes and misfortunes of others’ affairs and bodies.&lt;/blockquote&gt;<br /> <br /> The corporeal nature of this passage is difficult to capture, in part because of the modern divide between mind and body: φρίκη περίφοβος, for example, becomes ‘a fearful fright’ in MacDowell’s standard translation, when the Greek describes a shudder. More strikingly, not once does MacDowell translate Gorgias’ σῶμα as ‘body’, even though it is the key term in our passage. The small and invisible body of ''logos'' has very real power, he insists. The proof is its effect on the body of those who listen. Gorgias uses the most physical metaphor – rape – to illustrate what words can do. And yet even he must admit that the σῶμα of words cannot be apprehended directly – it cannot be touched or seen, even if its effects are felt in the body.<br /> <br /> This contribution explores the material reception of literature, by considering portraits and places associated with ancient literary figures. I return at the end to Gorgias’ challenging proposition: that we feel literature in our body.<br /> <br /> ==Portraits==<br /> <br /> The creation of the author is an aspect of the reception of his or her work. Just as the Lives of the ancient poets are largely based on their works, so are their portraits. So, for example, Demodocus is interpreted as an autobiographical character, and Homer is depicted as a blind bard. Or again, Sappho describes how painful it is when a girl leaves her circle, and an important (if neglected) vase depicts this moment of separation: <br /> <br /> <br /> &lt;center&gt;[[File: Kunstsammlungen_der_Ruhr-Universität,_Bochum.png‎|link=Kunstsammlungen der Ruhr-Universität, Bochum]]&lt;/center&gt;<br /> &lt;blockquote&gt;''Red-figure krater, Tithonus painter, ca 480 BCE: the figure on the left is named ‘Sappho’, the figure on the right is labelled ‘the girl’.'' <br /> ''Kunstsammlungen der Ruhr-Universität, Bochum.''&lt;/blockquote&gt;<br /> <br /> <br /> Sappho and ‘the girl’ (ἡ παῖς: a designation that could apply to several of her girls) are depicted walking in opposite directions, but looking back at each other. As an object, the krater is as unsettling as Sappho’s poems of separation. Many vases play on the theme of the amorous chase: because they are round, whoever chases will in turn be chased, in an exhilarating spiral, in which the viewer can take part by turning the vase round and round. This vase is more awkward to view and handle: the body goes one way, the gaze, the longing, (and, we are reminded, the poetry) quite another.<br /> <br /> There is some fun to be had when looking at material depictions of authors, and reading them as receptions of their work. The development of portrait types, for example, is influenced by literary canons, and simultaneously contributes to creating them. Juxtaposition with (and typological similarity to) other categories of portrait situates ancient authors within specific cultural and intellectual milieux: it transforms literary traditions into visual experiences and reifies them in the form of material objects. Portraits allow patrons to ‘possess’ specific literary traditions, genres or poems, and simultaneously generate an intellectual process by which the viewer is asked to ‘read’ the author’s work through the interpretation of specific details of physiognomy, expression, gesture, and placement in relation to other figures. Reading the image and reading the text become connected enterprises (Zanker).<br /> <br /> Several ancient sources comment on the relationship between portrait and ''oeuvre''. Theocritus, for example, writes an epigram about a statue of Anacreon placed in the poet’s native island of Teos:<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> Θᾶσαι τὸν ἀνδριάντα τοῦτον, ὦ ξένε,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;σπουδᾷ, καὶ λέγ’, ἐπὴν ἐς οἶκον ἔνθῃς·&lt;br /&gt;<br /> “Ἀνακρέοντος εἰκόν’ εἶδον ἐν Τέωι,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;τῶν πρόσθ’ εἴ τι περισσὸν ᾠδοποιῶν.”&lt;br /&gt;<br /> προσθεὶς δὲ χὤτι τοῖς νέοισιν ἅδετο,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;ἐρεῖς ἀτρεκέως ὅλον τὸν ἄνδρα.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Look well upon this statue, stranger, and say, when you get home, “I saw the likeness of Anacreon in Teos, one of the greatest among the poets of old.” Add to this that he loved young men, and you will have accurately described the whole man.<br /> |}<br /> <br /> Here the whole legacy of Anacreon is reduced to a statue (whether real or made up in poetry) and a sentence: ‘he enjoyed young boys’. There is apparently no need to read Anacreon’s work: the stranger is simply invited to visit Anacreon’s place of birth, look at the statue, and remember Theocritus’ own pithy statement. Readers will thus know ‘the whole man’ by a very quick and simple process. Unsurprisingly, there has been some debate about the word ὅλον. Some readers take it at face value (Rossi), others point out that the mini biography provided by Theocritus cannot be taken to represent all of Anacreon’s ''oeuvre'', just as he fails to provide a satisfying ekphrasis of the statue (Bing). This seems true – and I add that Theocritus himself, as a poet, cannot possibly want to be reduced to a portrait and a sentence. His in-your-face Doric θᾶσαι at the beginning of this epigram (which is written in honour of an Ionian poet, after all, and purportedly placed on an Ionian island!) inscribes Theocritus’ own place of birth, as well as his voice and genre, in the composition, suggesting a more broad-ranging literary and personal engagement than his summary biography. Unlike the statue, literature is never confined to one place. As Pindar taught us ({{#lemma: ''Nemean'' 5.1-3 | [[Pindar, Nemean 5.1-3|Pind. ''N.'' 5.1-3]]}}), it can travel on every ship and skiff.<br /> <br /> Ovid has equally thought-provoking things to say about portraits and places (''Sorrows'' 1.7.1-14):<br /> <br /> {|<br /> |style=&quot;width: 50%&quot;|<br /> &lt;blockquote&gt;Siquis habes nostris similes in imagine uultus,&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;deme meis hederas, Bacchica serta, comis.&lt;br /&gt;<br /> ista decent laetos felicia signa poetas:&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;temporibus non est apta corona meis.&lt;br /&gt;<br /> hoc tibi dissimula, senti tamen, optime, dici,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;in digito qui me fersque refersque tuo,&lt;br /&gt;<br /> effigiemque meam fuluo complexus in auro&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;cara relegati, quae potes, ora uides.&lt;br /&gt;<br /> quae quotiens spectas, subeat tibi dicere forsan&lt;br /&gt; <br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;quam procul a nobis Naso sodalis abest!&quot;&lt;br /&gt; <br /> grata tua est pietas, sed carmina maior imago&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;sunt mea, quae mando qualiacumque legas,&lt;br /&gt; <br /> carmina mutatas hominum dicentia formas,&lt;br /&gt;<br /> &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;infelix domini quod fuga rupit opus.&lt;br /&gt;<br /> |style=&quot;width: 50%&quot;|<br /> Whoever has a portrait of my face, remove the ivy, garland of Bacchus, from my hair. Such signs of fortune suit happy poets: a wreath is not fitting for my temples. Conceal – but know – that I say this to you, best friend, who carry me here and there on your finger, and who, clasping my image on the yellow gold, see the dear face, all that you can, of an exile. Whenever you look at it, perhaps you will be prompted to say, “How far away is our friend Ovid!” Your love is a comfort, but my verses are a better portrait, and I urge you to read them such as they are, verses that tell of human transformations, the work broken off by the unhappy flight of its author.<br /> |}<br /> <br /> <br /> Commentators move swiftly past the first lines – which they find embarassing, both to Ovid’s fan and to Ovid himself, who imagines this person. They move straight beyond the longing for physical contact to line 11, and discuss what Ovid has to say about the ''Metamorphoses'': the poem speaks of altered forms, and Ovid himself is an altered man. I suggest we should pay a bit more attention to the bust crowned with ivy, and the signet ring – not just as objects, but as objects that inspire physical responses to poetry. Removing the ivy means not just recognising Ovid’s unhappiness, but also his new work, the ''Tristia'', and ensuring that the author continues to remain an accurate ''imago'' of his oeuvre. As for the signet ring, new work on amulets (Faraone) seems relevant here. There is a well attested ritual whereby people who want to communicate with a god wear a signet ring with the deity’s image on it. Magical texts recommend wearing the image turned inwards, on the side of the palm, and sleeping with one ear next to it, in the hope that the god might send a message in a dream. This ritual of private communication may be relevant here. The addressee who loves Ovid needs to understand and yet dissimulate what the poet tells him (line 5, which is textually uncertain). There is the conceit of personal contact, even though Ovid does not even know who he may be addressing: ''siquis''. This person should not seek the poet just through portraits, however, but rather by finding new meaning in the ''Met''. This meaning is personal – not just for the poet, and his changed ''oeuvre'' and life – but personal to the reader, who needs to guard his interpretation as closely as he keeps his signet ring.<br /> <br /> Admiration for literature repeatedly finds expression in the desire to encounter the author face-to-face. Pliny comments (''NH'' 35.9) ''pariunt desideria non traditos uultus, sicut in Homero euenit''. Petrarch laments the fact that, because he lacks a proper translation of the ''Iliad'', he can only catch glimpses of Homer’s face ({{#lemma: ''Familiar Letters'' 24.12.2 | [[Petrarch, Familiar Letters 24.12.2|Petr. ''Fam.'' 24.12.2]]}}). In a different letter, he writes of embracing a copy of the ''Iliad'', as if he were actually touching his beloved friend Homer ({{#lemma: ''Familiar Letters'' 18.2.6 | [[Petrarch, Familiar Letters 18.2.6|Petr. ''Fam.'' 18.2.6]]}}). Elsewhere still, he admits that being close to an author has nothing to do with material objects. It is a personal connection, as if with a living person ‘made of flesh’, a connection that provides Petrarch with a suitable interlocutor and distances him from the ''uulgus'' ({{#lemma: ''Familiar Letters'' 8.3.6 | [[Petrarch, Familiar Letters 8.3.6|Petr. ''Fam.'' 8.3.6]]}}).<br /> <br /> Because the process of imagining the face and the body of the author involves a private and personal act of reading, real portraits can come into conflict with the imagined face. Libanius ({{#lemma: ''Letters'' 143.3 | [[Libanius, Letters 143.3|Lib. ''Ep.'' 143.3]]}}), for example, is desperate to obtain a portrait of Aristides, but when he actually receives one he refuses to accept that it is a true likeness (Petsalis-Diomidis). Surely, he argues, Aristides could not have looked so healthy, or have such luscious hair! Eventually, on receiving a second portrait that agrees with the first, Libanius accepts that the images must reflect how Aristides actually looked. But he is still puzzled by the hair, and demands to know how it could have been so abundant. He also wants a full portrait ({{#lemma: ''Letters'' 143.5 | [[Libanius, Letters 143.5|Lib. ''Ep.'' 143.5]]}}).<br /> <br /> There are many other examples of desire for ancient authors (Güthenke) and of disappointment with their portraits. John Cosin (1594–1672), Prince Bishop of Durham, ordered that his library on Palace Green be decorated with portraits of ancient philosophers and fathers of the Church, and insisted that that they be based on genuine ancient artefacts. When he actually saw them, however, he was appalled: ‘They look like Saracens!’ he declared in one of his furious letters to the artist.<br /> <br /> It seems, then, that portraits become sites of ''competitive'' reception, where different visions of ancient authors come to clash. The cognitive process by which the act of reading results in a private image of the author is destabilised by the objectivity of actual portraits.<br /> <br /> ==Places==<br /> <br /> Because bodies are located in space and time, embodied responses to literature clash with the intangible ubiquitousness of words. The krater depicting Sappho makes the point: bodies go their separate ways, but longing and poetry still connect them. Theocritus objects to ancient literary tourism: the Hellenistic desire to celebrate the poets in the places where they were born, through cultic statues and monuments (Clay), is exposed as inadequate: he tells us to look at an Ionian poet, on an Ionian island, by addressing us in his own native Doric, θᾶσαι, and thus making us think of Sicily instead. Ovid speaks of the physical intimacy established by wearing a signet ring, and then suggests that the act of reading the ''Metamorphoses'' is equally close and personal. Petrarch embraces a Greek manuscript of Homer’s ''Iliad'', but then blames Homer for ‘having forgotten his Latin’ – i.e. for not having inspired adequate Latin translations. The problem is not just linguistic, for Petrarch: he resents Homer’s cultural and geographical distance, in an attitude of suspicion and superiority towards Byzantine culture (Dionisotti). Bishop Cosin thinks that the ancient philosophers are like him, and is dismayed to find out that they look like Saracens.<br /> <br /> The problem of place and possession resonates through the history of classical culture, of course. We are all familiar with the distaste and disorientation of northern Europeans, when confronted with modern southerners living in ancient landscapes. When Freud visits the acropolis, physical closeness to the ancient world inspires a reflection on cultural distance, not least from his own father (Leonard). The Sicilian poet Salvatore Quasimodo (Nobel laureate 1962) tries to capture his physical closeness to Aeschylus in an invective against an unnamed poet of the north:<br /> <br /> &lt;table&gt;<br /> &lt;tr&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''A un poeta nemico''&lt;br /&gt;<br /> Sulla sabbia di Gela colore della paglia&lt;br /&gt; <br /> mi stendevo fanciullo in riva al mare&lt;br /&gt; <br /> antico di Grecia con molti sogni nei pugni&lt;br /&gt; <br /> stretti nel petto. Là Eschilo esule&lt;br /&gt;<br /> misurò versi e passi sconsolati,&lt;br /&gt;<br /> in quel golfo arso l’aquila lo vide&lt;br /&gt;<br /> e fu l’ultimo giorno. Uomo del Nord, che mi vuoi &lt;br /&gt;<br /> minimo o morto per tua pace, spera:&lt;br /&gt;<br /> la madre di mio padre avrà cent’anni&lt;br /&gt;<br /> a nuova primavera. Spera: che io domani&lt;br /&gt;<br /> non giochi col tuo cranio giallo per le piogge.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;td&gt;<br /> &lt;blockquote&gt;''To a Hostile Poet''&lt;br /&gt;<br /> On the straw-coloured sands of Gela&lt;br /&gt;<br /> as a child I would lie by the ancient&lt;br /&gt;<br /> Grecian sea, many dreams in my breast&lt;br /&gt;<br /> and my clenched fists. Exiled Aeschylus there&lt;br /&gt; <br /> scanned over his verses and lines forlorn&lt;br /&gt;<br /> in the burning gulf where the eagle spied him&lt;br /&gt; <br /> that final day. Man of the North who wish me&lt;br /&gt; <br /> nothing, or dead, hope for your own peace:&lt;br /&gt; <br /> next spring my father’s mother will be&lt;br /&gt;<br /> a hundred years old. Hope that tomorrow I&lt;br /&gt;<br /> shall not be playing with your rain-yellowed skull.&lt;br /&gt;&lt;/blockquote&gt;<br /> &lt;/td&gt;<br /> &lt;/tr&gt;<br /> &lt;/table&gt;<br /> <br /> Quasimodo alludes to ancient traditions about Aeschylus’ death, according to which a flying eagle saw the bald head of the poet, mistook it for a rock, and dropped a tortoise he was holding in his talons, in order to crack open its shell and eat it (the account may derive from an omen described in some lost play of Aeschylus). Quasimodo leaves out the colourful detail of the tortoise falling from the sky, because it does not fit the starkness of his poem. What he offers instead is the image of a forlorn figure in a vast landscape – a figure that is simultaneously Aeschylus and Quasimodo. It is only halfway through the epigram that the ancient and the modern poet part company. Unlike Aeschylus, Quasimodo is still alive, and does not plan to die any time soon: his grandmother has excellent genes, after all. It is his rival from the north who will go first, as rain falls on his yellowed skull. Quasimodo is still at play on the golden sands of Gela at the end of his poem. The suggestion is that the Sicilian Greek lives like Aeschylus – feels the ancient sand and sea through his own living body – whereas his northern rival can at best die like the ancient poet, with something nasty (rain or tortoise) falling on his head. Here too, competitive literary receptions are negotiated through embodied experience.<br /> <br /> What portraits and places bring to the fore are intensely personal responses to ancient literature. Scholars insist, quite rightly, that authorial representations depend on two factors: an interpretation of the author’s ''oeuvre'', and the conventions of biography, portraiture, and other relevant genres. To these two, I would add a third element that determines how ancient authors are represented: the lived, embodied experience of their readers and admirers.<br /> <br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> <br /> * MacDowell , D. M. (ed.) 1982. ''Gorgias. Encomium of Helen''. Bristol. <br /> * Zanker, P. 1995. ''The Mask of Socrates: The Image of the Intellectual in Antiquity''. Berkeley and Los Angeles. <br /> * Rossi, L. 2001. ''The Epigrams Ascribed to Theocritus: A Method of Approach''. Leuven. <br /> * Bing, P. 1988. ‘Theocritus’ Epigrams on the Statues of Ancient Poets.’ ''Antike und Abendland'' 34.2. 117-123. <br /> * Petsalis-Diomidis, A. 2006. ‘Sacred Writing, Sacred Reading: The Function of Aelius Aristides’ Self-Presentation as Author in the ''Sacred Tales''.’ In J. Mossman and B. McGing eds. ''The Limits of Ancient Biography''. Swansea. 193-211.<br /> * Güthenke, C. Forthcoming. ‘”Lives” as Parameter. The Privileging of Ancient Lives as a Category of Research around 1900.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> * Clay, D. 2004. ''Archilochos Heros: The Cult of Poets in the Greek Polis''. Cambridge, MA.<br /> * Dionisotti, C. 1967. ''Geografia e storia della letteratura italiana''. Turin.<br /> * Leonard, M. forthcoming. ‘Freud and the Biography of Antiquity.’ In R. Fletcher and J. Hanink eds. ''Creative Lives. New Approaches to Ancient Intellectual Biography''. Cambridge.<br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Barbara Graziosi]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Athenaeus,_Sophists_at_Dinner_8.347e&diff=4171 2015-03-17T22:40:22Z

<p>Paola Bassino: Created page with &quot;{{DISPLAYTITLE:Athenaeus, &#039;&#039;Sophists at Dinner&#039;&#039; 8.347e = (in part) T 112a Radt = (in part) Chamaeleon fr. 26 Wehrli}} {{#howtoquote:}}{{#togglenotes:}} &lt;div class=&quot;textwithtr...&quot;</p> <hr /> <div>{{DISPLAYTITLE:Athenaeus, ''Sophists at Dinner'' 8.347e = (in part) T 112a Radt = (in part) Chamaeleon fr. 26 Wehrli}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}οὐδ’ ἐπὶ νοῦν βαλλόμενος τὸ τοῦ καλοῦ καὶ λαμπροῦ Αἰσχύλου, ὃς τὰς αὑτοῦ τραγωιδίας τεμάχη εἶναι ἔλεγεν τῶν Ὁμήρου μεγάλων δείπνων. φιλόσοφος δὲ ἦν τῶν πάνυ ὁ Αἰσχύλος, ὃς καὶ ἡττηθεὶς ἀδίκως ποτέ, ὡς Θεόφραστος ἢ Χαμαιλέων ἐν τῶι περὶ ἡδονῆς εἴρηκεν, ἔφη χρόνωι τὰς τραγωιδίας ἀνατιθέναι, εἰδὼς ὅτι κομιεῖται τὴν προσήκουσαν τιμήν.<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> He does not keep in mind the statement of noble and illustrious Aeschylus, who said that his plays were slices from Homer’s great banquets. But Aeschylus was a philosopher, one of the best, who, when unjustly defeated once, as Theophrastus or Chamaeleon has said in ''On Pleasure'', said that he was dedicating his tragedies to time, since he knew that he would eventually win the appropriate honour.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Athenaeus, ''Sophists at Dinner'' 8.347e}}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Sophocles:_A_Guide_to_Selected_Sources&diff=4170 2015-03-17T22:38:21Z

<p>Paola Bassino: /* Sophocles the ‘Homer-Lover’ */</p> <hr /> <div>{{GuideHighlightBox}}<br /> '''''Sarah Burges Watson'''''<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;{{GuideTextsBy|Sarah Burges Watson}}<br /> Best-loved of the tragedians, Sophocles won at least twenty times in the Athenian dramatic festivals. He died in 406/5 BCE, aged around ninety. He wrote over a hundred and twenty plays ({{#lemma: ''Suda'' | [[Suda, ς 815 Adler = Life of Sophocles | ''Suda'', s.v. Sophocles]]}}); seven survive complete: ''Ajax'', ''Electra'', ''Women of Trachis'', ''Antigone'', ''Oedipus Tyrannus'', ''Philoctetes'' (409 BCE), ''Oedipus at Colonus'' (401 BCE). The {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'']]}} transmitted with his plays is probably Hellenistic (see Bing 1993), but biographical stories circulated during Sophocles’ lifetime. Sources on Sophocles are collected by Radt (1977).<br /> <br /> == A ‘Blessed’ Life? ==<br /> <br /> If classicism is the product of nostalgia for an idealized past (see Porter 2006), Sophocles represents its acme. His ‘Life’ is perfectly harmonized with his poetry (cf. Graziosi 2006: 160-5). Considered through the lens of Sophocles’ mighty champion Aristotle, it might actually qualify as ‘blessed’ (''Nicomachean Ethics'' 1.10). It apparently combines flourishing in accordance with the excellences of character and intellect (both contemplative and politically oriented) with good fortune—and no reversals. It certainly exemplifies {{#lemma: the good timing said to be characteristic of his dramas | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 20-1]]}}. Raised in prosperity, {{#lemma: Sophocles receives an aristocratic education in gymnastics and ''mousikê'' and sings the paean after the victory at Salamis | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 3]]}}. His career coincides with Athens’ heyday, ending before her catastrophic defeat by Sparta. He influences and is influenced by luminaries like Herodotus (see Dewald/Marincola 2006), whom he celebrates in an {{#lemma: epigram | [[Plutarch, Whether an old man should engage in public affairs 3.785a | Plut. ''An Seni'' 3.785a]]}}. Taking what is best from Aeschylus, he brings tragedy to what Aristotle considers its natural fulfillment. Thereafter, Sophocles represents the golden mean between his principal rivals, Aeschylus and Euripides (see Hunter 2009).<br /> <br /> == Sophocles and Religion ==<br /> <br /> Whilst Euripides subverts traditional religion and Aeschylus is accused of profaning the mysteries (see [[Aeschylus: A Guide to Selected Sources]]), Sophocles is {{#lemma: ‘more pious than anyone else’ | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 12; cf. also 16]]}} (see Jouanna 2007: 73-90). {{#lemma: He enjoys reciprocal divine favour and possesses vatic authority | [[Anonymous, Life of Sophocles|Anon. ''Vit. Soph.'' 12, 15, 17]]}}. When Heracles’ shrine is robbed, the hero reveals the thief’s identity to Sophocles in a dream ({{#lemma: ''Life'' 12 | [[Anonymous, Life of Sophocles|Anon. ''Vit. Soph.'' 12]]}}, cf. {{#lemma: Cicero | [[Cicero, On Divination 1.25.54 | Cic. ''Div.'' 1.25.54]]}}), as he reveals Philoctetes’ destiny in Sophocles’ tragedy. The {{#lemma: ''Life'' | [[Anonymous, Life of Sophoces|Anon. ''Vit. Soph.'' 11]]}} says that Sophocles was priest of a healer-hero, Halon. Some suspect confusion with Amynus, attested in {{#lemma: inscriptions | [[Inscriptiones Graecae II/III 1252, 1253 | ''IG'' II/III 1252, 1253]]}} with Asclepius and ‘Dexion’—Sophocles’ cult-name in a {{#lemma: Byzantine lexicon | [[Etymologicum Magnum 256.6 ‘Dexion’ | ''Etym. Magn.'' s.v. ‘Dexion’]]}}. Supposedly derived from his ‘reception’ (''dexis'') of Asclepius (cf. {{#lemma: Plutarch | [[Plutarch, Life of Numa 4.8.62c| Plut. ''Num.'' 4.8.62c]][[Plutarch, That Epicurus actually makes a pleasant life impossible 22.1103a| Plut. ''Non Posse'' 22.1103a]]}}; Lefkowitz 2012; Connolly 1998), {{#lemma: the name may pun on his poetic dexterity | [[Phrynichus Muses, fr. 32 Kassel-Austin| Phryn. Com. ''Muses'', fr. 32 K.-A.]] [[Athenaeus, Sophists at Dinner 13.603e | Ath. ''Deipn.'' 13.603e]]}}. A Sophoclean paean to Asclepius (Page, ''PMG'' 737) was still performed in Athens in {{#lemma: Philostratus’ | [[Philostratus, Life of Apollonius of Tyana 3.17 | Philostr. ''Vit. Ap. Ty.'' 3.17]]}} day. <br /> <br /> == Death and Hero Cult ==<br /> <br /> The tragic poet dies {{#lemma: a Dionysian death | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 14]]}} by choking on an unripe grape during the Dionysian festival Anthesteria; or from joy at the ''Antigone’''s victory (cf. {{#lemma: Diodorus | [[Diodorus of Sicily, The Library of History 13.103.4 | Diod. Sic. ''Bib. Hist.'' 13.103.4]]}}); or because he ran out of breath whilst reciting a long passage (an anecdote which may have arisen in a didactic context). {{#lemma: Dionysus prescribes burial honours for ‘the new Siren’ | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 15]][[Pausanias, Description of Greece 1.21.1 | Paus. 1.21.1]]}}. Pausanias understands the title as a reference to the seductiveness of (his) poetry. {{#lemma: Sophocles is made a hero | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 17]]}}, perhaps in imitation of his (posthumous) ''Oedipus at Colonus''—Sophocles’ own deme (see Lefkowitz 2012: 84 and Currie 2012, with further bibliography). His canon-/hero-ization is already underway in 405 BCE in Phrynichus Comicus’ {{#lemma: ''Muses'' | [[Phrynichus Muses, fr. 32 Kassel-Austin | Phryn. Com. ''Muses'', fr. 32 K.-A.]]}} (Harvey 2000) and Aristophanes’ {{#lemma: ''Frogs'' | [[Aristophanes, Frogs 76-82, 786-794, 1515-1519| Ar. ''Ran.'' 76-82, 786-794, 1515-1519]]}}. In the latter, Sophocles floats peacefully above his quarrelsome rivals, surrendering life and the infernal Chair of Tragedy as graciously as he surrenders the sexual pleasures of his youth in {{#lemma: Plato | [[Plato, Republic 329b | Pl. ''Resp.'' 329b]]}}.<br /> <br /> == Sophoclean Charm ==<br /> <br /> The {{#lemma: charm (''charis'') of Sophocles’ personality | [[Life of Sophocles | Anon. ''Vit. Soph.'' 7]]}} matches the ''charis'' of his poetry. His Life exemplifies his declaration (in Aristotle’s {{#lemma: ''Poetics'' 25.1460b32 | [[Aristotle, Poetics 25.1460b32|Arist. ''Poet.'' 25.1460b32]]}}) that he (like Homer) depicted men as they should be (the proper mode for tragedy), Euripides as they are (cf. also {{#lemma: ''Poetics'' 3.1448a25 | [[Aristotle, Poetics 3.1448a25|Arist. ''Poet.'' 3.1448a25]]}}). Aristophanes’ flattering portrait may reflect {{#lemma: Sophocles’ tribute to Euripides | [[Life of Euripides 2 (1, 13, 11 Schwartz) | ''Vit. Eur.'' 2]]}}, who died in the same year. The tragedian seems never to have missed an opportunity to display his excellence. He is the antitype of the antisocial Euripides (see [[Euripides: A Guide to Selected Sources]]; Davidson 2012). {{#lemma: Athenaeus | [[Athenaeus, Sophists at Dinner 13.603e | Ath. ''Deipn.'' 13.603e]]}} constructs their sexualities as opposite: Euripides is a woman-lover; Sophocles likes boys. {{#lemma: Elsewhere | [[Plato, Republic 329 b | Pl. ''Resp.'' 329b]] [[Plutarch, Life of Pericles 8.8 | Plut. ''Per.'' 8.8]] [[Athenaeus, Sophists at Dinner 13.592a | Ath. ''Deipn.'' 13.592a]]}}, however, Sophocles pursues women even in old age (''pace'' Plato). {{#lemma: He falls for a courtesan and leaves her his property | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'']] [[Athenaeus, Sophists at Dinner 13.592a | Ath. ''Deipn.'' 13.592a]] [[Scholion to Aristophanes’ Frogs 78 | Schol. Ar. ''Ran.'' 78]]}}. The {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 13]]}} says that his son/s charged him with dementia and that Sophocles was acquitted after reading from the ''OC'', a story found in {{#lemma: other sources | [[Cicero, Cato Maior 22 | Cic. ''Sen.'' 22]]}}.<br /> <br /> Anecdotes involving (the conspicuously un-erotic) Aeschylus are restricted to poetics. {{#lemma: Sophocles | [[Athenaeus, Sophists at Dinner 10.428f | Ath. ''Deipn.'' 10.428f]] [[Plutarch, fragment 130 Sandbach | Plut. fr. 130 Sandbach]]}} comments in Socratic fashion on the older poet’s instinctive creativity (see [[Aeschylus: A Guide to Selected Sources]]) and, in {{#lemma: Plutarch | [[Plutarch, How a young man may become aware of his progress in virtue 7.79b | Plut. ''Quomodo adul.'' 7.79b]]}}, charts his relationship to Aeschylus in teleological terms (see Pelling 2007). {{#lemma: Aeschylus is said to have left Athens in indignation | [[Anonymous, Life of Aeschylus | Anon. ''Vit. Aesch.'' 8]] [[Plutarch, Life of Cimon 8.483e | Plut. ''Cim.'' 8.483e]]}} when defeated by Sophocles’ first production.<br /> <br /> == Sophocles and Politics ==<br /> <br /> While his rivals’ biographies end in exile, {{#lemma: Sophocles is ‘most Athens-loving’ | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 10]]}} (see Hanink 2010). Indeed, after serving as treasurer in 443/2, {{#lemma: he held the highest political office (general) | [[Scholion to Aristides p. 485, 28 Dindorf | Schol. ''Aristid.'' p. 485, 28 Dindorf]] [[Hypothesis (1) to Sophocles Antigone (1.69.17 Dain) | ''Hyp.'' 1 Soph. ''Ant.'']] [[Plutarch, Life of Nicias 15.2.533b | Plut. ''Nic.'' 15.2.533b]]}} at least once—with Pericles—during the Samian revolt of 441/0 BCE. According to the ''Antigone''’s {{#lemma: hypothesis | [[Hypothesis (1) to Sophocles' Antigone (1.69.17 Dain) | ''Hyp.'' 1 Soph. ''Ant.'']]}}, Sophocles was elected because of the play’s popularity (the dating conflicts with ''Life'' 14). In an anecdote ascribed to {{#lemma: Ion of Chios | [[Athenaeus, Sophists at Dinner 13.603e | Ath. ''Deipn.'' 13.603e]]}}, Sophocles playfully challenges Pericles’ observation that he is a better poet than general by ensnaring a slave-boy at a symposium (see Ford 2002: 191-3). This follows a virtuosic erotic/poetic display which, when challenged by a pedantic symposiast, becomes another demonstration of ‘how men should be’. Dexterity in ''mousikê'' is crucial for elite social competition, but Ion judges Sophocles politically unremarkable. In the ''Frogs'', where questions about poetry’s educational status are central, Sophocles’ absence from the fray exonerates Aristophanes from exploring how good the poet’s advice to the people actually was, at least when he left the theatre. This subject was perhaps best avoided, not least since a committee on which Sophocles served had established a (despotic) oligarchic regime in 411 BCE. As {{#lemma: Aristotle | [[Aristotle, The Art of Rhetoric 3.18.1419a25 | Arist. ''Rh.'' 3.18.1419a25]] [[Aristotle, The Art of Rhetoric 1.14.1374b34 | Arist. ''Rh.'' 1.14.1374b34]] [[Aristotle, The Art of Rhetoric 3.15.1416a13 | Arist. ''Rh.'' 3.15.1416a13]]}} attests, Sophocles was questioned about his role by his fellow-counsellor Peisander, probably during the latter’s prosecution for a suicide, for which Sophocles proposed the death penalty (see Jameson 1971).<br /> <br /> == Sophocles the ‘Homer-Lover’ ==<br /> <br /> {{#lemma: Aristophanes said |[[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 22]]}} that Sophocles’ mouth, like Pindar’s elsewhere ([[Pindar: A Guide to Selected Sources]]), was smeared with honey. In the {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 20]]}}, his honey/''charis'' is gathered from what is sweetest in his forebears, above all Homer—the ultimate classic. He is dubbed ''philhomeros'' by the Homerist Eustathius and ‘the tragic Homer’ by the Academician {{#lemma: Polemon | [[Diogenes Laertius, Lives of the Philosophers 4.20 | Diog. Laert. 4.20]]}} (see Schein 2012). These judgments echo Aristotle. {{#lemma: Aeschylus | [[Athenaeus, Sophists at Dinner 8.347e | Ath. ''Deipn.'' 8.347e]]}} allegedly described his own tragedies as slices from Homer’s banquet; the {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 22]]}} apparently endorses the judgment that ‘only Sophocles was a student of Homer’.<br /> <br /> == Sophocles as Thamyras ==<br /> <br /> Sophocles is said to have performed onstage twice in Homeric roles. According to {{#lemma: Athenaeus | [[Athenaeus, Sophists at Dinner 1.20e | Ath. ''Deipn.'' 1.20e]]}}, he played a memorable ball-game as Nausicaa. His other character, Thamyras, was said in Asclepiades Tragilus’ summary of tragic plots (fourth-century BCE) to have competed with the Muses, demanding to sleep with all of them, if victorious. His defeat was punished with blindness (see Wilson 2009: 59-79). We do not know how much of this is Sophoclean. In one fragment (245 Radt with Wilson 2009: 67-70), Thamyras may have described himself as entering the Assembly under the compulsion of ''mousikê''—an intriguing parallel with Sophocles’ political activities. The statement {{#lemma: that Sophocles abandoned acting because his voice was weak | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 4]]}} may echo Thamyras’ loss of song. It may also reflect the play’s interests in the professionalization of ''mousikê''—formerly the aristocrat’s preserve (see Wilson 2004, 2009: 70-9). From the perspective of poetics, Sophocles’ alignment with Thamyras is remarkable. In the ''Iliad'' (2.594-600), the positioning of his confrontation with the Muses within Homer’s Muse-inspired Catalogue of Ships suggests that Thamyras is a negative antitype of Homer, who loses ''both'' his eyesight ''and'' the gift of song (on Homer’s blindness see [[Homer: A Guide to Selected Sources]]). Whatever the resonances of this Homeric story in Sophocles’ biography, it has a comparable erotic/musical counterpart in the {{#lemma: Siren placed on his tomb | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 15]] [[Pausanias, Description of Greece 1.21.1 | Paus. 1.21.1]]}}.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Bing, P. 1993. ‘The Bios-Tradition and Poets’ Lives in Hellenistic Poetry.’ In R. Rosen and J. Farrell eds. 1993, ''Nomodeiktes. Greek Studies in Honor of Martin Ostwald.'' Ann Arbor. 619-31.<br /> * Connolly, A. 1998. ‘Was Sophocles Heroised as Dexion?’ ''JHS'' 118: 1-21.<br /> * Currie, B. 2012. ‘Sophocles and Hero Cult.’ In Ormand ed. 2012: 331-48.<br /> * Davidson, J. 2012. ‘Aeschylus, Sophocles, Euripides.’ In Ormand ed. 2012: 38-52.<br /> * Dewald, C. and Marincola, J. eds. 2006. ''The Cambridge Companion to Herodotus.'' Cambridge.<br /> * Ford, A. 2002. ''The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece.'' Princeton.<br /> * Graziosi, B. 2006. ‘Il rapporto tra autore ed opera nella tradizione biografica greca.’ In F. Roscalla ed. 2006, ''L’autore e l’opera. Attribuzioni, appropriazioni, apocrifi nella Grecia antica.'' Pisa. 155-75.<br /> * Halliwell, S. 1986. ''Aristotle’s Poetics.'' Chapel Hill. <br /> * Hanink, J. 2010. ‘The Classical Tragedians, from Athenian Idols to Wandering Poets.’ In I. Gildenhard and M. Revermann eds. 2010, ''Beyond the Fifth Century. Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages.'' Berlin. 39-68.<br /> * Harvey, D. 2000. ‘Phrynichos and his Muses.’ In D. Harvey and J. Wilkins eds. 2000, ''The Rivals of Aristophanes.'' London. 91-134.<br /> * Hunter, R. L. 2009. ''Critical Moments in Classical Literature: Studies in the Ancient View of Literature and its Uses.'' Cambridge.<br /> * Jameson, M. 1971. ‘Sophocles and the Four Hundred.’ ''Hist.'' 20(5/6): 541-68.<br /> * Jouanna, J. 2007. ''Sophocle.'' Paris.<br /> * Lefkowitz, M. 2012 (1981). ''The Lives of the Greek Poets.'' Baltimore.<br /> * Ormand, K. ed. 2012. ''A Companion to Sophocles.'' Chichester/Malden MA.<br /> * Palomar Pérez, N. 1998. ‘La figure du poète tragique dans la Grèce ancienne.’ In N. Loraux and C. Miralles eds. 1998, ''Figures de l’Intellectuel en Grèce ancienne.'' Berlin. 65-106.<br /> * Pelling, C. 2007. ‘Sophocles’ Learning Curve.’ In P. J. Finglass, C. Collard, and N. J. Richardson eds. 2007, ''Hesperos: Studies in Ancient Greek Poetry Present to M.L. West on his Seventieth Birthday.'' Oxford. 204-27.<br /> * Porter, J. I. ed. 2006. ''Classical Pasts: the Classical Traditions of Greece and Rome.'' Princeton.<br /> * Radt, S. 1999 (1977). ''Tragicorum Graecorum Fragmenta. Vol. 4. Sophocles.'' Göttingen.<br /> * Schein, S. 2012. ‘Sophocles and Homer.’ In Ormand ed. 2012: 424-39.<br /> * Scodel, R. 2012. ‘Sophocles’ Biography.’ In Ormand ed. 2012: 25-37. <br /> * Wilson, P. 2009. ‘Thamyris the Thracian: the Archetypal Wandering Poet?’ In R. Hunter and I. Rutherford eds. 2009, ''Wandering Poets in Ancient Greek Culture: Travel, Locality, and Panhellenism.'' Cambridge. 46-79.<br /> ** 2004. ‘Athenian Strings’. In P. Wilson and P. Murray eds. 2004, ''Music and the Muses: the Culture of Mousike in the Classical Athenian City.'' Oxford. 269-306.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Sarah Burges Watson]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Sophocles:_A_Guide_to_Selected_Sources&diff=4169 2015-03-17T22:36:00Z

<p>Paola Bassino: /* Sophocles the ‘Homer-Lover’ */</p> <hr /> <div>{{GuideHighlightBox}}<br /> '''''Sarah Burges Watson'''''<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;{{GuideTextsBy|Sarah Burges Watson}}<br /> Best-loved of the tragedians, Sophocles won at least twenty times in the Athenian dramatic festivals. He died in 406/5 BCE, aged around ninety. He wrote over a hundred and twenty plays ({{#lemma: ''Suda'' | [[Suda, ς 815 Adler = Life of Sophocles | ''Suda'', s.v. Sophocles]]}}); seven survive complete: ''Ajax'', ''Electra'', ''Women of Trachis'', ''Antigone'', ''Oedipus Tyrannus'', ''Philoctetes'' (409 BCE), ''Oedipus at Colonus'' (401 BCE). The {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'']]}} transmitted with his plays is probably Hellenistic (see Bing 1993), but biographical stories circulated during Sophocles’ lifetime. Sources on Sophocles are collected by Radt (1977).<br /> <br /> == A ‘Blessed’ Life? ==<br /> <br /> If classicism is the product of nostalgia for an idealized past (see Porter 2006), Sophocles represents its acme. His ‘Life’ is perfectly harmonized with his poetry (cf. Graziosi 2006: 160-5). Considered through the lens of Sophocles’ mighty champion Aristotle, it might actually qualify as ‘blessed’ (''Nicomachean Ethics'' 1.10). It apparently combines flourishing in accordance with the excellences of character and intellect (both contemplative and politically oriented) with good fortune—and no reversals. It certainly exemplifies {{#lemma: the good timing said to be characteristic of his dramas | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 20-1]]}}. Raised in prosperity, {{#lemma: Sophocles receives an aristocratic education in gymnastics and ''mousikê'' and sings the paean after the victory at Salamis | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 3]]}}. His career coincides with Athens’ heyday, ending before her catastrophic defeat by Sparta. He influences and is influenced by luminaries like Herodotus (see Dewald/Marincola 2006), whom he celebrates in an {{#lemma: epigram | [[Plutarch, Whether an old man should engage in public affairs 3.785a | Plut. ''An Seni'' 3.785a]]}}. Taking what is best from Aeschylus, he brings tragedy to what Aristotle considers its natural fulfillment. Thereafter, Sophocles represents the golden mean between his principal rivals, Aeschylus and Euripides (see Hunter 2009).<br /> <br /> == Sophocles and Religion ==<br /> <br /> Whilst Euripides subverts traditional religion and Aeschylus is accused of profaning the mysteries (see [[Aeschylus: A Guide to Selected Sources]]), Sophocles is {{#lemma: ‘more pious than anyone else’ | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 12; cf. also 16]]}} (see Jouanna 2007: 73-90). {{#lemma: He enjoys reciprocal divine favour and possesses vatic authority | [[Anonymous, Life of Sophocles|Anon. ''Vit. Soph.'' 12, 15, 17]]}}. When Heracles’ shrine is robbed, the hero reveals the thief’s identity to Sophocles in a dream ({{#lemma: ''Life'' 12 | [[Anonymous, Life of Sophocles|Anon. ''Vit. Soph.'' 12]]}}, cf. {{#lemma: Cicero | [[Cicero, On Divination 1.25.54 | Cic. ''Div.'' 1.25.54]]}}), as he reveals Philoctetes’ destiny in Sophocles’ tragedy. The {{#lemma: ''Life'' | [[Anonymous, Life of Sophoces|Anon. ''Vit. Soph.'' 11]]}} says that Sophocles was priest of a healer-hero, Halon. Some suspect confusion with Amynus, attested in {{#lemma: inscriptions | [[Inscriptiones Graecae II/III 1252, 1253 | ''IG'' II/III 1252, 1253]]}} with Asclepius and ‘Dexion’—Sophocles’ cult-name in a {{#lemma: Byzantine lexicon | [[Etymologicum Magnum 256.6 ‘Dexion’ | ''Etym. Magn.'' s.v. ‘Dexion’]]}}. Supposedly derived from his ‘reception’ (''dexis'') of Asclepius (cf. {{#lemma: Plutarch | [[Plutarch, Life of Numa 4.8.62c| Plut. ''Num.'' 4.8.62c]][[Plutarch, That Epicurus actually makes a pleasant life impossible 22.1103a| Plut. ''Non Posse'' 22.1103a]]}}; Lefkowitz 2012; Connolly 1998), {{#lemma: the name may pun on his poetic dexterity | [[Phrynichus Muses, fr. 32 Kassel-Austin| Phryn. Com. ''Muses'', fr. 32 K.-A.]] [[Athenaeus, Sophists at Dinner 13.603e | Ath. ''Deipn.'' 13.603e]]}}. A Sophoclean paean to Asclepius (Page, ''PMG'' 737) was still performed in Athens in {{#lemma: Philostratus’ | [[Philostratus, Life of Apollonius of Tyana 3.17 | Philostr. ''Vit. Ap. Ty.'' 3.17]]}} day. <br /> <br /> == Death and Hero Cult ==<br /> <br /> The tragic poet dies {{#lemma: a Dionysian death | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 14]]}} by choking on an unripe grape during the Dionysian festival Anthesteria; or from joy at the ''Antigone’''s victory (cf. {{#lemma: Diodorus | [[Diodorus of Sicily, The Library of History 13.103.4 | Diod. Sic. ''Bib. Hist.'' 13.103.4]]}}); or because he ran out of breath whilst reciting a long passage (an anecdote which may have arisen in a didactic context). {{#lemma: Dionysus prescribes burial honours for ‘the new Siren’ | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 15]][[Pausanias, Description of Greece 1.21.1 | Paus. 1.21.1]]}}. Pausanias understands the title as a reference to the seductiveness of (his) poetry. {{#lemma: Sophocles is made a hero | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 17]]}}, perhaps in imitation of his (posthumous) ''Oedipus at Colonus''—Sophocles’ own deme (see Lefkowitz 2012: 84 and Currie 2012, with further bibliography). His canon-/hero-ization is already underway in 405 BCE in Phrynichus Comicus’ {{#lemma: ''Muses'' | [[Phrynichus Muses, fr. 32 Kassel-Austin | Phryn. Com. ''Muses'', fr. 32 K.-A.]]}} (Harvey 2000) and Aristophanes’ {{#lemma: ''Frogs'' | [[Aristophanes, Frogs 76-82, 786-794, 1515-1519| Ar. ''Ran.'' 76-82, 786-794, 1515-1519]]}}. In the latter, Sophocles floats peacefully above his quarrelsome rivals, surrendering life and the infernal Chair of Tragedy as graciously as he surrenders the sexual pleasures of his youth in {{#lemma: Plato | [[Plato, Republic 329b | Pl. ''Resp.'' 329b]]}}.<br /> <br /> == Sophoclean Charm ==<br /> <br /> The {{#lemma: charm (''charis'') of Sophocles’ personality | [[Life of Sophocles | Anon. ''Vit. Soph.'' 7]]}} matches the ''charis'' of his poetry. His Life exemplifies his declaration (in Aristotle’s {{#lemma: ''Poetics'' 25.1460b32 | [[Aristotle, Poetics 25.1460b32|Arist. ''Poet.'' 25.1460b32]]}}) that he (like Homer) depicted men as they should be (the proper mode for tragedy), Euripides as they are (cf. also {{#lemma: ''Poetics'' 3.1448a25 | [[Aristotle, Poetics 3.1448a25|Arist. ''Poet.'' 3.1448a25]]}}). Aristophanes’ flattering portrait may reflect {{#lemma: Sophocles’ tribute to Euripides | [[Life of Euripides 2 (1, 13, 11 Schwartz) | ''Vit. Eur.'' 2]]}}, who died in the same year. The tragedian seems never to have missed an opportunity to display his excellence. He is the antitype of the antisocial Euripides (see [[Euripides: A Guide to Selected Sources]]; Davidson 2012). {{#lemma: Athenaeus | [[Athenaeus, Sophists at Dinner 13.603e | Ath. ''Deipn.'' 13.603e]]}} constructs their sexualities as opposite: Euripides is a woman-lover; Sophocles likes boys. {{#lemma: Elsewhere | [[Plato, Republic 329 b | Pl. ''Resp.'' 329b]] [[Plutarch, Life of Pericles 8.8 | Plut. ''Per.'' 8.8]] [[Athenaeus, Sophists at Dinner 13.592a | Ath. ''Deipn.'' 13.592a]]}}, however, Sophocles pursues women even in old age (''pace'' Plato). {{#lemma: He falls for a courtesan and leaves her his property | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'']] [[Athenaeus, Sophists at Dinner 13.592a | Ath. ''Deipn.'' 13.592a]] [[Scholion to Aristophanes’ Frogs 78 | Schol. Ar. ''Ran.'' 78]]}}. The {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 13]]}} says that his son/s charged him with dementia and that Sophocles was acquitted after reading from the ''OC'', a story found in {{#lemma: other sources | [[Cicero, Cato Maior 22 | Cic. ''Sen.'' 22]]}}.<br /> <br /> Anecdotes involving (the conspicuously un-erotic) Aeschylus are restricted to poetics. {{#lemma: Sophocles | [[Athenaeus, Sophists at Dinner 10.428f | Ath. ''Deipn.'' 10.428f]] [[Plutarch, fragment 130 Sandbach | Plut. fr. 130 Sandbach]]}} comments in Socratic fashion on the older poet’s instinctive creativity (see [[Aeschylus: A Guide to Selected Sources]]) and, in {{#lemma: Plutarch | [[Plutarch, How a young man may become aware of his progress in virtue 7.79b | Plut. ''Quomodo adul.'' 7.79b]]}}, charts his relationship to Aeschylus in teleological terms (see Pelling 2007). {{#lemma: Aeschylus is said to have left Athens in indignation | [[Anonymous, Life of Aeschylus | Anon. ''Vit. Aesch.'' 8]] [[Plutarch, Life of Cimon 8.483e | Plut. ''Cim.'' 8.483e]]}} when defeated by Sophocles’ first production.<br /> <br /> == Sophocles and Politics ==<br /> <br /> While his rivals’ biographies end in exile, {{#lemma: Sophocles is ‘most Athens-loving’ | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 10]]}} (see Hanink 2010). Indeed, after serving as treasurer in 443/2, {{#lemma: he held the highest political office (general) | [[Scholion to Aristides p. 485, 28 Dindorf | Schol. ''Aristid.'' p. 485, 28 Dindorf]] [[Hypothesis (1) to Sophocles Antigone (1.69.17 Dain) | ''Hyp.'' 1 Soph. ''Ant.'']] [[Plutarch, Life of Nicias 15.2.533b | Plut. ''Nic.'' 15.2.533b]]}} at least once—with Pericles—during the Samian revolt of 441/0 BCE. According to the ''Antigone''’s {{#lemma: hypothesis | [[Hypothesis (1) to Sophocles' Antigone (1.69.17 Dain) | ''Hyp.'' 1 Soph. ''Ant.'']]}}, Sophocles was elected because of the play’s popularity (the dating conflicts with ''Life'' 14). In an anecdote ascribed to {{#lemma: Ion of Chios | [[Athenaeus, Sophists at Dinner 13.603e | Ath. ''Deipn.'' 13.603e]]}}, Sophocles playfully challenges Pericles’ observation that he is a better poet than general by ensnaring a slave-boy at a symposium (see Ford 2002: 191-3). This follows a virtuosic erotic/poetic display which, when challenged by a pedantic symposiast, becomes another demonstration of ‘how men should be’. Dexterity in ''mousikê'' is crucial for elite social competition, but Ion judges Sophocles politically unremarkable. In the ''Frogs'', where questions about poetry’s educational status are central, Sophocles’ absence from the fray exonerates Aristophanes from exploring how good the poet’s advice to the people actually was, at least when he left the theatre. This subject was perhaps best avoided, not least since a committee on which Sophocles served had established a (despotic) oligarchic regime in 411 BCE. As {{#lemma: Aristotle | [[Aristotle, The Art of Rhetoric 3.18.1419a25 | Arist. ''Rh.'' 3.18.1419a25]] [[Aristotle, The Art of Rhetoric 1.14.1374b34 | Arist. ''Rh.'' 1.14.1374b34]] [[Aristotle, The Art of Rhetoric 3.15.1416a13 | Arist. ''Rh.'' 3.15.1416a13]]}} attests, Sophocles was questioned about his role by his fellow-counsellor Peisander, probably during the latter’s prosecution for a suicide, for which Sophocles proposed the death penalty (see Jameson 1971).<br /> <br /> == Sophocles the ‘Homer-Lover’ ==<br /> <br /> {{#lemma: Aristophanes said |[[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 22]]}} that Sophocles’ mouth, like Pindar’s elsewhere ([[Pindar: A Guide to Selected Sources]]), was smeared with honey. In the {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 20]]}}, his honey/''charis'' is gathered from what is sweetest in his forebears, above all Homer—the ultimate classic. He is dubbed ''philhomeros'' by the Homerist Eustathius and ‘the tragic Homer’ by the Academician {{#lemma: Polemon | [[Diogenes Laertius, Lives of the Philosophers 4.20 | Diog. Laert. 4.20]]}} (see Schein 2012). These judgments echo Aristotle. {{#lemma: Aeschylus | [[Athenaeus, Sophists at Dinner 1.20e | Ath. ''Deipn.'' 1.20e]]}} allegedly described his own tragedies as slices from Homer’s banquet; the {{#lemma: ''Life'' | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 22]]}} apparently endorses the judgment that ‘only Sophocles was a student of Homer’.<br /> <br /> == Sophocles as Thamyras ==<br /> <br /> Sophocles is said to have performed onstage twice in Homeric roles. According to {{#lemma: Athenaeus | [[Athenaeus, Sophists at Dinner 1.20e | Ath. ''Deipn.'' 1.20e]]}}, he played a memorable ball-game as Nausicaa. His other character, Thamyras, was said in Asclepiades Tragilus’ summary of tragic plots (fourth-century BCE) to have competed with the Muses, demanding to sleep with all of them, if victorious. His defeat was punished with blindness (see Wilson 2009: 59-79). We do not know how much of this is Sophoclean. In one fragment (245 Radt with Wilson 2009: 67-70), Thamyras may have described himself as entering the Assembly under the compulsion of ''mousikê''—an intriguing parallel with Sophocles’ political activities. The statement {{#lemma: that Sophocles abandoned acting because his voice was weak | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 4]]}} may echo Thamyras’ loss of song. It may also reflect the play’s interests in the professionalization of ''mousikê''—formerly the aristocrat’s preserve (see Wilson 2004, 2009: 70-9). From the perspective of poetics, Sophocles’ alignment with Thamyras is remarkable. In the ''Iliad'' (2.594-600), the positioning of his confrontation with the Muses within Homer’s Muse-inspired Catalogue of Ships suggests that Thamyras is a negative antitype of Homer, who loses ''both'' his eyesight ''and'' the gift of song (on Homer’s blindness see [[Homer: A Guide to Selected Sources]]). Whatever the resonances of this Homeric story in Sophocles’ biography, it has a comparable erotic/musical counterpart in the {{#lemma: Siren placed on his tomb | [[Anonymous, Life of Sophocles | Anon. ''Vit. Soph.'' 15]] [[Pausanias, Description of Greece 1.21.1 | Paus. 1.21.1]]}}.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Bing, P. 1993. ‘The Bios-Tradition and Poets’ Lives in Hellenistic Poetry.’ In R. Rosen and J. Farrell eds. 1993, ''Nomodeiktes. Greek Studies in Honor of Martin Ostwald.'' Ann Arbor. 619-31.<br /> * Connolly, A. 1998. ‘Was Sophocles Heroised as Dexion?’ ''JHS'' 118: 1-21.<br /> * Currie, B. 2012. ‘Sophocles and Hero Cult.’ In Ormand ed. 2012: 331-48.<br /> * Davidson, J. 2012. ‘Aeschylus, Sophocles, Euripides.’ In Ormand ed. 2012: 38-52.<br /> * Dewald, C. and Marincola, J. eds. 2006. ''The Cambridge Companion to Herodotus.'' Cambridge.<br /> * Ford, A. 2002. ''The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece.'' Princeton.<br /> * Graziosi, B. 2006. ‘Il rapporto tra autore ed opera nella tradizione biografica greca.’ In F. Roscalla ed. 2006, ''L’autore e l’opera. Attribuzioni, appropriazioni, apocrifi nella Grecia antica.'' Pisa. 155-75.<br /> * Halliwell, S. 1986. ''Aristotle’s Poetics.'' Chapel Hill. <br /> * Hanink, J. 2010. ‘The Classical Tragedians, from Athenian Idols to Wandering Poets.’ In I. Gildenhard and M. Revermann eds. 2010, ''Beyond the Fifth Century. Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages.'' Berlin. 39-68.<br /> * Harvey, D. 2000. ‘Phrynichos and his Muses.’ In D. Harvey and J. Wilkins eds. 2000, ''The Rivals of Aristophanes.'' London. 91-134.<br /> * Hunter, R. L. 2009. ''Critical Moments in Classical Literature: Studies in the Ancient View of Literature and its Uses.'' Cambridge.<br /> * Jameson, M. 1971. ‘Sophocles and the Four Hundred.’ ''Hist.'' 20(5/6): 541-68.<br /> * Jouanna, J. 2007. ''Sophocle.'' Paris.<br /> * Lefkowitz, M. 2012 (1981). ''The Lives of the Greek Poets.'' Baltimore.<br /> * Ormand, K. ed. 2012. ''A Companion to Sophocles.'' Chichester/Malden MA.<br /> * Palomar Pérez, N. 1998. ‘La figure du poète tragique dans la Grèce ancienne.’ In N. Loraux and C. Miralles eds. 1998, ''Figures de l’Intellectuel en Grèce ancienne.'' Berlin. 65-106.<br /> * Pelling, C. 2007. ‘Sophocles’ Learning Curve.’ In P. J. Finglass, C. Collard, and N. J. Richardson eds. 2007, ''Hesperos: Studies in Ancient Greek Poetry Present to M.L. West on his Seventieth Birthday.'' Oxford. 204-27.<br /> * Porter, J. I. ed. 2006. ''Classical Pasts: the Classical Traditions of Greece and Rome.'' Princeton.<br /> * Radt, S. 1999 (1977). ''Tragicorum Graecorum Fragmenta. Vol. 4. Sophocles.'' Göttingen.<br /> * Schein, S. 2012. ‘Sophocles and Homer.’ In Ormand ed. 2012: 424-39.<br /> * Scodel, R. 2012. ‘Sophocles’ Biography.’ In Ormand ed. 2012: 25-37. <br /> * Wilson, P. 2009. ‘Thamyris the Thracian: the Archetypal Wandering Poet?’ In R. Hunter and I. Rutherford eds. 2009, ''Wandering Poets in Ancient Greek Culture: Travel, Locality, and Panhellenism.'' Cambridge. 46-79.<br /> ** 2004. ‘Athenian Strings’. In P. Wilson and P. Murray eds. 2004, ''Music and the Muses: the Culture of Mousike in the Classical Athenian City.'' Oxford. 269-306.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;<br /> <br /> [[Category:Guides by Sarah Burges Watson]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Pausanias,_Description_of_Greece_1.21.1&diff=4168 2015-03-17T22:27:23Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Pausanias, ''Description of Greece'' 1.21.1 = T 148 + T 111 Radt vol. III (Aeschylus) + T 94 Radt vol. IV (Sophocles)}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> εἰσι δὲ Ἀθηναίοις εἰκόνες ἐν τῶι θεάτρωι καὶ τραγωιδίας καὶ κωμωιδίας ποιητῶν, αἱ πολλαὶ τῶν ἀφανέστερων. ὅτι μὴ γὰρ Μένανδρος, οὐδεὶς ἦν ποιητὴς κωμωιδίας τῶν ἐς δόξαν ἡκόντων. τραγωιδίας δὲ κεῖνται τῶν φανερῶν Εὐριπίδης καὶ Σοφοκλῆς. λέγεται δὲ Σοφοκλέους τελευτήσαντος ἐσβαλεῖν ἐς τὴν Ἀττικὴν Λακεδαιμονίους, καὶ σφῶν τὸν ἡγούμενον ἰδεῖν ἐπιστάντα οἱ Διόνυσον κελεύειν τιμαῖς, ὅσαι καθεστήκασιν ἐπὶ τοῖς τεθνεῶσι, τὴν σειρῆνα τὴν νέαν τιμᾶν· καί οἱ τὸ ὄναρ {{#lemma: &lt;ἐς&gt; | &lt;ἐς&gt; Kuhn}} Σοφοκλέα καὶ τὴν Σοφοκλέους ποίησιν ἐφαίνετο ἔχειν. εἰώθασι δὲ καὶ νῦν {{#lemma: ἔτι | ἔτι Musurus: ἐπὶ M}} ποιημάτων καὶ λόγων τὸ ἐπαγωγὸν Σειρῆνι εικάζειν. τὴν δὲ εἰκόνα τὴν Αἰσχύλου πολλῶι τε ὕστερον τῆς τελευτῆς δοκῶ ποιηθῆναι καὶ τῆς γραφῆς ἣ τὸ ἔργον ἔχει τὸ Μαραθῶνι. ἔφη δὲ Αἰσχύλος μειράκιον ὢν καθεύδειν ἐν ἀγρῶι φυλάσσων σταφυλάς, καί οἱ Διόνυσον ἐπιστάντα κελεῦσαι τραγωιδίαν ποιεῖν· ὡς δὲ ἦν ἡμέρα – πείθεσθαι γὰρ ἐθέλειν – ῥᾶιστα ἤδη πειρώμενος ποιεῖν.<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> The Athenians have statues of tragic and comic poets in their theatre, most of the poets being unknown. Apart from Menander, there was no poet of comedy who achieved renown. Of the famous tragedians, Euripides and Sophocles have statues. It is said that after Sophocles died, the Spartans invaded Attica and their leader had a vision in which Dionysus, standing before him, instructed him to honour ‘the new Siren’ with whatever honours are due to the dead. And it seemed to him that the dream related to Sophocles and his poetry. Even now they are accustomed to liken the seductive element in poetry and speeches to a Siren. I think that the statue of Aeschylus was made much later than his death and the painting which shows the battle of Marathon. Aeschylus said that when he was a lad, he was sleeping in a field guarding grapes when Dionysus appeared to him and ordered him to write tragedy. But when it was day, since he wanted to obey, he attempted to compose and was already able to do so very easily. <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Aeschylus: A Guide to Selected Sources|Aeschylus]], [[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Pausanias, ''Description of Greece'' 1.21.1}}<br /> <br /> [[Category:Aeschylus Collections]]<br /> [[Category:Sophocles Collections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Plutarch,_That_Epicurus_actually_makes_a_pleasant_life_impossible_22.1103a&diff=4167 2015-03-17T22:24:51Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Plutarch, ''That Epicurus actually makes a pleasant life impossible'' 22.1103a = T 68 Radt}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> ἢ τῶι μὲν Ἐπικούρωι καὶ Μητρόδωρος καὶ Πολύαινος καὶ Ἀριστόβουλος “ἐκθάρσημα” καὶ “γῆθος” ἦσαν… Λυκοῦργος δ’ ὑπὸ τῆς Πυθίας προσαγορευθεὶς <br /> <br /> &lt;blockquote&gt;&lt;poem&gt;“Ζηνὶ φίλος καὶ πᾶσιν Ὀλύμπια δώματ’ ἔχουσι”&lt;/poem&gt;&lt;/blockquote&gt; <br /> <br /> καὶ Σωκράτης οἰόμενος αὑτῶι διαλέγεσθαι τὸ δαιμόνιον ὑπ’ εὐμενείας καὶ Πίνδαρος ἀκούων ὑπὸ τοῦ Πανὸς ἄιδεσθαί τι μέλος ὧν αὐτὸς ἐποίησε μετρίως ἔχαιρεν; ἢ Φορμίων τοὺς Διοσκόρους ἢ τὸν Ἀσκληπιὸν Σοφοκλῆς ξενίζειν αὐτός τε πειθόμενος καὶ τῶν ἄλλων οὕτως ἐχόντων διὰ τὴν γενομένην ἐπιφάνειαν;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> Or were Metrodorus, Polyaenus and Aristoboulus a source of confidence and joy to Epicurus… while Lycurgus, who was addressed by the Pythia as <br /> <br /> &lt;blockquote&gt;&lt;poem&gt;‘friend to Zeus and all those who dwell on Olympus,’&lt;/poem&gt;&lt;/blockquote&gt; <br /> <br /> and Socrates, who thought that the divine was conversing with him benevolently, and Pindar, when he heard that one of the songs that he himself had composed was being sung by Pan, were only moderately pleased? Or Phormio, who hosted the Dioscuri, or Sophocles who hosted Asclepius, both he and others being convinced of this because of the epiphany that had occurred? <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Plutarch, ''That Epicurus actually makes a pleasant life impossible'' 22.1103a }}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Inscriptiones_Graecae_II/III_1252,_1253&diff=4166 2015-03-17T22:23:20Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:''Greek Inscriptions'' II/III² 1252, 1253 = T 70-71 Radt}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div class=&quot;orig&quot;&gt;<br /> '''1252'''<br /> <br /> Κλειαίνετος Κλεομένους Μελιτεὺς εἶπεν· δεδόχθαι τοῖς ὀργεῶσι· ἐπειδή εἰσιν ἄνδρες ἀγαθοὶ περὶ τὰ κοινὰ τῶν ὀργεώνων τοῦ Ἀμύνου καὶ τοῦ Ἀσκληπιοῦ καὶ τοῦ Δεξίονος Καλλιάδης Φιλίνου Πειραιεύς, Λυσιμαχίδης Φιλίνου Πειραιεύς, ἐπαινέσαι αὐτοὺς ἀρετῆς ἕνεκα καὶ διακοσύνης τῆ&lt;ς&gt; εἰς τοὺς θεοὺς καὶ περὶ τὰ κοινὰ τῶν ὀργεώνων καὶ στεφανῶσαι αὐτῶν ἑκάτερον χρυσῶι στεφάνωι ἀπὸ ΓH δραχμῶν· εἶναι δ’ αὐτοῖς καὶ ἀτέλειαν τοῦ χοῦ ἐν ἀμφοῖν τοῖν ἱεροῖν καὶ αὐτοῖς καὶ ἐγγόνοις· δοῦναι δὲ καὶ εἰς θυσίαν καὶ ἀνάθημα αὐτοῖς ὅ τι ἂν δόξει τοῖς ὀργεῶσιν. ἀναγράψαι δὲ τόδε τὸ ψήφισμα ἐν στήλαις λιθίναις δυοῖν καὶ στῆσαι τὴν μὲν ἐν τῶι τοῦ Δεξίονος ἱερῶι, τὴν δὲ [ἐ]ν τῶι τοῦ Ἀμύνου καὶ Ἀσκληπιοῦ· δοῦνα[ι] δὲ καὶ εἰς τὰς στήλας αὐτοῖς ὅ τι ἂν δόξε[ι] τοῖς ὀργεῶσι, ὅπως ἂν καὶ οἱ ἄλλοι φιλοτι[μῶντα]ι περὶ τὰ κοινὰ τῶν ὀργεώνων, εἰδό[τες ὅτι χάριτας ἀποδ]ώσουσι τοῖς εὐεργετοῦ[σιν ἀξίας τῶν εὐεργετημάτων]. <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> '''1252'''<br /> <br /> Cleaenetus, son of Cleomenes, of the deme Melite, made this declaration. It has been decided by the priests: since Calliades, son of Philinus, from the deme Piraeus, and Lysimachus, son of Philinus, from Piraeus, are distinguished in their service to the college of the priests of Amynus and Asclepius and Dexion, to praise them for their excellence and righteousness towards the gods and concerning the college of priests, and to garland each of them with a gold crown worth five hundred drachmas; to grant them and their descendents exemption from the ''chous'' in both rites; to give them for the purposes of sacrifice and votive offerings whatever should seem best to the priests; to inscribe this decree on two stone pillars, of which one is to be set up in the shrine of Dexion and the other in the shrine of Amunos and Asclepius; and to give to them for the pillars whatever should seem best to the priests, so that others too may be well-disposed to the college of priests, knowing that they will grant favours to the benefactors worthy of the benefactions. <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;orig&quot;&gt;<br /> '''1253'''<br /> <br /> Θεοί· ἔδοξεν τοῖς [ὀργεῶσιν· …..] Ἱππομάχου Με[λιτεὺς εἶπεν· ἐπειδὴ …]δωρος καὶ Ἀντ[…...ἄν]δρες δίκαιοι γεγόνασι περὶ τὰ κοινὰ τῶν ὀργεώνων τοῦ Ἀμύνου καὶ τοῦ Ἀσκληπιοῦ καὶ τοῦ Δεξίονος, ἐπαινέσαι αὐτοὺς δικαιοσύνης ἕνεκα καὶ στεφανῶσαι αὐτῶν ἑκάτερον χρυσῶι στεφάνωι. τὸ δὲ ψήφισμα τόδε ἀναγράψαι ἐ[ν] τῶ[ι] ἱερῶι ἐν στήλει λιθίνει.<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;trans&quot;&gt;<br /> '''1253'''<br /> <br /> Gods: it was decreed by the priests…. son of Hippomachus from the deme Melite said: since …dorus and Ant…. have been just in matters concerning the college of priests of Amynus, Asclepius, and Dexion, they are to be praised for their justice and each of them is to receive a gold crown. This decree is to be written on a stone pillar in the shrine.<br /> <br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=''Greek Inscriptions'' II/III² 1252, 1253}}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Plutarch,_Whether_an_old_man_should_engage_in_public_affairs_3.785a&diff=4165 2015-03-17T22:21:07Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Plutarch, ''Whether an old man should engage in public affairs'' 3.785a = T 82.163 Radt}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> Σοφοκλῆς δὲ λέγεται μὲν ὑπὸ {{#lemma: πολλῶν | πολλῶν M: παίδων Xylander: υἱῶν Stephanus: τῶν υἱῶν Wyttenbach}} παρανοίας δίκην φεύγων ἀναγνῶναι τὴν ἐν Οἰδίποδι τῶι ἐπὶ Κολωνοῦ πάροδον, ἧς ἐστιν ἀρχή· “εὐίππου—βάσσαις”. θαυμαστοῦ δὲ τοῦ μέλους φανέντος, ὥσπερ ἐκ θεάτρου τοῦ δικαστηρίου προπεμφθῆναι μετὰ κρότου καὶ βοῆς τῶν παρόντων. τουτὶ δ’ ὁμολογουμένως Σοφοκλέους ἐστὶ τὸ {{#lemma: ἐπιγραμμάτιον | Fr. eleg. 5 West}}<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;ὠιδὴν Ἡροδότωι {{#lemma: τεῦξεν | τεῦξεν Deubner: τεῦξε M}} Σοφοκλῆς ἐτέων ὢν<br /> πέντ’ ἐπὶ πεντήκοντα.&lt;/poem&gt;&lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> But many say that when Sophocles was a defendant on trial for dementia, he read the parodos of the ''Oedipus at Colonus'', which begins as follows: ‘of good horses…glades’ (668f.). And since the song seemed marvellous, he was dismissed from the court as if from the theatre, with applause and cheers from those present. This is generally agreed to be a little epigram of Sophocles:<br /> <br /> &lt;blockquote&gt;Sophocles composed a song for Herodotus when he was fifty-five years old.&lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Plutarch, ''Whether an old man should engage in public affairs'' 3.785a}}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Athenaeus,_Sophists_at_Dinner_1.20e&diff=4164 2015-03-17T22:18:38Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Athenaeus, ''Sophists at Dinner'' 1.20e = T 28 Radt}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> Σοφοκλῆς δὲ πρὸς τῶι καλὸς γεγενῆσθαι τὴν ὥραν ἦν καὶ ὀρχηστικὴν δεδιδαγμένος καὶ μουσικὴν ἔτι παῖς ὢν παρὰ Λάμπρωι. μετὰ γοῦν τὴν ἐν Σαλαμῖνι ναυμαχίαν περὶ τρόπαιον γυμνὸς ἀληλιμμένος ἐχόρευσε μετὰ λύρας· οἳ δὲ ἐν ἱματίωι φασί . καὶ τὸν Θάμυριν διδάσκων αὐτὸς ἐκιθάρισεν· ἄκρως δὲ ἐσφαίρισεν, ὅτε τὴν Ναυσικάαν καθῆκε .<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> Sophocles, as well as being handsome in the flower of his youth, was also taught dance and music by Lampron when he was still a boy. After the sea battle in Salamis, for example, he danced with his lyre around the victory monument naked and anointed with oil. Some say he wore a cloak. When he produced the ''Thamyris'', he played the lyre himself. He also played ball skilfully when he staged the ''Nausicaa''.<br /> <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Athenaeus, ''Sophists at Dinner'' 1.20e }}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Athenaeus,_Sophists_at_Dinner_1.20e&diff=4163 2015-03-17T22:18:07Z

<p>Paola Bassino: </p> <hr /> <div>{{DISPLAYTITLE:Athenaeus, ''Sophists at Dinner'' 1.20e = T 28 Radt}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> Σοφοκλῆς δὲ πρὸς τῶι καλὸς γεγενῆσθαι τὴν ὥραν ἦν καὶ ὀρχηστικὴν δεδιδαγμένος καὶ μουσικὴν ἔτι παῖς ὢν παρὰ Λάμπρωι. μετὰ γοῦν τὴν ἐν Σαλαμῖνι ναυμαχίαν περὶ τρόπαιον γυμνὸς ἀληλιμμένος ἐχόρευσε μετὰ λύρας· οἳ δὲ ἐν ἱματίωι φασί . καὶ τὸν Θάμυριν διδάσκων αὐτὸς ἐκιθάρισεν· ἄκρως δὲ ἐσφαίρισεν, ὅτε τὴν Ναυσικάαν καθῆκε .<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> Sophocles, as well as being handsome in the flower of his youth, was also taught dance and music by Lampron when he was still a boy. After the sea battle in Salamis, for example, he danced with his lyre around the victory monument naked and anointed with oil. Some say he wore a cloak. When he produced the Thamyris, he played the lyre himself. He also played ball skilfully when he staged the Nausicaa.<br /> <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Athenaeus, ''Sophists at Dinner'' 1.20e }}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino https://livingpoets.dur.ac.uk/w/index.php?title=Athenaeus,_Sophists_at_Dinner_1.20e&diff=4162 2015-03-17T22:13:46Z

<p>Paola Bassino: Created page with &quot;{{DISPLAYTITLE:Athenaeus, &#039;&#039;Sophists at Dinner&#039;&#039; 8.347e = (in part) T 112a Radt = (in part) Chamaeleon fr. 26 Wehrli }} {{#howtoquote:}} &lt;div class=&quot;textwithtranslation&quot;&gt; &lt;div...&quot;</p> <hr /> <div>{{DISPLAYTITLE:Athenaeus, ''Sophists at Dinner'' 8.347e = (in part) T 112a Radt = (in part) Chamaeleon fr. 26 Wehrli }}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> οὐδ’ ἐπὶ νοῦν βαλλόμενος τὸ τοῦ καλοῦ καὶ λαμπροῦ Αἰσχύλου, ὃς τὰς αὑτοῦ τραγωιδίας τεμάχη εἶναι ἔλεγεν τῶν Ὁμήρου μεγάλων δείπνων. φιλόσοφος δὲ ἦν τῶν πάνυ ὁ Αἰσχύλος, ὃς καὶ ἡττηθεὶς ἀδίκως ποτέ, ὡς Θεόφραστος ἢ Χαμαιλέων ἐν τῶι περὶ ἡδονῆς εἴρηκεν, ἔφη χρόνωι τὰς τραγωιδίας ἀνατιθέναι, εἰδὼς ὅτι κομιεῖται τὴν προσήκουσαν τιμήν.<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> He does not keep in mind the statement of noble and illustrious Aeschylus, who said that his plays were slices from Homer’s great banquets. But Aeschylus was a philosopher, one of the best, who, when unjustly defeated once, as Theophrastus or Chamaeleon has said in ''On Pleasure'', said that he was dedicating his tragedies to time, since he knew that he would eventually win the appropriate honour.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Sophocles: A Guide to Selected Sources|Sophocles]]<br /> }}<br /> <br /> {{#set:Short title=Athenaeus, ''Sophists at Dinner'' 8.347e }}<br /> <br /> [[Category:SophoclesCollections]]</div>

Paola Bassino