Select Epigrams from the Greek Anthology Part 1

Select Epigrams from the Greek.

by Machail.

PREFACE

The purpose of this book is to present a complete collection, subject to certain definitions and exceptions which will be mentioned later, of all the best extant Greek Epigrams. Although many epigrams not given here have in different ways a special interest of their own, none, it is hoped, have been excluded which are of the first excellence in any style. But, while it would be easy to agree on three-fourths of the matter to be included in such a scope, perhaps hardly any two persons would be in exact accordance with regard to the rest; with many pieces which lie on the border line of excellence, the decision must be made on a balance of very slight considerations, and becomes in the end one rather of personal taste than of any fixed principle.

For the Greek Anthology proper, use has chiefly been made of the two great works of Jacobs, which have not yet been superseded by any more definitive edition: /Anthologia Graeca sive Poetarum Graecorum lusus ex recensione Brunckii; indices et commentarium adiecit Friedericus Iacobs/ (Leipzig, 1794-1814: four volumes of text and nine of indices, prolegomena, commentary, and appendices), and /Anthologia Graeca ad fidem codicis olim Palatini nunc Parisini ex apographo Gothano edita; curavit epigrammata in Codice Palatino desiderata et annotationem criticam adiecit Fridericus Jacobs/ (Leipzig, 1813-1817: two volumes of text and two of critical notes). An appendix to the latter contains Paulssen's fresh collation of the Palatine MS. The small Tauchnitz text is a very careless and inaccurate reprint of this edition. The most convenient edition of the Anthology for ordinary reference is that of F. Dubner in Didot's /Bibliotheque Grecque/ (Paris, 1864), in two volumes, with a revised text, a Latin translation, and additional notes by various hands. The epigrams recovered from inscriptions have been collected and edited by G. Kaibel in his /Epigrammata Graeca ex labidibus conlecta/ (Berlin, 1878). As this book was going through the press, a third volume of the Didot Anthology has appeared, edited by M. Ed. Cougny, under the t.i.tle of /Appendix nova epigrammatum veterum ex libris at marmoribus ductorum/, containing what purports to be a complete collection, now made for the first time, of all extant epigrams not in the Anthology.

In the notes, I have not thought it necessary to acknowledge, except here once for all, my continual obligations to that superb monument of scholarship, the commentary of Jacobs; but where a note or a reading is borrowed from a later critic, his name is mentioned. All important deviations from the received text of the Anthology are noted, and referred to their author in each case; but, as this is not a critical edition, the received text, when retained, is as a rule printed without comment where it differs from that of the MSS. or other originals.

The references in the notes to Bergk's /Lyrici Graeci/ give the pages of the fourth edition. Epigrams from the Anthology are quoted by the sections of the Palatine collection (/Anth. Pal./) and the appendices to it (sections xiii-xv). After these appendices follows in modern editions a collection (/App. Plan./) of all the epigrams in the Planudean Anthology which are not found in the Palatine MS.

I have to thank Mr. P. E. Matheson, Fellow of New College, for his kindness in looking over the proofsheets of this book.

INTRODUCTION

I

The Greek word "epigram" in its original meaning is precisely equivalent to the Latin word "inscription"; and it probably came into use in this sense at a very early period of Greek history, anterior even to the invention of prose. Inscriptions at that time, if they went beyond a mere name or set of names, or perhaps the bare statement of a single fact, were necessarily in verse, then the single vehicle of organised expression. Even after prose was in use, an obvious propriety remained in the metrical form as being at once more striking and more easily retained in the memory; while in the case of epitaphs and dedications--for the earlier epigram falls almost entirely under these two heads--religious feeling and a sense of what was due to ancient custom aided the continuance of the old tradition. Herodotus in the course of his History quotes epigrams of both kinds; and with him the word {epigramma} is just on the point of acquiring its literary sense, though this is not yet fixed definitely. In his account of the three ancient tripods dedicated in the temple of Apollo at Thebes,[1] he says of one of them, {o men de eis ton tripodon epigramma ekhei}, and then quotes the single hexameter line engraved upon it. Of the other two he says simply, "they say in hexameter,"

{legei en exametro tono}. Again, where he describes the funeral monuments at Thermopylae,[2] he uses the words {gramma} and {epigramma} almost in the sense of sepulchural epigrams; {epigegrammai grammata legonta tade}, and a little further on, {epixosmesantes epigrammasi xai stelesi}, "epitaphs and monuments". Among these epitaphs is the celebrated couplet of Simonides[3] which has found a place in all subsequent Anthologies.

In the Anthology itself the word does not however in fact occur till a late period. The proem of Meleager to his collection uses the words {soide}, {umnos}, {melisma}, {elegos}, all vaguely, but has no term which corresponds in any degree to our epigram. That of Philippus has one word which describes the epigram by a single quality; he calls his work an {oligostikhia} or collection of poems not exceeding a few lines in length. In an epitaph by Diodorus, a poet of the Augustan age, occurs the phrase {gramma legei},[4] in imitation of the phrase of Herodotus just quoted. This is, no doubt, an intentional archaism; but the word {epigramma} itself does not occur in the collection until the Roman period. Two epigrams on the epigram,[5] one Roman, the other Roman or Byzantine, are preserved, both dealing with the question of the proper length. The former, by Parmenio, merely says that an epigram of many lines is bad--{phemi pol.u.s.tikhien epigrammatos ou xata Mousas einai}. The other is more definite, but unfortunately ambiguous in expression. It runs thus:

{Pagxalon eot epigramma to distikhon en de parelthes tous treis rapsodeis xoux epigramma legeis}

The meaning of the first part is plain; an epigram may be complete within the limits of a single couplet. But do "the three" mean three lines or three couplets? "Exceeding three" would, in the one case, mean an epigram of four lines, in the other of eight. As there cannot properly be an epigram of three lines, it would seem rather to mean the latter. Even so the statement is an exaggeration; many of the best epigrams are in six and eight lines. But it is true that the epigram may "have its nature", in the phrase of Aristotle,[6] in a single couplet; and we shall generally find that in those of eight lines, as always without exception in those of more than eight, there is either some repet.i.tion of idea not necessary to the full expression of the thought, or some redundance of epithet or detail too florid for the best taste, or, as in most of the Byzantine epigrams, a natural verbosity which affects the style throughout and weakens the force and directness of the epigram.

The notorious difficulty of giving any satisfactory definition of poetry is almost equalled by the difficulty of defining with precision any one of its kinds; and the epigram in Greek, while it always remained conditioned by being in its essence and origin an inscriptional poem, took in the later periods so wide a range of subject and treatment that it can perhaps only be limited by certain abstract conventions of length and metre. Sometimes it becomes in all but metrical form a lyric; sometimes it hardly rises beyond the versified statement of a fact or an idea; sometimes it is barely distinguishable from a s.n.a.t.c.h of pastoral. The shorter pieces of the elegiac poets might very often well be cla.s.sed as epigrams but for the uncertainty, due to the form in which their text has come down to us, whether they are not in all cases, as they undoubtedly are in some, portions of longer poems. Many couplets and quatrains of Theognis fall under this head; and an excellent instance on a larger scale is the fragment of fourteen lines by Simonides of Amorgos,[7] which is the exact type on which many of the later epigrams of life are moulded. In such cases /respice auctoris animum/ is a safe rule; what was not written as an epigram is not an epigram. Yet it has seemed worth while to ill.u.s.trate this rule by its exceptions; and there will be found in this collection fragments of Mimnermus and Theognis[8] which in everything but the actual circ.u.mstance of their origin satisfy any requirement which can be made. In the Palatine Anthology itself, indeed, there are a few instances[9] where this very thing is done. As a rule, however, these short pa.s.sages belong to the cla.s.s of {gromai} or moral sentences, which, even when expressed in elegiac verse, is sufficiently distinct from the true epigram. One instance will suffice. In the Anthology there occurs this couplet:[10]

{Pan to peritton axaipon epei logos esti palaios os xai tou melitos to pleon esti khole}

This is a sentence merely; an abstract moral idea, with an ill.u.s.tration attached to it. Compare with it another couplet[11] in the Anthology:

{Aion panta pserei dolikhos khronos oioen ameibein ounoma xai morpsen xai psuain ede tukhen}

Here too there is a moral idea; but in the expression, abstract as it is, there is just that high note, that imaginative touch, which gives it at once the gravity of an inscription and the quality of a poem.

Again, many of the so-called epideictic epigrams are little more than stories told shortly in elegiac verse, much like the stories in Ovid's Fasti. Here the inscriptional quality is the surest test. It is this quality, perhaps in many instances due to the verses having been actually written for paintings or sculptures, that just makes an epigram of the sea-story told by Antipater of Thessalonica, and of the legend of Eunomus the harp-player[12]; while other stories, such as those told of Pittacus, of Euctemon, of Serapis and the murderer,[13]

both tend to exceed the reasonable limit of length, and have in no degree either the lapidary precision of the half lyrical pa.s.sion which would be necessary to make them more than tales in verse. Once more, the fragments of idyllic poetry which by chance have come down to us incorporated in the Anthology,[14] beautiful as they are, are in no sense epigrams any more than the lyrics ascribed to Anacreon which form an appendix to the Palatine collection, or the quotations from the dramatists, Euripides, Menander, or Diphilus,[15] which have also at one time or another become incorporated with it.

In brief then, the epigram in its first intention may be described as a very short poem summing up as though in a memorial inscription what it is desired to make permanently memorable in any action or situation. It must have the compression and conciseness of a real inscription, and in proportion to the smallness of its bulk must be highly finished, evenly balanced, simple, and lucid. In literature it holds something of the same place as is held in art by an engraved gem. But if the definition of the epigram is only fixed thus, it is difficult to exclude almost any very short poem that conforms externally to this standard; while on the other hand the chance of language has restricted the word in its modern use to a sense which it never bore in Greek at all, defined in the line of Boileau, /un bon mot de deux rimes orne/. This sense was made current more especially by the epigrams of Martial, which as a rule lead up to a pointed end, sometimes a witticism, sometimes a verbal fancy, and are quite apart from the higher imaginative qualities. From looking too exclusively at the Latin epigrammatists, who all belonged to a debased period in literature, some persons have been led to speak of the Latin as distinct from the Greek sense of the word "epigram". But in the Greek Anthology the epigrams of contemporary writers have the same quality.

The fault was that of the age, not of the language. No good epigram sacrifices its finer poetical qualities to the desire of making a point; and none of the best depend on having a point at all.

[1] Hdt. v. 59.

[2] Hdt. vii. 228.

[3] III. 4 in this collection.

[4] Anth. Pal. vi. 348.

[5] Ibid. ix. 342, 369.

[6] Poet. 1449 a. 14.

[7] Simon. fr. 85 Bergk.

[8] Infra, XII. 6, 17, 37.

[9] App. Plan. 16.

[10] Anth. Pal. ix. 50, 118, x. 113.

[11] Anth. Pal. ix. 51.

[12] Infra, IX. 14, II. 14.

[13] Anth. Pal. vii. 89, ix. 367, 378.

[14] Anth. Pal. ix. 136, 362, 363.

[15] Ibid. x. 107, xi. 438, 439.

II

While the epigram is thus somewhat incapable of strict formal definition, for all practical purposes it may be confined in Greek poetry to pieces written in a single metre, the elegiac couplet, the metre appropriated to inscriptions from the earliest recorded period.[1] Traditionally ascribed to the invention of Archilochus or Callinus, this form of verse, like the epic hexameter itself, first meets us full grown.[2] The date of Archilochus of Paros may be fixed pretty nearly at 700 B.C. That of Callinus of Ephesus is perhaps earlier. It may be a.s.sumed with probability that elegy was an invention of the same early civilisation among the Greek colonists of the eastern coast of the Aegean in which the Homeric poems flowered out into their splendid perfection. From the first the elegiac metre was instinctively recognised as one of the best suited for inscriptional poems. Originally indeed it had a much wider area, as it afterwards had again with the Alexandrian poets; it seems to have been the common metre for every kind of poetry which was neither purely lyrical on the one hand, nor on the other included in the definite scope of the heroic hexameter. The name {elegos}, "wailing", is probably as late as Simonides, when from the frequency of its use for funeral inscriptions the metre had acquired a mournful connotation, and become the /tristis elegea/ of the Latin poets. But the war- chants of Callinus and Tyrtaeus, and the political poems of the latter, are at least fifty years earlier in date than the elegies of Mimnermus, the first of which we have certain knowledge: and in Theognis, a hundred years later than Mimnermus, elegiac verse becomes a vehicle for the utmost diversity of subject, and a vehicle so facile and flexible that it never seems unsuitable or inadequate. For at least eighteen hundred years it remained a living metre, through all that time never undergoing any serious modification.[3] Almost up to the end of the Greek Empire of the East it continued to be written, in imitation it is true of the old poets, but still with the freedom of a language in common and uninterrupted use. As in the heroic hexameter the Asiatic colonies of Greece invented the most fluent, stately, and harmonious metre for continuous narrative poetry which has yet been invented by man, so in the elegiac couplet they solved the problem, hardly a less difficult one, of a metre which would refuse nothing, which could rise to the occasion and sink with it, and be equally suited to the epitaph of a hero or the verses accompanying a birthday present, a light jest or a great moral idea, the sigh of a lover or the lament over a perished Empire.[4]

The Palatine Anthology as it has come down to us includes a small proportion, less than one in ten, of poems in other metres than the elegiac. Some do not properly belong to the collection, as for instance the three lines of iambics heading the Erotic section and the two hendecasyllabics at the end of it, or the two hexameters at the beginning of the Dedicatory section. These are hardly so much insertions as accretions. Apart from them there are only four non- elegiac pieces among the three hundred and eight amatory epigrams. The three hundred and fifty-eight dedicatory epigrams include sixteen in hexameter and iambic, and one in hendecasyllabic; and among the seven hundred and fifty sepulchral epigrams are forty-two in hexameter, iambic, and other mixed metres. The Epideictic section, as one would expect from the more miscellaneous nature of its contents, has a larger proportion of non-elegiac pieces. Of the eight hundred and twenty-seven epigrams no less than a hundred and twenty-nine are in hexameter (they include a large number of single lines), twenty-seven in iambic, and six others in various unusual metres, besides one (No.

703) which comes in strangely enough: it is in prose: and is the inscription in commendation of the water of the Thracian river Tearos, engraved on a pillar by Darius, transcribed from Herodotus, iv. 91.

The odd thing is that the collector of the Anthology appears to have thought it was in verse. The Hortatory section includes a score of hexameter and iambic fragments, some of them proverbial lines, others extracts from the tragedians. The Convivial section has five-and- twenty in hexameter, iambic, and hemiambic, out of four hundred and forty-two. The Musa Stratonis, in which the hand of the Byzantine editor has had a less free play, is entirely in elegiac. But the short appendix next following it in the Palatine MS. consists entirely of epigrams in various metres, chiefly composite. Of the two thousand eight hundred and thirteen epigrams which const.i.tute the Palatine Anthology proper, (sections V., VI., VII., IX., X., and XI.), there are in all a hundred and seventy-five in hexameter, seventy-seven in iambic, and twenty-two in various other metres. In practise, when one comes to make a selection, the exclusion of all non-elegiac pieces leads to no difficulty.

Nothing ill.u.s.trates more vividly the essential unity and continuous life of Greek literature than this line of poetry, reaching from the period of the earliest certain historical records down to a time when modern poetry in the West of Europe had already established itself; nothing could supply a better and simpler corrective to the fallacy, still too common, that Greek history ends with the conquests of Alexander. It is on some such golden bridge that we must cross the profound gulf which separates, to the popular view, the sunset of the Western Empire of Rome from the dawn of the Italian republics and the kingdoms of France and England. That gulf to most persons seems impa.s.sable, and it is another world which lies across it. But here one sees how that distant and strange world stretches out its hands to touch our own. The great burst of epigrammatic poetry under Justinian took place when the Consulate of Rome, after more than a thousand years' currency, at last ceased to mark the Western year. While Constantinus Cephalas was compiling his Anthology, adding to the treasures of past times much recent and even contemporary work, Athelstan of England inflicted the great defeat on the Danes at Brunanburh, the song of which is one of the n.o.blest records of our own early literature; and before Planudes made the last additions the Divine Comedy was written, and our English poetry had broken out into the full sweetness of its flower:

Bytuene Mershe ant Averil When spray beginneth to springe, The lutel foul hath hire wyl On hyre lud to synge.[5]

It is startling to think that so far as the date goes this might have been included in the Planudean Anthology.

Yet this must not be pressed too far. Greek literature at the later Byzantine Court, like the polity and religion of the Empire, was a matter of rigid formalism; and so an epigram by Cometas Chartularius differs no more in style and spirit from an epigram by Agathias than two mosaics of the same dates. The later is a copy of the earlier, executed in a somewhat inferior manner. Even in the revival of poetry under Justinian it is difficult to be sure how far the poetry was in any real sense original, and how far it is parallel to the Latin verses of Renaissance scholars. The vocabulary of these poets is practically the same as that of Callimachus; but the vocabulary of Callimachus too is practically the same as that of Simonides.

[1] The first inscriptions of all were probably in hexameter: cf. Hdt.

v. 59.