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+*** START OF THE PROJECT GUTENBERG EBOOK 35907 ***
+
+LOVE, WORSHIP AND DEATH
+
+Some renderings from the Greek Anthology
+
+BY
+
+SIR RENNELL RODD
+
+
+AUTHOR OF
+
+'BALLADS OF THE FLEET'
+
+'THE VIOLET CROWN,' ETC.
+
+
+
+LONDON
+
+EDWARD ARNOLD
+
+1916
+
+
+
+
+INTRODUCTION
+
+
+Among the many diverse forms of expression in which the Greek genius has
+been revealed to us, that which is preserved in the lyrics of the
+anthology most typically reflects the familiar life of men, the thought
+and feeling of every day in the lost ancient world. These little flowers
+of song reveal, as does no other phase of that great literature, a
+personal outlook on life, kindly, direct and simple, the tenderness
+which characterised family relations, the reciprocal affection of master
+and slave, sympathy with the domestic animals, a generous sense of the
+obligations of friendship, a gentle piety and a close intimacy with the
+nature gods, of whose presence, malignant or benign, the Greek was ever
+sensitively conscious. For these reasons they still make so vivid an
+appeal to us after a long silence of many centuries. To myself who have
+lived for some years in that enchanted world of Greece, and have sailed
+from island to island of its haunted seas, the shores have seemed still
+quick with the voices of those gracious presences who gave exquisite
+form to their thoughts on life and death, their sense of awe and beauty
+and love. There indeed poetry seems the appropriate expression of the
+environment, and there even still to-day, more than anywhere else in the
+world, the correlation of our life with nature may be felt
+instinctively; the human soul seems nearest to the soul of the world.
+
+The poems, of which some renderings are here offered to those who cannot
+read the originals, cover a period of about a thousand years, broken by
+one interval during which the lesser lyre is silent. The poets of the
+_elegy_ and the _melos_ appear in due succession after those of the
+_epic_ and, significant perhaps of the transition, there are found in
+the first great period of the lyric the names of two women, Sappho of
+Lesbos, acknowledged by the unanimous voice of antiquity, which is
+confirmed by the quality of a few remaining fragments, to be among the
+greatest poets of all times, and Corinna of Tanagra, who contended with
+Pindar and rivalled Sappho's mastery. The canon of Alexandria does not
+include among the nine greater lyrists the name of Erinna of Rhodes, who
+died too young, in the maiden glory of her youth and fame. The earlier
+poets of the _melos_ were for the most part natives of
+
+                    'the sprinkled isles,
+     Lily on lily that overlace the sea.'
+
+Theirs is the age of the austerer mood, when the clean-cut marble
+outlines of a great language matured in its noblest expression. Then a
+century of song is followed by the period of the dramatists during which
+the lyric muse is almost silent, in an age of political and intellectual
+intensity.
+
+A new epoch of lyrical revival is inaugurated by the advent of
+Alexander, and the wide extension of Hellenic culture to more distant
+areas of the Mediterranean. Then follows the long succession of poets
+who may generally be classified as of the school of Alexandria. Among
+them are three other women singers of high renown, Anyte of Tegea,
+Nossis of Locri in southern Italy, and Moero of Byzantium. The later
+writers of this period had lost the graver purity of the first lyric
+outburst, but they had gained by a wider range of sympathy and a closer
+touch with nature. This group may be said to close with Meleager, who
+was born in Syria and educated at Tyre, whose contact with the eastern
+world explains a certain suggestive and exotic fascination in his poetry
+which is not strictly Greek. The Alexandrian is followed by the Roman
+period, and the Roman by the Byzantine, in which the spirit of the muse
+of Hellas expires reluctantly in an atmosphere of bureaucratic and
+religious pedantry.
+
+These few words of introduction should suffice, since the development of
+the lyric poetry of Greece and the characteristics of its successive
+exponents have been made familiar to English readers in the admirable
+work of my friend J.W. Mackail. A reference to his _Select Epigrams from
+the Greek Anthology_ suggests one plea of justification for the present
+little collection of renderings, since the greater number of them have
+been by him translated incomparably well into prose.
+
+Of the quality of verse translation there are many tests: the closeness
+with which the intention and atmosphere of the original has been
+maintained; the absence of extraneous additions; the omission of no
+essential feature, and the interpretation, by such equivalent as most
+adequately corresponds, of individualities of style and assonances of
+language. But not the least essential justification of poetical
+translation is that the version should constitute a poem on its own
+account, worthy to stand by itself on its own merits if the reader were
+unaware that it was a translation. It is to this test especially that
+renderings in verse too often fail to conform. I have discarded not a
+few because they seemed too obviously to bear the forced expression
+which the effort to interpret is apt to induce. Of those that remain
+some at least I hope approach the desired standard, failing to achieve
+which they would undoubtedly be better expressed in simple prose. And
+yet there is a value in rendering rhythm by rhythm where it is possible,
+and if any success has been attained, such translations probably convey
+more of the spirit of the original, which meant verse, with all which
+that implies, and not prose.
+
+The arrangement in this little volume is approximately chronological in
+sequence. This should serve to illustrate the severe and restrained
+simplicity of the earlier writers as contrasted with the more complex
+and conscious thought, and the more elaborate expression of later
+centuries when the horizons of Hellenism had been vastly extended.
+
+The interpretation of these lyrics has been my sole and grateful
+distraction during a period of ceaseless work and intense anxiety in the
+tragic years of 1914 and 1915.
+
+R.R.
+
+
+
+
+INDEX OF AUTHORS
+
+
+MIMNERMUS--CARPE DIEM
+
+SAPPHO--
+  I. A BITTER WORD
+  II. THE BELOVED PRESENCE
+  III. HESPER
+  IV. OUT OF REACH
+
+ANACREONTICA--
+  I. LOVE'S CHALLENGE
+  II. BACCHANAL
+  III. HER PORTRAIT
+  IV. METAMORPHOSIS
+  V. APOLOGIA
+
+UNKNOWN--ANACREON'S GRAVE
+
+SIMONIDES--
+  I. ON THE SPARTANS
+  II. ON THE ATHENIANS
+
+PLATO--
+  I. A GRAVE IN PERSIA
+  II. STARWORSHIP
+  III. THE UNSET STAR
+  IV. LAIS
+
+PERSES--A RUSTIC SHRINE
+
+ANYTE OF TEGEA--
+  I. A SHRINE BY THE SEA
+  II. THE GOD OF THE CROSS-ROADS
+
+ADDAEUS--THE ANCIENT OX
+
+ASCLEPIADES--THE PRAISE OF LOVE
+
+MICIAS--A WAYSIDE FOUNTAIN
+
+CALLIMACHUS--CAST UP BY THE SEA
+
+NOSSIS--
+  I. ROSES OF CYPRIS
+  II. RINTHO'S GRAVE
+
+LEONIDAS OF TARENTUM--
+  I. ERINNA
+  II. THE FOUNTAIN HEAD
+
+DIONYSUS--THE ROSE OF YOUTH
+
+DAMAGETUS--THEANO
+
+ARCHIAS--
+  I. THE HARBOUR GOD
+  II. A GRAVE BY THE SEA
+
+MELEAGER--
+  I. LOVE'S QUIVER
+  II. THE CUP
+  III. ZENOPHILE
+  IV. LOVE AND DEATH
+  V. LOVE'S MALICE
+  VI. ASCLEPIAS
+  VII. HELIODORA
+  VIII. THE WREATH
+  IX. LIBATION
+  X. THE GRAVE OF HELIODORA
+  XI. HIS EPITAPH
+
+CRINAGORAS--ROSES IN WINTER
+
+JULIUS POLYAENUS--
+  AN EXILE'S PRAYER
+
+ANTIPATER OF THESSALONICA--
+  A GRAVE AT OSTIA
+
+UNKNOWN--
+  FRIENDSHIP'S EPITAPH
+
+UNKNOWN--
+  THE COUNSEL OF PAN
+  BÉNITIER
+  THE END OF THE COMEDY
+
+STRATO--THE KISS
+
+AMMIANUS--THE LORD OF LANDS
+
+ALPHEUS--MYCENAE
+
+MACEDONIUS--THE THRESHOLD
+
+NOTES
+
+
+
+MIMNERMUS
+
+7TH CENTURY B.C.
+
+
+
+     CARPE DIEM
+
+
+     Hold fast thine youth, dear soul of mine, new lives will come to birth,
+     And I that shall have passed away be one with the brown earth.
+
+
+
+
+     SAPPHO
+
+     7TH AND 6TH CENTURY B.C.
+
+
+
+     I
+
+     A BITTER WORD
+
+
+     Dying thou shalt lie in nothingness, nor after
+     Love shall abide here nor memory of thee;
+     For thou hast no portion in the roses of Pieria;
+     But even in the nether world obscurely shalt thou wander
+     Flitting hither thither with the phantoms of the dead.
+
+
+     Note 1
+
+
+
+     II
+
+     THE BELOVED PRESENCE
+
+
+     Blest as the Gods are esteem I him who alway
+     Sits face to face with thee and watching thee forgoes not
+     The voice that is music and the smile that is seduction,
+                 Smile that my heart knows
+     Fluttered in its chambers. For lo, when I behold thee
+     Forthwith my voice fails, my tongue is tied in silence,
+     Flame of fire goes through me, my ears are full of murmur,
+                 Blinded I see naught:
+     Sweat breaketh forth on me, and all my being trembles,
+     Paler am I grown than the pallor of the dry grass,
+     Death seemeth almost to have laid his hand upon me.--
+                      Then I dare all things.
+
+
+     Note 2
+
+
+
+     III
+
+     HESPER
+
+
+     Thou, Hesper, bringest homeward all
+       That radiant dawn sped far and wide:
+     The sheep to fold, the goat to stall,
+       The children to their mother's side.
+
+
+
+     IV
+
+     OUT OF REACH
+
+
+     Like the apple that ripens rosy at the end of a branch on high,
+       At the utmost end of the utmost bough,
+       Which those that gather forgot till now.
+     Nay, did not forget, but only they never might come thereby.
+
+
+
+
+     ANACREONTICA
+
+     ANACREON, 6TH CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S CHALLENGE
+
+
+     Love smote me with his jacinth wand and challenged me to race,
+     And wore me down with running till the sweat poured off my face,
+     Through breaks of tangled woodland, by chasms sheer to scale,
+     Until my heart was in my lips and at the point to fail.
+     Then as I felt his tender wings brush lightly round my head,
+     ''Tis proven that thou lackest the strength to love,' he said.
+
+
+     Note 3
+
+
+
+     II
+
+     BACCHANAL
+
+
+     When Bacchus hath possessed me my cares are lulled in wine,
+     And all the wealth of Croesus is not more his than mine:
+     I crown my head with ivy, I lift my voice to sing,
+     And in my exultation seem lord of every thing.
+     So let the warrior don his arms, give me my cup instead,
+     If I must lie my length on earth, why better drunk than dead.
+
+
+
+     III
+
+     HER PORTRAIT
+
+
+     Master of all the craftsmen,
+       Prince of the Rhodian art,
+     Interpret, master craftsman,
+       Each detail I impart,
+     And draw as were she present
+       The mistress of my heart.
+
+     First you must match those masses
+       Of darkly clustered hair,
+     And if such skill be in your wax
+       The scent that harbours there;
+     And where the flowing tresses cast
+       A warm-toned shadow, trace
+     A forehead white as ivory,
+       The oval of her face.
+     Her brows you must not quite divide
+       Nor wholly join, there lies
+     A subtle link between them
+       Above the dark-lashed eyes.
+     And you must borrow flame of fire
+       To give her glance its due,
+     As tender as Cithera's
+       And as Athena's blue.
+     For cheek and nostril rose-leaves
+       And milk you shall enlist,
+     And shape her lips like Peitho's
+       Inviting to be kissed.
+     Let all the Graces stay their flight
+       And gather round to deck
+     The outline of her tender chin,
+       The marble of her neck.
+     And for the rest--bedrape her
+       In robe of purple hue,
+     With here and there to give it life
+       The flesh tint peeping through.
+     Now hold thy hand,--for I can see
+       The face and form I seek,
+     And surely in a moment's space
+       I think your wax will speak.
+
+
+     Note 4
+
+
+
+     IV
+
+     METAMORPHOSIS
+
+
+     If she who, born to Tantalus,
+       As Niobe we know,
+     Was turned to stone among the hills
+       Of Phrygia long ago;
+     If Proene by such magic change
+       Was made a bird that flies,
+     Let me become the mirror
+       That holds my lady's eyes!
+     Or let me be the water
+       In which your beauty bathes,
+     Or the dress which clinging closely
+       Your gracious presence swathes;
+     Or change me to the perfume
+       You sprinkle on your skin,
+     Or let me be the pearl-drop
+       That hangs beneath your chin;
+     And if not these the girdle
+       You bind below your breast;
+     Or be at least the sandal
+       Your little foot hath pressed.
+
+
+
+     V
+
+     APOLOGIA
+
+
+     The brown earth drinks from heaven, and from the earth the tree,
+     The sea drinks down the vapour, and the sun drinks up the sea,
+     The moon drinks in the sunlight; now therefore, comrades, say
+     What fault have you to find in me if I would drink as they?
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     ANACREON'S GRAVE
+
+
+     You that pass this place of graves
+       Pause and spill a cup for me,
+     For I hold Anacreon's ashes,
+       And would drink as once would he.
+
+
+
+
+     SIMONIDES
+
+     556-467 B.C.
+
+
+
+     _THE PLATAEAN EPITAPHS_
+
+
+
+     I
+
+     ON THE SPARTANS
+
+
+     These who with fame eternal their own dear land endowed
+     Took on them as a mantle the shade of death's dark cloud;
+     Yet dying thus they died not, on whom is glory shed
+     By virtue which exalts them above all other dead.
+
+
+
+     II
+
+     ON THE ATHENIANS
+
+
+     If to die nobly be the meed that lures the noblest mind,
+     Then unto us of all men in this was fortune kind.
+     For Greece we marched, that freedom's arm should ever round her fold;
+     We died, but gained for guerdon renown  that grows not old.
+
+
+
+
+     PLATO
+
+     429-347 B.C.
+
+
+
+     I
+
+     A GRAVE IN PERSIA
+
+
+     Far from our own Ægean shore
+       And the surges booming deep,
+     Here where Ecbatana's great plain
+       Lies broad, we exiles sleep.
+     Farewell, Eretria the renowned,
+       Where once we used to dwell;
+     Farewell, our neighbour Athens;
+       Beloved sea, farewell!
+
+
+     Note 5
+
+
+
+     II
+
+     STARWORSHIP
+
+
+     Thou gazest starward, star of mine, whose heaven I fain would be,
+     That all my myriad starry eyes might only gaze on thee.
+
+
+
+     III
+
+     THE UNSET STAR
+
+
+     Star that didst on the living at dawn thy lustre shed,
+     Now as the star of evening thou shinest with the dead!
+
+
+
+     IV
+
+     LAIS
+
+
+     I that through the land of Hellas
+       Laughed in triumph and disdain,
+     Lais, of whose open porches
+       All the love-struck youth were fain,
+     Bring the mirror once I gazed in,
+       Cyprian, at thy shrine to vow,
+     Since I see not there what once was,
+       And I would not what is now.
+
+
+
+
+     PERSES
+
+     4TH CENTURY B.C.
+
+
+
+     A RUSTIC SHRINE
+
+
+     I am the god of the little things,
+       In whom you will surely find,
+     If you call upon me in season,
+       A little god who is kind.
+     You must not ask of me great things,
+       But what is in my control,
+     I, Tychon, god of the humble,
+       May grant to a simple soul.
+
+
+     Note 6
+
+
+
+
+     ANYTE OF TEGEA
+
+     4TH CENTURY B.C.
+
+
+
+     I
+
+     A SHRINE BY THE SEA
+
+
+     This is the Cyprian's holy ground,
+       Who ever loves to stand
+     Where she can watch the shining seas
+       Beyond the utmost land;
+     That sailors on their voyages
+       May prosper by her aid,
+     Whose radiant effigy the deep
+       Beholding is afraid.
+
+
+
+     II
+
+     THE GOD OF THE CROSS-ROADS
+
+
+     I, Hermes, by the grey sea-shore,
+       Set where the three roads meet,
+     Outside the wind-swept garden,
+       Give rest to weary feet;
+     The waters of my fountain
+       Are clear, and cool, and sweet.
+
+
+
+
+     ADDAEUS
+
+     4TH CENTURY B.C.
+
+
+
+     THE ANCIENT OX
+
+
+     The ox of Alcon was not led to the slaughter when at length
+     Age and the weary furrow had sapped his olden strength.
+     His faithful work was honoured, and in the deep grass now
+     He strays and lows contentment, enfranchised from the plough.
+
+
+
+
+     ASCLEPIADES
+
+     3RD CENTURY B.C.
+
+
+
+     THE PRAISE OF LOVE
+
+
+     Sweet is the snow in summer thirst to drink, and sweet the day
+     When sailors see spring's garland bloom and winter pass away.
+     But the sweetest thing on earth is when, one mantle for their cover,
+     Two hearts recite the Cyprian's praise as lover unto lover.
+
+
+
+
+     MICIAS
+
+     3RD CENTURY B.C.
+
+
+
+     A WAYSIDE FOUNTAIN
+
+
+     Rest here beneath the poplars,
+       When tired with travelling,
+     And drawing nigh refresh you
+       With water from our spring.
+     So may you keep in memory
+       When under other skies
+     The fount his father Simus set
+       By the grave where Gillus lies.
+
+
+
+
+     CALLIMACHUS
+
+     3RD CENTURY B.C.
+
+
+
+     CAST UP BY THE SEA
+
+
+     Who were you, shipwrecked sailor? The body that he found,
+     Cast on the beach, Leontichus laid in this burial mound;
+     And mindful of his own grim life he wept, for neither he
+     May rest in peace who like a gull goes up and down the sea.
+
+
+
+
+     NOSSIS
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ROSES OF CYPRIS
+
+
+     Of all the world's delightful things most sweet is love. The rest,
+     Ay, even honey in the mouth, are only second best.
+     This Nossis saith. And only they the Cyprian loves may know
+     The glory of the roses that in her garden grow.
+
+
+
+     II
+
+     RINTHO'S GRAVE
+
+
+     Give me a hearty laugh, and say
+     A friendly word and go thy way.
+     Rintho was I of Syracuse,
+     A modest song bird of the muse,
+     Whose tears and smiles together sown
+     Have born an ivy all my own.
+
+
+     Note 7
+
+
+
+
+     LEONIDAS OF TARENTUM
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ERINNA
+
+
+     The lyric maid Erinna, the poet-bee that drew
+     The honey from the rarest blooms the muses' garden grew,
+     Hath Hades snatched to be his bride. Mark where the maiden saith,
+     Prophetic in her wisdom, 'How envious art thou, Death!'
+
+
+     Note 8
+
+
+
+     II
+
+     THE FOUNTAIN HEAD
+
+
+     Pause not here to drink thy fill
+     Where the sheep have stirred the rill,
+     And the pool lies warm and still--
+     Cross yon ridge a little way,
+     Where the grazing heifers stray,
+     And the stone-pine's branches sway
+     O'er a creviced rock below;
+     Thence the bubbling waters flow
+     Cooler than the northern snow.
+
+
+
+
+     DIONYSUS
+
+     2ND CENTURY B.C. (?)
+
+
+     THE ROSE OF YOUTH
+
+
+     Girl with the roses and the grace
+     Of all the roses in your face,
+     Are you, or are the blooms you bear,
+     Or haply both your market ware?
+
+
+
+
+     DAMAGETUS
+
+     2ND CENTURY B.C.
+
+
+
+     THEANO
+
+
+     These words, renowned Phocæa, were the last Theano said,
+     As she went down into the night that none hath harvested.
+     Hapless am I, Apellichus, beloved husband mine,
+     Where in the wide, wide waters is now that bark of thine?
+     My doom hath come upon me, and would to God that I
+     Had felt my hand in thy dear hand on the day I had to die.
+
+
+
+
+     ARCHIAS
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+     THE HARBOUR GOD
+
+
+     Me, Pan, whose presence haunts the shore,
+       The fisher folk set here,
+     To guard their haven anchorage
+       On the cliff that they revere;
+     And thence I watch them cast the net
+       And mind their fishing gear.
+     Sail past me, traveller: for I send
+       The gentle southern breeze,
+     Because of this their piety,
+       To speed thee over seas.
+
+
+
+     II
+
+     A GRAVE BY THE SEA
+
+
+     I, shipwrecked Theris, whom the tide
+       Flung landward from the deep,
+     Not even dead may I forget
+       The shores that know not sleep.
+     Beneath the cliffs that break the surf
+       My body found a grave,
+     Dug by the hands of stranger men,
+       Beside the cruel wave:
+     And still ill-starred among the dead
+       I hear for evermore
+     The hateful booming of the seas
+       That thunder on the shore.
+
+
+
+
+     MELEAGER
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S QUIVER
+
+
+     By Heliodora's sandalled foot, and Demo's waving hair,
+     By Dorothea's wreath of blooms unbudding to the air,
+     By Anticlea's winsome smile and the great eyes of her,
+     And by Timarion's open door distilling scent like myrrh,
+     I know the god of love has spent his arrows winged to smart,
+     For all the shafts his quiver held I have them in my heart.
+
+
+
+     II
+
+     THE CUP
+
+
+     The cup takes heart of gladness, whose boast it is to be
+     Sipped by the mouth of love's delight, soft-voiced Zenophile.
+     Most favoured cup! I would that she with lips to my lips pressed
+     Would drink the soul in one deep draught, that is my body's guest.
+
+
+
+     III
+
+     ZENOPHILE
+
+
+     Sweet is the music of that air, by Pan of Arcady,
+     Thou drawest from the harpstrings, too sweet, Zenophile;
+     The thronging loves on every side close in and press me nigh,
+     And leave me scarce a breathing space, so whither can I fly?
+     Is it thy beauty or thy song that kindles my desire,
+     Thy grace, or every thing thou art? For I am all on fire.
+
+
+
+     IV
+
+     LOVE AND DEATH
+
+
+     Friend Cleobulus, when I die
+       Who conquered by desire,
+     Abandoned in the ashes lie
+       Of youth's consuming fire,
+     Do me this service, drench in wine
+       The urn you pass beneath,
+     And grave upon it this one line,
+       'The gift of Love to Death.'
+
+
+
+     V
+
+     LOVE'S MALICE
+
+
+     Cruel is Love, ah cruel, and what can I do more
+     Than moaning love is cruel, repeat it o'er and o'er?
+     I know the boy is laughing and pleased that I grow grim,
+     And just the bitter things I say are the bread of life to him.
+     But you that from the grey-green wave arising, Cyprian, came,
+     'Tis strange that out of water you should have borne a flame.
+
+
+
+     VI
+
+     ASCLEPIAS
+
+
+     Like the calm sea beguiling with those blue eyes of hers,
+     Asclepias tempteth all men to be love's mariners.
+
+
+
+     VII
+
+     HELIODORA
+
+
+     Say Heliodore, and Heliodore, and still say Heliodore,
+     And let the music of her name mix with the wine you pour.
+     And wreath me with the wreath she wore, that holds the scent of myrrh,
+     For all that it be yesterday's, in memory of her.
+     The rose that loveth lovers, the rose lets fall a tear
+     Because my arms are empty, because she is not here.
+
+
+
+     VIII
+
+     THE WREATH
+
+
+     White violet with the tender-leaved narcissus I will twine,
+     And the laughing lips of lilies with myrtle blooms combine;
+     And I will bind the hyacinth, the dark red-purple flower,
+     With crocus sweet and roses that are the lovers' dower,
+     To make the wreath that Heliodore's curl-scented brow shall wear,
+     To strew with falling petals the glory of her hair.
+
+
+
+     IX
+
+     LIBATION
+
+
+     Pour out as if for Peitho, and for the Cyprian pour,
+     Then for the sweet-voiced Graces, but all for Heliodore;
+     For there is but one goddess whose worship I enshrine,
+     And blent with her beloved name I drink the virgin wine.
+
+
+
+     X
+
+     THE GRAVE OF HELIODORA
+
+
+     Tears for thee, Heliodore, and bitter tears to shed,
+     If all that love has left to give can reach thee with the dead;
+     Here at thy grave I offer, that tear-drenched grave of thine,
+     Libation of my longing before affection's shrine.
+     Forlorn I mourn thee, dearest, in the land where shadows dwell,
+     Forlorn, and grudge the tribute death could have spared so well.
+     Where is the flower I cherished? Plucked by the god of doom;
+     Plucked, and his dust has tarnished the scarce unbudded bloom.
+     I may but pray thee, mother earth, who givest all thy best,
+     Clasp her I mourn for ever close to thy gentle breast.
+
+
+
+     XI
+
+     HIS EPITAPH
+
+
+     Tread softly, ye that pass, for here
+       The old man rests his head,
+     And sleeps the sleep that all men must
+       Among the honoured dead.
+     Meleager, son of Eucrates,
+       Who linked the joyous train
+     Of Graces and of Muses
+       With love's delicious pain.
+     From Gadara, the sacred land,
+       I came and god-built Tyre,
+     But Meropis and pleasant Cos
+       Consoled life's waning fire.
+     If thou be Syrian, say Salaam,
+       Or Hail, if Greek thou be,
+     Say Naidios, if Phœnician born,
+       For all are one to me.
+
+
+
+
+     CRINAGORAS
+
+     1ST CENTURY B.C.
+
+
+
+     ROSES IN WINTER
+
+
+     In spring it was we roses
+       Were used to bloom of old,
+     Who now in midmost winter
+       Our crimson cells unfold,
+     To greet thee on the birthday
+       That shall thy bridal bring.
+     'Tis more to grace so fair a brow
+       Than know the suns of spring.
+
+
+
+
+     JULIUS POLYAENUS
+
+     1ST CENTURY B.C.
+
+
+
+     AN EXILE'S PRAYER
+
+
+     Among the myriad voices that seek to win thine ear
+     From those whose prayers are granted, from those who pray in fear,
+     O Zeus of Scheria's holy plain, let my voice reach thee too,
+     And hearken and incline the brow that binds thy promise true.
+     Let my long exile have an end, my toil and travel past,
+     Grant me in my own native land to live at rest at last!
+
+
+
+
+     ANTIPATER OF THESSALONICA
+
+     1ST CENTURY B.C.
+
+
+
+     A GRAVE AT OSTIA
+
+
+     Ausonian earth contains me
+       That was a Libyan maid,
+     And in the sea's sand hard by Rome
+       My virgin form was laid.
+     Pompeia with a mother's care
+       Watched o'er my tender years,
+     Entombed me here among the free,
+       And gave me many tears.
+     Not as she prayed the torch was fired,
+       She would have burned for me;
+     The lamp which took the torch's place
+       Was thine, Persephone.
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     FRIENDSHIP'S EPITAPH
+
+
+     This stone, my good Sabinus, although it be but small,
+     Shall be of our great friendship a witness unto all.
+     Ever shall I desire thee, and thou, if this may be,
+     Forbear to drink among the dead the lethe-draft for me.
+
+
+     Note 9
+
+
+
+     THE COUNSEL OF PAN
+
+
+     In this green meadow, traveller, yield
+       Thy weary limbs to rest:
+     The branches of the stone pine sway
+       To the wind from out the west;
+     The cricket calls, and all noon long
+       The shepherd's piping fills
+     The plane-grove's leafy shadows
+       By the spring among the hills.
+     Soothed by these sounds thou shalt avoid
+       The dogstar's autumn fires,
+     And then to-morrow cross the ridge;--
+       Such wisdom Pan inspires.
+
+
+
+     BÉNITIER
+
+
+     Touch but the virgin water, clean of soul,
+       Nor fear to pass into the pure god's sight:
+     For the good a drop suffices. But the whole
+       Great ocean could not wash the unclean white.
+
+
+
+     THE END OF THE COMEDY
+
+
+     Fortune and Hope, a long adieu!
+       My ship is safe in port.
+     With me is nothing left to do,
+       Make other lives your sport.
+
+
+     Note 10
+
+
+
+
+     STRATO
+
+     2ND CENTURY A.D.
+
+
+
+     THE KISS
+
+
+     It was at even and the hour in which good-nights are bid
+     That Mœris kissed me, if indeed I do not dream she did.
+     Of all the rest that happened there is naught that I forget,
+     No word she said, no question of all she asked,--and yet
+     If she indeed did kiss me, my doubt can not decide,
+     For how could I still walk the earth had I been deified!
+
+
+
+
+     AMMIANUS
+
+     2ND CENTURY A.D.
+
+
+
+     THE LORD OF LANDS
+
+
+     Though till the gates of Heracles thy land-marks thou extend,
+     Their share in earth is equal for all men at the end;
+     And thou shalt lie as Irus lies, one obol all thy store,
+     And be resolved into an earth that is thine own no more.
+
+
+     Note 11
+
+
+
+
+     ALPHEUS
+
+     2ND CENTURY A.D.
+
+
+
+     MYCENAE
+
+
+     The cities of the hero age thine eyes may seek in vain,
+     Save where some wrecks of ruin still break the level plain.
+     So once I saw Mycenae, the ill-starred, a barren height
+     Too bleak for goats to pasture,--the goat-herds point the site.
+     And as I passed a greybeard said, 'Here used to stand of old
+     A city built by giants, and passing rich in gold.'
+
+
+     Note 12
+
+
+
+
+     MACEDONIUS
+
+     6TH CENTURY A.D.
+
+
+
+     THE THRESHOLD
+
+
+     Spirit of Birth, that gave me life,
+       Earth, that receives my clay,
+     Farewell, for I have travelled
+       The stage that twixt you lay.
+     I go, and have no knowledge
+       From whence I came to you,
+     Nor whither I shall journey,
+       Nor whose I am, nor who.
+
+
+
+
+NOTES
+
+
+Note 1.
+
+In this, No. 68 of the Sappho fragments, I have followed the reading
+
+  _κατθάνοισα δὲ κείσεαι οὐδέ ποτα μναμοσύνα_
+      _σέθεν_
+  _ἔσσετ' οὐδ' ἔρος εἰς ὔστερον·_
+
+rather than
+
+  _κατθάνοισα δὲ κείσεαι πότα, κωὐ μναμοσύνα σέθεν._
+  _ἔσσετ' οὔτε τότ' οὔτ' ὔστερον·_
+
+    'Dying thou shalt lie in nothingness, nor of
+    thee
+    There nor thereafter shall memory abide.'
+
+
+Note 2.
+
+A portion of this fragment was adopted by Catullus.
+
+
+Note 3.
+
+Anacreon's date is 563-478 B.C. It must, alas, be admitted that the
+poems attributed to him are, with the exception of a few fragments, all
+of them dubious and most of them certainly spurious. He had a great
+number of imitators down to a much later time, and a considerable number
+of the pseudo-Anacreontic poems are preserved in an appendix to the
+Palatine anthology. It may be assumed that some of them reflect a
+portion of his spirit, and many of them are graceful in conceit and
+beautiful in form. The specimens here given must be classed upon the
+productions of his later imitators, although they are inserted in the
+place where in chronological order the real Anacreon would have
+followed.
+
+
+Note 4.
+
+The portraiture of the Greeks was executed with tinted wax, and not with
+colours rendered fluid by a liquid or oily medium. The various tints and
+tones of wax were probably laid on with the finger tips or with a
+spatula.
+
+
+Note 5.
+
+There was more than one Plato, but the great Plato is evidently referred
+to in the prefatory poem of Meleager as included among the poets of his
+anthology.
+
+Captives from Eretria were established in a colony in Persia by Darius
+after the first Persian war. The colony at Ardericca was, however,
+hundreds of miles from Ecbatana.
+
+If the epigram on Lais is not attributed to the great Plato by the most
+competent authorities, the dates of the two famous courtesans who bore
+the name would not exclude the possibility of his being the author.
+
+
+Note 6.
+
+Tychon is identified with Priapus.
+
+
+Note 7.
+
+Rintho founded a new school of serio-comic drama about 300 B.C. The ivy
+was sacred to Dionysus, in whose worship the drama had its origin.
+
+
+Note 8.
+
+Also attributed to Meleager. The phrase, _βάσκανος ἔσσ' Ἀΐδα_, here
+quoted is from Erinna's lament for Baucis, one of the rare surviving
+lyrics of the Rhodian poetess.
+
+
+Note 9.
+
+The anonymous epigrams here inserted are probably not in their proper
+chronological places. But as they could not be definitely assigned to
+any date I have placed them between the two categories of B.C. and A.D.
+
+
+
+Note 10.
+
+There is a Latin version of this epigram on a tomb in the pavement of a
+church in Rome (S. Lorenzo in Panisperna).
+
+    Inveni portum, spes et fortuna valete,
+      Nil mihi vobiscum, ludite nunc alios.
+
+
+Note 11.
+
+Irus was the beggar of the Odyssey who ran messages for the suitors of
+Penelope. The obol referred to is the small coin placed between the lips
+of the dead to pay the toll to the ferryman of Hades.
+
+
+Note 12.
+
+It is interesting to know from the evidence of Alpheus, who visited the
+sites of the Homeric cities, that nearly two thousand years ago the site
+of Mycenae was just as it remained until the excavations of Schliemann.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 35907 ***
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+
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 35907 ***</div>
+
+
+
+<h1>LOVE, WORSHIP AND DEATH</h1>
+
+<h3>Some renderings from the Greek Anthology</h3>
+
+<h3>BY</h3>
+
+<h2>SIR RENNELL RODD</h2>
+
+
+<h4>AUTHOR OF</h4>
+
+<h4>'BALLADS OF THE FLEET'</h4>
+
+<h4>'THE VIOLET CROWN,' ETC.</h4>
+
+
+<h5>LONDON</h5>
+
+<h5>EDWARD ARNOLD</h5>
+
+<h5>1916</h5>
+
+<hr style="width: 95%;" />
+
+<hr style="width: 65%;" />
+<h3>INTRODUCTION</h3>
+
+
+<p>Among the many diverse forms of expression in which the Greek genius has
+been revealed to us, that which is preserved in the lyrics of the
+anthology most typically reflects the familiar life of men, the thought
+and feeling of every day in the lost ancient world. These little flowers
+of song reveal, as does no other phase of that great literature, a
+personal outlook on life, kindly, direct and simple, the tenderness
+which characterised family relations, the reciprocal affection of master
+and slave, sympathy with the domestic animals, a generous sense of the
+obligations of friendship, a gentle piety and a close intimacy with the
+nature gods, of whose presence, malignant or benign, the Greek was ever
+sensitively conscious. For these reasons they still make so vivid an
+appeal to us after a long silence of many centuries. To myself who have
+lived for some years in that enchanted world of Greece, and have sailed
+from island to island of its haunted seas, the shores have seemed still
+quick with the voices of those gracious presences who gave exquisite
+form to their thoughts on life and death, their sense of awe and beauty
+and love. There indeed poetry seems the appropriate expression of the
+environment, and there even still to-day, more than anywhere else in the
+world, the correlation of our life with nature may be felt
+instinctively; the human soul seems nearest to the soul of the world.</p>
+
+<p>The poems, of which some renderings are here offered to those who cannot
+read the originals, cover a period of about a thousand years, broken by
+one interval during which the lesser lyre is silent. The poets of the
+<i>elegy</i> and the <i>melos</i> appear in due succession after those of the
+<i>epic</i> and, significant perhaps of the transition, there are found in
+the first great period of the lyric the names of two women, Sappho of
+Lesbos, acknowledged by the unanimous voice of antiquity, which is
+confirmed by the quality of a few remaining fragments, to be among the
+greatest poets of all times, and Corinna of Tanagra, who contended with
+Pindar and rivalled Sappho's mastery. The canon of Alexandria does not
+include among the nine greater lyrists the name of Erinna of Rhodes, who
+died too young, in the maiden glory of her youth and fame. The earlier
+poets of the <i>melos</i> were for the most part natives of</p>
+
+<p>
+<span style="margin-left: 10em;">'the sprinkled isles,</span><br />
+<span style="margin-left: 2.5em;">Lily on lily that overlace the sea.'</span><br />
+</p>
+
+<p>Theirs is the age of the austerer mood, when the clean-cut marble
+outlines of a great language matured in its noblest expression. Then a
+century of song is followed by the period of the dramatists during which
+the lyric muse is almost silent, in an age of political and intellectual
+intensity.</p>
+
+<p>A new epoch of lyrical revival is inaugurated by the advent of
+Alexander, and the wide extension of Hellenic culture to more distant
+areas of the Mediterranean. Then follows the long succession of poets
+who may generally be classified as of the school of Alexandria. Among
+them are three other women singers of high renown, Anyte of Tegea,
+Nossis of Locri in southern Italy, and Moero of Byzantium. The later
+writers of this period had lost the graver purity of the first lyric
+outburst, but they had gained by a wider range of sympathy and a closer
+touch with nature. This group may be said to close with Meleager, who
+was born in Syria and educated at Tyre, whose contact with the eastern
+world explains a certain suggestive and exotic fascination in his poetry
+which is not strictly Greek. The Alexandrian is followed by the Roman
+period, and the Roman by the Byzantine, in which the spirit of the muse
+of Hellas expires reluctantly in an atmosphere of bureaucratic and
+religious pedantry.</p>
+
+<p>These few words of introduction should suffice, since the development of
+the lyric poetry of Greece and the characteristics of its successive
+exponents have been made familiar to English readers in the admirable
+work of my friend J.W. Mackail. A reference to his <i>Select Epigrams from
+the Greek Anthology</i> suggests one plea of justification for the present
+little collection of renderings, since the greater number of them have
+been by him translated incomparably well into prose.</p>
+
+<p>Of the quality of verse translation there are many tests: the closeness
+with which the intention and atmosphere of the original has been
+maintained; the absence of extraneous additions; the omission of no
+essential feature, and the interpretation, by such equivalent as most
+adequately corresponds, of individualities of style and assonances of
+language. But not the least essential justification of poetical
+translation is that the version should constitute a poem on its own
+account, worthy to stand by itself on its own merits if the reader were
+unaware that it was a translation. It is to this test especially that
+renderings in verse too often fail to conform. I have discarded not a
+few because they seemed too obviously to bear the forced expression
+which the effort to interpret is apt to induce. Of those that remain
+some at least I hope approach the desired standard, failing to achieve
+which they would undoubtedly be better expressed in simple prose. And
+yet there is a value in rendering rhythm by rhythm where it is possible,
+and if any success has been attained, such translations probably convey
+more of the spirit of the original, which meant verse, with all which
+that implies, and not prose.</p>
+
+<p>The arrangement in this little volume is approximately chronological in
+sequence. This should serve to illustrate the severe and restrained
+simplicity of the earlier writers as contrasted with the more complex
+and conscious thought, and the more elaborate expression of later
+centuries when the horizons of Hellenism had been vastly extended.</p>
+
+<p>The interpretation of these lyrics has been my sole and grateful
+distraction during a period of ceaseless work and intense anxiety in the
+tragic years of 1914 and 1915.</p>
+
+<p>R.R.</p>
+
+
+<hr style="width: 65%;" />
+
+<p class="small"><b>INDEX OF AUTHORS</b><br />
+<br /></p>
+<p class="small">
+<br />
+MIMNERMUS&mdash;<a href="#CARPE_DIEM">CARPE DIEM</a><br />
+<br />
+SAPPHO&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#A_BITTER_WORD">A BITTER WORD</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_BELOVED_PRESENCE">THE BELOVED PRESENCE</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#HESPER">HESPER</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#OUT_OF_REACH">OUT OF REACH</a></span><br />
+<br />
+ANACREONTICA&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#LOVES_CHALLENGE">LOVE'S CHALLENGE</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#BACCHANAL">BACCHANAL</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#HER_PORTRAIT">HER PORTRAIT</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#METAMORPHOSIS">METAMORPHOSIS</a></span><br />
+<span style="margin-left: 1em;">V. <a href="#APOLOGIA">APOLOGIA</a></span><br />
+<br />
+UNKNOWN&mdash;<a href="#ANACREONS_GRAVE">ANACREON'S GRAVE</a><br />
+<br />
+SIMONIDES&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#ON_THE_SPARTANS">ON THE SPARTANS</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#ON_THE_ATHENIANS">ON THE ATHENIANS</a></span><br />
+<br />
+PLATO&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#A_GRAVE_IN_PERSIA">A GRAVE IN PERSIA</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#STARWORSHIP">STARWORSHIP</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#THE_UNSET_STAR">THE UNSET STAR</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#LAIS">LAIS</a></span><br />
+<br />
+PERSES&mdash;<a href="#A_RUSTIC_SHRINE">A RUSTIC SHRINE</a><br />
+<br />
+ANYTE OF TEGEA&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#A_SHRINE_BY_THE_SEA">A SHRINE BY THE SEA</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_GOD_OF_THE_CROSS-ROADS">THE GOD OF THE CROSS-ROADS</a></span><br />
+<br />
+ADDAEUS&mdash;<a href="#THE_ANCIENT_OX">THE ANCIENT OX</a><br />
+<br />
+ASCLEPIADES&mdash;<a href="#THE_PRAISE_OF_LOVE">THE PRAISE OF LOVE</a><br />
+<br />
+MICIAS&mdash;<a href="#A_WAYSIDE_FOUNTAIN">A WAYSIDE FOUNTAIN</a><br />
+<br />
+CALLIMACHUS&mdash;<a href="#CAST_UP_BY_THE_SEA">CAST UP BY THE SEA</a><br />
+<br />
+NOSSIS&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#ROSES_OF_CYPRIS">ROSES OF CYPRIS</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#RINTHOS_GRAVE">RINTHO'S GRAVE</a></span><br />
+<br />
+LEONIDAS OF TARENTUM&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#ERINNA">ERINNA</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_FOUNTAIN_HEAD">THE FOUNTAIN HEAD</a></span><br />
+<br />
+DIONYSUS&mdash;<a href="#THE_ROSE_OF_YOUTH">THE ROSE OF YOUTH</a><br />
+<br />
+DAMAGETUS&mdash;<a href="#THEANO">THEANO</a><br />
+<br />
+ARCHIAS&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#THE_HARBOUR_GOD">THE HARBOUR GOD</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#A_GRAVE_BY_THE_SEA">A GRAVE BY THE SEA</a></span><br />
+<br />
+MELEAGER&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#LOVES_QUIVER">LOVE'S QUIVER</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_CUP">THE CUP</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#ZENOPHILE">ZENOPHILE</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#LOVE_AND_DEATH">LOVE AND DEATH</a></span><br />
+<span style="margin-left: 1em;">V. <a href="#LOVES_MALICE">LOVE'S MALICE</a></span><br />
+<span style="margin-left: 1em;">VI. <a href="#ASCLEPIAS">ASCLEPIAS</a></span><br />
+<span style="margin-left: 1em;">VII. <a href="#HELIODORA">HELIODORA</a></span><br />
+<span style="margin-left: 1em;">VIII. <a href="#THE_WREATH">THE WREATH</a></span><br />
+<span style="margin-left: 1em;">IX. <a href="#LIBATION">LIBATION</a></span><br />
+<span style="margin-left: 1em;">X. <a href="#THE_GRAVE_OF_HELIODORA">THE GRAVE OF HELIODORA</a></span><br />
+<span style="margin-left: 1em;">XI. <a href="#HIS_EPITAPH">HIS EPITAPH</a></span><br />
+<br />
+CRINAGORAS&mdash;<a href="#ROSES_IN_WINTER">ROSES IN WINTER</a><br />
+<br />
+JULIUS POLYAENUS&mdash;<br />
+<span style="margin-left: 1em;"><a href="#AN_EXILES_PRAYER">AN EXILE'S PRAYER</a></span><br />
+<br />
+ANTIPATER OF THESSALONICA&mdash;<br />
+<span style="margin-left: 1em;"><a href="#A_GRAVE_AT_OSTIA">A GRAVE AT OSTIA</a></span><br />
+<br />
+UNKNOWN&mdash;<br />
+<span style="margin-left: 1em;"><a href="#FRIENDSHIPS_EPITAPH">FRIENDSHIP'S EPITAPH</a></span><br />
+<br />
+UNKNOWN&mdash;<br />
+<span style="margin-left: 1em;"><a href="#THE_COUNSEL_OF_PAN">THE COUNSEL OF PAN</a></span><br />
+<span style="margin-left: 1em;"><a href="#BENITIER">BÉNITIER</a></span><br />
+<span style="margin-left: 1em;"><a href="#THE_END_OF_THE_COMEDY">THE END OF THE COMEDY</a></span><br />
+<br />
+STRATO&mdash;<a href="#THE_KISS">THE KISS</a><br />
+<br />
+AMMIANUS&mdash;<a href="#THE_LORD_OF_LANDS">THE LORD OF LANDS</a><br />
+<br />
+ALPHEUS&mdash;<a href="#MYCENAE">MYCENAE</a><br />
+<br />
+MACEDONIUS&mdash;<a href="#THE_THRESHOLD">THE THRESHOLD</a><br />
+<br />
+<a href="#NOTES">NOTES</a><br />
+</p>
+
+<hr style="width: 95%;" />
+
+<h3>LOVE, WORSHIP AND DEATH</h3>
+
+<hr style="width: 65%;" />
+
+<p class="bodyB">
+MIMNERMUS<br />
+<br />
+<span class="small-d">7TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="CARPE_DIEM" id="CARPE_DIEM"></a>CARPE DIEM<br />
+<br />
+Hold fast thine youth, dear soul of mine, new lives will come to birth,<br />
+And I that shall have passed away be one with the brown earth.<br />
+<br />
+<br />
+<br />
+<br />
+SAPPHO<br />
+<br />
+<span class="small-d">7TH AND 6TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="A_BITTER_WORD" id="A_BITTER_WORD"></a>A BITTER WORD<br />
+<br />
+<br />
+Dying thou shalt lie in nothingness, nor after<br />
+Love shall abide here nor memory of thee;<br />
+For thou hast no portion in the roses of Pieria;<br />
+But even in the nether world obscurely shalt thou wander<br />
+Flitting hither thither with the phantoms of the dead.<br />
+<br />
+<br />
+<a href="#Note_1">Note 1</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_BELOVED_PRESENCE" id="THE_BELOVED_PRESENCE"></a>THE BELOVED PRESENCE<br />
+<br />
+<br />
+Blest as the Gods are esteem I him who alway<br />
+Sits face to face with thee and watching thee forgoes not<br />
+The voice that is music and the smile that is seduction,<br />
+<span style="margin-left: 6em;">Smile that my heart knows</span><br />
+Fluttered in its chambers. For lo, when I behold thee<br />
+Forthwith my voice fails, my tongue is tied in silence,<br />
+Flame of fire goes through me, my ears are full of murmur,<br />
+<span style="margin-left: 6em;">Blinded I see naught:</span><br />
+Sweat breaketh forth on me, and all my being trembles,<br />
+Paler am I grown than the pallor of the dry grass,<br />
+Death seemeth almost to have laid his hand upon me.&mdash;<br />
+<span style="margin-left: 8.5em;">Then I dare all things.</span><br />
+<br />
+<br />
+<a href="#Note_2">Note 2</a><br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="HESPER" id="HESPER"></a>HESPER<br />
+<br />
+<br />
+Thou, Hesper, bringest homeward all<br />
+<span style="margin-left: 1em;">That radiant dawn sped far and wide:</span><br />
+The sheep to fold, the goat to stall,<br />
+<span style="margin-left: 1em;">The children to their mother's side.</span><br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="OUT_OF_REACH" id="OUT_OF_REACH"></a>OUT OF REACH<br />
+<br />
+<br />
+Like the apple that ripens rosy at the end of a branch on high,<br />
+<span style="margin-left: 1em;">At the utmost end of the utmost bough,</span><br />
+<span style="margin-left: 1em;">Which those that gather forgot till now.</span><br />
+Nay, did not forget, but only they never might come thereby.<br />
+<br />
+<br />
+<br />
+<br />
+ANACREONTICA<br />
+<br />
+<span class="small-d">ANACREON, 6TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="LOVES_CHALLENGE" id="LOVES_CHALLENGE"></a>LOVE'S CHALLENGE<br />
+<br />
+<br />
+Love smote me with his jacinth wand and challenged me to race,<br />
+And wore me down with running till the sweat poured off my face,<br />
+Through breaks of tangled woodland, by chasms sheer to scale,<br />
+Until my heart was in my lips and at the point to fail.<br />
+Then as I felt his tender wings brush lightly round my head,<br />
+''Tis proven that thou lackest the strength to love,' he said.<br />
+<br />
+<br />
+<a href="#Note_3">Note 3</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="BACCHANAL" id="BACCHANAL"></a>BACCHANAL<br />
+<br />
+<br />
+When Bacchus hath possessed me my cares are lulled in wine,<br />
+And all the wealth of Croesus is not more his than mine:<br />
+I crown my head with ivy, I lift my voice to sing,<br />
+And in my exultation seem lord of every thing.<br />
+So let the warrior don his arms, give me my cup instead,<br />
+If I must lie my length on earth, why better drunk than dead.<br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="HER_PORTRAIT" id="HER_PORTRAIT"></a>HER PORTRAIT<br />
+<br />
+<br />
+Master of all the craftsmen,<br />
+<span style="margin-left: 1em;">Prince of the Rhodian art,</span><br />
+Interpret, master craftsman,<br />
+<span style="margin-left: 1em;">Each detail I impart,</span><br />
+And draw as were she present<br />
+<span style="margin-left: 1em;">The mistress of my heart.</span><br />
+<br />
+First you must match those masses<br />
+<span style="margin-left: 1em;">Of darkly clustered hair,</span><br />
+And if such skill be in your wax<br />
+<span style="margin-left: 1em;">The scent that harbours there;</span><br />
+And where the flowing tresses cast<br />
+<span style="margin-left: 1em;">A warm-toned shadow, trace</span><br />
+A forehead white as ivory,<br />
+<span style="margin-left: 1em;">The oval of her face.</span><br />
+Her brows you must not quite divide<br />
+<span style="margin-left: 1em;">Nor wholly join, there lies</span><br />
+A subtle link between them<br />
+<span style="margin-left: 1em;">Above the dark-lashed eyes.</span><br />
+And you must borrow flame of fire<br />
+<span style="margin-left: 1em;">To give her glance its due,</span><br />
+As tender as Cithera's<br />
+<span style="margin-left: 1em;">And as Athena's blue.</span><br />
+For cheek and nostril rose-leaves<br />
+<span style="margin-left: 1em;">And milk you shall enlist,</span><br />
+And shape her lips like Peitho's<br />
+<span style="margin-left: 1em;">Inviting to be kissed.</span><br />
+Let all the Graces stay their flight<br />
+<span style="margin-left: 1em;">And gather round to deck</span><br />
+The outline of her tender chin,<br />
+<span style="margin-left: 1em;">The marble of her neck.</span><br />
+And for the rest&mdash;bedrape her<br />
+<span style="margin-left: 1em;">In robe of purple hue,</span><br />
+With here and there to give it life<br />
+<span style="margin-left: 1em;">The flesh tint peeping through.</span><br />
+Now hold thy hand,&mdash;for I can see<br />
+<span style="margin-left: 1em;">The face and form I seek,</span><br />
+And surely in a moment's space<br />
+<span style="margin-left: 1em;">I think your wax will speak.</span><br />
+<br />
+<br />
+<a href="#Note_4">Note 4</a><br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="METAMORPHOSIS" id="METAMORPHOSIS"></a>METAMORPHOSIS<br />
+<br />
+<br />
+If she who, born to Tantalus,<br />
+<span style="margin-left: 1em;">As Niobe we know,</span><br />
+Was turned to stone among the hills<br />
+<span style="margin-left: 1em;">Of Phrygia long ago;</span><br />
+If Proene by such magic change<br />
+<span style="margin-left: 1em;">Was made a bird that flies,</span><br />
+Let me become the mirror<br />
+<span style="margin-left: 1em;">That holds my lady's eyes!</span><br />
+Or let me be the water<br />
+<span style="margin-left: 1em;">In which your beauty bathes,</span><br />
+Or the dress which clinging closely<br />
+<span style="margin-left: 1em;">Your gracious presence swathes;</span><br />
+Or change me to the perfume<br />
+<span style="margin-left: 1em;">You sprinkle on your skin,</span><br />
+Or let me be the pearl-drop<br />
+<span style="margin-left: 1em;">That hangs beneath your chin;</span><br />
+And if not these the girdle<br />
+<span style="margin-left: 1em;">You bind below your breast;</span><br />
+Or be at least the sandal<br />
+<span style="margin-left: 1em;">Your little foot hath pressed.</span><br />
+<br />
+<br />
+<br />
+V<br />
+<br />
+<a name="APOLOGIA" id="APOLOGIA"></a>APOLOGIA<br />
+<br />
+<br />
+The brown earth drinks from heaven, and from the earth the tree,<br />
+The sea drinks down the vapour, and the sun drinks up the sea,<br />
+The moon drinks in the sunlight; now therefore, comrades, say<br />
+What fault have you to find in me if I would drink as they?<br />
+<br />
+<br />
+<br />
+<br />
+AUTHOR UNKNOWN<br />
+<br />
+<br />
+<br />
+<a name="ANACREONS_GRAVE" id="ANACREONS_GRAVE"></a>ANACREON'S GRAVE<br />
+<br />
+<br />
+You that pass this place of graves<br />
+<span style="margin-left: 1em;">Pause and spill a cup for me,</span><br />
+For I hold Anacreon's ashes,<br />
+<span style="margin-left: 1em;">And would drink as once would he.</span><br />
+<br />
+<br />
+<br />
+<br />
+SIMONIDES<br />
+<br />
+<span class="small-d">556-467 B.C.</span><br />
+<br />
+<br />
+<br />
+<i>THE PLATAEAN EPITAPHS</i><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="ON_THE_SPARTANS" id="ON_THE_SPARTANS"></a>ON THE SPARTANS<br />
+<br />
+<br />
+These who with fame eternal their own dear land endowed<br />
+Took on them as a mantle the shade of death's dark cloud;<br />
+Yet dying thus they died not, on whom is glory shed<br />
+By virtue which exalts them above all other dead.<br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="ON_THE_ATHENIANS" id="ON_THE_ATHENIANS"></a>ON THE ATHENIANS<br />
+<br />
+<br />
+If to die nobly be the meed that lures the noblest mind,<br />
+Then unto us of all men in this was fortune kind.<br />
+For Greece we marched, that freedom's arm should ever round her fold;<br />
+We died, but gained for guerdon renown  that grows not old.<br />
+<br />
+<br />
+<br />
+<br />
+PLATO<br />
+<br />
+<span class="small-d">429-347 B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="A_GRAVE_IN_PERSIA" id="A_GRAVE_IN_PERSIA"></a>A GRAVE IN PERSIA<br />
+<br />
+<br />
+Far from our own Ægean shore<br />
+<span style="margin-left: 1em;">And the surges booming deep,</span><br />
+Here where Ecbatana's great plain<br />
+<span style="margin-left: 1em;">Lies broad, we exiles sleep.</span><br />
+Farewell, Eretria the renowned,<br />
+<span style="margin-left: 1em;">Where once we used to dwell;</span><br />
+Farewell, our neighbour Athens;<br />
+<span style="margin-left: 1em;">Beloved sea, farewell!</span><br />
+<br />
+<br />
+<a href="#Note_5">Note 5</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="STARWORSHIP" id="STARWORSHIP"></a>STARWORSHIP<br />
+<br />
+<br />
+Thou gazest starward, star of mine, whose heaven I fain would be,<br />
+That all my myriad starry eyes might only gaze on thee.<br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="THE_UNSET_STAR" id="THE_UNSET_STAR"></a>THE UNSET STAR<br />
+<br />
+<br />
+Star that didst on the living at dawn thy lustre shed,<br />
+Now as the star of evening thou shinest with the dead!<br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="LAIS" id="LAIS"></a>LAIS<br />
+<br />
+<br />
+I that through the land of Hellas<br />
+<span style="margin-left: 1em;">Laughed in triumph and disdain,</span><br />
+Lais, of whose open porches<br />
+<span style="margin-left: 1em;">All the love-struck youth were fain,</span><br />
+Bring the mirror once I gazed in,<br />
+<span style="margin-left: 1em;">Cyprian, at thy shrine to vow,</span><br />
+Since I see not there what once was,<br />
+<span style="margin-left: 1em;">And I would not what is now.</span><br />
+<br />
+<br />
+<br />
+<br />
+PERSES<br />
+<br />
+<span class="small-d">4TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="A_RUSTIC_SHRINE" id="A_RUSTIC_SHRINE"></a>A RUSTIC SHRINE<br />
+<br />
+<br />
+I am the god of the little things,<br />
+<span style="margin-left: 1em;">In whom you will surely find,</span><br />
+If you call upon me in season,<br />
+<span style="margin-left: 1em;">A little god who is kind.</span><br />
+You must not ask of me great things,<br />
+<span style="margin-left: 1em;">But what is in my control,</span><br />
+I, Tychon, god of the humble,<br />
+<span style="margin-left: 1em;">May grant to a simple soul.</span><br />
+<br />
+<br />
+<a href="#Note_6">Note 6</a><br />
+<br />
+<br />
+<br />
+<br />
+ANYTE OF TEGEA<br />
+<br />
+<span class="small-d">4TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="A_SHRINE_BY_THE_SEA" id="A_SHRINE_BY_THE_SEA"></a>A SHRINE BY THE SEA<br />
+<br />
+<br />
+This is the Cyprian's holy ground,<br />
+<span style="margin-left: 1em;">Who ever loves to stand</span><br />
+Where she can watch the shining seas<br />
+<span style="margin-left: 1em;">Beyond the utmost land;</span><br />
+That sailors on their voyages<br />
+<span style="margin-left: 1em;">May prosper by her aid,</span><br />
+Whose radiant effigy the deep<br />
+<span style="margin-left: 1em;">Beholding is afraid.</span><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_GOD_OF_THE_CROSS-ROADS" id="THE_GOD_OF_THE_CROSS-ROADS"></a>THE GOD OF THE CROSS-ROADS<br />
+<br />
+<br />
+I, Hermes, by the grey sea-shore,<br />
+<span style="margin-left: 1em;">Set where the three roads meet,</span><br />
+Outside the wind-swept garden,<br />
+<span style="margin-left: 1em;">Give rest to weary feet;</span><br />
+The waters of my fountain<br />
+<span style="margin-left: 1em;">Are clear, and cool, and sweet.</span><br />
+<br />
+<br />
+<br />
+<br />
+ADDAEUS<br />
+<br />
+<span class="small-d">4TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_ANCIENT_OX" id="THE_ANCIENT_OX"></a>THE ANCIENT OX<br />
+<br />
+<br />
+The ox of Alcon was not led to the slaughter when at length<br />
+Age and the weary furrow had sapped his olden strength.<br />
+His faithful work was honoured, and in the deep grass now<br />
+He strays and lows contentment, enfranchised from the plough.<br />
+<br />
+<br />
+<br />
+<br />
+ASCLEPIADES<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_PRAISE_OF_LOVE" id="THE_PRAISE_OF_LOVE"></a>THE PRAISE OF LOVE<br />
+<br />
+<br />
+Sweet is the snow in summer thirst to drink, and sweet the day<br />
+When sailors see spring's garland bloom and winter pass away.<br />
+But the sweetest thing on earth is when, one mantle for their cover,<br />
+Two hearts recite the Cyprian's praise as lover unto lover.<br />
+<br />
+<br />
+<br />
+<br />
+MICIAS<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="A_WAYSIDE_FOUNTAIN" id="A_WAYSIDE_FOUNTAIN"></a>A WAYSIDE FOUNTAIN<br />
+<br />
+<br />
+Rest here beneath the poplars,<br />
+<span style="margin-left: 1em;">When tired with travelling,</span><br />
+And drawing nigh refresh you<br />
+<span style="margin-left: 1em;">With water from our spring.</span><br />
+So may you keep in memory<br />
+<span style="margin-left: 1em;">When under other skies</span><br />
+The fount his father Simus set<br />
+<span style="margin-left: 1em;">By the grave where Gillus lies.</span><br />
+<br />
+<br />
+<br />
+<br />
+CALLIMACHUS<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="CAST_UP_BY_THE_SEA" id="CAST_UP_BY_THE_SEA"></a>CAST UP BY THE SEA<br />
+<br />
+<br />
+Who were you, shipwrecked sailor? The body that he found,<br />
+Cast on the beach, Leontichus laid in this burial mound;<br />
+And mindful of his own grim life he wept, for neither he<br />
+May rest in peace who like a gull goes up and down the sea.<br />
+<br />
+<br />
+<br />
+<br />
+NOSSIS<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="ROSES_OF_CYPRIS" id="ROSES_OF_CYPRIS"></a>ROSES OF CYPRIS<br />
+<br />
+<br />
+Of all the world's delightful things most sweet is love. The rest,<br />
+Ay, even honey in the mouth, are only second best.<br />
+This Nossis saith. And only they the Cyprian loves may know<br />
+The glory of the roses that in her garden grow.<br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="RINTHOS_GRAVE" id="RINTHOS_GRAVE"></a>RINTHO'S GRAVE<br />
+<br />
+<br />
+Give me a hearty laugh, and say<br />
+A friendly word and go thy way.<br />
+Rintho was I of Syracuse,<br />
+A modest song bird of the muse,<br />
+Whose tears and smiles together sown<br />
+Have born an ivy all my own.<br />
+<br />
+<br />
+<a href="#Note_7">Note 7</a><br />
+<br />
+<br />
+<br />
+<br />
+LEONIDAS OF TARENTUM<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="ERINNA" id="ERINNA"></a>ERINNA<br />
+<br />
+<br />
+The lyric maid Erinna, the poet-bee that drew<br />
+The honey from the rarest blooms the muses' garden grew,<br />
+Hath Hades snatched to be his bride. Mark where the maiden saith,<br />
+Prophetic in her wisdom, 'How envious art thou, Death!'<br />
+<br />
+<br />
+<a href="#Note_8">Note 8</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_FOUNTAIN_HEAD" id="THE_FOUNTAIN_HEAD"></a>THE FOUNTAIN HEAD<br />
+<br />
+<br />
+Pause not here to drink thy fill<br />
+Where the sheep have stirred the rill,<br />
+And the pool lies warm and still&mdash;<br />
+Cross yon ridge a little way,<br />
+Where the grazing heifers stray,<br />
+And the stone-pine's branches sway<br />
+O'er a creviced rock below;<br />
+Thence the bubbling waters flow<br />
+Cooler than the northern snow.<br />
+<br />
+<br />
+<br />
+<br />
+DIONYSUS<br />
+<br />
+<span class="small-d">2ND CENTURY B.C. (?)</span><br />
+<br />
+<br />
+<br />
+<a name="THE_ROSE_OF_YOUTH" id="THE_ROSE_OF_YOUTH"></a>THE ROSE OF YOUTH<br />
+<br />
+<br />
+Girl with the roses and the grace<br />
+Of all the roses in your face,<br />
+Are you, or are the blooms you bear,<br />
+Or haply both your market ware?<br />
+<br />
+<br />
+<br />
+<br />
+DAMAGETUS<br />
+<br />
+<span class="small-d">2ND CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="THEANO" id="THEANO"></a>THEANO<br />
+<br />
+<br />
+These words, renowned Phocæa, were the last Theano said,<br />
+As she went down into the night that none hath harvested.<br />
+Hapless am I, Apellichus, beloved husband mine,<br />
+Where in the wide, wide waters is now that bark of thine?<br />
+My doom hath come upon me, and would to God that I<br />
+Had felt my hand in thy dear hand on the day I had to die.<br />
+<br />
+<br />
+<br />
+<br />
+ARCHIAS<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I
+<br />
+<a name="THE_HARBOUR_GOD" id="THE_HARBOUR_GOD"></a>THE HARBOUR GOD<br />
+<br />
+<br />
+Me, Pan, whose presence haunts the shore,<br />
+<span style="margin-left: 1em;">The fisher folk set here,</span><br />
+To guard their haven anchorage<br />
+<span style="margin-left: 1em;">On the cliff that they revere;</span><br />
+And thence I watch them cast the net<br />
+<span style="margin-left: 1em;">And mind their fishing gear.</span><br />
+Sail past me, traveller: for I send<br />
+<span style="margin-left: 1em;">The gentle southern breeze,</span><br />
+Because of this their piety,<br />
+<span style="margin-left: 1em;">To speed thee over seas.</span><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="A_GRAVE_BY_THE_SEA" id="A_GRAVE_BY_THE_SEA"></a>A GRAVE BY THE SEA<br />
+<br />
+<br />
+I, shipwrecked Theris, whom the tide<br />
+<span style="margin-left: 1em;">Flung landward from the deep,</span><br />
+Not even dead may I forget<br />
+<span style="margin-left: 1em;">The shores that know not sleep.</span><br />
+Beneath the cliffs that break the surf<br />
+<span style="margin-left: 1em;">My body found a grave,</span><br />
+Dug by the hands of stranger men,<br />
+<span style="margin-left: 1em;">Beside the cruel wave:</span><br />
+And still ill-starred among the dead<br />
+<span style="margin-left: 1em;">I hear for evermore</span><br />
+The hateful booming of the seas<br />
+<span style="margin-left: 1em;">That thunder on the shore.</span><br />
+<br />
+<br />
+<br />
+<br />
+MELEAGER<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="LOVES_QUIVER" id="LOVES_QUIVER"></a>LOVE'S QUIVER<br />
+<br />
+<br />
+By Heliodora's sandalled foot, and Demo's waving hair,<br />
+By Dorothea's wreath of blooms unbudding to the air,<br />
+By Anticlea's winsome smile and the great eyes of her,<br />
+And by Timarion's open door distilling scent like myrrh,<br />
+I know the god of love has spent his arrows winged to smart,<br />
+For all the shafts his quiver held I have them in my heart.<br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_CUP" id="THE_CUP"></a>THE CUP<br />
+<br />
+<br />
+The cup takes heart of gladness, whose boast it is to be<br />
+Sipped by the mouth of love's delight, soft-voiced Zenophile.<br />
+Most favoured cup! I would that she with lips to my lips pressed<br />
+Would drink the soul in one deep draught, that is my body's guest.<br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="ZENOPHILE" id="ZENOPHILE"></a>ZENOPHILE<br />
+<br />
+<br />
+Sweet is the music of that air, by Pan of Arcady,<br />
+Thou drawest from the harpstrings, too sweet, Zenophile;<br />
+The thronging loves on every side close in and press me nigh,<br />
+And leave me scarce a breathing space, so whither can I fly?<br />
+Is it thy beauty or thy song that kindles my desire,<br />
+Thy grace, or every thing thou art? For I am all on fire.<br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="LOVE_AND_DEATH" id="LOVE_AND_DEATH"></a>LOVE AND DEATH<br />
+<br />
+<br />
+Friend Cleobulus, when I die<br />
+<span style="margin-left: 1em;">Who conquered by desire,</span><br />
+Abandoned in the ashes lie<br />
+<span style="margin-left: 1em;">Of youth's consuming fire,</span><br />
+Do me this service, drench in wine<br />
+<span style="margin-left: 1em;">The urn you pass beneath,</span><br />
+And grave upon it this one line,<br />
+<span style="margin-left: 1em;">'The gift of Love to Death.'</span><br />
+<br />
+<br />
+<br />
+V<br />
+<br />
+<a name="LOVES_MALICE" id="LOVES_MALICE"></a>LOVE'S MALICE<br />
+<br />
+<br />
+Cruel is Love, ah cruel, and what can I do more<br />
+Than moaning love is cruel, repeat it o'er and o'er?<br />
+I know the boy is laughing and pleased that I grow grim,<br />
+And just the bitter things I say are the bread of life to him.<br />
+But you that from the grey-green wave arising, Cyprian, came,<br />
+'Tis strange that out of water you should have borne a flame.<br />
+<br />
+<br />
+<br />
+VI<br />
+<br />
+<a name="ASCLEPIAS" id="ASCLEPIAS"></a>ASCLEPIAS<br />
+<br />
+<br />
+Like the calm sea beguiling with those blue eyes of hers,<br />
+Asclepias tempteth all men to be love's mariners.<br />
+<br />
+<br />
+<br />
+VII<br />
+<br />
+<a name="HELIODORA" id="HELIODORA"></a>HELIODORA<br />
+<br />
+<br />
+Say Heliodore, and Heliodore, and still say Heliodore,<br />
+And let the music of her name mix with the wine you pour.<br />
+And wreath me with the wreath she wore, that holds the scent of myrrh,<br />
+For all that it be yesterday's, in memory of her.<br />
+The rose that loveth lovers, the rose lets fall a tear<br />
+Because my arms are empty, because she is not here.<br />
+<br />
+<br />
+<br />
+VIII<br />
+<br />
+<a name="THE_WREATH" id="THE_WREATH"></a>THE WREATH<br />
+<br />
+<br />
+White violet with the tender-leaved narcissus I will twine,<br />
+And the laughing lips of lilies with myrtle blooms combine;<br />
+And I will bind the hyacinth, the dark red-purple flower,<br />
+With crocus sweet and roses that are the lovers' dower,<br />
+To make the wreath that Heliodore's curl-scented brow shall wear,<br />
+To strew with falling petals the glory of her hair.<br />
+<br />
+<br />
+<br />
+IX<br />
+<br />
+<a name="LIBATION" id="LIBATION"></a>LIBATION<br />
+<br />
+<br />
+Pour out as if for Peitho, and for the Cyprian pour,<br />
+Then for the sweet-voiced Graces, but all for Heliodore;<br />
+For there is but one goddess whose worship I enshrine,<br />
+And blent with her beloved name I drink the virgin wine.<br />
+<br />
+<br />
+<br />
+X<br />
+<br />
+<a name="THE_GRAVE_OF_HELIODORA" id="THE_GRAVE_OF_HELIODORA"></a>THE GRAVE OF HELIODORA<br />
+<br />
+<br />
+Tears for thee, Heliodore, and bitter tears to shed,<br />
+If all that love has left to give can reach thee with the dead;<br />
+Here at thy grave I offer, that tear-drenched grave of thine,<br />
+Libation of my longing before affection's shrine.<br />
+Forlorn I mourn thee, dearest, in the land where shadows dwell,<br />
+Forlorn, and grudge the tribute death could have spared so well.<br />
+Where is the flower I cherished? Plucked by the god of doom;<br />
+Plucked, and his dust has tarnished the scarce unbudded bloom.<br />
+I may but pray thee, mother earth, who givest all thy best,<br />
+Clasp her I mourn for ever close to thy gentle breast.<br />
+<br />
+<br />
+<br />
+XI<br />
+<br />
+<a name="HIS_EPITAPH" id="HIS_EPITAPH"></a>HIS EPITAPH<br />
+<br />
+<br />
+Tread softly, ye that pass, for here<br />
+<span style="margin-left: 1em;">The old man rests his head,</span><br />
+And sleeps the sleep that all men must<br />
+<span style="margin-left: 1em;">Among the honoured dead.</span><br />
+Meleager, son of Eucrates,<br />
+<span style="margin-left: 1em;">Who linked the joyous train</span><br />
+Of Graces and of Muses<br />
+<span style="margin-left: 1em;">With love's delicious pain.</span><br />
+From Gadara, the sacred land,<br />
+<span style="margin-left: 1em;">I came and god-built Tyre,</span><br />
+But Meropis and pleasant Cos<br />
+<span style="margin-left: 1em;">Consoled life's waning fire.</span><br />
+If thou be Syrian, say Salaam,<br />
+<span style="margin-left: 1em;">Or Hail, if Greek thou be,</span><br />
+Say Naidios, if Phœnician born,<br />
+<span style="margin-left: 1em;">For all are one to me.</span><br />
+<br />
+<br />
+<br />
+<br />
+CRINAGORAS<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="ROSES_IN_WINTER" id="ROSES_IN_WINTER"></a>ROSES IN WINTER<br />
+<br />
+<br />
+In spring it was we roses<br />
+<span style="margin-left: 1em;">Were used to bloom of old,</span><br />
+Who now in midmost winter<br />
+<span style="margin-left: 1em;">Our crimson cells unfold,</span><br />
+To greet thee on the birthday<br />
+<span style="margin-left: 1em;">That shall thy bridal bring.</span><br />
+'Tis more to grace so fair a brow<br />
+<span style="margin-left: 1em;">Than know the suns of spring.</span><br />
+<br />
+<br />
+<br />
+<br />
+JULIUS POLYAENUS<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="AN_EXILES_PRAYER" id="AN_EXILES_PRAYER"></a>AN EXILE'S PRAYER<br />
+<br />
+<br />
+Among the myriad voices that seek to win thine ear<br />
+From those whose prayers are granted, from those who pray in fear,<br />
+O Zeus of Scheria's holy plain, let my voice reach thee too,<br />
+And hearken and incline the brow that binds thy promise true.<br />
+Let my long exile have an end, my toil and travel past,<br />
+Grant me in my own native land to live at rest at last!<br />
+<br />
+<br />
+<br />
+<br />
+ANTIPATER OF THESSALONICA<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="A_GRAVE_AT_OSTIA" id="A_GRAVE_AT_OSTIA"></a>A GRAVE AT OSTIA<br />
+<br />
+<br />
+Ausonian earth contains me<br />
+<span style="margin-left: 1em;">That was a Libyan maid,</span><br />
+And in the sea's sand hard by Rome<br />
+<span style="margin-left: 1em;">My virgin form was laid.</span><br />
+Pompeia with a mother's care<br />
+<span style="margin-left: 1em;">Watched o'er my tender years,</span><br />
+Entombed me here among the free,<br />
+<span style="margin-left: 1em;">And gave me many tears.</span><br />
+Not as she prayed the torch was fired,<br />
+<span style="margin-left: 1em;">She would have burned for me;</span><br />
+The lamp which took the torch's place<br />
+<span style="margin-left: 1em;">Was thine, Persephone.</span><br />
+<br />
+<br />
+<br />
+<br />
+AUTHOR UNKNOWN<br />
+<br />
+<br />
+<br />
+<a name="FRIENDSHIPS_EPITAPH" id="FRIENDSHIPS_EPITAPH"></a>FRIENDSHIP'S EPITAPH<br />
+<br />
+<br />
+This stone, my good Sabinus, although it be but small,<br />
+Shall be of our great friendship a witness unto all.<br />
+Ever shall I desire thee, and thou, if this may be,<br />
+Forbear to drink among the dead the lethe-draft for me.<br />
+<br />
+<br />
+<a href="#Note_9">Note 9</a><br />
+<br />
+<br />
+<br />
+<a name="THE_COUNSEL_OF_PAN" id="THE_COUNSEL_OF_PAN"></a>THE COUNSEL OF PAN<br />
+<br />
+<br />
+In this green meadow, traveller, yield<br />
+<span style="margin-left: 1em;">Thy weary limbs to rest:</span><br />
+The branches of the stone pine sway<br />
+<span style="margin-left: 1em;">To the wind from out the west;</span><br />
+The cricket calls, and all noon long<br />
+<span style="margin-left: 1em;">The shepherd's piping fills</span><br />
+The plane-grove's leafy shadows<br />
+<span style="margin-left: 1em;">By the spring among the hills.</span><br />
+Soothed by these sounds thou shalt avoid<br />
+<span style="margin-left: 1em;">The dogstar's autumn fires,</span><br />
+And then to-morrow cross the ridge;&mdash;<br />
+<span style="margin-left: 1em;">Such wisdom Pan inspires.</span><br />
+<br />
+<br />
+<br />
+<a name="BENITIER" id="BENITIER"></a>BÉNITIER<br />
+<br />
+<br />
+Touch but the virgin water, clean of soul,<br />
+<span style="margin-left: 1em;">Nor fear to pass into the pure god's sight:</span><br />
+For the good a drop suffices. But the whole<br />
+<span style="margin-left: 1em;">Great ocean could not wash the unclean white.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_END_OF_THE_COMEDY" id="THE_END_OF_THE_COMEDY"></a>THE END OF THE COMEDY<br />
+<br />
+<br />
+Fortune and Hope, a long adieu!<br />
+<span style="margin-left: 1em;">My ship is safe in port.</span><br />
+With me is nothing left to do,<br />
+<span style="margin-left: 1em;">Make other lives your sport.</span><br />
+<br />
+<br />
+<a href="#Note_10">Note 10</a><br />
+<br />
+<br />
+<br />
+<br />
+STRATO<br />
+<br />
+<span class="small-d">2ND CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_KISS" id="THE_KISS"></a>THE KISS<br />
+<br />
+<br />
+It was at even and the hour in which good-nights are bid<br />
+That Mœris kissed me, if indeed I do not dream she did.<br />
+Of all the rest that happened there is naught that I forget,<br />
+No word she said, no question of all she asked,&mdash;and yet<br />
+If she indeed did kiss me, my doubt can not decide,<br />
+For how could I still walk the earth had I been deified!<br />
+<br />
+<br />
+<br />
+<br />
+AMMIANUS<br />
+<br />
+<span class="small-d">2ND CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_LORD_OF_LANDS" id="THE_LORD_OF_LANDS"></a>THE LORD OF LANDS<br />
+<br />
+<br />
+Though till the gates of Heracles thy land-marks thou extend,<br />
+Their share in earth is equal for all men at the end;<br />
+And thou shalt lie as Irus lies, one obol all thy store,<br />
+And be resolved into an earth that is thine own no more.<br />
+<br />
+<br />
+<a href="#Note_11">Note 11</a><br />
+<br />
+<br />
+<br />
+<br />
+ALPHEUS<br />
+<br />
+<span class="small-d">2ND CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="MYCENAE" id="MYCENAE"></a>MYCENAE<br />
+<br />
+<br />
+The cities of the hero age thine eyes may seek in vain,<br />
+Save where some wrecks of ruin still break the level plain.<br />
+So once I saw Mycenae, the ill-starred, a barren height<br />
+Too bleak for goats to pasture,&mdash;the goat-herds point the site.<br />
+And as I passed a greybeard said, 'Here used to stand of old<br />
+A city built by giants, and passing rich in gold.'<br />
+<br />
+<br />
+<a href="#Note_12">Note 12</a><br />
+<br />
+<br />
+<br />
+<br />
+MACEDONIUS<br />
+<br />
+<span class="small-d">6TH CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_THRESHOLD" id="THE_THRESHOLD"></a>THE THRESHOLD<br />
+<br />
+<br />
+Spirit of Birth, that gave me life,<br />
+<span style="margin-left: 1em;">Earth, that receives my clay,</span><br />
+Farewell, for I have travelled<br />
+<span style="margin-left: 1em;">The stage that twixt you lay.</span><br />
+I go, and have no knowledge<br />
+<span style="margin-left: 1em;">From whence I came to you,</span><br />
+Nor whither I shall journey,<br />
+<span style="margin-left: 1em;">Nor whose I am, nor who.</span><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h3><a name="NOTES" id="NOTES"></a>NOTES</h3>
+
+
+<p><a name="Note_1" id="Note_1"></a>Note 1.</p>
+
+<p>In this, No. 68 of the Sappho fragments, I have followed the reading</p>
+
+<p>
+<span style="margin-left: 1em;"><i>κατθάνοισα δὲ κείσεαι οὐδέ ποτα μναμοσύνα</i></span><br />
+<span style="margin-left: 3em;"><i>σέθεν</i></span><br />
+<span style="margin-left: 1em;"><i>ἔσσετ' οὐδ' ἔρος εἰς ὔστερον·</i></span><br />
+</p>
+
+<p>rather than</p>
+
+<p>
+<span style="margin-left: 1em;"><i>κατθάνοισα δὲ κείσεαι πότα, κωὐ μναμοσύνα σέθεν.</i></span><br />
+<span style="margin-left: 1em;"><i>ἔσσετ' οὔτε τότ' οὔτ' ὔστερον·</i></span><br />
+<br />
+'Dying thou shalt lie in nothingness, nor of<br />
+thee<br />
+There nor thereafter shall memory abide.'<br />
+</p>
+
+
+<p><a name="Note_2" id="Note_2"></a>Note 2.</p>
+
+<p>A portion of this fragment was adopted by Catullus.</p>
+
+
+<p><a name="Note_3" id="Note_3"></a>Note 3.</p>
+
+<p>Anacreon's date is 563-478 B.C. It must, alas, be admitted that the
+poems attributed to him are, with the exception of a few fragments, all
+of them dubious and most of them certainly spurious. He had a great
+number of imitators down to a much later time, and a considerable number
+of the pseudo-Anacreontic poems are preserved in an appendix to the
+Palatine anthology. It may be assumed that some of them reflect a
+portion of his spirit, and many of them are graceful in conceit and
+beautiful in form. The specimens here given must be classed upon the
+productions of his later imitators, although they are inserted in the
+place where in chronological order the real Anacreon would have
+followed.</p>
+
+
+<p><a name="Note_4" id="Note_4"></a>Note 4.</p>
+
+<p>The portraiture of the Greeks was executed with tinted wax, and not with
+colours rendered fluid by a liquid or oily medium. The various tints and
+tones of wax were probably laid on with the finger tips or with a
+spatula.</p>
+
+
+<p><a name="Note_5" id="Note_5"></a>Note 5.</p>
+
+<p>There was more than one Plato, but the great Plato is evidently referred
+to in the prefatory poem of Meleager as included among the poets of his
+anthology.</p>
+
+<p>Captives from Eretria were established in a colony in Persia by Darius
+after the first Persian war. The colony at Ardericca was, however,
+hundreds of miles from Ecbatana.</p>
+
+<p>If the epigram on Lais is not attributed to the great Plato by the most
+competent authorities, the dates of the two famous courtesans who bore
+the name would not exclude the possibility of his being the author.</p>
+
+
+<p><a name="Note_6" id="Note_6"></a>Note 6.</p>
+
+<p>Tychon is identified with Priapus.</p>
+
+
+<p><a name="Note_7" id="Note_7"></a>Note 7.</p>
+
+<p>Rintho founded a new school of serio-comic drama about 300 B.C. The ivy
+was sacred to Dionysus, in whose worship the drama had its origin.</p>
+
+
+<p><a name="Note_8" id="Note_8"></a>Note 8.</p>
+
+<p>Also attributed to Meleager. The phrase, <i>βάσκανος ἔσσ' Ἀΐδα</i>, here
+quoted is from Erinna's lament for Baucis, one of the rare surviving
+lyrics of the Rhodian poetess.</p>
+
+
+<p><a name="Note_9" id="Note_9"></a>Note 9.</p>
+
+<p>The anonymous epigrams here inserted are probably not in their proper
+chronological places. But as they could not be definitely assigned to
+any date I have placed them between the two categories of B.C. and A.D.</p>
+
+
+
+<p><a name="Note_10" id="Note_10"></a>Note 10.</p>
+
+<p>There is a Latin version of this epigram on a tomb in the pavement of a
+church in Rome (S. Lorenzo in Panisperna).</p>
+
+<p>
+<span style="margin-left: 2em;">Inveni portum, spes et fortuna valete,</span><br />
+<span style="margin-left: 3em;">Nil mihi vobiscum, ludite nunc alios.</span><br />
+</p>
+
+
+<p><a name="Note_11" id="Note_11"></a>Note 11.</p>
+
+<p>Irus was the beggar of the Odyssey who ran messages for the suitors of
+Penelope. The obol referred to is the small coin placed between the lips
+of the dead to pay the toll to the ferryman of Hades.</p>
+
+
+<p><a name="Note_12" id="Note_12"></a>Note 12.</p>
+
+<p>It is interesting to know from the evidence of Alpheus, who visited the
+sites of the Homeric cities, that nearly two thousand years ago the site
+of Mycenae was just as it remained until the excavations of Schliemann.</p>
+
+
+
+
+
+
+
+
+
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 35907 ***</div>
+
+</body>
+</html>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
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+The Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Love, Worship and Death
+       Some Renderings from the Greek Anthology
+
+Author: Rennell Rodd
+
+Release Date: April 19, 2011 [EBook #35907]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LOVE, WORSHIP AND DEATH ***
+
+
+
+
+Produced by Andrea Ball & Marc D'Hooghe at
+http://www.freeliterature.org (From images generously made
+available by the Internet Archive.)
+
+
+
+
+
+LOVE, WORSHIP AND DEATH
+
+Some renderings from the Greek Anthology
+
+BY
+
+SIR RENNELL RODD
+
+
+AUTHOR OF
+
+'BALLADS OF THE FLEET'
+
+'THE VIOLET CROWN,' ETC.
+
+
+
+LONDON
+
+EDWARD ARNOLD
+
+1916
+
+
+
+
+INTRODUCTION
+
+
+Among the many diverse forms of expression in which the Greek genius has
+been revealed to us, that which is preserved in the lyrics of the
+anthology most typically reflects the familiar life of men, the thought
+and feeling of every day in the lost ancient world. These little flowers
+of song reveal, as does no other phase of that great literature, a
+personal outlook on life, kindly, direct and simple, the tenderness
+which characterised family relations, the reciprocal affection of master
+and slave, sympathy with the domestic animals, a generous sense of the
+obligations of friendship, a gentle piety and a close intimacy with the
+nature gods, of whose presence, malignant or benign, the Greek was ever
+sensitively conscious. For these reasons they still make so vivid an
+appeal to us after a long silence of many centuries. To myself who have
+lived for some years in that enchanted world of Greece, and have sailed
+from island to island of its haunted seas, the shores have seemed still
+quick with the voices of those gracious presences who gave exquisite
+form to their thoughts on life and death, their sense of awe and beauty
+and love. There indeed poetry seems the appropriate expression of the
+environment, and there even still to-day, more than anywhere else in the
+world, the correlation of our life with nature may be felt
+instinctively; the human soul seems nearest to the soul of the world.
+
+The poems, of which some renderings are here offered to those who cannot
+read the originals, cover a period of about a thousand years, broken by
+one interval during which the lesser lyre is silent. The poets of the
+_elegy_ and the _melos_ appear in due succession after those of the
+_epic_ and, significant perhaps of the transition, there are found in
+the first great period of the lyric the names of two women, Sappho of
+Lesbos, acknowledged by the unanimous voice of antiquity, which is
+confirmed by the quality of a few remaining fragments, to be among the
+greatest poets of all times, and Corinna of Tanagra, who contended with
+Pindar and rivalled Sappho's mastery. The canon of Alexandria does not
+include among the nine greater lyrists the name of Erinna of Rhodes, who
+died too young, in the maiden glory of her youth and fame. The earlier
+poets of the _melos_ were for the most part natives of
+
+                    'the sprinkled isles,
+     Lily on lily that overlace the sea.'
+
+Theirs is the age of the austerer mood, when the clean-cut marble
+outlines of a great language matured in its noblest expression. Then a
+century of song is followed by the period of the dramatists during which
+the lyric muse is almost silent, in an age of political and intellectual
+intensity.
+
+A new epoch of lyrical revival is inaugurated by the advent of
+Alexander, and the wide extension of Hellenic culture to more distant
+areas of the Mediterranean. Then follows the long succession of poets
+who may generally be classified as of the school of Alexandria. Among
+them are three other women singers of high renown, Anyte of Tegea,
+Nossis of Locri in southern Italy, and Moero of Byzantium. The later
+writers of this period had lost the graver purity of the first lyric
+outburst, but they had gained by a wider range of sympathy and a closer
+touch with nature. This group may be said to close with Meleager, who
+was born in Syria and educated at Tyre, whose contact with the eastern
+world explains a certain suggestive and exotic fascination in his poetry
+which is not strictly Greek. The Alexandrian is followed by the Roman
+period, and the Roman by the Byzantine, in which the spirit of the muse
+of Hellas expires reluctantly in an atmosphere of bureaucratic and
+religious pedantry.
+
+These few words of introduction should suffice, since the development of
+the lyric poetry of Greece and the characteristics of its successive
+exponents have been made familiar to English readers in the admirable
+work of my friend J.W. Mackail. A reference to his _Select Epigrams from
+the Greek Anthology_ suggests one plea of justification for the present
+little collection of renderings, since the greater number of them have
+been by him translated incomparably well into prose.
+
+Of the quality of verse translation there are many tests: the closeness
+with which the intention and atmosphere of the original has been
+maintained; the absence of extraneous additions; the omission of no
+essential feature, and the interpretation, by such equivalent as most
+adequately corresponds, of individualities of style and assonances of
+language. But not the least essential justification of poetical
+translation is that the version should constitute a poem on its own
+account, worthy to stand by itself on its own merits if the reader were
+unaware that it was a translation. It is to this test especially that
+renderings in verse too often fail to conform. I have discarded not a
+few because they seemed too obviously to bear the forced expression
+which the effort to interpret is apt to induce. Of those that remain
+some at least I hope approach the desired standard, failing to achieve
+which they would undoubtedly be better expressed in simple prose. And
+yet there is a value in rendering rhythm by rhythm where it is possible,
+and if any success has been attained, such translations probably convey
+more of the spirit of the original, which meant verse, with all which
+that implies, and not prose.
+
+The arrangement in this little volume is approximately chronological in
+sequence. This should serve to illustrate the severe and restrained
+simplicity of the earlier writers as contrasted with the more complex
+and conscious thought, and the more elaborate expression of later
+centuries when the horizons of Hellenism had been vastly extended.
+
+The interpretation of these lyrics has been my sole and grateful
+distraction during a period of ceaseless work and intense anxiety in the
+tragic years of 1914 and 1915.
+
+R.R.
+
+
+
+
+INDEX OF AUTHORS
+
+
+MIMNERMUS--CARPE DIEM
+
+SAPPHO--
+  I. A BITTER WORD
+  II. THE BELOVED PRESENCE
+  III. HESPER
+  IV. OUT OF REACH
+
+ANACREONTICA--
+  I. LOVE'S CHALLENGE
+  II. BACCHANAL
+  III. HER PORTRAIT
+  IV. METAMORPHOSIS
+  V. APOLOGIA
+
+UNKNOWN--ANACREON'S GRAVE
+
+SIMONIDES--
+  I. ON THE SPARTANS
+  II. ON THE ATHENIANS
+
+PLATO--
+  I. A GRAVE IN PERSIA
+  II. STARWORSHIP
+  III. THE UNSET STAR
+  IV. LAIS
+
+PERSES--A RUSTIC SHRINE
+
+ANYTE OF TEGEA--
+  I. A SHRINE BY THE SEA
+  II. THE GOD OF THE CROSS-ROADS
+
+ADDAEUS--THE ANCIENT OX
+
+ASCLEPIADES--THE PRAISE OF LOVE
+
+MICIAS--A WAYSIDE FOUNTAIN
+
+CALLIMACHUS--CAST UP BY THE SEA
+
+NOSSIS--
+  I. ROSES OF CYPRIS
+  II. RINTHO'S GRAVE
+
+LEONIDAS OF TARENTUM--
+  I. ERINNA
+  II. THE FOUNTAIN HEAD
+
+DIONYSUS--THE ROSE OF YOUTH
+
+DAMAGETUS--THEANO
+
+ARCHIAS--
+  I. THE HARBOUR GOD
+  II. A GRAVE BY THE SEA
+
+MELEAGER--
+  I. LOVE'S QUIVER
+  II. THE CUP
+  III. ZENOPHILE
+  IV. LOVE AND DEATH
+  V. LOVE'S MALICE
+  VI. ASCLEPIAS
+  VII. HELIODORA
+  VIII. THE WREATH
+  IX. LIBATION
+  X. THE GRAVE OF HELIODORA
+  XI. HIS EPITAPH
+
+CRINAGORAS--ROSES IN WINTER
+
+JULIUS POLYAENUS--
+  AN EXILE'S PRAYER
+
+ANTIPATER OF THESSALONICA--
+  A GRAVE AT OSTIA
+
+UNKNOWN--
+  FRIENDSHIP'S EPITAPH
+
+UNKNOWN--
+  THE COUNSEL OF PAN
+  BÉNITIER
+  THE END OF THE COMEDY
+
+STRATO--THE KISS
+
+AMMIANUS--THE LORD OF LANDS
+
+ALPHEUS--MYCENAE
+
+MACEDONIUS--THE THRESHOLD
+
+NOTES
+
+
+
+MIMNERMUS
+
+7TH CENTURY B.C.
+
+
+
+     CARPE DIEM
+
+
+     Hold fast thine youth, dear soul of mine, new lives will come to birth,
+     And I that shall have passed away be one with the brown earth.
+
+
+
+
+     SAPPHO
+
+     7TH AND 6TH CENTURY B.C.
+
+
+
+     I
+
+     A BITTER WORD
+
+
+     Dying thou shalt lie in nothingness, nor after
+     Love shall abide here nor memory of thee;
+     For thou hast no portion in the roses of Pieria;
+     But even in the nether world obscurely shalt thou wander
+     Flitting hither thither with the phantoms of the dead.
+
+
+     Note 1
+
+
+
+     II
+
+     THE BELOVED PRESENCE
+
+
+     Blest as the Gods are esteem I him who alway
+     Sits face to face with thee and watching thee forgoes not
+     The voice that is music and the smile that is seduction,
+                 Smile that my heart knows
+     Fluttered in its chambers. For lo, when I behold thee
+     Forthwith my voice fails, my tongue is tied in silence,
+     Flame of fire goes through me, my ears are full of murmur,
+                 Blinded I see naught:
+     Sweat breaketh forth on me, and all my being trembles,
+     Paler am I grown than the pallor of the dry grass,
+     Death seemeth almost to have laid his hand upon me.--
+                      Then I dare all things.
+
+
+     Note 2
+
+
+
+     III
+
+     HESPER
+
+
+     Thou, Hesper, bringest homeward all
+       That radiant dawn sped far and wide:
+     The sheep to fold, the goat to stall,
+       The children to their mother's side.
+
+
+
+     IV
+
+     OUT OF REACH
+
+
+     Like the apple that ripens rosy at the end of a branch on high,
+       At the utmost end of the utmost bough,
+       Which those that gather forgot till now.
+     Nay, did not forget, but only they never might come thereby.
+
+
+
+
+     ANACREONTICA
+
+     ANACREON, 6TH CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S CHALLENGE
+
+
+     Love smote me with his jacinth wand and challenged me to race,
+     And wore me down with running till the sweat poured off my face,
+     Through breaks of tangled woodland, by chasms sheer to scale,
+     Until my heart was in my lips and at the point to fail.
+     Then as I felt his tender wings brush lightly round my head,
+     ''Tis proven that thou lackest the strength to love,' he said.
+
+
+     Note 3
+
+
+
+     II
+
+     BACCHANAL
+
+
+     When Bacchus hath possessed me my cares are lulled in wine,
+     And all the wealth of Croesus is not more his than mine:
+     I crown my head with ivy, I lift my voice to sing,
+     And in my exultation seem lord of every thing.
+     So let the warrior don his arms, give me my cup instead,
+     If I must lie my length on earth, why better drunk than dead.
+
+
+
+     III
+
+     HER PORTRAIT
+
+
+     Master of all the craftsmen,
+       Prince of the Rhodian art,
+     Interpret, master craftsman,
+       Each detail I impart,
+     And draw as were she present
+       The mistress of my heart.
+
+     First you must match those masses
+       Of darkly clustered hair,
+     And if such skill be in your wax
+       The scent that harbours there;
+     And where the flowing tresses cast
+       A warm-toned shadow, trace
+     A forehead white as ivory,
+       The oval of her face.
+     Her brows you must not quite divide
+       Nor wholly join, there lies
+     A subtle link between them
+       Above the dark-lashed eyes.
+     And you must borrow flame of fire
+       To give her glance its due,
+     As tender as Cithera's
+       And as Athena's blue.
+     For cheek and nostril rose-leaves
+       And milk you shall enlist,
+     And shape her lips like Peitho's
+       Inviting to be kissed.
+     Let all the Graces stay their flight
+       And gather round to deck
+     The outline of her tender chin,
+       The marble of her neck.
+     And for the rest--bedrape her
+       In robe of purple hue,
+     With here and there to give it life
+       The flesh tint peeping through.
+     Now hold thy hand,--for I can see
+       The face and form I seek,
+     And surely in a moment's space
+       I think your wax will speak.
+
+
+     Note 4
+
+
+
+     IV
+
+     METAMORPHOSIS
+
+
+     If she who, born to Tantalus,
+       As Niobe we know,
+     Was turned to stone among the hills
+       Of Phrygia long ago;
+     If Proene by such magic change
+       Was made a bird that flies,
+     Let me become the mirror
+       That holds my lady's eyes!
+     Or let me be the water
+       In which your beauty bathes,
+     Or the dress which clinging closely
+       Your gracious presence swathes;
+     Or change me to the perfume
+       You sprinkle on your skin,
+     Or let me be the pearl-drop
+       That hangs beneath your chin;
+     And if not these the girdle
+       You bind below your breast;
+     Or be at least the sandal
+       Your little foot hath pressed.
+
+
+
+     V
+
+     APOLOGIA
+
+
+     The brown earth drinks from heaven, and from the earth the tree,
+     The sea drinks down the vapour, and the sun drinks up the sea,
+     The moon drinks in the sunlight; now therefore, comrades, say
+     What fault have you to find in me if I would drink as they?
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     ANACREON'S GRAVE
+
+
+     You that pass this place of graves
+       Pause and spill a cup for me,
+     For I hold Anacreon's ashes,
+       And would drink as once would he.
+
+
+
+
+     SIMONIDES
+
+     556-467 B.C.
+
+
+
+     _THE PLATAEAN EPITAPHS_
+
+
+
+     I
+
+     ON THE SPARTANS
+
+
+     These who with fame eternal their own dear land endowed
+     Took on them as a mantle the shade of death's dark cloud;
+     Yet dying thus they died not, on whom is glory shed
+     By virtue which exalts them above all other dead.
+
+
+
+     II
+
+     ON THE ATHENIANS
+
+
+     If to die nobly be the meed that lures the noblest mind,
+     Then unto us of all men in this was fortune kind.
+     For Greece we marched, that freedom's arm should ever round her fold;
+     We died, but gained for guerdon renown  that grows not old.
+
+
+
+
+     PLATO
+
+     429-347 B.C.
+
+
+
+     I
+
+     A GRAVE IN PERSIA
+
+
+     Far from our own Ægean shore
+       And the surges booming deep,
+     Here where Ecbatana's great plain
+       Lies broad, we exiles sleep.
+     Farewell, Eretria the renowned,
+       Where once we used to dwell;
+     Farewell, our neighbour Athens;
+       Beloved sea, farewell!
+
+
+     Note 5
+
+
+
+     II
+
+     STARWORSHIP
+
+
+     Thou gazest starward, star of mine, whose heaven I fain would be,
+     That all my myriad starry eyes might only gaze on thee.
+
+
+
+     III
+
+     THE UNSET STAR
+
+
+     Star that didst on the living at dawn thy lustre shed,
+     Now as the star of evening thou shinest with the dead!
+
+
+
+     IV
+
+     LAIS
+
+
+     I that through the land of Hellas
+       Laughed in triumph and disdain,
+     Lais, of whose open porches
+       All the love-struck youth were fain,
+     Bring the mirror once I gazed in,
+       Cyprian, at thy shrine to vow,
+     Since I see not there what once was,
+       And I would not what is now.
+
+
+
+
+     PERSES
+
+     4TH CENTURY B.C.
+
+
+
+     A RUSTIC SHRINE
+
+
+     I am the god of the little things,
+       In whom you will surely find,
+     If you call upon me in season,
+       A little god who is kind.
+     You must not ask of me great things,
+       But what is in my control,
+     I, Tychon, god of the humble,
+       May grant to a simple soul.
+
+
+     Note 6
+
+
+
+
+     ANYTE OF TEGEA
+
+     4TH CENTURY B.C.
+
+
+
+     I
+
+     A SHRINE BY THE SEA
+
+
+     This is the Cyprian's holy ground,
+       Who ever loves to stand
+     Where she can watch the shining seas
+       Beyond the utmost land;
+     That sailors on their voyages
+       May prosper by her aid,
+     Whose radiant effigy the deep
+       Beholding is afraid.
+
+
+
+     II
+
+     THE GOD OF THE CROSS-ROADS
+
+
+     I, Hermes, by the grey sea-shore,
+       Set where the three roads meet,
+     Outside the wind-swept garden,
+       Give rest to weary feet;
+     The waters of my fountain
+       Are clear, and cool, and sweet.
+
+
+
+
+     ADDAEUS
+
+     4TH CENTURY B.C.
+
+
+
+     THE ANCIENT OX
+
+
+     The ox of Alcon was not led to the slaughter when at length
+     Age and the weary furrow had sapped his olden strength.
+     His faithful work was honoured, and in the deep grass now
+     He strays and lows contentment, enfranchised from the plough.
+
+
+
+
+     ASCLEPIADES
+
+     3RD CENTURY B.C.
+
+
+
+     THE PRAISE OF LOVE
+
+
+     Sweet is the snow in summer thirst to drink, and sweet the day
+     When sailors see spring's garland bloom and winter pass away.
+     But the sweetest thing on earth is when, one mantle for their cover,
+     Two hearts recite the Cyprian's praise as lover unto lover.
+
+
+
+
+     MICIAS
+
+     3RD CENTURY B.C.
+
+
+
+     A WAYSIDE FOUNTAIN
+
+
+     Rest here beneath the poplars,
+       When tired with travelling,
+     And drawing nigh refresh you
+       With water from our spring.
+     So may you keep in memory
+       When under other skies
+     The fount his father Simus set
+       By the grave where Gillus lies.
+
+
+
+
+     CALLIMACHUS
+
+     3RD CENTURY B.C.
+
+
+
+     CAST UP BY THE SEA
+
+
+     Who were you, shipwrecked sailor? The body that he found,
+     Cast on the beach, Leontichus laid in this burial mound;
+     And mindful of his own grim life he wept, for neither he
+     May rest in peace who like a gull goes up and down the sea.
+
+
+
+
+     NOSSIS
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ROSES OF CYPRIS
+
+
+     Of all the world's delightful things most sweet is love. The rest,
+     Ay, even honey in the mouth, are only second best.
+     This Nossis saith. And only they the Cyprian loves may know
+     The glory of the roses that in her garden grow.
+
+
+
+     II
+
+     RINTHO'S GRAVE
+
+
+     Give me a hearty laugh, and say
+     A friendly word and go thy way.
+     Rintho was I of Syracuse,
+     A modest song bird of the muse,
+     Whose tears and smiles together sown
+     Have born an ivy all my own.
+
+
+     Note 7
+
+
+
+
+     LEONIDAS OF TARENTUM
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ERINNA
+
+
+     The lyric maid Erinna, the poet-bee that drew
+     The honey from the rarest blooms the muses' garden grew,
+     Hath Hades snatched to be his bride. Mark where the maiden saith,
+     Prophetic in her wisdom, 'How envious art thou, Death!'
+
+
+     Note 8
+
+
+
+     II
+
+     THE FOUNTAIN HEAD
+
+
+     Pause not here to drink thy fill
+     Where the sheep have stirred the rill,
+     And the pool lies warm and still--
+     Cross yon ridge a little way,
+     Where the grazing heifers stray,
+     And the stone-pine's branches sway
+     O'er a creviced rock below;
+     Thence the bubbling waters flow
+     Cooler than the northern snow.
+
+
+
+
+     DIONYSUS
+
+     2ND CENTURY B.C. (?)
+
+
+     THE ROSE OF YOUTH
+
+
+     Girl with the roses and the grace
+     Of all the roses in your face,
+     Are you, or are the blooms you bear,
+     Or haply both your market ware?
+
+
+
+
+     DAMAGETUS
+
+     2ND CENTURY B.C.
+
+
+
+     THEANO
+
+
+     These words, renowned Phocæa, were the last Theano said,
+     As she went down into the night that none hath harvested.
+     Hapless am I, Apellichus, beloved husband mine,
+     Where in the wide, wide waters is now that bark of thine?
+     My doom hath come upon me, and would to God that I
+     Had felt my hand in thy dear hand on the day I had to die.
+
+
+
+
+     ARCHIAS
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+     THE HARBOUR GOD
+
+
+     Me, Pan, whose presence haunts the shore,
+       The fisher folk set here,
+     To guard their haven anchorage
+       On the cliff that they revere;
+     And thence I watch them cast the net
+       And mind their fishing gear.
+     Sail past me, traveller: for I send
+       The gentle southern breeze,
+     Because of this their piety,
+       To speed thee over seas.
+
+
+
+     II
+
+     A GRAVE BY THE SEA
+
+
+     I, shipwrecked Theris, whom the tide
+       Flung landward from the deep,
+     Not even dead may I forget
+       The shores that know not sleep.
+     Beneath the cliffs that break the surf
+       My body found a grave,
+     Dug by the hands of stranger men,
+       Beside the cruel wave:
+     And still ill-starred among the dead
+       I hear for evermore
+     The hateful booming of the seas
+       That thunder on the shore.
+
+
+
+
+     MELEAGER
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S QUIVER
+
+
+     By Heliodora's sandalled foot, and Demo's waving hair,
+     By Dorothea's wreath of blooms unbudding to the air,
+     By Anticlea's winsome smile and the great eyes of her,
+     And by Timarion's open door distilling scent like myrrh,
+     I know the god of love has spent his arrows winged to smart,
+     For all the shafts his quiver held I have them in my heart.
+
+
+
+     II
+
+     THE CUP
+
+
+     The cup takes heart of gladness, whose boast it is to be
+     Sipped by the mouth of love's delight, soft-voiced Zenophile.
+     Most favoured cup! I would that she with lips to my lips pressed
+     Would drink the soul in one deep draught, that is my body's guest.
+
+
+
+     III
+
+     ZENOPHILE
+
+
+     Sweet is the music of that air, by Pan of Arcady,
+     Thou drawest from the harpstrings, too sweet, Zenophile;
+     The thronging loves on every side close in and press me nigh,
+     And leave me scarce a breathing space, so whither can I fly?
+     Is it thy beauty or thy song that kindles my desire,
+     Thy grace, or every thing thou art? For I am all on fire.
+
+
+
+     IV
+
+     LOVE AND DEATH
+
+
+     Friend Cleobulus, when I die
+       Who conquered by desire,
+     Abandoned in the ashes lie
+       Of youth's consuming fire,
+     Do me this service, drench in wine
+       The urn you pass beneath,
+     And grave upon it this one line,
+       'The gift of Love to Death.'
+
+
+
+     V
+
+     LOVE'S MALICE
+
+
+     Cruel is Love, ah cruel, and what can I do more
+     Than moaning love is cruel, repeat it o'er and o'er?
+     I know the boy is laughing and pleased that I grow grim,
+     And just the bitter things I say are the bread of life to him.
+     But you that from the grey-green wave arising, Cyprian, came,
+     'Tis strange that out of water you should have borne a flame.
+
+
+
+     VI
+
+     ASCLEPIAS
+
+
+     Like the calm sea beguiling with those blue eyes of hers,
+     Asclepias tempteth all men to be love's mariners.
+
+
+
+     VII
+
+     HELIODORA
+
+
+     Say Heliodore, and Heliodore, and still say Heliodore,
+     And let the music of her name mix with the wine you pour.
+     And wreath me with the wreath she wore, that holds the scent of myrrh,
+     For all that it be yesterday's, in memory of her.
+     The rose that loveth lovers, the rose lets fall a tear
+     Because my arms are empty, because she is not here.
+
+
+
+     VIII
+
+     THE WREATH
+
+
+     White violet with the tender-leaved narcissus I will twine,
+     And the laughing lips of lilies with myrtle blooms combine;
+     And I will bind the hyacinth, the dark red-purple flower,
+     With crocus sweet and roses that are the lovers' dower,
+     To make the wreath that Heliodore's curl-scented brow shall wear,
+     To strew with falling petals the glory of her hair.
+
+
+
+     IX
+
+     LIBATION
+
+
+     Pour out as if for Peitho, and for the Cyprian pour,
+     Then for the sweet-voiced Graces, but all for Heliodore;
+     For there is but one goddess whose worship I enshrine,
+     And blent with her beloved name I drink the virgin wine.
+
+
+
+     X
+
+     THE GRAVE OF HELIODORA
+
+
+     Tears for thee, Heliodore, and bitter tears to shed,
+     If all that love has left to give can reach thee with the dead;
+     Here at thy grave I offer, that tear-drenched grave of thine,
+     Libation of my longing before affection's shrine.
+     Forlorn I mourn thee, dearest, in the land where shadows dwell,
+     Forlorn, and grudge the tribute death could have spared so well.
+     Where is the flower I cherished? Plucked by the god of doom;
+     Plucked, and his dust has tarnished the scarce unbudded bloom.
+     I may but pray thee, mother earth, who givest all thy best,
+     Clasp her I mourn for ever close to thy gentle breast.
+
+
+
+     XI
+
+     HIS EPITAPH
+
+
+     Tread softly, ye that pass, for here
+       The old man rests his head,
+     And sleeps the sleep that all men must
+       Among the honoured dead.
+     Meleager, son of Eucrates,
+       Who linked the joyous train
+     Of Graces and of Muses
+       With love's delicious pain.
+     From Gadara, the sacred land,
+       I came and god-built Tyre,
+     But Meropis and pleasant Cos
+       Consoled life's waning fire.
+     If thou be Syrian, say Salaam,
+       Or Hail, if Greek thou be,
+     Say Naidios, if Phœnician born,
+       For all are one to me.
+
+
+
+
+     CRINAGORAS
+
+     1ST CENTURY B.C.
+
+
+
+     ROSES IN WINTER
+
+
+     In spring it was we roses
+       Were used to bloom of old,
+     Who now in midmost winter
+       Our crimson cells unfold,
+     To greet thee on the birthday
+       That shall thy bridal bring.
+     'Tis more to grace so fair a brow
+       Than know the suns of spring.
+
+
+
+
+     JULIUS POLYAENUS
+
+     1ST CENTURY B.C.
+
+
+
+     AN EXILE'S PRAYER
+
+
+     Among the myriad voices that seek to win thine ear
+     From those whose prayers are granted, from those who pray in fear,
+     O Zeus of Scheria's holy plain, let my voice reach thee too,
+     And hearken and incline the brow that binds thy promise true.
+     Let my long exile have an end, my toil and travel past,
+     Grant me in my own native land to live at rest at last!
+
+
+
+
+     ANTIPATER OF THESSALONICA
+
+     1ST CENTURY B.C.
+
+
+
+     A GRAVE AT OSTIA
+
+
+     Ausonian earth contains me
+       That was a Libyan maid,
+     And in the sea's sand hard by Rome
+       My virgin form was laid.
+     Pompeia with a mother's care
+       Watched o'er my tender years,
+     Entombed me here among the free,
+       And gave me many tears.
+     Not as she prayed the torch was fired,
+       She would have burned for me;
+     The lamp which took the torch's place
+       Was thine, Persephone.
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     FRIENDSHIP'S EPITAPH
+
+
+     This stone, my good Sabinus, although it be but small,
+     Shall be of our great friendship a witness unto all.
+     Ever shall I desire thee, and thou, if this may be,
+     Forbear to drink among the dead the lethe-draft for me.
+
+
+     Note 9
+
+
+
+     THE COUNSEL OF PAN
+
+
+     In this green meadow, traveller, yield
+       Thy weary limbs to rest:
+     The branches of the stone pine sway
+       To the wind from out the west;
+     The cricket calls, and all noon long
+       The shepherd's piping fills
+     The plane-grove's leafy shadows
+       By the spring among the hills.
+     Soothed by these sounds thou shalt avoid
+       The dogstar's autumn fires,
+     And then to-morrow cross the ridge;--
+       Such wisdom Pan inspires.
+
+
+
+     BÉNITIER
+
+
+     Touch but the virgin water, clean of soul,
+       Nor fear to pass into the pure god's sight:
+     For the good a drop suffices. But the whole
+       Great ocean could not wash the unclean white.
+
+
+
+     THE END OF THE COMEDY
+
+
+     Fortune and Hope, a long adieu!
+       My ship is safe in port.
+     With me is nothing left to do,
+       Make other lives your sport.
+
+
+     Note 10
+
+
+
+
+     STRATO
+
+     2ND CENTURY A.D.
+
+
+
+     THE KISS
+
+
+     It was at even and the hour in which good-nights are bid
+     That Mœris kissed me, if indeed I do not dream she did.
+     Of all the rest that happened there is naught that I forget,
+     No word she said, no question of all she asked,--and yet
+     If she indeed did kiss me, my doubt can not decide,
+     For how could I still walk the earth had I been deified!
+
+
+
+
+     AMMIANUS
+
+     2ND CENTURY A.D.
+
+
+
+     THE LORD OF LANDS
+
+
+     Though till the gates of Heracles thy land-marks thou extend,
+     Their share in earth is equal for all men at the end;
+     And thou shalt lie as Irus lies, one obol all thy store,
+     And be resolved into an earth that is thine own no more.
+
+
+     Note 11
+
+
+
+
+     ALPHEUS
+
+     2ND CENTURY A.D.
+
+
+
+     MYCENAE
+
+
+     The cities of the hero age thine eyes may seek in vain,
+     Save where some wrecks of ruin still break the level plain.
+     So once I saw Mycenae, the ill-starred, a barren height
+     Too bleak for goats to pasture,--the goat-herds point the site.
+     And as I passed a greybeard said, 'Here used to stand of old
+     A city built by giants, and passing rich in gold.'
+
+
+     Note 12
+
+
+
+
+     MACEDONIUS
+
+     6TH CENTURY A.D.
+
+
+
+     THE THRESHOLD
+
+
+     Spirit of Birth, that gave me life,
+       Earth, that receives my clay,
+     Farewell, for I have travelled
+       The stage that twixt you lay.
+     I go, and have no knowledge
+       From whence I came to you,
+     Nor whither I shall journey,
+       Nor whose I am, nor who.
+
+
+
+
+NOTES
+
+
+Note 1.
+
+In this, No. 68 of the Sappho fragments, I have followed the reading
+
+  _κατθάνοισα δὲ κείσεαι οὐδέ ποτα μναμοσύνα_
+      _σέθεν_
+  _ἔσσετ' οὐδ' ἔρος εἰς ὔστερον·_
+
+rather than
+
+  _κατθάνοισα δὲ κείσεαι πότα, κωὐ μναμοσύνα σέθεν._
+  _ἔσσετ' οὔτε τότ' οὔτ' ὔστερον·_
+
+    'Dying thou shalt lie in nothingness, nor of
+    thee
+    There nor thereafter shall memory abide.'
+
+
+Note 2.
+
+A portion of this fragment was adopted by Catullus.
+
+
+Note 3.
+
+Anacreon's date is 563-478 B.C. It must, alas, be admitted that the
+poems attributed to him are, with the exception of a few fragments, all
+of them dubious and most of them certainly spurious. He had a great
+number of imitators down to a much later time, and a considerable number
+of the pseudo-Anacreontic poems are preserved in an appendix to the
+Palatine anthology. It may be assumed that some of them reflect a
+portion of his spirit, and many of them are graceful in conceit and
+beautiful in form. The specimens here given must be classed upon the
+productions of his later imitators, although they are inserted in the
+place where in chronological order the real Anacreon would have
+followed.
+
+
+Note 4.
+
+The portraiture of the Greeks was executed with tinted wax, and not with
+colours rendered fluid by a liquid or oily medium. The various tints and
+tones of wax were probably laid on with the finger tips or with a
+spatula.
+
+
+Note 5.
+
+There was more than one Plato, but the great Plato is evidently referred
+to in the prefatory poem of Meleager as included among the poets of his
+anthology.
+
+Captives from Eretria were established in a colony in Persia by Darius
+after the first Persian war. The colony at Ardericca was, however,
+hundreds of miles from Ecbatana.
+
+If the epigram on Lais is not attributed to the great Plato by the most
+competent authorities, the dates of the two famous courtesans who bore
+the name would not exclude the possibility of his being the author.
+
+
+Note 6.
+
+Tychon is identified with Priapus.
+
+
+Note 7.
+
+Rintho founded a new school of serio-comic drama about 300 B.C. The ivy
+was sacred to Dionysus, in whose worship the drama had its origin.
+
+
+Note 8.
+
+Also attributed to Meleager. The phrase, _βάσκανος ἔσσ' Ἀΐδα_, here
+quoted is from Erinna's lament for Baucis, one of the rare surviving
+lyrics of the Rhodian poetess.
+
+
+Note 9.
+
+The anonymous epigrams here inserted are probably not in their proper
+chronological places. But as they could not be definitely assigned to
+any date I have placed them between the two categories of B.C. and A.D.
+
+
+
+Note 10.
+
+There is a Latin version of this epigram on a tomb in the pavement of a
+church in Rome (S. Lorenzo in Panisperna).
+
+    Inveni portum, spes et fortuna valete,
+      Nil mihi vobiscum, ludite nunc alios.
+
+
+Note 11.
+
+Irus was the beggar of the Odyssey who ran messages for the suitors of
+Penelope. The obol referred to is the small coin placed between the lips
+of the dead to pay the toll to the ferryman of Hades.
+
+
+Note 12.
+
+It is interesting to know from the evidence of Alpheus, who visited the
+sites of the Homeric cities, that nearly two thousand years ago the site
+of Mycenae was just as it remained until the excavations of Schliemann.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
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+The Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Love, Worship and Death
+       Some Renderings from the Greek Anthology
+
+Author: Rennell Rodd
+
+Release Date: April 19, 2011 [EBook #35907]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LOVE, WORSHIP AND DEATH ***
+
+
+
+
+Produced by Andrea Ball & Marc D'Hooghe at
+http://www.freeliterature.org (From images generously made
+available by the Internet Archive.)
+
+
+
+
+
+LOVE, WORSHIP AND DEATH
+
+Some renderings from the Greek Anthology
+
+BY
+
+SIR RENNELL RODD
+
+
+AUTHOR OF
+
+'BALLADS OF THE FLEET'
+
+'THE VIOLET CROWN,' ETC.
+
+
+
+LONDON
+
+EDWARD ARNOLD
+
+1916
+
+
+
+
+INTRODUCTION
+
+
+Among the many diverse forms of expression in which the Greek genius has
+been revealed to us, that which is preserved in the lyrics of the
+anthology most typically reflects the familiar life of men, the thought
+and feeling of every day in the lost ancient world. These little flowers
+of song reveal, as does no other phase of that great literature, a
+personal outlook on life, kindly, direct and simple, the tenderness
+which characterised family relations, the reciprocal affection of master
+and slave, sympathy with the domestic animals, a generous sense of the
+obligations of friendship, a gentle piety and a close intimacy with the
+nature gods, of whose presence, malignant or benign, the Greek was ever
+sensitively conscious. For these reasons they still make so vivid an
+appeal to us after a long silence of many centuries. To myself who have
+lived for some years in that enchanted world of Greece, and have sailed
+from island to island of its haunted seas, the shores have seemed still
+quick with the voices of those gracious presences who gave exquisite
+form to their thoughts on life and death, their sense of awe and beauty
+and love. There indeed poetry seems the appropriate expression of the
+environment, and there even still to-day, more than anywhere else in the
+world, the correlation of our life with nature may be felt
+instinctively; the human soul seems nearest to the soul of the world.
+
+The poems, of which some renderings are here offered to those who cannot
+read the originals, cover a period of about a thousand years, broken by
+one interval during which the lesser lyre is silent. The poets of the
+_elegy_ and the _melos_ appear in due succession after those of the
+_epic_ and, significant perhaps of the transition, there are found in
+the first great period of the lyric the names of two women, Sappho of
+Lesbos, acknowledged by the unanimous voice of antiquity, which is
+confirmed by the quality of a few remaining fragments, to be among the
+greatest poets of all times, and Corinna of Tanagra, who contended with
+Pindar and rivalled Sappho's mastery. The canon of Alexandria does not
+include among the nine greater lyrists the name of Erinna of Rhodes, who
+died too young, in the maiden glory of her youth and fame. The earlier
+poets of the _melos_ were for the most part natives of
+
+                    'the sprinkled isles,
+     Lily on lily that overlace the sea.'
+
+Theirs is the age of the austerer mood, when the clean-cut marble
+outlines of a great language matured in its noblest expression. Then a
+century of song is followed by the period of the dramatists during which
+the lyric muse is almost silent, in an age of political and intellectual
+intensity.
+
+A new epoch of lyrical revival is inaugurated by the advent of
+Alexander, and the wide extension of Hellenic culture to more distant
+areas of the Mediterranean. Then follows the long succession of poets
+who may generally be classified as of the school of Alexandria. Among
+them are three other women singers of high renown, Anyte of Tegea,
+Nossis of Locri in southern Italy, and Moero of Byzantium. The later
+writers of this period had lost the graver purity of the first lyric
+outburst, but they had gained by a wider range of sympathy and a closer
+touch with nature. This group may be said to close with Meleager, who
+was born in Syria and educated at Tyre, whose contact with the eastern
+world explains a certain suggestive and exotic fascination in his poetry
+which is not strictly Greek. The Alexandrian is followed by the Roman
+period, and the Roman by the Byzantine, in which the spirit of the muse
+of Hellas expires reluctantly in an atmosphere of bureaucratic and
+religious pedantry.
+
+These few words of introduction should suffice, since the development of
+the lyric poetry of Greece and the characteristics of its successive
+exponents have been made familiar to English readers in the admirable
+work of my friend J.W. Mackail. A reference to his _Select Epigrams from
+the Greek Anthology_ suggests one plea of justification for the present
+little collection of renderings, since the greater number of them have
+been by him translated incomparably well into prose.
+
+Of the quality of verse translation there are many tests: the closeness
+with which the intention and atmosphere of the original has been
+maintained; the absence of extraneous additions; the omission of no
+essential feature, and the interpretation, by such equivalent as most
+adequately corresponds, of individualities of style and assonances of
+language. But not the least essential justification of poetical
+translation is that the version should constitute a poem on its own
+account, worthy to stand by itself on its own merits if the reader were
+unaware that it was a translation. It is to this test especially that
+renderings in verse too often fail to conform. I have discarded not a
+few because they seemed too obviously to bear the forced expression
+which the effort to interpret is apt to induce. Of those that remain
+some at least I hope approach the desired standard, failing to achieve
+which they would undoubtedly be better expressed in simple prose. And
+yet there is a value in rendering rhythm by rhythm where it is possible,
+and if any success has been attained, such translations probably convey
+more of the spirit of the original, which meant verse, with all which
+that implies, and not prose.
+
+The arrangement in this little volume is approximately chronological in
+sequence. This should serve to illustrate the severe and restrained
+simplicity of the earlier writers as contrasted with the more complex
+and conscious thought, and the more elaborate expression of later
+centuries when the horizons of Hellenism had been vastly extended.
+
+The interpretation of these lyrics has been my sole and grateful
+distraction during a period of ceaseless work and intense anxiety in the
+tragic years of 1914 and 1915.
+
+R.R.
+
+
+
+
+INDEX OF AUTHORS
+
+
+MIMNERMUS--CARPE DIEM
+
+SAPPHO--
+  I. A BITTER WORD
+  II. THE BELOVED PRESENCE
+  III. HESPER
+  IV. OUT OF REACH
+
+ANACREONTICA--
+  I. LOVE'S CHALLENGE
+  II. BACCHANAL
+  III. HER PORTRAIT
+  IV. METAMORPHOSIS
+  V. APOLOGIA
+
+UNKNOWN--ANACREON'S GRAVE
+
+SIMONIDES--
+  I. ON THE SPARTANS
+  II. ON THE ATHENIANS
+
+PLATO--
+  I. A GRAVE IN PERSIA
+  II. STARWORSHIP
+  III. THE UNSET STAR
+  IV. LAIS
+
+PERSES--A RUSTIC SHRINE
+
+ANYTE OF TEGEA--
+  I. A SHRINE BY THE SEA
+  II. THE GOD OF THE CROSS-ROADS
+
+ADDAEUS--THE ANCIENT OX
+
+ASCLEPIADES--THE PRAISE OF LOVE
+
+MICIAS--A WAYSIDE FOUNTAIN
+
+CALLIMACHUS--CAST UP BY THE SEA
+
+NOSSIS--
+  I. ROSES OF CYPRIS
+  II. RINTHO'S GRAVE
+
+LEONIDAS OF TARENTUM--
+  I. ERINNA
+  II. THE FOUNTAIN HEAD
+
+DIONYSUS--THE ROSE OF YOUTH
+
+DAMAGETUS--THEANO
+
+ARCHIAS--
+  I. THE HARBOUR GOD
+  II. A GRAVE BY THE SEA
+
+MELEAGER--
+  I. LOVE'S QUIVER
+  II. THE CUP
+  III. ZENOPHILE
+  IV. LOVE AND DEATH
+  V. LOVE'S MALICE
+  VI. ASCLEPIAS
+  VII. HELIODORA
+  VIII. THE WREATH
+  IX. LIBATION
+  X. THE GRAVE OF HELIODORA
+  XI. HIS EPITAPH
+
+CRINAGORAS--ROSES IN WINTER
+
+JULIUS POLYAENUS--
+  AN EXILE'S PRAYER
+
+ANTIPATER OF THESSALONICA--
+  A GRAVE AT OSTIA
+
+UNKNOWN--
+  FRIENDSHIP'S EPITAPH
+
+UNKNOWN--
+  THE COUNSEL OF PAN
+  B�NITIER
+  THE END OF THE COMEDY
+
+STRATO--THE KISS
+
+AMMIANUS--THE LORD OF LANDS
+
+ALPHEUS--MYCENAE
+
+MACEDONIUS--THE THRESHOLD
+
+NOTES
+
+
+
+     MIMNERMUS
+
+     7TH CENTURY B.C.
+
+
+
+     CARPE DIEM
+
+
+     Hold fast thine youth, dear soul of mine, new lives will come to birth,
+     And I that shall have passed away be one with the brown earth.
+
+
+
+
+     SAPPHO
+
+     7TH AND 6TH CENTURY B.C.
+
+
+
+     I
+
+     A BITTER WORD
+
+
+     Dying thou shalt lie in nothingness, nor after
+     Love shall abide here nor memory of thee;
+     For thou hast no portion in the roses of Pieria;
+     But even in the nether world obscurely shalt thou wander
+     Flitting hither thither with the phantoms of the dead.
+
+
+     Note 1
+
+
+
+     II
+
+     THE BELOVED PRESENCE
+
+
+     Blest as the Gods are esteem I him who alway
+     Sits face to face with thee and watching thee forgoes not
+     The voice that is music and the smile that is seduction,
+                 Smile that my heart knows
+     Fluttered in its chambers. For lo, when I behold thee
+     Forthwith my voice fails, my tongue is tied in silence,
+     Flame of fire goes through me, my ears are full of murmur,
+                 Blinded I see naught:
+     Sweat breaketh forth on me, and all my being trembles,
+     Paler am I grown than the pallor of the dry grass,
+     Death seemeth almost to have laid his hand upon me.--
+                      Then I dare all things.
+
+
+     Note 2
+
+
+
+     III
+
+     HESPER
+
+
+     Thou, Hesper, bringest homeward all
+       That radiant dawn sped far and wide:
+     The sheep to fold, the goat to stall,
+       The children to their mother's side.
+
+
+
+     IV
+
+     OUT OF REACH
+
+
+     Like the apple that ripens rosy at the end of a branch on high,
+       At the utmost end of the utmost bough,
+       Which those that gather forgot till now.
+     Nay, did not forget, but only they never might come thereby.
+
+
+
+
+     ANACREONTICA
+
+     ANACREON, 6TH CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S CHALLENGE
+
+
+     Love smote me with his jacinth wand and challenged me to race,
+     And wore me down with running till the sweat poured off my face,
+     Through breaks of tangled woodland, by chasms sheer to scale,
+     Until my heart was in my lips and at the point to fail.
+     Then as I felt his tender wings brush lightly round my head,
+     ''Tis proven that thou lackest the strength to love,' he said.
+
+
+     Note 3
+
+
+
+     II
+
+     BACCHANAL
+
+
+     When Bacchus hath possessed me my cares are lulled in wine,
+     And all the wealth of Croesus is not more his than mine:
+     I crown my head with ivy, I lift my voice to sing,
+     And in my exultation seem lord of every thing.
+     So let the warrior don his arms, give me my cup instead,
+     If I must lie my length on earth, why better drunk than dead.
+
+
+
+     III
+
+     HER PORTRAIT
+
+
+     Master of all the craftsmen,
+       Prince of the Rhodian art,
+     Interpret, master craftsman,
+       Each detail I impart,
+     And draw as were she present
+       The mistress of my heart.
+
+     First you must match those masses
+       Of darkly clustered hair,
+     And if such skill be in your wax
+       The scent that harbours there;
+     And where the flowing tresses cast
+       A warm-toned shadow, trace
+     A forehead white as ivory,
+       The oval of her face.
+     Her brows you must not quite divide
+       Nor wholly join, there lies
+     A subtle link between them
+       Above the dark-lashed eyes.
+     And you must borrow flame of fire
+       To give her glance its due,
+     As tender as Cithera's
+       And as Athena's blue.
+     For cheek and nostril rose-leaves
+       And milk you shall enlist,
+     And shape her lips like Peitho's
+       Inviting to be kissed.
+     Let all the Graces stay their flight
+       And gather round to deck
+     The outline of her tender chin,
+       The marble of her neck.
+     And for the rest--bedrape her
+       In robe of purple hue,
+     With here and there to give it life
+       The flesh tint peeping through.
+     Now hold thy hand,--for I can see
+       The face and form I seek,
+     And surely in a moment's space
+       I think your wax will speak.
+
+
+     Note 4
+
+
+
+     IV
+
+     METAMORPHOSIS
+
+
+     If she who, born to Tantalus,
+       As Niobe we know,
+     Was turned to stone among the hills
+       Of Phrygia long ago;
+     If Proene by such magic change
+       Was made a bird that flies,
+     Let me become the mirror
+       That holds my lady's eyes!
+     Or let me be the water
+       In which your beauty bathes,
+     Or the dress which clinging closely
+       Your gracious presence swathes;
+     Or change me to the perfume
+       You sprinkle on your skin,
+     Or let me be the pearl-drop
+       That hangs beneath your chin;
+     And if not these the girdle
+       You bind below your breast;
+     Or be at least the sandal
+       Your little foot hath pressed.
+
+
+
+     V
+
+     APOLOGIA
+
+
+     The brown earth drinks from heaven, and from the earth the tree,
+     The sea drinks down the vapour, and the sun drinks up the sea,
+     The moon drinks in the sunlight; now therefore, comrades, say
+     What fault have you to find in me if I would drink as they?
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     ANACREON'S GRAVE
+
+
+     You that pass this place of graves
+       Pause and spill a cup for me,
+     For I hold Anacreon's ashes,
+       And would drink as once would he.
+
+
+
+
+     SIMONIDES
+
+     556-467 B.C.
+
+
+
+     _THE PLATAEAN EPITAPHS_
+
+
+
+     I
+
+     ON THE SPARTANS
+
+
+     These who with fame eternal their own dear land endowed
+     Took on them as a mantle the shade of death's dark cloud;
+     Yet dying thus they died not, on whom is glory shed
+     By virtue which exalts them above all other dead.
+
+
+
+     II
+
+     ON THE ATHENIANS
+
+
+     If to die nobly be the meed that lures the noblest mind,
+     Then unto us of all men in this was fortune kind.
+     For Greece we marched, that freedom's arm should ever round her fold;
+     We died, but gained for guerdon renown  that grows not old.
+
+
+
+
+     PLATO
+
+     429-347 B.C.
+
+
+
+     I
+
+     A GRAVE IN PERSIA
+
+
+     Far from our own �gean shore
+       And the surges booming deep,
+     Here where Ecbatana's great plain
+       Lies broad, we exiles sleep.
+     Farewell, Eretria the renowned,
+       Where once we used to dwell;
+     Farewell, our neighbour Athens;
+       Beloved sea, farewell!
+
+
+     Note 5
+
+
+
+     II
+
+     STARWORSHIP
+
+
+     Thou gazest starward, star of mine, whose heaven I fain would be,
+     That all my myriad starry eyes might only gaze on thee.
+
+
+
+     III
+
+     THE UNSET STAR
+
+
+     Star that didst on the living at dawn thy lustre shed,
+     Now as the star of evening thou shinest with the dead!
+
+
+
+     IV
+
+     LAIS
+
+
+     I that through the land of Hellas
+       Laughed in triumph and disdain,
+     Lais, of whose open porches
+       All the love-struck youth were fain,
+     Bring the mirror once I gazed in,
+       Cyprian, at thy shrine to vow,
+     Since I see not there what once was,
+       And I would not what is now.
+
+
+
+
+     PERSES
+
+     4TH CENTURY B.C.
+
+
+
+     A RUSTIC SHRINE
+
+
+     I am the god of the little things,
+       In whom you will surely find,
+     If you call upon me in season,
+       A little god who is kind.
+     You must not ask of me great things,
+       But what is in my control,
+     I, Tychon, god of the humble,
+       May grant to a simple soul.
+
+
+     Note 6
+
+
+
+
+     ANYTE OF TEGEA
+
+     4TH CENTURY B.C.
+
+
+
+     I
+
+     A SHRINE BY THE SEA
+
+
+     This is the Cyprian's holy ground,
+       Who ever loves to stand
+     Where she can watch the shining seas
+       Beyond the utmost land;
+     That sailors on their voyages
+       May prosper by her aid,
+     Whose radiant effigy the deep
+       Beholding is afraid.
+
+
+
+     II
+
+     THE GOD OF THE CROSS-ROADS
+
+
+     I, Hermes, by the grey sea-shore,
+       Set where the three roads meet,
+     Outside the wind-swept garden,
+       Give rest to weary feet;
+     The waters of my fountain
+       Are clear, and cool, and sweet.
+
+
+
+
+     ADDAEUS
+
+     4TH CENTURY B.C.
+
+
+
+     THE ANCIENT OX
+
+
+     The ox of Alcon was not led to the slaughter when at length
+     Age and the weary furrow had sapped his olden strength.
+     His faithful work was honoured, and in the deep grass now
+     He strays and lows contentment, enfranchised from the plough.
+
+
+
+
+     ASCLEPIADES
+
+     3RD CENTURY B.C.
+
+
+
+     THE PRAISE OF LOVE
+
+
+     Sweet is the snow in summer thirst to drink, and sweet the day
+     When sailors see spring's garland bloom and winter pass away.
+     But the sweetest thing on earth is when, one mantle for their cover,
+     Two hearts recite the Cyprian's praise as lover unto lover.
+
+
+
+
+     MICIAS
+
+     3RD CENTURY B.C.
+
+
+
+     A WAYSIDE FOUNTAIN
+
+
+     Rest here beneath the poplars,
+       When tired with travelling,
+     And drawing nigh refresh you
+       With water from our spring.
+     So may you keep in memory
+       When under other skies
+     The fount his father Simus set
+       By the grave where Gillus lies.
+
+
+
+
+     CALLIMACHUS
+
+     3RD CENTURY B.C.
+
+
+
+     CAST UP BY THE SEA
+
+
+     Who were you, shipwrecked sailor? The body that he found,
+     Cast on the beach, Leontichus laid in this burial mound;
+     And mindful of his own grim life he wept, for neither he
+     May rest in peace who like a gull goes up and down the sea.
+
+
+
+
+     NOSSIS
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ROSES OF CYPRIS
+
+
+     Of all the world's delightful things most sweet is love. The rest,
+     Ay, even honey in the mouth, are only second best.
+     This Nossis saith. And only they the Cyprian loves may know
+     The glory of the roses that in her garden grow.
+
+
+
+     II
+
+     RINTHO'S GRAVE
+
+
+     Give me a hearty laugh, and say
+     A friendly word and go thy way.
+     Rintho was I of Syracuse,
+     A modest song bird of the muse,
+     Whose tears and smiles together sown
+     Have born an ivy all my own.
+
+
+     Note 7
+
+
+
+
+     LEONIDAS OF TARENTUM
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ERINNA
+
+
+     The lyric maid Erinna, the poet-bee that drew
+     The honey from the rarest blooms the muses' garden grew,
+     Hath Hades snatched to be his bride. Mark where the maiden saith,
+     Prophetic in her wisdom, 'How envious art thou, Death!'
+
+
+     Note 8
+
+
+
+     II
+
+     THE FOUNTAIN HEAD
+
+
+     Pause not here to drink thy fill
+     Where the sheep have stirred the rill,
+     And the pool lies warm and still--
+     Cross yon ridge a little way,
+     Where the grazing heifers stray,
+     And the stone-pine's branches sway
+     O'er a creviced rock below;
+     Thence the bubbling waters flow
+     Cooler than the northern snow.
+
+
+
+
+     DIONYSUS
+
+     2ND CENTURY B.C. (?)
+
+
+     THE ROSE OF YOUTH
+
+
+     Girl with the roses and the grace
+     Of all the roses in your face,
+     Are you, or are the blooms you bear,
+     Or haply both your market ware?
+
+
+
+
+     DAMAGETUS
+
+     2ND CENTURY B.C.
+
+
+
+     THEANO
+
+
+     These words, renowned Phoc�a, were the last Theano said,
+     As she went down into the night that none hath harvested.
+     Hapless am I, Apellichus, beloved husband mine,
+     Where in the wide, wide waters is now that bark of thine?
+     My doom hath come upon me, and would to God that I
+     Had felt my hand in thy dear hand on the day I had to die.
+
+
+
+
+     ARCHIAS
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+
+     THE HARBOUR GOD
+
+
+     Me, Pan, whose presence haunts the shore,
+       The fisher folk set here,
+     To guard their haven anchorage
+       On the cliff that they revere;
+     And thence I watch them cast the net
+       And mind their fishing gear.
+     Sail past me, traveller: for I send
+       The gentle southern breeze,
+     Because of this their piety,
+       To speed thee over seas.
+
+
+
+     II
+
+
+
+     A GRAVE BY THE SEA
+
+
+     I, shipwrecked Theris, whom the tide
+       Flung landward from the deep,
+     Not even dead may I forget
+       The shores that know not sleep.
+     Beneath the cliffs that break the surf
+       My body found a grave,
+     Dug by the hands of stranger men,
+       Beside the cruel wave:
+     And still ill-starred among the dead
+       I hear for evermore
+     The hateful booming of the seas
+       That thunder on the shore.
+
+
+
+
+     MELEAGER
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S QUIVER
+
+
+     By Heliodora's sandalled foot, and Demo's waving hair,
+     By Dorothea's wreath of blooms unbudding to the air,
+     By Anticlea's winsome smile and the great eyes of her,
+     And by Timarion's open door distilling scent like myrrh,
+     I know the god of love has spent his arrows winged to smart,
+     For all the shafts his quiver held I have them in my heart.
+
+
+
+     II
+
+     THE CUP
+
+
+     The cup takes heart of gladness, whose boast it is to be
+     Sipped by the mouth of love's delight, soft-voiced Zenophile.
+     Most favoured cup! I would that she with lips to my lips pressed
+     Would drink the soul in one deep draught, that is my body's guest.
+
+
+
+     III
+
+     ZENOPHILE
+
+
+     Sweet is the music of that air, by Pan of Arcady,
+     Thou drawest from the harpstrings, too sweet, Zenophile;
+     The thronging loves on every side close in and press me nigh,
+     And leave me scarce a breathing space, so whither can I fly?
+     Is it thy beauty or thy song that kindles my desire,
+     Thy grace, or every thing thou art? For I am all on fire.
+
+
+
+     IV
+
+     LOVE AND DEATH
+
+
+     Friend Cleobulus, when I die
+       Who conquered by desire,
+     Abandoned in the ashes lie
+       Of youth's consuming fire,
+     Do me this service, drench in wine
+       The urn you pass beneath,
+     And grave upon it this one line,
+       'The gift of Love to Death.'
+
+
+
+     V
+
+     LOVE'S MALICE
+
+
+     Cruel is Love, ah cruel, and what can I do more
+     Than moaning love is cruel, repeat it o'er and o'er?
+     I know the boy is laughing and pleased that I grow grim,
+     And just the bitter things I say are the bread of life to him.
+     But you that from the grey-green wave arising, Cyprian, came,
+     'Tis strange that out of water you should have borne a flame.
+
+
+
+     VI
+
+     ASCLEPIAS
+
+
+     Like the calm sea beguiling with those blue eyes of hers,
+     Asclepias tempteth all men to be love's mariners.
+
+
+
+     VII
+
+     HELIODORA
+
+
+     Say Heliodore, and Heliodore, and still say Heliodore,
+     And let the music of her name mix with the wine you pour.
+     And wreath me with the wreath she wore, that holds the scent of myrrh,
+     For all that it be yesterday's, in memory of her.
+     The rose that loveth lovers, the rose lets fall a tear
+     Because my arms are empty, because she is not here.
+
+
+
+     VIII
+
+     THE WREATH
+
+
+     White violet with the tender-leaved narcissus I will twine,
+     And the laughing lips of lilies with myrtle blooms combine;
+     And I will bind the hyacinth, the dark red-purple flower,
+     With crocus sweet and roses that are the lovers' dower,
+     To make the wreath that Heliodore's curl-scented brow shall wear,
+     To strew with falling petals the glory of her hair.
+
+
+
+     IX
+
+     LIBATION
+
+
+     Pour out as if for Peitho, and for the Cyprian pour,
+     Then for the sweet-voiced Graces, but all for Heliodore;
+     For there is but one goddess whose worship I enshrine,
+     And blent with her beloved name I drink the virgin wine.
+
+
+
+     X
+
+     THE GRAVE OF HELIODORA
+
+
+     Tears for thee, Heliodore, and bitter tears to shed,
+     If all that love has left to give can reach thee with the dead;
+     Here at thy grave I offer, that tear-drenched grave of thine,
+     Libation of my longing before affection's shrine.
+     Forlorn I mourn thee, dearest, in the land where shadows dwell,
+     Forlorn, and grudge the tribute death could have spared so well.
+     Where is the flower I cherished? Plucked by the god of doom;
+     Plucked, and his dust has tarnished the scarce unbudded bloom.
+     I may but pray thee, mother earth, who givest all thy best,
+     Clasp her I mourn for ever close to thy gentle breast.
+
+
+
+     XI
+
+     HIS EPITAPH
+
+
+     Tread softly, ye that pass, for here
+       The old man rests his head,
+     And sleeps the sleep that all men must
+       Among the honoured dead.
+     Meleager, son of Eucrates,
+       Who linked the joyous train
+     Of Graces and of Muses
+       With love's delicious pain.
+     From Gadara, the sacred land,
+       I came and god-built Tyre,
+     But Meropis and pleasant Cos
+       Consoled life's waning fire.
+     If thou be Syrian, say Salaam,
+       Or Hail, if Greek thou be,
+     Say Naidios, if Phoenician born,
+       For all are one to me.
+
+
+
+
+     CRINAGORAS
+
+     1ST CENTURY B.C.
+
+
+
+     ROSES IN WINTER
+
+
+     In spring it was we roses
+       Were used to bloom of old,
+     Who now in midmost winter
+       Our crimson cells unfold,
+     To greet thee on the birthday
+       That shall thy bridal bring.
+     'Tis more to grace so fair a brow
+       Than know the suns of spring.
+
+
+
+
+     JULIUS POLYAENUS
+
+     1ST CENTURY B.C.
+
+
+
+     AN EXILE'S PRAYER
+
+
+     Among the myriad voices that seek to win thine ear
+     From those whose prayers are granted, from those who pray in fear,
+     O Zeus of Scheria's holy plain, let my voice reach thee too,
+     And hearken and incline the brow that binds thy promise true.
+     Let my long exile have an end, my toil and travel past,
+     Grant me in my own native land to live at rest at last!
+
+
+
+
+     ANTIPATER OF THESSALONICA
+
+     1ST CENTURY B.C.
+
+
+
+     A GRAVE AT OSTIA
+
+
+     Ausonian earth contains me
+       That was a Libyan maid,
+     And in the sea's sand hard by Rome
+       My virgin form was laid.
+     Pompeia with a mother's care
+       Watched o'er my tender years,
+     Entombed me here among the free,
+       And gave me many tears.
+     Not as she prayed the torch was fired,
+       She would have burned for me;
+     The lamp which took the torch's place
+       Was thine, Persephone.
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     FRIENDSHIP'S EPITAPH
+
+
+     This stone, my good Sabinus, although it be but small,
+     Shall be of our great friendship a witness unto all.
+     Ever shall I desire thee, and thou, if this may be,
+     Forbear to drink among the dead the lethe-draft for me.
+
+
+     Note 9
+
+
+
+     THE COUNSEL OF PAN
+
+
+     In this green meadow, traveller, yield
+       Thy weary limbs to rest:
+     The branches of the stone pine sway
+       To the wind from out the west;
+     The cricket calls, and all noon long
+       The shepherd's piping fills
+     The plane-grove's leafy shadows
+       By the spring among the hills.
+     Soothed by these sounds thou shalt avoid
+       The dogstar's autumn fires,
+     And then to-morrow cross the ridge;--
+       Such wisdom Pan inspires.
+
+
+
+     B�NITIER
+
+
+     Touch but the virgin water, clean of soul,
+       Nor fear to pass into the pure god's sight:
+     For the good a drop suffices. But the whole
+       Great ocean could not wash the unclean white.
+
+
+
+     THE END OF THE COMEDY
+
+
+     Fortune and Hope, a long adieu!
+       My ship is safe in port.
+     With me is nothing left to do,
+       Make other lives your sport.
+
+
+     Note 10
+
+
+
+
+     STRATO
+
+     2ND CENTURY A.D.
+
+
+
+     THE KISS
+
+
+     It was at even and the hour in which good-nights are bid
+     That Moeris kissed me, if indeed I do not dream she did.
+     Of all the rest that happened there is naught that I forget,
+     No word she said, no question of all she asked,--and yet
+     If she indeed did kiss me, my doubt can not decide,
+     For how could I still walk the earth had I been deified!
+
+
+
+
+     AMMIANUS
+
+     2ND CENTURY A.D.
+
+
+
+     THE LORD OF LANDS
+
+
+     Though till the gates of Heracles thy land-marks thou extend,
+     Their share in earth is equal for all men at the end;
+     And thou shalt lie as Irus lies, one obol all thy store,
+     And be resolved into an earth that is thine own no more.
+
+
+     Note 11
+
+
+
+
+     ALPHEUS
+
+     2ND CENTURY A.D.
+
+
+
+     MYCENAE
+
+
+     The cities of the hero age thine eyes may seek in vain,
+     Save where some wrecks of ruin still break the level plain.
+     So once I saw Mycenae, the ill-starred, a barren height
+     Too bleak for goats to pasture,--the goat-herds point the site.
+     And as I passed a greybeard said, 'Here used to stand of old
+     A city built by giants, and passing rich in gold.'
+
+
+     Note 12
+
+
+
+
+     MACEDONIUS
+
+     6TH CENTURY A.D.
+
+
+
+     THE THRESHOLD
+
+
+     Spirit of Birth, that gave me life,
+       Earth, that receives my clay,
+     Farewell, for I have travelled
+       The stage that twixt you lay.
+     I go, and have no knowledge
+       From whence I came to you,
+     Nor whither I shall journey,
+       Nor whose I am, nor who.
+
+
+
+
+NOTES
+
+
+Note 1.
+
+In this, No. 68 of the Sappho fragments, I have followed the reading
+
+[Greek: katthanoisa de keiseai oude pota mnamosoena
+            sethen
+        esset' oud' eros eis oesteron]
+
+rather than
+
+[Greek: katthanoisa de keiseai pota, koou mnamosoena sethen.
+        esset' oute tot' out' oesteron]
+
+    'Dying thou shalt lie in nothingness, nor of
+    thee
+    There nor thereafter shall memory abide.'
+
+
+Note 2.
+
+A portion of this fragment was adopted by Catullus.
+
+
+Note 3.
+
+Anacreon's date is 563-478 B.C. It must, alas, be admitted that the
+poems attributed to him are, with the exception of a few fragments, all
+of them dubious and most of them certainly spurious. He had a great
+number of imitators down to a much later time, and a considerable number
+of the pseudo-Anacreontic poems are preserved in an appendix to the
+Palatine anthology. It may be assumed that some of them reflect a
+portion of his spirit, and many of them are graceful in conceit and
+beautiful in form. The specimens here given must be classed upon the
+productions of his later imitators, although they are inserted in the
+place where in chronological order the real Anacreon would have
+followed.
+
+
+Note 4.
+
+The portraiture of the Greeks was executed with tinted wax, and not with
+colours rendered fluid by a liquid or oily medium. The various tints and
+tones of wax were probably laid on with the finger tips or with a
+spatula.
+
+
+Note 5.
+
+There was more than one Plato, but the great Plato is evidently referred
+to in the prefatory poem of Meleager as included among the poets of his
+anthology.
+
+Captives from Eretria were established in a colony in Persia by Darius
+after the first Persian war. The colony at Ardericca was, however,
+hundreds of miles from Ecbatana.
+
+If the epigram on Lais is not attributed to the great Plato by the most
+competent authorities, the dates of the two famous courtesans who bore
+the name would not exclude the possibility of his being the author.
+
+
+Note 6.
+
+Tychon is identified with Priapus.
+
+
+Note 7.
+
+Rintho founded a new school of serio-comic drama about 300 B.C. The ivy
+was sacred to Dionysus, in whose worship the drama had its origin.
+
+
+Note 8.
+
+Also attributed to Meleager. The phrase, [Greek: Baskanos ess' Aida],
+here quoted is from Erinna's lament for Baucis, one of the rare
+surviving lyrics of the Rhodian poetess.
+
+
+Note 9.
+
+The anonymous epigrams here inserted are probably not in their proper
+chronological places. But as they could not be definitely assigned to
+any date I have placed them between the two categories of B.C. and A.D.
+
+
+
+Note 10.
+
+There is a Latin version of this epigram on a tomb in the pavement of a
+church in Rome (S. Lorenzo in Panisperna).
+
+    Inveni portum, spes et fortuna valete,
+      Nil mihi vobiscum, ludite nunc alios.
+
+
+Note 11.
+
+Irus was the beggar of the Odyssey who ran messages for the suitors of
+Penelope. The obol referred to is the small coin placed between the lips
+of the dead to pay the toll to the ferryman of Hades.
+
+
+Note 12.
+
+It is interesting to know from the evidence of Alpheus, who visited the
+sites of the Homeric cities, that nearly two thousand years ago the site
+of Mycenae was just as it remained until the excavations of Schliemann.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
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+
+The Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Love, Worship and Death
+       Some Renderings from the Greek Anthology
+
+Author: Rennell Rodd
+
+Release Date: April 19, 2011 [EBook #35907]
+
+Language: English
+
+Character set encoding: UTF-8
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+*** START OF THIS PROJECT GUTENBERG EBOOK LOVE, WORSHIP AND DEATH ***
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+Produced by Andrea Ball & Marc D'Hooghe at
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+</pre>
+
+
+
+<h1>LOVE, WORSHIP AND DEATH</h1>
+
+<h3>Some renderings from the Greek Anthology</h3>
+
+<h3>BY</h3>
+
+<h2>SIR RENNELL RODD</h2>
+
+
+<h4>AUTHOR OF</h4>
+
+<h4>'BALLADS OF THE FLEET'</h4>
+
+<h4>'THE VIOLET CROWN,' ETC.</h4>
+
+
+<h5>LONDON</h5>
+
+<h5>EDWARD ARNOLD</h5>
+
+<h5>1916</h5>
+
+<hr style="width: 95%;" />
+
+<hr style="width: 65%;" />
+<h3>INTRODUCTION</h3>
+
+
+<p>Among the many diverse forms of expression in which the Greek genius has
+been revealed to us, that which is preserved in the lyrics of the
+anthology most typically reflects the familiar life of men, the thought
+and feeling of every day in the lost ancient world. These little flowers
+of song reveal, as does no other phase of that great literature, a
+personal outlook on life, kindly, direct and simple, the tenderness
+which characterised family relations, the reciprocal affection of master
+and slave, sympathy with the domestic animals, a generous sense of the
+obligations of friendship, a gentle piety and a close intimacy with the
+nature gods, of whose presence, malignant or benign, the Greek was ever
+sensitively conscious. For these reasons they still make so vivid an
+appeal to us after a long silence of many centuries. To myself who have
+lived for some years in that enchanted world of Greece, and have sailed
+from island to island of its haunted seas, the shores have seemed still
+quick with the voices of those gracious presences who gave exquisite
+form to their thoughts on life and death, their sense of awe and beauty
+and love. There indeed poetry seems the appropriate expression of the
+environment, and there even still to-day, more than anywhere else in the
+world, the correlation of our life with nature may be felt
+instinctively; the human soul seems nearest to the soul of the world.</p>
+
+<p>The poems, of which some renderings are here offered to those who cannot
+read the originals, cover a period of about a thousand years, broken by
+one interval during which the lesser lyre is silent. The poets of the
+<i>elegy</i> and the <i>melos</i> appear in due succession after those of the
+<i>epic</i> and, significant perhaps of the transition, there are found in
+the first great period of the lyric the names of two women, Sappho of
+Lesbos, acknowledged by the unanimous voice of antiquity, which is
+confirmed by the quality of a few remaining fragments, to be among the
+greatest poets of all times, and Corinna of Tanagra, who contended with
+Pindar and rivalled Sappho's mastery. The canon of Alexandria does not
+include among the nine greater lyrists the name of Erinna of Rhodes, who
+died too young, in the maiden glory of her youth and fame. The earlier
+poets of the <i>melos</i> were for the most part natives of</p>
+
+<p>
+<span style="margin-left: 10em;">'the sprinkled isles,</span><br />
+<span style="margin-left: 2.5em;">Lily on lily that overlace the sea.'</span><br />
+</p>
+
+<p>Theirs is the age of the austerer mood, when the clean-cut marble
+outlines of a great language matured in its noblest expression. Then a
+century of song is followed by the period of the dramatists during which
+the lyric muse is almost silent, in an age of political and intellectual
+intensity.</p>
+
+<p>A new epoch of lyrical revival is inaugurated by the advent of
+Alexander, and the wide extension of Hellenic culture to more distant
+areas of the Mediterranean. Then follows the long succession of poets
+who may generally be classified as of the school of Alexandria. Among
+them are three other women singers of high renown, Anyte of Tegea,
+Nossis of Locri in southern Italy, and Moero of Byzantium. The later
+writers of this period had lost the graver purity of the first lyric
+outburst, but they had gained by a wider range of sympathy and a closer
+touch with nature. This group may be said to close with Meleager, who
+was born in Syria and educated at Tyre, whose contact with the eastern
+world explains a certain suggestive and exotic fascination in his poetry
+which is not strictly Greek. The Alexandrian is followed by the Roman
+period, and the Roman by the Byzantine, in which the spirit of the muse
+of Hellas expires reluctantly in an atmosphere of bureaucratic and
+religious pedantry.</p>
+
+<p>These few words of introduction should suffice, since the development of
+the lyric poetry of Greece and the characteristics of its successive
+exponents have been made familiar to English readers in the admirable
+work of my friend J.W. Mackail. A reference to his <i>Select Epigrams from
+the Greek Anthology</i> suggests one plea of justification for the present
+little collection of renderings, since the greater number of them have
+been by him translated incomparably well into prose.</p>
+
+<p>Of the quality of verse translation there are many tests: the closeness
+with which the intention and atmosphere of the original has been
+maintained; the absence of extraneous additions; the omission of no
+essential feature, and the interpretation, by such equivalent as most
+adequately corresponds, of individualities of style and assonances of
+language. But not the least essential justification of poetical
+translation is that the version should constitute a poem on its own
+account, worthy to stand by itself on its own merits if the reader were
+unaware that it was a translation. It is to this test especially that
+renderings in verse too often fail to conform. I have discarded not a
+few because they seemed too obviously to bear the forced expression
+which the effort to interpret is apt to induce. Of those that remain
+some at least I hope approach the desired standard, failing to achieve
+which they would undoubtedly be better expressed in simple prose. And
+yet there is a value in rendering rhythm by rhythm where it is possible,
+and if any success has been attained, such translations probably convey
+more of the spirit of the original, which meant verse, with all which
+that implies, and not prose.</p>
+
+<p>The arrangement in this little volume is approximately chronological in
+sequence. This should serve to illustrate the severe and restrained
+simplicity of the earlier writers as contrasted with the more complex
+and conscious thought, and the more elaborate expression of later
+centuries when the horizons of Hellenism had been vastly extended.</p>
+
+<p>The interpretation of these lyrics has been my sole and grateful
+distraction during a period of ceaseless work and intense anxiety in the
+tragic years of 1914 and 1915.</p>
+
+<p>R.R.</p>
+
+
+<hr style="width: 65%;" />
+
+<p class="small"><b>INDEX OF AUTHORS</b><br />
+<br /></p>
+<p class="small">
+<br />
+MIMNERMUS&mdash;<a href="#CARPE_DIEM">CARPE DIEM</a><br />
+<br />
+SAPPHO&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#A_BITTER_WORD">A BITTER WORD</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_BELOVED_PRESENCE">THE BELOVED PRESENCE</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#HESPER">HESPER</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#OUT_OF_REACH">OUT OF REACH</a></span><br />
+<br />
+ANACREONTICA&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#LOVES_CHALLENGE">LOVE'S CHALLENGE</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#BACCHANAL">BACCHANAL</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#HER_PORTRAIT">HER PORTRAIT</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#METAMORPHOSIS">METAMORPHOSIS</a></span><br />
+<span style="margin-left: 1em;">V. <a href="#APOLOGIA">APOLOGIA</a></span><br />
+<br />
+UNKNOWN&mdash;<a href="#ANACREONS_GRAVE">ANACREON'S GRAVE</a><br />
+<br />
+SIMONIDES&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#ON_THE_SPARTANS">ON THE SPARTANS</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#ON_THE_ATHENIANS">ON THE ATHENIANS</a></span><br />
+<br />
+PLATO&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#A_GRAVE_IN_PERSIA">A GRAVE IN PERSIA</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#STARWORSHIP">STARWORSHIP</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#THE_UNSET_STAR">THE UNSET STAR</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#LAIS">LAIS</a></span><br />
+<br />
+PERSES&mdash;<a href="#A_RUSTIC_SHRINE">A RUSTIC SHRINE</a><br />
+<br />
+ANYTE OF TEGEA&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#A_SHRINE_BY_THE_SEA">A SHRINE BY THE SEA</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_GOD_OF_THE_CROSS-ROADS">THE GOD OF THE CROSS-ROADS</a></span><br />
+<br />
+ADDAEUS&mdash;<a href="#THE_ANCIENT_OX">THE ANCIENT OX</a><br />
+<br />
+ASCLEPIADES&mdash;<a href="#THE_PRAISE_OF_LOVE">THE PRAISE OF LOVE</a><br />
+<br />
+MICIAS&mdash;<a href="#A_WAYSIDE_FOUNTAIN">A WAYSIDE FOUNTAIN</a><br />
+<br />
+CALLIMACHUS&mdash;<a href="#CAST_UP_BY_THE_SEA">CAST UP BY THE SEA</a><br />
+<br />
+NOSSIS&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#ROSES_OF_CYPRIS">ROSES OF CYPRIS</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#RINTHOS_GRAVE">RINTHO'S GRAVE</a></span><br />
+<br />
+LEONIDAS OF TARENTUM&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#ERINNA">ERINNA</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_FOUNTAIN_HEAD">THE FOUNTAIN HEAD</a></span><br />
+<br />
+DIONYSUS&mdash;<a href="#THE_ROSE_OF_YOUTH">THE ROSE OF YOUTH</a><br />
+<br />
+DAMAGETUS&mdash;<a href="#THEANO">THEANO</a><br />
+<br />
+ARCHIAS&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#THE_HARBOUR_GOD">THE HARBOUR GOD</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#A_GRAVE_BY_THE_SEA">A GRAVE BY THE SEA</a></span><br />
+<br />
+MELEAGER&mdash;<br />
+<span style="margin-left: 1em;">I. <a href="#LOVES_QUIVER">LOVE'S QUIVER</a></span><br />
+<span style="margin-left: 1em;">II. <a href="#THE_CUP">THE CUP</a></span><br />
+<span style="margin-left: 1em;">III. <a href="#ZENOPHILE">ZENOPHILE</a></span><br />
+<span style="margin-left: 1em;">IV. <a href="#LOVE_AND_DEATH">LOVE AND DEATH</a></span><br />
+<span style="margin-left: 1em;">V. <a href="#LOVES_MALICE">LOVE'S MALICE</a></span><br />
+<span style="margin-left: 1em;">VI. <a href="#ASCLEPIAS">ASCLEPIAS</a></span><br />
+<span style="margin-left: 1em;">VII. <a href="#HELIODORA">HELIODORA</a></span><br />
+<span style="margin-left: 1em;">VIII. <a href="#THE_WREATH">THE WREATH</a></span><br />
+<span style="margin-left: 1em;">IX. <a href="#LIBATION">LIBATION</a></span><br />
+<span style="margin-left: 1em;">X. <a href="#THE_GRAVE_OF_HELIODORA">THE GRAVE OF HELIODORA</a></span><br />
+<span style="margin-left: 1em;">XI. <a href="#HIS_EPITAPH">HIS EPITAPH</a></span><br />
+<br />
+CRINAGORAS&mdash;<a href="#ROSES_IN_WINTER">ROSES IN WINTER</a><br />
+<br />
+JULIUS POLYAENUS&mdash;<br />
+<span style="margin-left: 1em;"><a href="#AN_EXILES_PRAYER">AN EXILE'S PRAYER</a></span><br />
+<br />
+ANTIPATER OF THESSALONICA&mdash;<br />
+<span style="margin-left: 1em;"><a href="#A_GRAVE_AT_OSTIA">A GRAVE AT OSTIA</a></span><br />
+<br />
+UNKNOWN&mdash;<br />
+<span style="margin-left: 1em;"><a href="#FRIENDSHIPS_EPITAPH">FRIENDSHIP'S EPITAPH</a></span><br />
+<br />
+UNKNOWN&mdash;<br />
+<span style="margin-left: 1em;"><a href="#THE_COUNSEL_OF_PAN">THE COUNSEL OF PAN</a></span><br />
+<span style="margin-left: 1em;"><a href="#BENITIER">BÉNITIER</a></span><br />
+<span style="margin-left: 1em;"><a href="#THE_END_OF_THE_COMEDY">THE END OF THE COMEDY</a></span><br />
+<br />
+STRATO&mdash;<a href="#THE_KISS">THE KISS</a><br />
+<br />
+AMMIANUS&mdash;<a href="#THE_LORD_OF_LANDS">THE LORD OF LANDS</a><br />
+<br />
+ALPHEUS&mdash;<a href="#MYCENAE">MYCENAE</a><br />
+<br />
+MACEDONIUS&mdash;<a href="#THE_THRESHOLD">THE THRESHOLD</a><br />
+<br />
+<a href="#NOTES">NOTES</a><br />
+</p>
+
+<hr style="width: 95%;" />
+
+<h3>LOVE, WORSHIP AND DEATH</h3>
+
+<hr style="width: 65%;" />
+
+<p class="bodyB">
+MIMNERMUS<br />
+<br />
+<span class="small-d">7TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="CARPE_DIEM" id="CARPE_DIEM"></a>CARPE DIEM<br />
+<br />
+Hold fast thine youth, dear soul of mine, new lives will come to birth,<br />
+And I that shall have passed away be one with the brown earth.<br />
+<br />
+<br />
+<br />
+<br />
+SAPPHO<br />
+<br />
+<span class="small-d">7TH AND 6TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="A_BITTER_WORD" id="A_BITTER_WORD"></a>A BITTER WORD<br />
+<br />
+<br />
+Dying thou shalt lie in nothingness, nor after<br />
+Love shall abide here nor memory of thee;<br />
+For thou hast no portion in the roses of Pieria;<br />
+But even in the nether world obscurely shalt thou wander<br />
+Flitting hither thither with the phantoms of the dead.<br />
+<br />
+<br />
+<a href="#Note_1">Note 1</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_BELOVED_PRESENCE" id="THE_BELOVED_PRESENCE"></a>THE BELOVED PRESENCE<br />
+<br />
+<br />
+Blest as the Gods are esteem I him who alway<br />
+Sits face to face with thee and watching thee forgoes not<br />
+The voice that is music and the smile that is seduction,<br />
+<span style="margin-left: 6em;">Smile that my heart knows</span><br />
+Fluttered in its chambers. For lo, when I behold thee<br />
+Forthwith my voice fails, my tongue is tied in silence,<br />
+Flame of fire goes through me, my ears are full of murmur,<br />
+<span style="margin-left: 6em;">Blinded I see naught:</span><br />
+Sweat breaketh forth on me, and all my being trembles,<br />
+Paler am I grown than the pallor of the dry grass,<br />
+Death seemeth almost to have laid his hand upon me.&mdash;<br />
+<span style="margin-left: 8.5em;">Then I dare all things.</span><br />
+<br />
+<br />
+<a href="#Note_2">Note 2</a><br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="HESPER" id="HESPER"></a>HESPER<br />
+<br />
+<br />
+Thou, Hesper, bringest homeward all<br />
+<span style="margin-left: 1em;">That radiant dawn sped far and wide:</span><br />
+The sheep to fold, the goat to stall,<br />
+<span style="margin-left: 1em;">The children to their mother's side.</span><br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="OUT_OF_REACH" id="OUT_OF_REACH"></a>OUT OF REACH<br />
+<br />
+<br />
+Like the apple that ripens rosy at the end of a branch on high,<br />
+<span style="margin-left: 1em;">At the utmost end of the utmost bough,</span><br />
+<span style="margin-left: 1em;">Which those that gather forgot till now.</span><br />
+Nay, did not forget, but only they never might come thereby.<br />
+<br />
+<br />
+<br />
+<br />
+ANACREONTICA<br />
+<br />
+<span class="small-d">ANACREON, 6TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="LOVES_CHALLENGE" id="LOVES_CHALLENGE"></a>LOVE'S CHALLENGE<br />
+<br />
+<br />
+Love smote me with his jacinth wand and challenged me to race,<br />
+And wore me down with running till the sweat poured off my face,<br />
+Through breaks of tangled woodland, by chasms sheer to scale,<br />
+Until my heart was in my lips and at the point to fail.<br />
+Then as I felt his tender wings brush lightly round my head,<br />
+''Tis proven that thou lackest the strength to love,' he said.<br />
+<br />
+<br />
+<a href="#Note_3">Note 3</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="BACCHANAL" id="BACCHANAL"></a>BACCHANAL<br />
+<br />
+<br />
+When Bacchus hath possessed me my cares are lulled in wine,<br />
+And all the wealth of Croesus is not more his than mine:<br />
+I crown my head with ivy, I lift my voice to sing,<br />
+And in my exultation seem lord of every thing.<br />
+So let the warrior don his arms, give me my cup instead,<br />
+If I must lie my length on earth, why better drunk than dead.<br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="HER_PORTRAIT" id="HER_PORTRAIT"></a>HER PORTRAIT<br />
+<br />
+<br />
+Master of all the craftsmen,<br />
+<span style="margin-left: 1em;">Prince of the Rhodian art,</span><br />
+Interpret, master craftsman,<br />
+<span style="margin-left: 1em;">Each detail I impart,</span><br />
+And draw as were she present<br />
+<span style="margin-left: 1em;">The mistress of my heart.</span><br />
+<br />
+First you must match those masses<br />
+<span style="margin-left: 1em;">Of darkly clustered hair,</span><br />
+And if such skill be in your wax<br />
+<span style="margin-left: 1em;">The scent that harbours there;</span><br />
+And where the flowing tresses cast<br />
+<span style="margin-left: 1em;">A warm-toned shadow, trace</span><br />
+A forehead white as ivory,<br />
+<span style="margin-left: 1em;">The oval of her face.</span><br />
+Her brows you must not quite divide<br />
+<span style="margin-left: 1em;">Nor wholly join, there lies</span><br />
+A subtle link between them<br />
+<span style="margin-left: 1em;">Above the dark-lashed eyes.</span><br />
+And you must borrow flame of fire<br />
+<span style="margin-left: 1em;">To give her glance its due,</span><br />
+As tender as Cithera's<br />
+<span style="margin-left: 1em;">And as Athena's blue.</span><br />
+For cheek and nostril rose-leaves<br />
+<span style="margin-left: 1em;">And milk you shall enlist,</span><br />
+And shape her lips like Peitho's<br />
+<span style="margin-left: 1em;">Inviting to be kissed.</span><br />
+Let all the Graces stay their flight<br />
+<span style="margin-left: 1em;">And gather round to deck</span><br />
+The outline of her tender chin,<br />
+<span style="margin-left: 1em;">The marble of her neck.</span><br />
+And for the rest&mdash;bedrape her<br />
+<span style="margin-left: 1em;">In robe of purple hue,</span><br />
+With here and there to give it life<br />
+<span style="margin-left: 1em;">The flesh tint peeping through.</span><br />
+Now hold thy hand,&mdash;for I can see<br />
+<span style="margin-left: 1em;">The face and form I seek,</span><br />
+And surely in a moment's space<br />
+<span style="margin-left: 1em;">I think your wax will speak.</span><br />
+<br />
+<br />
+<a href="#Note_4">Note 4</a><br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="METAMORPHOSIS" id="METAMORPHOSIS"></a>METAMORPHOSIS<br />
+<br />
+<br />
+If she who, born to Tantalus,<br />
+<span style="margin-left: 1em;">As Niobe we know,</span><br />
+Was turned to stone among the hills<br />
+<span style="margin-left: 1em;">Of Phrygia long ago;</span><br />
+If Proene by such magic change<br />
+<span style="margin-left: 1em;">Was made a bird that flies,</span><br />
+Let me become the mirror<br />
+<span style="margin-left: 1em;">That holds my lady's eyes!</span><br />
+Or let me be the water<br />
+<span style="margin-left: 1em;">In which your beauty bathes,</span><br />
+Or the dress which clinging closely<br />
+<span style="margin-left: 1em;">Your gracious presence swathes;</span><br />
+Or change me to the perfume<br />
+<span style="margin-left: 1em;">You sprinkle on your skin,</span><br />
+Or let me be the pearl-drop<br />
+<span style="margin-left: 1em;">That hangs beneath your chin;</span><br />
+And if not these the girdle<br />
+<span style="margin-left: 1em;">You bind below your breast;</span><br />
+Or be at least the sandal<br />
+<span style="margin-left: 1em;">Your little foot hath pressed.</span><br />
+<br />
+<br />
+<br />
+V<br />
+<br />
+<a name="APOLOGIA" id="APOLOGIA"></a>APOLOGIA<br />
+<br />
+<br />
+The brown earth drinks from heaven, and from the earth the tree,<br />
+The sea drinks down the vapour, and the sun drinks up the sea,<br />
+The moon drinks in the sunlight; now therefore, comrades, say<br />
+What fault have you to find in me if I would drink as they?<br />
+<br />
+<br />
+<br />
+<br />
+AUTHOR UNKNOWN<br />
+<br />
+<br />
+<br />
+<a name="ANACREONS_GRAVE" id="ANACREONS_GRAVE"></a>ANACREON'S GRAVE<br />
+<br />
+<br />
+You that pass this place of graves<br />
+<span style="margin-left: 1em;">Pause and spill a cup for me,</span><br />
+For I hold Anacreon's ashes,<br />
+<span style="margin-left: 1em;">And would drink as once would he.</span><br />
+<br />
+<br />
+<br />
+<br />
+SIMONIDES<br />
+<br />
+<span class="small-d">556-467 B.C.</span><br />
+<br />
+<br />
+<br />
+<i>THE PLATAEAN EPITAPHS</i><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="ON_THE_SPARTANS" id="ON_THE_SPARTANS"></a>ON THE SPARTANS<br />
+<br />
+<br />
+These who with fame eternal their own dear land endowed<br />
+Took on them as a mantle the shade of death's dark cloud;<br />
+Yet dying thus they died not, on whom is glory shed<br />
+By virtue which exalts them above all other dead.<br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="ON_THE_ATHENIANS" id="ON_THE_ATHENIANS"></a>ON THE ATHENIANS<br />
+<br />
+<br />
+If to die nobly be the meed that lures the noblest mind,<br />
+Then unto us of all men in this was fortune kind.<br />
+For Greece we marched, that freedom's arm should ever round her fold;<br />
+We died, but gained for guerdon renown  that grows not old.<br />
+<br />
+<br />
+<br />
+<br />
+PLATO<br />
+<br />
+<span class="small-d">429-347 B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="A_GRAVE_IN_PERSIA" id="A_GRAVE_IN_PERSIA"></a>A GRAVE IN PERSIA<br />
+<br />
+<br />
+Far from our own Ægean shore<br />
+<span style="margin-left: 1em;">And the surges booming deep,</span><br />
+Here where Ecbatana's great plain<br />
+<span style="margin-left: 1em;">Lies broad, we exiles sleep.</span><br />
+Farewell, Eretria the renowned,<br />
+<span style="margin-left: 1em;">Where once we used to dwell;</span><br />
+Farewell, our neighbour Athens;<br />
+<span style="margin-left: 1em;">Beloved sea, farewell!</span><br />
+<br />
+<br />
+<a href="#Note_5">Note 5</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="STARWORSHIP" id="STARWORSHIP"></a>STARWORSHIP<br />
+<br />
+<br />
+Thou gazest starward, star of mine, whose heaven I fain would be,<br />
+That all my myriad starry eyes might only gaze on thee.<br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="THE_UNSET_STAR" id="THE_UNSET_STAR"></a>THE UNSET STAR<br />
+<br />
+<br />
+Star that didst on the living at dawn thy lustre shed,<br />
+Now as the star of evening thou shinest with the dead!<br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="LAIS" id="LAIS"></a>LAIS<br />
+<br />
+<br />
+I that through the land of Hellas<br />
+<span style="margin-left: 1em;">Laughed in triumph and disdain,</span><br />
+Lais, of whose open porches<br />
+<span style="margin-left: 1em;">All the love-struck youth were fain,</span><br />
+Bring the mirror once I gazed in,<br />
+<span style="margin-left: 1em;">Cyprian, at thy shrine to vow,</span><br />
+Since I see not there what once was,<br />
+<span style="margin-left: 1em;">And I would not what is now.</span><br />
+<br />
+<br />
+<br />
+<br />
+PERSES<br />
+<br />
+<span class="small-d">4TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="A_RUSTIC_SHRINE" id="A_RUSTIC_SHRINE"></a>A RUSTIC SHRINE<br />
+<br />
+<br />
+I am the god of the little things,<br />
+<span style="margin-left: 1em;">In whom you will surely find,</span><br />
+If you call upon me in season,<br />
+<span style="margin-left: 1em;">A little god who is kind.</span><br />
+You must not ask of me great things,<br />
+<span style="margin-left: 1em;">But what is in my control,</span><br />
+I, Tychon, god of the humble,<br />
+<span style="margin-left: 1em;">May grant to a simple soul.</span><br />
+<br />
+<br />
+<a href="#Note_6">Note 6</a><br />
+<br />
+<br />
+<br />
+<br />
+ANYTE OF TEGEA<br />
+<br />
+<span class="small-d">4TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="A_SHRINE_BY_THE_SEA" id="A_SHRINE_BY_THE_SEA"></a>A SHRINE BY THE SEA<br />
+<br />
+<br />
+This is the Cyprian's holy ground,<br />
+<span style="margin-left: 1em;">Who ever loves to stand</span><br />
+Where she can watch the shining seas<br />
+<span style="margin-left: 1em;">Beyond the utmost land;</span><br />
+That sailors on their voyages<br />
+<span style="margin-left: 1em;">May prosper by her aid,</span><br />
+Whose radiant effigy the deep<br />
+<span style="margin-left: 1em;">Beholding is afraid.</span><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_GOD_OF_THE_CROSS-ROADS" id="THE_GOD_OF_THE_CROSS-ROADS"></a>THE GOD OF THE CROSS-ROADS<br />
+<br />
+<br />
+I, Hermes, by the grey sea-shore,<br />
+<span style="margin-left: 1em;">Set where the three roads meet,</span><br />
+Outside the wind-swept garden,<br />
+<span style="margin-left: 1em;">Give rest to weary feet;</span><br />
+The waters of my fountain<br />
+<span style="margin-left: 1em;">Are clear, and cool, and sweet.</span><br />
+<br />
+<br />
+<br />
+<br />
+ADDAEUS<br />
+<br />
+<span class="small-d">4TH CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_ANCIENT_OX" id="THE_ANCIENT_OX"></a>THE ANCIENT OX<br />
+<br />
+<br />
+The ox of Alcon was not led to the slaughter when at length<br />
+Age and the weary furrow had sapped his olden strength.<br />
+His faithful work was honoured, and in the deep grass now<br />
+He strays and lows contentment, enfranchised from the plough.<br />
+<br />
+<br />
+<br />
+<br />
+ASCLEPIADES<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_PRAISE_OF_LOVE" id="THE_PRAISE_OF_LOVE"></a>THE PRAISE OF LOVE<br />
+<br />
+<br />
+Sweet is the snow in summer thirst to drink, and sweet the day<br />
+When sailors see spring's garland bloom and winter pass away.<br />
+But the sweetest thing on earth is when, one mantle for their cover,<br />
+Two hearts recite the Cyprian's praise as lover unto lover.<br />
+<br />
+<br />
+<br />
+<br />
+MICIAS<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="A_WAYSIDE_FOUNTAIN" id="A_WAYSIDE_FOUNTAIN"></a>A WAYSIDE FOUNTAIN<br />
+<br />
+<br />
+Rest here beneath the poplars,<br />
+<span style="margin-left: 1em;">When tired with travelling,</span><br />
+And drawing nigh refresh you<br />
+<span style="margin-left: 1em;">With water from our spring.</span><br />
+So may you keep in memory<br />
+<span style="margin-left: 1em;">When under other skies</span><br />
+The fount his father Simus set<br />
+<span style="margin-left: 1em;">By the grave where Gillus lies.</span><br />
+<br />
+<br />
+<br />
+<br />
+CALLIMACHUS<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="CAST_UP_BY_THE_SEA" id="CAST_UP_BY_THE_SEA"></a>CAST UP BY THE SEA<br />
+<br />
+<br />
+Who were you, shipwrecked sailor? The body that he found,<br />
+Cast on the beach, Leontichus laid in this burial mound;<br />
+And mindful of his own grim life he wept, for neither he<br />
+May rest in peace who like a gull goes up and down the sea.<br />
+<br />
+<br />
+<br />
+<br />
+NOSSIS<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="ROSES_OF_CYPRIS" id="ROSES_OF_CYPRIS"></a>ROSES OF CYPRIS<br />
+<br />
+<br />
+Of all the world's delightful things most sweet is love. The rest,<br />
+Ay, even honey in the mouth, are only second best.<br />
+This Nossis saith. And only they the Cyprian loves may know<br />
+The glory of the roses that in her garden grow.<br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="RINTHOS_GRAVE" id="RINTHOS_GRAVE"></a>RINTHO'S GRAVE<br />
+<br />
+<br />
+Give me a hearty laugh, and say<br />
+A friendly word and go thy way.<br />
+Rintho was I of Syracuse,<br />
+A modest song bird of the muse,<br />
+Whose tears and smiles together sown<br />
+Have born an ivy all my own.<br />
+<br />
+<br />
+<a href="#Note_7">Note 7</a><br />
+<br />
+<br />
+<br />
+<br />
+LEONIDAS OF TARENTUM<br />
+<br />
+<span class="small-d">3RD CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="ERINNA" id="ERINNA"></a>ERINNA<br />
+<br />
+<br />
+The lyric maid Erinna, the poet-bee that drew<br />
+The honey from the rarest blooms the muses' garden grew,<br />
+Hath Hades snatched to be his bride. Mark where the maiden saith,<br />
+Prophetic in her wisdom, 'How envious art thou, Death!'<br />
+<br />
+<br />
+<a href="#Note_8">Note 8</a><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_FOUNTAIN_HEAD" id="THE_FOUNTAIN_HEAD"></a>THE FOUNTAIN HEAD<br />
+<br />
+<br />
+Pause not here to drink thy fill<br />
+Where the sheep have stirred the rill,<br />
+And the pool lies warm and still&mdash;<br />
+Cross yon ridge a little way,<br />
+Where the grazing heifers stray,<br />
+And the stone-pine's branches sway<br />
+O'er a creviced rock below;<br />
+Thence the bubbling waters flow<br />
+Cooler than the northern snow.<br />
+<br />
+<br />
+<br />
+<br />
+DIONYSUS<br />
+<br />
+<span class="small-d">2ND CENTURY B.C. (?)</span><br />
+<br />
+<br />
+<br />
+<a name="THE_ROSE_OF_YOUTH" id="THE_ROSE_OF_YOUTH"></a>THE ROSE OF YOUTH<br />
+<br />
+<br />
+Girl with the roses and the grace<br />
+Of all the roses in your face,<br />
+Are you, or are the blooms you bear,<br />
+Or haply both your market ware?<br />
+<br />
+<br />
+<br />
+<br />
+DAMAGETUS<br />
+<br />
+<span class="small-d">2ND CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="THEANO" id="THEANO"></a>THEANO<br />
+<br />
+<br />
+These words, renowned Phocæa, were the last Theano said,<br />
+As she went down into the night that none hath harvested.<br />
+Hapless am I, Apellichus, beloved husband mine,<br />
+Where in the wide, wide waters is now that bark of thine?<br />
+My doom hath come upon me, and would to God that I<br />
+Had felt my hand in thy dear hand on the day I had to die.<br />
+<br />
+<br />
+<br />
+<br />
+ARCHIAS<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I
+<br />
+<a name="THE_HARBOUR_GOD" id="THE_HARBOUR_GOD"></a>THE HARBOUR GOD<br />
+<br />
+<br />
+Me, Pan, whose presence haunts the shore,<br />
+<span style="margin-left: 1em;">The fisher folk set here,</span><br />
+To guard their haven anchorage<br />
+<span style="margin-left: 1em;">On the cliff that they revere;</span><br />
+And thence I watch them cast the net<br />
+<span style="margin-left: 1em;">And mind their fishing gear.</span><br />
+Sail past me, traveller: for I send<br />
+<span style="margin-left: 1em;">The gentle southern breeze,</span><br />
+Because of this their piety,<br />
+<span style="margin-left: 1em;">To speed thee over seas.</span><br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="A_GRAVE_BY_THE_SEA" id="A_GRAVE_BY_THE_SEA"></a>A GRAVE BY THE SEA<br />
+<br />
+<br />
+I, shipwrecked Theris, whom the tide<br />
+<span style="margin-left: 1em;">Flung landward from the deep,</span><br />
+Not even dead may I forget<br />
+<span style="margin-left: 1em;">The shores that know not sleep.</span><br />
+Beneath the cliffs that break the surf<br />
+<span style="margin-left: 1em;">My body found a grave,</span><br />
+Dug by the hands of stranger men,<br />
+<span style="margin-left: 1em;">Beside the cruel wave:</span><br />
+And still ill-starred among the dead<br />
+<span style="margin-left: 1em;">I hear for evermore</span><br />
+The hateful booming of the seas<br />
+<span style="margin-left: 1em;">That thunder on the shore.</span><br />
+<br />
+<br />
+<br />
+<br />
+MELEAGER<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+I<br />
+<br />
+<a name="LOVES_QUIVER" id="LOVES_QUIVER"></a>LOVE'S QUIVER<br />
+<br />
+<br />
+By Heliodora's sandalled foot, and Demo's waving hair,<br />
+By Dorothea's wreath of blooms unbudding to the air,<br />
+By Anticlea's winsome smile and the great eyes of her,<br />
+And by Timarion's open door distilling scent like myrrh,<br />
+I know the god of love has spent his arrows winged to smart,<br />
+For all the shafts his quiver held I have them in my heart.<br />
+<br />
+<br />
+<br />
+II<br />
+<br />
+<a name="THE_CUP" id="THE_CUP"></a>THE CUP<br />
+<br />
+<br />
+The cup takes heart of gladness, whose boast it is to be<br />
+Sipped by the mouth of love's delight, soft-voiced Zenophile.<br />
+Most favoured cup! I would that she with lips to my lips pressed<br />
+Would drink the soul in one deep draught, that is my body's guest.<br />
+<br />
+<br />
+<br />
+III<br />
+<br />
+<a name="ZENOPHILE" id="ZENOPHILE"></a>ZENOPHILE<br />
+<br />
+<br />
+Sweet is the music of that air, by Pan of Arcady,<br />
+Thou drawest from the harpstrings, too sweet, Zenophile;<br />
+The thronging loves on every side close in and press me nigh,<br />
+And leave me scarce a breathing space, so whither can I fly?<br />
+Is it thy beauty or thy song that kindles my desire,<br />
+Thy grace, or every thing thou art? For I am all on fire.<br />
+<br />
+<br />
+<br />
+IV<br />
+<br />
+<a name="LOVE_AND_DEATH" id="LOVE_AND_DEATH"></a>LOVE AND DEATH<br />
+<br />
+<br />
+Friend Cleobulus, when I die<br />
+<span style="margin-left: 1em;">Who conquered by desire,</span><br />
+Abandoned in the ashes lie<br />
+<span style="margin-left: 1em;">Of youth's consuming fire,</span><br />
+Do me this service, drench in wine<br />
+<span style="margin-left: 1em;">The urn you pass beneath,</span><br />
+And grave upon it this one line,<br />
+<span style="margin-left: 1em;">'The gift of Love to Death.'</span><br />
+<br />
+<br />
+<br />
+V<br />
+<br />
+<a name="LOVES_MALICE" id="LOVES_MALICE"></a>LOVE'S MALICE<br />
+<br />
+<br />
+Cruel is Love, ah cruel, and what can I do more<br />
+Than moaning love is cruel, repeat it o'er and o'er?<br />
+I know the boy is laughing and pleased that I grow grim,<br />
+And just the bitter things I say are the bread of life to him.<br />
+But you that from the grey-green wave arising, Cyprian, came,<br />
+'Tis strange that out of water you should have borne a flame.<br />
+<br />
+<br />
+<br />
+VI<br />
+<br />
+<a name="ASCLEPIAS" id="ASCLEPIAS"></a>ASCLEPIAS<br />
+<br />
+<br />
+Like the calm sea beguiling with those blue eyes of hers,<br />
+Asclepias tempteth all men to be love's mariners.<br />
+<br />
+<br />
+<br />
+VII<br />
+<br />
+<a name="HELIODORA" id="HELIODORA"></a>HELIODORA<br />
+<br />
+<br />
+Say Heliodore, and Heliodore, and still say Heliodore,<br />
+And let the music of her name mix with the wine you pour.<br />
+And wreath me with the wreath she wore, that holds the scent of myrrh,<br />
+For all that it be yesterday's, in memory of her.<br />
+The rose that loveth lovers, the rose lets fall a tear<br />
+Because my arms are empty, because she is not here.<br />
+<br />
+<br />
+<br />
+VIII<br />
+<br />
+<a name="THE_WREATH" id="THE_WREATH"></a>THE WREATH<br />
+<br />
+<br />
+White violet with the tender-leaved narcissus I will twine,<br />
+And the laughing lips of lilies with myrtle blooms combine;<br />
+And I will bind the hyacinth, the dark red-purple flower,<br />
+With crocus sweet and roses that are the lovers' dower,<br />
+To make the wreath that Heliodore's curl-scented brow shall wear,<br />
+To strew with falling petals the glory of her hair.<br />
+<br />
+<br />
+<br />
+IX<br />
+<br />
+<a name="LIBATION" id="LIBATION"></a>LIBATION<br />
+<br />
+<br />
+Pour out as if for Peitho, and for the Cyprian pour,<br />
+Then for the sweet-voiced Graces, but all for Heliodore;<br />
+For there is but one goddess whose worship I enshrine,<br />
+And blent with her beloved name I drink the virgin wine.<br />
+<br />
+<br />
+<br />
+X<br />
+<br />
+<a name="THE_GRAVE_OF_HELIODORA" id="THE_GRAVE_OF_HELIODORA"></a>THE GRAVE OF HELIODORA<br />
+<br />
+<br />
+Tears for thee, Heliodore, and bitter tears to shed,<br />
+If all that love has left to give can reach thee with the dead;<br />
+Here at thy grave I offer, that tear-drenched grave of thine,<br />
+Libation of my longing before affection's shrine.<br />
+Forlorn I mourn thee, dearest, in the land where shadows dwell,<br />
+Forlorn, and grudge the tribute death could have spared so well.<br />
+Where is the flower I cherished? Plucked by the god of doom;<br />
+Plucked, and his dust has tarnished the scarce unbudded bloom.<br />
+I may but pray thee, mother earth, who givest all thy best,<br />
+Clasp her I mourn for ever close to thy gentle breast.<br />
+<br />
+<br />
+<br />
+XI<br />
+<br />
+<a name="HIS_EPITAPH" id="HIS_EPITAPH"></a>HIS EPITAPH<br />
+<br />
+<br />
+Tread softly, ye that pass, for here<br />
+<span style="margin-left: 1em;">The old man rests his head,</span><br />
+And sleeps the sleep that all men must<br />
+<span style="margin-left: 1em;">Among the honoured dead.</span><br />
+Meleager, son of Eucrates,<br />
+<span style="margin-left: 1em;">Who linked the joyous train</span><br />
+Of Graces and of Muses<br />
+<span style="margin-left: 1em;">With love's delicious pain.</span><br />
+From Gadara, the sacred land,<br />
+<span style="margin-left: 1em;">I came and god-built Tyre,</span><br />
+But Meropis and pleasant Cos<br />
+<span style="margin-left: 1em;">Consoled life's waning fire.</span><br />
+If thou be Syrian, say Salaam,<br />
+<span style="margin-left: 1em;">Or Hail, if Greek thou be,</span><br />
+Say Naidios, if Phœnician born,<br />
+<span style="margin-left: 1em;">For all are one to me.</span><br />
+<br />
+<br />
+<br />
+<br />
+CRINAGORAS<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="ROSES_IN_WINTER" id="ROSES_IN_WINTER"></a>ROSES IN WINTER<br />
+<br />
+<br />
+In spring it was we roses<br />
+<span style="margin-left: 1em;">Were used to bloom of old,</span><br />
+Who now in midmost winter<br />
+<span style="margin-left: 1em;">Our crimson cells unfold,</span><br />
+To greet thee on the birthday<br />
+<span style="margin-left: 1em;">That shall thy bridal bring.</span><br />
+'Tis more to grace so fair a brow<br />
+<span style="margin-left: 1em;">Than know the suns of spring.</span><br />
+<br />
+<br />
+<br />
+<br />
+JULIUS POLYAENUS<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="AN_EXILES_PRAYER" id="AN_EXILES_PRAYER"></a>AN EXILE'S PRAYER<br />
+<br />
+<br />
+Among the myriad voices that seek to win thine ear<br />
+From those whose prayers are granted, from those who pray in fear,<br />
+O Zeus of Scheria's holy plain, let my voice reach thee too,<br />
+And hearken and incline the brow that binds thy promise true.<br />
+Let my long exile have an end, my toil and travel past,<br />
+Grant me in my own native land to live at rest at last!<br />
+<br />
+<br />
+<br />
+<br />
+ANTIPATER OF THESSALONICA<br />
+<br />
+<span class="small-d">1ST CENTURY B.C.</span><br />
+<br />
+<br />
+<br />
+<a name="A_GRAVE_AT_OSTIA" id="A_GRAVE_AT_OSTIA"></a>A GRAVE AT OSTIA<br />
+<br />
+<br />
+Ausonian earth contains me<br />
+<span style="margin-left: 1em;">That was a Libyan maid,</span><br />
+And in the sea's sand hard by Rome<br />
+<span style="margin-left: 1em;">My virgin form was laid.</span><br />
+Pompeia with a mother's care<br />
+<span style="margin-left: 1em;">Watched o'er my tender years,</span><br />
+Entombed me here among the free,<br />
+<span style="margin-left: 1em;">And gave me many tears.</span><br />
+Not as she prayed the torch was fired,<br />
+<span style="margin-left: 1em;">She would have burned for me;</span><br />
+The lamp which took the torch's place<br />
+<span style="margin-left: 1em;">Was thine, Persephone.</span><br />
+<br />
+<br />
+<br />
+<br />
+AUTHOR UNKNOWN<br />
+<br />
+<br />
+<br />
+<a name="FRIENDSHIPS_EPITAPH" id="FRIENDSHIPS_EPITAPH"></a>FRIENDSHIP'S EPITAPH<br />
+<br />
+<br />
+This stone, my good Sabinus, although it be but small,<br />
+Shall be of our great friendship a witness unto all.<br />
+Ever shall I desire thee, and thou, if this may be,<br />
+Forbear to drink among the dead the lethe-draft for me.<br />
+<br />
+<br />
+<a href="#Note_9">Note 9</a><br />
+<br />
+<br />
+<br />
+<a name="THE_COUNSEL_OF_PAN" id="THE_COUNSEL_OF_PAN"></a>THE COUNSEL OF PAN<br />
+<br />
+<br />
+In this green meadow, traveller, yield<br />
+<span style="margin-left: 1em;">Thy weary limbs to rest:</span><br />
+The branches of the stone pine sway<br />
+<span style="margin-left: 1em;">To the wind from out the west;</span><br />
+The cricket calls, and all noon long<br />
+<span style="margin-left: 1em;">The shepherd's piping fills</span><br />
+The plane-grove's leafy shadows<br />
+<span style="margin-left: 1em;">By the spring among the hills.</span><br />
+Soothed by these sounds thou shalt avoid<br />
+<span style="margin-left: 1em;">The dogstar's autumn fires,</span><br />
+And then to-morrow cross the ridge;&mdash;<br />
+<span style="margin-left: 1em;">Such wisdom Pan inspires.</span><br />
+<br />
+<br />
+<br />
+<a name="BENITIER" id="BENITIER"></a>BÉNITIER<br />
+<br />
+<br />
+Touch but the virgin water, clean of soul,<br />
+<span style="margin-left: 1em;">Nor fear to pass into the pure god's sight:</span><br />
+For the good a drop suffices. But the whole<br />
+<span style="margin-left: 1em;">Great ocean could not wash the unclean white.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_END_OF_THE_COMEDY" id="THE_END_OF_THE_COMEDY"></a>THE END OF THE COMEDY<br />
+<br />
+<br />
+Fortune and Hope, a long adieu!<br />
+<span style="margin-left: 1em;">My ship is safe in port.</span><br />
+With me is nothing left to do,<br />
+<span style="margin-left: 1em;">Make other lives your sport.</span><br />
+<br />
+<br />
+<a href="#Note_10">Note 10</a><br />
+<br />
+<br />
+<br />
+<br />
+STRATO<br />
+<br />
+<span class="small-d">2ND CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_KISS" id="THE_KISS"></a>THE KISS<br />
+<br />
+<br />
+It was at even and the hour in which good-nights are bid<br />
+That Mœris kissed me, if indeed I do not dream she did.<br />
+Of all the rest that happened there is naught that I forget,<br />
+No word she said, no question of all she asked,&mdash;and yet<br />
+If she indeed did kiss me, my doubt can not decide,<br />
+For how could I still walk the earth had I been deified!<br />
+<br />
+<br />
+<br />
+<br />
+AMMIANUS<br />
+<br />
+<span class="small-d">2ND CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_LORD_OF_LANDS" id="THE_LORD_OF_LANDS"></a>THE LORD OF LANDS<br />
+<br />
+<br />
+Though till the gates of Heracles thy land-marks thou extend,<br />
+Their share in earth is equal for all men at the end;<br />
+And thou shalt lie as Irus lies, one obol all thy store,<br />
+And be resolved into an earth that is thine own no more.<br />
+<br />
+<br />
+<a href="#Note_11">Note 11</a><br />
+<br />
+<br />
+<br />
+<br />
+ALPHEUS<br />
+<br />
+<span class="small-d">2ND CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="MYCENAE" id="MYCENAE"></a>MYCENAE<br />
+<br />
+<br />
+The cities of the hero age thine eyes may seek in vain,<br />
+Save where some wrecks of ruin still break the level plain.<br />
+So once I saw Mycenae, the ill-starred, a barren height<br />
+Too bleak for goats to pasture,&mdash;the goat-herds point the site.<br />
+And as I passed a greybeard said, 'Here used to stand of old<br />
+A city built by giants, and passing rich in gold.'<br />
+<br />
+<br />
+<a href="#Note_12">Note 12</a><br />
+<br />
+<br />
+<br />
+<br />
+MACEDONIUS<br />
+<br />
+<span class="small-d">6TH CENTURY A.D.</span><br />
+<br />
+<br />
+<br />
+<a name="THE_THRESHOLD" id="THE_THRESHOLD"></a>THE THRESHOLD<br />
+<br />
+<br />
+Spirit of Birth, that gave me life,<br />
+<span style="margin-left: 1em;">Earth, that receives my clay,</span><br />
+Farewell, for I have travelled<br />
+<span style="margin-left: 1em;">The stage that twixt you lay.</span><br />
+I go, and have no knowledge<br />
+<span style="margin-left: 1em;">From whence I came to you,</span><br />
+Nor whither I shall journey,<br />
+<span style="margin-left: 1em;">Nor whose I am, nor who.</span><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h3><a name="NOTES" id="NOTES"></a>NOTES</h3>
+
+
+<p><a name="Note_1" id="Note_1"></a>Note 1.</p>
+
+<p>In this, No. 68 of the Sappho fragments, I have followed the reading</p>
+
+<p>
+<span style="margin-left: 1em;"><i>κατθάνοισα δὲ κείσεαι οὐδέ ποτα μναμοσύνα</i></span><br />
+<span style="margin-left: 3em;"><i>σέθεν</i></span><br />
+<span style="margin-left: 1em;"><i>ἔσσετ' οὐδ' ἔρος εἰς ὔστερον·</i></span><br />
+</p>
+
+<p>rather than</p>
+
+<p>
+<span style="margin-left: 1em;"><i>κατθάνοισα δὲ κείσεαι πότα, κωὐ μναμοσύνα σέθεν.</i></span><br />
+<span style="margin-left: 1em;"><i>ἔσσετ' οὔτε τότ' οὔτ' ὔστερον·</i></span><br />
+<br />
+'Dying thou shalt lie in nothingness, nor of<br />
+thee<br />
+There nor thereafter shall memory abide.'<br />
+</p>
+
+
+<p><a name="Note_2" id="Note_2"></a>Note 2.</p>
+
+<p>A portion of this fragment was adopted by Catullus.</p>
+
+
+<p><a name="Note_3" id="Note_3"></a>Note 3.</p>
+
+<p>Anacreon's date is 563-478 B.C. It must, alas, be admitted that the
+poems attributed to him are, with the exception of a few fragments, all
+of them dubious and most of them certainly spurious. He had a great
+number of imitators down to a much later time, and a considerable number
+of the pseudo-Anacreontic poems are preserved in an appendix to the
+Palatine anthology. It may be assumed that some of them reflect a
+portion of his spirit, and many of them are graceful in conceit and
+beautiful in form. The specimens here given must be classed upon the
+productions of his later imitators, although they are inserted in the
+place where in chronological order the real Anacreon would have
+followed.</p>
+
+
+<p><a name="Note_4" id="Note_4"></a>Note 4.</p>
+
+<p>The portraiture of the Greeks was executed with tinted wax, and not with
+colours rendered fluid by a liquid or oily medium. The various tints and
+tones of wax were probably laid on with the finger tips or with a
+spatula.</p>
+
+
+<p><a name="Note_5" id="Note_5"></a>Note 5.</p>
+
+<p>There was more than one Plato, but the great Plato is evidently referred
+to in the prefatory poem of Meleager as included among the poets of his
+anthology.</p>
+
+<p>Captives from Eretria were established in a colony in Persia by Darius
+after the first Persian war. The colony at Ardericca was, however,
+hundreds of miles from Ecbatana.</p>
+
+<p>If the epigram on Lais is not attributed to the great Plato by the most
+competent authorities, the dates of the two famous courtesans who bore
+the name would not exclude the possibility of his being the author.</p>
+
+
+<p><a name="Note_6" id="Note_6"></a>Note 6.</p>
+
+<p>Tychon is identified with Priapus.</p>
+
+
+<p><a name="Note_7" id="Note_7"></a>Note 7.</p>
+
+<p>Rintho founded a new school of serio-comic drama about 300 B.C. The ivy
+was sacred to Dionysus, in whose worship the drama had its origin.</p>
+
+
+<p><a name="Note_8" id="Note_8"></a>Note 8.</p>
+
+<p>Also attributed to Meleager. The phrase, <i>βάσκανος ἔσσ' Ἀΐδα</i>, here
+quoted is from Erinna's lament for Baucis, one of the rare surviving
+lyrics of the Rhodian poetess.</p>
+
+
+<p><a name="Note_9" id="Note_9"></a>Note 9.</p>
+
+<p>The anonymous epigrams here inserted are probably not in their proper
+chronological places. But as they could not be definitely assigned to
+any date I have placed them between the two categories of B.C. and A.D.</p>
+
+
+
+<p><a name="Note_10" id="Note_10"></a>Note 10.</p>
+
+<p>There is a Latin version of this epigram on a tomb in the pavement of a
+church in Rome (S. Lorenzo in Panisperna).</p>
+
+<p>
+<span style="margin-left: 2em;">Inveni portum, spes et fortuna valete,</span><br />
+<span style="margin-left: 3em;">Nil mihi vobiscum, ludite nunc alios.</span><br />
+</p>
+
+
+<p><a name="Note_11" id="Note_11"></a>Note 11.</p>
+
+<p>Irus was the beggar of the Odyssey who ran messages for the suitors of
+Penelope. The obol referred to is the small coin placed between the lips
+of the dead to pay the toll to the ferryman of Hades.</p>
+
+
+<p><a name="Note_12" id="Note_12"></a>Note 12.</p>
+
+<p>It is interesting to know from the evidence of Alpheus, who visited the
+sites of the Homeric cities, that nearly two thousand years ago the site
+of Mycenae was just as it remained until the excavations of Schliemann.</p>
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
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diff --git a/old/35907.txt b/old/35907.txt
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+The Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Love, Worship and Death
+       Some Renderings from the Greek Anthology
+
+Author: Rennell Rodd
+
+Release Date: April 19, 2011 [EBook #35907]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LOVE, WORSHIP AND DEATH ***
+
+
+
+
+Produced by Andrea Ball & Marc D'Hooghe at
+http://www.freeliterature.org (From images generously made
+available by the Internet Archive.)
+
+
+
+
+
+LOVE, WORSHIP AND DEATH
+
+Some renderings from the Greek Anthology
+
+BY
+
+SIR RENNELL RODD
+
+
+AUTHOR OF
+
+'BALLADS OF THE FLEET'
+
+'THE VIOLET CROWN,' ETC.
+
+
+
+LONDON
+
+EDWARD ARNOLD
+
+1916
+
+
+
+
+INTRODUCTION
+
+
+Among the many diverse forms of expression in which the Greek genius has
+been revealed to us, that which is preserved in the lyrics of the
+anthology most typically reflects the familiar life of men, the thought
+and feeling of every day in the lost ancient world. These little flowers
+of song reveal, as does no other phase of that great literature, a
+personal outlook on life, kindly, direct and simple, the tenderness
+which characterised family relations, the reciprocal affection of master
+and slave, sympathy with the domestic animals, a generous sense of the
+obligations of friendship, a gentle piety and a close intimacy with the
+nature gods, of whose presence, malignant or benign, the Greek was ever
+sensitively conscious. For these reasons they still make so vivid an
+appeal to us after a long silence of many centuries. To myself who have
+lived for some years in that enchanted world of Greece, and have sailed
+from island to island of its haunted seas, the shores have seemed still
+quick with the voices of those gracious presences who gave exquisite
+form to their thoughts on life and death, their sense of awe and beauty
+and love. There indeed poetry seems the appropriate expression of the
+environment, and there even still to-day, more than anywhere else in the
+world, the correlation of our life with nature may be felt
+instinctively; the human soul seems nearest to the soul of the world.
+
+The poems, of which some renderings are here offered to those who cannot
+read the originals, cover a period of about a thousand years, broken by
+one interval during which the lesser lyre is silent. The poets of the
+_elegy_ and the _melos_ appear in due succession after those of the
+_epic_ and, significant perhaps of the transition, there are found in
+the first great period of the lyric the names of two women, Sappho of
+Lesbos, acknowledged by the unanimous voice of antiquity, which is
+confirmed by the quality of a few remaining fragments, to be among the
+greatest poets of all times, and Corinna of Tanagra, who contended with
+Pindar and rivalled Sappho's mastery. The canon of Alexandria does not
+include among the nine greater lyrists the name of Erinna of Rhodes, who
+died too young, in the maiden glory of her youth and fame. The earlier
+poets of the _melos_ were for the most part natives of
+
+                    'the sprinkled isles,
+     Lily on lily that overlace the sea.'
+
+Theirs is the age of the austerer mood, when the clean-cut marble
+outlines of a great language matured in its noblest expression. Then a
+century of song is followed by the period of the dramatists during which
+the lyric muse is almost silent, in an age of political and intellectual
+intensity.
+
+A new epoch of lyrical revival is inaugurated by the advent of
+Alexander, and the wide extension of Hellenic culture to more distant
+areas of the Mediterranean. Then follows the long succession of poets
+who may generally be classified as of the school of Alexandria. Among
+them are three other women singers of high renown, Anyte of Tegea,
+Nossis of Locri in southern Italy, and Moero of Byzantium. The later
+writers of this period had lost the graver purity of the first lyric
+outburst, but they had gained by a wider range of sympathy and a closer
+touch with nature. This group may be said to close with Meleager, who
+was born in Syria and educated at Tyre, whose contact with the eastern
+world explains a certain suggestive and exotic fascination in his poetry
+which is not strictly Greek. The Alexandrian is followed by the Roman
+period, and the Roman by the Byzantine, in which the spirit of the muse
+of Hellas expires reluctantly in an atmosphere of bureaucratic and
+religious pedantry.
+
+These few words of introduction should suffice, since the development of
+the lyric poetry of Greece and the characteristics of its successive
+exponents have been made familiar to English readers in the admirable
+work of my friend J.W. Mackail. A reference to his _Select Epigrams from
+the Greek Anthology_ suggests one plea of justification for the present
+little collection of renderings, since the greater number of them have
+been by him translated incomparably well into prose.
+
+Of the quality of verse translation there are many tests: the closeness
+with which the intention and atmosphere of the original has been
+maintained; the absence of extraneous additions; the omission of no
+essential feature, and the interpretation, by such equivalent as most
+adequately corresponds, of individualities of style and assonances of
+language. But not the least essential justification of poetical
+translation is that the version should constitute a poem on its own
+account, worthy to stand by itself on its own merits if the reader were
+unaware that it was a translation. It is to this test especially that
+renderings in verse too often fail to conform. I have discarded not a
+few because they seemed too obviously to bear the forced expression
+which the effort to interpret is apt to induce. Of those that remain
+some at least I hope approach the desired standard, failing to achieve
+which they would undoubtedly be better expressed in simple prose. And
+yet there is a value in rendering rhythm by rhythm where it is possible,
+and if any success has been attained, such translations probably convey
+more of the spirit of the original, which meant verse, with all which
+that implies, and not prose.
+
+The arrangement in this little volume is approximately chronological in
+sequence. This should serve to illustrate the severe and restrained
+simplicity of the earlier writers as contrasted with the more complex
+and conscious thought, and the more elaborate expression of later
+centuries when the horizons of Hellenism had been vastly extended.
+
+The interpretation of these lyrics has been my sole and grateful
+distraction during a period of ceaseless work and intense anxiety in the
+tragic years of 1914 and 1915.
+
+R.R.
+
+
+
+
+INDEX OF AUTHORS
+
+
+MIMNERMUS--CARPE DIEM
+
+SAPPHO--
+  I. A BITTER WORD
+  II. THE BELOVED PRESENCE
+  III. HESPER
+  IV. OUT OF REACH
+
+ANACREONTICA--
+  I. LOVE'S CHALLENGE
+  II. BACCHANAL
+  III. HER PORTRAIT
+  IV. METAMORPHOSIS
+  V. APOLOGIA
+
+UNKNOWN--ANACREON'S GRAVE
+
+SIMONIDES--
+  I. ON THE SPARTANS
+  II. ON THE ATHENIANS
+
+PLATO--
+  I. A GRAVE IN PERSIA
+  II. STARWORSHIP
+  III. THE UNSET STAR
+  IV. LAIS
+
+PERSES--A RUSTIC SHRINE
+
+ANYTE OF TEGEA--
+  I. A SHRINE BY THE SEA
+  II. THE GOD OF THE CROSS-ROADS
+
+ADDAEUS--THE ANCIENT OX
+
+ASCLEPIADES--THE PRAISE OF LOVE
+
+MICIAS--A WAYSIDE FOUNTAIN
+
+CALLIMACHUS--CAST UP BY THE SEA
+
+NOSSIS--
+  I. ROSES OF CYPRIS
+  II. RINTHO'S GRAVE
+
+LEONIDAS OF TARENTUM--
+  I. ERINNA
+  II. THE FOUNTAIN HEAD
+
+DIONYSUS--THE ROSE OF YOUTH
+
+DAMAGETUS--THEANO
+
+ARCHIAS--
+  I. THE HARBOUR GOD
+  II. A GRAVE BY THE SEA
+
+MELEAGER--
+  I. LOVE'S QUIVER
+  II. THE CUP
+  III. ZENOPHILE
+  IV. LOVE AND DEATH
+  V. LOVE'S MALICE
+  VI. ASCLEPIAS
+  VII. HELIODORA
+  VIII. THE WREATH
+  IX. LIBATION
+  X. THE GRAVE OF HELIODORA
+  XI. HIS EPITAPH
+
+CRINAGORAS--ROSES IN WINTER
+
+JULIUS POLYAENUS--
+  AN EXILE'S PRAYER
+
+ANTIPATER OF THESSALONICA--
+  A GRAVE AT OSTIA
+
+UNKNOWN--
+  FRIENDSHIP'S EPITAPH
+
+UNKNOWN--
+  THE COUNSEL OF PAN
+  BENITIER
+  THE END OF THE COMEDY
+
+STRATO--THE KISS
+
+AMMIANUS--THE LORD OF LANDS
+
+ALPHEUS--MYCENAE
+
+MACEDONIUS--THE THRESHOLD
+
+NOTES
+
+
+
+     MIMNERMUS
+
+     7TH CENTURY B.C.
+
+
+
+     CARPE DIEM
+
+
+     Hold fast thine youth, dear soul of mine, new lives will come to birth,
+     And I that shall have passed away be one with the brown earth.
+
+
+
+
+     SAPPHO
+
+     7TH AND 6TH CENTURY B.C.
+
+
+
+     I
+
+     A BITTER WORD
+
+
+     Dying thou shalt lie in nothingness, nor after
+     Love shall abide here nor memory of thee;
+     For thou hast no portion in the roses of Pieria;
+     But even in the nether world obscurely shalt thou wander
+     Flitting hither thither with the phantoms of the dead.
+
+
+     Note 1
+
+
+
+     II
+
+     THE BELOVED PRESENCE
+
+
+     Blest as the Gods are esteem I him who alway
+     Sits face to face with thee and watching thee forgoes not
+     The voice that is music and the smile that is seduction,
+                 Smile that my heart knows
+     Fluttered in its chambers. For lo, when I behold thee
+     Forthwith my voice fails, my tongue is tied in silence,
+     Flame of fire goes through me, my ears are full of murmur,
+                 Blinded I see naught:
+     Sweat breaketh forth on me, and all my being trembles,
+     Paler am I grown than the pallor of the dry grass,
+     Death seemeth almost to have laid his hand upon me.--
+                      Then I dare all things.
+
+
+     Note 2
+
+
+
+     III
+
+     HESPER
+
+
+     Thou, Hesper, bringest homeward all
+       That radiant dawn sped far and wide:
+     The sheep to fold, the goat to stall,
+       The children to their mother's side.
+
+
+
+     IV
+
+     OUT OF REACH
+
+
+     Like the apple that ripens rosy at the end of a branch on high,
+       At the utmost end of the utmost bough,
+       Which those that gather forgot till now.
+     Nay, did not forget, but only they never might come thereby.
+
+
+
+
+     ANACREONTICA
+
+     ANACREON, 6TH CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S CHALLENGE
+
+
+     Love smote me with his jacinth wand and challenged me to race,
+     And wore me down with running till the sweat poured off my face,
+     Through breaks of tangled woodland, by chasms sheer to scale,
+     Until my heart was in my lips and at the point to fail.
+     Then as I felt his tender wings brush lightly round my head,
+     ''Tis proven that thou lackest the strength to love,' he said.
+
+
+     Note 3
+
+
+
+     II
+
+     BACCHANAL
+
+
+     When Bacchus hath possessed me my cares are lulled in wine,
+     And all the wealth of Croesus is not more his than mine:
+     I crown my head with ivy, I lift my voice to sing,
+     And in my exultation seem lord of every thing.
+     So let the warrior don his arms, give me my cup instead,
+     If I must lie my length on earth, why better drunk than dead.
+
+
+
+     III
+
+     HER PORTRAIT
+
+
+     Master of all the craftsmen,
+       Prince of the Rhodian art,
+     Interpret, master craftsman,
+       Each detail I impart,
+     And draw as were she present
+       The mistress of my heart.
+
+     First you must match those masses
+       Of darkly clustered hair,
+     And if such skill be in your wax
+       The scent that harbours there;
+     And where the flowing tresses cast
+       A warm-toned shadow, trace
+     A forehead white as ivory,
+       The oval of her face.
+     Her brows you must not quite divide
+       Nor wholly join, there lies
+     A subtle link between them
+       Above the dark-lashed eyes.
+     And you must borrow flame of fire
+       To give her glance its due,
+     As tender as Cithera's
+       And as Athena's blue.
+     For cheek and nostril rose-leaves
+       And milk you shall enlist,
+     And shape her lips like Peitho's
+       Inviting to be kissed.
+     Let all the Graces stay their flight
+       And gather round to deck
+     The outline of her tender chin,
+       The marble of her neck.
+     And for the rest--bedrape her
+       In robe of purple hue,
+     With here and there to give it life
+       The flesh tint peeping through.
+     Now hold thy hand,--for I can see
+       The face and form I seek,
+     And surely in a moment's space
+       I think your wax will speak.
+
+
+     Note 4
+
+
+
+     IV
+
+     METAMORPHOSIS
+
+
+     If she who, born to Tantalus,
+       As Niobe we know,
+     Was turned to stone among the hills
+       Of Phrygia long ago;
+     If Proene by such magic change
+       Was made a bird that flies,
+     Let me become the mirror
+       That holds my lady's eyes!
+     Or let me be the water
+       In which your beauty bathes,
+     Or the dress which clinging closely
+       Your gracious presence swathes;
+     Or change me to the perfume
+       You sprinkle on your skin,
+     Or let me be the pearl-drop
+       That hangs beneath your chin;
+     And if not these the girdle
+       You bind below your breast;
+     Or be at least the sandal
+       Your little foot hath pressed.
+
+
+
+     V
+
+     APOLOGIA
+
+
+     The brown earth drinks from heaven, and from the earth the tree,
+     The sea drinks down the vapour, and the sun drinks up the sea,
+     The moon drinks in the sunlight; now therefore, comrades, say
+     What fault have you to find in me if I would drink as they?
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     ANACREON'S GRAVE
+
+
+     You that pass this place of graves
+       Pause and spill a cup for me,
+     For I hold Anacreon's ashes,
+       And would drink as once would he.
+
+
+
+
+     SIMONIDES
+
+     556-467 B.C.
+
+
+
+     _THE PLATAEAN EPITAPHS_
+
+
+
+     I
+
+     ON THE SPARTANS
+
+
+     These who with fame eternal their own dear land endowed
+     Took on them as a mantle the shade of death's dark cloud;
+     Yet dying thus they died not, on whom is glory shed
+     By virtue which exalts them above all other dead.
+
+
+
+     II
+
+     ON THE ATHENIANS
+
+
+     If to die nobly be the meed that lures the noblest mind,
+     Then unto us of all men in this was fortune kind.
+     For Greece we marched, that freedom's arm should ever round her fold;
+     We died, but gained for guerdon renown  that grows not old.
+
+
+
+
+     PLATO
+
+     429-347 B.C.
+
+
+
+     I
+
+     A GRAVE IN PERSIA
+
+
+     Far from our own AEgean shore
+       And the surges booming deep,
+     Here where Ecbatana's great plain
+       Lies broad, we exiles sleep.
+     Farewell, Eretria the renowned,
+       Where once we used to dwell;
+     Farewell, our neighbour Athens;
+       Beloved sea, farewell!
+
+
+     Note 5
+
+
+
+     II
+
+     STARWORSHIP
+
+
+     Thou gazest starward, star of mine, whose heaven I fain would be,
+     That all my myriad starry eyes might only gaze on thee.
+
+
+
+     III
+
+     THE UNSET STAR
+
+
+     Star that didst on the living at dawn thy lustre shed,
+     Now as the star of evening thou shinest with the dead!
+
+
+
+     IV
+
+     LAIS
+
+
+     I that through the land of Hellas
+       Laughed in triumph and disdain,
+     Lais, of whose open porches
+       All the love-struck youth were fain,
+     Bring the mirror once I gazed in,
+       Cyprian, at thy shrine to vow,
+     Since I see not there what once was,
+       And I would not what is now.
+
+
+
+
+     PERSES
+
+     4TH CENTURY B.C.
+
+
+
+     A RUSTIC SHRINE
+
+
+     I am the god of the little things,
+       In whom you will surely find,
+     If you call upon me in season,
+       A little god who is kind.
+     You must not ask of me great things,
+       But what is in my control,
+     I, Tychon, god of the humble,
+       May grant to a simple soul.
+
+
+     Note 6
+
+
+
+
+     ANYTE OF TEGEA
+
+     4TH CENTURY B.C.
+
+
+
+     I
+
+     A SHRINE BY THE SEA
+
+
+     This is the Cyprian's holy ground,
+       Who ever loves to stand
+     Where she can watch the shining seas
+       Beyond the utmost land;
+     That sailors on their voyages
+       May prosper by her aid,
+     Whose radiant effigy the deep
+       Beholding is afraid.
+
+
+
+     II
+
+     THE GOD OF THE CROSS-ROADS
+
+
+     I, Hermes, by the grey sea-shore,
+       Set where the three roads meet,
+     Outside the wind-swept garden,
+       Give rest to weary feet;
+     The waters of my fountain
+       Are clear, and cool, and sweet.
+
+
+
+
+     ADDAEUS
+
+     4TH CENTURY B.C.
+
+
+
+     THE ANCIENT OX
+
+
+     The ox of Alcon was not led to the slaughter when at length
+     Age and the weary furrow had sapped his olden strength.
+     His faithful work was honoured, and in the deep grass now
+     He strays and lows contentment, enfranchised from the plough.
+
+
+
+
+     ASCLEPIADES
+
+     3RD CENTURY B.C.
+
+
+
+     THE PRAISE OF LOVE
+
+
+     Sweet is the snow in summer thirst to drink, and sweet the day
+     When sailors see spring's garland bloom and winter pass away.
+     But the sweetest thing on earth is when, one mantle for their cover,
+     Two hearts recite the Cyprian's praise as lover unto lover.
+
+
+
+
+     MICIAS
+
+     3RD CENTURY B.C.
+
+
+
+     A WAYSIDE FOUNTAIN
+
+
+     Rest here beneath the poplars,
+       When tired with travelling,
+     And drawing nigh refresh you
+       With water from our spring.
+     So may you keep in memory
+       When under other skies
+     The fount his father Simus set
+       By the grave where Gillus lies.
+
+
+
+
+     CALLIMACHUS
+
+     3RD CENTURY B.C.
+
+
+
+     CAST UP BY THE SEA
+
+
+     Who were you, shipwrecked sailor? The body that he found,
+     Cast on the beach, Leontichus laid in this burial mound;
+     And mindful of his own grim life he wept, for neither he
+     May rest in peace who like a gull goes up and down the sea.
+
+
+
+
+     NOSSIS
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ROSES OF CYPRIS
+
+
+     Of all the world's delightful things most sweet is love. The rest,
+     Ay, even honey in the mouth, are only second best.
+     This Nossis saith. And only they the Cyprian loves may know
+     The glory of the roses that in her garden grow.
+
+
+
+     II
+
+     RINTHO'S GRAVE
+
+
+     Give me a hearty laugh, and say
+     A friendly word and go thy way.
+     Rintho was I of Syracuse,
+     A modest song bird of the muse,
+     Whose tears and smiles together sown
+     Have born an ivy all my own.
+
+
+     Note 7
+
+
+
+
+     LEONIDAS OF TARENTUM
+
+     3RD CENTURY B.C.
+
+
+
+     I
+
+     ERINNA
+
+
+     The lyric maid Erinna, the poet-bee that drew
+     The honey from the rarest blooms the muses' garden grew,
+     Hath Hades snatched to be his bride. Mark where the maiden saith,
+     Prophetic in her wisdom, 'How envious art thou, Death!'
+
+
+     Note 8
+
+
+
+     II
+
+     THE FOUNTAIN HEAD
+
+
+     Pause not here to drink thy fill
+     Where the sheep have stirred the rill,
+     And the pool lies warm and still--
+     Cross yon ridge a little way,
+     Where the grazing heifers stray,
+     And the stone-pine's branches sway
+     O'er a creviced rock below;
+     Thence the bubbling waters flow
+     Cooler than the northern snow.
+
+
+
+
+     DIONYSUS
+
+     2ND CENTURY B.C. (?)
+
+
+     THE ROSE OF YOUTH
+
+
+     Girl with the roses and the grace
+     Of all the roses in your face,
+     Are you, or are the blooms you bear,
+     Or haply both your market ware?
+
+
+
+
+     DAMAGETUS
+
+     2ND CENTURY B.C.
+
+
+
+     THEANO
+
+
+     These words, renowned Phocaea, were the last Theano said,
+     As she went down into the night that none hath harvested.
+     Hapless am I, Apellichus, beloved husband mine,
+     Where in the wide, wide waters is now that bark of thine?
+     My doom hath come upon me, and would to God that I
+     Had felt my hand in thy dear hand on the day I had to die.
+
+
+
+
+     ARCHIAS
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+
+     THE HARBOUR GOD
+
+
+     Me, Pan, whose presence haunts the shore,
+       The fisher folk set here,
+     To guard their haven anchorage
+       On the cliff that they revere;
+     And thence I watch them cast the net
+       And mind their fishing gear.
+     Sail past me, traveller: for I send
+       The gentle southern breeze,
+     Because of this their piety,
+       To speed thee over seas.
+
+
+
+     II
+
+
+
+     A GRAVE BY THE SEA
+
+
+     I, shipwrecked Theris, whom the tide
+       Flung landward from the deep,
+     Not even dead may I forget
+       The shores that know not sleep.
+     Beneath the cliffs that break the surf
+       My body found a grave,
+     Dug by the hands of stranger men,
+       Beside the cruel wave:
+     And still ill-starred among the dead
+       I hear for evermore
+     The hateful booming of the seas
+       That thunder on the shore.
+
+
+
+
+     MELEAGER
+
+     1ST CENTURY B.C.
+
+
+
+     I
+
+     LOVE'S QUIVER
+
+
+     By Heliodora's sandalled foot, and Demo's waving hair,
+     By Dorothea's wreath of blooms unbudding to the air,
+     By Anticlea's winsome smile and the great eyes of her,
+     And by Timarion's open door distilling scent like myrrh,
+     I know the god of love has spent his arrows winged to smart,
+     For all the shafts his quiver held I have them in my heart.
+
+
+
+     II
+
+     THE CUP
+
+
+     The cup takes heart of gladness, whose boast it is to be
+     Sipped by the mouth of love's delight, soft-voiced Zenophile.
+     Most favoured cup! I would that she with lips to my lips pressed
+     Would drink the soul in one deep draught, that is my body's guest.
+
+
+
+     III
+
+     ZENOPHILE
+
+
+     Sweet is the music of that air, by Pan of Arcady,
+     Thou drawest from the harpstrings, too sweet, Zenophile;
+     The thronging loves on every side close in and press me nigh,
+     And leave me scarce a breathing space, so whither can I fly?
+     Is it thy beauty or thy song that kindles my desire,
+     Thy grace, or every thing thou art? For I am all on fire.
+
+
+
+     IV
+
+     LOVE AND DEATH
+
+
+     Friend Cleobulus, when I die
+       Who conquered by desire,
+     Abandoned in the ashes lie
+       Of youth's consuming fire,
+     Do me this service, drench in wine
+       The urn you pass beneath,
+     And grave upon it this one line,
+       'The gift of Love to Death.'
+
+
+
+     V
+
+     LOVE'S MALICE
+
+
+     Cruel is Love, ah cruel, and what can I do more
+     Than moaning love is cruel, repeat it o'er and o'er?
+     I know the boy is laughing and pleased that I grow grim,
+     And just the bitter things I say are the bread of life to him.
+     But you that from the grey-green wave arising, Cyprian, came,
+     'Tis strange that out of water you should have borne a flame.
+
+
+
+     VI
+
+     ASCLEPIAS
+
+
+     Like the calm sea beguiling with those blue eyes of hers,
+     Asclepias tempteth all men to be love's mariners.
+
+
+
+     VII
+
+     HELIODORA
+
+
+     Say Heliodore, and Heliodore, and still say Heliodore,
+     And let the music of her name mix with the wine you pour.
+     And wreath me with the wreath she wore, that holds the scent of myrrh,
+     For all that it be yesterday's, in memory of her.
+     The rose that loveth lovers, the rose lets fall a tear
+     Because my arms are empty, because she is not here.
+
+
+
+     VIII
+
+     THE WREATH
+
+
+     White violet with the tender-leaved narcissus I will twine,
+     And the laughing lips of lilies with myrtle blooms combine;
+     And I will bind the hyacinth, the dark red-purple flower,
+     With crocus sweet and roses that are the lovers' dower,
+     To make the wreath that Heliodore's curl-scented brow shall wear,
+     To strew with falling petals the glory of her hair.
+
+
+
+     IX
+
+     LIBATION
+
+
+     Pour out as if for Peitho, and for the Cyprian pour,
+     Then for the sweet-voiced Graces, but all for Heliodore;
+     For there is but one goddess whose worship I enshrine,
+     And blent with her beloved name I drink the virgin wine.
+
+
+
+     X
+
+     THE GRAVE OF HELIODORA
+
+
+     Tears for thee, Heliodore, and bitter tears to shed,
+     If all that love has left to give can reach thee with the dead;
+     Here at thy grave I offer, that tear-drenched grave of thine,
+     Libation of my longing before affection's shrine.
+     Forlorn I mourn thee, dearest, in the land where shadows dwell,
+     Forlorn, and grudge the tribute death could have spared so well.
+     Where is the flower I cherished? Plucked by the god of doom;
+     Plucked, and his dust has tarnished the scarce unbudded bloom.
+     I may but pray thee, mother earth, who givest all thy best,
+     Clasp her I mourn for ever close to thy gentle breast.
+
+
+
+     XI
+
+     HIS EPITAPH
+
+
+     Tread softly, ye that pass, for here
+       The old man rests his head,
+     And sleeps the sleep that all men must
+       Among the honoured dead.
+     Meleager, son of Eucrates,
+       Who linked the joyous train
+     Of Graces and of Muses
+       With love's delicious pain.
+     From Gadara, the sacred land,
+       I came and god-built Tyre,
+     But Meropis and pleasant Cos
+       Consoled life's waning fire.
+     If thou be Syrian, say Salaam,
+       Or Hail, if Greek thou be,
+     Say Naidios, if Phoenician born,
+       For all are one to me.
+
+
+
+
+     CRINAGORAS
+
+     1ST CENTURY B.C.
+
+
+
+     ROSES IN WINTER
+
+
+     In spring it was we roses
+       Were used to bloom of old,
+     Who now in midmost winter
+       Our crimson cells unfold,
+     To greet thee on the birthday
+       That shall thy bridal bring.
+     'Tis more to grace so fair a brow
+       Than know the suns of spring.
+
+
+
+
+     JULIUS POLYAENUS
+
+     1ST CENTURY B.C.
+
+
+
+     AN EXILE'S PRAYER
+
+
+     Among the myriad voices that seek to win thine ear
+     From those whose prayers are granted, from those who pray in fear,
+     O Zeus of Scheria's holy plain, let my voice reach thee too,
+     And hearken and incline the brow that binds thy promise true.
+     Let my long exile have an end, my toil and travel past,
+     Grant me in my own native land to live at rest at last!
+
+
+
+
+     ANTIPATER OF THESSALONICA
+
+     1ST CENTURY B.C.
+
+
+
+     A GRAVE AT OSTIA
+
+
+     Ausonian earth contains me
+       That was a Libyan maid,
+     And in the sea's sand hard by Rome
+       My virgin form was laid.
+     Pompeia with a mother's care
+       Watched o'er my tender years,
+     Entombed me here among the free,
+       And gave me many tears.
+     Not as she prayed the torch was fired,
+       She would have burned for me;
+     The lamp which took the torch's place
+       Was thine, Persephone.
+
+
+
+
+     AUTHOR UNKNOWN
+
+
+
+     FRIENDSHIP'S EPITAPH
+
+
+     This stone, my good Sabinus, although it be but small,
+     Shall be of our great friendship a witness unto all.
+     Ever shall I desire thee, and thou, if this may be,
+     Forbear to drink among the dead the lethe-draft for me.
+
+
+     Note 9
+
+
+
+     THE COUNSEL OF PAN
+
+
+     In this green meadow, traveller, yield
+       Thy weary limbs to rest:
+     The branches of the stone pine sway
+       To the wind from out the west;
+     The cricket calls, and all noon long
+       The shepherd's piping fills
+     The plane-grove's leafy shadows
+       By the spring among the hills.
+     Soothed by these sounds thou shalt avoid
+       The dogstar's autumn fires,
+     And then to-morrow cross the ridge;--
+       Such wisdom Pan inspires.
+
+
+
+     BENITIER
+
+
+     Touch but the virgin water, clean of soul,
+       Nor fear to pass into the pure god's sight:
+     For the good a drop suffices. But the whole
+       Great ocean could not wash the unclean white.
+
+
+
+     THE END OF THE COMEDY
+
+
+     Fortune and Hope, a long adieu!
+       My ship is safe in port.
+     With me is nothing left to do,
+       Make other lives your sport.
+
+
+     Note 10
+
+
+
+
+     STRATO
+
+     2ND CENTURY A.D.
+
+
+
+     THE KISS
+
+
+     It was at even and the hour in which good-nights are bid
+     That Moeris kissed me, if indeed I do not dream she did.
+     Of all the rest that happened there is naught that I forget,
+     No word she said, no question of all she asked,--and yet
+     If she indeed did kiss me, my doubt can not decide,
+     For how could I still walk the earth had I been deified!
+
+
+
+
+     AMMIANUS
+
+     2ND CENTURY A.D.
+
+
+
+     THE LORD OF LANDS
+
+
+     Though till the gates of Heracles thy land-marks thou extend,
+     Their share in earth is equal for all men at the end;
+     And thou shalt lie as Irus lies, one obol all thy store,
+     And be resolved into an earth that is thine own no more.
+
+
+     Note 11
+
+
+
+
+     ALPHEUS
+
+     2ND CENTURY A.D.
+
+
+
+     MYCENAE
+
+
+     The cities of the hero age thine eyes may seek in vain,
+     Save where some wrecks of ruin still break the level plain.
+     So once I saw Mycenae, the ill-starred, a barren height
+     Too bleak for goats to pasture,--the goat-herds point the site.
+     And as I passed a greybeard said, 'Here used to stand of old
+     A city built by giants, and passing rich in gold.'
+
+
+     Note 12
+
+
+
+
+     MACEDONIUS
+
+     6TH CENTURY A.D.
+
+
+
+     THE THRESHOLD
+
+
+     Spirit of Birth, that gave me life,
+       Earth, that receives my clay,
+     Farewell, for I have travelled
+       The stage that twixt you lay.
+     I go, and have no knowledge
+       From whence I came to you,
+     Nor whither I shall journey,
+       Nor whose I am, nor who.
+
+
+
+
+NOTES
+
+
+Note 1.
+
+In this, No. 68 of the Sappho fragments, I have followed the reading
+
+[Greek: katthanoisa de keiseai oude pota mnamosoena
+            sethen
+        esset' oud' eros eis oesteron]
+
+rather than
+
+[Greek: katthanoisa de keiseai pota, koou mnamosoena sethen.
+        esset' oute tot' out' oesteron]
+
+    'Dying thou shalt lie in nothingness, nor of
+    thee
+    There nor thereafter shall memory abide.'
+
+
+Note 2.
+
+A portion of this fragment was adopted by Catullus.
+
+
+Note 3.
+
+Anacreon's date is 563-478 B.C. It must, alas, be admitted that the
+poems attributed to him are, with the exception of a few fragments, all
+of them dubious and most of them certainly spurious. He had a great
+number of imitators down to a much later time, and a considerable number
+of the pseudo-Anacreontic poems are preserved in an appendix to the
+Palatine anthology. It may be assumed that some of them reflect a
+portion of his spirit, and many of them are graceful in conceit and
+beautiful in form. The specimens here given must be classed upon the
+productions of his later imitators, although they are inserted in the
+place where in chronological order the real Anacreon would have
+followed.
+
+
+Note 4.
+
+The portraiture of the Greeks was executed with tinted wax, and not with
+colours rendered fluid by a liquid or oily medium. The various tints and
+tones of wax were probably laid on with the finger tips or with a
+spatula.
+
+
+Note 5.
+
+There was more than one Plato, but the great Plato is evidently referred
+to in the prefatory poem of Meleager as included among the poets of his
+anthology.
+
+Captives from Eretria were established in a colony in Persia by Darius
+after the first Persian war. The colony at Ardericca was, however,
+hundreds of miles from Ecbatana.
+
+If the epigram on Lais is not attributed to the great Plato by the most
+competent authorities, the dates of the two famous courtesans who bore
+the name would not exclude the possibility of his being the author.
+
+
+Note 6.
+
+Tychon is identified with Priapus.
+
+
+Note 7.
+
+Rintho founded a new school of serio-comic drama about 300 B.C. The ivy
+was sacred to Dionysus, in whose worship the drama had its origin.
+
+
+Note 8.
+
+Also attributed to Meleager. The phrase, [Greek: Baskanos ess' Aida],
+here quoted is from Erinna's lament for Baucis, one of the rare
+surviving lyrics of the Rhodian poetess.
+
+
+Note 9.
+
+The anonymous epigrams here inserted are probably not in their proper
+chronological places. But as they could not be definitely assigned to
+any date I have placed them between the two categories of B.C. and A.D.
+
+
+
+Note 10.
+
+There is a Latin version of this epigram on a tomb in the pavement of a
+church in Rome (S. Lorenzo in Panisperna).
+
+    Inveni portum, spes et fortuna valete,
+      Nil mihi vobiscum, ludite nunc alios.
+
+
+Note 11.
+
+Irus was the beggar of the Odyssey who ran messages for the suitors of
+Penelope. The obol referred to is the small coin placed between the lips
+of the dead to pay the toll to the ferryman of Hades.
+
+
+Note 12.
+
+It is interesting to know from the evidence of Alpheus, who visited the
+sites of the Homeric cities, that nearly two thousand years ago the site
+of Mycenae was just as it remained until the excavations of Schliemann.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Love, Worship and Death, by Rennell Rodd
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