Find Me Somebody to Love: A 12th century Love Poem

Tela, Cupido, tene, quoniam non ille nec illa

sustinet esse meus, vel mea. Tele tene,

tela tene! Quid amo? Quod amat? Non absit. At huius

quod fugit, huius ero? Non ero. Tele tene,

tela tene! Quia non teneo quod amo tenuisse.

An dixi quod amo? Non amo! Tela tene,

tela tene, vel tange parem. Nec feceris imo,

dico tibi, sine! Vel tange, Cupido, parem.

--Ellis, R. Epigrammata Codicis Bodleiani Rawl. BN 109 #2. Published in Anecdota Oxoniensia Vol 1, Part 5.  (1885) p. 17.

 

 

Cupid, hold your fire!

For neither my boyfriend

Nor my girlfriend

stays true to me.

Hold your fire, hold your fire!

What’s my type? A person who loves!

May I find one soon.

But should I date someone

Who ghosts me? NOPE!

Hold your fire, hold your fire!

For I will not cherish a person

who I’d “love that I had dated once.”

Did I just say “a person I love”?

Nope! I’m not in love.

Hold your fire,  hold your fire,

Or find me an equal.

Please don’t do this—I’m telling you—please stop!

Or, Cupid,

 find me an equal.

  

Friends Till The End: Martial 1.93

Roman men often had deep, loving and affectionate friendships with their peers. There was no shame or stigma in expressing love and support to one another.

Fabricio iunctus fido requiescit Aquinus,

qui prior Elysias gaudet adisse domos.

Ara duplex primi testatur munera pili:

plus tamen est, titulo quod breviore legis:

"iunctus uterque sacro laudatae foedere vitae,

famaque quod raro novit: amicus erat." 

--Martial, Epigrams 1.93 

Aquinus is buried next to his faithful Fabricius,

Who happily entered Heaven before him.

A double tombstone attests that both attained primus pilus [head centurion]

But, what’s more, is the inscription:

“Both are joined in a sacred relationship of a blessed life,

And something even more blessed: they were friends.”

 

MARTIAL	MAP:
Name: Marcus Valerius Martialis Date:  40 CE – 104 CE Works:  Epigrammaton Libri XV*                De Spectaculis	REGION  2 (Hispania)
BIO:	Timeline:
Originally from Bilbilis, Hispania, the poet Martial moved to Rome in the 60s CE to advance his career. His two extant works include de Spectaculis, a collection of poems written to commemorate the opening of the Colosseum, and a fifteen volume collection of epigrams. These epigrams provide valuable insight into the mores and private lives of men and women from all of the city’s social classes.	SILVER AGE ROME

 

W/W: Remember Me, Delicate Rose: A Medieval Love Poem

G unicae suae rosae

A vinculum dilectionis preciosae.

Quae est fortitudo mea, ut sustineam,

ut in tuo discessu pacientiam habeam?

Numqud fortitudo mea fortitudo est lapidum,

ut tuum esspectem reditum?

Quae nocte et die non cesso dolere,

velut qui caret manu et pede.

Omne quod iocundum est et delectabile

absque te habetur ut lutum pedum calcabile,

pro gaudere duco fletus

numquam animus meus apparet laetus.

Dum recordor quae dedisti oscula,

et quam iocundis verbis refrigerasti pectuscula,

mori libet

quod te videre non licet.

quid faciam miserrima?

quo me vertam paurperrima?

o si corpus meum terrae fuisset creditum

usque ad optatum tuum reditum,

aut si translatio mihi occederet Abaccuc

ut semel venissem illluc,

ut vultum amantis inspexissem,

et tunc non curarem si ipsa hora mortua fuissem!

nam in mundo non est nata

quae tam amabilis sit et grata,

et quae sine simulatione

tam intima me diligat dilectione.

unde sine fine non cesso dolere

donec te merear videre.

revera iuxta quendam sapientem magna miseria est hominis,

cum illo non esse

sine quo non potest esse.

dum constat orbis

numquam deleberis de medio mei cordis.

quid multis moror?

redi, dulcis amor!

noli iter tuum longius differe,

scias me absentiam tuam diutius non posse suffere.

vale,

meique memorare. 

--[quoted in] Dronke, Peter. Medieval Latin and the Rise of European Love Lyric, Vol  2.479; and Piechl,Helmut and Bergmann, Werner. Die Tegernseer Briefsammlung des 12. Jahrhunderts, p. 356

To her unique rose G,

From A, the bond of precious love.

How can I be strong enough

To endure your leaving?

Isn’t my strength the strength of stone

To wait for your return?

Night and day, I can’t stop grieving

When you’re gone, it feels like I’ve lost a hand and a foot.

When you’re gone, everything that is pleasant and delightful

Is like mud trod upon by my foot.

I turn to weeping instead of joy,

My heart is never happy.

When I recall the kisses you’ve given me,

And how you restored my heart with your happy words,

I’d rather die

Than not see you again.

What will wretched ol’ me do?

Where will poor li’l ol’ me turn?

If only my body were laid to earth

Until your longed-for return occurs,

Or if I could make a trip like Habakkuk

To go where you are,

To see the face of my lover—just once!--

I’d be content to die right then and there.

For no other woman was born in the universe

Who is so lovely and pleasant

Without any fake or pretend aspects

Who loves me with such deep intimacy.

 So I’ll never stop grieving

Until I’m worthy of seeing you again.

According to a certain Wise One,

Mankind’s great Sorrow is to be kept from

The one person you cannot live without.

As long as the world still stands

You will never be taken from the bottom of my heart.

Why do I delay any further?

Return,  sweet love!

Don’t put off your travels any longer,

Remember that I cannot endure your absence any longer,

Goodbye,

Remember me.

 

 

W/W: Sweeter Than Honey: A Medieval Love Letter

C super mel et favum dulciori

B. quidquid amor amori.

O unica et specialis,

cur tamdiu in longinquo moraris?

Cur unicam tuam perire vis,

quae anima et corpore te diligit, ut ipsa scis?

et quea more aviculi esurientis

te suspirat omnibus horis atque momentis.

ex quo enim dulcissima tua presentia contigit me carere

nolui hominem ulterius audire nec videre

sed quasi tutur, perdito masculo

semper in arido residet ramusculo

ita lamentor sine fine

donec iterum fruar tua fide.

circumpspicio et non invenio amantem

ne in uno verbo me consolantem

dum enim iocundissime

allocutionis ac visionis tuae

dulcedinem revolvo in animo

dolore comprimor nimio

nam nil invenio tale.

Quid velim tuae dilectioni comparare,

Quae super mel at favum dulcescit

Et in cuius comparatione auri et argenti nitor vilescit?

quid ultra? in te omnis suavitas et virtus:

idcirco de absentia tua meus semper languet sipirtus.

omnis perfide cares felle

dulcior es lacte et melle

electa es ex milibus

te diligo prae omnibus

tu sola amor et desiderium

tu dulce animi mei refrigerium

nil mihi absque te iocundi.

omne quod tecum erat mihi suave

sine te laboriosum est et grave.

unde dicere volo veraciter

si fieri posset quod vitae pretio te emerem--non segniter.

quia sola es quam elegi secundum cor meum.

idcirco semper obsecro Deum

ne prius me mors preveniat amara

quam visione tua fruar optata et care.

vale

quae sunt omnia fidei et dilectionis de me habe.

quem transmitto accipe stilum

et adhuc animum meum fidum.

--[quoted in] Dronke, Peter. Medieval Latin and the Rise of European Love Lyric, Vol  2.478; and Piechl,Helmut and Bergmann, Werner. Die Tegernseer Briefsammlung des 12. Jahrhunderts, p. 354.

To C, beyond sweeter than honey and honeycomb

From B, whatever love means to a lover.

O unique and special girl,

Why do you stay so far away, and for so long?

Why do you wish for your one & only love to perish,

Who loves you (as you already know) body & soul?

Who longs for you, like a parched little bird

Hopes for you at all hours?

From the moment when I was apart from your sweetest presence

I didn’t want to see or hear another person,

But instead, like a turtledove, when its mate was dead,

Remains perched forever upon a barren branch.

Like this sad little bird, I’ll lament without end

Until once more I can enjoy your company.

I look around, and cannot find my lover

Or any word of consolation.

Instead, I happily run through my mind

The sweetness of your words and beauty,

Undone by my grief,

For I cannot find any such relief.

What can I compare to your love?

It is sweeter than honey and honeycomb,

Even gold and silver is dull in comparison!

Why go on?

In you, is every sweetness and kindness,

And so my spirit wanes in your absence.

You lack even an ounce of the bitterness of infidelity,

You are sweeter than milk and honey.

You are the one I’ve chosen out of thousands of others—

I love you more than everyone!

You alone are my love and my desire

You are the sweet refuge of my soul,

I find no enjoyment in anything else without you.

Everything that is sweet for me by your side

Is tedious and terrible without you here.

And so I want to tell you candidly,

If it were possible for me to afford a life by your side, I wouldn’t hesitate to do so.

Because you alone are the woman I chose in my heart.

And so, I pray to God,

May bitter death not take me away

Before I may enjoy looking at you,

My beloved and dearest one.

Goodbye,

Hold dear the faith and love I bear you,

And accept these words which I write to you,

As well as my still-loyal heart.

 

 

 

 

M/M: I Miss You, Buddy: Ausonius to Paulinus 1.16-19

In a letter to Paulinus, Ausonius complains about his absence by comparing their relationship to other great relationships of mythology:

Impie, Pirithoo disiungere Thesea posses,

Euryalumque suo socium secernere Niso!

Te suadente fugam, Pylades liquisset Orestem,

Nec custodisset Siculus vadimonia Damon!

--Ausonius, Ep. Ausonius Paulino 1.16-19

Faithless one! You’d really break up Pirithous and Theseus?

Separate Euryalus from his Nisus?

You’d convince Pylades to abandon Orestes?

And keep the Sicilian Damon from pledging for Pythias’ escape?

AUSONIUS	MAP:
Name:  Decimius Magnus Ausonius Date:  4th century CE Works:  Letters, Mosella	REGION  2
BIO:	Timeline:
Ausonius was a Roman poet from Aquitania, Gaul [modern France] who lived during the 4th century CE. He is best known for his epic poem Mosella, which describes the Moselle River, and his Epistles, a series of literary poems between himself and the Christian poet Paulinus.	AGE OF CONFLICT

 

Saying Farewell to a Friend: Anth. Lat. 445

Roman men often had deep, loving and affectionate friendships with their peers. There was no shame or stigma in expressing love and support to one another.

 

Ablatus mihi Crispus est, amici

pro quo si pretium dari liceret

nostros dividerem libenter annos.

Nunc pars optima me mei reliquit

Crispus, praesidium meum, voluptas,

pectus, deliciae: nihil sine illo

laetum mens mea iam putabit esse.

Consumptus male debilisque vivam:

plus quam dimidium mei recessit.

 

--Anthologia Latina 445

Friends, my Crispus was taken away from me

If I could give anything to bring him back

I would gladly give half of my life.

Now the best part of me has abandoned me.

Crispus, you were my support, my joy,

My heart, my delight:  

Without him, my mind cannot find anything enjoyable.

I will spend the rest of my life worn out and defeated

Since more than half of me has gone.

M/M: A Medieval version of the Hyacinthus myth, Hildebert of Levardin XIV

et deus et medicus et amans, rescindere frustra

tentans Aebalidae funera, Phoebus ait;

"parcite, di, puero, si non moriatur uterque;

malo sequi puerum quam superesse deum.

Si prohibetis et hoc, sit pars utriusque superstes,

par cadit, ignoscens sic minor esse deo.

Quisque feret laetus propriae dispendia partis,

dum pars ad manes, pars est ad superos."

--Hildebart of Levardin #IV, Phoebus de Interitu Hyacinthi

 

Phoebus, being

A god

A healer

And a lover,

Trying in vain to stop Hyacinth from dying, said,

“Gods, please spare my boyfriend!

If we cannot both die,

I’d rather follow him in death

Than remain living as a god.

If you won’t allow this,

Let part of both of us remain together

And part of us die together,

And I will come to terms with losing my godhood.

Both of us will happily adjust to losing part of ourselves,

While part of us falls to the underworld together,

The other part of us flying hand-in-hands to the stars.”

 

Caeneus in the Underworld: Aeneid 6.440-449

nec procul hinc partem fusi monstrantur in omnem  

Lugentes campi; sic illos nomine dicunt.

hic quos durus amor crudeli tabe peredit

secreti celant calles et myrtea circum

silva tegit; curae non ipsa in morte relinquunt.

his Phaedram Procrinque locis maestamque Eriphylen  

crudelis nati monstrantem vulnera cernit,

Evadnenque et Pasiphaen; his Laodamia

it comes et iuvenis quondam, nunc femina, Caeneus

rursus et in veterem fato revoluta figuram.

--Vergil, Aeneid 6.440-449

Not far from here, spread out all around in every direction were the Mourning Fields; that’s what they’re called. This is where people affected by cursed love waste away. They hide in the narrow foot paths covered in a myrtle forest; even death itself cannot remove their pain. This is where he sees Phaedra, Procris, sad Eriphylis who bears the wounds of her cruel son, as well as Evandne and Pasiphae. Laodamia wanders here as companion to Caeneus—he had been a young man, but now returned by Fate to his previous shape as a woman.

NOTES:

·        Phaedra was cursed by Aphrodite to fall in love with her stepson Hippolytus

·        Procris, afraid her husband was unfaithful to her, followed him while he went out hunting and was accidentally killed by him.

·        Eriphylis betrayed her husband’s whereabouts while he was hiding during the Theban War and was swallowed by the earth

·        Evadne loved her husband so much that she threw herself on her husband’s funeral pyre

·        Pasiphae was cursed by Poseidon to fall in love with a bull after her husband Minos refused to offer him appropriate sacrifices

·        Laodamia loved her husband Protesilaus so much that she threw herself on his funeral pyre

·        What is Caeneus’ durus amor? Is it being the target of Poseidon’s attention and subsequent attack? Although Caeneus has a son (Coronus), there is no mention in extant myths about any love interest / marriage.

 

VERGIL / VIRGIL	MAP:
Name:  Publius Vergilius Maro Date:  70 BCE – 21 BCE Works:  Aeneid*               Eclogues              Georgics	REGION  1
BIO:	Timeline:
Vergil was born in Mantua (Cisalpine Gaul, located in northern Italy) and lived during the tumultuous transition of Roman government from republic to monarchy. His masterpiece, the Aeneid, tells the story of Aeneas’ migration from Troy to Italy; it was used for centuries as the pinnacle of Roman literature.	GOLDEN AGE ROME

 

 

Caeneus in the Underworld: Servius In Aen. 6.445

Vergil conflates the transformation myths of Tiresias (whose body reverts back to his original form) and Caeneus.

 

NUNC FEMINA CAENEUS Caenis virgo fuit, quae a Neptuno pro stupri praemio meruit sexus mutationem. fuit etiam invulnerabilis. qui pugnando pro Lapithis contra Centauros crebris ictibus fustium paulatim fixus in terra est, post mortem tamen in sexum rediit. hoc autem dicto ostendit Platonicum illud vel Aristotelium, animas μετεμψύχωσιν sexum plerumque mutare.

 

--Servius,  In Aen.6.445

 

CAENEUS, NOW A WOMAN: Caenis was a maiden who earned a change of gender as payment for Neptune’s assault against her. He was also invincible. He was driven into the earth by an overwhelming attack of spears while fighting centaurs on behalf of the Lapiths; however, upon his death, his body changed back. In using this myth, Vergil shows the Platonic (or maybe Aristotelian?) concept of the transmigration of souls, that souls commonly change their gender.

 

SERVIUS	MAP:
Name:  Maurus Servius Honoratus Date:  4th – 5th c. CE (???) Works:  In Vergilii carmina comentarii	REGION  1
BIO:	Timeline:
Little is known about the author or manuscript tradition for the grammatical commentary of Vergil’s Aeneid.	BYZANTINE / LATE LATIN

Married to Her Passion: the Ace Roman Painter Iaia, Pliny the Elder Nat. Hist. 35.147-148

Pinxere et mulieres: Timarete, Miconis filia, Dianam, quae in tabula Ephesi est antiquissimae picturae; Irene, Cratini pictoris filia et discipula, puellam, quae est Eleusine, Calypso, senem et praestigiatorem Theodorum, Alcisthenen saltatorem; Aristarete, Nearchi filia et discipula, Aesculapium. Iaia Cyzicena, perpetua virgo, M. Varronis iuventa Romae et penicillo pinxit et cestro in ebore imagines mulierum maxime et Neapoli anum in grandi tabula, suam quoque imaginem ad speculum. nec ullius velocior in pictura manus fuit, artis vero tantum, ut multum manipretiis antecederet celeberrimos eadem aetate imaginum pictores Sopolim et Dionysium, quorum tabulae pinacothecas inplent. pinxit et quaedam Olympias, de qua hoc solum memoratur, discipulum eius fuisse Autobulum.

--Pliny the Elder, Nat. Hist. 35.147-148

There were also women painters:

• Timarete, the daughter of Micon, [the creator of] Diana, a painting in Ephesus that is among the oldest
• Irene, the daughter and protégé of the painter Cratinus, [the creator of] The Girl / Proserpina / Kore (which is on display at Eleusis), as well as a painting of Calypso, an old man, and the juggler Theodorus, as well as the dancer Alcisthenes
• Aristarete, the daughter and protégé of Nearchus, [the creator of] Aesculapius.
• Iaia of Cyzicus, who never married, was a painter at Rome during the time of Marcus Varro’s youth, did both paintings and engravings in ivory. Her specialty was portraits of women, the most famous of which is on display at Naples, a huge portrait of an old woman, as well as a self portrait in a mirror. No painter was faster at the art, and she was so skilled that her works were more valuable than even very famous artists of the time period, Sopolis and Dionysius, whose paintings litter our modern museums.
• Some woman named Olympias, but the only thing we really still know about her was that she had a protégé named Autobulus.

PLINY THE ELDER	MAP:
Name:  Gaius Plinius Secundus Date:  23 – 79 CE Works:  Naturalis Historia*	REGION  1
BIO:	Timeline:
Pliny was an Italian-born Roman statesman and author who lived during the reigns of the early Roman emperors. He spent most of his life in service of his country; he ultimately gave his life in arranging the evacuation of the regions devastated by the eruption of Mt. Vesuvius in 79 CE. His work, the Natural History, is a 37-volume collection of art, history, and science of the ancient world.	GOLDEN AGE ROME

  

Dangerous Beauty: Christianizing the Abduction of Ganymede, Fulgentius Myth. 1.25

Et raptum Ganymeden aquila non vere volucris, sed bellica praeda. Jupiter enim, ut Anacreon antiquissimus auctor scripsit, dum adverius Titanas, id est Titani filios (qui frater Saturni fuerat) bellum adsumeret, et sacrificium Coelo fecisset, in victoriae auspicium, aquilae sibi adesse prosperum vidit volatum. pro quo tam felici omine, praesertim quia & victoria consecuta est, in signis bellicis sibi aquilam auream fecit, tutelaeque suae virtuti dedicavit. Unde & apud Romanos huiuscemodi signa tracta sunt. Ganymedem vero bellando his signis praeeuntibus rapuit...

--Fulgentius, Myth. 1.25

Ganymede was not abducted by an eagle, but rather was taken as a war prize. For when Jupiter (according to the ancient author Anacreon) was waging war against the Titans (or rather, the sons of Titan, who was the brother of Saturn), he made a sacrifice to Heaven. He saw an eagle flying and took it as a good omen, and after he emerged victorious, created a golden eagle standard and dedicated it as a signal of his divine protection. [This is also the origin of the Roman eagle standard]. Under this banner, Jupiter captured Ganymede as a war prize. 

FULGENTIUS	MAP:
Name:  Fabius Planciades Fulgentius Date:  5h – 6th c. CE Works:  Expositio Sermonum Antiquorum                  Expositio Virgilianae                Mythology*	REGION  3
BIO:	Timeline:
Little is known about the life of Fulgentius, but his writing style and internal evidence from his texts suggest that he was North African. In his three volume work Mythology, he analyzes common Greco-Roman myths, identifying allegorical, rational, or didactical purposes for each myth.	BYZANTINE / LATE LATIN

Blessed Are those in love! Bion fr. 8

Beati sunt qui amant, quum pariter redamantur. 

beatus erat Theseus, quum Pirithous adesset,

etsi descendit in implacabilis Plutonis domum.

beatus erat inter asperos barbaros Orestes,

quoties cum eo communia Pylades susceperat itinerat.

erat felix Aeacides socio vivente Achilles

beatus erat moriens, quod ei mortem infeliecem ulciscebatur.

Ὄλβιοι οἱ φιλέοντες, ἐπὴν ἴσον ἀντεράωνται.

ὄλβιος ἦν Θησεὺς τῶ Πειριθόω παρεόντος,

εἰ καὶ ἀμειλίκτοιο κατήλυθεν εἰς Ἀΐδαο.

ὄλβιος ἦν χαλεποῖσιν ἐν Ἀξείνοισιν Ὀρέστας,

5ὥνεκά οἱ ξυνὰς Πυλάδας ᾄρητο κελεύθως.

ἦν μάκαρ Αἰακίδας ἑτάρω ζώοντος Ἀχιλλεύς:

ὄλβιος ἦν θνᾴσκων, ὅτι οἱ μόρον αἰνὸν ἄμυνεν.

--Bion, Fragment 8, Translated into Latin by F.S. Lehrs and Fr. Duebner (1846)

Blessed are those who are in love, especially when it is returned in measure.

Theseus was happy with Pirithous by his side,

Even when he descended into the inescapable halls of Hades.

Orestes was blessed even in the harsh land of his enemies

As long as Pylades was traveling by his side.

Achilles was blessed for as long as his companion Patroclus lived;

And once he died, he resumed his blessed state,

for he used his death to avenge his lover’s.

Athena, Unswayed by Aphrodite. Homeric Hymn to Aphrodite 7 - 15

 Verum tres sunt deae, quarum animum flectere, suaque; fraude convellere haudquaquam potis est: nempe caesiam Minervam Iovis Filiam. Non enim illi aureae Veneris placuere opera: sed bella semper ac Martis opera grata sunt, praeliaque et pugnae, acres tractare splendidas. Prima enim artifices in terra docuit viros scuta construere, variosque ferro currus. Haec quoque teneras virgines intra limen docuit praeclara illa opera conficere, unicuique inflammans animum.

τρισσὰς δ᾽ οὐ δύναται πεπιθεῖν φρένας οὐδ᾽ ἀπατῆσαι:

κούρην τ᾽ αἰγιόχοιο Διός, γλαυκῶπιν Ἀθήνην:

οὐ γὰρ οἱ εὔαδεν ἔργα πολυχρύσου Ἀφροδίτης,

ἀλλ᾽ ἄρα οἱ πόλεμοί τε ἅδον καὶ ἔργον Ἄρηος

ὑσμῖναί τε μάχαι τε καὶ ἀγλαὰ ἔργ᾽ ἀλεγύνειν.

πρώτη τέκτονας ἄνδρας ἐπιχθονίους ἐδίδαξε

ποιῆσαι σατίνας τε καὶ ἅρματα ποικίλα χαλκῷ.

ἣ δέ τε παρθενικὰς ἁπαλόχροας ἐν μεγάροισιν

ἀγλαὰ ἔργ᾽ ἐδίδαξεν ἐπὶ φρεσὶ θεῖσα ἑκάστῃ.

----Homeric Hymn to Aphrodite, 7- 15 Translated into Latin by Raphael Regio Volterranus (1541)

 But Aphrodite is not able to persuade three goddesses, nor can she beguile them.

One is the aegis-wearing daughter of Zeus, the bright-eyed Athena.

She doesn’t enjoy the works of golden Aphrodite;

Instead she runs after battles and Ares’ sphere of influence--

Conflicts and skirmishes and the equipment that goes with it.

She was the first to teach men the art of woodcraft outdoors,

And how to make chariots and carriages out of different types of metal.

Yet she also taught tender maidens splendid works indoors,

Granting a different type of knowledge to each person.

Artemis: Unswayed by Aphrodite's Power, Homeric Hymn to Aphrodite 15-20

Neque unquam venatoriam atque aureo insignem arcu Dianae in amore domat ridens Venus. Etenim hanc iuvat arcus montesque ferarum caede inficere, et citharae choreaeque atque sublati clamores, et opaca nemora, et iustis civitas virorum.  

οὐδέ ποτ᾽ Ἀρτέμιδα χρυσηλάκατον, κελαδεινὴν

δάμναται ἐν φιλότητι φιλομμειδὴς Ἀφροδίτη.

καὶ γὰρ τῇ ἅδε τόξα καὶ οὔρεσι θῆρας ἐναίρειν,

φόρμιγγές τε χοροί τε διαπρύσιοί τ᾽ ὀλολυγαὶ

ἄλσεά τε σκιόεντα δικαίων τε πτόλις ἀνδρῶν.

--Homeric Hymn to Aphrodite, 14-20 Translated into Latin by Raphael Regio Volterranus (1541)

 

 …Furthermore, laughter-loving Aphrodite has never made golden-arrowed Artemis settle down in love. For she loves her bow and slaying beasts in the mountains, the lyre and dancing and war cries, shady groves and cities of just men.