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

Athena, Unswayed by Aphrodite

Name:    Unknown Date:    7th – 5th century BCE Region:    [modern Greece] Citation:   Homeric Hymn to Aphrodite, 7 – 15

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.

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.

Verum tres sunt deae, quarum animum flectere, suaque; fraude convellere haudquaquam potis est: nempe caesiam Minervam Jovis 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. Translated into Latin by Raphael Regio Volterranus (1541)

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

Name:    Unknown Date:    7th – 5th century BCE Region:    [modern Greece] Citation:   Homeric Hymn to Aphrodite, 15-20

 …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.

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.

 

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.  Translated into Latin by Raphael Regio Volterranus (1541)

 

Hestia, Honored and Unwed: Homeric Hymn to Aphrodite, 21-31

Hestia’s Vow

Name:    Unknown Date:    7th – 5th century BCE Region:    [modern Greece] Citation:   Homeric Hymn 5.21 – 32

Nor are the plots of Aphrodite welcome to the sacred virgin Hestia.

She was both the firstborn and youngest of wily Kronos,

Revered by Aegis-wearing Zeus,

Wooed by both Poseidon and Apollo.

But she did not want to get married,

And even stubbornly rejected men.

She swore a great oath, one that was approved by Zeus himself.

She touched Father Zeus’ head,

Vowing to remain a virgin throughout eternity.

And Father Zeus gave to her, in lieu of a wedding,

A great gift: she would sit in the house at the head of the table.

She has honor in all of the temples of all of the gods

And is revered by all mortal men.

οὐδὲ μὲν αἰδοίῃ κούρῃ ἅδε ἔργ᾽ Ἀφροδίτης, Ἱστίῃ, ἣν πρώτην τέκετο Κρόνος ἀγκυλομήτης, αὖτις δ᾽ ὁπλοτάτην, βουλῇ Διὸς αἰγιόχοιο, πότνιαν, ἣν ἐμνῶντο Ποσειδάων καὶ Ἀπόλλων: ἣ δὲ μαλ᾽ οὐκ ἔθελεν, ἀλλὰ στερεῶς ἀπέειπεν: ὤμοσε δὲ μέγαν ὅρκον, ὃ δὴ τετελεσμένος ἐστίν, ἁψαμένη κεφαλῆς πατρὸς Διὸς αἰγιόχοιο, παρθένος ἔσσεσθαι πάντ᾽ ἤματα, δῖα θεάων. τῇ δὲ πατὴρ Ζεὺς δῶκε καλὸν γέρας ἀντὶ γάμοιο καὶ τε μέσῳ οἴκῳ κατ᾽ ἄρ᾽ ἕζετο πῖαρ ἑλοῦσα. πᾶσιν δ᾽ ἐν νηοῖσι θεῶν τιμάοχός ἐστι καὶ παρὰ πᾶσι βροτοῖσι θεῶν πρέσβειρα τέτυκται.

Nec quidem venerandae nymphae Vestae Veneris opera accepta fuere: quam primam versutus Saturnus sustulit, deinde postremam Jovis sententia venerandam, quam ambiere sponsam Neptunus & Apollo.At illa noluit, verum repulit rigide. Magnum enim iuravit iusiurandum, quod sane perfectum est, Jovis patris caput tangens, ut perpetua virginitate frueretur diva dearum. At hanc pater Jupiter nuptiarum loco, pulchro donavit dono: atque media domo sedet pinguedinum carpens, ac omnibus in deorum templis prae ceteris honore colitur, ac apud mortales omnes deorum legatione fungitur. Translated into Latin by Raphael Regius

Not Each Other's Type, Anacreon fr. 358

Not Each Other’s Type

Name: Anacreon Date:  582 – 485 BCE Region:  Teos [modern Turkey] Citation: Athenaeus, Deipnosophists 13.72

According to Athenaeus, Anacreon wrote this poem to Sappho, because he was smitten by her:

Golden Haired Love

Attacked me with a purple ball.

He keeps trying to get me

To play with him.

But she who inhabits posh Lesbos [Sappho]

Takes one look at my silver hair,

Laughs at me

And swoons over someone else—a girl!

 

σφαίρῃ δεὖτέ με πορφυρῇ βάλλων χρυσοκόμης Ἔρως νήνι ποικιλοσαμβάλῳ συμπαίζειν προκαλεῖται. ἡ δ᾽ ἐστὶν γὰρ ἀπ᾽ εὐκτίτου Λέσβοὐ τὴν μὲν ἐμὴν κόμην λευκὴ γάρ καταμέμφεται, πρὸς δ᾽ ἄλλην τινὰ χάσκει.

Globo, age, me purpureo petens auricomus Amor, huic, varie me prensans, ut colludam provocat. at illa, est enim ex bene habitata Lesbo, meam quidem comam, cana cum sit, vituperat, et alli cuipiam inhiat.  Translated into Latin by Johann Schweighäuser

Anacreon [575 – 495 BCE, modern Turkey] was a Greek poet who lived during the 6th century BCE. He was born in Teos [modern Turkey] during a period of intense conflict between the Ionian and Persian forces, and did not remain in his homeland for long. Sources indicate that he found success and fame for his poetry in Samos and Athens, but little is known about his life beyond anecdotes written hundreds of years after his death.  His poetry was exceedingly popular, to the extent that an entire genre of poetry was dedicated to his style of writing; the Anacreonta are a collection of poems written in imitation of his writing style composed by Greek authors throughout the centuries. Despite Anacreon’s immense popularity and influence on literature, only fragments of his poetry remain today.

Love Shakes Me to the Core: Sappho 47

Name: Sappho Date: d. 570 BCE Region: Lesbos [modern Greece] Citation: Fragment 47

Love shook my heart

the way the wind strikes the trees on the mountaintop.

 Ἔρος δ᾿ ἐτίναξέ μοι

φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων.

Amor animum meum quatit, velut

ventus quercos in montis summo impulit.

Sappho [d. 570 BCE, modern Greece] was universally applauded by the ancient world as the “Tenth Muse.” Because she was one of the earliest Greek lyric poets, there is very little definitive information on Sappho’s life.  It is generally agreed that Sappho was a wealthy noblewoman from the island of Lesbos who had three brothers and a daughter named Kleis. She used her prominent social position to support a cohort of other women artists, and composed many poems about them, expressing her love for them, praising their beauty, and celebrating their marriages. Whereas earlier Greek poetry was epic poetry with serious themes of gods, warfare, and the state, Sappho’s lyric poetry was emotional, intimate and personal. Her poetry centered around womanhood and womanly love, providing rare insight into the time period. The modern terms “sapphic” and “lesbian” reveal the longevity of her impact upon modern culture. Unfortunately, although her poetry was universally revered by the Greeks and Romans alike, Sappho’s works only exist as fragments, adding mysterious allure to her larger-than-life status but unfortunately hindering our understanding of her life and thoughts.

Neither the Honey Nor the Bee: Sappho 146

Name: Sappho Date:   d. 570 BCE Region:   Lesbos [modern Greece] Citation:    Fragment  146

Neither the honey nor the bee for me!

 μήτε μοι μέλι μήτε μέλισσα

Nec mihi mel nec apis

--Sappho, fragment 146; Translated into Latin by K. Masters

Sappho [d. 570 BCE, modern Greece] was universally applauded by the ancient world as the “Tenth Muse.” Because she was one of the earliest Greek lyric poets, there is very little definitive information on Sappho’s life.  It is generally agreed that Sappho was a wealthy noblewoman from the island of Lesbos who had three brothers and a daughter named Kleis. She used her prominent social position to support a cohort of other women artists, and composed many poems about them, expressing her love for them, praising their beauty, and celebrating their marriages. Whereas earlier Greek poetry was epic poetry with serious themes of gods, warfare, and the state, Sappho’s lyric poetry was emotional, intimate and personal. Her poetry centered around womanhood and womanly love, providing rare insight into the time period. The modern terms “sapphic” and “lesbian” reveal the longevity of her impact upon modern culture. Unfortunately, although her poetry was universally revered by the Greeks and Romans alike, Sappho’s works only exist as fragments, adding mysterious allure to her larger-than-life status but unfortunately hindering our understanding of her life and thoughts.

Sappho Sings of Artemis: fragment 44a

Sappho Sings of Artemis

Name: Sappho Date:   d. 570 BCE Region:   Lesbos [modern Greece] Citation:    Fragment 44a.4 – 11

But Artemis swore a serious oath [to her father Zeus]:

“Upon your head, I vow

That I will always remain a maiden,

Hunting on the desolate mountains

I will roam. Grant this to me.”

This is what she said. Zeus granted her wish.

Now men and gods alike call her Maiden, Hunter of Deer, Goddess.

Eros, stay far from her!

Ἄρτεμις δὲ θεῶν μέγαν ὄρκον ἀπώμοσε· κεφάλαν, ἄϊ πάρθενος ἔσσομαι ...[1] ων ὀρέων κορύφα̣ι̣σ’ ἔπι ...δ̣ε νεῦσον ἔμαν χάριν.” ...σ̣ε θέων μακάρων πάτηρ. ...ολον ἀγροτέραν θέο̣ι ...ι̣σιν ἐπωνύμιον μέγα. ...Ἔρος οὐδάμα πίλναται.

Diana autem deum sacramentum maximum fecit; “Per tibi numen, [Pater hominum et deum], Virgo in aeternum permaneam, Venatrix per montes desolatos errem. Des hoc, pater, mihi optem!” Hoc dicto, annuit deum pater. Mortales immortalesque hanc vocant Virginem, cervos-venatrix, deam. Amor, ne hanc aggrediaris! Translated into Latin by Kris Masters

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[1] There is significant damage to this fragment, and the left portion of many of the lines is missing.

Sappho [d. 570 BCE, modern Greece] was universally applauded by the ancient world as the “Tenth Muse.” Because she was one of the earliest Greek lyric poets, there is very little definitive information on Sappho’s life.  It is generally agreed that Sappho was a wealthy noblewoman from the island of Lesbos who had three brothers and a daughter named Kleis. She used her prominent social position to support a cohort of other women artists, and composed many poems about them, expressing her love for them, praising their beauty, and celebrating their marriages. Whereas earlier Greek poetry was epic poetry with serious themes of gods, warfare, and the state, Sappho’s lyric poetry was emotional, intimate and personal. Her poetry centered around womanhood and womanly love, providing rare insight into the time period. The modern terms “sapphic” and “lesbian” reveal the longevity of her impact upon modern culture. Unfortunately, although her poetry was universally revered by the Greeks and Romans alike, Sappho’s works only exist as fragments, adding mysterious allure to her larger-than-life status but unfortunately hindering our understanding of her life and thoughts.

W/W: A Bittersweet Farewell, Sappho fr. 94

A Bittersweet Farewell

Name: Sappho Date:   d. 570 BCE Region:   Lesbos [modern Greece] Citation:    Fragment 94

“I wish I were dead,” she wept as she left me.

She said this to me and more.

Lamenting the terrible things that we’ve suffered, 

She said, “O Sapph’! I am not leaving you willingly!”

But I replied,

“Go on now, and keep in mind

How much I have cherished you.

Or if you can’t, I want you to remember

All of the good things that we had, too.

You were wearing crowns of violets and roses and crocuses by my side,

You were wearing perfume fit for a queen,

Upon a soft bed

You were satisfying

The yearnings of your heart.”

 

τεθνάκην δ’ ἀδόλως θέλω· ἄ με ψισδομένα κατελίμπανεν πόλλα καὶ τόδ’ ἔειπέ̣ μοι· ̔ ὤιμ’ ὠς δεῖνα πεπόνθαμεν, Ψάπφ’, ἦ μάν σ’ ἀέκοισ΄ ἀπυλιμπάνω.’ τὰν δ’ ἔγω τάδ’ ἀμειβόμαν· ̔ χαίροισ’ ἔρχεο κἄμεθεν μέμναισ’, οἶσθα γὰρ ὤς σε πεδήπομεν· αἰ δὲ μή, ἀλλά σ’ ἔγω θέλω ὄμναισαι... [1] . . . καὶ κάλ’ ἐπάσχομεν· πο̣λλοις γὰρ στεφάνοις ἴων καὶ βρόδων κροκ̣ίων τ’ ὔμοι . . .πὰρ ἔμοι περεθήκαο, καὶ πό̣λλαις ὐπαθύμιδας πλέκταις ἀμφ’ ἀπάλαι δέραι ἀνθέων ἔ̣βαλες πεποημμέναις, καὶ πο̣λ̣λ̣ῳ. . . μύρῳ βρενθείῳ...... ἐξαλείψαο κα̣ὶ βασι̣ληίῳ, καὶ στρώμναν ἐπὶ μολθάκαν ἀπάλαν... ἐξίης πόθο̣ν.. νίδων…

“O utinam mortuam essem!” Hoc multis cum lacrimis dicto, illa me relinquit, multa de terribilis quae passae sumus querens, “O Psappham!”  Illa mi dicit, se non sua sponte me relinquere. Sed ego contra: “Valeas, et quantum te coluerim in animo habeto. Aut, si hoc nequeas, Velim, si te omnia bona  quae inter nos fieri soleant, memineris. Coronas violarum  rosarumque  crocorumque multas  mecum gerebas Et serta floribus multa in collo tenero  te ornabant, et tibi tempora multo regibus decente nardo destillabant, et in lecto molle  tibi desiderium tuum allevabas. Translated into Latin by Kris Masters

Sappho [d. 570 BCE, modern Greece] was universally applauded by the ancient world as the “Tenth Muse.” Because she was one of the earliest Greek lyric poets, there is very little definitive information on Sappho’s life.  It is generally agreed that Sappho was a wealthy noblewoman from the island of Lesbos who had three brothers and a daughter named Kleis. She used her prominent social position to support a cohort of other women artists, and composed many poems about them, expressing her love for them, praising their beauty, and celebrating their marriages. Whereas earlier Greek poetry was epic poetry with serious themes of gods, warfare, and the state, Sappho’s lyric poetry was emotional, intimate and personal. Her poetry centered around womanhood and womanly love, providing rare insight into the time period. The modern terms “sapphic” and “lesbian” reveal the longevity of her impact upon modern culture. Unfortunately, although her poetry was universally revered by the Greeks and Romans alike, Sappho’s works only exist as fragments, adding mysterious allure to her larger-than-life status but unfortunately hindering our understanding of her life and thoughts.

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 [1] This poem was found in a fragmentary state, with numerous words unintelligible or missing.