Select Epigrams from the Greek Anthology Part 36

How was I born? whence am I? why did I come? to go again: how can I learn anything, knowing nothing? Being nothing, I was born; again I shall be as I was before; nothing and nothing-worth is the human race.

But come, serve to me the joyous fountain of Bacchus; for this is the drug counter-charming ills.

x.x.xV THE SLAUGHTER-HOUSE PALLADAS

We all are watched and fed for Death as a herd of swine butchered wantonly.

x.x.xVI LACRIMAE RERUM PALLADAS

Weeping I was born and having wept I die, and I found all my living amid many tears. O tearful, weak, pitiable race of men, dragged under earth and mouldering away!

x.x.xVII THE WORLD'S WORTH AESOPUS

How might one escape thee, O life, without dying? for thy sorrows are numberless, and neither escape nor endurance is easy. For sweet indeed are thy beautiful things of nature, earth, sea, stars, the orbs of moon and sun; but all else is fears and pains, and though one have a good thing befal him, there succeeds it an answering Nemesis.

x.x.xVIII PIS-ALLER THEOGNIS

Of all things not to be born into the world is best, nor to see the beams of the keen sun; but being born, as swiftly as may be to pa.s.s the gates of Hades, and lie under a heavy heap of earth.

x.x.xIX THE SORROW OF LIFE POSIDIPPUS

What path of life may one hold? In the market-place are strifes and hard dealings, in the house cares; in the country labour enough, and at sea terror; and abroad, if thou hast aught, fear, and if thou art in poverty, vexation. Art married? thou wilt not be without anxieties; unmarried? thy life is yet lonelier. Children are troubles; a childless life is a crippled one. Youth is foolish, and grey hairs again feeble. In the end then the choice is of one of these two, either never to be born, or, as soon as born, to die.

XL THE JOY OF LIFE METRODORUS

Hold every path of life. In the market-place are honours and prudent dealings, in the house rest; in the country the charm of nature, and at sea gain; and abroad, if thou hast aught, glory, and if thou art in poverty, thou alone knowest it. Art married? so will thine household be best; unmarried? thy life is yet lighter. Children are darlings; a childless life is an unanxious one: youth is strong, and grey hairs again reverend. The choice is not then of one of the two, either never to be born or to die; for all things are good in life.

XLI QUIETISM PALLADAS

Why vainly, O man, dost thou labour and disturb everything when thou art slave to the lot of thy birth? Yield thyself to it, strive not with Heaven, and, accepting thy fortune, be content with rest.

XLII EQUANIMITY PALLADAS

If that which bears all things bears thee, bear thou and be borne; and if thou art indignant and vexest thyself, even so that which bears all things bears thee.

XLIII THE RULES OF THE GAME PALLADAS

All life is a stage and a game: either learn to play it, laying by seriousness, or bear its pains.

XLIV THE ONE HOPE PAULUS SILENTIARIUS

It is not living that has essential delight, but throwing away out of the breast cares that silver the temples. I would have wealth sufficient for me, and the excess of maddening care for gold ever eats away the spirit; thus among men thou wilt find often death better than life, as poverty than wealth. Knowing this, do thou make straight the paths of thine heart, looking to our one hope, Wisdom.

XLV AMOR MYSTICUS MARIa.n.u.s

Where is that backward-bent bow of thine, and the reeds that leap from thy hand and stick fast in mid-heart? where are thy wings? where they grievous torch? and why carriest thou three crowns in thy hands, and wearest another on thy head? I spring not from the common Cyprian, O stranger, I am not from earth, the offspring of wild joy; but I light the torch of learning in pure human minds, and lead the soul upwards into heaven. And I twine crowns of the four virtues; whereof carrying these, one from each, I crown myself with the first, the crown of Wisdom.

XLVI THE LAST WORD PALLADAS

Thou talkest much, O man, and thou art laid in earth after a little: keep silence, and while thou yet livest, meditate on death.

BIOGRAPHICAL INDEX OF EPIGRAMMATISTS

Greek literature from its earliest historical beginnings to its final extinction in the Middle Ages falls naturally under five periods.

These are:--(1) Greece before the Persian warbs; (2) the ascendancy of Athens; (3) the Alexandrian monarchies; (4) Greece under Rome; (5) the Byzantine empire of the East. The authors of epigrams included in this selection are spread over all these periods through a s.p.a.ce of about fifteen centuries.

I. Period of the lyric poets and of the complete political development of Greece, from the earliest time to the repulse of the Persian invasion, B.C. 480.

MIMNERMUS of Smyrna fl. B.C. 634-600, and was the contemporary of Solon. He is spoken of as the "inventor of elegy", and was apparently the first to employ the elegiac metre in threnes and love-poems. Only a few fragments, about eighty lines in all, of his poetry survive.

ERINNA of Rhodes, the contemporary of Sappho according to ancient tradition, fl. 600 B.C., and died very young. There are three epigrams in the Palatine Anthology under her name, probably genuine: see Bergk, /Lyr. Gr./ iii. p. 141. Besides the fragments given by Bergk, detached phrases of hers are probably preserved in /Anth. Pal./ vii. 12 and 13, and in the description by Christodorus of her statue in the gymnasium at Constantinople, /Anth. Pal./ ii. 108-110. She was included in the /Garland/ of Meleager, who speaks, l. 12, of the "sweet maiden-fleshed crocus of Erinna."

THEOGNIS of Megara, the celebrated elegiac and gnomic poet, fl. B.C.

548, and was still alive at the beginning of the Persian wars. The fragments we possess are from an Anthology of his works, and amount to about 1400 lines in all. He employed elegiac verse as a vehicle for every kind of political and social poetry; some of the poems were sung to the flute at banquets and are more akin to lyric poetry; others, described as {gnomai di elegeias}, elegiac sentences, can hardly be distinguished in essence from "hortatory" epigrams, and two of them have accordingly been included as epigrams of Life in this selection.

ANACREON of Teos in Ionia, B.C. 563-478, migrated with his countrymen to Abdera on the capture of Teos by the Persians, B.C. 540. He then lived for some years at the court of Polycrates of Samos (who died B.C. 522), and afterwards, like Simonides, at that of Hipparchus of Athens, finally returning to Teos, where he died at the age of eighty- five. Of his genuine poetry only a few inconsiderable fragments are left; and his wide fame rests chiefly on the /pseudo-Anacreontea/, a collection of songs chiefly of a convivial and amatory nature, written at different times but all of a late date, which have come down to us in the form of an appendix to the Palatine MS. of the Anthology, and from being used as a school-book have obtained a circulation far beyond their intrinsic merit. The /Garland/ of Meleager, l. 35, speaks of "the unsown honey-suckle of Anacreon," including both lyrical poetry ({melisma}) and epigrams ({elegoi}) as distinct from one another. The Palatine Anthology contains twenty-one epigrams under his name, a group of twelve together (vi. 134-145) transferred bodily, it would seem, from some collection of his works, and the rest scattered; and there is one other in Planudes. Most are plainly spurious, and none certainly authentic; but one of the two given here (iii. 7) has the note of style of this period, and is probably genuine. The other (xi. 32) is obviously of Alexandrian date, and is probably by Leonidas of Tarentum.

SIMONIDES of Ceos, B.C. 556-467, the most eminent of the lyric poets, lived for some years at the court of Hipparchus of Athens (B.C. 528- 514), afterwards among the feudal n.o.bility of Thessaly, and was again living at Athens during the Persian wars. The later years of his life were spent with Pindar and Aeschylus at the court of Hiero of Syracuse. He was included in the /Garland/ of Meleager (l. 8, "the fresh shoot of the vine-blossom of Simonides"); fifty-nine epigrams are under his name in the Palatine MS., and eighteen more in Planudes, besides nine others doubtfully ascribed to him. Several of his epigrams are quoted by Herodotus; others are preserved by Strabo, Plutarch, Athenaeus, etc. In all, according to Bergk, we have ninety authentic epigrams from his hand. There were two later poets of the same name, Simonides of Magnesia, who lived under Antiochus the Great about 200 B.C., and Simonides of Carystus, of whom nothing definite is known; some of the spurious epigrams may be by one or other of them.

Beyond the point to which Simonides brought it the epigram never rose.

In him there is complete ease of workmans.h.i.+p and mastery of form together with the n.o.ble and severe simplicity which later poetry lost.

His dedications retain something of the antique stiffness; but his magnificent epitaphs are among our most precious inheritances from the greatest thought and art of Greece.

BACCHYLIDES of Iulis in Ceos flourished B.C. 470. He was the nephew of Simonides, and lived with him at the court of Hiero. There are only two epigrams in the Anthology under his name. The /Garland/ of Meleager, l. 34, speaks of "the yellow ears from the blade of Bacchylides." This phrase may contain an allusion to his dedicatory epigram to the West Wind, ii. 34 in this selection.

Finally, forming the transition between this and the great Athenian period, comes AESCHYLUS, B.C. 525-456. That Aeschylus wrote elegiac verse, including a poem on the dead at Marathon, is certain; fragments are preserved by Plutarch and Theophrastus, and there is a well- supported tradition that he competed with Simonides on that occasion.

As to the authors.h.i.+p of the two epigrams extant under his name there is much difference of opinion. Bergk does not come to any definite conclusion. Perhaps all that can be said is that they do not seem unworthy of him, and that they certainly have the style and tone of the best period. It was not till the decline of literature that the epoch of forgeries began. It is, however, suspicious that a poet of his great eminence should not be mentioned in the /Garland/ of Meleager; for we can hardly suppose these epigrams, if genuine, either unknown to Meleager or intentionally omitted by him.

II. Period of the ascendancy of Athens, and of the great dramatists and historians; from the repulse of the Persian invasion to the extinction of Greek freedom at the battle of Chaeronea, B.C. 480- 338.

In this period the epigram almost disappears, overwhelmed apparently by the greater forms of poetry which were then in their perfection.

Between Simonides and Plato there is not a single name on our list; and it is not till the period of the transition, the first half of the fourth century B.C., that the epigram begins to reappear. About 400 B.C. a new grace and delicacy is added to it by PLATO (B.C. 428-347; the tradition, in itself probable, is that he wrote poetry when a very young man). Thirty-two epigrams in the Anthology are ascribed, some doubtfully, to one Plato or another; a few of obviously late date to a somewhat mythical PLATO JUNIOR ({o Neoteros}), and one to PLATO THE COMEDIAN (fl. 428-389), the contemporary and rival of Aristophanes. In a note to i. 5 in this selection something is said as to the authenticity of the epigrams ascribed to the great Plato [omitted in this text--JB.] He was included in the /Garland/ of Meleager, who speaks, ll. 47-8, of "the golden bough of the ever- divine Plato, s.h.i.+ning everywhere in excellence"--one of the finest criticisms ever made by a single phrase, and the more remarkable that it antic.i.p.ates, and may even in some degree have suggested, the mystical golden bough of Virgil.

To the same period belongs PARRHASIUS of Ephesus, who fl. 400 B.C., the most eminent painter of his time, in whose work the rendering of the ideal human form was considered to have reached its highest perfection. Two epigrams and part of a third ascribed to him are preserved in Athenaeus.