This is Volume Three of a complete set of THE CLASSICS—GREEK AND LATIN consisting of fifteen volumes issued strictly as a Limited Edition. In Volume One will be found a certificate as to the Limitation of the Edition and the Registered Number of this Set. K >SCr vri an OH3/. H33Hi) 3HT 3H* anA' '.3<f3l/! aMISA38~WCM 3IIT OT H'J (1J3IY OT To'/ .\ot sgsH- THE PARTHENON From a steel engraving by William G. Jackman "And she the Greek Acropolis decreed Not to yield up to the row-bearing Mede." —Page 407. MM* GREM^tATIN HE MOST CELEBRATED T5 WORKS OF HELLENIC AND ROMAN LITERATVRE, EM- BRACING POETRY, ROMANCE, HISTORY, ORATORY, SCIENCE, AND PHILOSOPHY, TRANS- LATED INTO ENGLISH PROSE AND VERSE BY D1ST1NGVISHED MEN OF LETTERS, WITH CRIT- ICAL APPRECIATIONS BY AN INTERNATIONAL COVNC1L OF CLASSICAL SCHOLARS. * * MARION MILLS MILLER, Litt.D. (PRINCETON) EDITOR IN CHIEF VINCENT-PARK AND • COMPANY- —33 NEW-YORK «8- Stack Annex THE CLASSICS GREEK AND LATIN CONTRIBUTING CLASSIC COUNCIL J. P. MAHAFFY, D.C.L., Trinity College, Dublin SIR ALEXANDER GRANT, LL.D., Edinburgh EDWARD POSTE, M.A., Oxford University J. H. FREESE, M.A., Cambridge University BASIL L. GILDERSLEEVE, LL.D., Professor of Greek, Johns Hopkins University ^ JOHN HENRY WRIGHT, LL.D., r> Professor of Greek, Harvard University 3 HENRY P. WRIGHT, PH.D., Professor of Latin, Yale University HARRY THURSTON PECK, L.H.D., Professor of Latin, Columbia University i SAMUEL ROSS WINANS, PH.D., t2> Professor of Greek, Princeton University ^ CHARLES E. BENNETT, LITT.D., Professor of Latin, Cornell University WILLIAM A. LAMBERTON, LITT.D., Professor of Greek, University of Pennsylvania 3 JOHN DAMEN MAGUIRE, PH.D., §3> Professor of Latin, Catholic University of America PAUL SHOREY, PH.D., Professor of Greek, University of Chicago MARTIN LUTHER D'OOGE, PH.D., Professor of Greek, University of Michigan ANDREW BELL, M.A., K J. £9 Professor of Latin, University of Toronto i2 WILLIAM AUGUSTUS MERRILL, L.H.D., Professor of Latin, University of California MARY LEAL HARKNESS, M.A., Professor of Latin, Tulane University MARION MILLS MILLER, LITT. D. (Princeton) Editor-in-Chief VINCENT PARKE AND J COMPANY. NEW YORK ,0V \W//°VO \\\/// ovo Copyright, 1909, by Vincent Parke and Company, New York Stack Annex CONTENTS PACK Introduction: xiii Pindar, the Foremost of the Lyric Poets By Basil L. Gildersleeve, LL.D., The Johns Hopkins Uni- versity Introduction : Hesiod, the Father of Didactic Poetry . 7 The Works and Days, by Hesiod 11 Translated into English Prose by the Rev. J. Banks, M.A. The Theogony, by Hesiod 34 Translated into English Prose by the Rev. J. Banks, M.A. The Shield of Hercules, by Hesiod . .62 Translated into English Verse by Charles Abraham Elton Introduction : The Religious Poetry of Greece . -83 Hymn to Demeter, by Callimachus • • • -84 Translated into English Prose by the Rev. J. Banks, M.A. Introduction : The Iambic and Elegiac Poetry of Greece . 91 The Poems of Archilochus 96 Translated into English Verse by Elton, Hay, Mure, and Merivale Women : Poem by Simonides of Amorgos . .100 Translated into English Verse by Charles Abraham Elton The Elegies of Tyrt^eus 102 Translated into English Verse by Richard Polwhele Shortness of Life: Poem by Mimnermus . 108 Translated into English Verse by Charles Abraham Elton Introduction : The Lyric Poets of Greece . .ill The Poems and Fragments of Sappho ...» 122 Translated into English Verse by Marion Mills Miller, John Addington Symonds, and Others Introduction: Anacreon, the Poet of Pleasure . 133 Anacreontea 135 Translated into English Verse by Thomas Stanley Introduction : The Choral Poetry of Greece . 165 The First Olympic Ode of Pindar . • .170 Translated into English Verse by Abraham Moore — — — — — x CONTENTS PAGE Fragments of the Odes of Bacchylides . 179 Translated into English Prose by Edward Poste, M.A. Introduction : The Idyllic Poetry of Greece . igy The Idyls of Theocritus—I to XIII .... 202 Translated into English Verse by Marion Mills Miller The Idyls of Theocritus—XIV to XXX, and Epigrams 255 Translated into English Prose by Andrew Lang The Idyls and Fragments of Bion . 314 Translated into English Prose by Andrew Lang The Idyls of Moschus 323 Translated into English Prose by Andrew Lang Introduction : The Greek Anthology .... 339 The Greek Anthology: 341 Achilles Tatius—Addqjus—./Elius Gallls—^Emilian- us ^Eschylus—^Esopus—Agathias—Alc^us of Mes- sene—Alpheus of Mitylene—Ammian—Antipater of Sidon—Antipater of Thessalonica—Antiphilus— Anyte—Archelaus—Archias—Ariphron of Sicyon— Aristo — Aristotle—Asclepiades—Ausonius—Bianor— Callimachus — Callistratus —Capito—Carphillides— Cleobulus—Crates of Thebes—Crinagoras—Damaget- us—damascius—dlodorus zonas—dloscorides—dloti- mus—erinna euphorion evenus g^etulicus—gem- inus — Gregory Nazianzen—Hadrian—Hermocreon— Hesiod—Hipparchus—Hybrias—Julian the Egyptian— Julian the Emperor—Leonidas of Alexandria—Leoni- DAS OF TARENTUM LeONTIUS—LuCIAN—LuCILLIUS Ma- cedonius — Marcus Argentarius — Marianus — Melea- ger—metrodorus myro of byzantium nlcharchus Nossis Onestes—Palladas—Pallas—Parmenio—Paul the Silentiary—Philippus of Thessalonica—Philo— philodemus—plnytus plato polemo—polystratus Posidippus—Ptolemy the Astronomer—Rufinus—Sa- binus slmmias of rhodes slmonides of ceos tra- jan—Xenocritus—Zeno Translated into English Verse by Lord Neaves, Mrs. Browning, Hay, Merivale, Wellesley, and Others ILLUSTRATIONS PAGE The Parthenon Frontispiece From a steel engraving by William G. Jackman Death of Alexander the Great 114 From a painting by Carl von Piloty Diogenes 354 From a painting by Jean Leon Gerome INTRODUCTION PINDAR THE FOREMOST OF THE WORLD'S LYRIC POETS BY BASIL L. GILDERSLEEVE, LL.D. Professor of Greek, The Johns Hopkins University S an editor of Pindar and a lover of Pindar I have been requested to say something by way of introduction to the poet. Editor and lover are not synonymous terms. I have no love for Persius and only a mitigated affection for Jus- tin Martyr. But I have been faithful to Pin- dar for many years; and I have written several introductions to that remarkable singer, whose "personality for love or hate is stamped deep on all his works," so that it would be no very difficult task to cull from my own writings sentences that might serve as a presentation of the poet to the reader. But the essential facts are recorded elsewhere in this volume and it is not necessary to repeat them. Pindar is the foremost of the world's lyric poets. His birth preceded the Persian War by some thirty years; his death preceded the Peloponnesian War by ten or fifteen years,—no one knows exactly how many. "War is the father of all things," says Herakleitos, and these wars tell the story of Pindar's life,—at all events they show us the world in which he lived. Thebes, the city-state of Pindar, was on what men call the wrong side—the unsuccessful side—the Medo-Persian side; and his life was shadowed by the troubles that foreran the great duel between Athens and Sparta,—the Doric War or the Attic War, as it was variously called. He rose to Pan- Hellenism on the wings of song, it is true; but there are up- to-date critics that would liken him rather to an aeroplane, and think of the buzzing of the motor rather than the grace of the flight. His canton, Bceotia, was, is still, proverbial for slowness of wit; and, whereas Pindar was once cited as an exception to his environment, there are those who say that nii xiv INTRODUCTION the heavy blood of the Boeotian rolls viscously in his veins, and that the Oxshire poet was late in rinding himself. "Boeotian swine" was a byword in antiquity, and a modern critic has been found to compare Pindar to a mastodon plunging heavily through the primeval jungle of Hellenic poetry. The poems by which Pindar is best known are the " Songs of Victory," which celebrate those who overcame at the great games of Greece. For these there is no modern parallel. The religious element is lacking in all our athleticism ; there is scant affinity between the college yell and the Pindaric ode. Pindar lived and moved in a different world from ours ; and to appreciate his spirit, his themes, his art, demands a study that few care to bestow on a poet for whom the word "aloof- ness" seems to have been made. The materials for such a study no brief introduction could supply; and for penetration into the recesses of his art the only clue is an intimate knowl- edge of the language in which his thoughts are bodied forth. The music of his verse is also an incommunicable charm, but in the present stage of Pindaric study, the less said of that the better. The "longs" and the "shorts" abide, but it seems as if after a while each scholar will sing the measures or hum them his own way—a hideous hum to everybody else. The range of Pindar's thoughts is not wide, and he is much given to repetition—protesting against it all the while. The depth of them depends on the reader's plummet. Pindar is one that dwells apart. His sympathies are with the aristocratic regimen to which he was born, and his aloofness shows itself in his language, which is the language of disdain. "Sublime" is not the word for him, not the word for any Hellene—if Coleridge is right. But high and lifted up he is. He has a certain swoop of style, and it is not so difficult after all to be taught to admire him in detail. There are jewels five words long that catch every eye. Some of his sentences ring down the corridors of time. But honest admiration of his Odes of Victory as artistic wholes can come only from a special course of study, which has its danger for the student —the danger of adoring what he himself has conjured into his subject.