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|^rct?c^tc^ to of the Univereitp of Toronto JScrtrani 1I-1. iDavit^ from the hoohs? ot the late Hioncl Bavie, Hc.cT. THE LOEB CLASSICAL LIBRARY EDITED BY E. CAl'PS, Ph.D., LL.D. T. E. PAGE, Lut.D. W. H. D. IWUSE, LnT.D. THE CiREEK ANTHOLOGY III 1 *• THE GREEK ANTHOLOGY WITH AN ENGLISH TRANSLATION BY W. R. PA TON IN FIVE VOLUMES III LONDON : WILLIAM HEINEMANN NEW YORK : G. P. PUTNAM S SONS M CM XV 1 CONTENTS BOOK IX. —THE DECLAMATORY EPICRAMS 1 GENERAL INDEX 449 INDEX OF AUTHORS INCLUDED IN THIS VOLUME . 454 GREEK ANTHOLOGY BOOK IX THE DECLAMATORY AND DESCRIPTIVE EPIGRAMS This book, as we should naturally expect, is especially rich in epigrams from the Stephanus of Philippus, the rhetorical style of epigram having been in vogue during the period covered by that collection. There are several quite long series from this source, retaining the alphabetical order in which they were arranged, Nos. 215-312, 403-423, 541- 562. It is correspondingly poor in poems from Meleager s Stephanus (Nos. 313-338). It contains a good deal of the Alexandrian Palladas, a contemporary of Hypatia, most of wliich we could well dispense with. The latter part, from No. 582 07iwards, consists mostly of real or pretended in- scriptions on works of art or buildings, many quite unworthy of preservation, but some, especially those on baths, quite graceful. The last three epigrams, written in a later hand, do not belong to the original Anthology. ANeOAOriA (-) EnirPAM.M ATA RTIIAEIKTIKA 1.— 110ATAIX(;T :::a1'A1AN()T AopKuSo^; upTiroKoio Ti6i]i')]T)'ipioi' ovdap efjLTrXeov r)p.vaav ^ 7rifcp6<i erv^ev e)(i<;. le^po^ 5' lopiyP) Oi]\i)v oTTiiae, koX to hvaaXOt'i Tpavp.aru<i e^ oXoov friKpuv ^f^po^e yuXa. ah})v 5' i)\\a^avTO, koX avriKa vi]\ei poipij, yv tTTOpev yrtart'jp, /xncrros- »(/)ti\t xiipii'. 2.—'riHi:i'l<)T lAAOTil 1>I()T KefifiiiSo^- npriToKov pxi^oU jSpiBovcrt yd\aKTo<; »; <f)nri}} BnKeTMV lov erPiKei' ^X'"*' ^appax^tv K lip pijrpo'i ytiXa I'e^pu'i ap€\^a<i X^iXeai, TOP K€ivT}<i e^eiriev ddvarov. 3.— AM III ATl'OT. ol ^t IlAATnXOS \iivohir)v Kapvrjv p^ 7rap€pxop€Vot<; €(f)VT€vaav TTutai Xtfln^XtjTou iraiyviov eixnoxi'H'^- ' I write so : tl lot aa MS. 2 GREEK ANTHOLOGY BOOK IX THE DECLAMATORY AND DESCRIPTIVE EPIGRAMS 1.—POLYAENUS OF SARDIS A ciiuEL viper struck the nursing udder of a doe which had newly calved as it hung down full of milk. Her fawn sucked the teat contaminated by poison, and from the fatal wound imbibed bitter milk charged with venom ill to cure. Death was transferred from mother to child, and at once by pitiless fate the breast bereft the young one of the gift of life that it owed to the womb. 2.—TIBERIUS ILLUSTRIUS A VIPER, the most murderous of noxious beasts, injected her venom into the udder, swollen with milk, of a doe that had just calved, and the kid, sucking its mother's poisoned milk, drank up her deatli. 3.—ANTIPATER, by some attributed to PLATO They planted me, a walnut-tree, by the road-side to amuse passing boys, as a mark for their well-aimed 3 B 2 GREEK ANTIl()U)(iV TTc/i'Tav S' uKp€[x6va<; re Kal evOaXeat; 6po8a/xvov^ KeKXacT/xai, TrvKtval-i ^^ep/xdai /SaWu/jLevi]. SepSpeaiv evKupTroi^ ovSei> ttX^ov >j yap tycoye 5 hvahaifiwv e'9 tp-rfv vfSpii' t/cap7ro(f)6povi'. 4.—KTAAIIXIOT 'H TTupcx; eV ^pvfioicri i'uOrj<i ^ei'Sw/ao? ottw/j?/*? dypch, 6rjpo/36Tov 7rpep.vov ipt]fxocrvvt]<;, d6i>eioi<i o^oiai fieTefi(f)VTO<;, y/j,epa 6dXX(o, ovK ep-uv i)p,€T€poi^ kXcocti (f)iEpouaa /Supo^. iroXXt'i aoi, (^vroepyti, ttovov ^(ipi<:' eii'CKa aeco ;"> «^/3rtv t/' evKapiroK; ^evSpecriv eyyp(i(pu/j.at. 5.-11 AAA AAA "O^vij, ^eipw^ fV'/'> yXvK€pu<; 7roj'o>?, // /Lit/' e^' vypai (f)Xoi(p (f)vXXoi' eSyjcra 6epei' TTTopOo'i 8' tVt SevBp^ pi^wOel^ BevBpuio rop.?}, kui Kapirov (i/ze/\^tt<>, v^pde pLtv "^Y/jaf er earir, inrepOe S" dp' evirvoo^ 0X'"^ C—TOY AMX)^' BevBprp TTTopOov e/'t/v ai/v X"P"' ^"''*» ^^ ^e'/j<y. 7. lOTAIOT IIOATAINOT \u Km (Tcv 77()\vif)Mi'Os' del 7np.7rXif(Tiv dh'niui<; 7} (f)()/3o^ €vxop.evo>i>, // Y"V'*^ €v^ap.h'o)}', Zef' ivt/Jtz/v t'^eVfu/' Upoi' TreSur, dXXci kui t'jpewv mXvui, Kai dyjrevhel v€vaov inroax^air), //Sr; fioi ^fn'»;v elvai 7r€pa<i, tV Be /te irinpij 5 ij'coen', Toil' 60X/ Y^'"' Tratxrdpevov Kapdrwv. 4 THE DECLAMATORY EPIGRAMS stones. And all my twigs and flourishing shoots are broken, hit as I am by showers of pebbles. It is no advantage for trees to be fruitful. I indeed, poor tree, bore fruit only for my own undoing. 4.—CYLLENIUS I, THE wild pear-tree of the thicket, a denizen of the wilderness Avhere the wild beasts feed, once bearing plenty of bastard fruit, have had foreign shoots grafted on me, and flourish now no longer wild, but loaded with a ci'op that is not my natural one. Gardener, I am deeply grateful for thy pains, owing it to thee that I now- am enrolled in the tribe of noble fruit-trees. 5.—PALLADAS This pear-tree is the sweet result of the labour of my hand, with which in summer I fixed the graft in its moist bark. The slip, rooted on the tree by the incision, has changed its fruit, and though it is still a pyraster^ below, it is a fragrant-fruited pear-tree above. 6. —Bv THE Same I WAS a pyraster ; thy hand hath made me a frag- rant pear-tree by inserting a graft, and I reward thee for thy kindness. 7.—JULIUS POLYAENUS Zeus, who rulest the holy land of Corcyra, though thy ears be ever full of the fears of suppliants or the thanks of those whose prayers thou hast heard, yet hearken to me, too, and grant ine by a true promise that this ])e the end of my exile, and that I may dwell in my native land, my long labours over. 1 The wild pear-tree. c (JRKKK ANIIIOLOGV .^.—TOY AVrOY 'E\7rt9 ae) ^lOTOv KXeinet, ^povov ?} 7rvf.u't7)] Be J. A. Pott, Greek Love Songs and Epiijram<, ii. p. 86. 9.—TOY A\"TOY TloWuKi^ ev^a/jLevfo fxoi ael Ovfj.P}p€<i ^B(OKa<; reK/uap uKvp-avrov, Zeu irdrep, evTrXniTji;' owT/f fioi Ka\ TOVTov CTt ttXoov, ifBc cra(OfTat<; yjSy], Kai KaLLardtv opfiianv ti? \ip.eva^. oLKO<; Kal TTuTpri fiiorov %«/3t?' al hk Trepiaaal <f)poi>Ti8€<; dv6pwiT0i<i oil ^io^, dWa tto/'O?. 10.— ANTIIlAiroT HKilAAONIKKnS Y\ov\vTTo<i elvaXiij ttot' eVt rrpo^XfjTi TovvaBe)^ })eXifp \jrvx€ii> TToXXov dinjfce ttoBw ovtro) 6 i]v TTtV/j;; HkcXos XP^^' roijvtKa Kai fuv atcTo<; €K i'€(f)€a)i> o^ik efLapyjr€i> iBcov 7rXn^p.oU B etXiyOei'i Trcrrei' e<V liXa Bvaptopo^' >} pa dp(f>rii Kcu fiijp'}^ )"ip,SpoT€ Kai /Storni'. 11.— <I>IAIIII1()T, o! Be i:i:iAfll'()T Tltjp6<i fiev yvioi^x, 6 B' ap (ififiaariv t)p.(p6~epoi Be 6*<? avrov<i TO tv)(J}<; evBeh rjpdvtcrav. rv(f)Xo<i yap XiTToyviov eiroypdBtov ^dpo<; atpow rait Kelvov (f)(oi'ai<; drpairov (opOo^drei' TrdiTa Be ravr' eBiBa^e iriKpi) Trdi'roXfio'i dvdyKi}, uXXi'iXoi'i ixipLfrai 7ovXXnTt<i eh reXeov. 6 — ; THE DECLAMATORY EPIGRAMS 8. By the Same Hope ever makes the period of our days steal away, and the last dawn surprises us with many projects unaccomplished. 9. By the Same Often when I have prayed to thee, Zeus, hast thou granted me the welcome gift of fair weather till the end of my voyage. Give it me on this voyage, too save me and bear me to tlie haven where toil ends. The delight of life is in our home and country, and supcrlluous cares make life not life but vexation. 10.—ANTIPATER OF THESSALONICA An octopus once, stretched out on a rock that pro- jected into the sea, extended his many feet to let them bask in the sun. He had not yet changed to the colour of the i*ock, and therefore a sharp-eyed eagle saw him from the clouds and seized him, but fell, unhaj)py bird, entangled by his tentacles, into the sea, losing both its prey and its life. 11.—PHIUPPUS OR ISIDORUS One man was maimed in his legs, while another had lost his eyesight, but each conti'ibuted to the other that of which mischance had deprived him. For the blind man, taking the lame man on his shoulders, kept a straight course by listening to the other's orders. It was bitter, all-daring necessity which taught them all this, instructing them how, by dividing their imperfections between them, to make a perfect whole. GREEK AMH()I.()(;Y 12.—AEnNlAOT ofifiaatv uWoTpioi<i ainepavi^6fi€i^o<;. afi<f)(o S' 7jfjHT€X€i<; 7rpo<; evo<; (f)U(Tiv tjpfioadrjaav, TovWiTTis nXXi'}\oi<; avrnrapaa-y^ofievot, 13.— OAATfiNO:^ NEnTKl'OT Avepa T<9 XiTToyviov virep vcotolo Xnravytj's tjpe, TToda? )(ptj(Ta<i, o^fiaTa ^pyjrrdpei'o^. 13b.—ANT I'M. \ or ' Afi.(f)(i) fiev TTTjpol Ka\ u\}j/jLOi'e^, nW o fxev n\fr€t^, 09 he f3d(7€i<;' dWov 5' (i'XXo9 viriipeaiiy TV(f)\h<i yhp )(co\olo Kara)/j.dBiov /3(tpo<; atpcov uTpairhv 60v€Loi<; onjiacriv uKpolSdjei.
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    BULGARIA Sinanköy Manya Mt. NORTH EDİRNE KIRKLARELİ Selimiye Fatih Iron Foundry Mosque UNESCO B L A C K S E A MACEDONIA Yeni Saray Kırklareli Höyük İSTANBUL Herakleia Skotoussa (Byzantium) Krenides Linos (Constantinople) Sirra Philippi Beikos Palatianon Berge Karaevlialtı Menekşe Çatağı Prusias Tauriana Filippoi THRACE Bathonea Küçükyalı Ad hypium Morylos Neapolis Dikaia Heraion teikhos Achaeology Edessa park KOCAELİ Tragilos Antisara Perinthos Basilica UNESCO Abdera Maroneia TEKİRDAĞ (İZMİT) DÜZCE Europos Kavala Doriskos Nicomedia Pella Amphipolis Stryme Işıklar Mt. ALBANIA JOINAllante Lete Bormiskos Thessalonica Argilos THE SEA OF MARMARA SAKARYA MACEDONIANaoussa Apollonia Thassos Ainos (ADAPAZARI) UNESCO Thermes Aegae YALOVA Ceramic Furnaces Selectum Chalastra Strepsa Berea Iznik Lake Nicea Methone Cyzicus Vergina Petralona Samothrace Parion Roman theater Acanthos Zeytinli Ada Apamela Aisa Ouranopolis Hisardere Elimia PydnaMEDITERRANEAN Barçın Höyük BTHYNIA Dasaki Galepsos Yenibademli Höyük BURSA UNESCO Antigonia Thyssus Apollonia (Prusa) ÇANAKKALE Manyas Zeytinlik Höyük Arisbe Lake Ulubat Phylace Dion Akrothooi Lake Sane Parthenopolis GÖKCEADA Aktopraklık O.Gazi Külliyesi BİLECİK Asprokampos Kremaste Daskyleion UNESCO Höyük Pythion Neopolis Astyra Sundiken Mts. Herakleum Paşalar Sarhöyük Mount Athos Achmilleion Troy Pessinus Potamia Mt.Olympos Torone Hephaistia Dorylaeum BOZCAADA Sigeion Kenchreai Omphatium Gonnus Skione Limnos MYSIA Uludag ESKİŞEHİR Eritium DIVINE VINTAGE Derecik Basilica Sidari Oxynia Myrina Kaz Mt. Passaron Soufli Troas Kebrene Skepsis UNESCO Meliboea Cassiope Gure bath BALIKESİR Dikilitaş Kanlıtaş Höyük Aiginion Neandra Karacahisar Castle Meteora Antandros Adramyttium Corfu UNESCO Larissa Lamponeia Dodoni Theopetra Gülpinar Pioniai Kulluoba Hamaxitos Seyitömer Höyük Keçi çayırı Syvota KÜTAHYA Grava Polimedion Assos Gerdekkaya Assos Mt.Pelion A E GTURKEY E A N S E A &Pyrrha GREECEMadra Mt. (Cotiaeum) Kumbet Lefkimi Theudoria Pherae Mithymna Midas City Ellina EPIRUS Passandra Perperene Lolkos/Gorytsa Antissa Bahses Mt.
  • Anacreontic Or Dionysian?

    Anacreontic Or Dionysian?

    ANACREONTIC OR DIONYSIAN?: ETHNIC AND GENDER AMBIGUITY ON THE ANACREONTIC VASES A Thesis submined to the faculty of San Francisco State University In partial fulfillment of z o r t the requirements for 5 the Degree Master of Arts In Classics by Stephanie Danielle Polos San Francisco, California May 2019 Copyright by Stephanie Danielle Polos 2019 CERTIFICATION OF APPROVAL I certify that I have read ANACREONTIC OR DIONYSIAN?: ETHNIC AND GENDER AMBIGUITY ON THE ANACREONTIC VASES by Stephanie Danielle Polos, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Classics at San Francisco State University. Associate Professor, Classics David Smith, Ph.D. Professor, Classics ANACREONTIC OR DIONYSIAN?: ETHNIC AND GENDER AMBIGUITY ON THE ANACREONTIC VASES Stephanie Danielle Polos San Francisco, California 2 0 1 9 This thesis is an investigation of the “Anacreontic” vases, produced in late-sixth and early-fifth century Athens, with a particular focus on their iconography, background, and whether the men depicted on them are dressing in Eastern or feminine costume. However, the themes of gender and ethnic ambiguity, which are the primary feature of the vases, extends more deeply. I look at the context of the vases particularly related contemporary iconography, aspects of the Greek symposium, and traditions surrounding Dionysus and his cult in order to trace a broader theme of “Anacreontism,” and I conclude that the debate of “Eastern” vs. “feminine” regarding the Anacreontic vases disregards a more complex background for these vases and their iconography.
  • THE CONTRAPOSITION BETWEEN EPOS and EPULLION in HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena

    THE CONTRAPOSITION BETWEEN EPOS and EPULLION in HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena

    Anuario de Estudios Filológicos, ISSN 0210-8178, vol. XXVII, 23-39 THE CONTRAPOSITION BETWEEN EPOS AND EPULLION IN HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena Universidad de Extremadura Resumen En este artículo se esbozan algunos de los hitos más importantes que configuran, desde Antímaco de Colofón hasta las últimas manifestaciones poéticas helenísticas y romanas, la contraposición entre el e[po~ y el ejpuvllion. Sobre este último «género», repleto de elemen- tos etiológicos y largas digresiones, se aportan y se comparan datos importantes mediante dos métodos conocidos: la Quellensforchung y la comparación entre seguidores de la escuela de Calímaco y los denominados Telquines. Se analizan epigramas concretos, epilios de Teócrito, Mosco, la Hécale de Calímaco, epilios de Trifiodoro, Hedilo, Museo, Euforión, Partenio, Poliano, así como de Cornelio Galo y Cinna. Finalmente, se estudia la dicotomía «agua»/«vino» como símbolos de inspiración y se ofrece una posible clave para focalizar el paso de dicha contraposición desde la literatura helenística griega a la romana. Palabras clave: Epos, epyllion, hellenistic poetry, Cantores Callimachi. Abstract This paper describes some highly important aspects than configure, from Aminachus of Colofos to the latest Hellenistic and Roman poetic pieces, the contraposition of the concepts e[po~ and ejpuvllion. About this latter ‘genre’, filled with etiological and disgressive elements, data are contrasted according to two well known methods: Quellensforchung and comparison between Callimachus’ followers and Telquines. Specific epigrams are reviewed, also some epic poems by Theocritus, Moscos, the Hecale by Callimachus, epic poems by Trifiodorus, Hedilus, Museus, Euforius, Partenius, Polianus, Cornelius, Galius, and Cinnas. Finally, dichotomous elements like ‘water’/‘wine’ are studied as symbols for inspiration.
  • The Military Policy of the Hellenistic Boiotian League

    The Military Policy of the Hellenistic Boiotian League

    The Military Policy of the Hellenistic Boiotian League Ruben Post Department of History and Classical Studies McGill University, Montreal December, 2012 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree Master of Arts ©Ruben Post, 2012. Table of Contents Abstract ............................................................................................................................. 3 Abrégé ............................................................................................................................... 4 Acknowledgements ............................................................................................................ 5 Introduction ...................................................................................................................... 7 Sources .........................................................................................................................11 Chapter One .....................................................................................................................16 Agriculture and Population in Late Classical and Hellenistic Boiotia .........................16 The Fortification Building Program of Epameinondas ................................................31 Conclusion ...................................................................................................................43 Chapter Two ....................................................................................................................48