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Love, Worship and Death Some Renderings from the Greek

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Love, Worship and Death Some Renderings from the Greek LOVE WORSHIP AND DEATH , S o m e R en d er i n gs fro m th e G re ek A nth o l ogy BY S I R R E N N E L L R O D D A U T H O R O F ‘ ’ BA L L A D S 0 9 T H E F L E E T “ ’ wn T w e VI O E T a o E . L c , C A A'E IV A N D E N L A R GE D E D I TI ON L O N D O N W A R D A R N O L D 1 9 1 9 A 11 r fg /rts r e se r ved A5 0: M l " ! PR EF A C E T H E little volume published i n 1 91 6 under o e ar s/z i nd D ea f/z the title of L v , W p a met with a kindly reception which has e n cou raged me to repri nt the renderings from the Greek Anthology which it contained with an almost equal number of others hitherto unpublished . In this n ew edition I have placed in a group by themselves the translations from e the lyric po tesses of ancient Greece, to gether with some of the memorial verses c re ording the fame of Sappho and Erin na . I n other respects the approximately chrono logical arrangemen t of the former volum e is R preserved . eferences to the Greek texts have been added to th e index . The introduction to the fi rst edition is reproduced with only a few verbal correc tions . There is little to add to it save the consoling reflection which I have derived from a renewed examination of the greater portion of the Anthology . The experiences of the late grim years have revealed to u s how readily a large section of civilised mankind can revert to the instincts of the primeval savage . On the other han d these i little poems , wr tten for the most part some two thousand years ago, bear eloquent testi mony that those qualities of kindliness and tenderness and sympathy, which they so beautifully express, are eternal and essential in the heart of man . I n evidence of which I may refer my readers to the versions on R R . 2 6 1 2 . pages 4 , , and 7 I NTR O D U CT I O N TO T H E F I R ST E D I T I O N AM ON G the many diverse forms of expression i n which the Greek genius has been revealed to us , that which is preserved i n the lyrics of the Anthology most typically reflects the familiar life of men , the thought an d feeling of every day in the lost ancient world . s These little flowers of song reveal , as doe no other phase of that great literature, a personal outlook on life , kindly, direct and simple , the tenderness which charac ' terise d a fle c family relations, the reciprocal tion of master and slave , sympathy with the domestic animals , a generous sense of the obligations of friendship, a gentle piety and a close i ntimacy with the nature gods, of m whose presence, alignant or benign , the vii C re ek was ever sensitively conscious . For these reasons they still make so vivid an appeal to us after a long silence of many centuries . To myself who have lived for some years in that enchanted world of Greece, and have sailed from island to island of its haunted seas , the shores have seemed still quick with the voices of those gracious presences who gave exquisite form to their thoughts on life and death , their sense of awe and beauty and love . There indeed poetry seem s the appropriate expres sion of the environment , an d there even - still to day, more than anywhere else in the world , the correlation of our life with nature may be felt instinctively ; the human soul seems nearest to the soul of the world . The poems , of which some renderings are here offered to those who cann ot read the originals , cover a period of about a thousand viii years , broken by one interval during which the lesser lyre is silent . The poets of the elegy and the m elos appear i n due succession a e ic a nd si nificant fter those of the p , , , g per haps of the transition , there are found i n the fi rst great period of the lyric the names of two women , Sappho of Lesbos , acknow ledged by the u nanimous voice of anti uit q y, which is confirmed by the quality of a few remaining fragments , to be among the greatest poets of all times , and Corinna of r Tanag a, who contended with Pindar and ’ rivalled Sappho s mastery . The canon of Alexandria does not i nclude among the nine E R greater lyrists the name of rinna of hodes , e who died too young , in the maid n glory of her youth and fame . The earlier poets of the molar were for the most part natives of ‘ the e d e sprinkl isl s, ’ ’ Lily on lil y th a t o e rla c e the se a . ix Theirs is the age o f the austerer mood , when the clean - cut marble outlines of a great language matured i n its noblest expression . Then a century of song is followed by the period of the dramatists during which the lyric m use is almost silent , in an age of political and intellectual intensity . A new epoch of lyrical revival i s inaugur ated by the advent of Alexander, and the wide extension of Hellenic culture to more distant areas of the Mediterranean Then follows the long succession of poets who may generally be classified as of the school of Alexandria . Among them are three An te other women singers of high renown , y N L of Tegea, ossis of ocri in southern Italy , t and Moe o of Byzantium . The later writers of this period had lost the graver purity o f the first lyric outburst, but they had gained by a wider range of sympathy and a closer touch with nature . This group may be said to close with Meleager, who was born in Syria and educated at Tyre , whose contact with the eastern world explains a certai n suggestive and exotic fascination in his poetry which is not strictly Greek . The Alexandrian is followed by the R oman and R period , th e oman by the Byzantine, in which the spirit of the muse of Hellas expires reluctantly i n an atmosphere of bureaucratic and religious pedantry . These few words of introduction should fi suf ce, si nce the development of the lyric poetry of Greece and the characteristics of its successive exponents have been made familiar to English readers i n the admirable k il Mac a . work of my friend J. W . A refer ence to his Select E pigr a ms fr o m 111 6 G r eek A n f/z o/ogy suggests one plea of j ustification for the present little collection of renderings , x i a considerable number of which have been by him translated incomparably well into 1 prose . Of the quality of verse translation there are many tests : the closeness with which the intention and atmosphere of the original has been maintain ed ; the absence of ex traneo us additions ; the omission of no essential feature, and the i nterpretation , by such equivalent as most adequately corre s o n ds p , of i ndividualities of style and asson anec s of language . B ut not the least essen tial j ustification of poetical translation is that the version should constitute a poem on its own accou nt, worthy to stan d by itself on its own merits if the reader were unaware that it was a translation . I t is to 1 A compl ete English prose tra nsla tion of the G eek A b W. R . a has bee r nthology, y P ton , now n u b ed the Lo h a p lish in c Cl ssica l Libra ry. X I I this test especially that ren derings in verse too often fail to conform . I have discarded not a few because they seemed too oh viously to bear the forced expression which i the effort to interpret is apt to nduce . Of those that remain some at least I hope f approach the desired standard , ailing to achieve which they would undoubtedly be better expressed in simple prose . And yet there is a value in rendering rhythm by rhythm where it is possible , and if any success has been attained, such translations probably convey more of the spirit of the original , which meant verse , with all which that implies , and not prose . Th e arrangement in this little volume is approximately chronological in sequence . This should serve to i llustrate the severe and restrained si mplicity of the earlier writers as contrasted with the more complex and xiii conscious thought , and the more elaborate expression of later centuries when the hori zons of Hellenism had been vastly extended . The interpretation of these lyrics has been my sole and grateful distraction during a period of ceaseless work and intense 1 1 1 1 6 .
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