fragment as part of a strophe of different metrical value but belonging to the same poem. For hymns sung at night, see

on Alkm. iv.

XXI. Hephaist. 36 (vv. 1-2), 37 (v. 3). Attributed to Sappho. The verses are quoted as acatal. ionic a maiore trimeters and they are so regarded by Wilamowitz:

.

=. Others think they consist of anacr.

+choriamb. monom. + first pherecratic: N

Rossbach compares Anakr. 33 ovdi

ἀργυρέη κώκοτε ἔλαμπε πειθώ, where the open en is wrong. On Cretan dances, see on Sim. x.—1. éμμedéws 'in time.' Cf. Anakr. 40, 122 (πnktídwv èμμeλeσtépa), Sim. ii. 3. The èμμéλeiα was a solemn dance.—2. ¿pxeûvt': if correct, Aiolic had also open verbs as well as those in -μι (ὤρχηντ' ?).—3. πόας, but ποίας ii. 14. Cf. τέρεν ἄνθεα ποίης ι 449, τερένας ἄνθος οπώρας Alk. 61; pxeûvt' èv μaλakậ Tola Theokr. 6. 45. μάτεισαι : van Herwerden, Mnem. 14. 54, wants wáreiσal unnecessarily. ματέω is etymologically distinct from πατέω, and connected with emineo.

XXII. Hephaist. 31. Another form of invocation in Frag. 65 Εροδοπάχεες ἄγναι Χάριτες, δεῦτε Δίος κόραι. Pindar invokes the Graces in Ol. 14. Cf. Anakr. 69 κакoμol κοῦραι Διὸς ὠρχήσαντ ̓ ἐλαφρῶς.Metre: Greater Sapphics. Greek choriambics permit, as Latin choriambics do not, the juxtaposition of stressed long syllables in the same word. In Horace each choriambic closes with a final long syllable. In Horace's only ode in Greater Sapphics (i. 8), we have ; and some would read vûv here, thus finding an exact Greek original for the Latin form. An initial choriambic in Aiolic poetry is rare. Note the regular caesura after the second choriambic. Some make

for

of the final pherecratic.

XXIII. Hephaist. 34. For the cult of Adonis, and based on a folk-song. Cf. Anth. Pal. 7. 407. 7 (of Sappho), Κινύρεω νέον ἔρνος ὀδυρομένη, ̓Αφροδίτῃ | σύνθρηνος. The lines are Sappho's without doubt, since Paus. 9. 29. 8 says that she sang of Adonis. Kveépna (so Mel. Adesp. 71) is=-nia, as Kuπрoyéνna = -nia; probably analogues of stems in -ns, -es. 2. Cf. KOTTEσ0' "Adwvv Aristoph. Lysistr. 396; Tá TE ἐσθῆτος . . . εἶχον, ταῦτα κατηρείκοντο Hdt. 3. 66. Mel. Adesp. 79 A of Adonis: κάπρος ἡνίχ ̓ ὁ μαινόλης ¦ ὀδόντι σκυλακοκτόνῳ | Κύπριδος θάλος ὤλεσεν.—Metre : logaoedic. Instead of the ending ( - of the Greater Asclepiad, we

have the Adonic (cf. & Tòv "Adwviv Sa. 63).

XXIV. Stob. Flor. 4. 12, Plut. Praec. coniug. 48, Symp. 3. 1. 2. Addressed to a rich but uncultivated woman. Cf. ὅστις νέος ὢν Μουσῶν ἀμελεῖ, | τόν τε παρελθόντ ̓ ἀπόλωλε χρόνον καὶ τὸν μέλλοντα τέθνηκε Eur. Frag. 927 N'.—1. κείσεαι : cf. Sim. xxiv., Soph. Antig. 73. μvapooúva: Dr. Verrall (J. H. S. 1. 260) contends that substantives in -ovvn are used either by the Ionian poets or in imitation of Ionic models. It is difficult to prove this for Sappho, who has also ȧßpooúva in 79.2. Hoffmann ἔσσ. οὐδ ̓ ὄνυμ ̓ εἰς ὕστερον. Garlands of roses were sacred to the Muses.-3. IIuepías: here Orpheus was born and here was the home of the Muses. Cf. Anth. Pal. 6. 14 of Sa., &ς μέτα Πειθώ | ἔπλεκ ̓ ἀείζωον Πιερίδων στέφανον. Kny: from κ(al) +ev, the e of which is lengthened. κἠμέ occurs on an old Aiolic inscr. Elsewhere in Aiolic καὶ + ε=κᾶ- by contraction. δόμῳ Fick (δομοφοίτασις one Ms.) to avoid the short form of the dative. Cf. Theokr. 16. 29 Μουσάων δὲ μάλιστα τίειν ἱεροὺς ὑποφήτας, | ὄφρα καὶ εἰν ̓Αίδαο κεκρυμμένος ἐσθλὸς ἀκούσῃς. The contemner of the Muses is punished as a soul stained with guilt: cf. Plato Phaidon 81 c, Pind. Frag. 132. Hades often means to the poet deprivation of the enjoyment of song: Theokr. 1. 62 Tàν yàp ἀοιδάν | οὔτι πᾳ εἰς ̓Αίδαν γε τὸν ἐκλελάθοντα φυλαξεῖς, Anth. Pal. 7. 420 ouk ¿dás, oỷ xopòv old' 'Axépwv, Mel. Adesp. v.-4. πεδ': though etymologically different from μετά, πεδά has the same use. In older poetry when followed by the genitive, the genitive is plural. (Pind., Ibyk. x., skol. vi.; and so in Prat. i. 4, Philox. 2. 30, Bacchyl. v. 123.) For Merά with the sing. see on Ariphron. Pind. uses μeтá also of things, a usage that in the minor lyric poets occurs only in Philox. 2. 30. Sappho does not use oúv (Alk. iv.). ἀμαύρων : cf. εἴδωλον ἀμαυρόν δ 824. ἐκπεποταμένα : cf. λ 222. -Metre: Greater Asclepiads, perhaps to be arranged in

distichs.

XXV. Chrysipp. περὶ ἀποφατικών 13.

Doubtless from the same poem as the foregoing. The remark may apply to Sappho herself or to a pupil. 1. δοκίμοιμι: Ahrens δοκίμωμι. φάος ἀλίω : cf. v 207 ζώει καὶ ὁρᾷ φάος ήελίοιο, etc.-2. σοφίαν : skill in song; accus. explanatory of Tolaúrav.-Metre: Greater Asclepiads.

XXVI. Athen. 1. 21 c, Eust. Od. 1916. 49, Max. Tyr. 24. 9. Sappho's friend Andromeda has become her rival.1. ἀγροίωτις: Hiller ἀγροϊῶτις like the supposed Aiolie δϊδα. ἐπεμμένα = ἐφειμένα. 3. Γράκεα: rather rags ' than 'fine clothes' (Bpákos ¡μátiov TOXUTEXés).—Metre: probably Greater Asclepiads.

6

XXVII. Εt. Mag. 2. 43.1. τις: cf. Theokr. 7. 38 ἐγὼ δέ τις οὐ ταχυπειθής.—2. ὄργαν : gen. pl. ἀβάκην: ἀβακής = ἡσύχιος, πρᾷος, εὐήθης ; placid rather than innocent. Cf. Anakr. xxvi., Archil. 33 βάβαξ=λάλος, Hippon. 53 ἐμβαβάξαντες = ἐμβοήσαντες.—Metre: Greater Asclepiads.

XXVIII. Stob. Flor. 71. 4, Apostol. 2. 52 d. There is little warrant for the suggestion that Sappho is here declining a proposal of marriage from Alkaios. The verses might be arranged as two Greater Asclepiads, if (1) ἄρνυσο is correct and to be defended as an optative like δαινῦτο Ω 665, and (2) συνΓοΐκην can be explained as δΐδα Alk. 145, a strange Aiolic diaeresis. Hoffmann writes ἄρνυσσο (sic) imperat. γεραιτέρα as δικαίτατα on an Aiol. inscr.Metre: pherecratics and glyconics.

XXIX. Athen. 15. 674 Ε. 1. δέ in the thesis is very rare in lyric. Δίκα is perhaps a clip-name for Μνασιδίκα, a pupil of Sappho. Cp. Frag. 76 εὐμορφοτέρα Μν. τᾶς ἀπάλας Γυρίννως. πέρθεσθ', with a elided as in ii. 2; inf. for imper. Cf. on Anakr. ii. 8. 2. ἀνήτοιο : crowns of dill, Alk. xiv.-3. Corrupt. Bergk read εὐάνθεσιν ἐκ γὰρ πέλεται καὶ χάριτος μακαιρᾶν [ μᾶλλον προτέρην 'for to those who are adorned with fair flowers it is given to stand first even in the favour of the goddesses, taking ἐκ πέλεται as ἐκπέλει Soph. Αntig. 478. Blass' reading is nearer the Mss.: εὐανθεΐα . καὶ χάρις ἐς μάκαιρας ' the adornment of flowers is even grace to stand first in the esteem of the gods.' But evaveta does not occur, and even evavoía is very late and rare. I follow Seidler in

reading μέν, and take πέλεται as γίνεται in Theogn. 474 οὐ πάσας νύκτας γ. ἁβρὰ παθεῖν. χάριτος depends on the adj. πρότερος in προτέρην ; cf. τέλειος τῆς ἀρετῆς perfect in virtue.

4. For προτέρην some read προσόρην (πελ. προσ. = πέφυκε προσορᾶν). ἀστεφανώτοισι: dat. of interest with ἀπυστρ. This construction is often more s;mpathetic, more tender than the usual genitive.—Metre : logaoedic. The metre recalls Alk. xx. except that we have an anacrusis instead of a basis, and a complete tripody at the end. Wilamowitz finds here a catal. ionic tetram.

XXX. Schol. Pind. Οl. 2. 53 (ὁ μὲν πλοῦτος ἀρεταῖς δεδαιδαλμένος φέρει τῶν τε καὶ τῶν καιρόν). For the sentiment, cf. πλοῦτόν τε καὶ χάριν ἄγων | γνησίαις ἐπ' ἀρεταῖς Οι. 2. 11, ὁ πλοῦτος εὐρυσθενής, [ ὅταν τις ἀρετᾷ κεκραμένον καθαρᾷ | βροτήσιος ἀνὴρ πότμου παραδόντος αὐτὸν ἀνάγῃ | πολύφιλον ἑπέταν Pyth. 5. 1 ; Alk. xxν., ἀνδρὸς φίλου δὲ χρυσὸς ἀμαθίας μέτα | ἄχρηστος, εἰ μὴ κἀρετὴν ἔχων τύχοι Eur. Frag. 163 ; οὔτ ̓ ἀρετῆς ἄτερ ὄλβος ἐπίσταται ἀνδρὸς ἀέξειν, | οὔτ ̓ ἀρετὴ ἀφένοιο Kallim. 1. 95.

πάροικος perhaps= *παρροικος <*παροικος. σύνοικος is commoner in the lyric poets than wápoikos, e.g. Bacch. viii. 20. Ariphr.; Oppian, Hal. 2. 681, has σúvokos of Justice.-Metre:

as xxix.

If the

XXXI. Hephaist. 54. Attributed to Sappho. statement of the ancients that Sappho's mother bore the name Keïs or Kλñïs is not an inference from this fragment, it is possible that we have here a reference to the poetess' daughter, and not an allusion to one of Sappho's girl friends, or a fragment of an epithalamium. In xli. Sappho addresses her daughter, and Ovid Epist. to Phaon 70 speaks of her filia parva.-2. Kλeûts is Keïs with F vocalized. Cf. Κλειώ from Κλειώ. The verb *κλεέω appears in Κλεησιθήρα Alkm. iv. 72. Klevas is also a clip-name (S. G. D.-I. 1317, Thessaly). ἀγαπάτα: cf. Εκτορίδην ἀγαπητόν Ζ 401, αγαπατός Pind. Frag. 193 (of himself as a child). The initial a is from & (the article) + åy-.—3. Hermann deleted avrí and read aπaιav. Λέσβος ἐραννά Moschos 3. 90 suggests that Λέσβον followed. Supply some such phrase as кev Õéλoiμ' äμevoai, and cf. Hor. 2. 13. 22.

Hephaist. measured the lines thus:

(procatalectic)

Κλέϊς ἀγαπάτα cannot have stood in his text. Ahrens read Κλέις μόν' ἀγ., Bergk Κλῆς, others Κλέης. Christ (Metrik der Griech. 519) would make the first colon vary: 1-2=; 3= L. Probably the metre of all three lines was alike, viz. trochaic tetrap.+ithyphallicus, the whole a so-called brachycatalectic tetrameter. The irrational long appears only in the tetrapody. The ithypallicus may have the value of a tetrapody L - ^). Rossbach proposes a different setting of the

(༤

poem.

XXXII. Hephaist. 35. An instance of the adoption by the Aiolic poets of the spirit and language of the folk-song. Such songs are common in English: "O mother, put the wheel away, I cannot spin to-night; oh, mother take the wheel away and put it out of sight"; Landor's 'Margaret' "I cannot mind my wheel"; and in German: Dos soulld a Maedle speinne, Dos Radle woulld ni gien; Rückert Ach süsse Mutter, ich kann nicht spinnen, | Ich kann nicht bleiben im Stübchen drinnen, | Ich muss hinaus; Hor. 3. 12. 4 tibi qualum Cythereae puer ales, tibi telas, etc. Some think the allusion is to Erinna, the author of the Ηλακάτη.-3. δάμεισα : μ' ... δάμναται πόθος Archil. 85, υποδμηθεῖσα διὰ χρυσέην Αφροδίτην Hes. Theogon. 962, cf. Anakr. xxv. 5.-Metre: 1, 3 catalectic, 2, 4 acatalectic ionic dimeters of the free form.

Note that Horace used ionics only in the poem cited above, and that Alkaios employed the same metre in a poem (xxxiii) on a love-sick girl. Others regard the verses as brachycatalectic trochaic dimeters with anacrusis (~~

). The arrangement as iambo-trochaics:

10 is not correct. The

verses are often written as two lines.

XXXIII. Hephaist. 72: the μeσúμvior is the refrain after a verse, the epúμvior the refrain after a strophe. v. 6 is added in Demetr. de eloc. 148. Sappho preserves here the traditional form of the popular epithalamium.—1. voɩ: cf. ὑψόσ' ἀείρας Κ 465. μέλαθρον : the lintel (ὑπέρθυρον), Hesych.; or the roof-tree may be meant (cf. "her head hat the roof-tree o' the house," Ballad of King Henry,' Child 1. 148). The situation is different in Catull. 61. 76: claustra pandite ianuae, | virgo adest. 'Yμývaov: Aiolic for 'Tuévalov; accus. of exclamation representing ἔσπετ' or μέλπετ ̓ Ἀμήναον (Sa. 107). 3. τέκτονες ἄνδρες recalls the epic phrase ποιμένες ἄνδρες, Alkm. xi., Sa. xxxv.-5. yáμẞpos = vuμplos Sa. xviii., Pind. Ol. 7. 4. Servius on Verg. Georg. 1. 31: generum vero pro marito multi accipiunt iuxta Sappho. ἴσσος ̓́Αρευι : cf. ἴσος "Αρει βίαν Aisch. Frag. 74, "Apevos σтpatiwτépois Alk. 29.-6. Demetr. notes the grace of the change by which the 'impossible hyperbole' of v. 5 is corrected.-Metre: 1, 3, 6 are dactylic tripodies with or without anacrusis. Some omit the verb to make 5 correspond to 1, as 3 to 6, and to rescue the F of ἴσσος. Usener 97 reads of and exerai, believing that the poem illustrates the ancient rhythm regulated by beats and not by quantity alone. Many scholars, e.g. Bentley, Schneidewin, Westphal, regard the metre as dactylic hexameter interrupted by the μεσύμνιον. The refrain is an iambic monometer, which was often used in exclamations, cf. e.g. ἰὴ ἰή, τώ ιώ, ιώ ξένοι, ἰὴ Παιάν. After v. 5 the refrain may have dropped out.

XXXIV. Schol. Hermog. Tepi ideŵv (Rhet. Gr. 7. 883 Walz). The fragment is referred to by Longos Pastor. 3. 33, Himerios 1. 16. Sung by a chorus of maidens. In the Hymeneal of Catullus the friends of the bride compare her to a flower (62. 39 ff.): ut flos in saeptis secretus nascitur hortis, | ignotus pecori, nullo convulsus aratro |. | multi illum pueri, multae optavere puellae; idem cum tenui carptus defloruit ungui, nulli illum pueri, nullae optavere puellae.— 1. Cf. Plato epigr. 32 πορφυρέοις μήλοισιν ἐοικότα παῖδα Κυθήρης, Theokr. 7. 117 ὦ μάλοισιν Ερωτες ἐρευθομένοισιν ὁμοῖοι, 26. 1 μαλοπάρανος 'Αγαύα, Kaibel 243. 12 ἐρεύθεται ἄνθεα μήλων,