THE subject of wine and love fetches to mind the medieval Persian poet Hafez. Having little more than a fleeting acquaintance with his poetry (and only in translation), I have resisted the thought of writing on Hafez\u2019s celebration of sympotic themes. I have turned my hand instead to a topic in ancient Greek poetry that I hope will be of interest to specialists in Persian and comparative literature. It is my small way of paying homage to Holly Davidson as a distinguished colleague and a friend of many years.<\/p>\n
Neither love nor wishing is unique to the ancient Greeks. Amatory wishes are hardly particular to the Greeks; but it is worthwhile to explore several types of love wish in ancient Greece because they give us a peek into sub-literary or indeed popular song tradition. Men took turns in singing ditties of two or more lines as they waxed amorous at a symposium, its sequel (the komos<\/em>), or at a public feast. In these and other social contexts the singers were apt to give vent to conventional or less conventional ideas about a love relationship by performing a fantastic wish for a change into an object or animal or natural phenomenon. The imaginary change served the purpose of gaining access to the beloved:<\/p>\n \u03b5\u1f34\u03b8\u1fbf \u1f04\u03c0\u03c5\u03c1\u03bf\u03bd \u03ba\u03b1\u03bb\u1f78\u03bd \u03b3\u03b5\u03bd\u03bf\u03af\u03bc\u03b7\u03bd \u03bc\u03ad\u03b3\u03b1 \u03c7\u03c1\u03c5\u03c3\u03af\u03bf\u03bd I wish I were a lovely pendant [or vessel], big, fine [i.e. unsmelted] gold, This song, known to classicists as carmen conviviale<\/em> 901 (PMG<\/em> [Page]), perhaps dates from as early as the 6th century BC, and represents a broad category of love wish.[2]<\/a> In this article I shall be focusing on a variation of this type of wish, which, as I have argued elsewhere, originally occurred as a self-contained sung distich and later was integrated in larger compositions.[3]<\/a> It is likely that like the drinking-song just quoted, this particular type of wish existed well before the third century BC, when it is attested in epigrams and other genres. The wish for a transformation is cast in the optative followed by a final clause specifying the purpose of the change. In terms of structure the formulation recalls escapist wishes for wings in tragedy, for instance, in Euripides Hippolytus <\/em>732-4, \u1f20\u03bb\u03b9\u03b2\u03ac\u03c4\u03bf\u03b9\u03c2 \u1f51\u03c0\u1f78 \u03ba\u03b5\u03c5\u03b8\u03bc\u1ff6\u03c3\u03b9 \u03b3\u03b5\u03bd\u03bf\u03af\u03bc\u03b1\u03bd,\/ \u1f35\u03bd\u03b1 \u03bc\u03b5 \u03c0\u03c4\u03b5\u03c1\u03bf\u1fe6\u03c3\u03c3\u03b1\u03bd \u1f44\u03c1-\/\u03bd\u03b9\u03bd \u03b8\u03b5\u1f78\u03c2 \u1f00\u03bc\u03c6\u1f76 \u03c0\u03bf\u03c4\u03b1\u03bd\u03b1\u1fd6\u03c2 \u1f00\u03b3\u03ad\u03bb\u03b1\u03b9\u03c2 \u03b8\u03b5\u03af\u03b7 (\u2018Oh that I might be in the secret hollows of the mountain-steeps, and that there a god might make me a winged bird among the flying flocks.\u2019).[4]<\/a> (In Euripides a character may wish both to \u2018fly away\u2019 and \u2018hide in the earth\u2019;[5]<\/a> in love wishes people hope to do the opposite, i.e. come near someone!)<\/p>\n As said, amatory wishes are attested across various cultures and periods. In Egypt such wishes are recorded in putative banquet songs that date from the New Kingdom (ca 1550-1080 BC); see below. All of the wishes in the Greek songs boil down to the predicament, \u2018I am here, she (or he) is there; I wish I could get closer to her (or him)\u2019. The beloved may be a figment of the singer\u2019s imagination. If real, the desired person may not be interested in the speaker (actually the singer) of the wish; or she (or he) may not even be aware of the singer\u2019s interest. In general, the female or male object of desire may be secluded and thus unavailable; or the barriers may be figurative.<\/p>\n Trapped in impossible love, the singer resorts to wishing or to another optative outlet, prayer, as in Sappho\u2019s famous cletic hymn to Aphrodite, fr. 1 (LP).[6]<\/a> The unnamed girl, who is the object of Sappho\u2019s passion, is inaccessible in some serious sense. \u2018I am here, she is there, fleeing from me, turning down my gifts, not returning my love\u2019– we can surmise this much from the three antithetical sentences in Aphrodite\u2019s past prediction, which are in direct speech and cast in the future tense:<\/p>\n \u03ba\u03b1\u1f76 \u03b3\u1f70\u03c1 \u03b1\u1f30 \u03c6\u03b5\u03cd\u03b3\u03b5\u03b9, \u03c4\u03b1\u03c7\u03ad\u03c9c \u03b4\u03b9\u03ce\u03be\u03b5\u03b9, |22<\/sub> \u03b1\u1f30 \u03b4\u1f72 \u03b4\u1ff6\u03c1\u03b1 \u03bc\u1f74 \u03b4\u03ad\u03ba\u03b5\u03c4\u2019, \u1f00\u03bb\u03bb\u1f70 \u03b4\u03ce\u03f2\u03b5\u03b9, |23<\/sub> \u03b1\u1f30 \u03b4\u1f72 \u03bc\u1f74 \u03c6\u03af\u03bb\u03b5\u03b9, \u03c4\u03b1\u03c7\u03ad\u03c9c \u03c6\u03b9\u03bb\u03ae\u03f2\u03b5\u03b9 |24<\/sub> \u03ba\u03c9\u1f50\u03ba \u1f10\u03b8\u03ad\u03bb\u03bf\u03b9\u03f2\u03b1.<\/p>\n ||21<\/sub> \u2018For if she is fleeing now, soon she will be pursuing. |22<\/sub> If she is not taking gifts, soon she will be giving them. |23<\/sub> If she does not love, soon she will love |24<\/sub> even against her will.\u2019 [7]<\/a><\/p>\n Sappho fr. 1 (LP), possibly a sympotic poem, exceeds the scope of my paper. But it is striking how the entire prayer is fuelled by wishing (v. 17, \u03ba\u1f64\u03c4\u03c4\u03b9 \u03bc\u03bf\u03b9 \u03bc\u03ac\u03bb\u03b9\u03f2\u03c4\u03b1 \u03b8\u03ad\u03bb\u03c9 \u03b3\u03ad\u03bd\u03b5\u03f2\u03b8\u03b1\u03b9, which may mean \u2018[you asked] what I most wish to obtain\u2019). In recounting to the goddess her past epiphany, the poet subtly slips into singing in Aphrodite\u2019s voice, moving away from indirect speech to her ipsissima verba<\/em>. Sappho wishfully changes into the deity best qualified to deliver from her love anguish. She also fancies that ordinary house (or Spanish) sparrows pull Aphrodite\u2019s chariot across the sky like horses. The poet has, then, brought about three transformations of reality: sparrows become a heavenly chariot team, she turns into Aphrodite who in turn ordains that Sappho change from pursuer to pursued. The poem ends on a note of anticipation of, literally, wish fulfillment: 26-7, \u1f44\u03f2\u03f2\u03b1 \u03b4\u03ad \u03bc\u03bf\u03b9 \u03c4\u03ad\u03bb\u03b5\u03f2\u03f2\u03b1\u03b9 |27<\/sub> \u03b8\u1fe6\u03bc\u03bfc \u1f30\u03bc\u03ad\u03c1\u03c1\u03b5\u03b9,<\/strong> \u03c4\u03ad\u03bb\u03b5\u03f2\u03bf\u03bd (\u2018however many things |27<\/sub> my heart [th\u016bmos<\/em>] yearns to get done, you do for me.\u2019).[8]<\/a><\/p>\n I turn to my main witness of \u2018wishing upon a cup of wine\u2019, a poem listed as Anacreontea<\/em> 22 (West). Dating from late antiquity, it handsomely encapsulates the genre of fantastic love wish which is my subject:<\/p>\n \u1f21 \u03a4\u03b1\u03bd\u03c4\u03ac\u03bb\u03bf\u03c5 \u03c0\u03bf\u03c4\u1fbf \u1f14\u03c3\u03c4\u03b7 Once upon a time Tantalus\u2019 daughter [sc. Niobe] became a stone standing among the Phrygian hills; once upon a time Pandion\u2019s daughter [sc. Philomela] became a bird and flew, a swallow. If only I could be a mirror, so that you would always look at me<\/strong>; an undergarment, so that you would always wear me; water, that I might wash your skin; perfume, lady, that I might anoint you; a bra for your breast<\/strong>, a pearl<\/strong> for your neck, and a sandal would that I became —<\/strong>only trample me [imper.] underfoot![9]<\/a><\/p>\n The poem is probably addressed to a courtesan. Taking his cue from the mythic examples of Niobe and Philomela, the singer fancies that he undergoes a catalogue of metamorphoses. Changing into a bird, even for a man (Tereus), is quite common in myth. The singer uses the traditional format of a wish + a final clause in lines 5-12 and then varies the structure in the remaining lines. All of the seven objects he wishes to turn into are items of a woman\u2019s toilette and dress: a mirror, an undergarment, bath water, perfume, a bra, a pearl necklace, and finally and with a touch of magnified humour, a sandal. For wishes to change into a female accessory compare the carmen conviviale<\/em> above and this modern Greek song, a rhymed distich recorded near Mt Olympus in the late 19th<\/sup> century:<\/p>\n \u039d\u03ac\u03bc\u03bf\u03c5\u03bd\u03b1 \u03c3\u03c4\u03bf \u03c3\u03bf\u03ba\u03ac\u03c1\u03b4\u03b9 \u03c3\u03bf\u03c5 \u03ba\u03bf\u03c5\u03bc\u03c0\u03af \u03bc\u03b1\u03bb\u03b1\u03bc\u03b1\u03c4\u03ad\u03bd\u03b9\u03bf, If only I were a gold button on your inner garment, Consider also the ancient Egyptian song, supposedly performed by a boy:<\/p>\n Would that I had In the Anacreontic poem the man\u2019s shape-shifting will daily afford him intimate access to the addressee; by means of the first two changes he will enjoy perpetual contact (line 6). \u03bc\u03b1\u03c3\u03b8\u03cc\u03c2 (cf. \u03bc\u03b1\u03c3\u03c4o\u03af\/\u03bc\u03b1\u03b6o\u03af), i.e. \u2018breasts\u2019 (line 13), is a sexually charged term, unlike e.g. \u03c3\u03c4\u03ad\u03c1\u03bd\u03b1. The first four final clauses spell out the results of the transformation. When the singer fantasises about becoming a \u2018bra\u2019 and a \u2018pearl\u2019 he leaves out the final clauses; but it is readily understood that by being a bra he will pleasurably envelope the woman\u2019s torso, and by being a necklace he will caress her neck. Once changed into a sandal, however, the singer switches to an outright imperative, \u2018trample me underfoot\u2019, which here serves as the equivalent of a final clause. This command (on which more anon) concludes the kaleidoscope of wishes. As Patricia Rosenmeyer suggests, the ancient song, with its proliferation of two-line sympotic wishes, may be a parody of skolia<\/em> (i.e. short drinking-songs) and their performance.[12]<\/a> The singer delivers a train of ditties that ordinarily would have been sung by a company of drinkers one after another. The effect of this expansion is quite funny.<\/p>\n The wishes in the Anacreontic poem suggest a spectrum of passive and active roles. For instance, turned into perfume the man will anoint his lady, playing a doting but active role. The anticipation of \u1f45\u03c0\u03c9\u03c2 \u1f00\u03b5\u1f76 \u03b2\u03bb\u03ad\u03c0\u1fc3\u03c2 \u03bc\u03b5 (line 6, \u2018<\/strong>so that you would always look at me\u2019) implies a mixing of roles: the woman <\/em>will gaze at him\u2014an active action emerging from her self-inspection; but the man, being a mirror, will voyeuristically survey her<\/em>\u2014will spy on her. The two are linked by mutual reflection. The singer\u2019s fantasy does not, however, envisage love-making outright.<\/p>\n Constantine Cavafy (who enjoys a canonical status in modern Greek poetry comparable with that of Hafez in Iran today) conjures an antique mirror that relishes contact with a young man of \u2018perfect beauty\u2019. Here is his poem, \u2018The mirror in the entrance\u2019 (\u039f \u03ba\u03b1\u03b8\u03c1\u03ad\u03c0\u03c4\u03b7\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b5\u03af\u03c3\u03bf\u03b4\u03bf):<\/p>\n \u03a4\u03bf \u03c0\u03bb\u03bf\u03cd\u03c3\u03b9\u03bf \u03c3\u03c0\u03af\u03c4\u03b9 \u03b5\u03af\u03c7\u03b5 \u03c3\u03c4\u03b7\u03bd \u03b5\u03af\u03c3\u03bf\u03b4\u03bf \u0388\u03bd\u03b1 \u03b5\u03bc\u03bf\u03c1\u03c6\u03cc\u03c4\u03b1\u03c4\u03bf \u03c0\u03b1\u03b9\u03b4\u03af, \u03c5\u03c0\u03ac\u03bb\u03bb\u03b7\u03bb\u03bf\u03c2 \u03c3\u03b5 \u03c1\u03ac\u03c0\u03c4\u03b7 \u039c\u03b1 \u03bf \u03c0\u03b1\u03bb\u03b1\u03b9\u03cc\u03c2 \u03ba\u03b1\u03b8\u03c1\u03ad\u03c0\u03c4\u03b7\u03c2<\/strong> \u03c0\u03bf\u03c5 \u03b5\u03af\u03c7\u03b5 \u03b4\u03b5\u03b9 \u03ba\u03b1\u03b9 \u03b4\u03b5\u03b9, In the entrance of that sumptuous home A strikingly beautiful boy, a tailor\u2019s shop-assistant, But the ancient mirror<\/strong>, which had seen and seen again, The poet-narrator celebrates in the final stanza the extraordinary good luck of the mirror in receiving the reflection of \u2018perfect beauty\u2019. The phrase \u2018But the ancient mirror\u2019 is amplified with a substantial relative clause, then repeated alone; we wonder what will follow. The narrator has paused, caught his breath before breaking into a cadence of delectation and joy: \u2018but the ancient mirror now became elated,\/ inflated with pride\u2019. The personified mirror has not only seen the beautiful youth, it has \u2018received upon itself\/ perfect beauty, for a few minutes\u2019. The sighting of the \u2018strikingly beautiful boy\u2019 is described almost as ecstatic sexual consummation. A reflection\u2014a visual imprint– turns into contact that fills the poet-mirror with frissons of delight. Through his looking glass Cavafy has taken an erotic step further than the man in the Anacreontic poem.<\/p>\n The final line in the ancient poem is worth considering. \u2018Only trample me\u2019 is at first sight self-abasement (\u2018masochism\u2019 in the diagnosis of one classicist), but how serious is it? What lies behind this and all the wishes in the Anacreontic song is the desire to gain access to the woman and belong to her. Wine-soaked hyperbole discourages more clinical interpretations of this line, as may be suggested by other ancient wishes by men which, though nominally implying passivity, should not be taken literally. In Longus\u2019 novel Daphnis and Chloe<\/em> men ogling the heroine utter wishes which the author paraphrases (Daphnis & Chloe<\/em> II. 2. 2):<\/p>\n \u03bf\u1f31 \u03b4\u1f72 \u1f10\u03bd \u03c4\u03b1\u1fd6\u03c2 \u03bb\u03b7\u03bd\u03bf\u1fd6\u03c2 \u03c0\u03bf\u03b9\u03ba\u03af\u03bb\u03b1\u03c2 \u03c6\u03c9\u03bd\u1f70\u03c2 \u1f14\u03c1\u03c1\u03b9\u03c0\u03c4\u03bf\u03bd \u1f10\u03c0\u1f76 \u03c4\u1f74\u03bd \u03a7\u03bb\u03cc\u03b7\u03bd \u03ba\u03b1\u1f76 \u1f65\u03c3\u03c0\u03b5\u03c1 \u1f10\u03c0\u03af \u03c4\u03b9\u03bd\u03b1 \u0392\u03ac\u03ba\u03c7\u03b7\u03bd \u03a3\u03ac\u03c4\u03c5\u03c1\u03bf\u03b9 \u03bc\u03b1\u03bd\u03b9\u03ba\u03ce\u03c4\u03b5\u03c1\u03bf\u03bd \u1f10\u03c0\u03ae\u03b4\u03c9\u03bd \u03ba\u03b1\u1f76 \u03b7\u1f54\u03c7\u03bf\u03bd\u03c4\u03bf \u03b3\u03b5\u03bd\u03ad\u03c3\u03b8\u03b1\u03b9 \u03c0\u03bf\u03af\u03bc\u03bd\u03b9\u03b1 \u03ba\u03b1\u1f76 \u1f51\u03c0\u1fbf \u1f10\u03ba\u03b5\u03af\u03bd\u03b7\u03c2 \u03bd\u03ad\u03bc\u03b5\u03c3\u03b8\u03b1\u03b9, \u1f65\u03c3\u03c4\u03b5 \u03b1\u1f56 \u03c0\u03ac\u03bb\u03b9\u03bd \u1f21 \u03bc\u1f72\u03bd \u1f25\u03b4\u03b5\u03c4\u03bf, \u0394\u03ac\u03c6\u03bd\u03b9\u03c2 \u03b4\u1f72 \u1f10\u03bb\u03c5\u03c0\u03b5\u1fd6\u03c4\u03bf.<\/p>\n Meanwhile the men in the wine presses flung manifold compliments at Chloe and pranced madly about her like satyrs about a maenad, praying to be turned into sheep and pastured by her, so that now she was pleased and he [sc. Daphnis] was pained.[15]<\/a><\/p>\n The setting, notably, is the vintage on Lesbos which, as J. R. Morgan remarks in this connection, \u2018was a privileged occasion when normal social inhibitions were relaxed, as at the Athenian comic festival of the Lenaia\u2019.[16]<\/a> The vintagers\u2019 rampant, satyr-like romping is in tune with the innuendoes which they hurl at the girl but which go over her head. (In the event she interprets their wishes as a compliment of her shepherding skills.) Their wish to be pastured by Chloe belongs to the atmosphere of macho abandonment. \u2018To be pastured\u2019 in the literal sense of \u2018to be controlled (by someone wielding a shepherd\u2019s staff)\u2019 is quite out of the question here.[17]<\/a> In their group fantasy the men wish that Chloe were theirs in more ways than one.<\/p>\n I should not be surprised if love songs containing wishes occurred in Persian poetry. The particular wishes I have discussed are as old as the time when men and women fell in love or generally desired someone and had to surmount actual or metaphorical barriers to intimacy. The singers and speakers of these wishes were susceptible (\u03b5\u03c5\u03c6\u03b1\u03bd\u03c4\u03b1\u03c3\u03af\u03c9\u03c4\u03bf\u03b9) daydreamers, capable of vivid \u2018visualisations\u2019 (\u03c6\u03b1\u03bd\u03c4\u03b1\u03c3\u03af\u03b1\u03b9, visiones<\/em>), as Quintilian, the first century AD teacher of rhetoric, might say.[18]<\/a> In the case of ancient Greece the human propensity for daydreams and idle fantasies was harnessed not only to high genres such as oratory but also to sub-literary and popular song.<\/p>\n Barrett, W. S. (1964), ed., Euripides Hippolytus<\/em>, Oxford.<\/p>\n Campbell, D. A. (1988), Greek lyric<\/em> II: Anacreon, Anacreontea, Choral lyric from Olympus to Alcman, LCL 143, Cambridge, MA.<\/p>\n Cavafy, C. P. (1984), \u03a0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 1897-1933, \u038a\u03ba\u03b1\u03c1\u03bf\u03c2: Athens (now online).<\/p>\n Fowler Hughes, B. (1994), Love lyrics of ancient Egypt<\/em>, Chapel Hill & London.<\/p>\n Henderson, J. (2009), ed. & tr., Longus, Daphnis and Chloe,<\/em> Xenophon of Ephesus, Anthia and Habrocomes<\/em>, LCL 69, Cambridge, MA & London.<\/p>\n Mendelsohn, D. (2012), C. P. Cavafy, Collected poems<\/em>, Translation with an introduction & commentary, New York (now online).<\/p>\n Morgan, J. R. (2004), Longus: Daphnis and Chloe<\/em> (with a reprint of Reeve\u2019s text & a commentary), Oxford.<\/p>\n Nagy, G. (2015), \u2018Once again this<\/em> time in Song 1 of Sappho\u2019, Classical Inquiries<\/em>, November 5 (online).<\/p>\n Oikonomides, A. C. (1881), ed., \u03a4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03c4\u03bf\u03c5 \u039f\u03bb\u03cd\u03bc\u03c0\u03bf\u03c5, Athens.<\/p>\n Petropoulos, J. C. B. (1993), \u2018Sappho the sorceress\u2014Another look at Fr. 1 (LP)\u2019, ZPE<\/em> 97: 43-56.<\/p>\n Petropoulos, J. C. B. (2003), Eroticism in ancient and medieval Greek poetry<\/em>, London.<\/p>\n Rosenmeyer, P. A. (1992), The poetics of imitation<\/em>: Anacreon and the Anacreontic tradition, Cambridge.<\/p>\n West, M. L. (1993), tr., Greek lyric poetry<\/em>: the poems and fragments of the Greek iambic, elegiac, and melic poets (excluding Pindar and Bacchylides) down to 450 BC, Oxford.<\/p>\n [1]<\/a> My tr.; cf. West (1993), 178.<\/p>\n [2]<\/a> On love wishes in ancient and medieval Greek literature and modern Greek folk song, see Petropoulos (2003), ch. V.<\/p>\n [3]<\/a> Petropoulos, ibid.<\/p>\n [4]<\/a> Tr. Barrett (1964), 299 with note ad loc. Sophocles Oenomaos<\/em> fr 476 (Lloyd-Jones) is formally identical with the amatory wishes in question.<\/p>\n [5]<\/a> Barrett op. cit., 397 ad 1290-3.<\/p>\n [6]<\/a> Petropoulos (1993), 43-56.<\/p>\n [7]<\/a> Tr. Nagy (2015).<\/p>\n [8]<\/a> Tr. Nagy (2015).<\/p>\n [9]<\/a> Text in Campbell (1988), 192; tr. Campbell, op. cit., 193 (slightly modified).<\/p>\n [10]<\/a> Oikonomides (1881), 150.<\/p>\n [11]<\/a> Fowler (1994), 42.<\/p>\n [12]<\/a> Rosenmeyer (1992), 165-6.<\/p>\n [13]<\/a> Cavafy (1984).<\/p>\n [14]<\/a> Tr. Mendelsohn (2012).<\/p>\n [15]<\/a> Tr. & text in Henderson (2009), 60-1.<\/p>\n [16]<\/a> Morgan (2004), 177 ad II. 2. 2.<\/p>\n [17]<\/a> In a soliloquy Chloe delivers an outright amatory wish for transformation that is modelled on a sympotic or festive ditty, \u03b5\u1f34\u03b8\u03b5 \u03b1\u1f50\u03c4\u03bf\u1fe6 \u03c3\u1fe6\u03c1\u03b9\u03b3\u03be \u1f10\u03b3\u03b5\u03bd\u03cc\u03bc\u03b7\u03bd, \u1f35\u03bd\u1fbf \u1f10\u03bc\u03c0\u03bd\u03ad\u1fc3 \u03bc\u03bf\u03b9\u00b7 \u03b5\u1f34\u03b8\u03b5 \u03b1\u1f34\u03be \u1f35\u03bd\u1fbf \u1f51\u03c0\u1fbf \u1f10\u03ba\u03b5\u03af\u03bd\u03bf\u03c5 \u03bd\u03ad\u03bc\u03c9\u03bc\u03b1\u03b9\/ \u2018I wish I could be his syrinx, so he could breathe into me! I wish I could be a goat, so I could be in his flock!\u2019 (I. 14. 3). She is still clueless about love; hence her wish bespeaks a diffuse sexuality as yet untutored in roles. Gnathon, the parasite enamoured of Daphnis, utters a nearly identical love wish, \u1f21\u03b4\u03ad\u03c9\u03c2 \u03b4\u1fbf \u1f02\u03bd \u03b1\u1f32\u03be \u03b3\u03b5\u03bd\u03cc\u03bc\u03b5\u03bd\u03bf\u03c2 \u03c0\u03cc\u03b1\u03bd \u1f10\u03c3\u03b8\u03af\u03bf\u03b9\u03bc\u03b9 \u03ba\u03b1\u1f76 \u03c6\u03cd\u03bb\u03bb\u03b1 \u03c4\u1fc6\u03c2 \u0394\u03ac\u03c6\u03bd\u03b9\u03b4\u03bf\u03c2 \u1f00\u03ba\u03bf\u03cd\u03c9\u03bd \u03c3\u03cd\u03c1\u03b9\u03b3\u03b3\u03bf\u03c2 \u03ba\u03b1\u1f76 \u1f51\u03c0\u1fbf \u1f10\u03ba\u03b5\u03af\u03bd\u03bf\u03c5 \u03bd\u03b5\u03bc\u03cc\u03bc\u03b5\u03bd\u03bf\u03c2\/ \u2018I would gladly become a she-goat and eat grass and leaves so long as I could listen to Daphnis\u2019 syrinx and have him take me to pasture\u2019 (IV. 16.3). He however is hoping here for a passive role, since Daphnis rejected his earlier approach as an eager erastes<\/em> (IV. 11. 12). Text & tr. in Henderson op. cit., 32-3, 168-71.<\/p>\n
\n\u03ba\u03b1\u03af \u03bc\u03b5 \u03ba\u03b1\u03bb\u1f74 \u03b3\u03c5\u03bd\u1f74 \u03c6\u03bf\u03c1\u03bf\u03af\u03b7 \u03ba\u03b1\u03b8\u03b1\u03c1\u1f78\u03bd \u03b8\u03b5\u03bc\u03ad\u03bd\u03b7 \u03bd\u03cc\u03bf\u03bd.<\/p>\n
\nand a lovely maiden would wear [or carry] me with purity in her heart.[1]<\/a><\/p>\n
\n\u03bb\u03af\u03b8\u03bf\u03c2 \u03a6\u03c1\u03c5\u03b3\u1ff6\u03bd \u1f10\u03bd \u1f44\u03c7\u03b8\u03b1\u03b9\u03c2,
\n\u03ba\u03b1\u1f76 \u03c0\u03b1\u1fd6\u03c2 \u03c0\u03bf\u03c4\u1fbf \u1f44\u03c1\u03bd\u03b9\u03c2 \u1f14\u03c0\u03c4\u03b7
\n\u03a0\u03b1\u03bd\u03b4\u03af\u03bf\u03bd\u03bf\u03c2 \u03c7\u03b5\u03bb\u03b9\u03b4\u03ce\u03bd.
\n5 \u1f10\u03b3\u1f7c \u03b4\u1fbf \u1f14\u03c3\u03bf\u03c0\u03c4\u03c1\u03bf\u03bd<\/strong> \u03b5\u1f34\u03b7\u03bd,
\n\u1f45\u03c0\u03c9\u03c2 \u1f00\u03b5\u1f76<\/strong> \u03b2\u03bb\u03ad\u03c0\u1fc3\u03c2 \u03bc\u03b5\u00b7
\n\u1f10\u03b3\u1f7c \u03c7\u03b9\u03c4\u1f7c\u03bd <\/strong>\u03b3\u03b5\u03bd\u03bf\u03af\u03bc\u03b7\u03bd,
\n\u1f45\u03c0\u03c9\u03c2 \u1f00\u03b5\u1f76<\/strong> \u03c6\u03bf\u03c1\u1fc7\u03c2 \u03bc\u03b5.
\n\u1f55\u03b4\u03c9\u03c1<\/strong> \u03b8\u03ad\u03bb\u03c9 \u03b3\u03b5\u03bd\u03ad\u03c3\u03b8\u03b1\u03b9,
\n10 \u1f45\u03c0\u03c9\u03c2 \u03c3\u03b5 \u03c7\u03c1\u1ff6\u03c4\u03b1 \u03bb\u03bf\u03cd\u03c3\u03c9\u00b7
\n\u03bc\u03cd\u03c1\u03bf<\/strong>\u03bd, \u03b3\u03cd\u03bd\u03b1\u03b9, \u03b3\u03b5\u03bd\u03bf\u03af\u03bc\u03b7\u03bd,
\n\u1f45\u03c0\u03c9\u03c2 \u1f10\u03b3\u03ce \u03c3\u1fbf \u1f00\u03bb\u03b5\u03af\u03c8\u03c9.
\n\u03ba\u03b1\u1f76 \u03c4\u03b1\u03b9\u03bd\u03af\u03b7 \u03b4\u1f72 \u03bc\u03b1\u03c3\u03b8\u1ff7,<\/strong>
\n\u03ba\u03b1\u1f76 \u03bc\u03ac\u03c1\u03b3\u03b1\u03c1\u03bf\u03bd<\/strong> \u03c4\u03c1\u03b1\u03c7\u03ae\u03bb\u1ff3
\n15 \u03ba\u03b1\u1f76 \u03c3\u03ac\u03bd\u03b4\u03b1\u03bb\u03bf\u03bd<\/strong> \u03b3\u03b5\u03bd\u03bf\u03af\u03bc\u03b7\u03bd\u00b7
\n\u03bc\u03cc\u03bd\u03bf\u03bd \u03c0\u03bf\u03c3\u1f76\u03bd \u03c0\u03ac\u03c4\u03b5\u03b9 \u03bc\u03b5.<\/p>\n
\n\u03bd\u03b1 \u03c6\u03af\u03bb\u03bf\u03c5\u03bd\u03b1 \u03c4\u03bf \u03c3\u03c4\u03ae\u03b8\u03bf\u03c2 \u03c3\u03bf\u03c5 \u03c4\u03bf \u03bc\u03b1\u03c1\u03b3\u03b1\u03c1\u03b9\u03c4\u03b1\u03c1\u03ad\u03bd\u03b9\u03bf.<\/p>\n
\nIf only I kissed your pearl-like breast.[10]<\/a><\/p>\n
\na morning of looking,
\nlike the bronze that spends a lifetime with her!
\nLovely the land of Isy [?Cyprus]
\nand precious its tribute [sc. bronze and copper]!
\nJoyous the mirror<\/strong>
\nreceiving her gaze<\/strong>![11]<\/a><\/p>\n
\n\u03ad\u03bd\u03b1\u03bd \u03ba\u03b1\u03b8\u03c1\u03ad\u03c0\u03c4\u03b7 \u03bc\u03ad\u03b3\u03b9\u03c3\u03c4\u03bf, \u03c0\u03bf\u03bb\u03cd \u03c0\u03b1\u03bb\u03b1\u03b9\u03cc\u00b7
\n\u03c4\u03bf\u03c5\u03bb\u03ac\u03c7\u03b9\u03c3\u03c4\u03bf\u03bd \u03c0\u03c1\u03bf \u03bf\u03b3\u03b4\u03cc\u03bd\u03c4\u03b1 \u03b5\u03c4\u03ce\u03bd \u03b1\u03b3\u03bf\u03c1\u03b1\u03c3\u03bc\u03ad\u03bd\u03bf.<\/p>\n
\n(\u03c4\u03b5\u03c2 \u039a\u03c5\u03c1\u03b9\u03b1\u03ba\u03ad\u03c2, \u03b5\u03c1\u03b1\u03c3\u03b9\u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03b1\u03b8\u03bb\u03b7\u03c4\u03ae\u03c2),
\n\u03c3\u03c4\u03ad\u03ba\u03bf\u03bd\u03c4\u03b1\u03bd \u03bc\u2019 \u03ad\u03bd\u03b1 \u03b4\u03ad\u03bc\u03b1. \u03a4\u03bf \u03c0\u03b1\u03c1\u03ad\u03b4\u03bf\u03c3\u03b5
\n\u03c3\u03b5 \u03ba\u03ac\u03c0\u03bf\u03b9\u03bf\u03bd \u03c4\u03bf\u03c5 \u03c3\u03c0\u03b9\u03c4\u03b9\u03bf\u03cd, \u03ba\u03b9 \u03b1\u03c5\u03c4\u03cc\u03c2 \u03c4\u03bf \u03c0\u03ae\u03b3\u03b5 \u03bc\u03ad\u03c3\u03b1
\n\u03bd\u03b1 \u03c6\u03ad\u03c1\u03b5\u03b9 \u03c4\u03b7\u03bd \u03b1\u03c0\u03cc\u03b4\u03b5\u03b9\u03be\u03b9. \u039f \u03c5\u03c0\u03ac\u03bb\u03bb\u03b7\u03bb\u03bf\u03c2 \u03c4\u03bf\u03c5 \u03c1\u03ac\u03c0\u03c4\u03b7
\n\u03ad\u03bc\u03b5\u03b9\u03bd\u03b5 \u03bc\u03cc\u03bd\u03bf\u03c2, \u03ba\u03b1\u03b9 \u03c0\u03b5\u03c1\u03af\u03bc\u03b5\u03bd\u03b5.
\n\u03a0\u03bb\u03b7\u03c3\u03af\u03b1\u03c3\u03b5 \u03c3\u03c4\u03bf\u03bd \u03ba\u03b1\u03b8\u03c1\u03ad\u03c0\u03c4\u03b7 \u03ba\u03b1\u03b9 \u03ba\u03c5\u03c4\u03c4\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03bd
\n\u03ba\u2019 \u03ad\u03c3\u03b9\u03b1\u03b6\u03b5 \u03c4\u03b7\u03bd \u03ba\u03c1\u03b1\u03b2\u03ac\u03c4\u03b1 \u03c4\u03bf\u03c5. \u039c\u03b5\u03c4\u03ac \u03c0\u03ad\u03bd\u03c4\u03b5 \u03bb\u03b5\u03c0\u03c4\u03ac
\n\u03c4\u03bf\u03c5 \u03c6\u03ad\u03c1\u03b1\u03bd \u03c4\u03b7\u03bd \u03b1\u03c0\u03cc\u03b4\u03b5\u03b9\u03be\u03b9. \u03a4\u03b7\u03bd \u03c0\u03ae\u03c1\u03b5 \u03ba\u2019 \u03ad\u03c6\u03c5\u03b3\u03b5.<\/p>\n
\n\u03ba\u03b1\u03c4\u03ac \u03c4\u03b7\u03bd \u03cd\u03c0\u03b1\u03c1\u03be\u03af\u03bd \u03c4\u03bf\u03c5 \u03c4\u03b7\u03bd \u03c0\u03bf\u03bb\u03c5\u03b5\u03c4\u03ae<\/strong>,
\n\u03c7\u03b9\u03bb\u03b9\u03ac\u03b4\u03b5\u03c2 \u03c0\u03c1\u03ac\u03b3\u03bc\u03b1\u03c4\u03b1 \u03ba\u03b1\u03b9 \u03c0\u03c1\u03cc\u03c3\u03c9\u03c0\u03b1\u00b7
\n\u03bc\u03b1 \u03bf \u03c0\u03b1\u03bb\u03b1\u03b9\u03cc\u03c2 \u03ba\u03b1\u03b8\u03c1\u03ad\u03c0\u03c4\u03b7\u03c2 \u03c4\u03ce\u03c1\u03b1 \u03c7\u03b1\u03af\u03c1\u03bf\u03bd\u03c4\u03b1\u03bd,
\n\u03ba\u2019 \u03b5\u03c0\u03b1\u03af\u03c1\u03bf\u03bd\u03c4\u03b1\u03bd \u03c0\u03bf\u03c5 \u03b5\u03af\u03c7\u03b5 \u03b4\u03b5\u03c7\u03b8\u03b5\u03af \u03b5\u03c0\u03ac\u03bd\u03c9 \u03c4\u03bf\u03c5
\n\u03c4\u03b7\u03bd \u03ac\u03c1\u03c4\u03b9\u03b1\u03bd \u03b5\u03bc\u03bf\u03c1\u03c6\u03b9\u03ac \u03b3\u03b9\u03b1 \u03bc\u03b5\u03c1\u03b9\u03ba\u03ac \u03bb\u03b5\u03c0\u03c4\u03ac.[13]<\/a><\/strong><\/p>\n
\nthere was an enormous mirror, very old;
\nacquired at least eighty years ago.<\/p>\n
\n(on Sunday afternoons, an amateur athlete),
\nwas standing with a package.\u00a0 He handed it
\nto one of the household, who then went back inside
\nto fetch a receipt.\u00a0 The tailor\u2019s shop-assistant
\nremained alone, and waited.
\nHe drew near the mirror, and stood gazing at himself,
\nand straightening his tie.\u00a0 Five minutes later
\nthey brought him the receipt.\u00a0 He took it and left.<\/p>\n
\nthroughout its lifetime of so many years<\/strong>,
\nthousands of objects and faces\u2014
\nbut the ancient mirror<\/strong> now became elated,
\ninflated with pride, because it had received upon itself
\nperfect beauty, for a few minutes.[14]<\/a><\/strong><\/p>\nBibliography<\/h2>\n
Footnotes<\/h2>\n