From these lines it is plain that the chelidonium is a different flower from the anemone (for some people have called them the same). But Theophrastus says that there are some plants, the flowers of which constantly follow the stars, such as the one called the heliotrope, and the chelidonium; and this last plant is named so from its coming into bloom at the same time as the swallows arrive. There is also a flower spoken of under the name of ambrosia by Carystius, in his Historical Commentaries, where he says—“Nicander says that the plant named ambrosia grows at Cos, on the head of the statue of Alexander.” But I have already spoken of it, and mentioned that some people give this name to the lily. And Timachidas, in the fourth book of his banquet, speaks also of a flower called theseum,—The soft theseum, like the apple blossom,The sacred blossom of Leucerea,Which the fair goddess loves above all others.And he says that the garland of Ariadne was made of this flower. Pherecrates also, or whoever the poet was who wrote the play of the Persians, mentions some flowers as fit for garlands, and says—O you who sigh like mallows soft,Whose breath like hyacinths smells,Who like the melilotus speak,And smile as doth the rose,Whose kisses are as marjoram sweet,Whose action crisp as parsley,Whose gait like cosmosandalum.Pour rosy wine, and with loud voiceRaise the glad pæan's song,As laws of God and man enjoinOn holy festival.And the author of the Miners, whoever he was, (and that poem is attributed to the same Pherecrates,) says—Treading on soft aspalathiBeneath the shady trees,In lotus-bearing meadows green,And on the dewy cypirus;And on the fresh anthryscum, andThe modest tender violet,And green trefoil... But here I want to know what this trefoil is; for there is a poem attributed to Demarete, which is called The Trefoil. And also, in the poem which is entitled The Good Men, Pherecrates or Strattis, whichever is the author, says—And having bathed before the heat of day,Some crown their head and some anoint their bodies.And he speaks of thyme, and of cosmosandalum. And Cratinus, in his Effeminate Persons, says—Joyful now I crown my headWith every kind of flower;λείρια, roses, κρίνα too,And cosmosandala,And violets, and fragrant thyme,And spring anemones,Ground thyme, crocus, hyacinths,And buds of helichryse,Shoots of the vine, anthryscum too,And lovely hemerocalles.* * * * * *My head is likewise shadedWith evergreen melilotus;And of its own accord there comesThe flowery cytisus.
ἐκ τούτων τῶν ἐπῶν δῆλον γίνεται ὅτι ἕτερόν ἐστιν τὸ χελιδόνιον τῆς ἀνεμώνης· τινὲς γὰρ ταὐτὸ εἶναί φασι. Θεόφραστος δέ φησι· τὰς δ’ ἀνθήσεις λαμβάνειν δεῖ συνακολουθοῦντα τοῖς ἄστροις τὸ ἡλιοτρόπιον καλούμενον καὶ τὸ χελιδόνιον καὶ γὰρ τοῦτο ἅμα τῇ χελιδόνι ἀνθεῖ. καὶ ἀμβροσίαν δὲ ἄνθος τι ἀναγράφει ὁ Καρύστιος ἐν Ἱστορικοῖς Ὑπομνήμασι λέγων οὕτως· Νίκανδρός φησιν ἐξ ἀνδριάντος τῆς κεφαλῆς Ἀλεξάνδρου τὴν καλουμένην ἀμβροσίαν φύεσθαι ἐν Κῷ. προείρηται δ᾽ ἄνω περὶ αὐτῆς ὅτι τὸ κρίνον οὕτω λέγουσι. Τιμαχίδας δ’ ἐν τετάρτῳ Δείπνου καὶ θήσειόν τι ἀναγράφει καλούμενον ἄνθος· θήσειὸν θ’ ἁπαλὸν μήλῳ ἐναλίγκιον ἄνθος, Λευκερέης ἱερὸν περικαλλέος, ὃ ῥα μάλιστα φίλατο. ἀπὸ τούτου δέ φησι τοῦ ἄνθους καὶ τὸν τῆς Ἀριάδνης καλούμενον στέφανον πεπλέχθαι. καὶ ὁ Φερεκράτης δὲ ἢ ὁ πεποιηκὼς τὸ δρᾶμα τοὺς Πέρσας μνημονεύων καὶ αὐτὸς ἀνθῶν τινων στεφανωτικῶν φησιν ὦ μαλάχας μὲν ἐξερῶν, ἀναπνέων δ’ ὑάκινθον, καὶ μελιλώτινον λαλῶν καὶ ῥόδα προσσεσηρώς· ὦ φιλῶν μὲν ἀμάρακον, προσκινῶν δὲ σέλινα, γελῶν δ’ ἱπποσέλινα καὶ κοσμοσάνδαλα βαίνων, ἔγχει κἀπιβόα τρίτον παιῶν᾽, ὡς νόμος ἐστίν. ὁ δὲ πεποιηκὼς τοὺς εἰς αὐτὸν ἀναφερομένους Μεταλλεῖς φησιν ὑπ’ ἀναδενδράδων ἁπαλὰς ἀσπαλάθους πατοῦντες ἐν λειμῶνι λωτοφόρῳ κύπειρόν τε δροσώδη κἀνθρύσκου μαλακῶν τ’ ἴων λείμακα καὶ τριφύλλου. ἐν τούτοις ζητῶ τί τὸ τρίφυλλον. καὶ γὰρ εἰς Δημαρέτην ἀναφέρεταί τι ποιημάτιον ὃ ἐπιγράφεται Τρίφυλλον κἀν τοῖς ἐπιγραφομένοις δὲ Ἀγαθοῖς ὁ Φερεκράτης ἢ Στράττις φησίν λουσάμενοι δὲ πρὸ λαμπρᾶς ἡμέρας ἐν τοῖς στεφανώμασιν, οἱ δ’ ἐν τῷ μύρῳ λαλεῖτε περὶ σισυμβρίων κοσμοσανδάλων τε. καὶ Κρατῖνος ἐν Μαλθακοῖς· παντοίοις γε μὴν κεφαλὴν ἀνθέμοις ἐρέπτομαι, λειρίοις ῥόδοις κρίνεσιν κοσμοσανδάλοις ἴοις καὶ σισυμβρίοις ἀνεμωνῶν κάλυξὶ τ’ ἠριναῖς ἑρπύλλῳ κρόκοις ὑακίνθοις ἑλειχρύσου κλάδοις οἰνάνθῃσιν ἡμεροκαλλεῖ τε τῷ φιλουμένῳ, ἀνθρύσκου … ναρκίσσου φόβῃ τῷ τ’ ἀειφρούρῳ μελιλώτῳ κάρα πυκάζομαι· καὶ … κύτισος αὐτόματος παρὰ Μέδοντος ἔρχεται.
Formerly the entrance of garlands and perfumes into the banqueting rooms, used to herald the approach of the second course, as we may learn from Nicostratus in his Pseudostigmatias, where, in the following lines, he says—And you too,Be sure and have the second course quite neat;Adorn it with all kinds of rich confections,Perfumes, and garlands, aye, and frankincense,And girls to play the flute. But Philoxenus the Dithyrambic poet, in his poem entitled The Banquet, represents the garland as entering into the commencement of the banquet, using the following language:Then water was brought in to wash the hands,Which a delicate youth bore in a silver ewe,Ministering to the guests; and after thatHe brought us garlands of the tender myrtle,Close woven with young richly-colour'd shoots.And Eubulus, in his Nurses, says—For when the old men came into the house,At once they sate them down. ImmediatelyGarlands were handed round; a well-fill'd boardWas placed before them, and (how good for th' eyes!)A closely-kneaded loaf of barley bread.And this was the fashion also among the Egyptians, as Nicostratus says in his Usurer; for, representing the usurer as an Egyptian, he says—A. We caught the pimp and two of his companions,When they had just had water for their hands,And garlands.B. Sure the time, O Chærophon,Was most propitious.But you may go on gorging yourself, O Cynulcus; and when you have done, tell us why Cratinus has called the melilotus “the ever-watching melilotus.” However, as I see you are already a little tipsy (ἔξοινον)—for that is the word Alexis has used for a man thoroughly drunk (μεθύσην), in his Settler— I won't go on teasing you; but I will bid the slaves, as Sophocles says in his Fellow Feasters,Come, quick! let some one make the barley-cakes,And fill the goblets deep; for this man now,Just like a farmer's ox, can't work a bitTill he has fill'd his belly with good food.And there is a man of the same kind mentioned by Aristias of Phlius; for he, too, in his play entitled The Fates, says—The guest is either a boatman or a parasite,A hanger-on of hell, with hungry belly,Which nought can satisfy.However, as he gives no answer whatever to all these things which have been said, I order him (as it is said in the Twins of Alexis) to be carried out of the party, crowned with χύδαιοι garlands. But the comic poet, alluding to χύδαιοι garlands, says—These garlands all promiscuously (χύδην) woven.But, after this, I will not carry on this conversation any fur- there to-day; but will leave the discussion about perfumes to those who choose to continue it: and only desire the boy, on account of this lecture of mine about garlands, as Antiphanes.....To bring now hither two good garlands,And a good lamp, with good fire brightly burning;for then I shall wind up my speech like the conclusion of a play. And not many days after this, as if he had been prophesying a silence for himself [which should be eternal], he died, happily, without suffering under any long illness, to the great affliction of us his companions.
ἡ δὲ τῶν στεφάνων καὶ μύρων πρότερον εἴσοδος εἰς τὰ συμπόσια ἡγεῖτο τῆς δευτέρας τραπέζης, ὡς παρίστησι Νικόστρατος ἐν Ψευδοστιγματίᾳ διὰ τούτων. καὶ σὺ μὲν τὴν δευτέραν τράπεζαν εὐτρεπῆ ποίει, κόσμησον αὐτὴν παντοδαποῖς τραγήμασιν, μύρον, στεφάνους, λιβανωτόν, αὐλητρίδα λαβέ. Φιλόξενος δ’ ὁ διθυραμβοποιὸς ἐν τῷ ἐπιγραφομένῳ Δείπνῳ ἀρχὴν ποιεῖται τὸν στέφανον τῆς εὐωχίας οὑτωσὶ λέγων κατὰ χειρὸς δ᾽ ἤλυθ’ ὕδωρ· ἁπαλὸς παιδίσκος ἐν ἀργυρέᾳ φέρων προχόῳ ἐπέχευεν. εἶτ’ ἔφερεν στέφανον λεπτᾶς ἀπὸ μυρτίδος εὐγνήτων κλάδων δισύναπτον. Εὔβουλος Τιτθαῖς· ὡς γὰρ εἰσῆλθε τὰ γερόντια τότ’ εἰς δόμους, εὐθὺς ἀνεκλίνετο· παρῆν στέφανος ἐν τάχει, ᾔρετο τράπεζα, παρέκειθ’ ἅμα τετριμμένη μᾶζα χαριτοβλέφαρος. τοῦτο δ’ ἦν ἔθος καὶ παρ’ Αἰγυπτίοις, ὡς Νικόστρατός φησιν ἐν Τοκιστῇ. Αἰγύπτιον γὰρ ὑποστησάμενος τὸν τοκιστήν φησιν καταλαμβάνομεν τὸν πορνοβοσκὸν καὶ δύο ἑτέρους κατὰ χειρὸς ἀρτίως εἰληφότας καὶ στέφανον. β. εἶεν καλὸς ὁ καιρός, Χαιρεφῶν. σὺ δὲ γαστρίζου, Κύνουλκε· καὶ μετὰ ταῦτα ἡμῖν εἰπὲ διὰ τί Κρατῖνος εἴρηκε τὸν μελίλωτον τῷ τ’ ἀειφρούρῳ μελιλώτῳ. ἐπεὶ δέ σε ὁρῶ ἔξοινον ἤδη γεγενημένον—οὕτως δ’ εἴρηκε τὸν μεθύσην Ἄλεξις ἐν Εἰσοικιζομένῳ παύσομαί σε ἐρεσχηλῶν καὶ τοῖς παισὶ παρακελεύομαι κατὰ τὸν Σοφοκλέα, ὃς ἐν Συνδείπνοις φησί· φορεῖτε, μασσέτω τις, ἐγχείτω βαθὺν κρατῆρ᾽, ὅδ’ ἁνὴρ οὐ πρὶν ἂν φάγῃ καλῶς ὅμοια καὶ βοῦς ἐργάτης ἐργάζεται. καὶ κατὰ τὸν Φλιάσιον δὲ Ἀριστίαν καὶ γὰρ οὖτος ταῖς ἐπιγραφομέναις Κηρσὶν ἔφη· σύνδειπνος ἢ ᾽ πίκωμος ἢ μαζαγρέτας, Ἅιδου τραπεζεύς, ἀκρατέα νηδὺν ἔχων. ἐπεὶ δὲ τοσούτων λεχθέντων μηδὲν ἀποκρίνεται, κελεύω αὐτὸν κατὰ τοὺς Ἀλέξιδος Διδύμους χυδαίοις στεφανωθέντα στεφάνοις ἐξάγεσθαι τοῦ συμποσίου, τῶν δὲ χυδαίων στεφάνων μνημονεύων ὁ κωμῳδιοποιός φησιν στεφάνων τε τούτων τῶν χύδην πεπλεγμένων. κἀγὼ δ’ ἐπὶ τούτοις τοῦ λέγειν ἤδη παύσομαι τὸ τήμερον, παραχωρῶν τε τὸν περὶ τῶν μύρων λόγον τοῖς βουλομένοις διεξέρχεσθαι τῷ τε παιδὶ προστάττων ἐπὶ τῇ στεφανηφόρῳ ταύτῃ μου διαλέξει κατὰ τὸν Ἀντιφάνη στεφάνους ἐνεγκεῖν δεῦρο τῶν χρηστῶν δύο καὶ δᾷδα χρηστὴν ἡμμένην χρηστῷ πυρί. οὕτω γὰρ τὴν τῶν λόγων ἔξοδον ὥσπερ δράματος ποιήσομαι.καὶ μετ’ οὐ πολλὰς ἡμέρας ὥσπερ αὐτὸς αὑτοῦ σιωπὴν καταμαντευσάμενος ἀπέθανεν εὐτυχῶς, οὐδένα καιρὸν νόσῳ παραδούς, πολλὰ δὲ λυπήσας ἡμᾶς τοὺς ἑταίρους.
And while the slaves were bringing round perfumes in alabaster boxes, and in other vessels made of gold, some one, seeing Cynulcus, anointed his face with a great deal of ointment. But he, being awakened by it, when he recollected himself, said;—What is this? O Hercules, will not some one come with a sponge and wipe my face, which is thus polluted with a lot of dirt? And do not you all know that that exquisite writer Xenophon, in his Banquet, represents Socrates as speaking thus:— ' By Jupiter! O Callias, you entertain us superbly; for you have not only given us a most faultless feast, but you have furnished us also with delicious food for our eyes and ears.'—' Well, then,' said he, 'suppose any one were to bring us perfumes, in order that we might also banquet on sweet smells? '—' By no means,' said Socrates; ' for as there is one sort of dress fit for women and another for men, so there is one kind of smell fit for women and another for men. And no man is ever anointed with perfume for the sake of men; and as to women, especially when they are brides,—as, for instance, the bride of this Niceratus here, and the bride of Critobulus,—how can they want perfumes in their husbands, when they themselves are redolent of it But the smell of the oil in the gymnasia, when it is present, is sweeter than perfume to women; and when it is absent, they long more for it. For if a slave and a freeman be anointed with perfume, they both smell alike in a moment; but those smells which are derived from free labours, require both virtuous habits and a good deal of time if they are to be agreeable and in character with a freeman.' And that admirable writer Chrysippus says that perfumes (μύρα) derive their name from being prepared with great toil (μόρος) and useless labour. The Lacedæmonians even expel from Sparta those who make perfumes, as being wasters of oil; and those who dye wool, as being destroyers of the whiteness of the wool. And Solon the philosopher, in his laws, forbade men to be sellers of perfumes. “But now, not only scents,” as Clearchus says in the third book of his Lives,but also dyes, being full of luxury, tend to make those men effeminate who have anything to do with them. And do you think that effeminacy without virtue has anything desirable in it? But even Sappho, a thorough woman, and a poetess into the bargain, was ashamed to separate honour from elegance; and speaks thus—But elegance I truly love;And this my love of life has brilliancy,And honour, too, attached to it:making it evident to everybody that the desire of life that she confessed had respectability and honour in it; and these things especially belong to virtue. But Parrhasius the painter, although he was a man beyond all measure arrogant about his art, and though he got the credit of a liberal profession by some mere pencils and pallets, still in words set up a claim to virtue, and put this inscription on all his works that are at Lindus:—This is Parrhasius' the painter's work,A most luxurious (ἁβροδίαιτος) and virtuous man.And a wit being indignant at this, because, I suppose, he seemed to be a disgrace to the delicacy and beauty of virtue, having perverted the gifts which fortune had bestowed upon him to luxury, proposed to change the inscription into ῥαβδοδίαιτος ἀνήρ: Still, said he, the man must be endured, since he says that he honours virtue.These are the words of Clearchus. But Sophocles the poet, in his play called The Judgment, represents Venus, being a sort of Goddess of Pleasure, as anointed with perfumes, and looking in a glass; but Minerva, as being a sort of Goddess of Intellect and Mind, and also of Virtue, as using oil and gymnastic exercises.
περιενεγκόντων δὲ τῶν παίδων ἐν ἀλαβάστοις καὶ ἄλλοις χρυσοῖς σκεύεσιν μύρα, νυστάζοντα τὸν Κύνουλκον θεασάμενός τις πολλῷ τῷ μύρῳ τὸ πρόσωπον ἐπέχρισεν. ὁ δὲ διεγερθεὶς καὶ μόλις ἑαυτὸν ἀναλαβὼν τί τοῦτ᾽, εἶπεν, Ἡράκλεις; οὐ σπογγιᾷ τίς μου παρελθὼν τὸ πρόσωπον ἐκκαθαρίσει μεμολυσμένον μαγγανείαις πολλαῖς; ἢ οὐκ οἴδατε καὶ τὸν καλὸν Ξενοφῶντα ἐν τῷ Συμποσίῳ ποιοῦντα τὸν Σωκράτην τοιαυτὶ λέγοντα· νὴ Δί᾽, ὦ Καλλία, τελέως ἡμᾶς ἑστιᾷς· οὐ γὰρ μόνον δεῖπνον ἄμεμπτον παρέθηκας, ἀλλὰ καὶ ἀκροάματα καὶ θεάματα ἥδιστα παρέχεις. τί οὖν εἰ καὶ μύρον ἐνέγκαι τις ἡμῖν, ἵνα καὶ εὐωδίᾳ ἑστιῴμεθα; μηδαμῶς, ἔφη ὁ Σωκράτης· ὥσπερ γάρ τοι ἐσθὴς ἄλλη μὲν γυναικεία, ἄλλη δὲ ἀνδρεία, οὕτω καὶ ὀσμὴ ἄλλη μὲν γυναικί, ἄλλη δὲ ἀνδρὶ πρέπει, καὶ γὰρ ἀνδρὸς μὲν δή που ἕνεκα ἀνδρῶν οὐδεὶς μύρῳ χρίεται, αἵ γε μὴν γυναῖκες ἄλλως τε καὶ ἂν νύμφαι τύχωσιν οὖσαι, ὥσπερ ἡ Νικηράτου τε τούτου καὶ ἡ Κριτοβούλου, μύρου μὲν τί καὶ προσδέονται; αὐταὶ γὰρ τούτου ὄζουσιν. ἐλαίου δὲ τοῦ ἐν γυμνασίοις ὀσμὴ καὶ παροῦσα ἡδίων ἢ μύρου γυναιξὶ καὶ ἀποῦσα ποθεινοτέρα. καὶ γὰρ δὴ μύρῳ μὲν ἀλειψάμενος δοῦλος καὶ ἐλεύθερος εὐθὺς ἅπας ὅμοιον ὄζει· αἱ δ’ ἀπὸ τῶν ἐλευθερίων μόχθων ὀσμαὶ ἐπιτηδευμάτων τε πρῶτον χρηστῶν καὶ χρόνου πολλοῦ δέονται, εἰ μέλλουσιν ἡδεῖαί τε καὶ ἐλευθέριαι ἔσεσθαι. καὶ ὁ θαυμασιώτατος δὲ Χρύσιππος τὴν ὀνομασίαν φησὶ λαβεῖν τὰ μύρα ἀπὸ τοῦ μετὰ πολλοῦ μόρου καὶ πόνου ματαίου γίνεσθαι. Λακεδαιμόνιοί τε ἐξελαύνουσι τῆς Σπάρτης τοὺς τὰ μύρα κατασκευάζοντας ὡς διαφθείροντας τοὔλαιον καὶ τοὺς τὰ ἔρια δὲ βάπτοντας ὡς ἀφανίζοντας τὴν λευκότητα τῶν ἐρίων. Σόλων τε ὁ σοφὸς διὰ τῶν Νόμων κεκώλυκε τοὺς ἄνδρας μυροπωλεῖν. νῦν δὲ τῶν ἀνθρώπων οὐχ αἱ ὀσμαὶ μόνον, ὥς φησιν Κλέαρχος ἐν γ’ περὶ Βίων, ἀλλὰ καὶ αἱ χροιαὶ τρυφερὸν ἔχουσαί τι συνεκθηλύνουσι τοὺς μεταχειριζομένους. ὑμεῖς δὲ οἴεσθε τὴν ἁβρότητα χωρὶς ἀρετῆς ἔχειν τι τρυφερόν; καίτοι Σαπφώ, γυνὴ μὲν πρὸς ἀλήθειαν οὖσα καὶ ποιήτρια, ὅμως ᾐδέσθη τὸ καλὸν τῆς ἁβρότητος ἀφελεῖν λέγουσα ὧδε· ἐγὼ δὲ φίλημμ’ ἁβροσύναν, … τοῦτο, καί μοι τὸ λαμπρὸν ἔρος τὠελίω καὶ τὸ καλὸν λέλογχε· φανερὸν ποιοῦσα πᾶσιν ὡς ἡ τοῦ ζῆν ἐπιθυμία τὸ λαμπρὸν καὶ τὸ καλὸν εἶχεν αὐτῇ ταῦτα δ’ ἐστὶν οἰκεῖα τῆς ἀρετῆς. Παρράσιος δὲ ὁ ζωγράφος, καίπερ παρὰ μέλος ὑπὲρ τὴν ἑαυτοῦ τέχνην τρυφήσας καὶ τὸ λεγόμενον ἐλευθέριον ἐκ ῥαβδίων ὡς ἔκ τινων ποτηρίων ἑλκύσας, λόγῳ γοῦν ἀντελάβετο τῆς ἀρετῆς, ἐπιγραψάμενος τοῖς ἐν Λίνδῳ πᾶσιν αὑτοῦ ἔργοις ἁβροδίαιτος ἀνήρ ἀρετήν τε σέβων τάδ’ ἔγραψεν Παρράσιος. ᾧ κομψός τις, ὡς ἐμοὶ δοκεῖ, ὑπεραλγήσας ῥυπαίνοντι τὸ τῆς ἀρετῆς ἀβρὸν καὶ καλόν, ἅτε φορτικῶς μετακαλεσαμένῳ εἰς τρυφὴν τὴν δοθεῖσαν ὑπὸ τῆς τύχης χορηγίαν, παρέγραψε τὸ ῥαβδοδίαιτος ἀνήρ. ἀλλ’ ὅμως διὰ τὸ τὴν ἀρετὴν φῆσαι τιμᾶν ἀνεκτέον.ταῦτα μὲν ὁ Κλέαρχος. Σοφοκλῆς δ’ ὁ ποιητὴς ἐν Κρίσει τῷ δράματι τὴν μὲν Ἀφροδίτην Ἡδονήν τινα οὖσαν δαίμονα μύρῳ τε ἀλειφομένην παράγει καὶ κατοπτριζομένην, τὴν δὲ Ἀθηνᾶν Φρόνησιν οὖσαν καὶ Νοῦν ἔτι δ’ ᾽ Ἀρετήν, ἐλαίῳ χριομένην καὶ γυμναζομένην.
In reply to this, Masurius said;—But, my most excellent friend, are you not aware that it is in our brain that our senses are soothed, and indeed reinvigorated, by sweet smells? as Alexis says in his Wicked Woman, where he speaks thus—The best recipe for healthIs to apply sweet scents unto the brain.And that most valiant, and indeed warlike poet, Alcæus, says—He shed a sweet perfume all o'er my breast.And the wise Anacreon says somewhere—Why fly away, now that you've well anointedYour breast, more hollow than a flute, with unguents?for he recommends anointing the breast with unguent, as being the seat of the heart, and considering it an admitted point that that is soothed with fragrant smells. And the ancients used to act thus, not only because scents do of their own nature ascend upwards from the breast to the seat of smelling, but also because they thought that the soul had its abode in the heart; as Praxagoras, and Philotimus the physician taught; and Homer, too, says—He struck his breast, and thus reproved his heart.And again he says—His heart within his breast did rage.And in the Iliad he says—But Hector's heart within his bosom shook.And this they consider a proof that the most important portion of the soul is situated in the heart; for it is as evident as possible that the heart quivers when under the agitation of fear. And Agamemnon, in Homer, says—Scarce can my knees these trembling limbs sustain,And scarce my heart support its load of pain;With fears distracted, with no fix'd design,And all my people's miseries are mine.And Sophocles has represented women released from fear as saying—Now Fear's dark daughter does no more exultWithin my heart.But Anaxandrides makes a man who is struggling with fear say—O my wretched heart!How you alone of all my limbs or sensesRejoice in evil; for you leap and danceThe moment that you see your lord alarm'd.And Plato says, “that the great Architect of the universe has placed the lungs close to the heart, by nature soft and destitute of blood, and having cavities penetrable like sponge, that so the heart, when it quivers, from fear of adversity or disaster, may vibrate against a soft and yielding substance.” But the garlands with which men bind their bosoms are called ὑποθυμιάδες by the poets, from the exhalations (ἀναθυμίασις of the flowers, and not because the soul (ψυχὴ) is called θυμὸς, as some people think.
τούτοις ἀπαντήσας ὁ Μασσούριος ἔφη·ὦ δαιμόνιε ἀνδρῶν, οὐκ οἶδας ὅτι αἱ ἐν τῷ ἐγκεφάλῳ ἡμῶν αἰσθήσεις ὀδμαῖς ἡδείαις παρηγοροῦνται προσέτι τε θεραπεύονται, καθὰ καὶ Ἄλεξίς φησιν ἐν Πονήρᾳ οὕτως· ὑγιείας μέρος μέγιστον ὀσμὰς ἐγκεφάλῳ χρηστὰς ποιεῖν. καὶ ὁ ἀνδρειότατος δέ, προσέτι δὲ καὶ πολεμικὸς ποιητὴς Ἀλκαῖος ἔφη· κὰδ δὲ χευάτω μύρον ἁδὺ καττῶ στήθεος ἄμμι. καὶ ὁ σοφὸς δὲ Ἀνακρέων λέγει που· τί μὴν πέτεαι συρίγγων κοιλώτερα στήθεα χρισάμενος μύρῳ; τὰ στήθη παρακελευόμενος μυροῦν, ἐν οἷς ἐστιν ἡ καρδία, ὡς καὶ ταύτης δηλονότι παρηγορουμένης τοῖς εὐώδεσι. τοῦτο δ’ ἔπρασσον οὐ μόνον τῆς εὐωδίας ἀπὸ τοῦ στήθους κατὰ φύσιν ἀναφερομένης ἐπὶ τὴν ὄσφρησιν, ἀλλὰ καὶ διὰ τὸ νομίζειν ἐν τῇ καρδίᾳ τὴν ψυχὴν καθιδρῦσθαι, ὡς Πραξαγόρας καὶ Φυλότιμος οἱ ἰατροὶ παραδεδώκασιν.καὶ Ὅμηρος δέ φησιν στῆθος δὲ πλήξας κραδίην ἠνίπαπε μύθῳ. καί· κραδίη δὲ οἱ ἔνδον ὑλάκτει. καί· Ἕκτορι δ’ αὐτῷ θυμὸς ἐνὶ στήθεσσι πάτασσε. ὃ δὴ καὶ σημεῖον φέρουσι τοῦ τὸ κυριώτερον τῆς ψυχῆς ἐνταῦθα κεῖσθαι· κατὰ γὰρ τὰς ἐν τοῖς φόβοις γινομένας ἀγωνίας πάλλεσθαι τὴν καρδίαν ἐπιδηλότατα συμβαίνει. καὶ ὁ Ἀγαμέμνων δέ φησιν ὁ Ὁμηρικός· αἰνῶς γὰρ Δαναῶν πέρι δείδια, οὐδέ μοι ἦτορ ἔμπεδον, ἀλλ’ ἀλαλύκτημαι· κραδίη δέ μοι ἔξω στηθέων ἐκθρώσκει, τρομέει δ’ ὕπο φαίδιμα γυῖα. καὶ ὁ Σοφοκλῆς δὲ τὰς ἀπολελυμένας τοῦ φόβου πεποίηκε λεγούσας· θυμῷ δ’ οὔ τις φαιδρὰ χορεύει τάρβους θυγάτηρ. Ἀναξανδρίδης δὲ τὸν ἀγωνιῶντα παράγει λέγοντα· ὦ πονηρὰ καρδία, ἐπιχαιρέκακον ὡς εἶ μόνον τοῦ σώματος· ὀρχῇ γὰρ εὐθὺς ἂν μ’ ἴδῃς δεδοικότα. Πλάτων δέ φησι τὸν τῶν ὅλων δημιουργὸν καὶ τὴν τοῦ πλευμόνος αὐτῇ φύσιν περιθεῖναι πρῶτον μὲν μαλακὴν καὶ ἄναιμον, εἶτα σήραγγας ἔχουσαν οἷον σπόγγου κατατετρημένας, ἵν’ ἐν τῇ τῶν δεινῶν προσδοκίᾳ πολλάκις ἁλλομένη τὸν παλμὸν εἰς ὑπεῖκον καὶ μαλακὸν ποιῆται. ἀλλὰ μὴν καὶ τοὺς στεφάνους τοὺς περικειμένους τῷ στήθει ὑποθυμίδας οἱ ποιηταὶ κεκλήκασιν ἀπὸ τῆς τῶν ἀνθῶν ἀναθυμιάσεως, οὐκ ἀπὸ τοῦ τὴν ψυχὴν θυμὸν καλεῖσθαι, ὥς τινες ἀξιοῦσιν.
Archilochus is the earliest author who uses the word μύρον (perfume), where he says—She being old would spare her perfumes (μύρα).And in another place he says—Displaying hair and breast perfumed (ἐσμυρισμένον);So that a man, though old, might fall in love with her.And the word μύρον is derived from μύῤῥα, which is the Aeolic form of σμύρνα (myrrh); for the greater portion of unguents are made up with myrrh, and that which is called στακτὴ is wholly composed of it. Not but what Homer was acquainted with the fashion of using unguents and perfumes, but he calls them ἔλαια, with the addition of some distinctive epithet, as-Himself anointing them with dewy oil (δροσόεντι ἐλαίῳ).And in another place he speaks of an oil as perfumed (τεθυωμένον. And in his poems also, Venus anoints the dead body of Hector with ambrosial rosy oil; and this is made of flowers. But with respect to that which is made of spices, which they called θυώματα, he says, speaking of Juno,—Here first she bathes, and round her body poursSoft oils of fragrance and ambrosial showers:The winds perfumed, the balmy gale conveyThrough heaven, through earth, and all the aërial way.Spirit divine! whose exhalation greetsThe sense of gods with more than mortal sweets.
τῷ δὲ τοῦ μύρου ὀνόματι πρῶτος Ἀρχίλοχος κέχρηται λέγων οὐκ ἂν μύροισι γραῦς ἐοῦσ’ ἠλείφετο. καὶ ἀλλαχοῦ δ’ ἔφη· ἐσμυρισμένας κόμας καὶ στῆθος, ὡς ἂν καὶ γέρων ἠράσσατο. μύρρα γὰρ ἡ σμύρνα παρ’ Αἰολεῦσιν, ἐπειδὴ τὰ πολλὰ τῶν μύρων διὰ σμύρνης ἐσκευάζετο καὶ ἥ γε στακτὴ καλουμένη διὰ μόνης ταύτης· ὁ ᾽δὲ Ὅμηρος τὴν μὲν χρῆσιν οἶδε τῶν μύρων, ἔλαια δ’ αὐτὰ καλεῖ μετ’ ἐπιθέτου· ῥοδόεντι δ’ ἔχριεν ἐλαίῳ. καὶ ἀλλαχοῦ δὲ λέγει τι τεθυωμένον. καὶ ἡ Ἀφροδίτη δὲ παρ’ αὐτῷ τὸν Ἕκτορος νεκρὸν ῥοδόεντι ἔχριεν ἐλαίῳ ἀμβροσίῳ. καὶ τοῦτο μὲν ξ ἀνθέων. περὶ δὲ τοῦ ἐκ τῶν ἀρωμάτων σκευαζομένου, ἃ δὴ θυώματα ἐκάλουν, ἐπὶ τῆς Ἥρας λέγει· ἀμβροσίῃ μὲν πρῶτον ἀπὸ χροὸς ἱμερόεντος λύματα πάντα κάθηρεν, ἀλείψατο δὲ χρόα λευκὸν ἀμβροσίῃ ἑδανῷ τό, τό ῥά οἱ τεθυωμένον ἦεν τοῦ καὶ κινυμένοιο Διὸς ποτὶ χαλκοβατὲς δῶ ἒμπης ἐς γαῖάν τε καὶ οὐρανὸν ἵκετ’ ἀυτμή.
But the choicest unguents are made in particular places, as Apollonius of Herophila says in his treatise on Perfumes, where he writes—“The iris is best in Elis, and at Cyzicus; the perfume made from roses is most excellent at Phaselis, and that made at Naples and Capua is also very fine. That made from crocuses is in the highest perfection at Soli in Cilicia, and at Rhodes. The essence of spikenard is best at Tarsus; and the extract of vine-leaves is made best in Cyprus and at Adramyttium. The best perfume from marjoram and from apples comes from Cos. Egypt bears the palm for its essence of cypirus; and the next best is the Cyprian, and Phœnician, and after them comes the Sidonian. The perfume called Panathenaicum is made at Athens; and those called Metopian and Mendesian are prepared with the greatest skill in Egypt. But the Metopian is made of oil which is extracted from bitter almonds. Still, the superior excellence of each perfume is owing to the purveyors and the materials and the artists, and not to the place itself; for Ephesus formerly, as men say, had a high reputation for the excellence of its perfumes, and especially of its megallium, but now it has none. At one time, too, the unguents made in Alexandria were brought to high perfection, on account of the wealth of the city, and the attention that Arsinoe and Berenice paid to such matters; and the finest extract of roses in the world was made at Cyrene while the great Berenice was alive. Again, in ancient times, the extract of vine-leaves made at Adramyttium was but poor; but afterwards it became first-rate, owing to Stratonice, the wife of Eumenes. Formerly, too, Syria used to make every sort of unguent admirably, especially that extracted from fenugreek; but the case is quite altered now. And long ago there used to be a most delicious unguent extracted from frankincense at Pergamus, owing to the invention of a certain perfumer of that city, for no one else had ever made it before him; but now none is made there. “Now, when a valuable unguent is poured on the top of one that is inferior, it remains on the surface; but when good honey is poured on the top of that which is inferior, it works its way to the bottom, for it compels that which is worse to rise above it.”
γίνεται δὲ μύρα κάλλιστα κατὰ τόπους, ὡς Ἀπολλώνιός φησιν ὁ Ἡροφίλειος ἐν τῷ περὶ Μύρων γράφων οὕτως· ἶρις μὲν ἐν Ἤλιδι χρηστοτάτη καὶ ἐν Κυζίκῳ· ῥόδινον δὲ κράτιστον Φασήλιδι, καὶ τὸ ἐκ Νέας δὲ πόλεως καὶ Καπύης· κρόκινον δ’ ἐν Σόλοις τοῖς Κιλικίοις καὶ ἐν Ῥόδῳ· νάρδινον δὲ τὸ ἐν Τάρσῳ· οἰνάνθη δὲ ἡ ἀρίστη Κυπρία καὶ Ἀδραμυττηνή· ἀμαράκινον δὲ Κῷον καὶ μήλινον. κύπρινον δὲ προκέκριται τὸ ἐν Αἰγύπτῳ, δευτερεῦον δ’ ἐστὶ τὸ Κυπριακὸν καὶ τὸ ἐν Φοινίκῃ καὶ ταύτης τὸ ἀπὸ Σιδῶνος. τὸ δὲ παναθηναικὸν λεγόμενον ἐν Ἀθήναις· τὸ δὲ μετώπιον καὶ Μενδήσιον κάλλιστα ἐν Αἰγύπτῳ σκευάζεται· σκευάζεται δὲ τὸ μετώπιον ἐξ ἐλαίου τοῦ ἀπὸ τῶν πικρῶν καρύων. οἱ δὲ χορηγοῦντες, φησί, καὶ ἡ ὕλη καὶ οἱ τεχνῖται τὸ χρηστότατον ποιοῦσι μύρον, ἀλλ’ οὐχ οἱ τόποι. Ἔφεσός γέ τοι πρότερον, φησί, τοῖς μύροις διέφερεν καὶ μάλιστα ἐν τῷ μεγαλλείῳ, νῦν δὲ οὔ. ἤκμαζε δὲ καὶ τὰ ἐν Ἀλεξανδρείᾳ διὰ πλοῦτον καὶ διὰ τὴν Ἀρσινόης καὶ Βερενίκης σπουδήν. ἐγίνετο δὲ καὶ ἐν Κυρήνῃ ῥόδινον χρηστότατον καθ’ ὃν χρόνον ἔζη Βερενίκη ἡ μεγάλη· οἰνάνθινον δὲ ἐν Ἀδραμυττίῳ πάλαι μὲν μέτριον, ὕστερον δὲ πρῶτον διὰ Στρατονίκην τὴν Εὐμένους. ἡ δὲ Συρία τὸ παλαιὸν χρηστὰ πάντα παρείχετο, μάλιστα δὲ τὸ τήλινον, νῦν δὲ οὔ. ἐν δὲ Περγάμῳ πρότερον μὲν ἐξόχως, νῦν δὲ οὔ, μυρεψοῦ τινος ἐκπονήσαντος, ἐσκευάσθη τὸ παρ’ οὐδενί πω γεγονὸς λιβανώτινον μύρον. μύρον δὲ χρηστὸν μύρῳ εὐτελεῖ ἐπιχεόμενον ἐπιπολῆς μένει· μέλι δὲ χρηστὸν χείρονι ἐπιχεόμενον εἰς τὸ κάτω βιάζεται· λαμβάνει γὰρ αὑτοῦ καθύπερθεν τὸ ἧττον.
Achæus mentions Egyptian perfumes in his Prizes; and says—They'll give you Cyprian stones, and ointments choiceFrom dainty Egypt, worth their weight in silver.“And perhaps,” says Didymus, “he means in this passage that which is called στακτὴ, on account of the myrrh which is brought to Egypt, and from thence imported into Greece.” And Hicesius says, in the second book of his treatise on Matter,—“Of perfumes, some are rubbed on, and some are poured on. Now, the perfume made from roses is suitable for drinking parties, and so is that made from myrtles and from apples; and this last is good for the stomach, and useful for lethargic people. That made from vine-leaves is good for the stomach, and has also the effect of keeping the mind clear. Those extracted from sampsychum and ground thyme are also well suited to drinking parties; and so is that extract of crocus which is not mixed with any great quantity of myrrh. The στακτὴ,, also, is well suited for drinking parties; and so is the spikenard: that made from fenugreek is sweet and tender; while that which comes from white violets is fragrant, and very good for the digestion.” Theophrastus, also, in his treatise on Scents, says, “that some perfumes are made of flowers; as, for instance, from roses, and white violets, and lilies, which last is called σούσινον. There are also those which are extracted from mint and ground thyme, and gopper, and the crocus; of which the best is procured in Aegina and Cilicia. Some, again, are made of leaves, as those made from myrrh and the œnanthe; and the wild vine grows in Cyprus, on the mountains, and is very plentiful; but no perfume is made of that which is found in Greece, because that has no scent. Some perfumes, again, are extracted from roots; as is that made from the iris, and from spikenard, and from marjoram, and from zedoary.”
τοῦ δὲ Αἰγυπτίου μύρου μνημονεύων Ἀχαιὸς ἐν Ἄθλοις φησιν ἰσάργυρόν τ’ εἰς χεῖρα Κυπρίου λίθου δώσουσι κόσμον χριμάτων τ’ Αἰγυπτίων. μήποτε, φησὶν ὁ Δίδυμος, τὴν καλουμένην στακτὴν λέγει, διὰ τὴν σμύρναν ἣν εἰς Αἴγυπτον καταγομένην κομίζεσθαι πρὸς τοὺς Ἕλληνας. Ἱκέσιος δ’ ἐν β’ περὶ Ὕλης τῶν μύρων, φησίν, ἃ μέν ἐστιν χρίματα, ἃ δ’ ἀλείμματα, καὶ ῥόδινον μὲν πρὸς πότον ἐπιτήδειον, ἔτι δὲ μύρσινον, μήλινον τοῦτο δ’ ἐστὶν καὶ εὐστόμαχον καὶ ληθαργικοῖς χρήσιμον. τὸ δ’ οἰνάνθινον εὐστόμαχον ὂν καὶ τὴν διάνοιαν ἀπαραπόδιστον φυλάσσει, καὶ τὸ σαμψούχινον δὲ καὶ ἑρπύλλινον ἐπιτήδεια πρὸς πότον καὶ κρόκινον τὸ χωρὶς σμύρνης πολλῆς, καὶ ἡ στακτὴ δὲ ἐπιτήδειος πρὸς πότον, ἔτι δὲ νάρδος. τὸ δὲ τήλινον καὶ γλυκύ ἐστι καὶ ἁπαλόν. τὸ δὲ λευκόινον καὶ εὐῶδες καὶ σφόδρα πεπτικόν. Θεόφραστος δὲ ἐν τῷ περὶ Ὀδμῶν συντίθεσθαί φησι μύρα ἀπ’ ἀνθέων μὲν ῥόδινον καὶ λευκόινον καὶ σούσινον καὶ γὰρ τοῦτο ἐκ τῶν κρίνων, ἔτι δὲ τὸ σισύμβρινον καὶ ἑρπύλλινον, ἔτι δὲ κύπρινον καὶ κρόκινον βέλτιστον δ’ ἐν Αἰγίνῃ καὶ Κιλικίᾳ. ἀπὸ δὲ φύλλων τὸ μύρρινον καὶ τὸ οἰνάνθινον· αὕτη δ’ ἐν Κύπρῳ φύεται ὀρεινὴ καὶ πολύοσμος, ἀπὸ δὲ τῆς ἐν τῇ Ἑλλάδι οὐ γίνεται διὰ τὸ ἄοσμον. ἀπὸ δὲ ῥιζῶν τὸ τ’ ἴρινον, καὶ τὸ νάρδινον, καὶ τὸ ἀμαράκινον ἐκ τοῦ κόστου.
Now, that the ancients were very much addicted to the use of perfumes, is plain from their knowing to which of our limbs each unguent was most suitable. Accordingly, Antiphanes, in his Thoricians, or The Digger, says—A. He really bathes—B. What then?A. In a large gilded tub, and steeps his feetAnd legs in rich Egyptian unguents;His jaws and breasts he rubs with thick palm-oil,And both his arms with extract sweet of mint;His eyebrows and his hair with marjoram,His knees and neck with essence of ground thyme.And Cephisodorus, in his Trophonius, says—A. And now that I may well anoint my body,Buy me some unguents, I beseech you, Xanthias,Of roses made and irises. Buy, too,Some oil of baccaris for my legs and feet.B. You stupid wretch! Shall I buy baccaris,And waste it on your worthless feet?Anaxandrides, too, in his Protesilaus, says—Unguents from Peron, which but yesterdayHe sold to Melanopus,—very costly,Fresh come from Egypt; which he uses nowTo anoint the feet of vile Callistratus.And Theopompus also mentions this perfumer, Peron, in his Admetus, and in the Hedychares. Antiphanes, too, says in his Antea—I left the man in Peron's shop, just now,Dealing for ointments; when he has agreed,He'll bring you cinnamon and spikenard essence.
ὅτι δὲ διὰ σπουδῆς ἦν τοῖς παλαιοτέροις ἡ τῶν μύρων χρῆσις δῆλον ἐκ τοῦ καὶ ἐπίστασθαι ποῖόν τι ἑκάστῳ τῶν μελῶν ἡμῶν ἐστιν ἐπιτήδειον,ι Ἀντιφάνης γοῦν ἐν Θορικίοις ἢ Διορύττοντί φησιν λοῦται δ’ ἀληθῶς; ἀλλὰ τί; β. ἐκ χρυσοκολλήτου γε κάλπιδος μύρῳ Αἰγυπτίῳ μὲν τοὺς πόδας καὶ τὰ σκέλη, φοινικίνῳ δὲ τὰς γνάθους καὶ τιτθία, σισυμβρίνῳ δὲ τὸν ἕτερον βραχίονα, ἀμαρακίνῳ δὲ τὰς ὀφρῦς καὶ τὴν κόμην, ἑρπυλλίνῳ δὲ τὸ γόνυ καὶ τὸν αὐχένα..,, καὶ Κηφισόδωρος ἐν Τροφωνίῳ· ἔπειτ’ ἀλείφεσθαι πρίω τὸ σῶμά μοι μύρον ἴρινον καὶ ῥόδινον, ἄγε μοι, Ξανθία· καὶ τοῖς ποσὶν χωρὶς πρίω μοι βάκκαριν. β. ὦ λακκόπρωκτε, βάκκαριν τοῖς σοῖς ποσὶν ἐγὼ πρίωμαι; λαικάσομἄρα βάκκαριν; Ἀναξανδρίδης Πρωτεσιλάῳ· μύρον τε παρὰ Πέρωνος, οὗπερ ἀπέδοτο ἐχθὲς Μελανώπῳ, πολυτελοῦς Αἰγυπτίου, ᾧ νῦν ἀλείφει τοὺς πόδας Καλλιστράτου. μνημονεύει τοῦ μυροπώλου τούτου τοῦ Πέρωνος καὶ Θεόπομπος ἐν Ἀδμήτῳ καὶ Ἡδυχάρει. Ἀντιφάνης δ’ ἐν Ἀντείᾳ· παρὰ τῷ μυροπώλῃ γευόμενον κατελίμπανον αὐτὸν Πέρωνι τῶν μύρων μέλλει δέ σοι συνθεὶς φέρειν τὰ κινναμώμινα ταῦτα καὶ τὰ νάρδινα.
Now, there is a sort of ointment called βάκκαρις by many of the comic poets; and Hipponax uses this name in the following line:—I then my nose with baccaris anointed,Redolent of crocus.And Acheus, in his Aethon, a satyric drama, says—Anointed o'er with baccaris, and dressingAll his front hair with cooling fans of feathers.But Ion, in his Omphale, says—'Tis better far to know the use of μύρα,And βάκκαρις, and Sardian ornaments,Than all the fashions in the Peloponnesus.And when he speaks of Sardian ornaments, he means to include perfumes; since the Lydians were very notorious for their luxury. And so Anacreon uses the word λυδοπαθὴς (Lydian-like) as equivalent to ἡδυπαθὴς (luxurious). Sophocles also uses the word βάκκαρις; and Magnes, in his Lydians, says—A man should bathe, and then with baccarisAnoint himself.Perhaps, however, μύρον and βάκκαρις were not exactly the same thing; for Aeschylus, in his Amymone, makes a distinction between them, and says—Your βακκάρεις and your μύρα.And Simonides says—And then with μύρον,, and rich spices too,And βάκκαρις, did I anoint myself.And Aristophanes, in his Thesmophoriazusæ, says—O venerable Jove! with what a scentDid that vile bag, the moment it was open'd,O'erwhelm me, full of βάκκαρις and μύρον.!
παρὰ πολλοῖς δὲ τῶν κωμῳδιοποιῶν ὀνομάζεταί τι μύρον βάκκαρις· οὗ μνημονεύει καὶ Ἱππῶναξ διὰ τούτων βακκάρι δὲ τὰς ῥῖνας ἤλειφον ἐστὶ δ’ οἷά περ κρόκος. Ἀχαιὸς δ’ ἐν Αἴθωνι σατυρικῷ· βακκάρει χρισθέντα καὶ ψυκτηρίοις πτεροῖς ἀναστήσαντα προσθίαν τρίχα· Ἴων Ὀμφάλῃ· βακκάρις δὲ καὶ μύρα καὶ Σαρδιανὸν κόσμον εἰδέναι χροὸς ἄμεινον ἢ τὸν Πέλοπος ἐν νήσῳ τρόπον. ἐν τούτοις Σαρδιανὸν κόσμον εἴρηκε τὸ μύρον, ἐπεὶ διαβόητοι ἐπὶ ἡδυπαθείᾳ οἱ Λυδοί· καὶ τὸ παρὰ Ἀνακρέοντι λυδοπαθὴς ἀκούουσιν ἀντὶ τοῦ ἡδυπαθής. μνημονεύει τῆς βακκάριδος καὶ Σοφοκλῆς. Μάγνης δ’ ἐν Λυδοῖς· λούσαντα χρὴ καὶ βακκάριδι κεχριμένον … καὶ μήποτε οὔκ ἐστι μύρον ἡ βάκκαρις. Αἰσχύλος γὰρ ἐν Ἀμυμώνῃ ἀντιδιαστέλλων φησὶν κἄγωγε τὰς σὰς βακκάρεις τε καὶ μύρα. καὶ Σιμωνίδης· κἠλειφόμην μύροισι καὶ θυώμασι καὶ βακκάρι. Ἀριστοφάνης δ’ ἐν Θεσμοφοριαζούσαις· ὦ Ζεῦ πολυτίμηθ᾽, οἷον ἐνέπνευσ’ ὁ μιαρὸς φάσκωλος εὐθὺς λυόμενός μοι τοῦ μύρου καὶ βακκάριδος.
Pherecrates mentions an unguent, which he calls βρένθιον, in his Trifles, saying—I stood, and order'd him to pour upon usSome brenthian unguent, that he also mightPour it on those departing.And Crates mentions what he calls royal unguent, in his Neighbours; speaking as follows:—He smelt deliciously of royal unguent.But Sappho mentions the royal and the brenthian unguent together, as if they were one and the same thing; saying—βρενθεΐῳ βασιληΐῳ,Aristophanes speaks of an unguent which he calls ψάγδης, in his Daitaleis; saying—Come, let me see what unguent I can give you:Do you like ψάγδησ?And Eupolis, in his Marica, says—All his breath smells of ψάγδης.Eubulus, in his Female Garland-sellers, says—She thrice anointed with Egyptian psagdas (ψάγδανι).Polemo, in his writings addressed to Adæus, says that there is an unguent in use among the Eleans called plangonium, from having been invented by a man named Plangon. And Sosibins says the same in his Similitudes; adding, that the unguent called megallium is so named for a similar reason: for that that was invented by a Sicilian whose name was Megallus. But some say that Megallus was an Athenian: and Aristophanes mentions him in his Telmissians, and so does Pherecrates in his Petale; and Strattis, in his Medea, speaks thus:—And say that you are bringing her such unguents,As old Megallus never did compound,Nor Dinias, that great Egyptian, see,Much less possess.Amphis also, in his Ulysses, mentions the Megalli unguent in the following passage—A. Adorn the walls all round with hangings rich,Milesian work; and then anoint them o'erWith sweet megallium, and also burnThe royal mindax.B. Where did you, O master,E'er hear the name of such a spice as thatAnaxandrides, too, in his Tereus, says—And like the illustrious bride, great Basilis,She rubs her body with megallian unguent.Menander speaks of an unguent made of spikenard, in his Cecryphalus, and says—A. This unguent, boy, is really excellent.B. Of course it is, 'tis spikenard.
βρενθείου ὁ δὲ μύρου μνημονεύει Φερεκράτης ἐν Λήροις οὕτως·ἔστην δὲ κἀκέλευον, ἐγχέασθε νῷν βρένθειον, ἵνα τοῖς εἰσιοῦσιν ἐγχέῃ. βασιλείου τ δὲ μύρου μνημονεύει Κράτης ἐν Γείτοσιν λέγων οὕτως· γλυκύτατον δ’ ὦζε βασιλείου μύρου. Σαπφὼ δ’ ὁμοῦ μέμνηται τοῦ τε βασιλείου καὶ τοῦ βρενθείου, λέγουσα οὕτως· βρενθείω βασιληίῳ. ψαγδῆς. Ἀριστοφάνης ἐν Δαιταλεῦσιν· φέρ’ ἴδω, τί σοι δῶ τῶν μύρων; ψάγδαν φιλεῖς; Εὔπολις δ’ ἐν Μαρικᾷ, ψάγδαν ἐρυγγάνοντα, Εὔβουλος δ’ ἐν Στεφανοπώλισιν Αἰγυπτίῳ ψάγδανι τρὶς λελουμένη. πολέμων δ’ ἐν τοῖς πρὸς Ἀδαῖον παρὰ Ἠλείοις φησὶ μύρον τι πλαγγόνιον καλεῖσθαι, εὑρεθὲν ὑπό τινος Πλαγγόνος. ὁμοίως ἱστορεῖ καὶ Σωσίβιος ἐν Ὁμοιότησιν. ὡς καὶ τὸ μεγαλλεῖον, ὠνομάσθη γὰρ καὶ τοῦτο ἀπὸ Μεγάλλου τοῦ Σικελιώτου; οἱ δ’ Ἀθηναῖόν φασιν εἶναι τὸν Μέγαλλον. μνημονεύει δ’ αὐτοῦ Ἀριστοφάνης ἐν Τελμησσεῦσι καὶ Φερεκράτης ἐν Πετάλῃ, Στράττις δ’ ἐν Μηδείᾳ οὕτως· λέγ’ ὅτι φέρεις αὐτῇ μύρον τοιοῦτον οἷον οὐ Μέγαλλος πώποτε ἥψησεν οὐδὲ Δεινίας ᾄγύπτιος οὔτ’ εἶδεν οὔτ’ ἐκτήσατο. τοῦ μεγαλλείου δὲ μύρου μνημονεύει καὶ Ἄμφις ἐν Ὀδυσσεῖ διὰ τούτων ἐρίοισι τοὺς τοίχους κύκλῳ Μιλησίοις, ἔπειτ’ ἀλείφειν τῷ μεγαλλείῳ ὁ μύρῳ καὶ τὴν βασιλικὴν θυμιᾶτε μίνδακα. β. ἀκήκοας σύ, δέσποτ᾽, ἤδη πώποτε τὸ θυμίαμα τοῦτο; Ἀναξανδρίδης Τηρεῖ· ἀλλ’ οἷα νύμφη βασιλὶς ὠνομασμένη μύροις μεγαλλείοις τὸ σῶμ’ ἀλείφεται. ναρδίνου δὲ μύρου μέμνηται Μένανδρος ἐν Κεκρυφάλῳ οὕτως· ἡδὺ τὸ μύρον, παιδάριον. β. ἡδύ; πῶς γὰρ οὔ; νάρδινον.
And anointing oneself with an unguent of this description, Alæus calls μυρίσασθαι, in his Palæstræ, speaking thus—Having anointed her (μυρίσασα), she shut her upIn her own stead most secretly.But Aristophanes uses not μυρίσματα, but μυρώματα, in his Ecclesiazusæ, saying—I who 'm anointed (μεμύρισμαι) o'er my head with unguents (μυρώμασι).There was also an unguent called sagda, which is mentioned by Eupolis in his Coraliscus, where he writes—And baccaris, and sagda too.And it is spoken of likewise by Aristophanes, in his Daitaleis; and Eupolis in his Marica says—And all his breath is redolent of sagda:which expression Nicander of Thyatira understands to be meant as an attack upon a man who is too much devoted to luxury. But Theodorus says, that sagda is a species of spice used in fumigation.
τὸ δὲ χρίσασθαι τῷ τοιούτῳ ἀλείμματι μυρίσασθαι εἴρηκεν Ἀλκαῖος ἐν Παλαίστρᾳ διὰ τούτων μυρίσασά συγκατέκλεισεν ἀνθ’ αὑτῆς λάθρᾳ. μυρώμασιν μέντοι, οὐ μυρίσμασιν ἔλεγεν Ἀριστοφάνης ἐν Ἐκκλησιαζούσαις· ἥτις μεμύρισμαι τὴν κεφαλὴν μυρώμασιν. τῆς δὲ λεγομένης σάγδας μύρον δ’ ἐστὶ καὶ τοῦτο Ἐπίλυκος ἐν Κωραλίσκῳ· βάκκαρίς τε καὶ σάγδας ὁμοῦ. καὶ Ἀριστοφάνης ἐν Δαιταλεῦσιν, καὶ ἐν Μαρικᾷ Εὔπολις σάγδαν ἐρυγγάνοντα λέγων, ὅπερ ὁ Θυατειρηνὸς Νίκανδρος ἐπὶ τοῦ ἄγαν χλιδῶντος εἰρῆσθαι ἀκούει, Θεόδωρος δὲ θυμίαμά τί φησιν αὐτὸ εἶναι.
Now a cotyla of unguent used to be sold for a high price at Athens, even, as Hipparchus says in his Nocturnal Festival, for as much as five mine; but as Menander, in his Misogynist, states, for ten. And Antiphanes, in his Phrearrus, where he is speaking of the unguent called stacte, says—The stacte at two minæ's not worth having.Now the citizens of Sardis were not the only people addicted to the use of unguents, as Alexis says in his Maker of Goblets—The whole Sardian people is of unguents fond;but the Athenians also, who have always been the leaders of every refinement and luxury in human life, used them very much; so that among them, as has been already mentioned, they used to fetch an enormous price; but, nevertheless, they did not abstain from the use of them on that account; just as we now do not deny ourselves scents which are so expensive and exquisite that those things are mere trifles which are spoken of in the Settler of Alexis—For he did use no alabaster boxFrom which t' anoint himself; for this is butAn ordinary, and quite old-fashion'd thing.But he let loose four doves all dipp'd in unguents,Not of one kind, but each in a different sort;And then they flew around, and hovering o'er us,Besprinkled all our clothes and tablecloths.Envy me not, ye noble chiefs of Greece;For thus, while sacrificing, I myselfWas sprinkled o'er with unguent of the iris.
παμπόλλου δ’ ἐπιπράσκετο Ἀθήνησιν ἡ τοῦ μύρου κοτύλη, καὶ ὡς μὲν Ἵππαρχός φησιν ἐν Παννυχίδι, εʹ μνῶν, ὡς δὲ Μένανδρος ἐν Μισογύνῃ, ιʹ Ἀντιφάνης δ’ ἐν Φρεαρρίῳ στακτῆς τοῦ μύρου μνημονεύων φησίν στακτὴ δυοῖν μναῖν οὐκ ἀρέσκει μ’ οὐδαμῶς. οὐ μόνον δὲ τὸ τῶν Σαρδιανῶν γένος φιλόμυρον ἦν, ὡς Ἄλεξίς φησιν ἐν Ἐκπωματοποιῷ· ἀεὶ φιλόμυρον πᾶν τὸ Σάρδεων γένος, ἀλλὰ καὶ αὐτοὶ οἱ Ἀθηναῖοι οἱ πάντων τῶν καλλίστων εἰσηγηταὶ τῷ τῶν ἀνθρώπων βίῳ γενόμενοι, παρ’ οἷς ἀνυπερβλήτου τιμῆς, ὡς προείρηται, τῶν μύρων ὑπαρχούσης οὐκ ἀπείχοντο τῆς χρήσεως, ὥσπερ οὐδὲ ἡμεῖς νῦν οὕτω πολυτίμων τῶν καλλίστων ὑπαρχόντων ὡς λῆρον εἶναι τὰ ἐν τῷ Εἰσοικιζομένῳ Ἀλέξιδος ταυτί, οὐ γὰρ ἐμυρίζετ’ ἐξ ἀλαβάστου, πρᾶγμά τι γινόμενον ἀεί, κρονικόν, ἀλλὰ τέτταρας περιστερὰς ἀφῆκεν ἀποβεβαμμένας εἰς οὐχὶ ταὐτόν, μὰ Δία, τὴν αὐτὴν μύρον, ἰδίᾳ ὁ δ’ ἑκάστην. πετόμεναι δ’ αὗται κύκλῳ ἔρραινον ἡμῶν θαἰμάτια καὶ στρώματα. μή μοι φθονήσητ᾽, ἄνδρες Ἑλλήνων ἄκροι· ἠλειφόμην ὑόμενος ἰρίνῳ μύρῳ.
Just think, in God's name, my friends, what luxury, or I should rather say, what profuse waste it was to have one's garments sprinkled in this manner, when a man might have taken up a little unguent in his hands, as we do now, and in that manner have anointed his whole body, and especially his head. For Myronides says, in his treatise on Unguents and Garlands, that “the fashion of anointing the head at banquets arose from this:—that those men whose heads are naturally dry, find the humours which are engendered by what they eat, rise up into their heads; and on this account, as their bodies are inflamed by fevers, they bedew their heads with lotions, so as to prevent the neighbouring humours from rising into a part which is dry, and which also has a considerable vacuum in it. And so at their banquets, having consideration for this fact, and being afraid of the strength of the wine rising into their heads, men have introduced the fashion of anointing their heads, and by these means the wine, they think, will have less effect upon then, if they make their head thoroughly wet first. And as men are never content with what is merely useful, but are always desirous to add to that whatever tends to pleasure and enjoyment; in that way they have been led to adopt the use of unguents.” We ought, therefore, my good cynic Theodorus, to use at banquets those unguents which have the least tendency to produce heaviness, and to employ those which have astringent or cooling properties very sparingly. But Aristotle, that man of most varied learning, raises the question, “Why men who use unguents are more grey than others? Is it because unguents have drying properties by reason of the spices used in their composition, so that they who use them become dry, and the dryness produces greyness? For whether greyness arises from a drying of the hair, or from a want of natural heat, at all events dryness has a withering effect. And it is on this account too that the use of hats makes men grey more quickly; for by them the moisture which ought to nourish the hair is taken away.”
πρὸς θεῶν, φίλοι, ποία ἡδονή, μᾶλλον δ’ ὑοσαλακωνία θαἰμάτια μολύνεσθαι, ἐξὸν ταῖς χερσίν, ὥσπερ ἡμεῖς νῦν ποιοῦμεν, ἀρυσαμένους ἀλείφεσθαι πᾶν τὸ σῶμα καὶ μάλιστα τὴν κεφαλήν, φησὶν γὰρ ὁ Φιλωνίδης ἐν τῷ περὶ Μύρων καὶ Στεφάνων τὴν ἀφορμὴν τοῦ τὴν κεφαλὴν ἐν τοῖς πότοις λιπαίνειν ἐντεῦθεν γενέσθαι· τοῖς αὐχμῶσι γὰρ τὰς κεφαλὰς εἰς τὸ μετέωρον ἕλκεσθαι τὸ λαμβανόμενον καὶ διὰ τοῦτο τῶν πυρετῶν διακαιόντων τὰ σώματα τέγγουσι τὴν κεφαλὴν ἐπιβρέγμασιν, ἵνα μὴ πρὸς τὸ ξηρόν, ταύτῃ δὲ καὶ πολύκενον, ὁρμὴν τὰ παρακαιόμενα λαμβάνῃ. τοῦτο δὴ λογισάμενοι καὶ ἐπὶ τῶν πότων τὴν εἰς τὸ μετέωρον τῶν οἴνων φορὰν ὑποπτεύσαντες ἐπεσπάσθησαν κεφαλὴν λιπαίνειν, ὡς ἐλάσσονος τῆς· βίας γενησομένης εἰ ταύτην προτέγξαιεν. προστιθεὶς δ’ ὁ βίος ἀεὶ τοῖς χρειώδεσιν καὶ τῶν εἰς ἀπόλαυσιν καὶ τρυφὴν ἀγόντων ἐπὶ τὴν τῶν μύρων χρῆσιν ὥρμησεν. χρηστέον οὖν, ὦ Κύνουλκε Θεόδωρε, μύροις παρὰ πότον τοῖς ἐλάχιστα καροῦν δυναμένοις, τοῖς στύφουσιν δὲ καὶ ψύχουσιν ἐπ’ ὀλίγον. ζητεῖ δ’ ὁ πολυμαθέστατος Ἀριστοτέλης ἐν τοῖς Φυσικοῖς Προβλήμασι διὰ τί οἱ μυριζόμενοι πολιώτεροι; ἢ ὅτι τὸ μύρον διὰ τὰ ἀρώματα ξηραντικὸν ἐστι, διὸ καὶ αὐχμηροὶ οἱ μυριζόμενοι· ὁ δὲ αὐχμὸς πολιωτέρους ποιεῖ, εἴτε γὰρ αὔανσις τριχὸς ἡ πολιὰ εἴτ’ ἔνδεια θερμοῦ, ἡ ξηρότης μαραίνει, διὸ καὶ τὰ πιλία θᾶττον ποιεῖ πολιούς ἐκπίνεται γὰρ ἡ οἰκεία τῆς τριχὸς ὑγρότης.
But when I was reading the twenty-eighth book of the History of Posidonius, I observed, my friends, a very pleasant thing which was said about unguents, and which is not at all foreign to our present discussion. For the philosopher says —“In Syria, at the royal banquets, when the garlands are given to the guests, some slaves come in, having little bladders full of Babylonian perfumes, and going round the room at a little distance from the guests, they bedew their garlands with the perfumes, sprinkling nothing else.” And since the discussion has brought us to this point, I will addA verse to Love,as the bard of Cythera says, telling you that Janus, who is worshipped as a great god by us, and whom we call Janus Pater, was the original inventor of garlands. And Dracon of Corcyra tells us this in his treatise on Precious Stones, where his words are—“But it is said that Janus had two faces, the one looking forwards and the other backwards; and that it is from him that the mountain Janus and the river Janus are both named, because he used to live on the mountain. And they say that he was the first inventor of garlands, and boats, and ships; and was also the first person who coined brazen money. And on this account many cities in Greece, and many in Italy and Sicily, place on their coins a head with two faces, and on the obverse a boat, or a garland, or a ship. And they say that he married his sister Camise, and had a son named Aethax, and a daughter Olistene. And he, aiming at a more extended power and renown, sailed over to Italy, and settled on a mountain near Rome, which was called Janiculum from his name.”
ἥδιστον δέ, ἄνδρες φίλοι, ἀναγινώσκων τὴν ὀγδόην καὶ εἰκοστὴν τῶν Ποσειδωνίου Ἱστοριῶν περὶ μύρων τι λεγόμενον ἐτήρησα, οὐκ ἀλλότριον ἡμῶν τοῦ συμποσίου, φησὶ γὰρ ὁ φιλόσοφος· ἐν Συρίᾳ ἐν τοῖς βασιλικοῖς συμποσίοις ὅταν τοῖς εὐωχουμένοις δοθῶσιν οἱ στέφανοι, εἰσίασίν τινες μύρων Βαβυλωνίων ἔχοντες ἀσκίδια καὶ πόρρωθεν ἐκ τούτων περιπορευόμενοι τοὺς μὲν στεφάνους τῶν κατακειμένων δροσίζουσι τοῖς μύροις, ἄλλο μηδὲν ἔξωθεν παραραίνοντες. ἐπεὶ δ’ ἐνταῦθα τοῦ λόγου ἐσμέν, συμβαλοῦμαί τι μέλος ὑμῖν εἰς ἔρωτα κατὰ τὸν Κυθήριον ποιητήν, ὅτι Ἰανὸς ὁ παρ’ ἡμῖν θεός, ὃν καὶ πατέρα προσαγορεύομεν, πρῶτος εὗρεν στέφανον. ἱστορεῖ δὲ τοῦτο Δράκων ὁ Κερκυραῖος ἐν τῷ περὶ Λίθων γράφων οὕτως· Ἰανὸν δὲ λόγος ἔχει διπρόσωπον γεγονέναι, τὸ μὲν ὀπίσω τὸ δ’ ἔμπροσθεν ἔχοντα πρόσωπον, ἀπὸ τούτου καὶ τὸν Ἰανὸν ποταμὸν καὶ τὸ ὄρος Ἰανὸν ὀνομάζεσθαι, κατοικήσαντος αὐτοῦ ἐπὶ τοῦ ὄρους, τοῦτον δὲ καὶ στέφανον πρῶτον εὑρεῖν καὶ σχεδίας καὶ πλοῖα καὶ νόμισμα χαλκοῦν πρῶτον χαράξαι. διὸ καὶ τῶν κατὰ τὴν Ἑλλάδα πολλὰς πόλεις καὶ τῶν κατὰ τὴν Ἰταλίαν καὶ Σικελίαν ἐπὶ τοῦ νομίσματος ἐγχαράττειν πρόσωπον δικέφαλον καὶ ἐκ θατέρου μέρους ἢ σχεδίαν ἢ στέφανον ἢ πλοῖον. τοῦτον δὲ τὴν ἀδελφὴν γήμαντα Καμήσην υἱὸν μὲν Αἴθηκα, θυγατέρα δὲ Ὀλιστήνην γεννῆσαι. καὶ αὐτὸν ὡς μειζόνων ὀρεγόμενον πραγμάτων εἰς τὴν Ἰταλίαν διαπλεῦσαι καὶ οἰκῆσαι τὸ πλησίον Ῥώμης ὄρος κείμενον τὸ ἀπ’ αὐτοῦ Ἰανοῦκλον ὀνομαζόμενον.
This, now, is what was said about perfumes and unguents. And after this most of them asked for wine, some demanding the Cup of the Good Deity, others that of Health, and different people invoking different deities; and so they all fell to quoting the words of those poets who had mentioned libations to these different deities; and I will now recapitulate what they said, for they quoted Antiphanes, who, in his Clowns, says—Harmodius was invoked, the paean sung,Each drank a mighty cup to Jove the Saviour.And Alexis, in his Usurer, or The Liar, says—A. Fill now the cup with the libation dueTo Jove the Saviour; for he surely isOf all the gods most useful to mankind.B. Your Jove the Saviour, if I were to burst,Would nothing do for me.A. Just drink, and trust him.And Nicostratus, in his Pandrosos, says—And so I will, my dear;But fill him now a parting cup to Health;Here, pour a due libation out to Health.Another to Good Fortune. Fortune managesAll the affairs of men; but as for Prudence,—That is a blind irregular deity.And in the same play he mentions mixing a cup in honour of the Good Deity, as do nearly all the poets of the old comedy; but Nicostratus speaks thus—Fill a cup quickly now to the Good Deity,And take away this table from before me;For I have eaten quite enough;—I pledgeThis cup to the Good Deity;—here, quick, I say,And take away this table from before me.Xenarchus, too, in his Twins, says—And now when I begin to nod my head,The cup to the Good Deity * ** * * *That cup, when I had drain'd it, near upset me;And then the next libation duly quaff'dTo Jove the Saviour, wholly wreck'd my boat,And overwhelm'd me as you see.And Eriphus, in his Melibœa, says—Before he'd drunk a cup to the Good Deity,Or to great Jove the Saviour.
τοσαῦτα καὶ περὶ μύρων ἐλέχθη. καὶ μετὰ ταῦτα πλείστων τῶν μὲν Ἀγαθοῦ Δαίμονος αἰτούντων ποτήριον, τῶν δὲ Διὸς Σωτῆρος, ἄλλων δὲ Ὑγιείας καὶ ἑτέρων ἑτέρους ἐπιλεγόντων, τοὺς τούτων τῶν κράσεων μεμνημένους τῶν ποιητῶν ἔδοξεν παρατίθεσθαι, ὧν καὶ αὐτῶν μνησθήσομαι, ᾽ι Ἀντιφάνης μὲν γὰρ ἐν Ἀγροικίσιν ἔφη· Ἁρμόδιος ἐπεκαλεῖτο, παιὰν ᾔδετο, μεγάλην Διὸς Σωτῆρος ἄκατον ἦρέ τις. Ἄλεξις δ’ ἐν Τοκιστῇ ἢ Καταψευδομένῳ· ἀλλ’ ἔγχεον αὐτῷ Διός γε τήνδε Σωτῆρος, θεῶν θνητοῖς ἁπάντων χρησιμωτάτου πολύ. β. ὁ Ζεὺς ὁ σωτήρ, ἂν ἐγὼ διαρραγῶ, οὐδὲν μ’ ὀνήσει. α. πῖθι θαρρῶν. Νικόστρατος Πανδρόσῳ· κἀγώ, φιλτάτη μετανιπτρίδ’ αὐτῷ τῆς Ὑγιείας ἔγχεον. β. λαβὲ τῆς Ὑγιείας δὴ σύ. α. φέρε, τύχάγαθῇ. τύχη τὰ θνητῶν πράγμαθ᾽, ἡ πρόνοια δὲ τυφλόν τι κἀσύντακτόν ἐστιν, ὦ πάτερ. ἐν δὲ τῷ αὐτῷ δράματι καὶ τῆς τοῦ Ἀγαθοῦ Δαίμονος κράσεως μνημονεύει, ἧς καὶ σχεδὸν πάντες οἱ τῆς ἀρχαίας κωμῳδίας ποιηταί. ἀλλ’ ὅ γε Νικόστρατος οὕτως φησὶν ἄλλ’ ἐγχέασα θᾶττον Ἀγαθοῦ Δαίμονος ἀπενεγκάτω μοι τὴν τράπεζαν ἐκποδών. ἱκανῶς κεχόρτασμαι γάρ. ἀγαθοῦ Δαίμονος δέχομαι, λαβοῦσ’ ἀπένεγκε ταύτην ἐκποδών Ξέναρχος ἐν Διδύμοις· ὡς ὑπό τι νυστάζειν γε καὐτὸς ἄρχομαι. β. ἡ τἀγαθοῦ γὰρ Δαίμονος συνέσεισέ με ἄκρατος ἐκποθεῖσα φιάλη παντελῶς. α. ἡ τοῦ δὲ Σωτῆρος Διὸς τάχιστά γε ἀπώλεσε ναύτην καὶ κατεπόντωσὲν μ᾽, ὁρᾷς. ἔριφος Μελιβοίᾳ· ἐκπεπήδηκας πρὶν Ἀγαθοῦ πρῶτα Δαίμονος λαβεῖν, πρὶν Διὸς σωτῆρος.