And Theophrastus, in his essay on Drunkenness, says— “The unmixed wine which is given at a banquet, which they call the pledge-cup in honour of the Good Deity, they offer in small quantities, as if reminding the guests of its strength, and of the liberality of the god, by the mere taste. And they hand it round when men are already full, in order that there may be as little as possible drunk out of it. And having paid adoration three times, they take it from the table, as if they were entreating of the gods that nothing may be done unbecomingly, and that they may not indulge in immoderate desires for this kind of drink, and that they may derive only what is honourable and useful from it.” And Philochorus, in the second book of his Atthis, says—“And a law was made at that time, that after the solid food is removed, a taste of the unmixed wine should be served round as a sort of sample of the power of the Good Deity, but that all the rest of the wine should be previously mixed; on which account the Nymphs had the name given them of Nurses of Bacchus.” And that when the pledge-cup to the Good Deity was handed round, it was customary to remove the tables, is made plain by the wicked action of Dionysius the tyrant of Sicily. For there was a table of gold placed before the statue of Aesculapius at Syracuse; and so Dionysius, standing before it, and drinking a pledge-cup to the Good Deity, ordered the table to be removed. But among the Greeks, those who sacrifice to the Sun, as Phylarchus tells us in the twelfth book of his History, make their libations of honey, as they never bring wine to the altars of the gods; saying that it is proper that the god who keeps the whole universe in order, and regulates everything, and is always going round and superintending the whole, should in no respect be connected with drunkenness.
Θεόφραστος δ’ ἐν τῷ περὶ Μέθης τὸν ἄκρατον, φησίν, οἶνον τὸν ἐπὶ τῷ δείπνῳ διδόμενον, ὃν δὴ λέγουσιν Ἀγαθοῦ Δαίμονος εἶναι πρόποσιν, ὀλίγον τε προσφέρουσιν, ὥσπερ ἀναμιμνήσκοντες μόνον τῇ γεύσει τὴν ἰσχὺν αὐτοῦ καὶ τὴν τοῦ θεοῦ δωρεάν, καὶ μετὰ τὴν πλήρωσιν διδόασιν, ὅπως ἐλάχιστον ᾖ τὸ πινόμενον καὶ τρίτον προσκυνήσαντες λαμβάνουσιν ἀπὸ τῆς τραπέζης, ὥσπερ ἱκετείαν τινὰ ποιούμενοι τοῦ θεοῦ μηθὲν ἀσχημονεῖν μηδ’ ἔχειν ἰσχυρὰν ἐπιθυμίαν τοῦ πότου, καὶ λαμβάνειν ἐξ αὐτοῦ τὰ καλὰ καὶ χρήσιμα. Φιλόχορος δ’ ἐν δευτέρῳ Ἀτθίδος καὶ θέσμιον, φησίν, ἐτέθη τότε προσφέρεσθαι μετὰ τὰ σιτία πᾶσιν ἀκράτου μὲν ὅσον γεῦμα καὶ δεῖγμα τῆς δυνάμεως τοῦ ἀγαθοῦ θεοῦ, τὸν δὲ λοιπὸν ἤδη κεκραμένον. δι’ ὃ καὶ τροφοὺς τοῦ Διονύσου τὰς Νύμφας ὀνομασθῆναι. ὅτι δὲ δοθείσης τῆς τοῦ Ἀγαθοῦ Δαίμονος κράσεως ἔθος ἦν βαστάζεσθαι τὰς τραπέζας ἔδειξεν διὰ τῆς αὑτοῦ ἀσεβείας ὁ Σικελιώτης Διονύσιος, τῷ γὰρ Ἀσκληπιῷ ἐν ταῖς Συρακούσαις ἀνακειμένης τραπέζης χρυσῆς προπιὼν αὐτῷ ἄκρατον Ἀγαθοῦ Δαίμονος ἐκέλευσεν βασταχθῆναι τὴν τράπεζαν. παρὰ δὲ τοῖς Ἐμεσηνοῖς θύοντες τῷ Ἡλίῳ, ὣς φησι Φύλαρχος ἐν τῇ ιβ’ τῶν Ἱστοριῶν, μέλι σπένδουσιν, οἶνον οὐ φέροντες τοῖς βωμοῖς, δεῖν λέγοντες τὸν τὰ ὅλα συνέχοντα καὶ διακρατοῦντα θεὸν καὶ ἀεὶ περιπολοῦντα τὸν κόσμον ἀλλότριον εἶναι μέθης.
Most writers have mentioned the Attic Scolia; and they are worthy also of being mentioned by me to you, on account of the antiquity and simple style of composition of the authors, and of those especially who gained a high reputation for that description of poetry, Alcæus and Anacreon; as Aristophanes says in his Daitaleis, where we find this line—Come, then. a scolium sing to me,Of old Alcæus or Anacreon.Praxilla, the Sicyonian poetess, was also celebrated for the composition of scolia. Now they are called scolia, not because of the character of the verse in which they are written, as if it were σκολιὸς (crooked); for men call also those poems written in a laxer kind of metre σκολιά. But, “as there are three kinds of songs” (as Artemo of Cassandra says in the second book of his treatise on the Use of Books), “one or other of which comprehends everything which is sung at banquets; the first kind is that which it was usual for the whole party to sing; the second is that which the whole party indeed sang, not, however, together, but going round according to some kind of succession; the third is that which is ranked lowest of all, which was not sung by all the guests, but only by those who seemed to understand what was to be done, wherever they might happen to be sitting; on which account, as having some irregularity in it beyond what the other kinds had, in not being sung by all the guests, either together or in any definite kind of succession, but just as it might happen, it was called σκολιόν. And songs of this kind were sung when the ordinary songs, and those in which every one was bound to join, had come to an end. For then they invited all the more intelligent of the guests to sing some song worth listening to. And what they thought worth listening to were such songs as contained some exhortations and sentiments which seemed useful for the purposes of life.”
ἐμέμνηντο δ’ οἱ πολλοὶ καὶ τῶν Ἀττικῶν ἐκείνων σκολίων ἅπερ καὶ αὐτὰ ἄξιὸν ἐστί σοι ἀπομνημονεῦσαι διά τε τὴν ἀρχαιότητα καὶ ἀφέλειαν τῶν ποιησάντων, καὶ τῶν· ἐπαινουμένων ἐπὶ τῇ ἰδέᾳ ταύτῃ τῆς ποιητικῆς Ἀλκαίου τε καὶ Ἀνακρέοντος, ὡς Ἀριστοφάνης παρίστησιν ἐν Δαιταλεῦσιν λέγων οὕτως ᾆσον δή μοι σκόλιόν τι λαβὼν Ἀλκαίου κἀνακρέοντος. καὶ Πράξιλλα δ’ ἡ Σικυωνία ἐθαυμάζετο ἐπὶ τῇ τῶν σκολίων ποιήσει. σκόλια δὲ καλοῦνται οὐ κατὰ τὸν τῆς μελοποιίας τρόπον ὅτι σκολιὸς ἦν λέγουσιν γὰρ τὰ ἐν ταῖς ἀνειμέναις εἶναι σκολιὰ ἀλλὰ τριῶν γενῶν ὄντων, ὥς φησιν Ἀρτέμων ὁ Κασσανδρεὺς ἐν δευτέρῳ Βιβλίων Χρήσεως, ἐν οἷς τὰ περί· τὰς συνουσίας ἦν ᾀδόμενα· ὧν τὸ μὲν πρῶτον ἦν ὃ δὴ πάντας ᾄδειν νόμος ἦν, τὸ δὲ δεύτερον ὃ δὴ πάντες μὲν ᾖδον, οὐ μὴν ἀλλά γε· κατά τινα περίοδον ἐξ ὑποδοχῆς, τὸ τρίτον δὲ καὶ τὴν ἐπὶ πᾶσι τάξιν ἔχον, οὗ μετεῖχον οὐκέτι πάντες, ἀλλ’ οἱ συνετοὶ δοκοῦντες εἶναι μόνοι, καὶ καθ᾽ ὅντινα τόπον ἀεὶ τύχοιεν ὄντες· διόπερ ὡς ἀταξίαν τινὰ μόνον παρὰ τἄλλα ἔχον τὸ μήθ’ ἅμα μήθ’ ἑξῆς γινόμενον, ἀλλ’ ὅπη ἔτυχον εἶναι σκόλιον ἐκλήθη, τὸ δὲ τοιοῦτον ᾔδετο ὁπότε τὰ κοινὰ καὶ πᾶσιν ἀναγκαῖα τέλος λάβοι ἐνταῦθα γὰρ ἤδη τῶν σοφῶν ἕκαστον ᾠδήν τινα καλὴν εἰς μέσον ἠξίουν προφέρειν. καλὴν δὲ ταύτην ἐνόμιζον τὴν παραίνεσὶν τέ τινα καὶ γνώμην ἔχειν δοκοῦσαν χρησίμην εἰς τὸν βίον.
And of these Deipnosophists, one quoted one scolium, and one another. And these were those which were recited—O thou Tritonian Pallas, who from heaven aboveLook'st with protecting eyeOn this holy city and land,Deign our protectress now to proveFrom loss in war, from dread sedition's band,And death's untimely blow, thou and thy father Jove.I sing at this glad season, of the Queen,Mother of Plutus, heavenly Ceres;May you be ever near us,You and your daughter Proserpine,And ever as a friendThis citadel defend.Latona once in Delos, as they say,Did two great children bear,Apollo with the golden hair,Bright Phœbus, god of day.And Dian, mighty huntress, virgin chaste.On whom all women's trust is placed.Raise the loud shout to Pan, Arcadia's king;Praise to the Nymphs' loved comrade sing!Come, O Pan, and raise with meThe song in joyful ecstasy.We have conquer'd as we would,The gods reward us as they should,And victory bring from Pandrosos to Pallas.Oh, would the gods such grace bestow,That opening each man's breast,One might survey his heart, and knowHow true the friendship that could stand that test.Health's the best gift to mortal given;Beauty is next; the third great prizeIs to grow rich, free both from sin and vice;The fourth, to pass one's youth with friends beloved by heaven.And when this had been sung, and everybody had been delighted with it; and when it had been mentioned that even the incomparable Plato had spoken of this scolium as one most admirably written, Myrtilus said, that Anaxandrides the-comic poet had turned it into ridicule in his Treasure, speaking thus of it—The man who wrote this song, whoe'er he was,When he call'd health the best of all possessions,Spoke well enough. But when the second placeHe gave to beauty, and the third to riches,He certainly was downright mad; for surelyRiches must be the next best thing to health,For who would care to be a starving beautyAfter that, these other scolia were sung—'Tis well to stand upon the shore,And look on others on the sea;But when you once have dipp'd your oar,By the present wind you must guided be.A crab caught a snake in his claw,And thus he triumphantly spake,—'My friends must be guided by law,Nor love crooked counsels to take.I'll wreathe my sword in myrtle bough,The sword that laid the tyrant low,When patriots, burning to be free,To Athens gave equality.Harmodius, hail! though reft of breath,Thou ne'er shalt feel the stroke of death,The happy heroes' isles shall beThe bright abode allotted thee.I'll wreathe the sword in myrtle bough,The sword that laid Hipparchus low,When at Minerva's adverse faneHe knelt, and never rose again.While Freedom's name is understood,You shall delight the wise and good;You dared to set your country free,And gave her laws equality.Learn, my friend, from Admetus' story,All worthy friends and brave to cherish;But cowards shun when danger comes,For they will leave you alone to perish.Ajax of the ponderous spear mighty son of Telamon,They call you bravest of the Greeks, next to the great Achilles,Telamon came first, and of the Greeks the second manWas Ajax, and with him there came invincible Achilles.Would that I were an ivory lyre,Struck by fair boys to great Iacchus' taste;Or golden trinket pure from fire,Worn by a lady fair, of spirit chaste.Drink with me, and sport with me,Love with me, wear crowns with me,Be mad with me when I am moved with rage,And modest when I yield to counsels sage.A scorpion 'neath every stone doth lie,And secrets usually hide treachery.A sow one acorn has, and wants its brother;And I have one fair maid, and seek another.A wanton and a bath-keeper both cherish the same fashion,Giving the worthless and the good the self-same bath to wash in.Give Cedon wine, O slave, and fill it up,If you must give each worthy man a cup.Alas! Leipsydrium, you betrayA host of gallant men,Who for their country many a dayHave fought, and would again.And even when they fell, their raceIn their great actions you may trace.The man who never will betray his friend,Earns fame of which nor earth nor heaven shall see the end.Some also call that a scolium which was composed by Hybrias the Cretan; and it runs thus—I have great wealth, a sword, and spear,And trusty shield beside me here;With these I plough, and from the vineSqueeze out the heart-delighting wine;They make me lord of everything.But they who dread the sword and spear,And ever trusty shield to bear,Shall fall before me on their knees,And worship me whene'er I please,And call me mighty lord and king.
τῶν οὖν δειπνοσοφιστῶν ὁ μέν τις ἔλεγε τῶν σκολίων τόδε, ὁ δέ τις τόδε· πάντα δ’ ἦν τὰ λεχθέντα ταῦτα· Παλλὰς Τριτογένει᾽, ἄνασσ’ Ἀθηνᾶ, ὄρθου τήνδε πόλιν τε καὶ πολίτας, ἄτερ ἀλγέων καὶ στάσεων καὶ θανάτων ἀώρων σύ τε καὶ πατήρ. πλούτου μητέρ’ Ὀλυμπίαν ἀείδω Δήμητρα στεφανηφόροις ἐν ὥραις, σέ τε, παῖ Διός, Φερσεφόνη· χαίρετον, εὖ δὲ τάνδ’ ἀμφέπετον πόλιν. ἐν Δήλῳ ποτ’ ἔτικτε παῖδα Λατώ, Φοῖβον χρυσοκόμαν, ἄνακτ’ Ἀπόλλω, ἐλαφηβόλον τ’ ἀγροτέραν Ἄρτεμιν, ἃ γυναικῶν μέγ’ ἔχει κράτος. ὦ Πάν, Ἀρκαδίας μέδων κλεεννᾶς, ὀρχηστὰ Βρομίαις ὀπαδὲ Νύμφαις, γελάσειας, ὦ Πάν, ἐπ’ ἐμαῖς εὔφροσι ταῖσδ’ ἀοιδαῖς κεχαρημένος. ἐνικήσαμεν ὡς ἐβουλόμεσθα, καὶ νίκην ἔδοσαν θεοὶ φέροντες παρὰ Πανδρόσου … ʽὡς φίλην Ἀθηνᾶν. ʼ ὁ εἶθ’ ἐξῆν ὁποῖός τις ἦν ἕκαστος τὸ στῆθος διελόντ᾽, ἔπειτα τὸν νοῦν ἐσιδόντα, κλείσαντα πάλιν, ἄνδρα φίλον νομίζειν ἀδόλῳ φρενί. ὑγιαίνειν μὲν ἄριστον ἀνδρὶ θνητῷ, δεύτερον δὲ καλὸν φυὰν γενέσθαι, τὸ τρίτον δὲ πλουτεῖν ἀδόλως, καὶ τὸ τέταρτον ἡβᾶν μετὰ τῶν φίλων. ἀισθέντος δὲ τούτου καὶ πάντων ἡσθέντων ἐπ’ αὐτῷ καὶ μνημονευσάντων ὅτι καὶ ὁ καλὸς Πλάτων αὐτοῦ μέμνηται ὡς ἄριστα εἰρημένου, ὁ Μυρτίλος ἔφη Ἀναξανδρίδην αὐτὸ διακεχλευακέναι τὸν κωμῳδιοποιὸν ἐν Θησαυρῷ λέγοντα οὕτως· ὁ τὸ σκόλιον εὑρὼν ἐκεῖνος, ὅστις ἦν, τὸ μὲν ὑγιαίνειν πρῶτον ὡς ἄριστον ὂν ὠνόμασεν ὀρθῶς· δεύτερον δ’ εἶναι καλόν, τρίτον δὲ πλουτεῖν, τοῦθ᾽, ὁρᾷς, ἐμαίνετο· μετὰ τὴν ὑγίειαν γὰρ τὸ πλουτεῖν διαφέρει καλὸς δὲ πεινῶν ἐστιν αἰσχρὸν θηρίον. ἑξῆς δ’ ἐλέχθη καὶ τάδε· … … ἐκ γῆς χρὴ κατίδην πλόον, εἴ τις δύναιτο καὶ παλάμην ἔχοι. ἐπεὶ δὲ κ’ ἐν πόντῳ γένηται, τῷ παρεόντι τρέχειν ἀνάγκη. ὁ δὲ καρκίνος ὧδ’ ἔφη, χαλᾷ τὸν ὄφιν λαβών εὐθὺν χρὴ τὸν ἑταῖρον ἔμμεν καὶ μὴ σκολιὰ φρονεῖν. ἐν μύρτου κλαδὶ τὸ ξίφος φορήσω, ὥσπερ Ἁρμόδιος καὶ Ἀριστογείτων, ὅτε τὸν τύραννον κτανέτην ἰσονόμους τ’ ᾽ Ἀθήνας ἐποιησάτην. φίλταθ’ Ἁρμόδι’, οὒ τί που τέθνηκας νήσοις δ’ ἐν μακάρων σέ φασιν εἶναι, ἵνα περ ποδώκης Ἀχιλεύς, Τυδείδην τέ φασι τὸν ἐσθλὸν Διομήδεα. ἐν μύρτου κλαδὶ τὸ ξίφος φορήσω, ὥσπερ Ἁρμόδιος καὶ Ἀριστογείτων, ὅτ’ Ἀθηναίης ἐν θυσίαις ἄνδρα τύραννον Ἵππαρχον ἐκαινέτην.αἰεὶ σφῷν κλέος ἔσσεται κατ’ αἶαν, φίλταθ’ Ἁρμόδιος καὶ ι Ἀριστογείτων· ὅτι τὸν τύραννον κτανέτην ἰσονόμους τ’ Ἀθήνας ἐποιησάτην. Ἀδμήτου λόγον, ὦ ἑταῖρε, μαθὼν τοὺς ἀγαθοὺς φίλει, τῶν δειλῶν δ’ ἀπέχου, γνοὺς ὅτι δειλοῖς ὀλίγη χάρις. παῖ Τελαμῶνος, Αἶαν αἰχμητά, λέγουσί σε ἐς Τροίαν ἄριστον ἐλθεῖν Δαναῶν μετ’ Ἀχιλλέα. τὸν Τελαμῶνα πρῶτον, Αἴαντα δὲ δεύτερον ἐς Τροίαν λέγουσιν ἐλθεῖν Δαναῶν μετ’ Ἀχιλλέα. εἴθε λύρα καλὰ γενοίμαν ἐλεφαντίνα, καί με καλοὶ παῖδες φέροιεν Διονύσιον ἐς χορόν. εἴθ’ ἄπυρον καλὸν γενοίμην μέγα χρυσίον καί με καλὴ γυνὴ φοροίη καθαρὸν θεμένη νόον. σύν μοι πῖνε, συνήβα, συνέρα, συστεφανηφόρει, σύν μοι μαινομένῳ μαίνεο, σὺν σώφρονι σωφρόνει.ὑπὸ παντὶ λίθῳ σκορπίος, ὦ ἑταῖρ᾽, ὑποδύεται. φράζευ μή σε βάλῃ· τῷ δ’ ἀφανεῖ πᾶς ἕπεται δόλος. ὗς τὰν βάλανον τὰν μὲν ἔχει, τὰν δ’ ἔραται λαβεῖν κἀγὼ παῖδα καλὴν τὴν μὲν ἔχω, τὴν δ’ ἔραμαι λαβεῖν. πόρνη καὶ βαλανεὺς τωὐτὸν ἔχουσ’ ἐμπεδέως ἔθος· ἐν ταὐτᾷ πυέλῳ τὸν τ’ ἀγαθὸν τόν τε κακὸν λόει. ἔγχει καὶ Κήδωνι, διάκονε, μηδ’ ἐπιλήθου, εἰ χρὴ τοῖς ἀγαθοῖς ἀνδράσιν οἰνοχοεῖν. αἰαῖ Λειψύδριον προδωσέταιρον, οἵους ἄνδρας ἀπώλεσας, μάχεσθαι ἀγαθούς τε καὶ εὐπατρίδας, οἳ τότ’ ἔδειξαν οἵων πατέρων κύρησαν. ὅστις ἄνδρα φίλον μὴ προδίδωσιν, μεγάλαν ἔχει τιμὰν ἔν τε βροτοῖς ἔν τε θεοῖσιν κατ’ ἐμὸν νόον. σκόλιον δὲ φασί τινες καὶ τὸ ὑπὸ Ὑβρίου τοῦ Κρητὸς ποιηθέν. ἔχει δ’ οὕτως· ἔστι μοι πλοῦτος μέγας δόρυ καὶ ξίφος καὶ τὸ καλὸν λαισήιον, πρόβλημα χρωτός. τούτῳ γὰρ ἀρῶ, τούτῳ θερίζω, τούτῳ πατέω τὸν ἁδὺν οἶνον ἀπ᾽· ἀμπέλω, τούτῳ δεσπότας μνοίας κέκλημαι. τοὶ δὲ μὴ τολμῶντ’ ἔχειν δόρυ καὶ ξίφος καὶ τὸ καλὸν λαισήιον, πρόβλημα χρωτός, πάντες γόνυ πεπτηῶτες ἐμὸν κυνέοντι, δεσπόταν καὶ μέγαν βασιλῆα φωνέοντες.
After this, Democritus said;—But the song which was composed by that most learned writer, Aristotle, and addressed to Hermias of Atarneus, is not a pæan, as was asserted by Demophilus, who instituted a prosecution against the philosopher, on the ground of impiety (having been suborned to act the part of accuser by Eurymedon, who was ashamed to appear himself in the business). And he rested the charge of impiety on the fact of his having been accustomed to sing at banquets a pæan addressed to Hermias. But that this song has no characteristic whatever of a paean, but is a species of scolium, I will show you plainly from its own language—O virtue, never but by labour to be won,First object of all human life,For such a prize as theeThere is no toil, there is no strife,Nor even death which any Greek would shun;Such is the guerdon fair and free,And lasting too, with which thou dost thy followers grace,—Better than gold,Better than sleep, or e'en the glories oldOf high descent and noble race.For you Jove's mighty son, great Hercules,Forsook a life of ease;For you the Spartan brothers twainSought toil and danger, following your behestsWith fearless and unwearied breasts.Your love it was that fired and gaveTo early graveAchilles and the giant sonOf Salaminian Telamon.And now for you Atarneus' pride,Trusting in others' faith, has nobly died;But yet his nameShall never die, the Muses' holy trainShall bear him to the skies with deathless fame,Honouring Jove, the hospitable god,And honest hearts, proved friendship's blest abode.
τούτων λεχθέντων ὁ Δημόκριτος ἔφη·ἀλλὰ μὴν καὶ τὸ ὑπ’ τοῦ πολυμαθεστάτου γραφὲν Ἀριστοτέλους εἰς Ἑρμείαν τὸν Ἀταρνέα οὐ παιάν ἐστιν, ὡς ὁ τὴν τῆς ἀσεβείας κατὰ τοῦ φιλοσόφου γραφὴν ἀπενεγκάμενος Δημόφιλος εἰσέδωκε, παρασκευασθεὶς ὑπ’ Εὐρυμέδοντος, ὡς ἀσεβοῦντος καὶ ᾄδοντος ἐν τοῖς συσσιτίοις ὁσημέραι εἰς τὸν Ἑρμείαν παιᾶνα, ὅτι δὲ παιᾶνος οὐδεμίαν ἔμφασιν παρέχει τὸ ἆσμα, ἀλλὰ τῶν σκολίων ἕν τι καὶ αὐτὸ εἶδός ἐστιν ἐξ αὐτῆς τῆς λέξεως φανερὸν ὑμῖν ποιήσω· ἀρετὰ πολύμοχθε γένει βροτείῳ, θήραμα κάλλιστον βίῳ, σᾶς πέρι, παρθένε, μορφᾶς καὶ θανεῖν ζηλωτὸς ἐν Ἑλλάδι πότμος καὶ πόνους τλῆναι μαλεροὺς ἀκάμαντας, τοῖον ἐπὶ φρένα βάλλεις καρπὸν ἰσαθάνατον χρυσοῦ τε κρείσσω καὶ γονέων μαλακαυγήτοιὸ θ’ ὕπνου σεῦ δ’ ἕνεχ’ οἱ Διὸς Ἡρακλέης Λήδας τε κοῦροι πόλλ’ ἀνέτλασαν ἔργοις σὰν ἀγρεύοντες δύναμιν. σοῖς δὲ πόθοις Ἀχιλεὺς Αἴας τ’ Ἀίδα δόμον ἦλθον. σᾶς δ’ ἕνεκεν φιλίου μορφᾶς καὶ Ἀταρνέος ἔντροφος ἠελίου χήρωσεν αὐγάς. τοιγὰρ ἀοίδιμον ἔργοις ἀθάνατὸν τέ μιν αὐξήσουσι Μοῦσαι, Μνημοσύνης θύγατρες, Διὸς ξενίου σέβας αὔξουσαι φιλίας τε γέρας βεβαίου.
Now I don't know whether any one can detect in this any resemblance to a paean, when the author expressly states in it that Hermias is dead, when he says—And now for you Atarneus' pride,Trusting in others' faith, has nobly died.Nor has the song the burden, which all paeans have, of Io Paean, as that song written on Lysander the Spartan, which really is a paean, has; a song which Duris, in his book entitled The Annals of the Samians, says is sung in Samos. That also was a pæan which was written in honour of Craterus the Macedonian, of which Alexinus the logician was the author, as Hermippus the pupil of Callimachus says in the first book of his Essay on Aritotle. And this song is sung at Delphi, with a boy playing the lyre as an accompaniment to it. The song, too, addressed to Agemon of Corinth, the father of Alcyone, which the Corinthians sang, contains the burden of the paean. And this burden, too, is even added by Polemo Periegetes to his letter addressed to Aranthius. The song also which the Rhodians sing, addressed to Ptolemy the first king of Egypt, is a paean: for it contains the burden Io Paean, as Georgus tells us in his essay on the Sacrifices at Rhodes. And Philochorus says that the Athenians sing paeans in honour of Antigonus and Demetrius, which were composed by Hermippus of Cyzicus, on an occasion when a great many poets had a contest as to which could compose the finest paean, and the victory was adjudged to Hermippus. And, indeed, Aristotle himself, in his Defence of himself from this accusation of impiety, (unless the speech is a spurious one,) says—“For if I had wished to offer sacrifice to Hermias as an immortal being, I should never have built him a tomb as a mortal; nor if I had wished to make him out to be a god, should I have honoured him with funeral obsequies like a man.”
ἐγὼ μὲν οὐκ οἶδα εἴ τίς τι κατιδεῖν ἐν τούτοις δύναται παιανικὸν ἰδίωμα, σαφῶς ὁμολογοῦντος τοῦ γεγραφότος τετελευτηκέναι τὸν Ἑρμείαν δι’ ὧν εἴρηκεν σᾶς γὰρ φιλίου μορφᾶς Ἀταρνέος ἔντροφος ἠελίου χήρωσεν αὐγάς. οὐκ ἔχει δ’ οὐδὲ τὸ παιανικὸν ἐπίρρημα, καθάπερ ὁ εἰς Λύσανδρον τὸν Σπαρτιάτην γραφεὶς ὄντως παιάν, ὅν φησι Δοῦρις ἐν τοῖς Σαμίων ἐπιγραφομένοις ῝ Ὥροις ᾄδεσθαι ἐν Σάμῳ. παιὰν δ’ ἐστὶν καὶ ὁ εἰς Κρατερὸν τὸν Μακεδόνα γραφείς, ὃν ἐτεκτήνατο Ἀλεξῖνος ὁ διαλεκτικός, φησὶν Ἕρμιππος ὁ Καλλιμάχειος ἐν τῷ πρώτῳ περὶ Ἀριστοτέλους, ᾄδεται δὲ καὶ οὗτος ἐν Δελφοῖς, λυρίζοντὸς γέ τινος παιδός. καὶ ὁ εἰς Ἀγήμονα δὲ τὸν Κορίνθιον Ἀλκυόνης πατέρα, ὃν ᾄδουσιν Κορίνθιοι, ἔχει τὸ παιανικὸν ἐπίφθεγμα. παρέθετο δ’ αὐτὸν Πολέμων ὁ περιηγητὴς ἐν τῇ πρὸς Ἀράνθιον Ἐπιστολῇ. καὶ ὁ εἰς Πτολεμαῖον δὲ τὸν πρῶτον Αἰγύπτου βασιλεύσαντα παιάν ἐστιν, ὃν ᾄδουσιν Ῥόδιοι· ἔχει γὰρ τὸ ἰὴ παιὰν ἐπίφθεγμα, ὥς φησιν Γόργων ἐν τῷ Περὶ τῶν ἐν Ῥόδῳ θυσιῶν, ἐπ’ Ἀντιγόνῳ δὲ καὶ Δημητρίῳ φησὶν Φιλόχορος Ἀθηναίους ᾄδειν παιᾶνας τοὺς πεποιημένους ὑπὸ Ἑρμοκλέους τοῦ Κυζικηνοῦ, ἐφαμίλλων γενομένων τῶν παιᾶνας ποιησάντων πάντων καὶ τοῦ Ἑρμοκλέους προκριθέντος, ἀλλὰ μὴν καὶ αὐτὸς Ἀριστοτέλης ἐν τῇ Ἀπολογίᾳ τῆς ἀσεβείας, εἰ μὴ κατέψευσται ὁ λόγος, φησίν οὐ γὰρ ἄν ποτε Ἑρμείᾳ θύειν ὡς ἀθανάτῳ προαιρούμενος ὡς θνητῷ μνῆμα κατεσκεύαζον καὶ ἀθανατίζειν τὴν φύσιν βουλόμενος ἐπιταφίοις ἂν τιμαῖς ἐκόσμησα τὸ σῶμα.
When Democritus had said this, Cynulcus said;;—Why do you remind me of those cyclic poems, to use the words of your friend Philo, when you never ought to say anything serious or important in the presence of this glutton Ulpian? For he prefers lascivious songs to dignified ones; such, for instance, as those which are called Locrian songs, which are of a debauched sort of character, such as—Do you not feel some pleasure now?Do not betray me, I entreat you.Rise up before the man comes back,Lest he should ill-treat you and me.'Tis morning now, dost thou not seeThe daylight through the windows?And all Phœnicia is full of songs of this kind; and he him- self, when there, used to go about playing on the flute with the men who sing colabri. And there is good authority, Ulpian, for this word κόλαβροι. For Demetrius the Scepsian, in the tenth book of his Trojan Array, speaks thus:— "Ctesiphon the Athenian, who was a composer of the songs called κόλαβροι, was made by Attalus, who succeeded Philetærus as king of Pergamus, judge of all his subjects in the Aeolian district." And the same writer, in the nineteenth book of the same work, says that Seleucus the composer of merry songs was the son of Mnesiptolemus, who was an historian, and who had great interest with that Antiochus who was surnamed the Great. And it was very much the fashion to sing this song of his—I will choose a single life,That is better than a wife;Friends in war a man stand by,While the wife stays at home to cry. And after this, looking towards Ulpian, he said;— But since you are out of humour with me, I will explain to you what the Syrbenæan chorus is. And Ulpian said;—Do you think, you wretch, that I am angry at what you say, or even that I pay the least attention to it, you shameless hound? But since you profess to teach me something, I will make a truce with you, not for thirty, but for a hundred years; only tell me what the Syrbenæan chorus is. Then, said he, Clearchus, my good friend, in the second book of his treatise on Education, writes thus—“There remains the Syrbenæan chorus, in which every one is bound to sing whatever he pleases, without paying the least attention to the man who sits in the post of honour and leads the chorus. And indeed he is only a more noisy spectator.” And in the words of Matron the parodist—For all those men who heroes were of old,Eubæus, and Hermogenes, and Philip,Are dead, and settlers in dark Pluto's realms;But Cleonicus has a life secureFrom all th' attacks of age; he's deeply skill'dIn all that bards or theatres concerns;And even now he's dead, great ProserpineAllows his voice still to be heard on earth.But you, even while you are alive, ask questions about everything, but never give information on any subject yourself. And he replied, who....? while the truce between us lasts.
τοιαῦτα λέγοντος τοῦ Δημοκρίτου ὁ Κύνουλκος ἔφη· τί μ’ ἀνέμνασας κείνων κυκλικῶν; κατὰ τὸν σὸν Φίλωνα, δέον μηδένα τῶν σπουδῆς ἀξίων λέγειν τι τοῦ γάστρωνος παρόντος Οὐλπιανοῦ. οὗτος γὰρ τὰς καπυρωτέρας ᾠδὰς ἀσπάζεται μᾶλλον τῶν ἐσπουδασμένων οἷαὶ εἰσιν αἱ Λοκρικαὶ καλούμεναι, μοιχικαί τινες τὴν φύσιν ὑπάρχουσαι, ὡς καὶ ἥδε· ὦ τί πάσχεις; μὴ προδῷς ἄμμ᾽, ἱκετεύω. πρὶν μολεῖν καὶ κεῖνον, ἀνστῶ, μὴ κακὸν σὲ μέγα ποιήσῃ κἀμὲ τήνδε δειλάκραν, ἁμέρα καὶ δή, τὸ φῶς διὰ τᾶς θυρίδος οὐκ εἰσορῇς; τοιούτων γὰρ ᾀσμάτων αὐτοῦ πᾶσα πλήρης ἡ Φοινίκη, ἐν ᾗ καὶ αὐτὸς περιῄει καλαμίζων μετὰ τῶν τοὺς κολάβρους καλουμένους συντιθέντων. εἴρηται γάρ, ὦ καλὲ Οὐλπιανέ, τοὔνομα. καὶ ὅ γε Σκήψιος Δημήτριος ἐν τῷ δεκάτῳ τοῦ Τρωικοῦ Διακόσμου φησὶν οὕτως· Κτησιφῶν ὁ Ἀθηναῖος ποιητὴς τῶν καλουμένων κολάβρων, ὃν καὶ ὁ πρῶτος μετὰ Φιλέταιρον ἄρξας Περγάμου Ἄτταλος δικαστὴν καθεστάκει βασιλικῶν τῶν περὶ τὴν Αἰολίδα. ὁ δ’ αὐτὸς οὗτος συγγραφεὺς κἀν τῷ ἐννεακαιδεκάτῳ τῆς αὐτῆς πραγματείας Μνησιπτολέμου φησί ποτε τοῦ ἱστοριογράφου τοῦ παρὰ Ἀντιόχῳ τῷ προσαγορευθέντι Μεγάλῳ πλεῖστον ἰσχύσαντος υἱὸν γενέσθαι Σέλευκον τὸν τῶν ἱλαρῶν ᾀσμάτων ποιητήν. οὗπερ συνεχῶς ᾄδειν εἰώθασιν κἀγὼ παιδοφιλήσω πολύ μοι κάλλιον ἢ γαμεῖν· παῖς μὲν γὰρ παρεὼν κἠν πολέμῳ μᾶλλον ἐπωφελεῖ, καὶ μετὰ ταῦτα ἀποβλέψας εἰς αὐτὸν ἔφη· ἀλλ’ ἐπειδή μοι ὀργίζῃ, ἔρχομαί σοι λέξων τὸν συρβηνέων χορὸν ὅστις ἐστί. καὶ ὁ Οὐλπιανὸς οἴει γάρ, ἔφη, κάθαρμα, θυμοῦσθαί με ἐφ’ οἷς εἴρηκας ἢ κἀπ’ ὀλίγον σου πεφροντικέναι, κύον ἀδδεές; ἀλλ’ ἐπεὶ διδάσκειν μέ τι ἐπαγγέλλῃ, σπονδάς σοι ποιοῦμαι οὐ τριακοντούτιδας ἀλλ’ ἑκατοντούτιδας. σὺ δὲ μόνον δίδασκε τίς ὁ συρβηνέων χορός. καὶ ὃς·Κλέαρχος, ὦ λῷστε, ἐν δευτέρῳ περὶ Παιδείας οὑτωσί φησιν ᾽ λείπεταί ὁ συρβηνέων χορός, ὧν ἕκαστος τὸ δοκοῦν ἑαυτῷ κατᾴδει, προσέχων οὐδὲν τῷ προκαθημένῳ καὶ διδάσκοντι τὸν χορὸν ἀλλ’ αὐτὸς πολὺ τούτων ἀτακτότερός ἐστιν ὁ θεατής, καὶ κατὰ τὸν παρῳδὸν Μάτρωνα· οἱ μὲν γὰρ δὴ πάντες ὅσοι πάρος ἦσαν ἄριστοι, Εὔβοιός τε καὶ Ἑρμογένης δῖοί τε Φίλιπποι, οἱ μὲν δὴ τεθνᾶσι καὶ εἰν Ἀίδαο δόμοισιν. ἔστι δέ τις Κλεόνικος, ὃν ἀθάνατον λάχε γῆρας, οὔτε ποιητάων ἀδαήμων οὔτε θεάτρων, ᾧ καὶ τεθνειῶτι λαλεῖν πόρε Φερσεφόνεια` σὺ δὲ καὶ ζῶν, καλὲ Οὐλπιανέ, πάντα μὲν ζητεῖς, λέγεις δὲ οὐδὲ ἕν.καὶ ὅς· τίς ἡδέως, ἔφη, … τῶν ἐπῶν, ὦ καλέ μου ἑταῖρε, ἕως ἔτι ἐμμένομεν ταῖς σπονδαῖς.
And Cynulcus said;—There have been many poets who have applied themselves to the composition of parodies, my good friend; of whom the most celebrated was Eubœus of Paros, who lived in the time of Philip; and he is the man who attacked the Athenians a great deal. And four books of his Parodies are preserved. And Timon also mentions him, in the first book of his Silli. But Polemo, in the twelfth book of his Argument against Timæus, speaking of the men who have written parodies, writes thus—"And I should call Bœotus and Eubœus, who wrote parodies, men of great reputation, on account of their cleverness in sportive composition, and I consider that they surpass those ancient poets whose followers they were. Now, the invention of this kind of poetry we must attribute to Hipponax the Iambic poet. For he writes thus, in his Hexameters,—Muse, sing me now the praises of Eurymedon,That great Charybdis of the sea, who holdsA sword within his stomach, never wearyWith eating. Tell me how the votes may passCondemning him to death, by public judgment,On the loud-sounding shore of the barren sea.Epicharmus of Syracuse also uses the same kind of poetry, in a small degree, in some of his plays; and so does Cratinus, a poet of the old Comedy, in his Eunidæ, and so also does his contemporary, Hegemon of Thasos, whom they used to call Lentil. For he writes thus—And when I Thasos reach'd they took up filth,And pelted me therewith, by which arousedThus a bystander spoke with pitiless heart:—O most accursed of men, who e'er advised youTo put such dirty feet in such fine slippers?And quickly I did this brief answer make:—'Twas gain that moved me, though against my will,(But I am old;) and bitter penury;Which many Thasians also drives on shipboard,Ill-manner'd youths, and long-ruin'd old men:Who now sing worthless songs about the place.Those men I join'd when fit for nothing else;But I will not depart again for gain,But doing nothing wrong, I'll here depositMy lovely money among the Thasians:Lest any of the Grecian dames at homeShould be enraged when they behold my wifeMaking Greek bread, a poor and scanty meal.Or if they see a cheesecake small, should say,—"Philion, who sang the 'Fierce Attack' at Athens,Got fifty drachmas, and yet this is allThat you sent home."—While I was thinking thus,And in my mind revolving all these things,Pallas Minerva at my side appeared,And touch'd me with her golden sceptre, saying,"O miserable and ill-treated man,Poor Lentil, haste thee to the sacred games."Then I took heart, and sang a louder strain.
καὶ ὁ Κύνουλκος·πολλοί τινες παρῳδιῶν ποιηταὶ γεγόνασιν, ὦ ἑταῖρε ἐνδοξότατος δ’ ἦν Εὔβοιος ὁ Πάριος, γενόμενος τοῖς χρόνοις κατὰ Φίλιππον. οὗτός ἐστιν ὁ καὶ Ἀθηναίοις λοιδορησάμενος, καὶ σῴζεται αὐτοῦ τῶν παρῳδιῶν βιβλία τέσσαρα, μνημονεύει δ’ αὐτοῦ Τίμων ἐν τῷ πρώτῳ τῶν Σίλλων. πολέμων δ’ ἐν τῷ δωδεκάτῳ τῶν πρὸς Τίμαιον περὶ τῶν τὰς παρῳδίας γεγραφότων ἱστορῶν τάδε γράφει· ‘καὶ τὸν Βοιωτὸν δὲ καὶ τὸν Εὔβοιον τοὺς τὰς παρῳδίας γράψαντας λογίους ἂν φήσαιμι διὰ τὸ παίζειν ἀμφιδεξίως καὶ τῶν προγενεστέρων ποιητῶν ὑπερέχειν ἐπιγεγονότας. εὑρετὴν μὲν οὖν τοῦ γένους Ἱππώνακτα φατέον τὸν ἰαμβοποιόν. λέγει γὰρ οὗτος ἐν τοῖς ἑξαμέτροις· Μοῦσά μοι Εὐρυμεδοντιάδεω τὴν ποντοχάρυβδιν, τὴν ἐγγαστριμάχαιραν, ὃς ἐσθίει οὐ κατὰ κόσμον, ἔννεφ᾽, ὅπως ψηφῖδι κακὸς κακὸν οἶτον ὄληται βουλῇ δημοσίῃ παρὰ θῖν’ ἁλὸς ἀτρυγέτοιο. κέχρηται δὲ καὶ Ἐπίχαρμος ὁ Συρακόσιος ἔν τισι τῶν δραμάτων ἐπ’ ὀλίγον καὶ Κρατῖνος ὁ τῆς ἀρχαίας κωμῳδίας ποιητὴς ἐν Εὐνείδαις καὶ τῶν κατ’ αὐτὸν Ἡγήμων ὁ Θάσιος, ὃν ἐκάλουν Φακῆν. λέγει γὰρ οὕτως·ἐς δὲ Θάσον μ’ ἐλθόντα μετεωρίζοντες ἔβαλλον πολλοῖσι σπελέθοισι, καὶ ὧδέ τις εἶπε παραστάς· ὦ πάντων ἀνδρῶν βδελυρώτατε, τίς σ᾽ ἀνέπεισε καλὴν ἐς κρηπῖδα ποσὶν τοιοῖσδ’ ἀναβῆναι;’ τοῖσι δ’ ἐγὼ πᾶσιν μικρὸν μετὰ τοῦτ’ ἔπος εἶπονμνῆ μ’ ἀνέπεισε γέροντα καὶ οὐκ ἐθέλοντ’ ἀναβῆναι καὶ σπάνις, ἣ πολλοὺς Θασίων εἰς· ὁλκάδα βάλλει εὐκούρων βδελυρῶν, ὀλλύντων τ’ ὀλλυμένων τε ἀνδρῶν, οἳ νῦν κεῖθι κακῶς κακὰ ῥαψῳδοῦσιν οἷς καὶ ἐγὼ σίτοιο μέγα χρῄζων ἐπίθησα. αὖθις δ’ οὐκ ἐπὶ κέρδος ἀπείσομαι, εἰς Θασίους δὲ μηδένα πημαίνων κλυτὸν ἄργυρον ἐγγυαλίξω, μὴ τίς μοι κατὰ οἶκον Ἀχαιϊάδων νεμεσήσῃ, πεσσομένης ἀλόχου τὸν ἀχάϊνον ἄρτον ἀεικῶς καί ποτέ τις εἴπῃ σμικρὸν τυροῦντ’ ἐσιδοῦσα, ὦ φίλη, ὡνὴρ μὲν παρ’ Ἀθηναίοισιν ἀείσας πεντήκοντ’ ἔλαβε δραχμάς, σὺ δὲ μικρὸν ἐπέψω., ταῦτά μοι ὁρμαίνοντι παρίστατο Παλλὰς Ἀθήνη, χρυσῆν ῥάβδον ἔχουσα, καὶ ἤλασεν εἶπέ τε φωνῇ· δεινὰ παθοῦσα, Φακῆ βδελυρά, χώρει ᾽ς τὸν ἀγῶνα. καὶ τότε δὴ θάρσησα καὶ ἤειδον πολὺ μᾶλλον.
"Hermippus also, the poet of the old Comedy, composed parodies. But the first writer of this kind who ever descended into the arena of theatrical contests was Hegemon, and he gained the prize at Athens for several parodies; and among them, for his Battle of the Giants. He also wrote a comedy in the ancient fashion, which is called Philinna. Eubœus also was a man who exhibited a good deal of wit in his poems; as, for instance, speaking about the Battle of the Baths, he said—They one another smote with brazen ἐγχείῃσι,[as if ἐγχεία,, instead of meaning a spear, were derived from ἐγχέω, to pour in.] And speaking of a barber who was being abused by a potter on account of some woman, he said—But seize not, valiant barber, on this prize,Nor thou Achilles.....And that these men were held in high estimation among the Sicilians, we learn from Alexander the Aetolian, a composer of tragedies, who, in an elegy, speaks as follows:—The man whom fierce Agathocles did driveAn exile from his land, was nobly bornOf an old line of famous ancestors,And from his early youth he lived amongThe foreign visitors; and thoroughly learntThe dulcet music of Mimnermus' lyre,And follow'd his example;—and he wrote,In imitation of great Homer's verse,The deeds of cobblers, and base shameless thieves,Jesting with highly-praised felicity,Loved by the citizens of fair Syracuse.But he who once has heard Bœotus' song,Will find but little pleasure in Eubœus."
πεποίηκε δὲ παρῳδίας καὶ Ἕρμιππος ὁ τῆς ἀρχαίας κωμῳδίας ποιητής, τούτων δὲ πρῶτος εἰσῆλθεν εἰς τοὺς ἀγῶνας τοὺς θυμελικοὺς Ἡγήμων καὶ παρ’ Ἀθηναίοις ἐνίκησεν ἄλλαις τε παρῳδίαις καὶ τῇ Γιγαντομαχίᾳ. γέγραφε δὲ καὶ κωμῳδίαν εἰς τὸν ἀρχαῖον τρόπον, ἣν ἐπιγράφουσιν Φιλίννην. ὁ δὲ Εὔβοιος πολλὰ μὲν εἴρηκεν ἐν τοῖς ποιήμασιν χαρίεντα, περὶ μὲν τῆς τῶν βαλανέων μάχης· βάλλον δ’ ἀλλήλους χαλκήρεσιν ἐγχείῃσιν. περὶ δὲ τοῦ λοιδορουμένου κουρέως τῷ κεραμεῖ τῆς γυναικὸς χάριν μήτε σὺ τόνδ’ ἀγαθός περ ἐὼν ἀποαίρεο, κουρεῦ, μήτε σύ, Πηλείδη. ὅτι δὲ ἦν τις περὶ αὐτοὺς δόξα παρὰ τοῖς Σικελιώταις Ἀλέξανδρος ὁ Αἰτωλὸς ὁ τραγῳδοδιδάσκαλος ποιήσας ἐλεγεῖον τρόπον τοῦτον δηλοῖ· ὡς Ἀγαθοκλεῖος λάσιαι φρένες ἤλασαν ἔξω πατρίδος, ἀρχαίων ἦν ὅδ’ ἀνὴρ προγόνων, εἰδὼς ἐκ νεότητος ἀεὶ ξείνοισιν ὁμιλεῖν ξεῖνος, Μιμνέρμου δ’ εἰς ἔπος ἄκρον ἰὼν παιδομανεῖ σὺν ἔρωτι πότην ἶσον. ἔγραφε δ᾽ ὡνὴρ εὖ παρ’ Ὁμηρείην ἀγλαίην ἐπέων πισσύγγους ἢ φῶρας ἀναιδέας ἤ τινα χλούνην, φλύοντ’ ἀνθηρῇ σὺν κακοδαιμονίῃ. τῷ ῥα Συρηκοσίοις καὶ ἔχον χάριν, ὃς δὲ Βοιωτοῦ ἔκλυεν, Εὐβοίῳ τέρψεται οὐδ’ ὀλίγον.
After all this discussion had been entered into on many occasions, once when evening overtook us, one of us said,—Boy, bring a light (λύχνειον). But some one else used the word λυχνεὼς, and a third called it λοφνίας, saying hat that was the proper name for a torch made of bark; another called it πανός; and another φανός.—This one used the word λυχνοῦχος, and that one λύχνος. Some one else again said ἐλάνη, and another said ἕλαναι, insisting on it that that was the proper name for a lamp, being derived frome ἕλη,, brightness; and urging that Neanthes used this word in the first book of his History of Attalus. Others, again, of the party made use of whatever other words they fancied; so that there was no ordinary noise; while all were vying with one another in adducing every sort of argument which bore upon the question. For one man said that Silenus, the dictionary-maker, mentioned that the Athenians call lamps φανοί. But Tima- chidas of Rhodes asserts that for φανός, the word more properly used is δέλετρον, being a sort of lantern which young men use when out at night, and which they themselves call ἕλαναι. But Amerias for φανὸς uses the word γράβιον. And this word is thus explained by Seleucus:—γράβιον is a stick of ilex or common oak, which, being pounded and split, is set on fire, and used to give light to travellers. Accordingly Theodoridas of Syracuse, in his Centaurs, which is a dithyrambic poem, says—The pitch dropp'd down beneath the γράβια,,As if from torches.Strattis also, mentions the γράβια in his Phœnician Women.
πολλῶν οὖν ἑκάστοτε τοιούτων λεγομένων, ἐπεί ποτε ἑσπέρα κατελάμβανεν ἡμᾶς, ὁ μέν τις ἔλεγεν παῖ, λυχνίον᾽, ὁ δὲ λυχνέα, ὁ δὲ λοφνίαν, οὕτω καλεῖσθαι φάσκων τὴν ἐκ τοῦ φλοιοῦ λαμπάδα, ὁ δὲ πανόν, ἄλλος δὲ φανόν, ὁ δὲ λυχνοῦχον, ὃ δὲ λύχνον, καὶ δίμυξον δὲ λύχνον ἕτερος, ἄλλος δὲ ἑλάνην, ὁ δέ τις ἑλάνας, τὰς λαμπάδας οὕτω φάσκων καλεῖσθαι παρὰ τὴν ἕλην οὕτω δ’ εἰπεῖν Νεάνθην ἐν αʹ τῶν περὶ Ἄτταλον Ἱστοριῶν. καὶ ἄλλος ὅ τι δή ποτε, ὡς τάραχον γίνεσθαι οὐ τὸν τυχόντα τῶν ἐπὶ τούτοις πίστεων παρὰ πάντων λεγομένων. Σιληνὸν μὲν γάρ τις τὸν γλωσσογράφον ἔφασκεν Ἀθηναίους λέγειν τὰς λαμπάδας φανούς. Τιμαχίδας δὲ ὁ Ῥόδιος δέλετρον τὸν φανὸν καλεῖσθαι, οἷον, φησίν, οἱ νυκτερευόμενοι τῶν νέων ἔχουσιν … οὓς οὗτοι ἑλάνας καλοῦσιν. Ἀμερίας δὲ γράβιον τὸν φανόν. Σέλευκος δὲ οὕτως ἐξηγεῖται ταύτην τὴν λέξινγράβιόν ἐστιν τα πρίνινον ἢ δρύινον ξύλον ὃ περιεθλασμένον καὶ κατεσχισμένον ἐξάπτεσθαι καὶ φαίνειν τοῖς ὁδοιποροῦσιν. Θεοδωρίδας γοῦν ὁ Συρακόσιος ἐν Κενταύροις διθυράμβῳ φησίν πίσσα δὲ ἀπὸ γραβίων ἔσταζεν, οἷον ἀπὸ … λαμπάδων. μνημονεύει δὲ γραβίων καὶ Στράττις ἐν Φοινίσσαις.
But that what are now called φανοὶ used to be called λυχνοῦχοι, we learn from Aristophanes, in his Aeolosicon—I see the light shining all o'er his cloak,As from a new λυχνοῦχος.And, in the second edition of the Niobus, having already used the word λυχνοῦχος, he writes—Alas, unhappy man! my λύχνιον's lost;after which, he adds— And, in his play called The Dramas, he calls the same thing λυχνίδιον, in the following lines—But you all lieFast as a candle in a candlestick (λυχνίδιον).Plato also, in his Long Night, says—The undertakers sure will have λυχνοῦχοι.And Pherecrates, in his Slave Teacher, writes—Make haste and go, for now the night descends,And bring a lantern (λυχνοῦχον) with a candle furnish'd.Alexis too, in his Forbidden Thing, says—So taking out the candle from the lantern (λύχνιον),He very nearly set himself on fire,Carrying the light beneath his arm much nearerHis clothes than any need at all required.And Eumelus, in his Murdered Man.... having said first—A. Take now a pitchfork and a lantern (λυχνοῦχον),adds—B. But I now in my right hand hold this fork,An iron weapon 'gainst the monsters of the sea;And this light too, a well-lit horn lantern (λύχνου).And Alexis says, in his Midon—The man who first invented the ideaOf walking out by night with such a lantern (λυχνούχου),Was very careful not to hurt his fingers.
ὅτι δὲ λυχνοῦχοι οἱ νῦν καλούμενοι φανοὶ ὠνομάζοντο Ἀριστοφάνης ἐν Αἰολοσίκωνι παρίστησιν καὶ διαστίλβονθ’ ὁρῶμεν ὥσπερ, ἐν καινῷ λυχνούχῳ, πάντα τῆς ἐξωμίδος, ἐν δὲ τῷ δευτέρῳ Νιόβῳ προειπὼν λυχνοῦχον οἴμοι κακόδαιμον φησίν, ὁ λύχνος ἡμῖν οἴχεται. εἶτ’ ἐπιφέρει· καὶ πῶς ὑπερβὰς τὸν λυχνοῦχον οἴχεται κἄλαθέ σε; ἐν δὲ τοῖς ἑξῆς καὶ λυχνίδιον αὐτὸν καλεῖ διὰ τούτων ἀλλ’ ὥσπερ λύχνος ὁμοιότατα κάθευδ’ ἐπὶ τοῦ λυχνιδίου. Πλάτων δ’ ἐν Νυκτὶ Μακρᾷ· ἕξουσιν οἱ πομπεῖς λυχνούχους δηλαδή. Φερεκράτης Δουλοδιδασκάλῳ· ἄνυσὸν ποτ’ ἐξελθών, σκότος γὰρ γίγνεται, καὶ τὸν λυχνοῦχον ἔκφερ’ ἐνθεὶς τὸν λύχνον. Ἄλεξις δ’ Ἐκκηρυττομένῳ· ὥστ’ ἐξελὼν ἐκ τοῦ λυχνούχου τὸν λύχνον μικροῦ κατακαύσας ἔλαθ’ ἑαυτόν, ὑπὸ μάλης τῇ γαστρὶ μᾶλλον τοῦ δέοντος προσαγαγών. Εὐμήδης δ’ ἐν Σφαττομένῳ προειπών ἡγοῦ μὲν ἢν δὲ. υ?κνον εἰς τὸ πρόσθ’ ἰδὼν … ατο … ϋμένιδι … ς, ἐπιφέρει· … λυχνούχῳ … κο … Ἐπικράτης δ’ ἐν Τριόδοντι ἢ Ῥωποπώλῃ προειπών λαβὲ τριόδοντα καὶ λυχνοῦχον, ἐπιφέρει· ἐγὼ δὲ δεξιᾷ γε τόνδ’ ἔχω τινά, σιδηρότευκτον ἐναλίων θηρῶν βέλος, κερατίνου τε φωσφόρου λύχνου σέλας, Ἄλεξις Μίδωνι· ὁ πρῶτος εὑρὼν μετὰ λυχνούχου περιπατεῖν τῆς νυκτὸς ἦν τις κηδεμὼν τῶν δακτύλων.
But the same Alexis says, in his Fanatic—I think that some of those I meet will blameFor being drunk so early in the day;But yet I pray you where's a lantern (φανὸς) equalTo the sweet light of the eternal sun?And Anaxandrides, in his Insolence, says—Will you take your lantern (φανόν) now, and quicklyLight me a candle (λύχνον)?But others assert that it is a lamp which is properly called φανός. And others assert that φανὸς means a bundle of matches made of split wood. Menander says, in his Cousins—This φανὸς is quite full of water now,I must not shake (σείω) it, but throw it away (ἀποσείω).And Nicostratus, in his Fellow-Countrymen, says—For when this vintner in our neighbourhoodSells any one some wine, or e'en a φανὸς,Or vinegar, he always gives him water.And Philippides, in his Women Sailing together, says—A. The φανὸς did not give a bit of light.B. Well, then, you wretched man, could not you blow it?
ἐν δὲ Θεοφορήτῳ ὁ αὐτὸς Ἄλεξις· οἶμαὶ γ’ ἐπιτιμᾶν τῶν ἀπαντώντων τινὰς ἡμῖν ὅτι τηνικαῦτα μεθύων περιπατῶ, ποῖος γάρ ἐστιν φανός, ὦ πρὸς τῶν θεῶν, τοιοῦτος οἷος ὁ γλυκύτατος ἥλιος; Ἀναξανδρίδης δὲ ἐν Ὕβρει· οὔκουν λαβὼν τὸν φανὸν ἅψεις μοι λύχνον; ἄλλοι δὲ ἔφασκον φανὸν λέγεσθαι τὴν λαμπάδα, οἱ δὲ τὴν ἔκ τινων ξύλων τετμημένων δέσμην. Μένανδρος ᾽ Ἀνεψιοῖς ὁ φανός ἐστι μεστὸς ὕδατος οὑτοσί· δεῖ τ’ οὐχὶ σείειν, ἀλλ’ ἀποσείειν αὐτόθεν Νικόστρατος ἐν Πατριώταις· ὁ κάπηλος γὰρ οὑκ τῶν γειτόνων ἄν τ’ οἶνον ἄν τε φανὸν ἀποδῶταί τινι ἂν τ’ ὄξος, ἀπέπεμψ’ ὁ κατάρατος δοὺς ὕδωρ. Φιλιππίδης Συμπλεούσαις· ὁ φανὸς ἡμῖν οὐκ ἔφαινεν οὐδὲ ἕν. β. ἔπειτα φυσᾶν δυστυχὴς οὐκ ἠδύνω;
Pherecrates, in his Crapatalli, calls what we now call λυχνία, λυχνεῖον, in this line—A. Where were these λυχνεῖα made?B. In Etruria.For there were a great many manufactories in Etruria, as the Etrurians were exceedingly fond of works of art. Aristophanes, in his Knights, says—Binding three long straight darts together,We use them for a torch (λυχνείῳ).And Diphilus, in his Ignorance, says—We lit a candle (λύχνον), and then sought a candlestick (λύχνειον).And Euphorion, in his Historic Commentaries, says that the young Dionysius the tyrant of Sicily dedicated, in the Prytaneum at Tarentum, a candlestick capable of containing as great a number of candles as there are days in a year. And Hermippus the comic poet, in his Iambics, speaks of—A military candlestick well put together.And, in his play called The Grooms, he says—Here, lamp (λυχνίδιον), show me my road on the right hand. Now, πανὸς was a name given to wood cut into splinters and bound together, which they used for a torch: Menander, in his Cousins, says—He enter'd, and cried out,“πανὸν, πύχνον, λυχνοῦχον, any light—”Making one into many.And Diphilus, in his Soldier, says—But now this, πανὸς is quite full of water.And before them Aeschylus, in his Agamemnon, had used the word πανός—* * * * * Alexis, too, uses the word ξυλολυχνούχου, and perhaps this is the same thing as that which is called by Theopompus ὀβελισκολύχνιον. But Philyllius calls λαμπάδες, δᾷδες. But the λύχνος, or candle, is not an ancient invention; for the ancients used the light of torches and other things made of wood. Phrynichus, however, says—Put out the λύχνον,* * * * * * Plato too, in his Long Night, says—And then upon the top he'll have a candle,Bright with two wicks.And these candles with two wicks are mentioned also by Metagenes, in his Man fond of Sacrificing; and by Philonides in his Buskins. But Clitarchus, in his Dictionary, says that the Rhodians give the name of λοφνὶς to a torch made of the bark of the vine. But Homer calls torches δεταί—The darts fly round him from an hundred hands,And the red terrors of the blazing brands (δεταὶ),Till late, reluctant, at the dawn of day,Sour he departs, and quits th' untasted prey.A torch was also called ἑλάνη, as Amerias tells us; but Nicander of Colophon says that ἑλάνη means a bundle of rushes. Herodotus uses the word in the neuter plural, λύχνα,, in the second book of his History. Cephisodorus, in his Pig, uses the word λυχναψία, for what most people call λυχνοκαυτία, the lighting of candles. And Cynulcus, who was always attacking Ulpian, said;—But now, my fine supper-giver, buy me some candles for a penny, that, like the good Agathon, I may quote this line of the admirable Aristophanes—Bring now, as Agathon says, the shining torches (πεύκας);and when he had said this—Putting his tail between his lion's feet,he left the party, being very sleepy.
Φερεκράτης δὲ ἐν Κραπατάλλοις τὴν νῦν λυχνίαν καλουμένην λύχνειον κέκληκεν διὰ τούτων τίς τῶν λυχνείων ἡ ᾽ ργασία; β. Τυρρηνική. ποικίλαι γὰρ ἦσαν αἱ παρὰ τοῖς Τυρρηνοῖς ἐργασίαι, φιλοτέχνων ὄντων τῶν Τυρρηνῶν. Ἀντιφάνης δ’ Ἱππεῦσι· τῶν δ’ ἀκοντίων συνδοῦντες ὀρθὰ τρία λυχνείῳ χρώμεθα. Δίφιλος δ’ ἐν Ἀγνοίᾳ· ἅψαντες λύχνον λυχνεῖον ἐζητοῦμεν. Εὐφορίων δ’ ἐν Ἱστορικοῖς Ὑπομνήμασιν Διονύσιόν φησι τὸν νεώτερον Σικελίας τύραννον Ταραντίνοις εἰς τὸ πρυτανεῖον ἀναθεῖναι λυχνεῖον δυνάμενον καίειν τοσούτους λύχνους ὅσος ὁ τῶν ἡμερῶν ἐστιν ἀριθμὸς εἰς τὸν ἐνιαυτόν. Ἕρμνππος δὲ ὁ κωμῳδιοποιὸς ἐν Ἰάμβοις τὸ στρατιωτικὸν λυχνεῖον σύνθετον οὕτως ὀνομάζει. ἐν δὲ Φορμοφόροις δράματι· τῇδ’ ἐξιόντι δεξιᾷ, ὦ λυχνίδιον. πανὸς δ’ ὀνομάζεται τὸ διακεκομμένον ξύλον καὶ συνδεδεμένον τούτῳ δ’ ἐχρῶντο λαμπάδι. Μένανδρος Ἀνεψιοῖς· οἶσ’ εἰσιὼν πανόν, λύχνον, λυχνοῦχον, ὅ τι πάρεστι φῶς μόνον πολὺ ποίει. Δίφιλος Στρατιώτῃ· ἀλλ’ ὁ πανὸς ὕδατός ἐστι μεστός. πρότερος δὲ τούτων Αἰσχύλος ἐν Ἀγαμέμνονι μέμνηται | τοῦ πανοῦ καὶ Εὐριπίδης | ἐν Ἴωνι. ἔλεγον δὲ τοῦτον οἱ ` πρὸ ἡμῶν καὶ ξυλολυχνοῦχον, οὗ μνημονεύει Ἄλεξις | ἐν Εἰσοικιζομένῳ οὕτως ὁ δὲ ξυλολυχνοῦχος... πυρὸς πνρας ` ν?ὶ χ ο κ … μνημο- νεύει δὲ Θεόπομπος ἐν Εἰρήνῃ λέγων οὑτωσί· ἡμᾶς δ’ ἀ- παλλαχθέντας ἐπ’ ἀγαθαῖς τύχαις ὀβελισκολυχνίου καὶ ξιφομαχαίρας πικρᾶς επακ επις ασελ ωτι πῶς μεν δαίμ γωδ ὀισπ φη εν νειμ απτ Φιλύ ⟨λλιος⟩ π δι λα φ ξ δ φολ. ὡς ἐβάδιζον δαίδας μετὰ χερσὶν ἔχοντες.ʼ.,, δὲ τῶν ἄλλων έμενον ἔν δέοι κατα ὅπερ ἔτι. ρων κάν ῆι φησὶ λεὶ οδω ι εἰς ωλι δ’ ενι λὺ υθέ ντί εν ῆς εκ ου ψη χρυ αφά ει· ον υ διμύξου ει ὰ ς αῖ α Compendium in CE ξυλολύχνου δὲ μέμνηται Ἄλεξις· καὶ τάχα τούτῳ ὅμοιόν ἐστι τὸ παρὰ Θεοπόμπῳ ὀβελισκολύχνιον. Φιλύλλιος δὲ τὰς λαμπάδας δᾷδας καλεῖ. οὐ παλαιὸν δ’ εὕρημα λύχνος· φλογὶ δ’ οἱ παλαιοὶ τῆς τε δᾳδὸς καὶ τῶν ἄλλων ξύλων ἐχρῶντο. κοιμίσαι λύχνον Φρύνιχος φησί. καὶ λύχνον δίμυξον οἴσω καὶ θρυαλλίδ᾽, ἢν δέῃ. καὶ Πλάτων ἐν Νυκτὶ μακρᾷ· ἐνταῦθ’ ἐπ’ αὐτῶν· τῶν κροτάφων ἕξει λύχνον δίμυξον. μνημονεύει τοῦ διμύξου λύχνου καὶ Μεταγένης ἐν Φιλοθύτῃ καὶ Φιλωνίδης ἐν Κοθόρνοις. Κλείταρχος δ’ ἐν ταῖς Γλώσσαις λοφνίδα φησὶ καλεῖν Ῥοδίους τὴν ἐκ τοῦ φλοιοῦ τῆς ἀμπέλου λαμπάδα. Ὅμηρος δὲ τὰς λαμπάδας δετὰς ὀνομάζει· καιόμεναί τε δεταί, τάς τε τρεῖ ἐσσύμενός περ. ἑλάνη δὲ ἡ λαμπὰς καλεῖται, ὡς Ἀμερίας φησίν, Νίκανδρος δ’ ὁ Κολοφώνιος ἑλάνην τὴν τῶν καλάμων δέσμην. λύχνα δὲ οὐδετέρως εἴρηκεν Ἡρόδοτος ἐν δευτέρᾳ Ἱστοριῶν. λυχνοκαυτίαν δέ, ἣν οἱ πολλοὶ λέγουσιν λυχναψίαν, Κηφισόδωρος ἐν Ὑί καὶ ὁ Κύνουλκος αἰεί ποτε τῷ Οὐλπιανῷ ἀντικορυσσόμενος ἔφη· ἐμοὶ δέ, παῖ δωρόδειπνε, ἀσσαρίου κανδήλας πρίω, ἵνα κἀγὼ κατὰ τὸν καλὸν Ἀγάθωνα ἀναφωνήσω τάδε τὰ τοῦ ἡδίστου Ἀριστοφάνους· ἐκφέρετε πεύκας κατ’ Ἀγάθωνα φωσφόρους. καὶ ταῦτ’ εἰπὼν οὐρὰν ὑπίλας ὑπὸ λεοντόπουν βάσιν, ὑπεξῆλθεν τοῦ συμποσίου ὑπνηλὸς κάρτα γενόμενος.
Then, when many of the guests cried out Io Pæan, Pontianus said;—I wish, my friends, to learn from you whether Io Pæan is a proverb, or the burden of a song, or what else it is. And Democritus replied;—–Clearchus the Solensian, inferior to none of the pupils of the wise Aristotle, in the first book of his treatise on Proverbs, says that “Latona, when she was taking Apollo and Diana from Chalcis in Eubœa to Delphi, came to the cave which was called the cave of the Python. And when the Python attacked them, Latona, holding one of her children in her arms, got upon the stone which even now lies at the foot of the brazen statue of Latona, which is dedicated as a representation of what then took place near the Plane-tree at Delphi, and cried out ῞ἵε, παῖ; (and Apollo happened to have his bow in hand;) and this is the same as if she had said ῎ἄφιε, ῞ιε, παῖ, or βάλε, παῖ, Shoot, boy. And from this day ῞ἵε, παῖ and ῞ἵε, παιὼν arose. But some people, slightly altering the word, use it as a sort of proverbial exclamation to avert evils, and say ἰὴ παιών, instead of ῞ἵε, παῖ. And many also, when they have completed any undertaking, say, as a sort of proverb, ἰὴ παιὼν; but since it is an expression that is familiar to us it is forgotten that it is a proverb, and they who use it are not aware that they are uttering a proverb.” But as for what Heraclides of Pontus says, that is clearly a mistake, “That the god himself, while offering a libation, thrice cried out ἵη παιὰν, ἵη παιών.” From a belief in which statement he refers the trimeter verse, as it is called to the god, saying "that each of these metres belongs to the god; because when the first two syllables are made long, ἵη παιὰν, it becomes a heroic verse, but when they are pronounced short it is an iambic, and thus it is plain that we must attribute the iambic to him. And as the rest are short, if any one makes the last two syllables of the verse long, that makes a Hipponactean iambic.
τῶν δὲ πολλῶν τὸ ἰὴ παιὼν ἐπιφθεγγομένων ὁ Ποντιανὸς ἔφη· τὸ ἰὴ παιών, ἄνδρες φίλοι, μαθεῖν βούλομαι εἴτε παροιμία ἐστὶν εἴτε ἐφύμνιον εἴτε τι ἄλλο. πρὸς ὃν ὁ Δημόκριτος ἔφη·Κλέαρχος ὁ Σολεὺς οὐδενὸς ὢν δεύτερος τῶν τοῦ σοφοῦ Ἀριστοτέλους μαθητῶν ἐν τῷ προτέρῳ περὶ Παροιμιῶν ᾽τὴν Λητώ,᾽ φησιν, ᾽ἐκ Χαλκίδος τῆς Εὐβοίας ἀνακομίζουσαν εἰς Δελφοὺς Ἀπόλλωνα καὶ Ἄρτεμιν γενέσθαι περὶ τὸ τοῦ κληθέντος Πύθωνος σπήλαιον. καὶ φερομένου τοῦ Πύθωνος ἐπ’ αὐτοὺς ἡ Λητὼ τῶν παίδων τὸν ἕτερον ἐν ταῖς ἀγκάλαις ἔχουσα, προσβᾶσα τῷ λίθῳ τῷ νῦν ἔτι κειμένῳ ὑπὸ τῷ ποδὶ τῆς χαλκῆς εἰργασμένης Λητοῦς, ὃ τῆς τότε πράξεως μίμημα γενόμενον ἀνάκειται παρά· τὴν πλάτανον ἐν Δελφοῖς, εἶπεν ἵε παῖ. τυχεῖν δὲ τόξα μετὰ χεῖρας ἔχοντα τὸν Ἀπόλλωνα.ʼ τοῦτο δ’ ἐστὶν ὡς ἂν εἴποι τις ἄφιε παῖ καὶ βάλε παῖ. διόπερ ἀπὸ τούτου λεχθῆναί φασιν τὸ ἵε παῖ καὶ ἵε παιών.᾽ ἔνιοι δὲ παρεγκλίνοντές τε τὴν λέξιν καὶ ψιλοῦντες ἐπὶ τοῖς δεινοῖς ἀλεξητήριὸν τινα παροιμίαν λέγουσιν ἰὴ παιών ᾽ καὶ οὐχὶ ᾽ ἵε παῖ πολλοὶ δὲ καὶ ἐπὶ τοῖς τέλος ἔχουσιν ἐπιφθεγγόμενοι οἱ μὲν ἐν παροιμίᾳ φασὶν οὕτως τοῦτο δὴ τὸ λεγόμενον ἰὴ παιών,᾽ διὰ δὲ τὸ λίαν ἡμῖν εἶναι σύνηθες λανθάνον ὂν ἐν παροιμίᾳ· οἱ δὲ τὸ τοιοῦτο λέγοντες οὐχ ὡς παροιμίαν. τὸ δὲ ὑφ’ Ἡρακλείδου τοῦ Ποντικοῦ λεχθὲν φανερῶς πέπλασται, ἐπὶ σπονδαῖς τοῦτο πρῶτον εἰς τρὶς εἰπεῖν τὸν θεὸν οὕτως ᾽ ἰὴ παιάν, ἰὴ παιάν, ἰὴ παιάν.᾽ ἐκ ταύτης γὰρ τῆς πίστεως τὸ τρίμετρον καλούμενον ἀνατίθησι τῷ θεῷ, φάσκων τοῦ θεοῦ διὰ τοῦθ’ ἑκάτερον εἶναι τῶν μέτρων, ὅτι μακρῶν μὲν τῶν πρώτων δύο συλλαβῶν λεγομένων ᾽ ἰὴ παιὰν ᾽ ἡρῷον γίνεται, βραχέως δὲ λεχθεισῶν ἰαμβεῖον, διὰ δὲ τοῦτο δῆλον ὅτι καὶ τὸν χωλίαμβον ἀναθετέον αὐτῷ. βραχειῶν γὰρ γινομένων εἰ δύο τὰς ἁπασῶν τελευταίας συλλαβὰς εἰς μακρὰν ποιήσει τις, ὁ Ἱππώνακτος ἴαμβος ἔσται.
And after this, when we also were about to leave the party, the slaves came in bringing, one an incense burner, and another.......... For it was the custom for the guests to rise up and offer a libation, and then to give the rest of the unmixed wine to the boy, who brought it to them to drink. Ariphron the Sicyonian composed this Pæan to Health—O holiest Health, all other gods excelling,May I be ever blestWith thy kind favour, and for all the restOf life I pray thee ne'er desert my dwelling;For if riches pleasure bring,Or the power of a king,Or children smiling round the board,Or partner honour'd and adored,Or any other joyWhich the all-bounteous gods employTo raise the hearts of men,Consoling them for long laborious pain;All their chief brightness owe, kind Health, to you;You are the Graces' spring,'Tis you the only real bliss can bring,And no man's blest when you are not in view,* * * * * * They know.—For Sopater the farce-writer, in his play entitled The Lentil, speaks thus—I can both carve and drink Etruscan wine,In due proportion mix'd. These things, my good Timocrates, are not, as Plato says, the sportive conversations of Socrates in his youth and beauty, but the serious discussions of the Deipnosophists; for, as Dionysius the Brazen says,—What, whether you begin or end a work,Is better than the thing you most require?
μετὰ ταῦτ’ ἤδη μελλόντων καὶ ἡμῶν ἀνίστασθαι ἐπεισῆλθον παῖδες φέροντες ὁ μέν τις θυμιατήριον, ὁ δὲ … τοῦ συμποσίου … δε̣ | 〈λιβ〉α〈ν〉ωτοῦ ⟨θυμίας⟩νι̣ πο̣ι̣ |〈ήσας〉 … — — — δὴ … | … — — — — — ηιθυτ̣αυ̇ | … — — — — — — τὰ τὸν | … — — — — — α̣ν. τὴν … ε̣νο̣ρ̣ … οι | … ὸ … καὶ τόδε ε | … ε̣ … τοῦ θ⟨υμι⟩ατηρίου | … κ̣αὶ̣ ἐ. τοῦ ⟨λἰ⟩βανωτοῦ, | τοῖς θεοῖς πᾶσι καὶ πάσαις | εὐξ̣άμενος, ἐπισπείσας | τοῦ οἴνου καὶ δοὺς κατὰ | τὸ νόμιμον τὸ ἐπιχώριον τὸ | λοιπὸν τοῦ ἀκράτου τῷ | διδόντι ἐκπιεῖν παιδὶ | τὸν εἰς τὴν Ὑγίειαν παι|ᾶνα ᾄσας τὸν ποιηθέν|τα ὑπὸ Ἀρίφρονος τοῦ Σι|κυωνίου τόνδε· Ὑγέεια, πρεσβίστα μακάρων, μετὰ σοῦ ναίοιμι τὸ λειπόμενον βιοτᾶς, σὺ δέ μοι πρόφρων σύνοικος εἴης· εἰ γάρ τις ἢ πλούτου χάρις ἢ τεκέων ἢ τᾶς ἰσοδαίμονος ἀνθρώποις βασιληίδος ἀρχᾶς ἢ πόθων, οὓς κρυφίοις Ἀφροδίτας ἄρκυσιν θηρεύομεν, ἢ εἴ τις ἄλλα θεόθεν ἀνθρώποισι τέρψις ἢ πόνων ἀμπνοὰ πέφανται, μετὰ σεῖο, μάκαιρ’ Ὑγίεια, τέθαλε πάντα καὶ λάμπει Χαρίτων ὀάροις σέθεν δὲ χωρὶς οὔτις εὐδαίμων ἔφυ. καὶ ἀσπασάμενος ἡμᾶς φιλοφρόνως … ἀπομάττοντας … | … οἴδασιν οἱ παλαιοί. Σώπατρος γὰρ ὁ φλυακογράφος ἐν τῷ ἐπιγραφομένῳ δράματι Φακῆ λέγει οὕτως· κρεανομοῦμαι καὶ τὸν ἐκ Τυρρηνίας οἶνον σὺν ὀκτὼ λαμβάνειν ἐπίσταμαι. ταῦτα, φίλτατε Τιμόκρατες, κατὰ τὸν Πλάτωνα οὐ Σωκράτους νέου καὶ καλοῦ παίγνια, ἀλλὰ τῶν δειπνοσοφιστῶν σπουδάσματα. κατὰ γὰρ τὸν Χαλκοῦν Διονύσιον τί κάλλιον ἀρχομένοισιν ἢ καταπαυομένοις ἢ τὸ ποθεινότατον;