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Synthesis (La Plata)
versión impresa ISSN 0328-1205versión On-line ISSN 1851-779X
Synthesis (La Plata) vol.24 no.1 La Plata jun. 2017
ARTÍCULO
Archilochus 8 IEG: A grey, fair-tressed sea, or A goddess?
Paula da Cunha Corrêa*
University of São Paulo, Brazil
Resumen
Este artículo examina el fragmento 8 IEG de Arquíloco, centrado en su recepción en la erudición clásica y, tal vez, en el poema de Mallarmé, A la nue accablante tu. . ..
Palabras clave: Arquíloco; Elegía; Mallarmé.
Abstract
This paper examines Archilochus fragment 8 IEG, focusing on it s reception in classical scholarship and, perhaps, in Mallarmés A la nue accablante tu . . ..
Keywords: Archilochus; Elegy; Mallarmé.
There is a significant group of fragments by Archilochus on shipwrecks and death at sea. The majority of these are composed in elegiac meter, and are elegies in the modern sense of the term, as far as their matter relates to lament and funeral song. Although many editors quote in association to these fragments a passage in which Pseudo-Longinus,1 Sublime 10.7, mentions a poem of Archilochus on the death of his brother-in-law in a shipwreck, the reference in Pseudo-Longinus is vague and does not allow one to associate it specifically to any of the remaining verses.2
Therefore, in spite of the efforts to unite the elegiac fragments of Archilochus on shipwrecks, or those that could relate to such subject matter, there is no consensus. Regarding the so-called Pericles elegy cited by Pseudo-Longinus, there is great discrepancy in opinion regarding which extant fragments of Archilochus would have belonged to this poem, and in what order. Liebel (1812: 136, 155-6) believed only fragments 8 and 13 IEG belonged to this elegy, while Schneidewin (1838) attributed to it 13, 12, 8, 9, 11 IEG in this order, as did subsequently Bergk (18824), Fick (1888), Hiller and Crusius (1911), Hudson-Williams (1926) and Edmonds (1931).
Fragment 8 IEG would not have been part of the Pericles elegy according to Buccholz (1883-1886),3 but only 13, 12 and 11 IEG. Diehl (19251, 19362, 19523) also did not include fragment 8 IEG in this group, and disposed almost the same fragments considered by Schneidewin (1838) in a different arrangement: 13, 9, 10, 11, 12 IEG. De Falco and Coimbra (1941: 102) ascribed fragments 13, 9 and 11 IEG (the last two combined in a single fragment) to the poem cited by Pseudo-Longinus, and suggested that fragments 12 and 8 IEG could have belonged to it too.
Lasserre (1958) added Archilochus 8 IEG to the fragments united by Diehl (19251, 19362, 19523), but in a slightly altered disposition: 13, 8, 9, 10, 12, 11 IEG, whereas Treu (1959: 195) followed the ordering proposed by Diehl (19251, 19362, 19523) 13, 9, 10, 11, 12 IEG, observing however in a note to 11 IEG that there is no indication that 12 IEG belonged to the same poem, and that perhaps fragment 8 IEG should be included in this group. Adrados (19903) attributed fragments 16, 8, 9, 12, 13 and 11 IEG to a single elegy, and for Gentili and Catenacci (20073: 89), 13, 9 and 11 IEG almost certainly belonged to the same poem, perhaps also 16, 12 and 8 IEG. Gerber (1999: 87) cautiously deems possible that frr. 9-13 (or 8-13) come from the same poem or at least refer to the same disaster.
Others, however, refrained from suggesting any form of composition of these fragments into a single poem, such as Gaisford (1814), Hoffmann (1898) and van Groningen (1958: 139). West (19711, 19892), likewise, did not unite the fragments and only indicated that Archilochus 8-13 IEG are on shipwrecks.
I. Archilochus 8 IEG
8 IEG Schol. Ap. Rhod. I.824, θεÏÏάμενοι á¼Î¾ αἰÏήÏεÏÏ á¼Î½Î±Î»Î±Î²ÏνÏεÏ, αἰÏήÏανÏεÏ. θÎÏ<ÏαÏ>θαι Î³á½°Ï Ïὸ αἰÏá¿Ïαι καὶ ἱκεÏεῦÏαι ... καὶ á¼ÏÏίλοÏοÏ.
Ïολλὰ δ᾽á¼ÏÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï 4 Ïολιá¿Ï á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι
θεÏÏάμενοι Î³Î»Ï ÎºÎµÏὸν νÏÏÏον Ì® ̱ Ì® Ì® ̱thessámenoi is to obtain by means of supplication, for thés<sas>thai is to supplicate, plead,¦ and Archilochus:
Praying much on the expanses of the grey fair-tressed sea for a sweet return¦5
Archilochus is quoted by the scholiast on Argonautica I.824, but the verse in the Argonautica (οἱ δ᾽ á¼Ïα θεÏÏάμενοι ÏαίδÏν γÎνοÏ) has no relation whatsoever to shipwrecks or death at sea: Archilochus is quoted simply because of the participle θεÏÏάμενοι, from θÎÏÏαÏθαι, a rare poetical verb that occurs only four times in the extant literature.6
1. Ïολιá¿Ï á¼Î»á½¸Ï and á¼Î»á½¸Ï Ïολιοá¿Î¿
Πολιá¿Ï á¼Î»á½¸Ï and á¼Î»á½¸Ï Ïολιοá¿Î¿ are common epic formulas. In the Iliad, when Achilles prays to his mother, she quickly arose from the gray sea, like mist (Il. 1.359 καÏÏαλίμÏÏ Î´á¾½á¼Î½ÎÎ´Ï Ïολιá¿Ï á¼Î»á½¸Ï ἠΰÏá¾½á½Î¼Î¯Ïλη). Thetis heard her sons plea seated in the depths of the sea, beside her old father (Il. 1.358 ἡμεÌνη á¼Î½ βεÌνθεÏÏιν á¼Î»Î¿ÌÏ ÏαÏÎ±Ì ÏαÏÏÎ¹Ì Î³ÎµÌÏονÏι) while Achilles wept on the coast of the grey sea, looking out unto the deep, unlimited sea (Il. 1.350 θá¿Î½á¾½á¼Ïá¾½á¼Î»á½¸Ï Ïολιá¿Ï).
In the Iliad, á¼Î»á½¸Ï Ïολιοá¿Î¿ describes the crest of the grey sea over which the steeds, sons of Boreas, skip (Il. 20.228-9): but when they skipped over the wide back of the ocean, | they ran on top of the crest of the grey sea (á¼Î»á½¸Ï Ïολιοá¿Î¿). The context in this case is that of shipwrecks, and the adjective applies to the color of the white-caps, of foam caused by wind and waves.
In relation to Archilochus 8 IEG, many quote the Homeric episode in which shipwrecked Odysseus is rescued by Leucothea and arrives at the coast of Phaeacia lamenting to himself: there seems to be no way of escape from the grey sea (Od. 5.410 á¼ÎºÎ²Î±ÏÎ¹Ï Î¿á½ Ïηι Ïαίνεθ᾽á¼Î»á½¸Ï Ïολιοá¿Î¿ θÏÏαζε).
2. á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι
The adjective grey (ÏολιÏÏ) may qualify seawaters that are designated simply as á¼ Î»Ï or θάλαÏÏα (Ïολιá¿Ï á¼Ïὶ θινὶ θαλάÏÏηÏ), or conceived as the vast expanses of the sea (á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι), or the paths of the sea (ÏÏνÏÎ¿Ï á¼Î»á½¸Ï Ïολιá¿Ï). According to Chantraine (19992, sv. ÏÎλαγοÏ), ÏÎÎ»Î±Î³Î¿Ï designates the deep sea, even in its combinations with ἠλÏ: ÏÎÎ»Î±Î³Î¿Ï distinguishes itself from á¼ Î»Ï and θάλαÏÏα (a common word), and also from ÏÏνÏοÏ, that designates the sea as an element one transverses.
Therefore, one may notice how appropriate á¼Î½ ÏελάγεÏÏι would be in the context of shipwrecks, in Archilochus 8 IEG and in the Homeric Hymn to the Dioscuroi 33. 15, if it indicates the seas deep expanses. Some, however, have taken ÏÎÎ»Î±Î³Î¿Ï in Archilochus 8 IEG in the sense of a plane, flat surface, such as Adrados (19903: en la llanura del mar espumoso), in a translation that plays down the color grey in espumoso, eliminating a possible oxymoron. Gerber preferred reading á¼Î½ ÏελάγεÏÏι as the place where the invoked goddess is located, not the supplicants.7
If the participle θεÏÏάμενοι that opens the second verse in Archilochus 8 IEG is rare, in contrast, the preceding hexameter, a strikingly alliterative verse, closes with a formula of the epic diction: á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι.
In the Homeric Hymn to the Dioscuroi 33.6-7, the Muses are invoked to sing the Tyndarids, Castor and Polydeuces, that save men on earth | and from swift ships, when men call on to them, sacrificing white rams on the deck. The twins arrive rapidly with tawny wings, and they make the winds and waves cease in a hexameter that ends with the formula á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι: and they calm the waves in the expanses of the white (-capped?) sea (33.15 κÏμαÏα δ᾽á¼ÏÏÏÏεÏαν Î»ÎµÏ Îºá¿Ï á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι).
Therefore, the endings of both hexameters, in Archilochus 8.1 IEG and the Homeric Hymn to the Dioscuroi 33.15 are not only similar in form, but their contexts are also comparable. Nonetheless, after the caesura, two different adjectives are employed: white (Î»ÎµÏ ÎºÏÏ) and grey (ÏολιÏÏ). This may seem a minor variation, both adjectives referring to white-caps visible on the windy or tormented sea. For as Irwin (1974: 167-68) notes, the adjectives Î»ÎµÏ ÎºÏÏ and ÏολιÏÏ are often equivalent. However, Î»ÎµÏ ÎºÏÏ may on the contrary qualify calm, peaceful waters, as in the Odyssey 10.94, or clear and limpid waters, as in the Iliad 23.282, Odyssey 5.70, and Aeschylus Supp. 23. And it is precisely in this sense that West (2003) translates the verse in the Homeric Hymn to the Dioscuroi 33.15: and lay the waves amid the flats of a clear sea.
The choice of ÏολιÏÏ in Archilochus 8 IEG, and of Î»ÎµÏ ÎºÏÏ in the Homeric Hymn to the Dioscuroi 33.15, is significant because ÏολιÏÏ carries other connotations when related to hair. In terms of color, Î»ÎµÏ ÎºÏÏ indicates a brilliant, shinning white, in contrast to ÏολιÏÏ that is a whitish grey, or dull white, applied to the sea, according to scholiast, because of the color of the foam or froth (Schol. A 350 á¼Ïὸ Ïοῦ á¼ÏÏοῦ). While the adjective Î»ÎµÏ ÎºÏÏ rarely qualifies hair, ÏολιÏÏ is a common epithet for the grey hair of the elderly (Il. 22.74, Pindar O. 4.28), sometimes with the sense of the venerable, as in Aeschylus Suppl. 673, and its usage is mostly pathetic (Il. 22.77, 24.516, Od. 24.317, 499, Hom. Hymn to Aphrodite 228).8
In the Ino-Leucothea episode (Od. 5.335), á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι occurs closer to the beginning of the verse, without the adjective ÏολιÏÏ, and referring to the place where Leucothea, who before was mortal, in the expanses of the sea, was fated the honor of the gods.9 The shipwrecked Odysseus will be rescued by Leucothea and her name, the white goddess (ÎÎµÏ ÎºÎ¿Î¸Îη), is significant. After an interval of 75 verses, the epithet ÏολιÏÏ does however figure in the above-quoted speech Odysseus directs to himself on his arrival in Phaecia: there seems to be no way of escape from the grey sea (Od. 5.410: á¼ÎºÎ²Î±ÏÎ¹Ï Î¿á½ Ïá¿ Ïαίνεθ᾽ á¼Î»á½¸Ï Ïολιοá¿Î¿ θÏÏαζε).
According to Stanford (19592: 303), the name Leucothea comes from the froth or sparkle of the calm sea, and he quotes λεÏκιÏÏοι (of white horses), an epithet of the Dioscuroi, divinities that also save mariners in sea storms, calming the waves in the expanses of the white sea (Î»ÎµÏ Îºá¿Ï á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι). As the twins in the Homeric Hymn, Leucothea is winged; she arrives as a sea-bird (Î±á¼°Î¸Ï Î¯á¿), dark-grey above and white/light-grey below.
The formula á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι also occurs in The Homeric Hymn to Apollo 3.73, and the two nouns are combined in what the LSJ considers a pleonastic expression in Aeschylus (Per. 427 Ïελαγίαν ἠλα) and Euripides (Tr. 88 ÏÎÎ»Î±Î³Î¿Ï ¦ á¼Î»ÏÏ).
In the Homeric Hymn to Apollo 3.73-75, Delos fears that Apollo, once born, might spurn the island because of its rocky soil and kick it over into the seas expanses (á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏιν). Then I shall have the mighty waves surging over my head in a mass for evermore¦10 If this took place, the island would be submerged into the sea by the god, the waves flowing over its/her head and presumably tossing its/her hair. The formula occurs at the end of the hexameter in Homeric Hymn to Apollo 3.73, as also in Archilochus 8.1 IEG and the Homeric Hymn to the Dioscuroi 33.15.11
In Aeschylus Persae (vv. 426-28), the messenger narrates the Persian defeat at Salamina and the so-called pleonastic expression appears in the context of shipwrecks and death at sea: and groans and shrieks together filled the open sea (Ïελαγίαν ἠλα) until the face of sable night hid the scene.12 In Euripides Trojan Women 88, Poseidon threatens to disturb the waters, causing many deaths at sea: ÏαÏÎ¬Î¾Ï ÏÎÎ»Î±Î³Î¿Ï Îá¼°Î³Î±Î¯Î±Ï á¼Î»ÏÏ (Ill stir up the expanses of the Aegean sea).
3. Î³Î»Ï ÎºÎµÏὸν νÏÏÏον
Î³Î»Ï ÎºÎµÏÏÏ is a traditional epithet for νÏÏÏοÏ, and although the sweet return prayed for in Archilochus 8 IEG may allude not only specifically to that of Odysseus, but to any other return narrated in the cyclic epics (Nostoi), it is however noteworthy that the expression Î³Î»Ï ÎºÎµÏὸν νÏÏÏον occurs in the Odyssey 22.323 in a reference made by Odysseus to his own return.
4. εá½ÏλÏκαμοÏ
Τhe adjective εá½ÏλÏÎºÎ±Î¼Î¿Ï gave rise to numerous interpretations and translations of Archilochus 8 IEG since the nineteenth century. Does the epithet qualify the sea or an invoked goddess?
Among the readings present in editions and commentaries, one group accepts the transmitted text as not corrupt, and believes the epithet refers to a goddess summoned by the shipwrecked. There is no consensus, however, regarding whom the invoked goddess or nymph might be. For Schneidewin (1838), the epithet referred to a sea divinity whose precise identity he ignored.13 Crusius (1911), followed by Diehl (19251, 19362, 19523) and Adrados (19903), suggested the divinity was Leucothea, in view of the presence of the formula á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι in the Odyssey 5.335.14 Gerber (1999) translates and praying often (earnestly?) to the fair-haired (goddess) on the expanse of the white-capped sea for a sweet homecoming, and Gerbers candidate is Artemis,15 designated as εá½ÏλÏÎºÎ±Î¼Î¿Ï at Od. 20.80, or Aurora, qualified by the same epithet when she announces fair-weather after the storm at Od. 5.390.16
Other scholars develop a similar interpretation of Archilochus fragment, the epithet á¼Ï ÏλÏÎºÎ±Î¼Î¿Ï still being read with reference to a goddess, but they consider the transmitted text corrupt. Among these, Bergk (18824), followed by Hoffmann (1898), Jurenka (1900), Crönert (1911) and Edmonds (1931), accepted Heckers (1850: 482) emendation of the text to Παλλάδ᾽ á¼ÏÏλÏκαμον (later retracted, however, by Bergk and Hecker), the prayers being directed to Pallas Athena (cf. Od. 7.41 á¼Î¸Î®Î½Î· á¼ÏÏλÏκαμοÏ). Fick (1888) suggested δ᾽á¼ÏÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï Ï á¼Î»Î¯Î±Ï, referring to unspecified sea divinities. Hudson-Williams (1926) read Ïολλὰ δ᾽ á¼Ï ÏλÏκαμον with reference to a sea goddess, nymph or Athena (Od. 1.86 νÏμÏá¿ á¼Ï Ïλοκάμῳ, 7.41 á¼Î¸Î®Î½Î· á¼ÏÏλÏκαμοÏ). However, quoting the Odyssey 5.335, Hudson-Williams (1926) observed that this is the sole occurrence of á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι in Homer, and of ÏÎÎ»Î±Î³Î¿Ï in the plural. In this light, he followed Crusius (1911) suggestion that Archilochus may have alluded here to Leucothea.
A third group also held the text to be corrupt, but understood the corrupted adjective as qualifying the sea, not a goddess. Thus Liebel (1812) and Hiller (1911: x) proposed respectively á¼ÏÏλοÎÎ¼Î¿Ï (of a fair voyage, followed by Malusa, 1883) and á¼ÏιγδοÏÏÎ¿Ï (ressounding), a common epithet of the sea, both eliminating εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï that applies to goddesses and women. Treu (1959) translated the epithet as relating the sea,17 but indicated the Greek text as corrupt ( á¼Ï ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï ), because the adjective only refers to living beings in Archaic literature, and it sounds particularly unusual to him (as to Gerber, 1977: 298), if it were to qualify a stormy sea.
A last group of scholars accepted the text as it is transmitted and read the epithet εá½ÏλÏÎºÎ±Î¼Î¿Ï with reference to the sea. While Fraccaroli (1910), not without hesitation, translated: per la distesa del mar chiomato di canizie spesso, the edition of elegiac poets by de Falco (1941: 112) reproduces the transmitted text with the following comment: the adjective εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï , applied to the sea, is unquestionably audacious, and for this reason it is very Archilochean.18 Bonnard (1958) translated the expression as la mer bouclée décume, while Lasserre (1958: 2) observed that through displacement of the adjective εá½ÏλÏκαμοÏ, that applies only goddesses and women in Homer, Archilochus created a surprising effect and a novel image out of epic material. Kirkwood (1974) translated the verses as the following: Praying much, in the swelling waves of the white sea with its beautiful hair,| for the sweetness of return home, and followed Lasserre and Bonnard (1958) in stating that the Homeric epithet (εá½ÏλÏκαμοÏ) is transferred from its regular usage for women to qualify the sea in Archilochus. Kirkwood (1974: 35) adds that Archilochus fragment both recalls and contrasts with the rescue of Odysseus from death at sea by Ino-Leucothea, Odyssey 5.19
Other similar renderings of Archilochus 8 IEG are those by Lattimore,20 Davenport21 and Burnett.22 West (1993) also maintains the transmitted text in IEG, and translates the verses thus: And often in the reaches of the white-hair-tossing sea | they prayed for sweet safe homecoming¦. The more recent translations by Nickel23 and Martins de Jesus24 follow this same interpretation, as did many others before them quoted by Bossi (19902: 81): Romano (1974: 112), Romagnoli (19311, 19692: 37), Pontani (1969: 17), Franjó (in Snell 1972: 21), Ayrton (1977: 16) and Hofinger (1987: 70).
As seems to be the modern trend among the readings of Archilochus 8 IEG, perhaps Mallarmé also understood εá½ÏλÏÎºÎ±Î¼Î¿Ï as an epithet of the sea, if one follows the suggestion advanced by Ambrosio-Griffith and Griffith (1989: 102, n. 10), who believe it is quite possible that Mallarmé had noticed [Archilochus] fragment.
II. Mallarmé: A la nue accablante tu
Mallarmés sonnet A la nue accablante tu was first published in Pan magazine in 1895, and it is with reference to the verses Tout labîme vain éployé | Dans le si blanc cheveu qui traîne, that Ambrosio-Griffith and Griffith (1989: 100) established an intertextual reading of Archilochus 8 IEG. In their view, Mallarmés sonnet offers, at one interpretive level the description of a menacing seascape in which a sepulchral shipwreck has perhaps just vanished without trace or a siren-child has perhaps drowned.25 Although Mallarmés critics have pointed out parallels in ancient Greek poetry, and especially in Pindar, this was the first time verses of Archilochus were quoted as a possible intertext.
If in fact Mallarmé had Archilochus fragment in mind while composing A la nue accablante tu, he possibly had read it either in Gaisfords Poetae Minores Graeci of 1814, in which the text is neither emended nor commented, in Liebel (1812) or Bergk (18824).26
Mallarmés poem is notoriously difficult. Thus, I shall only reproduce a few relevant commentaries on the verses that may throw light on Archilochus 8 IEG.
[« A la nue accablante tu . . . »]
A la nue accablante tu
Basse de basalte et de laves
A même les échos esclaves
Par une trompe sans vertuQuel sépulcral naufrage (tu
Le sais, écume, mais y baves)
Suprême une entre les épaves
Abolit le mât dévêtuOu cela que furibond faute
De quelque perdition haute
Tout labîme vain éployéDans le si blanc cheveu qui traîne
Avarement aura noyé
Le flanc enfant dune sirène
[Stilled beneath the oppressive cloud . . .]Stilled beneath the oppressive cloud
that basalt and lava base
likewise the echoes that have bowed
before a trumpet lacking graceO what sepulchral wreck (the spray
knows, but it simply drivels there)
ultimate jetsam cast away
abolishes the mast stripped bareor else concealed that, furious
failing some great catastrophe
all the vain chasm gaping widein the so white and trailing tress
would have drowned avariciously
a sirens childlike side.
The metaphor uniting the abyss with hair is in part a chiasmic rewriting of the cultural cliché of hair like waves¦ The phrase le si blanc cheveu qui traîne, as critics have observed, is an attraction (in the grammatical sense) of the abyss by the poems final word sirène; this brings about a mythic dimension to the poem and the shipwreck it describes...27
DAmbrosio-Griffith and Griffith (1989: 101-02) maintain that an oxymoron is established in Mallarmés sonnet when the color white suggests the hair of an old man rather than of an enfant dune sirène (if this phrase refers to age and not merely to parentage). One may compare this to Archilochus 8 IEG, where an oxymoron is created if the epithet εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï is meant to qualify the grey hair since grey or white hair is never considered beautiful in Greek literature: The poetic exploitation of a cliché, the attraction into the mythical register of a word describing a simple natural element, and the oxymoron of white yet youthful hair all find their analogue in a Classical text of the lyric poet Archilochus¦28
This reading of Archilochus, with the displacement of the epithet used regularly for women to the hoary sea, appeals more to our modern taste and/or our conceptions of poetry, admitting the possibility that Archilochus alluded to the Odyssean episode and created a novel and disturbing image of the stormy sea with beautiful grey hair, in which mariners might be engulfed. And it is not surprising that this is how the majority of modern editors and translators have read Archilochus 8 IEG.
DAmbrosio-Griffith and Griffith (1989: 103) compared the LSJ entries for εá½ÏλÏÎºÎ±Î¼Î¿Ï and remarked that in the second edition of 1845 there is no reference to Archilochus 8 IEG, but that in the sixth edition, that of 1869, the use of εá½ÏλÏÎºÎ±Î¼Î¿Ï in Archilochus is registered and interpreted as metaphoric, although Liebels (1812) emendation (á¼ÏÏλοÎÎ¼Î¿Ï ) is also indicated. In the eighth edition of the LSJ lexicon in 1897, two years after the publication of Mallarmés poem, Liebels emendation is no longer mentioned and Archilochus 8.1 IEG is quoted as metaphoric usage of the adjective. And so it stands to this date. According to Baillys (19506) dictionary, the epithets use is also metaphoric in Archilochus.
III. Fair-tressed goddess or sea in Archilochus 8 IEG
Although the tendency in more recent times has been to read the epithet fair-tressed with sea in Archilochus 8 IEG, arguments have been voiced against this interpretation. One objection made by Gerber (1977: 298) was that Archilochus would not use two adjectives with a single noun without a connective. But we do have asyndetic phrases in Archilochus,29 and two adjectives modifying a subject without a connective.30 Besides, we might have too little of Archilochus in order to establish this as a rule. Another point, also made by Gerber (1977: 298), is that the adjective ÏολιÏÏ in Homer is never followed by a second epithet when describing the sea. This holds true for Homer, but even if Archilochus was held to be one of the most Homeric poets, could he not have done otherwise? Moreover, this is the sole extant occurrence of ÏολιÏÏ in Archilochus, so that it is difficult to establish whether his usage followed the Homeric tradition or not.
Nonetheless, the major point brought forth by those who reject the metaphorical reading of Archilochus 8 IEG is that the epithet εá½ÏλÏÎºÎ±Î¼Î¿Ï applies only to females (human and divine) in Archaic and Classical literature.31 For example, Hudson-Williams (1926: 88) argues that it is a very fanciful epithet for the sea, and better suited for poetry of a later age, such as that of Pseudo-Oppian, Cyn. 2. 131.
The occurrence of the epithet εá½ÏλÏÎºÎ±Î¼Î¿Ï in Pseudo-Oppian Cyn. 2.131 is quoted by lexica beside that of Archilochus 8 IEG and, fanciful or not, the verses offer an interesting parallel for the metaphoric use of εá½ÏλÏÎºÎ±Î¼Î¿Ï with regard to waters (Cyn. 2. 128-31):
Ïοá½Î½ÎµÎºÎµÎ½ αá½Ïίκ᾽á¼Î¼ÎµÎ»Î»Îµ ÎÎ¹á½¸Ï Î³ÏÎ½Î¿Ï á¼Î¼ÏοÏÎÏοιÏι
νάμαÏα μεÏÏήÏειν ῥοÏάλῳ καὶ ÏεÏÏὶ κÏαÏαá¿Ï,
á½Î´Î±Ïα δ᾽á¼Îº Ïεδίοιο διακÏιδὸν ἰθÏνεÏθαι
εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï Î»Î¯Î¼Î½Î·Ï á¼ Î´á¾½Îµá½ÏÏοÏÎ¬Î»Î¿Ï ÏοÏαμοá¿Î¿.Therefore was the son of Zeus destined straightway with club and mighty hands to apportion their water unto each, and to give separate course from the plain for the waters of the fair-tressed lake and the fair-flowing river.32
In the above quoted verses, the epithet refers to a fair-tressed lake (εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï Î»Î¯Î¼Î½Î·Ï), and one notes that in the entire passage the geographical features are described in terms of the human body (Cyn. 2. 132-37):33
And he wrought his mighty labour, when he cut the girdle of the encircling hills and undid their stony bonds, and sent the river belching to its mouth, surging incontinent and wildly murmuring, and guided it toward the shores. And loudly roared the deep sea, and the mighty body of the Syrian shore echoed to the din.
It is difficult to ascertain that Pseudo-Oppian (Cyn. 2.131) is alluding to Archilochus, since the attribution of human features to landscape and geography is frequent in Greek and other Indo-European poetical traditions.34 The description of landscape in terms of female anatomy is particularly meaningful in myths of colonization, in which the possession of the land is compared to that of women,35 and perhaps the same applies here in Pseudo-Oppians verses, Heracles being a major colonizing hero.
But if one takes the extant verses of Archilochus in account, one finds a comparison of Thasos to the back of a donkey,36 of rugged glens to human anatomy and,37 even more pertinently, there is death in the seas embrace, 213 IEG:
Schol. Ar. Ran. 704, Ïὴν ÏÏλιν καὶ ÏαῦÏá¾½ á¼ÏονÏÎµÏ ÎºÏ Î¼Î¬ÏÏν á¼Î½á¼Î³ÎºÎ¬Î»Î±Î¹Ï
ÎÎ¯Î´Ï Î¼ÏÏ (p. 249 Schmidt) ÏηÏι ÏαÏá½° Ïá¿· Îá¼°ÏÏÏλῳ (cf. Cho. 587)· á¼ÏÏι δὲ á½Î½ÏÏÏ ÏαÏá¾½ á¼ÏÏιλÏÏÎ¿Ï Â·
ÏÏ Ïá½°Ï á¼ÏονÏÎµÏ ÎºÏ Î¼Î¬ÏÏν á¼Î½á¼Î³ÎºÎ¬Î»Î±Î¹ÏSchol. Ar. Ran. 704: and this too when we have the city in the embrace of the waves
Didymus (p. 249 Schmidt) says that this occurs in Aeschylus (cf. Cho. 587), but it actually occurs in Archilochus:
with their lives in the embrace of waves.38
None of those who favor reading the epithet fair-tressed as qualifying the sea in Archilochus 8 IEG quote 213 IEG, but fragment 213 IEG does seem to provide support for this construction: for if waves in Archilochus may have arms, why couldnt they be hairy? Besides, as DAmbrosio-Griffith and Griffith (1989: 105) well observed, although Gerber (1977: 298) and others find it inappropriate to pray for sweet return on a fair-tressed sea, εá½ÏλÏÎºÎ±Î¼Î¿Ï could be euphemistic in Archilochus 8 IEG, the sea being referred to in flattering terms, since euphemisms are commonly applied to natural elements one dreads.
On the other hand, the problem of reading the epithet as referring to a goddess is that θÎÏÏαÏθαι is not construed with the genitive of the person and the accusative of the object. In this case, Gerber (1977) argues that the verb is rare and, such as ἱκεÏεÏÏ in Euripides IA 1242-43, it might have been constructed with the accusative (Î³Î»Ï ÎºÎµÏὸν νÏÏÏον) and an original infinitive that would have stood at the lost end of the pentameter.39
Thus, the text as it stands admits both interpretations, the epithet referring either to a goddess or to the sea, and for both of these readings one must provide linguistic justifications: either one admits a lacking infinitive at the end of the verse,40 or one accepts an asyndeton.
In the end, what seems to drive ones choice and interpretation of these verses among scholars and translators is their overall conception of the poetry of Archilochus. Some, accepting a greater proximity between Archilochean and Homeric diction, imagery, and the possibility of direct allusion or intertextuality,41 read the epithet with reference to a goddess (mostly Ino/Leucothea); while others, considering Archilochus an innovative poet that plays with epic formulae and deliberately creates new images out of the traditional material at hand, associate the epithet with the sea.
Concerning the poems reception in Antiquity, as far as we can tell both the scholiast on Ap. Rhod. I. 824 and Pseudo-Oppian (if the later did in fact know Archilochus verse) seem to have read the epithet with relation to the sea. For Pseudo-Oppians fair-tressed lake is analogous to a fair-haired sea, and would not the scholiast on Apollonius have quoted the infinitive (if there was in fact one in the second verse) to complete the construction of the verb he is interested in?
The image of a grey, fair-tressed sea is indeed striking, but since εá½ÏλÏÎºÎ±Î¼Î¿Ï is a common epithet for goddesses or for women, at the beginning of the hexameter that is most probably what the hearer would relate the epithet to. Immediately after εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï , one hears Ïολιá¿Ï, a common epithet for the sea, but also for hair. As one has the fair tresses in mind, an oxymoron is created, because grey hair may be venerable, but never beautiful in Greek literature. The discomfort continues with the development of the image of the grey, fair-tressed sea (all terms being closely bound in the verse by the alliterating Ïs and κs). This uneasiness would have been resolved in the second verse if the participle θεÏÏάμενοι were followed by an infinitive that redefined both syntax and sense. But one cannot be sure that was the case. And yet, precisely because it is striking, incongruous, oxymoronic and new, the image of a grey, fair-tressed sea, even if it were to be corrected by a verbal construction in the second verse, might have never been completely submerged, lingering on in the hearers mind.
Notes
* Profesora Asociada de Lengua y Literatura Griega de la Universidad de San pablo (Brasil). Licenciada en Letras Portugués/Griego (Universidad de San Pablo, 1985), Magister en Letras Clásicas (RHBNC, University of London, 1987) y Doctora en Filosofía (Universidad de San Pablo, 1995). Es investigadora del Consejo Nacional de Investigación de Brasil (CNPq) desde 1997. Es autora de publicaciones en el área de la lírica griega. Coordinadora del Proyecto Minimus: Griego y Latín en la enseñanza básica, un proyecto de cultura y extensión universitaria de la Universidad de San Pablo, en el cual estudiantes de grado y posgrado enseñan lengua griega y latina en el grado curricular de los 7mos y 4tos años de la Escuela Municipal Desembargador Amorim Lima desde 2013. (correa@usp.br)
1 These are the same that suggest uniting fragments 13 and 11 IEG in a single poem: Liebel (1812), Schneidewin (1838), Bergk (18824), Fick (1888) and Tarditi (1968: 68).
2 Cf. Adkins (1985: 36). It is so difficult to ascertain to which verses Pseudo-Longinus would have referred that Russell, for example, in a note to Fyfes (1995) translation of Longinus, On the Sublime, quotes fragments 105 and 106 IEG of Archilochus in which the so-called allegory of the ship of state is developed, while Buchholz (1883-1886: 125) supposed the narrative on the shipwreck alluded to by Pseudo-Longinus had been lost.
3 See also Buccholz and Peppmüller (19116).
4 Schol. Apoll. Rh. 1.824; Gaisford (1814). á¼ÏÏλοÎÎ¼Î¿Ï Liebel (1812); Παλλάδ᾽ á¼ÏÏλÏκαμον Hecker (1850: 414-512), dub. Bergk (18824), Hoffmann (1898), Jurenka (1900), Crönert (1911), Edmonds (1931); á¼Ï ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï Ï á¼Î»Î¯Î±Ï Fick (1888); á¼Ï ÏλÏκαμον Hudson-Williams (1926); á¼Ï ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï Treu (1959: 200).
5 Πολλά in majority of occurrences with verb of praying means much, intensely, not often.
6 For θεÏÏάμενοÏ, cf. θεÏÏάμενοι Hesiod fr. 231, θÎÏÏανÏο Pindar N. 5.10 and ÏολÏθεÏÏÎ¿Ï Callimachus Dem. 47.
7 Gerber (1977: 299, n. 6) observes there is nothing in the fragment itself to indicate a shipwreck, and that they could be praying for a safe return on other occasions: They may not even be at sea.
8 Chantraine (19992), s.v. ÏολιÏÏ.
9 Od. 5.335: νῦν δ᾽á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι θεῶν á¼Î¾ á¼Î¼Î¼Î¿Ïε Ïιμá¿Ï.
10 H. Hymn to Apollo 3.73-75: ÏοÏÏὶ καÏαÏÏÏÎÏÎ±Ï á½¤Ïá¿ á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏιν, | á¼Î½Î¸á¾½ á¼Î¼á½² μὲν μÎγα κῦμα καÏá½° κÏαÏá½¸Ï á¼ Î»Î¹Ï Î±á¼°Îµá½¶ | κλÏÏÏει· Translation by West (2003: 77).
11 Ruhnkenius, according to West (2003: 9), suggested in 1782 that the Homeric Hymn to Apollo 3 was composed of two originally distinct hymns, one to the Delian Apollo (vv. 1-178), the other to the Pythian Apollo (vv. 179-546): the hymn to the Pythian Apollo would be from the beginning of the sixth century B. C., the one to the Delian Apollo would be a little later, from the middle of the sixth century. Both hymns would have been combined for presentation in 523 B. C. at Delos during a festival celebrating the two Apollos.
12 Aeschylus Persae vv. 426-28: οἰμÏγὴ δ᾽ á½Î¼Î¿á¿¦ | κÏκÏμαÏιν καÏεá¿Ïε Ïελαγίαν ἠλα, | á¼ÏÏ ÎºÎµÎ»Î±Î¹Î½á¿Ï Î½Ï ÎºÏá½¸Ï á½Î¼Î¼á¾½ á¼ÏείλεÏο. Translation by Smyth (1926).
13 See Tarditi (1968): e dopo avere tra i flutti del mare canuto insistentemente implorato dalla dea dai riccioli belli il dolce ritorno, although Tarditi admits the epithet might qualify the sea: Oppiano fisus, possis εá½ÏÎ»Î¿ÎºÎ¬Î¼Î¿Ï ad á¼Î»ÏÏ referre, as also Podlecki (1984: 33-34).
14 Cf. Sitzler (1894: 152) apud Crusius (1911: x).
15 For Artemis, see also Russo (1973-74: 730).
16 Od. 5.390-93: á¼Î»Î»á¾½ á½ Ïε δὴ ÏÏίÏον á¼¦Î¼Î±Ï á¼Ï ÏλÏÎºÎ±Î¼Î¿Ï ÏÎλεÏá¾½ ἨÏÏ, | καὶ ÏÏÏá¾½ á¼ÏειÏá¾½ á¼Î½ÎµÎ¼Î¿Ï μὲν á¼ÏαÏÏαÏο ἠδὲ γαλήνη |á¼ÏλεÏο νηνεμίη.
17 inständig rufend nach Heimkehr, der süssen, weit draussen im grauen,| schöngekräuselten (?) Meer¦.
18 Coimbra (1941: 81) translated: No mar de bela, encanecida coma,| suspirosos, pedindo doce volta.
19 Although the phrase á¼Î»á½¸Ï á¼Î½ ÏελάγεÏÏι occurs in the episode, and the mention of a sweet return (Î³Î»Ï ÎºÎµÏὸν νÏÏÏον) intensifies the Odyssean echoes, Kirkwood (1974: 35) believes Archilochus strikes a contrast with the rare and non-Homeric term θεÏÏάμενοι as if the Odyssean nostos is denied by the interruption of the Homeric phrases.
20 Lattimore (1960): Often along the streaming hair of the gray salt water.
21 Davenport (1980: 74): The sea combed | By the wind | Like a wilderness | Of womens hair.
22 Burnett (1983: 53, n. 57): richly curled.
23 Nickel (2003): in den Weiten des schöngewellten grauen Meers.
24 Martins de Jesus (2008): nas orlas do pardo mar de belas madeixas.
25 Ambrosio-Griffith and Griffith (1989: 100).
26 Liebel (1812) and Bergk (18824) considered the transmitted text corrupt, the epithet qualifying respectively the sea and Pallas, as mentioned above.
27 DAmbrosio-Griffith and Griffith (1989: 101).
28 DAmbrosio-Griffith and Griffith (1989: 101-02).
29 Archilochus 114.3-4 IEG: καὶ ÏεÏὶ ÎºÎ½Î®Î¼Î±Ï á¼°Î´Îµá¿Î½ | ῥοικÏÏ, á¼ÏÏαλÎÏÏ Î²ÎµÎ²Î·Îºá½¼Ï ÏοÏÏί, καÏÎ´Î¯Î·Ï | ÏλÎÏÏ.
30 Archilochus 193 IEG: δÏÏÏÎ·Î½Î¿Ï á¼Î³ÎºÎµÎ¹Î¼Î±Î¹ ÏÏθÏι | á¼ÏθÏοÏ, ÏαλεÏá¿Î¹Ïι θεῶν á½Î´ÏνηιÏιν á¼ÎºÎ·Ïι | ÏεÏαÏμÎÎ½Î¿Ï Î´Î¹á¾½á½ÏÏÎÏν.
31 Cf. Gerber (1977: 298), Liebel (1812: 154). Against this restriction, Griffith (1989: 104, n. 21) argue that Homer describes the sea by means of other anatomical features (broad-back Il. 2.159, broad-bosom Il. 18.140, and an island as the navel of the sea Od. 1.50).
32 Translation by Mair (1928).
33 Cyn. 2.132-37: á¼Ïξε δὲ ÏÎ¿Ï Î»á½ºÎ½ á¼ÎµÎ¸Î»Î¿Î½, á¼Ïεὶ ÏÏεÏάνην διÎκεÏÏεν | á¼Î¼ÏιβÏλÏν á½ÏÎÏν, λῦÏεν δ᾽ á¼Ïο λάÏνα δεÏμά, |καὶ ÏοÏαμὸν ÏÏοÎηκεν á¼ÏÎµÏ Î³Ïμενον ÏÏομολá¿Ïιν, | á¼ÏÏεÏα ÎºÏ Î¼Î±Î¯Î½Î¿Î½Ïα καὶ á¼Î³Ïια μοÏμÏÏονÏα, | á¼´Î¸Ï Î½ÎµÎ½ δ᾽ á¼Ïὶ θá¿Î½Î±Ï ὠδ᾽á¼Î²ÏαÏεν á¼ ÏÏÏα ÏÏνÏÎ¿Ï | καὶ Î£Ï ÏÎ¯Î¿Ï ÎºÎ¿Î½Î¬Î²Î·Ïε μÎλαν δÎÎ¼Î±Ï Î±á¼°Î³Î¹Î±Î»Î¿á¿Î¿.
34 Cf. West (2007: 343-45) and Pindar, where hills are breasts P. 4.8, Syracuse is an eye O. 2.12, and Cyrene is identified with the eponymous nymph to be possessed P. 9.
36 Archilochus 21 IEG: ἥδε δ᾽ὥÏÏá¾½á½Î½Î¿Ï ῥάÏÎ¹Ï | á¼ÏÏηκεν á½Î»Î·Ï á¼Î³ÏÎ¯Î·Ï á¼ÏιÏÏÏεÏήÏ.
37 Archilochus 190 IEG: καὶ βá¿ÏÏÎ±Ï á½ÏÎÏν Î´Ï ÏÏαιÏÎ¬Î»Î¿Ï Ï, Î¿á¼·Î¿Ï á¼¦Î½ á¼Ï᾽ἥβηÏ.
38 Translation by Gerber (1999).
40 Bossi (19902: 82) suggests e.g. Ïελεá¿Î½.
41 See Page (1964: 134), for example: euplá½¹kamos is a traditional epithet, retaining its traditional prosody. Polies halos is a common formula. Halos en pelagessi recurs in Od. 5.335 and H. Hymn 33.15 (where leukês, for poliês, was a lapse of memory). Thessámenoi is an Epic verb (Hes. Fr. 201Rz.). glukerós is a traditional epithet for nostos (Od. 22. 323).
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