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PHILOLOGIA CLASSICA
VOL. 12. FASC. 2. 2017
UDC 82-141+801.731
SAPPHO 1. 1-4 L.-P.: THRONE OR PATTERNS?
Vlada A. Chernysheva
St. Petersburg State University,
7-9, Universitetskaya nab., St. Petersburg,
199034, Russian Federation; chernyshe.va@mail.ru
The paper is concerned with the meaning and translation of the adjective noiKiXoGpovoc; used by Sappho as an epithet of the Greek goddess of love in the so-called Ode to Aphrodite. Classical scholars interpret this compound epithet in different ways. The majority of scholars are inclined to understand the second part as the stem Gpov- which means 'throne'. However, as it was proposed by G. Wustmann, this part of the word could be thought to have been derived from Gpova and thus to be translated as 'embroidered flowers. In this paper, I am trying to show that the once suggested reference to embroidered flowers and further to Aphrodite's charms is more pertinent to the meaning of the ode than a throne. Keywords: Sappho, Ode to Aphrodite, hapax legomenon noiKiXoGpovoc;.
'Dapple(?)-throned/patterned immortal Aphrodite, daughter of Zeus, weaving wiles, I beg you, mistress, not to torment my soul with anxieties and sorrows'.
The beginning of the celebrated Ode is an invocation of the goddess whose name is framed by epithets, either common or peculiar: noiKiXoGpovo;, dBavaxo; and SoXonXoKo;. Of these noiKiXoGpovo; is the most notable one, a hapax which, since the verse goes first in all editions of Sappho, introduces a reader to her poetry.1 Translators render the word in two ways: 'dal trono variopinto' (F. Ferrari), 'auf buntem Throne' (M. Treu) or 'throned in splendor' (W. H. Appleton), 'splendour-throned' (J. M. Edmonds). The abundance is thus expressed in variety or in intensity. But still, for all that, why should Aphrodite's throne be 'coloured' or 'shining'?
1 An alternative reading noiKiXo^pwv is rejected by the majority of scholars in view of the following SoXonXoKS.
© St. Petersburg State University, 2017
noiKiXoGpov' dGavax' A9poSixa nai Aio; SoXotcXoke, Xiaao|ai as |ir| |i' aaaiai |ir|S' oviaiai Sa|iva noxvia Gu|iov.
https://doi.org/10.21638/11701/spbu20.2017.211
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Obviously, the semantics of each part of the compound is relevant. noiKiXo; usually means 'many-coloured' (LSJ I). Its more specific second meaning in LSJ is 'wrought in various colors', 'of woven embroidered stuffs, 'of intricate work'. This implies different materials, but also many shapes and patterns, a complicated technique in which an object is made. -öpovo; is commonly considered to be identic with öpovo; 'throne' (see e. g. Wilamowitz 1913, 44; Page 1955, 5). However, as early as in 1868 Gustav Wustmann suggested that it could be derived from Homeric öpova 'patterns'.2
In Homer noiKiXo; as an attribute denotes the 'spotted skin' of a leopard (Il. 10. 30) or a fallow deer (Od. 19. 228), the 'beauty' and 'splendor' of nenXo; (Il. 5. 734-735), l^a; (Aphrodite's belt: Hom. Il. 14. 219-220), KXia^o; (Hom. Od. 1. 132), xe^ea (Il. 3. 327), Si^poc; (Il. 10. 501) etc. In Sappho noiKiXo; defines ^aaX^ ('leather shoes') and ^ixpa, i.e. it is used in the second meaning. As a part of a compound: noiKiXo^nrn;, 'full of various wiles', epithet of Odysseus (Hom. Il. 11. 482, Od. 3. 163; 13, 293), of Zeus (Hymn. Apoll. 323), of Hermes (Hymn. Merc. 155). By Hesiod noiKiXoßouXot;, 'of changeful counsel, wily' is applied to Prometheus (Hes. Th. 21), and noiKiXoSeipo;, 'of varied voice, many toned' (OD 203) — to the nightingale. In these compounds the metaphoric noiKiX- is also derived from the second sense.
The element -öpovo; is found in two compound adjectives — eüöpovo; (Il. 8. 565, Od. 6. 48; 15. 495; 17. 497) and xpuaoöpovo; (Il. 1. 611). The last epithet is applied to Eos, Hera and Artemis, the first — to Eos alone. The combination of noiKiXo; and öpovo; is attested only in Paus. 5. 11, in the description of the statue of Zeus in Olympia: o Se öpovo; noiKiXo; ^ev xpua« Kai Xiöoi;, noiKiXo; Se ¿ßev« Kai ¿Xe^avxi ¿axi ('The throne is decorated with gold and stones, ebony and ivory').
The sustainable capacity of each of the two elements to form various compound words predetermined both their naturally sounding combination, as in Sappho, and the ambiguity of the neologism in question. In view of Wustmann's interpretation (supported by Aly 1920, 2375 and Burnett 1983, 250-251), considering the Homeric ¿v Se öpova noiKiX' enaaae (Il. 22. 441), I doubt strongly, whether the traditional rendering of noiKiXoöpovo; largely fostered by Wilamowitz ("Hier darf wahrlich niemand an öpova noiKiXa denken: wo wären sie denn?") is correct.
It seems that noiKiXoöpovo; is put in a prominent position deliberately. The poem begins with the most important word. A flowery belt symbolizes the taming power of love, for which Sappho is waiting, whereas a throne is a symbol of governance and has virtually nothing to do with love. The idea of dominance is sufficiently expressed by noxvia.
In most cases noiKiXo; in Homer goes together with arms, clothes and furniture. Hence the adjective is likely to mean 'shining'. A throne can gleam, while patterns cannot. Accordingly, T. G. Miakin (2004, 95-98) renders noiKiXoöpovo; as "with shining throne". However, to refer only to the contexts with armor, the majority of which is found in the Iliad, is hardly correct. Besides, 'shining armor' is somewhat trivial and in such case as Il. 3. 327: i'nnoi depainoSe; Kai noiKiXa xeuxe' eKeixo, the epithet rather highlights the intricacy of the work made. Thus, there is no need to substitute 'splendor' for 'subtlety', and, indeed, öpova fits no less than öpovo;. Together with the pathos of the poem in favor of öpova counts an allusion to Aio; dnäx^: just as Hera makes use of Aphrodite's embroi-
2 Cf. LSJ s. v. öpovov, 'flowers embroidered on cloth, and Wustmann 1868, 238.
dered belt to seduce Zeus, Sappho desires to win the heart of her beloved girl with the help of goddess' charms: ai бе ^iXei, тахш; ^iX^aei.
Why, then, Sappho does not define Aphrodite as 'colorfully belted'? Probably, because she just could not design such a word: compounds with -1ца; are not attested, an artificially formed one would be metrically problematic, and, after all, it would hardly appear as ingenious as noiKi\60povo;.
It seems not impossible that the author invited her listeners and readers to think what the striking initial term really means. The trivial 'painted throne' comes to mind first, gradually giving way to a more coherent interpretation. The epithet reveals its meaning fully by the end of the poem, in the sixth stanza and in the seventh, the last one, where Sappho asks the goddess for help and begs her to be her ally.
References
Aly W. Sappho, in: RE, I A, 2 1920, 2357-2384.
Burnett A. Three Archaic Poets: Archilochus, Alcaeus, Sappho. London, Duckworth, 1983. Miakin T. G. Sapfo. Iazyk, mirovozzrenie, zhizn [Sappho. Language, Outlook, Life]. St. Petersburg 2004 . (In Russian)
Page D. Sappho and Alcaeus, Oxford 1955.
Wilamowitz-Moellendorff U. von Sappho und Simonides: Untersuchungen über griechische Lyriker. Berlin 1913.
Wustmann G. Die Überlieferung des Plinius über die Anfänge der griechischen Malerei, RhM 23, 1868, 225-247.
For citation: Chernysheva V. A. Sappho 1, 1-4 L.-P.: Throne or Patterns? Philologia Classica 2017, 12(2), 231-233. https://doi.org/10.21638/11701/spbu20.2017.211
SAPPHO, 1, 1-4 L.-P. : ТРОН ИЛИ УЗОРЫ?
Влада Александровна Чернышева
Санкт-Петербургский государственный университет, Российская Федерация, 199034, Санкт-Петербург, Университетская наб., 7-9; chernyshe.va@mail.ru
Статья посвящена анализу прилагательного noiKi\o9povo;, которое у Сапфо служит эпитетом Афродиты. Большинство толкователей склонны видеть во второй части композита корень, означающий «трон». Однако, согласно гипотезе Г. Вустманна, вторая половина слова может быть образована от 9pova и, таким образом, означать «цветочные узоры». В настоящей заметке делается попытка доказать, что отсылка к вышитым цветам, а далее и к чарам Афродиты, выглядит более уместно, чем упоминание трона.
Ключевые слова: Сапфо, Гимн Афродите, гапакс noiKi\o9povo;.
Received: 07.08.2017 Final version received: 08.10.2017
