The figure poem Egg by Simias of Rhodes (ap 15, 27) and metrical terminology

Ermolaeva Elena L.

[illilUlGilÜ GRAECIA ANTIQUA

PHILOLOGIA CLASSICA

HIHHUIUIll

VOL. 12. FASC. 2. 2017

UDC 821.14+801.6

THE FIGURE POEM EGG BY SIMIAS OF RHODES (AP 15, 27) AND METRICAL TERMINOLOGY1

Elena L. Ermolaeva

Helsinki Collegium for Advanced Studies, Fabianinkatu 24, 00014 University of Helsinki, Helsinki, Finland; [email protected] St Petersburg State University, 7-9, Universitetskaya nab., St. Petersburg, 199034, Russian Federation; [email protected]

This article is about the figure poem Egg by Simias of Rhodes, a concrete poem known for its visual arrangement in the shape of an egg, extraordinary metrical composition, sophisticated paronomasia and puns on metrical termini technici. The question this article explores is what can be learned from Simias's verses about the metrical terminology of the late 4th and early 3rd century BC. The poet himself gives instructions in lines 9-10 how his poem should be arranged for reading, with the lines increasing in length from one foot to ten. My suggestion is that Simias's Egg, in the form of an extended pun, might indirectly provide an overview of some metrical terms that were in use during his time: foot, kolon, metron, rhythmus, etc. Simias's use of the word Kw\a, in the so-called "dancing fawns" comparison (l. 13), is particularly sophisticated, alternating its connotation between that of 'limb, 'foot, leg' and 'a metrical unit'. I propose a list of "metrical" words which Simias used directly or metaphorically and which occur later in Hephaestion's Enchiridion as metrical terms. We possess neither the treatises on which Hephaestion built his Enchiridion nor the names of his direct predecessors. Metrical terminology proves to be quite conservative, and some terms, which Simias used in his Egg and Hephaestion in the Enchiridion, are still in use today as standard metrical terms. Almost all of these terms can be found in the Nomenclator Metricus written by Otto Schroeder (1929). The poem is full of allusions and obscure metaphors later typical of Hellenistic epigrammatic poetry, in particular, the poem's sophisticated wordplay on metrical terminology.

Keywords: Simias of Rhodes, figure poem Egg, paronomasia, technopaegnia, Hephaestion, metrical terminology, foot, kolon, metron, rhythmus.

This article discusses a poem by the Hellenistic poet and grammarian Simias of Rhodes,2 eccentrically versified in the form of an egg.3 Simias' floruit was between the late 4th and early 3rd century BC. The opinio communis is that he was the inventor of the so-called

1 I am grateful to Jan Kwapisz for kindly sharing with me his books and articles, and to Alessandra Lukinovich who shared with me her recent book.

2 On the spelling of Simias vs. Simmias see Kwapisz 2013 a 22.

3 Fraenkel 1915; most recently, on the various aspects of Simias's poems, see Guichard 2006, 83-104; Luz 2008, 22-33; Finglass 2015, 197-202; Kwapisz 2013 b, 148-167, esp. 160-163; idem. 2014, 619; Lukinovich 2016, 55-79.

technopaegnia, or carmina figurata.4 In all, three of his figure poems have been preserved: the Axe, the Wings and the Egg, the Egg being the most complicated and sophisticated of the three. Furthermore, the text was badly damaged during the process of transmission, now lacunose and needing emendations.5 The most representative apparatus criticus and well-balanced commentaries can be found in the modern editions prepared by Silvia Strodel and Jan Kwapisz.6

The novelty of Simias's song-poem consists not only in its shape and extraordinary metrical composition,7 but also in its sophisticated paronomasia and puns on metrical termini technici.8

The question I pose in this paper is what we learn from Simias's verses about the metrical terminology used at his time.

The text to be discussed runs as follows:

3 tfj т6б' axpiov vsov 5 np6q>pwv бе бицф 6si;o- б^ -yap ayvai;

7 то |isv 0ewv spiPoa^ 'Ерцац еке^е кари;

9 avwye б' ек цетрои |ovopd|ovo^ |is(w9 ndpoi0' ds^eiv 11 б' unepGev WKuAixpiov veu|ia no6wv anopd6wv maaKev

13 0ooiai т' aloXaii; veppoi^ кйХ' dAAdaawv 6palл6бшv sM9wv тёкшая 15 тr|Xeкpaí'Лvol(; unsp aKpwv ls|ievai noai \69wv кaт' dp0|ia^ Txvo^ ^riva^

14 тal б' d|Pp6Tш п60ш 9i\a^ ^тро^ pwov^ afya |ie0' l|iep6evтa |ia(6v,

4 On technopaegnia see Plotke 2005, 139-152, about Simias's Egg 145-147; Luz 2010, XIII-XIX; Kwapisz 2013 a, 3-21; idem. The Three Preoccupations of Simias of Rhodes (forthcoming). My thanks go to Kwapisz for allowing me to read his article in manuscript form.

5 According to Maas, "das Ei ist als Ganzes und in vielen Einzelheiten noch dunkel" (1927, 157); Kwapisz calls it "a scrambled poem" (2013 a, 106).

6 Strodel 2002, apparatus criticus 237-239; scholia 242-244; commentary 245-262; Kwapisz 2013 a, 35-37, 64-65, 106-137.

7 Hephestion attributes the Egg to metrical naiyvia (62, 5-6 Consbruch) and avriGsriKa (68, 6-13 Consbruch). According to Martin West, the Egg is "the most complex product (metrically) of all Hellenistic book poetry" (19842, 151); Luz even described the metre as yptcpoi sv |i£Tpw (2010, 143).

8 Following Wilamowitz, Lukinovich (2016, 82) writes about the word play in Simias's Egg: "Le poème développe le motif de sa propre règle de composition, ce qui entraîne la présence d'une série de jeux de mots sur la terminologie métrique, le 'pied' étant la mesure élémentaire du rythme, et le mot kôlon, 'membre d'homme, d'animal', particulièrement 'jambe, patte', désignant en grec aussi une unité de vers."

9 MSS: |Éyav; Edmond accepted into his edition 1912, 496; Strodel |Éyav 2002, 236; Kwapisz t|Éyavt 2013 a, 64; and Hopkinson 2015, 567, following Könnecke 1914, 556, |£ rov.

10 nouKorarov Anth.; nouKÖrr|Ta C Z Mosc.; nuKwràrwv Saumaise 1619, 175-176; |uxoitàroiç Kwapisz 2013, 65, following Gow 1958, 177 post coniec. Wilamowitz (ap. Haeberlin 1887, 26) qui |uxorràT«; <|uxoiTàToiç> Strodel 2002, 236.

4 Awpia; ar|Sovoi;-2 |iaTEpo;

(Edmonds 1912, 496)

The poet is styled as a mother nightingale who has given a birth to a new song (1-4 sphragis). He prays to be benevolent to his creature (5-6 captatio benevolentiae). Hermes takes this new poetic product and gives it to people, commanding the poet 'to increase gradually the number of feet from the original one foot up to ten at the end, while maintaining proper order in the rhythm. Swiftly he demonstrates this, bringing the quick, sidelong motion of spreading feet from above and striking, as he went along, the varied but uniform tune of the Muses' (7-12).11 These feet are swift as fawns seeking their mother deer, quickly running through glens and valleys (13-16). The bleating sheep rouse a wild beast that then attempts to catch the fawns (17-18). Hermes's imitation of the fawns' dance results in a song as swift and motley as those of the spotted fawns themselves (19-20).12

The poem consists of 20 lines and has the following metrical scheme: the first line is only one foot long and each line one foot longer than the previous. Thus, the first ten lines comprise a sequence growing from one foot to ten. The next ten lines, in turn, regress from ten feet to one. Both syntactically and semantically, the poem only makes sense the way it is printed below — with the lines increasing in length from one foot to ten.

I-2 -u- I

3-4 -u- I u-u- I

5-6 u-u- I u-u- I u—I

7-8 u-u- I uuu- I u-u- I u— I

9-10 u- u- I u-uu I -u- I u-u- I u- - I

II-12 u-u- I -u- I u-u- I -uu- I uu- I u— I 13-14 u-u- I u-u- I — I — I -uu- I uu- I u— I 15-16 — I — I uuu- I uuu- I uuu-I u- u- I — I u— I 17-18 -u- I u- u- I u-u- I — I — I — I -uu- I uu- I u-u- I 19-20 — I uu- I uu- I uu- I uu- I uu- I uuu- I uuu- I -uu I — I

(Kwapisz 2013 a, 41-42)13

1 KuTiAa;

2 |iaTEpo;

3 tfj toS' aTpiov vEov

4 Awpia; ar|S6voi;-

5 np69pwv Se 0u|iw Se^o, S^ -yap a-yva;

6 Arysid |iv Ka|i' a|9'i |iaTpo; «Si;

7 to |ev 0s«v £pip6a; 'Ep|ia; eksi^s Kapu^

8 9OA' £; ppoT«v utco 9i\a; sAwv nrspotai |aTp6;,

11 Transl. Hopkinson 2015, 569.

12 Kwapisz made a full list of existing translations of the Egg in different languages, since 1912 till 2011 (2013 a, 65-66); the most recent translations are by Hopkinson in English (2015, 569) and Lukino-vich in French (2016, 58).

13 The kola of the Egg are divided in different ways by different scholars: Wilamowitz's schema has been commonly accepted (1906, 248-249); Strodel 2002, 55; Kwapisz 2013 a, 40-43 and Lukinovitch 2016, 59-77 have nevertheless proposed other schemas.

9 avwye б' ¿к цётрои |ovopd|ovo^ ^syav ndpoi0' ds^eiv

10 dpi0|6v elc; acpav бeкdб' lxviwv, ^a^ov ve|iovTa pu0|iwv,

11 0ошц б' unep0ev шкu\¿xpюv q>£pwv veu|ia to6wv <aлopdбшv> mфauaкev,

12 \'xvei 0evwv t. • • тavt navaioXov Пlepíбwv |ov66oukov aMdv,

13 0oa!^ ia' al6\ai^ veppoii; кйА' dXXdaawv, 6palЛ6бшv ¿Xdqiwv тёкеаа1^

15 naaai ^a^vou; unsp acpwv [¿|evai noai X69wv кaт' dp0|ia^ ixvoi; Ti0r|va^

16 p\axai б' olwv noXup6Twv dv' 6pswv vo|6v e^av Tavuaqrnpwv т' <ёц> avTpa Nu|9av

17 mi Tic; ш|60и|оц d|9inaArov aly' aMav 0^p ¿v к6\лш бeí;d|ievoц 0aXa|av <|uxoiTdToi^>

18 pi|9a летр6ко1ТОУ ¿^m^v opoua' euvav |aTp6^ |ai6|evo^ PaXia^ eXeiv тёкоц-

19 кат' шга Poai d^av |e0snwv o y' aq>ap Xdaiov v^o^Xwv dv' 6pswv eaauTai аугац

(Strodel 2002, 236)

The poet himself gives instructions on lines 9-10 as to how his poem should be arranged for reading: .. .av^ye б' ¿к цетрои |ovopd|ovoq |e t6v ndpoi0' de;eiv/dpi0|6v elq axpav бекаб' Lxviwv, ^a^ov ve|ovTa pu0|«v... ('.commanding me to increase gradually the number of feet from the original one foot up to ten at the end, while maintaining proper order in the rhythm..' [transl. Hopkinson 2015, 569]). In this passage, it is clear that Simias uses the word ixvia, lit. 'footprints', as a metaphor for metrical 'feet'.

Simias's use of the word x^Xa on line 13 is particularly sophisticated. The poem is full of allusions and obscure metaphors typical of Hellenistic epigrammatic poetry.14 Lines 13-20 consist of a long, so-called "dancing fawns" comparison. The fawn simile on line 13 (0oaiq ia' al6Xaiq ve^poiq x^X' aXXdaa^v, 6palп6бшv ¿Xd^v Texeaai) resembles the comparison with fawns in the recently discovered poem by Sappho (PKoln 21351+21376, with fr. 58. 14-15 Voigt),15 the restored lines of which show Sappho complaining about her old age and disabilities:

13 pdpui; бё 6 [0]й|юц nen6Tr|ai, yova б' [o]i> 9£poiai

14 та б| noTa Xatynp' eov opxna0' iaa vePpiotai (Gronewald and Daniel, 2004 a, 5)

'My heart's grown heavy, my knees will not support me,

That once on a time were fleet for the dance as fawns' (transl. M. West 2005, 5).

On line 13 of the Egg, Simias seems to recycle Sappho's simile, changing yova 'knees' to KwA(a) 'limbs'.16 Simias's word xwXov, however, now means 'limb', esp. 'foot, leg' — and at the same time, 'a metrical unit."17

0oati; ia' al6Xaii; ve^pot^ кйХ' dXXdaawv, 6palЛ6бшv ¿Xd9wv TE^aa^

14 Lines 13-20 of Simias's poem consist of an epic simile, involving fawns, deer, sheep and an enigmatic wild beast (tic; w|íó9u|ioc; 9|p) on line 17 that calls back remarkably similar Homeric lion similes (Il. 11.112-121; Il. 22. 188-193). See Méndez Dosuna on Simias's comparison in Theocritus 30.18 (2008, 4, 61 (2), 161, n. 12); Körners chapter on fawns and deer in Homer (1930, 50-52); Harden on animal scenes in Homer (2013, 88-90).

15 The papyrus, published by Gronewald and Daniel in ZPE, 2004 a, 147, 1-8; 2004 b, 149, 1-4, completes the blank spaces in the already known Sappho fr. 58 (Voigt): [ ]ai, yóva 5' [o]í> cpépoiai / [ ]r|a9' iaa veßpioiaiv.

16 Méndez Dosuna was the first to prove this (2008, 4, 61 (1) 108-114).

17 According to LSJ, the word kwXov is attested as 'element of strophe' in Dionyssius Halicarnasensis's De compositione verborum 19. 24, 28, 30, 50.

'He (Hermes) plied his limbs as do swift, dappled fawns, offspring of nimble-footed stags' (transl. Hopkinson 2015, 569).

This line indicates that Hermes was running or dancing quickly, like the fawns, and/ or that Hermes was changing the metres of song (kwA' aAAdaawv), making them swift and diverse like the fawns.

On line 20, Simias again makes use of the fawn analogy:

Tat; S^ Sai|i«v kAuto; laa Bootai <nESov> SovEwv noai noAunAoKa |is0isi |iETpa |o\nac.18

"The famed god (sc. Hermes) shook the earth with his swift feet like (laa is taken as an adverb, — E. E.) those fawns, emitting the manifold measures of the song' (Kwapisz, 2013, 66). Or: 'The famed god, shaking the earth with his swift feet, emits the manifold measures of the song like (laa is taken as an adjective, — E. E.) fawns.'19

Thus, Simias uses the fawn simile in his poem twice, at the very beginning and at the very end of his long comparison, making for a ring composition. The jeux de mots lies in the comparison of the swift-footed measure of song with the swift feet of fawns: K«\a (limb, feet) — ^¿Tpa (metrical units, metres).

Sappho (PKoln 21351+21376, with fr. 58. 14-15 Voigt) -yova iaa vePpiotat

Egg 13 Kw\a iaa Goal; a'lOAai; ve^pot^

20 ^erpa noAunAoKa |ioAna; laa rat^ (sc. ve^pot^)

In the comparison between the feet (as a pars pro toto for legs) of running fawns and metres, speed serves as a tertium comparationis, as speed can also be applied to metrical feet and measures. In fact, words denoting 'swift' occur quite frequently in the poem: 11 Bow;, «KuAexpiov, 13 Boat; vsPpot; and 20 Bootai noaiv; 14 atya, 15 Kpainvot; noai, 17 aty', 18 pi|9a, 19 WKa, and a^ap. In addition, Simias's simile seems to be based not only on the tertium comparationis of speed but also of poikilia as a diversity of colors and spottiness: for example, noAunAoKa |ETpa |oAna; (l. 20); navaioAov nispiSwv auSdv (l. 12). The diversity of metres is compared to 'spotted fawns of the dappled deer' (aiOAat; vsPpot;, |aTpo; ^aAta;), where the adjective ai'oAo; / navaioAo; can mean both 'swift' and 'various',20 while the 'galloping sequence of heterogeneous metrical units'21 of the poem compared to dancing fawns. Indeed, Simias uses almost every possible metre in this poem: 'the rhythms are curiously mixed; there are iambics and cretics, spondees, dactylic lengths, ard, and odd telesillean'.22

Since, in Hephaestion's Enchiridion (2nd c. AD), the word KwAov is used as a terminus technicus (58, 18; 63, 2; 262, 5 Consbruch, 1906), it might also be worth considering the terminological potential of other words that Simias uses, directly or metaphorically, to describe the metrical values of his experimental verses.

18 On line 20 see Kwapisz 2013 a, 65: <né5ov> Kwapisz supplevit; and his commentary 135-137. It is noteworthy that line 20 is additionally attested as the handle of Simias's Axe.

19 The expression |i£0Í£i |iétpa (20) evokes ié|i£vai fawns (15) (Kwapisz 2013 a, 137).

20 Kwapisz (2013 a, 130) is cautious of Méndez Dosuna's suggestions that the word aioXaic;, similar to aioAxii; 'Aeolian', hints at the similarity to Sappho of l. 13.

21 Kwapisz 2013 a, 107.

22 West 19842, 151.

Below, I propose a list of "metrical" words in Simias — i.e., those which later occur in Hephaestion (Consbruch, 1906) as terms referring to metre.

Simias (AP. 15, 27)

noôwv 10, nom 15, nornv 20, ôpamôôwv 13,

poetical synonyms for noûç:23 'iXviwv 10, 'ixvei 12, 'ixvoç 15 xavua9Ùpœv 16

KÔÀ' 13

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£к |i£tpou 9, |i£tpa 20 àpi0|iôv 10 pu0|iwv 10

£к |£трои |iovopà|iovoç 9

noXùnXoKa |£тра |ioXnâç 20

Metrical paronomasia and puns in the Egg

шбц 6

аюЛац 13

Hephaestion, Encheir. de metr. (Consbr.)

noûç passim

KwAov 58, 18; 63, 2; 262, 5 ||ETpov passim apiB|io; 218, 12 puB|6; passim

compound words with |ovo-: |ovosiSf |ETpa 43, 5;151, 9;152, 21;162, 14; 314, 15 etc.

£ninAoKr| 110, 10, 11,18; 111, 7; 120, 18; 121, 5; 127, 6; 257, 5 sqq.

фбг| 12, (in Heph.: 9, 19) |£трои 9, 20 àpi0|iôv 10

vô|oi Ki0apœôiKoÎ (in Heph.: 65,1)

compare to a'ioXeîç (in Heph.: aloXel^ 35, 22; 146, 17; 151, 16 etc.; aioXiKÔç 22, 18; 273, 25; 377, 18 etc.)

My suggestion is that Simias's Egg, with an extended central pun, might indirectly provide an overview of some metrical terms used during his time.25

When exactly ancient Greek metrical terminology emerged, however, remains an open question.26 Presumably, in the 5th-4th c. BC, terminology for rhythm and metre had already existed due to Damon, a teacher of Pericles,27 and to Aristoxenus, but we possess neither the treatises on which Hephaestion built his Enchiridion nor the names of his di-

23 Kwapisz supposes that Simias's "obsession with feet" highlights "the novelty of the metrical pattern" (2013 a, 123-124). According to LSJ, the word now; 'foot' in prosody is attested at the earliest in Ar. Ra. 1323; Pl. R. 400a 1-2.

24 Lukinovich (2016, 82) also noted these paronomasia: "Parmi les mots récurrents, j'attire l'attention sur le mot 'mère' répété cinq fois au génitif, toujours dans des vers pairs: peut-être est-il rapproché de mé-tron, 'mètre', par ressemblance phonique".

25 Prier (1994, 88) even suggests didactic purpose to the "metrical narration" in Simias's poem: "Is Simmias merely reciting a list of metrical terms?"

26 Dale 1968, 15.

27 For recent research on Damon, see Almazova 2016, 94-126, esp. 95.

rect predecessors. According to Paul Maas, "no Greek writer of any importance seems to have concerned himself with metric".28

It would be interesting to know whether the wordplay with foot, kolon, metron and rhythmos in Simias would still have been perceived as witty by his contemporaries or whether it had already, by his time, become a cliché. On this, it is worth comparing a lesson in poetic metre at Socrates's phrontisterion (Ar. Nub. 638-656), where Aristophanes introduces a similar pun on the word metron used both as a poetical terminus technicus and as a measure of weight. Aristophanes's joke implies that such metrical terminology was common during his time, assuming his audience understood the pun.

Simias's poem Egg comprises lyric metres arranged in a metrical responsion (i. e., each line repeated in response). Polymetres in Simias's Egg are at least no less complicated than those of choral lyric poets.29 Traditionally, Aristophanes of Byzantium is considered to have been the first to provide a colometry of lyric poets, in particularly, Pindar,30 but the colometry could perhaps have already been known to Simias or/and Philitas.31

In sum, we have seen that use of metrical terminology was quite conservative; some terms Simias uses in his Egg directly or as jeux de mots later emerge in Hephaestion and are still used today as standard metrical terms; almost all of these terms can be found in the Nomenclator Metricus by Otto Schroeder (1929): aíoAirá 8, émnA.oK| 24, K«\a 30, |£Tpov 33, vó|o; 33, noú; 38, pu0|ó; 41.32 Moreover, the poem's sophisticated wordplay on metrical terminology would accord with Hellenistic poetic sensitivity.

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29 Lukinovich's new understanding of the metrical principles of the Egg is extremely sophisticated (2016, 59-77): "Notre analyse montre par ailleurs que chaque période de l'Œuf ne comporte pas seulement un mètre de plus, mais introduit systématiquement un nouveau type rythmique" (76).

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31 Kwapisz 2013 a, 14-15; West 2006, s.v. "Colometry". Another question is whether grammarians and poets using metres like dactyls, spondees, trochees, iambus, anapests and lyric metres would have even used metrical terms for them. In Hephaestion, there are nine main terms for metres, most of which appear in Simias's verses. One can perhaps presume that Simias, in dealing with the variety of metres, could also have used their names, but this is impossible to prove.

32 See a list of metrical terms in West 2006, s.v. "Metrik".

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For citation: Ermolaeva E. L. The Figure Poem Egg by Simias of Rhodes (AP 15, 27) and Metrical Terminology. Philologia Classica 2017, 12(2), 122-129. https://doi.org/10.21638/11701/spbu20.2017.201

ФИГУРНОЕ СТИХОТВОРЕНИЕ «ЯЙЦО» СИМИЯ РОДОССКОГО (AP IS, 27) И МЕТРИЧЕСКАЯ ТЕРМИНОЛОГИЯ

Елена Леонидовна Ермолаева

Хельсинский университет, Финляндия, 00014, Хельсинки; [email protected] Санкт-Петербургский государственный университет, Российская Федерация, 199034, Санкт-Петербург, Университетская наб., 7-9; [email protected]

Речь идет об одном из трех сохранившихся фигурных стихотворений Симия Родосского (AP 15, 27) — «Яйцо», известном своей экстравагантной формой и экспериментальным в области метрики характером: эпиграмма состоит из 20 строк, которые соотносятся попарно и могут быть представлены в схеме из десяти периодов так, что каждый последующий период длиннее предыдущего на один метр: от монометра к декаметру через диметр, триметр, тетраметр и т. д. Поэма насыщена словами, имеющими характер метрических терминов: «стопа», «колон», «метр», «ритм» и др. Автор задается вопросом, какой метрической терминологией мог оперировать Симий, живший в конце IV — начале III в. до н. э., поскольку о возникновении и истории метрической терминологии мало известно, а трактаты по метрике, на которые во II в. н. э. опирался Гефестион, не сохранились. Автор сравнивает слова, прямо или косвенно связанные с метрическими обозначениями у Симия, с терминами в трактате Гефестиона «Энхиридион», а также в современных работах по древнегреческой метрике.

Ключевые слова: Симий Родосский, фигурное стихотворение Яйцо, paronomasia, technopaegnia, Гефестион, метрическая терминология, стопа, колон, метр, ритм.

Received: 02.08.2017 Final version received: 08.10.2017

The figure poem Egg by Simias of Rhodes (ap 15, 27) and metrical terminology Текст научной статьи по специальности «Языкознание и литературоведение»

Аннотация научной статьи по языкознанию и литературоведению, автор научной работы — Ermolaeva Elena L.

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