] ̣ου̣[ ] ε̣ὔχ̣ο̣μ̣[ ] ̣ νῦν θαλία γε̣[ ] ̣ν̣έρθε δὲ γᾶϲ γε̣[νοίμα]ν̣·5 ] ̣ ̣ ν̣ ἔχο̣ι̣ϲαν γέραϲ ὠϲ̣ [ἔ]οικεν ]ζ̣οῐεν̣, ὠς νῦν ἐπὶ γᾶϲ ἔοιϲαν ] λιγύραν [α]ἴ κεν ἔλοιϲα πᾶκτιν χε]λύ̣ν̣ν̣αν̣ ̣αλαμοιϲ ἀείδω. 58 in this place) 2 ε̣ὔχ̣ο̣μ̣[ Di Benedetto: ] ̣υχ̣ ̣ ̣[ Gronewald-Daniel 3 γε̣[ Di Benedetto: π̣α̣[ Gronewald-Daniel, West 4 γε̣[νοίμα]ν̣ Gronewald-Daniel, Di Benedetto: πε ̣[ ̣ ̣ ̣] West 5 κῆ μοιϲοπόλων ἔϲ]λ̣ο̣ν̣ Di Benedetto 6 ψῦχαι (or ϲκίαι)κέ με θαυμά]ζ̣οιεν Di Benedetto comparing Horace ἰ]ο̣κ[ό]λ̣πων κάλα δῶρα, παῖδεϲ, τὰ]ν̣ φιλάοιδον λιγύραν χελύνναν· ] π̣οτ̣’ [ἔ]ο̣ντα χρόα γῆραϲ ἤδη ἐγ]ένοντο τρίχεϲ ἐκ μελαίναν·5 βάρυϲ δέ μ’ ὀ [θ]ῦμο̣ϲ̣ πεπόηται, γόνα δ’ [ο]ὐ φέροιϲι, τὰ δή ποτα λαίψηρ’ ἔον ὄρχηϲθ’ ἴϲα νεβρίοιϲι. ⊗Pursue the violet-laden Muses’ handsome gifts,my children, and the loud-voiced lyre so dear to song: But me—my skin which once was soft is withered nowby age, my hair has turned to white which once was black,my heart has been weighed down, my knees give no supportwhich once were nimble in the dance like little fawns. τὰ ⟨μὲν⟩ ϲτεναχίϲδω θαμέωϲ· ἀλλὰ τί κεν ποείην; ἀγήραον ἄνθρωπον ἔοντ’ οὐ δύνατον γένεϲθαι. For people used to think that Dawn with rosy arms (several words uncertain) Tithonus fine and young to the edges of the earth; yet still grey old age in time did seize him, though he has a deathless wife.” ψιθυροπλόκε δόλιε μύθων αὐτουργ[(έ) ἐπίβουλε π̣αῖ ⟦β̣`ι̣΄οτ̣ον̣` ⟧ ̣[ ̣]γε΄[ ̣ ̣ ̣]ακ̣[ ̣ ̣] ̣[ ἑταῖρε ἀφέρπω : δ[ ̣ [ ̣] ⟦ ̣ ̣ ̣ ̣ ̣ ⟧ ̣ ̣ ̣ ̣:(? ) ἄπν̣ουϲ πρ ̣[ [φ]ά̣ο̣ϲ̣ ἀϲτέρων τε [καὶ ϲέλαϲ [ ̣]ϲ πυριφεγγὲ ϲ ἀελ̣[ίου ϲέλαϲ [ ̣]ϲ̣ πᾶϲ’ ἀκούω : θρ̣η̣[ [γ]ρ̣ου κόρον ’Ορφέα κ̣[10 [ἑρ]πετὰ πάντα κ[ [ ̣ ̣] ̣ τὰν ἐρατὰν λα[ [εὔ]φθογγον λύραν ̣ ̣[ [ϲυ]νεργὸν ἔχοιϲα πα̣ν̣[ .
Not all of these are likely or even able to be solved by the simple constitution of texts, reporting of witnesses, and compilation of suggestions.What follows presents the textual basis for the discussions of the papers in this volume. XXI, it contains numerous fragments of what was once a professionally produced, critical edition of book 4 of Sappho’s poetry in one edition circulating in the Roman period, as can be seen from the colophon (in fr.It has the same basic form and function as David Sider’s edition of Simonides’ elegiac fragments 1–22 W (Sider 2001). Hunt during their excavations there in 1898–1907, and is now in the Papyrology Rooms of the Sackler Library, University of Oxford. 44) containing the fragmentary remains of Sappho’s name and the title of the collection ().The fragmentary papyrus manuscript had been dismantled from painted mummy-cartonnage, viz.covered with a thin layer of gesso plaster and painted, of which the fragments still bear traces.
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The sign ⊗, by contrast, placed in the right margin at line-end, denotes (as conventionally in modern editions since Voigt) that, in the judgment of the modern editor, a division between poems occurred (or should be posited) at this point, regardless of the corresponding presence, or preservation, of the final graphic (The economy of the evidence suggests that, as in West’s reconstruction, the verses transmitted in common by both manuscripts (i.e.