Poetry in Translation

Old Age

Sappho (translated from Ancient Greek)

Hold on, little girls, to the beautiful gifts of the violet Muses,
and cling to your love of the clear sweet lyre, that lover of music.

My skin was once supple and smooth, but now it is withered by age;
my hair had been lustrous and black, but now it is faded and gray.

My heart grows heavy; my knees, too weary to stand upon,
though once, they could lift me and dance, and could leap as light as a fawn.

I grumble and groan on and on—and yet, what else can I do?
No woman has lived without aging, no man has eternal youth.

They say that Tithonus was held in the rosy arms of Dawn,
who carried him off to the ends of the earth, so her love would live on.

Though charming and young at the time, and despite his immortal wife,
he too would succumb to old age in the end of his endless life.
____

Yet, thinking of all that I’ve lost, I recall what maturity brings:
the wisdom I lacked as a youth, and a love for the finer things.

And Eros has given me beauty not found in the light of the sun:
the passion and patience for life that so often is lost on the young.

English
Notes
Greek


Note on the Poem

This is an original translation of a poem by Sappho (630-580 BC), traditionally known as the “old age poem” or the “Tithonus poem” (in the standard numbering by Lobel and Page, it is “Fragment 58”). Tithonus, mentioned in the poem, was a mortal whom the goddess Dawn loved. She convinced Zeus to grant him eternal life, but neglected to ask for his eternal youth. A few words about the translation are warranted. The original poem has a complicated meter that is difficult to emulate in English; the hexameter of my poem is a poor man’s substitute for Sappho’s meter, but I hope it conveys a bit of the music nonetheless. In the same vein, my translation is not a word for word rendering, but more of an interpretation, intended to convey the music rather than the exact sense of the poem. The couplets of the original poem did not rhyme, as mine do; again, perhaps the rhyming will restore a bit of the music lost in translation. Finally, I want to note that the last four lines of my translation are drawn from fragments of the poem which only appear in one surviving manuscript; there is some scholarly debate as to whether those four lines should be part of the poem or not. In any case, my translation of them is very loose, since only fragments of those lines remain.


[Fragment 58]

Sappho

ὕμμεϲ πεδὰ Μοίϲαν ἰ]ο̣κ[ό]λ̣πων κάλα δῶρα, παῖδεϲ,
ϲπουδάϲδετε καὶ τὰ]ν̣ φιλάοιδον λιγύραν χελύνναν·

ἔμοι δ’ ἄπαλον πρίν] π̣οτ̣’ [ἔ]ο̣ντα χρόα γῆραϲ ἤδη
ἐπέλλαβε, λεῦκαι δ’ ἐγ]ένοντο τρίχεϲ ἐκ μελαίναν·

βάρυϲ δέ μ’ ὀ [θ]ῦμο̣ϲ̣ πεπόηται, γόνα δ’ [ο]ὐ φέροιϲι,
τὰ δή ποτα λαίψηρ’ ἔον ὄρχηϲθ’ ἴϲα νεβρίοιϲι.

τὰ ⟨μὲν⟩ ϲτεναχίϲδω θαμέωϲ· ἀλλὰ τί κεν ποείην;
ἀγήραον ἄνθρωπον ἔοντ’ οὐ δύνατον γένεϲθαι.

καὶ γάρ π̣[ο]τ̣α̣ Τίθωνον ἔφαντο βροδόπαχυν Αὔων
ἔρωι φ̣ ̣ ̣α̣θ̣ε̣ιϲαν βάμεν’ εἰϲ ἔϲχατα γᾶϲ φέροιϲα[ν,

ἔοντα̣ [κ]ά̣λ̣ο̣ν καὶ νέον, ἀλλ’ αὖτον ὔμωϲ ἔμαρψε
χρόνωι π̣ό̣λ̣ι̣ο̣ν̣ γῆραϲ, ἔχ̣[ο]ν̣τ̣’ ἀθανάταν ἄκοιτιν.
____

]ι̣μέναν νομίσδει
]αις ὀπάσδοι

ἔγω δὲ φίλημμ’ ἀβροσύναν, … ] τοῦτο καί μοι
τὸ λά[μπρον ἔρος τὠελίω καὶ τὸ κά]λον λέ[λ]ογχε.