[Julie Steiner]

VERSE TRANSLATION, DRAFT FOUR with one tweak

Posippidos of Pella (c. 310 – c. 240 BCE)
On a Statue of Kairos (Time, in the Sense of the Opportune Moment, or Opportunity) by Lysippos (c. 390 – c. 300 BCE)

“Where was your sculptor from?” “Sicyon.” “What did they call him? “Lysippos.”
     “Speaking of names, what is yours?” “Time, the All-Conquering Force.”

“Why do you tiptoe?” “I’m sprinting—as always.” “And what are your wings for?
     Each of your feet has a pair.” “Wind-borne, I flit, here and there.”

“Why does your hand hold a razor?” “To be a reminder for humans.
     This is my likeness in life—keen as the sharpest-edged knife.”

“Why is your hair in your face?” “To be seized by the ones who approach me.”
     “Why, then, by Zeus, do you lack any at all at the back?”

“Once I have passed on my swift-flying feet, I’ll be captured by no one
     longing to make me rewind, reeling me in from behind.

“Why, and for whom, did the craftsman create you?” “My lesson’s for your sake,
     stranger. For you I was made. Here, on his porch, I’m displayed.”


L8 was briefly:
     “Why, then, by Zeus, do you lack any such hair at the back?”




VERSE TRANSLATION, DRAFT THREE (with a tweak to L10)

Posippidos of Pella (c. 310 – c. 240 BCE)
On a Statue of Kairos (Time, in the Sense of the Opportune Moment, or Opportunity) by Lysippos (c. 390 – c. 300 BCE)

“Where was your sculptor from?” “Sicyon.” “What did they call him? “Lysippos.”
     “Speaking of names, what is yours?” “Time, the All-Conquering Force.”

“Why do you tiptoe?” “I’m sprinting—as always.” “And what are those wings for?
     Each foot has two of them. Why?” “Change in the wind makes me fly.”

“What is that razor you bear in your hand?” “A reminder for humans:
     this is my likeness in life—keen as the sharpest-edged knife.”

“Why is your hair in your face?” “To be seized by the ones I’m approaching.”
     “Why, then, by Zeus, do you lack any at all in the back?.”

“Once I have passed on my swift-flying feet, I am captured by no one
     trying to grasp, from behind, something to make me rewind.

“Why, and for whom, did the craftsman create you?” “My lesson’s for your sake,
     stranger. For this I was made. Here, by his door, I’m displayed.”


L10 was:
     grasping my hair from behind, hoping to make me rewind.


VERSE TRANSLATION, DRAFT TWO
Tweaks in brown are changed from Draft One. Tweaks in blue have been changed since then.


Posippidos of Pella (c. 310 – c. 240 BC)
On a Statue of Kairos (the Opportune Moment) by Lysippos

“Where was your sculptor from?” “Sicyon.” “What did they call him? “Lysippos.”
     “Speaking of names, what is yours?” “Kairos, Who Subjugates Force.”

“Why do you tiptoe?” “I’m sprinting—as always.” “And why do your feet have
     wings on them, each with a pair?” “That’s how I fly through the air.”

“Why does your hand hold a razor?” “To be a reminder for humans.
     This is my length in your life—thin as the sharpest-edged knife.”

“Why is your hair in your face?” “To be seized by the ones I’m approaching.”
     “What is the reason you lack any, by Zeus, in the back?”

“Once I have passed on my swift-flying feet, I’ll be captured by no one
     grasping at me from the rear, though their regret is sincere.”

“Why, and for whom, did the craftsman create you?” “My lesson’s for your sake,
     stranger. For you I was made, then on this porch was displayed.”


L1 was:
“Where was your sculptor from?” “Sicyon.” “What did they call him? “Lysippos.”
“Where was your sculptor from?” “Sicyon.” “What should we call him? “Lysippos.”
(Later reverted.)
L2 was:
     “You, though, what name should we call?” “Kairos, Who Overcomes All.”
L4 was:
     wings on them? Each has a pair.” “That’s how I fly through the air.”
L5 was:
“Why does your hand hold a razor?” “It’s meant as a symbol for humans.
L10 was:
     grasping at me from behind, wistfully though they have pined.”
L12 was:
     stranger. For you I was made, then in this doorway displayed.”


VERSE TRANSLATION, DRAFT ONE

Posippidus of Pella (c. 310 – c. 240 BC)
“On a Statue of Kairos (Opportunity) by Lysippos”

“Who was your sculptor?” “Lysippos.” “And what is his birthplace and surname?”
     “Sikyon.” “You, though, we call...?”
     “Kairos, Controller of All.”

“Why do you tiptoe?” “I’m sprinting — as always.” “And what are the wings for?
     Each of your feet has a pair.”
     “That’s how I fly through the air.”

“Why does your hand hold a razor?” “To be a reminder for humans:
     this is my length in your life —
     thin as the sharpest-edged knife.”

“Why does your forelock hang down?” “To be seized by the ones who approach me.”
     “Tell me, by Zeus, why you lack
     almost all hair in the back!”

“Once I have passed on my swift-flying feet, there’s been no one successful
     grasping at me from that side,
     eagerly though they have tried.”

“Why did the craftsman create you? For whom?” “I was made for your own sake,
     stranger—a lesson displayed
     here in the entryway’s shade.”


CONTEXT

You might enjoy an article on the concept, and on iconographic attributes shared by Kairos, Hermes/Mercury, and the female version, Occasio/Fortuna, here.


GREEK ORIGINAL AND LITERAL ENGLISH CRIB

275.—ΠΟΣΕΙΔΙΠΠΟΥ
BY POSIDIPPUS

Εἰς ἄγαλμα τοῦ Καιροῦ
On a statue of Caerus/Kairos (The Moment of Opportunity, the Right Moment, the Moment of Truth) by Lysippus

α. Τίς πόθεν ὁ πλάστης; β. Σικυώνιος. α. Οὔνομα δὴ τίς;
A. “Who (and) whence (is) the sculptor?” B. “Sicyonian.” A. “Name exactly (is) what?”
     β. Λύσιππος. α. Σὺ δὲ τίς; β. Καιρὸς ὁ πανδαμάτωρ.
     B. “Lysippos.” A. “You, though, (are) who?” B. “Kairos the all-tamer/all-subduer.”

α. Τίπτε δ’ ἐπ’ ἄκρα βέβηκας; β. Ἀεὶ τροχάω. α. Τί δὲ ταρσοὺς
A. “And why, pray, on the highest parts (of your feet) do you step?” B. “Always I sprint.” A. “Why, though, wings
     ποσσὶν ἔχεις διφυεῖς; β. Ἳπταμ’ ὑπηνέμιος.
     in/on (your) feet do you have, double (ones)?” B. “I fly in the wind.”

α. Χειρὶ δὲ δεξιτερῇ τί φέρεις ξυρόν; β. Ἀνδράσι δεῖγμα,
A. “In your hand, though, the right one, why do you bear a razor?” B. “For men (it is an) example,
     ὡς ἀκμῆς πάσης ὀξύτερος τελέθω.
     thus, of any knife-edge the thinnest, I come into being.”

α. Ἡ δὲ κόμη, τί κατ’ ὄψιν; β. Ὑπαντιάσαντι λαβέσθαι.
A. “Your, though, hair, why in front of (your) face?” B. “By those coming to meet, to be grabbed.”
     α. Νὴ Δία, τἀξόπιθεν δ’ εἰς τί φαλακρὰ πέλει;
     A. “By Zeus, behind, though, into what (why) baldnesses does it approach?”

β. Τὸν γὰρ ἅπαξ πτηνοῖσι παραθρέξαντά με ποσσὶν
B. “The one, because, once [flying—move later in sentence] [I have] passed, [me—move into next line] on my [flying—move this word here] feet
     οὕτις ἔθ’ ἱμείρων δράξεται ἐξόπιθεν.
     no one still longingly grasps [me—move this word here] from behind.”

α. Τοὔνεχ’ ὁ τεχνίτης σε διέπλασεν; β. Εἴνεκεν ὑμέων,
A. “On what account did the craftsman thee form?” B. “On your (plural) account,
     ξεῖνε· καὶ ἐν προθύροις θῆκε διδασκαλίην.
     stranger; and in the front-doorways he put (this) lesson.”



GREEK ORIGINAL

275.—ΠΟΣΕΙΔΙΠΠΟΥ

Εἰς ἄγαλμα τοῦ Καιροῦ

α. Τίς πόθεν ὁ πλάστης; β. Σικυώνιος. α. Οὔνομα δὴ τίς;
     β. Λύσιππος. α. Σὺ δὲ τίς; β. Καιρὸς ὁ πανδαμάτωρ.
α. Τίπτε δ’ ἐπ’ ἄκρα βέβηκας; β. ’Αεὶ τροχάω. α. Τί δὲ ταρσοὺς
     ποσσὶν ἔχεις διφυεῖς; β. Ἳπταμ’ ὑπηνέμιος.
α. Χειρὶ δὲ δεξιτερῇ τί φέρεις ξυρόν; β. Ἀνδράσι δεῖγμα,
     ὡς ἀκμῆς πάσης ὀξύτερος τελέθω.
α. Ἡ δὲ κόμη, τί κατ’ ὄψιν; β. Ὑπαντιάαντι λαβέσθαι.
     α. Νὴ Δία, τἀξόπιθεν δ’ εἰς τί φαλακρὰ πέλει;
β. Τὸν γὰρ ἄπαξ πτηνοῖσι παραθρέξαντά με ποσσὶν
     οὕτις ἔθ’ ἱμείρων δράξεται ἐξόπιθεν.
α. Τοὔνεχ’ ὁ τεχνίτης σε διέπλασεν; β. Εἴνεκεν ὑμέων,
     ξεῖνε· καὶ ἐν προθύροις θῆκε διδασκαλίην.


ENGLISH PROSE TRANSLATION BY W.R. PATON

275. POSIDIPPUS

On a Statue of Time by Lysippus

A. Who and whence was the sculptor? B. From Sicyon. A. And his name? B. Lysippus. A. And who art thou? B. Time(1) who subdueth all things. A. Why dost thou stand on tip-toe? B. I am ever running. A. And why hast thou a pair of wings on thy feet? B. I fly with the wind. A. And why dost thou hold a razor in thy right hand? B. As a sign to men that I am sharper than any sharp edge. A. And why does thy hair hang over thy face? B. For him who meets me to take me by the forelock. A. And why, in Heaven’s name, is the back of thy head bald? B. Because none whom I have once raced by on my winged feet will now, though he wishes it sore, take hold of me from behind. A. Why did the artist fashion thee? B. For your sake, stranger, and he set me up in the porch as a lesson.

(1) Time, that is, in his character of Opportunity, not of Length of Years.

https://archive.org/details/greekanthology05newyuoft , pp 324-325 (Greek Anthology Vol. 5, #275)


A NOTE ON THE FORM

Elegiac couplets have one line of dactylic hexameter followed by two hemistiches of 2.5 dactylic feet. Since 2.5 + 2.5 = 5, that second line is called pentameter. But it isn't really five dactyls. The pattern's interrupted mid-line.

— uu | — uu | — uu | — uu | — uu | — x
— uu | — uu | — | | — uu | — uu | —

— is one long syllable, u one short syllable, uu is one long or two short syllables, and x is one long or one short syllable (anceps), although in Greek and Latin line-ending syllables are considered "long by position."

Most English translators alternate iambic hexameter and iambic pentameter to translate elegiac couplets, but I like to use dactyls, and to emphasize the hemistiches with both a line-break and rhyme. Since the pattern is unfamiliar to most readers, I don't substitute, either:

— uu | — uu | — uu | — uu | — uu | — x
— uu | — uu | —
— uu | — uu | —

[Carl Copeland]

Fascinating, Julie. It was actually a search for elegiac couplets in English that brought me to the Sphere in the first place. There’s a wonderful old thread of them, and I was so impressed by the level of discussion that I stayed on. I’ve translated Russian elegiacs, which had a heyday in the 19th century, and even a few from the Anthology, though my year and a half of college Greek is a fond but faded memory. I don’t think the Russians ever added rhyme, so neither have I, but I like the effect here. You’ve pulled it off without twisting the sense, and the sugar coating suits the poem’s lightness.

First thoughts:

S1

“And what is his birthplace and surname?” The innocent reader (including me at first) will wonder why Kairos answers only one of two questions. I’d suggest “what is his surname or birthplace?” or “what is his surname, his birthplace?”

“You, though, we call...?” took me an uncomfortable moment to figure out, but the rhyme depends on it, and I have no suggestions. Treating “Sikyon” as disyllabic might give you some wiggle room.

I guess you opted for “Controller” because Opportunity doesn’t seem like a “Subduer.” I tend to think you should either go with that oddness or use something like “the Master” that has a less modern flavor.

S2

I don’t know about sprinting on tiptoe, but I’m no runner and have no suggestions.

I wonder if you’ve lost the double meaning of the final hemistiche. It’s not just that the wings are for flying, but that Opportunity is fleeting. Or maybe that’s been covered by “sprinting — as always.”

S4

I’d suggest “all those” instead of “the ones” and “most of your hair” instead of “almost all hair.” It’s a quibble, but “your hair” seems to point more directly at head hair. You might also consider “all of your hair,” since the Greek speaks of “baldness,” and “most” or “almost all” makes me wonder what patches of hair remain on the back of his head.

S5

“There’s been no one successful grasping at me from that side” seemed grammatically suspect at first, but I think I now buy it. I’d prefer “from behind,” though, if you don’t mind a slant rhyme, since “side” is subtly misleading. Ok, I know there can be a front side and a back side (and side sides?), but still …

That’s all I have for now, Julie, but I love what you’re doing and I’ll be back.

P.S. The meter’s impeccable, and I’m going to adopt your reason for regularity (rare, I think, in Greek). Mine always come out regular too, though to be honest, I just find it easier to ignore the substitutions. Regularity exerts a strong (some would say deadly) pull on me.

[Susan McLean]

Julie, Greeks don't exactly have surnames, so maybe you could phrase it "And what is the place that he comes from? In S4, I agree with Carl that "all of your hair" would be preferable. In S5 "from behind" could rhyme with "can find." It would be clearer, I think, than "from that side."

Susan

[Julie Steiner]

Thanks very much, Carl and Susan. Draft Two posted above, addressing your comments.

I decided that the hexameter lines looked strangely long with the pentameter lines broken in half, so I'll trust the rhymes to emphasize the hemistiches.

[Carl Copeland]

Some excellent changes, Julie, including the new (traditional) lineation. A few thoughts on the revision:

Originally Posted by Julie Steiner

“You, though, what name should we call?”

This works, I guess, though I might prefer “You, by what name …” It’s no less awkward, but there’s no hint of name calling, and it eliminates “though,” which never sounded right to me.

Originally Posted by Julie Steiner

… “And why do your feet have
     wings on them? Each has a pair.”

The end-stopped version was neater. I’d undo.

Originally Posted by Julie Steiner

… “It’s meant as a symbol for humans.

“Symbol” is a tad too abstract for me. You could try “message” or “signal” or revert.

Originally Posted by Julie Steiner

… wistfully though they have pined.”

I like what you’ve done with this couplet, but really wish you could restore “eagerly” and “tried” and go with the slant rhyme. Wistful pining is too namby-pamby for me.

Originally Posted by Julie Steiner

… “My lesson’s for your sake,
     stranger. For you I was made, then in this doorway displayed.

A fine ending, though the closing quotation mark is missing. I neglected to mention before that “stranger” is an ideal filler—very much in character.

[Julie Steiner]

Thanks very much for your thoughtful suggestions, Carl. Additional tweaks are posted above in blue.

"Stranger" (ξεῖνε, Ionic dialect for ξένος) is in the original. It's the traditional direct address to the passerby who is reading an inscription, but here there is also scripted dialogue for the schoolboy "stranger" pondering the statue on his way to class.

There was a fad for dialogue-epigrams in Golden Age Spain. My favorite is Cervantes's sonnet-conversation between Alexander the Great's horse, Bucephalus, and Don Quixote's Rocinante, with the speakers labeled A and B, as in this one's original.

[Carl Copeland]

Second-draft thoughts for you, Julie:

Originally Posted by Julie Steiner

“Speaking of names, what is yours?” “Kairos, Who Subjugates Force.”

You’ve solved the first hemistiche at the expense of the second, and I don’t think it’s a great trade-off: “Who Subjugates Force” is not a catchy epithet.

Originally Posted by Julie Steiner

… “And why do your feet have
     wings on them, each with a pair” …

I guess you like the boldness of the enjambment, but for me it’s mildly annoying. I prefer the original version of this couplet.

Originally Posted by Julie Steiner

… grasping at me from the rear, though their regret is sincere.”

You’re open to the slant “yours/force,” so I don’t get the resistance to “from behind, eagerly though they have tried.” It seems just right to me, but I’ll stop pushing it on you.

Originally Posted by Julie Steiner

… For you I was made, then on this porch was displayed.

A minor point, but I liked the ending better without the second “was.” I guess you’re worried about the statue blocking the doorway. Would “porchway” do?

[Julie Steiner]

Thanks, Carl! Draft Three posted above.

I took another crack at L2, this time focusing on the fact that πανδαμἀτος (all-taming, all-subduing, all-conquering) is usually an epithet for the other personification on Time, Chronos (in the sense of Length of Days). I'd been mentally keeping these two separate, but I feel that the repurposed epithet gives me permission to blend them a bit, and to view the expression "Time conquers all" as having a positive side (i.e., being able to overcome bad odds if you make the most of pivotal moments or lucky days) rather than being only a negative thing (i.e., all things, no matter how mighty, inevitably passing away into death and decay).

The "yours" and "Force" off-rhyme doesn't seem as noticeable to me as "behind" and "tried". But I have tried again, anyway, because I wanted to get closer to Callistratus's description of the statue. He seems to have visited Sicyon and seen the statue firsthand, describing it with a lot of his usual tiresome wonder that the artist made such a hard material convey the tenderness of young skin.

Arthur Fairbanks' 1931 translation (Loeb):

6. ON THE STATUE OF OPPORTUNITY AT SICYON

I desire to set before you in words the creation of Lysippus also, the most beautiful of statues, which the artist wrought and set up for the Sicyonians to look upon. Opportunity was represented in a statue of bronze, in which art vied with nature. Opportunity was a youth, from head to foot resplendent with the bloom of youth. He was beautiful to look upon as he waved his downy beard and left his hair unconfined for the south wind to toss wherever it would; and he had a blooming complexion, showing by its brilliancy the bloom of his body. He closely resembled Dionysus; for his forehead glistened with graces and his cheeks, reddening to youthful bloom, wee radiantly beautiful, conveying to the beholder’s eye a delicate blush. And he stood poised on the tips of his toes on a sphere, and his feet were winged. His hair did not grow in the customary way, but its locks, creeping down over the eyebrows, let the curl fall upon his cheeks, while the back of the head of Opportunity was without tresses, showing only the first indications of sprouting hair. We stood speechless at the sight when we saw the bronze accomplishing the deeds of nature and departing from its own proper province. For though it was bronze it blushed; and though it was hard by nature, it melted into softness, yielding to all the purposes of art; and though it was void of living sensation, it inspired the belief that it had sensation dwelling within it; and it really was stationary, resting its foot firmly on the ground, but though it was standing, it nevertheless gave evidence of possessing the power of rapid motion; and it deceived your eyes into thinking that it not only was capable of advancing forward, but that it had received from the artist even the power to cleave with its winged feet, if it so wished, the aerial domain.

Such was the marvel, as it seemed to us; but a man who was skilled in the arts and who, with a deeper perception of art, knew how to track down the marvels of craftsmen, applied reasoning to the artist’s creation, explaining the significance of Opportunity as faithfully portrayed in the statue: the wings on his feet, he told us, suggested his swiftness, and that, borne by the seasons, he goes rolling on through all eternity; and as to his youthful beauty, that beauty is always opportune and that Opportunity is the only artificer of beauty, whereas that of which the beauty has withered has no part in the nature of Opportunity; he also explained that the lock of hair on his forehead indicated that while he is easy to catch as he approaches, yet, when he has passed by, the moment of action has likewise expired, and that, if opportunity is neglected, it cannot be recovered.

I might take a closer look at some parts of the Greek (although even in English it's kind of a snooze). But this looks like confirmation that the back of the original statue's head was only "nearly bald," as in the poem, even though other depictions do make Kairos bald.

BTW, I found far more useful references, including the Callistratus one, by using the Latin spelling, Caerus, rather than the Greek one, Kairos. Wikipedia treats these as separate entries.

Another ancient source reports that Lysippus had placed the statue in front of his own house near the Agora, for his fellow Sicyonians to enjoy. And probably to serve as the equivalent of a billboard, too, since it had to have been good for business.

The bit with the razor is still a bit baffling, but other depictions have Caerus/Kairos balancing a scale on the razor's edge in his left hand, and tipping one of the scales with his right.

[Edited to add: One of Chronos's attributes is a scythe, so the razor might be a sort of equivalent to that.]

[Carl Copeland]

Fascinating background material and speculation on Time as the provider of opportunity. I’m delighted by this revision, which is not only more precise and fluent, but more beautiful. “This is my likeness” does make “in life” irrelevant, but it’s so beautiful I’d hate to see it go. My only remaining nit is “rewind,” which still has too many associations with magnetic tape. (I was about to suggest “grasping my hair from the back, hoping to make me turn back,” but then—heaven forfend, an identity rhyme!) Very fine work, Julie.

[Julie Steiner]

Thanks, Carl! Glad you like most of the changes.

With "rewind," I was thinking not of magnetic tape, but of spindles and bobbins—thread-making technology that has been around for at least 12,000 years. Here are some Greek ones from 10,000 BCE:



(Not helpful if that's not where most readers' heads go, but that's where my head went. Then again, I'm "on the distaff side.")

I'm very appreciative of all your interest and help on this one.