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Songs of the Grikos. Oral Greek Love Poems surviving from Magna Graecia (2)

[Enjoy some images from Magna Graecia (basically the Italian coastal South) and listen to some songs in the Griko language]

As promised in the previous post here are some of the oral Greek poems collected on the field from the Griko people – South Italians who still speak Greek.

It is a selection from the book Il tesoro delle parole morte (Argo, 2009, Lecce) by Brizio Montinaro which regards the Griko poetry from Salento, Apulia. Some of these poems were collected by Montinaro himself, whose mother is Griko.

My translation is inadequate and in progress. Any suggestion is welcome. I’ll provide the Greek text of the first poem only.

Mαχάιρι ᾽ναι τὰ μάτια σου,
σπαθιὰ τὰ δυό σου φρύδια
καὶ παὶζουνε με τὴν καρδιὰ
πολλῶ λογιῶ παιχνὶδια.

Knife your eyes
Swords your eyebrows:
They play with the heart
Games of great art.

ψ

That curl so fair
That is bending under your ear
Woven with silk thread,
The most beautiful of your whole head.
Ah had I that curl in my hand!
Out of joy I would fly to heaven’s land.

ψ

Here comes the sun, the moon, the star,
Here comes the maiden who breaks my heart apart.
Here is she who points a knife at me
And chases me away but I cannot but stay.

ψ

Your bosom hides two lemons
That send such a sweet scent.
Give at least one of them to us
To turn over in our hands.
“I hoe, I water, I do not offer lemons.
Go to the gardener, maybe there will be grace.”

ψ

Wherever you go, young man,
May the sun not burn you, and a cloud
May appear in the sky to protect you.

ψ

The wind came
And took away your scarf
And it removed my hat
Uncovering your fair neck.
That night happily I slept.

ψ

ψ

When you see me, as a viper you hide in the bush:
I am he who put your breasts upside down.

ψ

Girl of mine, it was night when we kissed.
By whom were we seen?
By the night, by the dawn, by the star and the moon.
The star bowed and told the sea,
The sea told the oar, the oar told the sailor,
And the sailor sang it at the door of his love.

ψ

I kissed red lips and they dyed my own,
I cleaned them with a cloth
And they dyed the cloth.
I washed the cloth in the river and it dyed the river
Which dyed the beach shore and it dyed the sea floor.
An eagle came down to drink and dyed its wings,
And the sun was half dyed and the moon in the full.

ψ

May I become a swallow and enter your room
And make my nest in your pillow.

ψ

And I wish I were a flea from here
To get like a hawk into your bed,
And nibble all that flesh,
And you’d let down your hand and catch me!

ψ

Martano, one of the Griko towns of Salento. A poem below refers to it. Click for credits

ψ

I sigh and burn,
And my heart drips blood.
But the pain is sweet
When I suffer for you.

ψ

As maiden I loved you, as woman I had you not,
Soon the time will arrive when as widow you’ll be mine.

ψ

Foolish was I to love you!
Like the wind you never stop.
Better had I loved a wall,
It would perhaps have stopped a moment.
Better had I loved a stone,
It would have softened and something I’d have had.
But I have loved you instead, the Galanto,
Who enchanted Martano with his canto.

ψ

I sent you four apples,
One with a bite,
And in the mid of the bite
I placed a kiss.

Related posts:

Songs of the Grikos. Oral Greek Love Poems surviving from Magna Graecia (1)

Yves Montand and Brizio Montinaro on the set of IL GENIO (1976). Click for credits

I met Brizio Montinaro once at a friends’ place. A friendly, curly- grey-haired Italian from Apulia, actor and writer, Brizio Montinaro is an expert of the Griko people among the rest.

Who are the Griko people? They are South Italians who more or less directly descend from the Greeks of Magna Graecia (with some influence from Byzantium.)

Griko speaking communities today. Click for credits

What’s interesting is that some of them still speak a form of Greek, Griko, that developed from both Magna Graecia and Byzantine Greek (see on the map the location of the Griko speaking communities today.)

[Note on Magna Graecia. We remind readers that most coastal areas of South Italy had been colonized by Greek settlers since the 8th century B.C., and that Magna Graecia (ie, ‘Big Greece’, coastal South Italy) was to mainland Greeks a bit like America was to Europeans: a land of promise where opportunities were bigger, and where everything – to travellers from mainland Greece –  appeared larger and more luxuriant: Syracuse, not Athens, was the largest Greek city in the Mediterranean during classical times. See the map below for the past and above for what is left of the Greek-speaking people today]

Greek settlements in Magna Graecia, with their dialects. Click for credits

Montinaro, born from a Griko mother, wrote a few books on the Griko culture. Among his merits, that of having made known the beauty of the oral poetry of the Grikos.

I have his “Il tesoro delle parole morte” (Argo, 2009, Lecce) [‘The treasure of the dead words‘]. I’ll summarize a passage from his introduction to the book:

Temple of Poseidon. Paestum, Campania, Italy. Click for credits

The traveller in the South of Italy admires the temples of Paestum, the Greek wonders of Agrigento, Taormina and Syracuse. Parmenides of Elea was born in Magna Graecia, the school of Pythagoras flourished in Croton. Archimedes, Diodorus Siculos and other prominent Greeks were born in Sicily.

However, if that traveller closes his eyes – while wandering in Aspromonte (Calabria) or in the land of Salento (Apulia) covered with centuries-old olive trees – he can still hear, carried by the wind, words such as: agàpi, dafni, podèa, vasilicò, alòni.

These are traces, just like the columns and the theatres, of another monument of the Hellenic culture: the Greek language.

These oral poems sing with great freshness the joys and sorrows of love, “with a look – we read in the back cover – that is still the darting gaze common to the boundless sea of ​​Hellenism, and that was expressed by the rhythms of Sappho and Anacreon.”

ψ

Some of these poems will be presented in the next post translated into an English (hopefully not too horrible) version.

ψ

Related posts:

The Weird Story of a Beautiful Girl Whose Body Was Found Incorrupt in a Coffin

The Appian Way, the Queen of the Roads. Click for credits and larger picture

Found In The Appian Way

Rome, April 19, 1485. The corpse of a very young woman is found in a sarcophagus along the Appian Way [see image above,] face and body beautiful, teeth white and perfect, hair blonde and arranged on top of her head in the ancient way. The body seems as fresh as that of a girl of fifteen buried a few moments – and not 15 centuries – earlier.

From Antonio di Vaseli’s diary:

“Today the news came into Rome … The said body is intact. The hair is long and thick; the eyelashes, eyes, nose, and ears are spotless, as well as the nails. … her head is covered with a light cap of woven gold thread, very beautiful … the flesh and the tongue retain their natural colour.”

Messer Daniele da San Sebastiano, in a letter dated 1485:

Marbe statue of a young Roman woman. Click for credits and larger size“In the course of excavations which were made on the Appian Way … three marble tombs have been discovered … One of them contained a young girl, intact in all her members, covered from head to foot with a coating of aromatic paste, one inch thick. On the removal of this coating which we believe to be composed of myrrh, frankincense, aloe, and other priceless drugs, a face appeared, so lovely, so pleasing, so attractive, that, although the girl had certainly been dead fifteen hundred years, she appeared to have been laid to rest that very day. The thick masses of hair … seemed to have been combed then and there … the whole of Rome, men and women, to the number of twenty thousand, visited the marvel ..that day.”

Rodolfo Lanciani (1845 – 1929) – the Italian archaeologist from whose work I took the above quotes – collects other testimonies:

“The hair was blonde, and bound by a fillet (infula) woven of gold. The colour of the flesh was absolutely lifelike. The eyes and mouth were partly open … The coffin seems to have been placed near the cistern of the Conservatori palace [on the Capitoline hill, see image below], so as to allow the crowd of visitors to move around and behold the wonder with more ease.”

Palazzo dei Conservatori with its new façade by Michelangelo

Jacob Burckhardt‘s (1818 – 1897) comment on the whole episode is remarkable:

“Among the crowd were many who came to paint her. The touching point in the story is not the fact itself, but the firm belief that an ancient body, which was now thought to be at last really before men’s eyes, must of necessity be far more beautiful than anything of modern date.

Yes, touching, and revealing.

She was more beautiful than anything modern because she came directly from ancient Rome.

Sweeping Europe With Greece And Rome

Why classical antiquity, the past, had become so attractive?

A new fervour of rediscovery coming from Italy had begun to sweep Europe: manners, architecture, eloquence, military techniques and the overall thought of Greece and Rome.

Antiquity had exerted occasional influence on Medieval Europe – argues Burckhardt – even beyond Italy. Here and there some elements had been imitated, northern monastic scholarship had absorbed extensive subject matter from the Roman writers.

“But in Italy the revival of antiquity – Burckhardt observes – took a different form from that of the North. The wave of barbarism had scarcely subsided before the people, in whom the antique heritage was not completely effaced, and who showed a consciousness of its past and a wish to reproduce it. …

In Italy the sympathies both of the learned and of the people were naturally on the side of antiquity as a whole, which stood to them as a symbol of past greatness. The Latin language too was easy to an Italian …”

A new ideal coming from the past was about to boost Europe forward.

Classicism Towards The Future

The School of Athens by Raphael, Rome, the Vatican. Click for credits

I was hit a few weeks ago by this passage from the on-line Britannica:

“For Renaissance humanists, there was nothing dated or outworn about the writings of Plato, Cicero, or Livy. Compared with the typical productions of medieval Christianity, these pagan works had a fresh, radical, almost avant-garde tonality.

Indeed, recovering the classics was to humanism tantamount to recovering reality….In a manner that might seem paradoxical to more modern minds, humanists associated classicism with the future.

The point is classical thought was not constrained by preconceived ideas. A new spirit of doubt and inquiry was arising. A new world was dawning.

Ψ

Getting back to that beautiful girl, her golden hair and cap made shiny by the sun, we now better understand the impact, the feelings, the deep inspiration she exerted on the people who flocked to see her.

She was seen as a miracle. She was like a fairy appeared by magic from the great times of ancient Rome.

Capitoline She-Wolf. Rome, Musei Capitolini. Public domain

References

Rodolfo Lanciani, Pagan and Christian Rome, Houghton, Mifflin and Company, Boston and New York, 1892.
Accessible on-line in Bill Thayer’s Web Site LacusCurtius, a marvellous resource on Roman Antiquity. Quotes from here.

Jacob Burckhardt, The Civilization of the Renaissance in Italy, translated by S. G. C. Middlemore, 1878.
Available as Gutenberg text. Quote from here.

Encyclopædia Britannica. 2009. “Humanism.”  Encyclopædia Britannica Online. 18 Mar. 2009

Note on a Calabrian Greek

There is some evidence that the Italian Renaissance was not only imitation of antiquity, but its partial resurrection. We’ll just say here that Italy had a direct, ethnic and linguistic, connection not only with the Romans but also with the Greeks. Greek dialects were spoken in Southern Italy until a few years ago. They almost disappeared during Fascism who discouraged linguistic minorities.

[See our two posts on the Grikos (1 & 2), South Italians descending from the Greeks of Magna Graecia and Byzantium]

Interesting for our writing is Barlaam the Calabrian (ca. 1290 – 1348), an Italian Greek “by ethnic descent and language.” Great scholar “he was the instructor of both Petrarch and Giovanni Boccaccio [the first humanists], and their writings owe much to him.” (Wikipedia)

He helped Boccaccio to translate Homer into Latin thus preparing the groundwork for Renaissance.

Sex and the City (of Rome). 1

Callipygian Venus. Fair use

Italian version

The ancient Greco-Romans had a totally different attitude toward sex (so the minor or the puritanical shouldn’t read further.)

Suffice it to have a look at these statues, both beautiful and erotic, to intuitively grasp a sensuality that was open and entirely different from the Western manners of today.

The beauty and natural perfection of these bodies convey in fact the idea – a very simple idea, this very gifted Greek student I recently met would say – that sex wasn’t perceived as lewd or licentious; it was felt instead as one of the joys of life.

It is so simple:
as simple (and beautiful)
as a Greek temple
.

Sex was actually enjoyed naturally though in ways most contemporary folks wouldn’t even imagine, especially when we consider that these statues were somehow linked to rituals and religion.

We can admire above the perfect classical beauty of Venus Kallipygos, while, below, the statue of a Satyr (which a Roman female friend of mine chose among a set and assured me:‘it’s a pretty good erotic sample.’ Well, I couldn’t but yield to her superior discernment.)

Satyr (or Satiro, in Italian)

Venus was the Goddess of love (both carnal and spiritual) while a Satyr was a Dionysian creature lover of wine, women and boys, and ready for every physical pleasure. Child satyrs existed also (which appears such a sad thing to us nowadays) and took part in Bacchanalian/Dionysian religious rituals, usually (or sometimes) involving orgies too.

At this point I’m sure every reader cannot but agree that the Greco-Romans had a VERY different attitude toward sex. No doubt about that. An ENTIRELY different attitude indeed.

lupaottimigut1.jpg

If we could forget that these are classical statues, if we could regard them just as they appear to us and out of their context, we’d surely see them as pornographic.

According to the Wikipedia:

“the concept of pornography as understood today did not exist until the Victorian era. …When large scale excavations of Pompeii were undertaken in the 1860s, much of the erotic art of the Romans came to light, shocking the Victorians who saw themselves as the intellectual heirs of the Roman Empire. They did not know what to do with the frank depictions of sexuality, and endeavored to hide them away ….. The moveable objects were locked away in the Secret Museum in Naples, Italy.”

[For more on these Pompeii erotic artifacts: this post of ours; two other posts, 1 and 2, from Ancient Digger, the former showing a video on the erotic artifacts, the latter discussing Roman sexuality & erotic art; a BBC program on the secret museum. Further readings are listed at the bottom of the page]

Shocking Roman Sexuality

Pan & goat Roman sex

Pan copulating with a she-goat. Click to enlarge and for credits (Wikimedia)

I do not quite agree with Wikipedia on how and when the modern concept of pornography was conceived, seeming this to me a totally Anglo-Saxon centred observation, forgetful of how history can be ancient.

I might be wrong (or right) but who the hell cares, chissenefrega, this whole Victorian thing being incredibly funny.

I can see these prudish Victorians feeling themselves as the heirs of the Romans (which somehow they were, at least in my view) who much to their horror found out how perverted the Romans had been (at least in their view), while together with the Italians they were uncovering all these sexy statues and frescoes.

I am imagining their shocked pale faces and am especially fantasizing about their shamefully and hastily helping the Neapolitans to hide somewhere the abominable truth.

The Neapolitans, incidentally, were at that time probably laughing at them a bit too, being of course much less disturbed by all those “frank depictions of sexuality” (try to guess why, dear reader … ).

Buttock Contest

Aphrodite of the Beautiful Buttocks. Fair use

Getting back to the Ancients, this Aphrodite of the Beautiful Buttocks is uncovering herself and looking back (and down) in order to evaluate her perfect behind.

The reason is again very simple (and very erotic, I’ll confess.) All originated from a buttock contest between two gorgeous sisters.

For which reason, who knows, this statue dedicated to Venus-Aphrodite might exactly represent both the winner and her behind. I mean – it’s sheer historical interest, of course – there’s a chance we are looking at her real ass. Not at usual idealized hindquarters according to Greek aesthetics.

And, the self-evaluation of her buttocks – pretty sure of that – was even more obvious than it appears today since statues were mostly painted in full colour therefore the direction of her gaze was probably more evident, her pupils being painted.

ψ

This cult of Venus-Aphrodite with beautiful buttocks appeared in Greek Syracuse (Sicily, Italy,) according to some ancient author, since this is where the sisters apparently lived.

Again, needless to say, it would be inconceivable nowadays to dedicate a sanctuary, a holy place, to a goddess because of a girl’s hot butttocks (read in the Wikipedia the whole peculiar story of the two lovely sisters.)

Goddess Venus

Esquiline Venus, in all her voluptuousness

Esquiline Venus, in all her voluptuousness, found in 1874 on the Esquiline Hill in Rome (from the Horti Lamiani possibly). Capitoline Museums, Rome. Click for credits and other pictures of her

Venus was the goddess of beauty, fertility and love.

The Roman Venus was born around Lavinium, according to Strabo. If true it was not by chance since Aeneas, the great Roman ancestor and son of Venus, landed in that area and founded the town after Lavinia, his wife. The Romans by the way were children of Venus and of Mars, the God of War: love and war – a weird mix, isn’t it.

This I am thinking while strolling between the Colosseum, to my left, and the temple of Venus and Roma, to my right, between these symbols of life and death. How multihued the Romans were.

The Greek Aphrodite was instead born in Cyprus – where the Greek student comes from, although I do not believe in signs like Brasilian Coelho does.

Vénus de l'Esquilin or Venus Esquilina

Vénus de l’Esquilin or Venus Esquilina, again. Some scholars suggest the model for this statue was Cleopatra herself. Flickr image, click for credits. Musei Capitolini. Roma

Young couples gathered close to the Venus temples for petting, necking and even coupling (green areas with temples where common in late Rome.) People were probably discreet but what is interesting is that their loving felt somehow enhanced, even sanctified by the presence of the Goddess, which is again unimaginable today despite our so-called sexual freedom.

Think of a today’s scenario where men and women flock near a Catholic or an Anglican church, in spring time, or in any time, for petting and all. I mean, even the mere thought could offend a true Christian.

Of course I do ask for pardon though please it’d also be nice if religious people did some effort as well. We are not here to offend religion(s) nor to make a porn site out this blog (which could make us richer though not necessarily happier.) We are here to talk about the Western roots. Now it turns these ancient Greeks & Romans had entirely different sexual mores.

Is it good? Is it bad? Hard to say. We somehow prefer the ancient customs though it is our personal opinion.  That is, we love to think Sex to equal Beauty, love and sex to be a sublime joy that shouldn’t be necessarily related to reproduction (like ALL Popes tried endlessly to teach us.)

lupaottimigut1.jpg

An Oppressive Revolution

OK, one might say. If these are our Western roots, what the hell has then happened? Why had we to undergo such an oppressive revolution which turned one of the joys of life into something indecent?

Was it because of the Victorians? Because of the Muslims? Was it because of the Christian priests and Fathers?

Perhaps the Victorians had later some influence on India, a country were the Kama Sutra was written, the first great text about love and sexual intercourse – beautiful, poetic and scientific – and the Victorians arrived with their not entirely positive influence in this field of human life …

[…if what the Wikipedia says is true.  I need some feedback by my Indians readers. Update: I received extensive Indian feedback one year later]

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As for the West I am sure the answer is to be found during the times when the Roman Empire turned into a Christian Roman Empire, hence from Emperor Constantine onward (4th century AD.)

Not immediately though. It took some time, it surely took some time before we became totally repressed.

The Christians were mainly responsible, in my opinion, for this change of attitude (and for atrocities committed against non-Christians soon after Christianity took over), but it’d be fair to add that numerous pagans had already become a bit more puritanical as a reaction to some excesses.

ψ

One last thing. Are anywhere to be found survivals of such ancient freer attitude towards sex?

I believe so. We have said (Braudel had said) that big civilisations do not die. Plus we had entitled this post Permanences III (but changed its title later.)

Ok. Let’s not spoil what is next in the Sex and the city (of Rome) series.

A Roman Invoking Venus

We’ll conclude:

1) with this Roman copy of Castor and Pollux, or Dioscuri (youths of Zeus) by Praxiteles, Madrid (see below) – also enthusiastically approved by my female friend;

2) with Lucretius’ initial prayer to Venus.

ψ

Lucretius is a great Roman poet. From his verses one can get a good feel of how a real Ancient Roman felt about Venus.

So it is a pretty good conclusion for this Sex and the Romans num. 1 post.

If you are lucky enough to appreciate these verses you’ll live a unique experience, a real time-machine experience. This also classics offer, a time-machine experience.

Try to read these words attentively. You might penetrate the mysteries of a lost, arcane – though still living, still living – world …

Man of Roma

Dioskouroi. Madrid. Praxiteles (Roman copy) fair use

Lucretius’ De Rerum Natura.

Initial invocation to Venus.

“Mother of Rome, delight of Gods and men,
Dear Venus that beneath the gliding stars
Makest to teem the many-voyaged main
And fruitful lands- for all of living things
Through thee alone are evermore conceived,
Through thee are risen to visit the great sun-
Before thee, Goddess, and thy coming on,
Flee stormy wind and massy cloud away,
For thee the daedal Earth bears scented flowers,
For thee waters of the unvexed deep
Smile, and the hollows of the serene sky
Glow with diffused radiance for thee!

For soon as comes the springtime face of day,
And procreant gales blow from the West unbarred,
First fowls of air, smit to the heart by thee,
Foretoken thy approach, O thou Divine,
And leap the wild herds round the happy fields
Or swim the bounding torrents. Thus amain,
Seized with the spell, all creatures follow thee
Whithersoever thou walkest forth to lead,
And thence through seas and mountains and swift streams,
Through leafy homes of birds and greening plains,
Kindling the lure of love in every breast,
Thou bringest the eternal generations forth,
Kind after kind. And since ’tis thou alone
Guidest the Cosmos, and without thee naught
Is risen to reach the shining shores of light,
Nor aught of joyful or of lovely born,
Thee do I crave co-partner in that verse
Which I presume on Nature to compose
For Memmius mine, whom thou hast willed to be
Peerless in every grace at every hour-

Wherefore indeed, Divine one, give my words
Immortal charm. Lull to a timely rest
O’er sea and land the savage works of war,
For thou alone hast power with public peace
To aid mortality; since he who rules
The savage works of battle, puissant Mars,
How often to thy bosom flings his strength
O’ermastered by the eternal wound of love-
And there, with eyes and full throat backward thrown,
Gazing, my Goddess, open-mouthed at thee,
Pastures on love his greedy sight, his breath
Hanging upon thy lips. Him thus reclined
Fill with thy holy body, round, above!
Pour from those lips soft syllables to win
Peace for the Romans, glorious Lady, peace!.”

Of The Nature of Things [De Rerum Natura]
by Lucretius [Titus Lucretius Carus]
(Initial invocation to Venus)
Translated by William Ellery Leonard
(1876-1944)
Project Gutenberg Text

Reference and further reading:

  • Michael Grant and Antonia Mulas, Eros in Pompeii: The Erotic Art Collection of the Museum of Naples. New York: Stewart, Tabori and Chang, 1997 (translated from the original 1975 Italian edition).
  • Walter Kendrick, The Secret Museum: Pornography in Modern Culture (Berkley: University of California Press, 1996) ISBN 0-520-20729-7.
  • Antonio Varone, Eroticism in Pompeii. Getty Trust Publications: J. Paul Getty Museum, 2001.
  • John Clarke, Roman Sex: 100 B.C. to A.D. 250, New York: Harry N. Abrams, 2003.
  • “Colonel Fanin” (Stanislas Marie César Famin), The Royal Museum at Naples, being some account of the erotic paintings, bronzes and statues contained in that famous “cabinet secret”(1871) On-line translation of Musée royal de Naples; peintures, bronzes et statues érotiques du cabinet secret, avec leur explication, 1836. Brief introduction by J.B. Hare, 2003.

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Related posts:

Sex and the city (of Rome) 2
Sex and the city (of Rome) 3
Sex and the city (of Rome) 4
Sex and the city (of Rome). A Conclusion

Caesar, Great Man (and Don Juan)

Sex and the city (of Rome). Season II. 1

See also:

Silvestri, Berlusconi and the Emperor Tiberius

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