{"id":133152,"date":"2019-01-30T09:00:56","date_gmt":"2019-01-30T14:00:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=133152"},"modified":"2019-01-30T15:25:36","modified_gmt":"2019-01-30T20:25:36","slug":"where-stevie-smiths-from-the-greek-is-from","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/30\/where-stevie-smiths-from-the-greek-is-from\/","title":{"rendered":"Where Stevie Smith\u2019s \u201cFrom the Greek\u201d Is From"},"content":{"rendered":"
\n
\n

Anthony Madrid uncovers the source text of a\u00a0small poem by Stevie Smith<\/i><\/p>\n

\"\"<\/a>

Poet Stevie Smith\/Wikimedia Commons<\/p><\/div>\n

Stevie Smith\u2019s first book of poetry was called A Good Time Was Had by All<\/i>. It came out in 1937; she would have been around thirty-five at the time. That book happens to contain one of my favorite four-line poems in all the galaxies; it deserves to be better known. Here it is:<\/p>\n<\/div>\n<\/div>\n

\n
\n
\n

From the Greek<\/b><\/p>\n<\/div>\n<\/div>\n

\n
\n

To many men strange fates are given
\nBeyond remission or recall
\nBut the worst fate of all (tra la)
\n\u2019s to have no fate at all (tra la).<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

\n
\n

Allow me to spell out why this is good.
\n<\/p>\n

    \n
  1. It includes this effect everybody loves without knowing they love it\u2014namely, the goose\u2019s-head-suddenly-pops-out-of-the-hedge effect. It\u2019s simple: difficult lines suddenly yield to limpid ones. Here, the first two lines are hedge; the second two are goose.<\/li>\n
  2. The \u201ctra las\u201d are obviously awesome.<\/li>\n
  3. The way the first \u201ctra la\u201d gracefully splits in two the ostensibly unsplittable word all\u2019s<\/em>\u2014and also that doing so helps to give the last line the effect of a slam dunk.<\/li>\n
  4. The spontaneous rhyme construction (fate of all\/fate at all<\/i>). Anybody would have thought that impossible, yet there it is and it sounds great.<\/li>\n<\/ol>\n

    Those are all \u201cspecial effects.\u201d What about what the poem is saying? It\u2019s saying the gods send terrible fates to some guys, but that\u2019s better than being a human blank who leaves no impression. Better to suffer than be a nobody.<\/p>\n

    Wait. Is that really all it\u2019s saying? It isn\u2019t. I\u2019m ignoring the \u201ctra las.\u201d Whoever is saying those lines isn\u2019t too worried about being one of those blanks<\/i>. To \u201cthe speaker,\u201d the matter is as light as hickory-dickory-dock\u2014which sends us back to the title: \u201cFrom the Greek.\u201d<\/p>\n

    We know, instantly, that these lines cannot be straightforwardly translated out of any kind of ancient Greek we\u2019ve ever been exposed to. Those cats never say \u201ctra la.\u201d Yet the fundamental sentiment does<\/i> sound like the Weltanschauung of the archaic Greeks. (Fame is best.) (Also: Oedipus is not entirely unenviable.)<\/p>\n

    My records do not show when I first encountered this poem. I\u2019m guessing ten years ago. I also remember that when the new Stevie Smith collected poems, called All the Poems: Stevie Smith<\/i> (New Directions, 2015), was announced, I was excited by the prospect of footnotes. I wanted to know whether those lines really did owe their genesis to some passage in Homer or Hesiod or Hooever. And guess what, the New Directions book does<\/i> have footnotes. Here\u2019s the note for \u201cFrom the Greek\u201d:<\/p>\n

    \u201cFrom the Greek\u201d (p. 22): see the final lines of Pindar\u2019s Pythian 12. The first line inspired the sculpture of the same name by artist Brent Green.<\/p><\/blockquote>\n

    That\u2019s not actually helpful, though. All the Pindar says is \u201cYou win some, you lose some.\u201d See for yourself. Below is a little gallery of syntactic horrors: solid hedge and no goose. You almost wouldn\u2019t know they\u2019re translations of the same passage:<\/p>\n<\/div>\n<\/div>\n

    <\/p>\n

    <\/p>\n

    \n
    \n
    \n

    Now if a mortal man wins happy fortune
    \nNot without toil shall this be seen: a god may
    \nBring it to pass\u2014today, maybe\u2014
    \nYes, but the will of fate
    \nNone can escape. Soon shall there come an hour
    \nTo strike beyond all expectation,
    \nAnd give one boon past hope, withhold another.<\/p>\n<\/div>\n<\/div>\n

    \n
    \n

    [trans. G.\u2009S. Conway, 1972]<\/p>\n<\/div>\n<\/div>\n

    \n
    \n

    Success for men, if it comes ever, comes not unattended
    \nwith difficulty. A god can end it, even
    \ntoday. That which is fated you cannot escape. But a time will come
    \nsuch that it will strike in amazement beyond
    \nexpectation, to give one thing desired, to withhold another.<\/p>\n<\/div>\n<\/div>\n

    \n
    \n

    [trans. Richmond Lattimore, 1947]<\/p>\n<\/div>\n<\/div>\n

    \n
    Win, but strive, else no man
    \nWins. Today\u2014ah, god can end
    \nIt all. Flee? From what
    \nMust be? Yet \u2026
    \nA future time, though casting your despair,
    \nUnhoped will give you this and forestall that.<\/div>\n<\/div>\n
    \n
    \n

    [trans. Carl A.\u2009P. Ruck and William H. Matheson, 1968]<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

    \n
    \n

    If I had read any of the above lines casually, I doubt the Stevie Smith quatrain would have started to my mind. In the passage we want, it shouldn\u2019t just be winners and losers; it should be winners, losers, and a third category: people who neither win nor lose. And the point should be that those<\/i> guys are the total forget-its.<\/p>\n

    And I\u2019ve got good news. I found the passage. Total luck. I was reading through Theognis\u2014not to be confused with Theocritus. Also not to be confused with Hesiod\u2019s poem Theogony<\/i>.<\/p>\n

    Theognis. Nobody reads him much, these days, \u2019cuz people are not as into gnomic poetry as they used to be. Do you even know what it is? It\u2019s poetry that\u2019s based on saying stuff that\u2019s obviously true, so you get a kind of \u201ccosmic resonance\u201d thing going.<\/p>\n

    \u2019Member this bit?<\/p>\n<\/div>\n<\/div>\n

    \n
    \n
    \n

    One generation passeth away, and another generation cometh: but the earth abideth forever.
    \nThe sun also ariseth, and the sun goeth down, and hasteth to his place where he arose.
    \nThe wind goeth toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits.
    \nAll the rivers run into the sea; yet the sea is not full; unto the place from whence the rivers come, thither they return again.
    \nAll things are full of labour; man cannot utter it: the eye is not satisfied with seeing, nor the ear filled with hearing.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

    \n
    \n

    That\u2019s gnomic poetry. And Theognis is like that, too, only not as good.<\/p>\n

    Anyway I was reading him, first time, few months ago, exactly because I had heard he was gnomic in style, which I happen to like\u2014and I hit this:<\/p>\n

    \"\"<\/a><\/div>\n

    \u2026 or rather, I hit what\u2019s directly across from that, in the relevant Loeb Classics volume (Greek Elegiac Poetry<\/i>, ed.\/trans. Douglas Gerber, 1999):<\/p>\n<\/div>\n<\/div>\n

    \n
    \n
    \n

    Some vehemently blame the noble and others praise them, but of the base there is no recollection at all.<\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

    \n
    \n

    That\u2019s Theognis 797\u20138, and I aver that Stevie Smith had those very lines either in her heart or at her elbow, on the day she wrote \u201cFrom the Greek.\u201d She doesn\u2019t dare call it a translation for obvious reasons (tra la), but I think we can all agree her piece is rather better than the original (tra la).<\/p>\n

    At any rate, I trust the matter can be considered closed at this point. She was not bluffing when she called the piece \u201cFrom the Greek.\u201d The Greek in question was Theognis. Pindar had nothing to do with it.<\/p>\n

     <\/p>\n<\/div>\n

    Anthony Madrid lives in Victoria, Texas. His second book is\u00a0<\/em>Try Never<\/a>. He is a correspondent for the\u00a0<\/em>Daily.<\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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