A god made woman’s mindways something other

from the get go. 

One kind is Ms. Pig of the long hairs

who smears mud and crud the whole house over.

She’s a mess, lies around and rolls on the ground.

This breed skips showers, no suds for her duds,

sits in her stinkheap and plumpens up. 

And this kind

god made from the mischief-monger Vixen,

a woman who knows it all. Evils? not past her

do they go, no way, and the better stuff too.

A lot of times she says the bad is good and the good

is bad, and sometimes her mind is going one way, 

other times, it’s somewhere else.

And the Canine kind,

she is a bad one and her mama’s daughter, 

she catches onto everything, wants to know 

everyone’s dirty laundry, pushes her nose

everywhere as she pads around and bays

even if she sees not a single soul. She won’t stop 

not if a man threatens her and not if he dashes

her teeth out in an anger blast with a rock

and he shouldn’t be sweetie-pieing her if she

happens to take a seat when there are guests

and mouths off aimlessly on and on and on.

And

the Olympians molded earth and gave to man

the Feeble kind. There’s nothing bad and no

thing good this sort of woman knows but is she

an expert in one activity — eating. When’s the time 

god makes it a harsh winter she’s freezing and elbows

twice as close to the fire.

And the Sea breed, she

has  double mindways. This kind is all laughs 

and delightful on a day, a guest sees her at the house 

and sings her praises: “No dame more desirable 

there is than she in all of humankind and not

more beautiful.” He can’t bear to behold the sight 

of her or get too close, that’s when she goes nuts

just like a dog you can’t get near. Damn pups!

But relentless and everyone’s to hate,

the same to enemies and friends, that’s her.

Just like the sea, often not moving one hair

she is composed, no problems here, big fun

to sailor-types in summer time and she loses it!

she’s borne hither and yon on far-thundering waves!

With the sea this woman-kind really is a match,

that’s how it is with the she-sea, her repertoire 

is all the tricks. 

And †out ashed†, rubbed up and down, 

is the Donkey kind. Under duress and cursing,

braying no way Ray!, she bends her neck to all

you ask, makes a decent stab at a job meantime 

she’s scoffing snacks in a hidey-hole the whole

livelong night and day, while supping at your board.

Likewise too when it’s about the Aphrodite thing

she takes whoever happens to come and dawdles by

as her mate.

And the Weasel breed, she is 

a vicious prickly kind. There’s nothing becoming 

or attractive attached to her, nor delightful nor

lovable. She gets crazed for the bed of lust,

and makes the man she’s doing it with throw up.

She lifts things and does every possible wrong 

to the neighbors and nibbles a lot on the leavings 

of holy sacrifice.

It’s the luxe Maremaid kind

is born long-maned who takes the long way around 

toilsome work and woe. She wouldn’t lay a finger 

on the mill, nor would she pick up a colander, 

wouldn’t scoop the dung out of the house or get near 

the oven, that soot-shunner. Because she has to 

she cozies up to a man, she washes the grime off her 

the whole dang day twice, thrice again, oils herself with 

balsam, keeps primping her straight-pressed tresses,

the pile draped in leis. You bet  such a woman is

a pretty sight to some people, but to her keeper 

she is an evil creation except he is some kind of 

tyrannosaurus or absolute monarch who has 

this thing for a trophy wife.

Then there’s Monkey madam. 

Zeus thrust this absolutely biggest bad unto menkind. 

Super base in the face is she — this kind of woman 

traipses around the boulevards, everyone’s laugh riot, 

she’s got a short neck, she hardly crawls, she has

no behind, it’s like she digests her own gut. Wretched 

the poor soul who embraces badness of this kind!

All counsels and customs she does know just like

a simian, and she gives no fig about snickering.

She does no good for no one but sees what she sees

and plots the whole dang day, just so she can make 

the biggest mess any which way.

Onto the Bee breed,

anyone getting her is in luck. For criticism does not 

cleave to this type uniquely. Under her watch the living

blossoms and prospers. Well-loved, she grows old,

her loving husband by her side, begets a beautiful

and name-famous family. Very fine she proves 

among women, every one, and a godlike grace spills 

round her. She doesn’t like having girltime sitting 

with women when they gripe over love’s bons mots.

This kind of women for the menfolk pleases Zeus,

the very best and much worthy of mention.

And these 

other types by Zeus’ machinations all exist and abide

among menkind. For Zeus has made this greatest evil,

Woman, and if they seem in anyway to help he who

has her, does she really become a pain to him. For,

not ever in a good mood does she get through a day,

the whole damn thing— whoever lives with a woman

will not shove Hunger soon away from his home,

that hateful housemate, bad news for the gods.

Whenever a man seems well-pleased in his heart

about his own house, either his god-lot or what graces

humans possess, she finds something to harp on,

she will self-arm for battle. Where there’s a woman 

in good stead he should not receive into his house 

the occasional guest. Whatever woman positively 

seems of especially sound mind, she turns out to act 

the most outrageously of all: While her man gawps

the neighbors get a good laugh at the sight of his goofs.

It’s his own wife that every man takes pains to praise 

while finding fault with someone else’s. 

We are the dupes

having the selfsame lot. For Zeus made this big, 

big evil and clamped on a ball and chain that can’t  

be broken, from the time when Hades received 

those men because they vied over a woman.

χωρὶς γυναικὸς θεὸς ποίησεν νόον

τὰ πρῶτα.

 

τὴν μὲν ἐξ ὑὸς τανύτριχος,

τῆι πάντ᾽ ἀν᾽ οἶκον βορβόρωι πεφυρμένα

ἄκοσμα κεῖται καὶ κυλίνδεται χαμαί·

αὐτὴ δ᾽ ἄλουτος πλύτοις ἐν εἵμασιν

ἐν κοπρίηισιν μένη πιαίνεται.

 

τὴν δ᾽ ἐξ ἀλιτρῆς θεὸς ἔθηκ᾽ ἀλώπεκος

γυναῖκα πάντων ἴδριν· οὐδέ μιν κακῶν

λέληθεν οὐδὲν οὐδὲ τῶν μεινόνων·

τὸ μὲν γὰρ αὐτῶν εἶπε πολλάκις κακόν,

τὸ δ᾽ ἐσθλόν· ὀργὴν δ᾽ ἄλλοτ᾽ ἀλλοίην ἔχει.

 

τὴν δ᾽ ἐκ κυνός, λιτοργόν, αὐτομήτορα,

πάντ᾽ ἀκοῦσαι, πάντα δ᾽ εἰδέναι θέλει,

πάντηι δὲ παπταίνουσα καὶ πλανωμένη

λέληκεν, ἢν καὶ μηδέν᾽ ἀνθρώπων ὁρᾶι.

παύσειε δ᾽ ἄν μιν οὔτ᾽ πειλήσας ἀνήρ,

οὐδ᾽ εἰ χολωθεὶς ἐξαράξειεν λίθωι

ὀδόντας, οὐδ᾽ ἂν μειλίχως μυθεόμενος,

οὐδ᾽ εἰ παρὰ ξείνοισιν μένη τύχηι,

ἀλλ᾽ μπέδως πρηκτον αὑονὴν ἔχει.

 

τὴν δὲ πλάσαντες γηΐνην Ὀλύμπιοι

ἔδωκαν ἀνδρὶ πηρόν· οὔτε γὰρ κακὸν

οὔτ᾽ ἐσθλὸν οὐδὲν οἶδε τοιαύτη γυνή·

ἔργων δὲ μοῦνον ἐσθίειν πίσταται.

κὤταν κακὸν χειμῶνα ποιήσηι θεός,

ῥιγῶσα δίφρον ἄσσον ἕλκεται πυρός.

 

τὴν δ᾽ ἐκ θαλάσσης, δύ᾽ ἐν φρεσὶν νοεῖ·

τὴν μὲν γελᾶι τε καὶ γέγηθεν μέρην·

παινέσει μιν ξεῖνος ἐν δόμοις ἰδών·

«οὐκ ἔστιν ἄλλη τῆσδε λωΐων γυνὴ

ἐν πᾶσιν ἀνθρώποισιν οὐδὲ καλλίων»·

τὴν δ᾽ οὐκ ἀνεκτὸς οὐδ᾽ ἐν ὀφθαλμοῖς ἰδεῖν

οὔτ᾽ ἄσσον ἐλθεῖν, ἀλλὰ μαίνεται τότε

πλητον ὥσπερ μφὶ τέκνοισιν κύων,

μείλιχος δὲ πᾶσι κἀποθυμίη

ἐχθροῖσιν ἶσα καὶ φίλοισι γίνεται·

ὥσπερ θάλασσα πολλάκις μὲν ἀτρεμὴς

ἕστηκ᾽, πήμων, χάρμα ναύτηισιν μέγα,

θέρεος ἐν ὥρηι, πολλάκις δὲ μαίνεται

βαρυκτύποισι κύμασιν φορεομένη.

ταύτηι μάλιστ᾽ ἔοικε τοιαύτη γυνὴ

ὀργήν· φυὴν δὲ πόντος ἀλλοίην ἔχει.

 

τὴν δ᾽ ἔκτε σποδιῆςκαὶ παλιντριβέος ὄνου,

σύν τ᾽ ἀνάγκηι σύν τ᾽ ἐνιπῆισιν μόγις

ἔστερξεν ὦν παντα κἀπονήσατο

ἀρεστά· τόφρα δ᾽ ἐσθίει μὲν ἐν μυχῶι

προνὺξ προῆμαρ, ἐσθίει δ᾽ π ἐσχάρηι.

μῶς δὲ καὶ πρὸς ἔργον ἀφροδίσιον

ἐλθόντ᾽ ἑταῖρον ὁντινῶν ἐδέξατο.

 

τὴν δ᾽ ἐκ γαλῆς, δύστηνον οἰζυρὸν γένος·

κείνηι γὰρ οὔ τι καλὸν οὐδ᾽ πίμερον

πρόσεστιν οὐδὲ τερπνὸν οὐδ᾽ ἐράσμιον.

εὐνῆς δ᾽ ἀδηνής ἐστιν ἀφροδισίης,

τὸν δ᾽ ἄνδρα τὸν περῶντα ναυσίηι διδοῖ.

κλέπτουσα δ᾽ ἔρδει πολλὰ γείτονας κακά,

ἄθυστα δ᾽ ἱρὰ πολλάκις κατεσθίει.

 

τὴν δ᾽ ππος ἁβρὴ χαιτέεσσ᾽ ἐγείνατο,

δούλι᾽ ἔργα καὶ δύην περιτρέπει,

κοὔτ᾽ ἂν μύλης ψαύσειεν, οὔτε κόσκινον

ἄρειεν, οὔτε κόπρον ἐξ οἴκου βάλοι,

οὔτε πρὸς πνὸν ἀσβόλην ἀλεομένη

ἵζοιτ᾽. ἀνάγκηι δ᾽ ἄνδρα ποιεῖται φίλον·

λοῦται δὲ πάσης μέρης πο ῥύπον

δίς, ἄλλοτε τρίς, καὶ μύροις ἀλείφεται,

αἰεὶ δὲ χαίτην ἐκτενισμένην φορεῖ

βαθεῖαν, ἀνθέμοισιν ἐσκιασμένην.

καλὸν μὲν ὦν θέημα τοιαύτη γυνὴ

ἄλλοισι, τῶι δ᾽ ἔχοντι γίνεται κακόν,

ἢν μή τις τύραννος σκηπτοῦχος ἦι,

ὅστις τοιούτοις θυμὸν ἀγλαΐζεται.

 

τὴν δ᾽ ἐκ πιθήκου· τοῦτο δὴ διακριδὸν

Ζεὺς ἀνδράσιν μέγιστον πασεν κακόν.

αἴσχιστα μὲν πρόσωπα· τοιαύτη γυνὴ

εἶσιν δι᾽ ἄστεος πᾶσιν ἀνθρώποις γέλως·

π αὐχένα βραχεῖα· κινεῖται μόγις·

πυγος, αὐτόκωλος. τάλας ἀνὴρ

ὅστις κακὸν τοιοῦτον ἀγκαλίζεται.

δήνεα δὲ πάντα καὶ τρόπους πίσταται

ὥσπερ πίθηκος· οὐδέ οἱ γέλως μέλει·

οὐδ᾽ ἄν τιν᾽ εὖ ἔρξειεν, ἀλλὰ τοῦτ᾽ ὁρᾶι

καὶ τοῦτο πᾶσαν μέρην βουλεύεται,

ὅκως τι κὠς μέγιστον ἔρξειεν κακόν.

 

τὴν δ᾽ ἐκ μελίσσης· τήν τις εὐτυχεῖ λαβών·

κείνηι γὰρ οἴηι μμος οὐ προσιζάνει,

θάλλει δ᾽ π αὐτῆς κἀπαέξεται βίος,

φίλη δὲ σὺν φιλέοντι γηράσκει πόσει

τεκοῦσα καλὸν κὠνομάκλυτον γένος.

κἀριπρεπὴς μὲν ἐν γυναιξὶ γίνεται

πάσηισι, θείη δ᾽ μφιδέδρομεν χάρις.

οὐδ᾽ ἐν γυναιξὶν ἥδεται καθημένη

ὅκου λέγουσιν ἀφροδισίους λόγους.

τοίας γυναῖκας ἀνδράσιν χαρίζεται

Ζεὺς τὰς ἀρίστας καὶ πολυφραδεστάτας·

 

τὰ δ᾽ ἄλλα φῦλα ταῦτα μηχανῆι Διὸς 

ἔστιν τε πάντα καὶ παρ᾽ ἀνδράσιν μενεῖ.

Ζεὺς γὰρ μέγιστον τοῦτ᾽ ποίησεν κακόν,

γυναῖκας· ἤν τι καὶ δοκέωσιν ὠφελεῖν

ἔχοντι, τῶι μάλιστα γίνεται κακόν·

οὐ γάρ κοτ᾽ εὔφρων μέρην διέρχεται

πασαν, ὅστις σὺν γυναικὶ †πέλεται,

οὐδ᾽ αἶψα Λιμὸν οἰκίης πώσεται,

ἐχθρὸν συνοικητῆρα, δυσμενέα θεῶν.

ἀνὴρ δ᾽ ὅταν μάλιστα θυμηδεῖν δοκῆι

κατ᾽ οἶκον, θεοῦ μοῖραν ἀνθρώπου χάριν,

εὑροῦσα μμον ἐς μάχην κορύσσεται.

ὅκου γυνὴ γάρ ἐστιν οὐδ᾽ ἐς οἰκίην

ξεῖνον μολόντα προφρόνως δεκοίατο.

ἥτις δέ τοι μάλιστα σωφρονεῖν δοκεῖ,

αὕτη μέγιστα τυγχάνει λωβωμένη·

κεχηνότος γὰρ ἀνδρός, οἱ δὲ γείτονες

χαίρουσ᾽ ὁρῶντες καὶ τόν, ὡς μαρτάνει.

τὴν ἣν δ᾽ ἕκαστος αἰνέσει μεμνημένος

γυναῖκα, τὴν δὲ τοὐτέρου μωμήσεται·

 

ἴσην δ᾽ ἔχοντες μοῖραν οὐ γινώσκομεν.

Ζεὺς γὰρ μέγιστον τοῦτ᾽ ποίησεν κακόν,

καὶ δεσμὸν μφέθηκεν ἄρρηκτον πέδην,

ἐξ οὗ τε τοὺς μὲν Ἀΐδης ἐδέξατο

γυναικὸς εἵνεκ᾽ μφιδηριωμένους.

Translator's Note

What poetic justice that Semonides fr. 7, 118 lines of iambic verse abusing and insulting women, has become the subject of censure, eye-rolling, and general opprobrium. “Boorish and unwitty” are the words of M.L. West in observing that the poet has “mechnically constructed” each type of women after the features of eight animals and two elements (Ancient Greek Literature, ed. Dover et al., 1980: 34).1 “Versified vitriol” is the pronouncement of A.J. Podlecki2 (The Early Greek Poets and their Times 1984: 50) while Eva Stehle describes fr. 7’s criticism of women as simply “unsubtle” (Performance and Gender in Ancient Greece 1997: 237).3 Semonides’ diatribe on women via brute-force analogy to animals, dirt and water and on their dirty habits and sloth (except in the case of the one ideal specimen, the bee-woman) seems a fair candidate for cancelling. The setting for fr. 7’s performance being the exclusively male territory of the symposium serves to underscore the sentiment that it is a dusty artifact of a benighted time, the poems’s obvious chauvinism rendering it useful as Exhibit A for the ancients’ misogynistic attitudes.

The little that we know of Semonides (lived in the early to mid-7th century B.C.E., said to have led a group of Samians to found a colony on Amorgos which, situated on the southeastern Cyclades, was a key site for trading routes) and the little that remains of his poetry (give or take 40 iambic fragments and possibly an elegiac one) offers us next to nothing, if even that, to go by. One of his other longer fragments, fr. 1, on this life’s woes, has been judged both banal4 (Hermann Fränkel, Early Greek poetry and philosophy,1973: 202) and deliberately dull5 (Anne Carson, “How bad a poem is Semonides fragment 1?” in Greek poetry and philosophy: studies in honor of Leonard Woodbury, ed. D. Gerber, 1984). Other fragments, often cited to illustrate a grammatical point, mention a heron taking an eel from a buzzard (fr. 9); advise against flaunting that you haven’t bathed (fr. 10); peg the beetle as having the worst life (fr. 13); put tuna, squid, gudgeon fish, and shrimp nearly in one line (fr. 15); speak in the voice of a cook (fr. 24); perhaps denote someone as “baldy” (fr. 40). Whether these snippets are representative of Semonides’ poetic oeuvre, or just what happened to be quoted, we cannot know, or why the 5th century C.E. Macedonian, Stobaeus, chose to include fr. 7 in his Anthology as one example “about marriage: blame of women/wives,” περ γάμου: ψόγος γυναικν (4.22.193).

What we can remark on from the “probably complete” (according to William Allan’s Greek Elegy and Iambus: A Selection, 2019: 90) text of fr. 7 that has come down to us is, amid the pile-up of grotesque animal comparisons,  Semonides’ evoking of the everyday, of colanders and soot and the spot at the hearth where the fire is warmer, of mud on the floor that it is (the poem does not say but makes clear) no man’s job to get rid of. Perish the thought, says our poet, that you (masculine gender) end up stuck with one of those wives that have (in a mock-echo of the Hesiodic Catalogue of Women) any of the undesirable traits from this long list, and let us use animals to picture them to keep it short (because we’re on our way to getting soused — symposiasts are us!).

Semonides’ fr. 6 (“a man gets hold of no better item than a wife, / a good one, nor nastier than a bad one,” γυναικς οδν χρμ νρ ληΐζεται / σθλς μεινον οδ ίγιον κακς) reworks a passage from Hesiod’s Works and Days (“for a man does not get hold of anything better than a wife, / a good one, but there is not another thing nastier than a bad one,” ο μν γάρ τι γυναικς νρ ληίζετ μεινον / τς γαθς, τς δ ατε κακς ο ίγιον λλο [702-3]). Hesiod’s poetry is, too, not without animal references (hawk and nightingale [WD 202-212], drone [WD 302-306]). Along with these more overt similarities, fr. 7 has a good whiff of the didactic impetus of Works and Days. As Semonides’ poem is composed in iambics rather than Hesiod’s dactylic hexameter, its tone is more light-hearted, with a good sprinkling of crotchetiness, pettiness, and just plain whining, all of which, the poem’s ending lines suggest, the poet is quite aware of. What kind of creatures are we men, who would fight to the death over a woman?

My translation seeks to capture fr. 7’s flippancy as well as its callousness, its mocking and self-mocking voice. The aim is not to shy away from the crudeness and cruelty of Semonides’ words while not losing sight of the fun they are poking at their audience. While to say that the poem’s final lines undo its accumulation of abuse would be to go too far, they do contain a hint of the speaker’s own awareness about how ridiculous his poem sounds. What fools would let themselves be lured into having, into wanting to have, a wife — but wait, that’s us! It is from this little twist at fr. 7’s end that the subtitle for my translation was born. The joke is on you, Semonides; on — man oh man — man-kind.

 

Notes

2 

3 


Kristina Chew

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