DAVID R.

JORDAN
G RE E K V E RSE S

FROM

S T ABI AE

aus: Zeitschrift für Papyrologie und Epigraphik 111 (1996) 124

© Dr. Rudolf Habelt GmbH, Bonn

What prevents the rest. from nearby Pompeii." mh. nos. with photographs. Instead of pugivsai. no doubt would have made it easy to quote.2 For example. he spoils the meter. spelled here beivn-.4 I would reconstruct the scribber’s ‘model’: Ei[ ti" kalov" g∆ w]n oujk e[dwke pugivsai kalh'" ejrasqei. d’Orsi published in 19681 : 1 2 3 4 Ei[ ti" kalo. in quisquis . pereat. . . . Parola del Passato 23 (1968) 228–30. which no doubt shows the influence of everyday speech. but its almost mechanical parallelisms. AP 9. of corruption of verse into prose. if the proposed reconstruction is correct. possibly more conversational. though. as d’Orsi remarked." genovmeno" oujk e[dwke pugivsai: ejki'no" kalh'" ejrasqei. 13 (1933–34) 325–31). Gallavotti. not get’). There the jingle Quisquis amat valeat. more concise. Nap. let him not get’) a simple. ‘are the most likely to be misquoted’. Museum Criticum 13–14 (1978–79) 363–39. Atti R. kalov" É kalh'" followed by participles before the caesurae. 3070 e un graffito di Stabia’. What precedes. . pereat qui nescit amare.2 e±pu–gi±sa±. 2 C. to suggest that it may be a misquotation of a trimeter. especially a familiar one. model (‘let whoever did not give. from scanning as a trimeter is the prosaic genovmeno".3 Let us dismiss ejkãeÃi'no". for it occurs in three graffiti (Ernst Diehl. tuvcoi binhvmato". A fourth Pompeian graffito. 3] 9202. pugivsai. runs Siquis amat valeat. Accad. ei[ ti" . Jordan 1 ‘Un graffito greco di Stabia’.) more or less intact.D. is not perfectly iambic. bis tanto pereat quisquis amare vetat seems to have been popular. Pompeianische Wandinschriften und Verwandtes [Bonn 1910]. 4 I owe the conjecture to Professor R. a Greek graffito of the 1st century A. May we assume that the two lines were quoted and familiar in 1st-century Stabiae? Athens David R.. the two-liner is hardly even middling. The word is no doubt our scribbler’s variation on what stood in an original that he half-knew. 3 It may seem natural to assume that meter.124 G RE E K V E RSE S FROM S T ABI AE Excavations of the ‘Villa of Ariadne’ in Stabiae in 1965 brought to light. perhaps more ‘literary’. which L. would be the most memorizable feature of any verse passage. scheme of protasis and apodosis (‘if someone did not give. ‘P. quisquis vetat male pereat (CIL IV [Suppl. with notes by M. . tuvcoi. on the wall of one of its rooms. it could easily be a corruption of g∆ w[n. whose writer obviously had the jingle in the back of his mind.317. 593ff. prefers to recognize lyric meter in the lines as they stand. As poetry. ‘The most familiar quotations’. It is close enough. and the pair pugivsai É binhvmato". as it stands in the graffito. Bivnhma. Della Corte. Merkelbach. Carl van Doren reminds us (Oxford Dictionary of Quotations [Oxford 1941] vii). and that any misquotation would preserve the metrical shape if nothing else. is a new word. The graffito has the punctuation after pugivsai. but the penult is short: cf. the ‘not giving’ versus the ‘not getting’ of oujk e[dwke É mh. d’Orsi printed pugi'sai. Oxy. tuvcoi beinhvmato" The words kalh'" ejrasqeiv" and what follows form an acceptable iambic trimeter. it is enough to cite one instance contra." mh. ejkãeÃi'no" is unnecessary for the sense and looks like an intrusion that would have the effect of converting into the looser.