The Tiny and the Fragmented:

Miniature, Broken, or Otherwise

Incomplete Objects in the Ancient
World S. Rebecca Martin
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i

The Tiny and the Fragmented

iii

ij

The Tiny and the Fragmented

Miniature, Broken, or Otherwise Incomplete
Objects in the Ancient World

Edited by S. Rebecca Martin

and Stephanie M. Langin-​Hooper

ij

1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.

Published in the United States of America by Oxford University Press

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© Oxford University Press 2018

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address above.

You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-​in-​Publication Data

Names: Martin, S. Rebecca, editor. | Langin-​Hooper, Stephanie M., editor.
Title: The tiny and the fragmented : miniature, broken, or otherwise
incomplete objects in the ancient world /​
edited by S. Rebecca Martin and Stephanie Langin-​Hooper.
Description: Oxford : Oxford University Press, 2018. | Includes index.
Identifiers: LCCN 2018011604 | ISBN 9780190614812 (hardcover) |
ISBN 9780190614829 (updf ) | ISBN 9780190910822 (ebook)
Subjects: LCSH: Miniature art. | Material culture. | Art, Ancient.
Classification: LCC CC100 .T559 2018 | DDC 930.1—​dc23
LC record available at https://​lccn.loc.gov/​2018011604

9 8 7 6 5 4 3 2 1
Printed by Sheridan Books, Inc., United States of America
v

SRM: For B&B.

SLH: For my parents, Ann and Jerry Langin-​Hooper.

vi

i

Contents

List of Contributors ix

1. In/​Complete: An Introduction to the Theories of Miniaturization

and Fragmentation 1
S. Rebecca Martin and Stephanie M. Langin-​Hooper

2. Breaking Bodies and Biographies: Figurines of the Playa de

los Muertos Tradition 24
Rosemary A. Joyce

3. Tiny and Fragmented Votive Offerings from Classical Antiquity 48

Jessica Hughes

4. Divinity in Part or in Full? Representations of Tanit in Texts and Art 72

S. Rebecca Martin

5. Style as a Fragment of the Ancient World: A View from the Iron Age Levant
and Assyria 99
Marian H. Feldman

6. Stronger at the Broken Places: Affect in Hellenistic Babylonian Miniatures

with Separately Made and Attached Limbs 116
Stephanie M. Langin-​Hooper

vii
viii i Contents

7. Tiny Bodies for Intimate Worlds: Human Figurines in Iberian

Iron Age Sanctuaries 145
Mireia López-​Bertran and Jaime Vives-​Ferrándiz

8. Incomplete: The Uneasy Powers of Holes, Cut Surfaces, and Neolithic

Pit-​Houses 170
Doug Bailey

9. A Response: Scaling the Walls of Persepolis Toward an Imaginal

Social/​Material Landscape 188
Margaret Cool Root

Index 217
ix

Contributors

i

Doug Bailey is Professor of Visual Archaeology in the Department of Anthropology

at San Francisco State University. His work ranges from excavations in Romania
and Bulgaria to radical critiques of the study of prehistoric art (particularly
anthropomorphic figurines; see Prehistoric Figurines: Representation and Corporeality
[Routledge, 2005]) and of the presentation of material through museum catalogues
(see Unearthed [Sainsbury Centre, 2010]). Current work explores art/​archaeology
and the unique spaces that it offers to archaeologists, artists, art historians, and other
progressive thinkers in sciences, humanities, and social sciences. Doug’s PhD is in
Archaeology from Cambridge.
Marian H. Feldman is Professor of the History of Art and Near Eastern Studies and
the W. H. Collins Vickers Chair of Archaeology at the Johns Hopkins University.
Her research investigates intercultural interactions in the ancient Near East with a
focus on issues of agency, style, and materiality. She is the author of Communities of
Style: Portable Luxury Arts, Identity, and Collective Memory in the Iron Age Levant
(Chicago, 2014), Diplomacy by Design: Luxury Arts and an “International Style” in
the Ancient Near East, 1400–​1200 BCE (Chicago, 2006), and numerous articles, as
well as edited volumes.

ix
xi Contributors

Jessica Hughes is a Senior Lecturer in Classical Studies at The Open University

(UK). Her research focuses on Greek and Roman material culture and its reception
in later periods, and she has particular interests in material religion, memory
studies, the body, and the cultural history of southern Italy. Her monograph on
anatomical votives (Votive Body Parts in Greek and Roman Religion) was published
by Cambridge University Press in 2017. She also co-​produces The Votives Project
website (https://​thevotivesproject.org/​) and edits the journal Practitioners’ Voices in
Classical Reception Studies.
Rosemary A. Joyce, the Alice S. Davis Endowed Chair in Anthropology at the
University of California, Berkeley, received her PhD from the University of Illinois-​
Urbana in 1985. A curator and faculty member at Harvard University from 1985 to
1994, she moved to Berkeley in 1994. She has received a John Simon Guggenheim
Memorial Foundation Fellowship, was an Astor Visiting Lecturer at Oxford, a
Fulbright Senior Scholar in Costa Rica, and a fellow at the Bunting Institute and the
Center for Advanced Study in the Behavioral Sciences. The most recent of her nine
books is Painted Pottery from Honduras: Object Itineraries and Lives (Brill, 2017).
Stephanie M. Langin-​Hooper is Assistant Professor and the Karl Kilinski II
Endowed Chair of Hellenic Visual Culture in the Department of Art History at
Southern Methodist University. She received her PhD from the University of
California, Berkeley, and also holds degrees from the University of Pennsylvania
and the University of Oxford. She has authored numerous articles, most recently
in World Archaeology and Iraq. Her research investigates Hellenistic Babylonian
terracotta figurines, and the cross-​cultural interactions they bear evidence of,
through lenses of miniaturization, gender, and postcolonial theory.
Mireia López-​Bertran is a Lecturer of History of Art at the Universitat de València
(Spain). Between 2010 and 2012, she was postdoctoral fellow with the Spanish
Ministry of Education and Culture—​FECYT and Honorary Research Fellow at
the University of Glasgow. She specializes in the Phoenician and Punic sites of the
ancient Mediterranean, with research interests in embodiment, rituals, and gender.
S. Rebecca Martin is Associate Professor of Greek Art and Architecture at Boston
University. Her research focuses on the ancient Mediterranean, particularly the
intersection of Greek and Phoenician art history. She has written on Greek and
Phoenician art and archaeology, much of which is tied to her participation in the
excavations of Tel Dor, Israel. Her book The Art of Contact: Comparative Approaches
to Greek and Phoenician Art was published by the University of Pennsylvania Press
in 2017. Her current book project concerns ideas about representation and body
parts in Greek art.
xi

Contributors j xi
Margaret Cool Root is Professor and Curator Emerita in the Department of the
History of Art and the Kelsey Museum of Archaeology, University of Michigan.
The King and Kingship in Achaemenid Art (Acta Iranica 19, 1979) was her first major
publication on the Persian Empire. Since then, she has edited numerous thematic
volumes and is engaged in a collaborative project on Persepolis seals. Root has
continued to explore the architecture and sculpture of the Persian Empire, as well
as issues of theory and historiography. Her work has been supported by the John
Simon Guggenheim Memorial Foundation, the Samuel H. Kress Foundation, the
National Endowment for the Humanities, and the Iran Heritage Foundation.
Jaime Vives-​Ferrándiz has been Curator at the Museum of Prehistory in València
(Spain) since 2004. He was a visiting scholar at the University of Glasgow in 2012.
His research focuses on the western Mediterranean during the first millennium bce,
and he is especially interested in colonial situations and movements of people and
material culture. He has been field co-​director of the excavations at several Iberian
settlements.
xi

The Tiny and the Fragmented

1

1
In/​Complete
An Introduction to the Theories
of Miniaturization and Fragmentation
S. Rebecca Martin and Stephanie M. Langin-Hooper

i
This volume is written in response to what we see as a theoretical turn in the
study of miniature, broken, or seemingly fragmentary objects of the ancient world.
For years, the standard scholarly approach to such objects was to understand them as
incomplete things, whose principal purpose was to serve as a referent to a complete
and often life-​sized whole. By this logic, a figurine of a female body should always rep-
resent, in some fashion, a larger-​scale woman or feminine concept—​whether an eve-
ryday mortal, a goddess, or an abstract notion of fertility (­figure 1.1). A herm statue or
a votive leg was understood to abbreviate key parts of the body of a god or an ailing
person but still existed mainly in order to signal complete corporeality. Fractures and
incompletenesses were thought meaningful only through the breaking, destroying,
or refusing to finish the “whole” object. Thankfully, such essentializing and reductive
assumptions are becoming less commonly used, and more commonly questioned.
Anthropologists and archaeologists have paved much of the way forward
in studying the little and broken things of the past as objects in their own right.
Quantitative analysis of figurines, in particular, has progressed far beyond simple
cataloguing and measuring to the complex diagraming of deposition patterns,
mapping of material sources, and technical scanning (using UV, Infrared, and X-​ray,
among other mechanisms) of individual artifacts for traces of paint and indications
of wear.1 Rather than treating miniature and fragmentary things as inconsequential,

1
2i S. Rebecca Martin and Stephanie M. Langin-Hooper

Figure 1.1 A student intern, Jess Ro. Pfundstein, adjusts a Hellenistic Babylonian figurine
fragment on a display mount in preparation for the exhibition “Life in Miniature: Identity and
Display at Ancient Seleucia-​on-​the-​Tigris” at the Kelsey Museum of Archaeology, University of
Michigan, Ann Arbor.
Digital image courtesy of Mariah Postlewait, © Mariah Postlewait, 2013.

such archaeological studies harness those scalar and material properties as

advantages in the attempt to better understand the past. Tiny things are often found
in large numbers, leading to more thorough and nuanced distribution graphs; de-
liberate fragments point to particular kinds of ancient activities and human–​object
encounters. Such scientific groundwork underpins many recent theoretical studies
of tiny and fragmented objects, as ­chapters 2 and 7 of this volume, as well as the re-
cent “Miniaturisation” issue of World Archaeology, attest. Yet there are also limits to
the kinds of questions that quantitative archaeological exploration of the miniature
and fragmented can answer. Methods that treat figurines and votives as embodied
data can overlook, or oversimplify, the visual and affective properties of the indi-
vidual object. Uniform objectivity and rigor can also be somewhat illusory; even
measuring an object entails some inherent subjectivity (­chapter 2).2
The theoretical turn in the study of miniature and partial objects more fully takes
into account these objects’ representational properties, while also acknowledging
3

In/Complete: An Introduction j3
that they are more than simply semiotic icons, signifying by mimetic properties alone.
When a life-​sized or whole thing is made in a scaled-​down or partial form, when it
is deliberately broken as part of its use, or when it is considered successful in the eyes
of ancient users only if it shows some signs of wear, it challenges our expectations of
representation and wholeness, of what it means for a work of art to be “finished” and
“affective” (­chapters 3–​4). These objects have a particular command over the viewer,
enticing him or her into personal interactions, demanding specific modes of looking
and touching, and encouraging the displacement of personal identity. The represen-
tational properties of tiny and fragmented things made them external referents to
the world(s) of their users, but their materiality also made them immediate actors
within those ancient social landscapes (­chapters 2, 6–​7). Approaches that focus on
use and function are important (Tanner 1992, 2006); art history is not just a pur-
suit of meaning. Anthropologically informed methods offer fresh approaches to the
long-​held idea that ancient art worked, that all art, no matter how grand or humble,
was made to be used for social and religious purposes. These methods also encourage
us to reflect anew on techniques of art history that are usually taken for granted in
the study of ancient objects, notably the concept of style (­chapter 5).

Miniaturization Theory

The intrinsic appeal and fascination of a miniaturized human body—​to which

archaeologists and museum curators (and their audiences) have intuitively
responded, often devoting more attention to figurines than other artifacts found in
comparable or greater quantities (such as potsherds)3—​was not explicitly analyzed
until relatively recently. This analysis, which we term “miniaturization theory,” has
its roots in the 1984 work of cultural and literary criticism by Susan Stewart (On
Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection).
Stewart was one of the first to articulate how “the tiny” inspires wonder and amaze-
ment, enticing audiences into sensual engagement while simultaneously freezing
and abstracting both space and time. While Stewart ultimately views the mini-
ature as a metaphor for the interiority of the self, others—​particularly Rosemary
Joyce and Doug Bailey (see c­ hapters 2 and 8)—​have pioneered more concrete ma-
terial culture applications for this type of analysis. In their approaches, miniature
objects are seen as inducing intimacy with their users, who have “a sense of being
drawn into another world” (Bailey 2005, 34). An invitation to tactile interaction
is a critical component of this dialogue, as it encourages the user’s hand to bridge
the otherwise disorienting and discordant scalar difference between the figurine and
“real life,” smoothing the user’s imagined entry into (and participation within) the
miniaturized landscape, such as a doll’s house (­figure 1.2). The critical role of tactile
4i S. Rebecca Martin and Stephanie M. Langin-Hooper

Figure 1.2 A doll’s house.

© Miflippo | Dreamstime.com.

interaction and bodily intimacy explains why many figurines in the ancient world
(including many presented in this volume) conform easily—​in size, shape, texture,
and durability—​to the human hand’s ability to touch and grasp.
Through these accommodations to a user’s body, figurines inspire a kind of “en-
chantment” with the idea that a small-​scale world could be so easily accessible (Gell
1992, 47).4 The user’s obvious physical dominance over miniatures seduces him or
her into feeling enlarged and empowered (Bailey 2005, 33). Regardless of his or her
status in society, the user can rule and control what Bachelard ([1958] 1994) referred
to as a daydream of a life within a life. This alluring combination of wonderment
and accessibility is crucial to the social function of miniatures. By seeming so avail-
able and endearingly familiar, figurines can present alternate versions of social re-
ality that engage with, but do not precisely reflect, the social milieu in which they
circulate—​and yet be accepted as “real.” Within the world of the miniature, complex
lived identities can become simplified and essentialized.
One of the most enduring figurine poses in Mesopotamia presents an adult woman
holding an infant child—​a representation of motherhood so reductive in content
5

In/Complete: An Introduction j5
and unified across time that it has been interpreted by scholars as embodying the ab-
stract concepts of fertility and procreation themselves (see, for instance, the examples
in Van Buren 1930, 40–​50). Concentrated focus on the mother–​infant relation-
ship was possible in figurine form, whereas the biographies and life circumstances of
real Mesopotamian women who happened to be mothers would undoubtedly have
encompassed identities and social relationships beyond the maternal. Bodies can also
become idealized in miniature form—​few women, for instance, could live up to the
graceful perfection of a Tanagra figurine (Dillon 2012)—​or be reduced to unattrac-
tive parody, as presented in the exaggerated ugliness of “grotesque” figurines from the
Hellenistic era (Higgins 1967, 103). Transitory life stages (such as pregnancy), actions
(such as horse riding or athletic exercise; see c­ hapter 6), or events (such as ritual ded-
ication; see c­ hapter 3) are permanently frozen and theatricalized through miniaturi-
zation. What living bodies can only achieve as temporary states becomes eternal and
perfect in the world of the figurine. The intimacy, accessibility, and enchantment of
these objects induces their users to accept objectified social distortions as participants,
role models, and influential agents of change within the real-​life social world. The term
“fascination” has been used by one of us (Langin-​Hooper 2015)5 to describe this “mu-
tual intimacy of miniature and user, in which each is attracted to, and exercises power
over, the other in a mutually entangled interaction” (for use of the term “entanglement”
to express relationships between persons and things, see especially Hodder 2012).
Theoretical approaches to miniaturization add nuance to the traditional ways in
which miniatures are studied, rather than replacing them. Contextual and formal
analysis, and resulting assessments of figurine function (i.e., miniature object as votive
dedication, children’s toy, fertility aid, or household decoration) still provide valu-
able information about ancient social practices and beliefs. Yet, as informative as such
reconstructions of figurine function are, it is nevertheless important to note that they
are also limited and proximal, often obscuring the inherent plurality of a figurine’s
“purpose” which could change throughout its use-​life.6 Miniaturization theory gives
scholars a toolkit for deconstructing prima facie assumptions about the usefulness of
figurines—​assumptions that only seem like self-​evident explanations because of the
ways in which miniatures seduce and enchant even the scholars who analyze them,
convincing us that their presence and practicality is obvious and natural. Yet, on close
analysis, why would gods be deemed satisfied by receiving a miniature statue of a
person or animal left in their temples, such as with the early Mesopotamian “eye-​
idols” at Tell Brak?7 Or why would a woman be pleased by having a miniature dancing
girl decorate her bedroom, as seen at the Hellenistic site of Priene?8 Miniaturization
theory pushes analysis in the direction of these questions, revealing the mechanisms
by which miniature objects operated so convincingly that their use spans almost every
human society at almost every point in history.
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 "Oi! sen sulosointu ja majesteetillisyys ihan hurmaavat minut —
varsinkin kun kuulen sitä niin viehättävän olennon suusta. Mutta
valitettavasti en sitä paljon osaa," vastasin minä. "Ettekö tahtoisi
ruveta minulle opettajaksi?"

Tein tuon rohkean kysymyksen puoliksi leikillä, mutta ihmeekseni

ja ilokseni antoi Fatma siihen aivan vakavan, myöntävän
vastauksen. Sillä vaikka hän piti kunniassa ja hartaasti puolusti
itämaalaisia tapoja, olivat häneen kuitenkin vaistomaisesti ja
ikäänkuin tietämättään vaikuttaneet lännen vapaat aatteet, ja
kuumaverisenä etelän lapsena toimi hän pikemmin tunteen kuin
järjen vaatimuksien mukaan. Viimein antoi äitikin myöntymyksensä.

Jättäessäni jäähyväiset oli siis minulla se suloinen tieto, että

vastedeskin saisin käydä uutta tuttavaani tervehtimässä.

Olikin jo yli puoliyön, ennenkuin läksin. Naiset toivottelivat minulle

Allahin siunausta ja lupasivat iltahartaudessaan muistaa minuakin.

Päästyäni kotiin, minä haaveilin kauan valveilla vuoteellani,

ajatellen rakasta osmaanitartani, ja kun nukuin, niin näin unta
moslemin paradiisista, jossa mustasilmäiset huurit tarjoilivat kahvia,
soittivat kitaraa ja, puhallellen ilmaan sinerviä savurenkaita,
muodostivat sinne kiemurtelevia arabialaisia kirjaimia, jotka leijaillen
oikealta vasemmalle vähitellen järjestyivät turkinkielisiksi sanoiksi ja
lauseiksi.
RUNOJEN KÄÄNNÖKSIÄ
ISRAELIN UNELMA

Kirj. Thomas Moore (Suomennos englanninkielestä)

Jo nouse, oi! jo salamoi sun valos yli kansain muiden —

sun Herras sulle armon soi, sä jalo joukko valituiden!

Sä nouse, sinun säteesi

on valaisevat pakanoita
ja mailman prinssit, kuninkaat
sun korkeuttas kunnioittaa.

Sun silmäs nosta, katseles:

kuink' yli maiden, meren aavan
sun poikas palaa, tyttäres.
Jo parvi kotiin saapuu taaja.

On Libanoni loistossaan, sen seetrit, palmut voitokkaina

kuin juhlapuku pyhän maan. Sun kunniasi kestää aina!
KUN OKSAT AKKUNAHAN LYÖ

Kirj. M. Eminescu
(Suomennos rumaniankielestä)

Kun oksat akkunahan lyö

ja poppelit sen alla
jo verhoo vaipallansa yö,
oon miellä oottavalla.

Kun tähdin väikkyy virran vuo

ja järven tyyni pinta,
sä silloin saavu kultas luo
ja rauhoita sen rinta!

Kun kuuhut pilven lomasta jo pilkistääpi esiin, mun valtaa

kaiho tunnelma ja silmät käyvät vesiin.
TOIVO

Kirj. Gioachino Ricotta

(Suomennos italiankielestä)

Mä kerran lainehelta kysyin näin,

mi vaahtoin vyöri: "eikö konsanaan
tuo nainen syömmetön mun lempeäin
voi palkita?" Se vastas: "ehkä vaan."

Ja vielä kysyin lainehelta näin: "tää tunne tuskaisa, mi

rauhan vei, mua seuranneeko kautta elämäin?" "Sä toivo,"
kuiski aalto, "ehkä ei!"
KIRJOITUS KIVEN KYLJESSÄ

Kirj. Lorenzo Stecchetti

(Suomennos italiasta)

Nään teidät, mi keveesti kuiskien siinä

lempenne vuoksi
nousette vuorelle siimeeseen metsän
ja lähtehen luoksi.

Tien vieressä synkkänä katselen teitä; ketään en hemmi,

ääneti yksinäin murjotan yhä, en konsana lemmi.
HALUNI

(Suomennos italiankielestä)

Sä yksin vain, sä yksin, armahainen, mun sydäntäni

huojennella voisit; sä yksin kyyneleeni kuivaat, nainen, ja
elämääni luottamusta loisit.

Jos aina oisit luonain, kaunokainen, ja lemmenloihtujas

mun kuulla soisit, sä rakkaudellasi, sillä vainen, mun rintahani
levon, onnen toisit.

Mun pääni painuneena hartioillas mä levähtäisin elon

ongelmista, mun verhoaisit otsan kutriloillas —

Näin uinuisin. Ja nektaria oisi mun sielulleni välke

katsehistas, kun huultes hymyn suudelmilla joisin.
ILTASOITTELU

(Suomennos italiankielestä)

Kun eilen neidolleni lempimälle mä huviketta mielin

laulamalla, niin mandoliinin otin ma ja hälle sen soinnuttelin
akkunansa alla.

Mä hänen, ihastuksissansa tälle, jo mulle kätösellä

valkealla noin luulin viittailevan empivälle ja lemmenlehden
luovan armahalla.

Ja kas! hän käärii, viskas kaunokainen jo mulle paperin,

min poimijaksi mä riemusyömmin riensin luottavainen.

Vaan haipuipa mun mielein haikeaksi — kaks' löysin lanttia!

mun oli nainen tuo luullut soittoniekaks kulkevaksi.
TAVOITTELUA

Kirj. Edo Bacia

(Suomennos espanjankielestä)

Jos tuulonen oisin,

sun ohitses tullen
se suukkosen sullen
niin viehkeän tois.

Jos öisin mä lintu,

sun rintasi rai'un
ja säveltes kai'un
se toistella vois.

Jos oisin ma aalto,

sun puhtoista pohta
mun haluni kohta
kas huuhdella ois!

Jos oisin mä kukka,

mi tuoksuten puhkee,
sun tähtesi uhkee
ois umppuni mun…

En kukka, en tuuli, en lintu, en laine: oon, impeni, vainen

mä lempijäs sun!
PIKKUTYTTÖ

Kirj. Czuczor Gergely

(Suomennos unkarinkielestä)

Kuin taivaan ranta ruskottuu päivän laskiessa tyttö pieni

punastuu poikain katsoessa, aatteleepi itsekseen: mit
töllistääpi nuo? Kuink' kaunis on, ei tiedäkään viel pikku
hupsu tuo.

Ei tiedä, ett' on kaunis hän kuin punaomenainen, lempi

vielä sydäntään ei vienyt valtavainen; äidin armaan luona hän
vain riemuin hyppelee ja pelokkaana katseilta pois poikain
pakenee.

Vaan vielä saapuu aika se, saapuu kyllä kohta, jolloin

sulosilmät ne kaihomieltä hohtaa. Hiutuen hän ikävöi, ei
enään pakoile, ei juokse pois, — jos juokseekin, lyö sydän
lemmelle.
VALKOVERINEN

Kirj. Dionísios Solomós

(Suomennos uuskreikasta)

Näin eilen iltasella

mä immen vaalakan,
mi aikoi matkustella,
pois astui laivahan.

Jo tuuli purjeet täytti

nuo vaahtovalkoiset;
ne kyyhkyseltä näytti,
nuo siivet avoimet.

Niin siskot, tuttavansa

jo kaipuu valtasi,
kun nenäliinallansa
hän viittoi hyvästi.

Mä seisoin rannelmalla
ja häntä katselin,
siks' kuin jo ulapalla
pois häipyi pursikin.

En tiennyt enää, näinkö

vain vaahdon valkean,
vai parveen ystäväinkö
viel immen viittovan.

Mä katsoin yhtenänsä,
jo purje poistuikin;
nyt itki ystävänsä
ja itkin minäkin.

En itke laivaa suotta,

en itke purjeita,
vaan itken neittä tuota,
mi pois on matkaava.

En purjeita, vaan neittä mä itken vaalakkaa, mi meren

vaahtoteitä pois kaukomaihin saa.
EVRIKÓMI

Kirj. Dionísios Solomós

(Suomennos uuskreikasta)

"Oi meri, milloin nähdä saan mä Evrikomi-immen?

sä minne hänet saattelit, ah sano mulle, minne?

Sun rantojesi kallioilla häntä vuotellunna

mä olen, vuodet vieri pois, ei armas saapununna.

Jo purjehiksi vaahtopäät mä luulin monta kertaa!" —

näin lausuu Thirsis itkien ja suuteleepi merta.

Ei onneton hän tiedä, että meri povehensa

jo kateellinen haudannut on hänen armaisensa.
NUOREN NAISEN HAUDALLA

Kirj. Fâzil
(Suomennos turkinkielestä)

Miksi taitoit, Asrael,

tään kukan kaunihimman pois
elon uhkuin parhaillaan?
Hän shaahin ilo ollut ois…

Hellin hänet hyväilyin, oi, povehesi tuudi, maa, kunnes

kutsuun serafin hän paratiisiin havahtaa!
LEMMITYN HUULET

Kirj. Husnî
(Suomennos turkinkielestä)

Vertasin armaani huulia mä punervaan karneolikivehen.

Kysyttiin: erämaan paateenko sä vaihtaisit elämän lähtehen!?
SYKINTÄÄ

(Mukaelma)

Tuo sokea raivo, nuo himojen myrskyt mi rinnoissa riehuu

ja halujen tyrskyt, kuin vaahtoova syksyllä pauhaava meri, tuo
kiehuva kuumien suonien veri, tuo inehmon sydäntä polttava
tuli, min edeltä rauha ja tyyneys suli, nuo pyytehet hurjat mi
sielua syöpi — on sukumme uusi, mi povessa lyöpi.
INTOHIMOJEN PUUTARHASSA

Kirj. Hélène Vacarescu

(Suomennos englanninkielisestä käännöksestä)

Mä tunnen tarhan,
mi tuliruusuin
kukkii, sielut sen hehkuun uupuin.

Ei kerro kieli
sen hurman öitä,
ei täällä lasketa hetkilöitä.

Kas lemmen ruususet

punaisimmat
ne täällä tuoksuvat ihanimmat!

Käy aamuin illoin niin viima vieno, se kuiskii kaihoja

kukkatienoon.
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