The Top Ten Epigrams of All Time

In the depths of winter, I finally learned that within me there lay an invincible summer.—Albert Camus

It is better to light a candle than curse the darkness.—Eleanor Roosevelt

If you can't be a good example, you'll just have to be a horrible warning.—Catherine the Great

If life were fair, Elvis would be alive and his impersonators would be dead.—Johnny Carson

Some cause happiness wherever they go; others whenever they go.—Oscar Wilde

To err is human, but it feels divine.—Mae West

An eye for an eye leaves the whole world blind.—Mohandas Gandhi

For most of history, Anonymous was a woman.—Virginia Woolf

I'm not offended by dumb blonde jokes because I'm not dumb, and also I'm not blonde.—Dolly Parton

He does not believe, who does not live according to his belief.—Sigmund Freud



In April 2014 A Poet’s Glossary by Academy Chancellor Edward Hirsch was published. As Hirsch writes in the preface, “this book—one person’s work, a poet’s glossary—has grown, as if naturally, out of my lifelong interest in poetry, my curiosity about its vocabulary, its forms and genres, its histories and traditions, its classical, romantic, and modern movements, its various outlying groups, its small devices and large mysteries—how it works.” Each week we will feature a term and its definition from Hirsch’s new book.

epigram: From the Greek epigramma, “to write upon.” An epigram is a short, witty poem or pointed saying. Ambrose Bierce defined it in The Devil’s Diction­ary (1881–1911) as “a short, sharp saying in prose and verse.” In Hellenistic Greece (third century B.C.E.), the epigram developed from an inscription carved in a stone monument or onto an object, such as a vase, into a literary genre in its own right. It may have developed out of the proverb. The Greek Anthology (tenth century, fourteenth century) is filled with more than fifteen hundred epigrams of all sorts, including pungent lyrics on the pleasures of wine, women, boys, and song.

Ernst Robert Curtius writes in European Literature and the Latin Middle Ages (1953): “No poetic form is so favorable to playing with pointed and sur­prising ideas as epigram—for which reason seventeenth- and eighteenth-century Germany called it ‘Sinngedicht.’ This development of the epigram necessarily resulted after the genre ceased to be bound by its original defi­nition (an inscription for the dead, for sacrificial offerings, etc.).” Curtius relates the interest in epigrams to the development of the “conceit” as an aesthetic concept.

Samuel Taylor Coleridge defined the epigram in epigrammatic form (1802):

What is an epigram? A dwarfish whole;
Its body brevity and wit its soul.

The pithiness, wit, irony, and sometimes harsh tone of the English epigram derive from the Roman poets, especially Martial, known for his caustic short poems, as in 1.32 (85–86 B.C.E.): “Sabinus, I don’t like you. You know why? / Sabinus, I don’t like you. That is why.”

The epigram is brief and pointed. It has no particular form, though it often employs a rhymed couplet or quatrain, which can stand alone or serve as part of a longer work. Here is Alexander Pope’s “Epigram from the French” (1732):

Sir, I admit your general rule,
That every poet is a fool:
But you yourself may serve to show it,
That every fool is not a poet.

Geoffrey Hartman points out that there are two diverging traditions of the epigram. These were classified by J. C. Scaliger as mel and fel (Poetics Libri Septem, 1561), which have been interpreted as sweet and sour, sugar and salt, naïve and pointed. Thus Robert Hayman, echoing Horace’s idea that poetry should be both “dulce et utile,” sweet and useful, writes in Quodlibets (1628):

Short epigrams relish both sweet and sour,
Like fritters of sour apples and sweet flour.

The “vinegar” of the epigram was often contrasted with the “honey” of the sonnet, especially the Petrarchan sonnet, though the Shakespearean sonnet, with its pointed final couplet, also combined the sweet with the sour. “By a natural development,” Hartman writes, “since epigram and sonnet were not all that distinct, the pointed style often became the honeyed style raised to a higher power, to preciousness. A new opposition is frequently found, not between sugared and salty, but between pointed (precious, over­written) and plain.”

The sometimes sweet, sometimes sour, and sometimes sweet-and-sour epigram has been employed by contemporary American formalists, such as Howard Nemerov, X. J. Kennedy, and especially J. V. Cunningham. Here is a two-line poem that Cunningham translated in 1950 from the Welsh epi­grammatist John Owen (1.32, 1606):

Life flows to death as rivers to the sea,
And life is fresh and death is salt to me.

Excerpted from A Poet’s Glossary by Edward Hirsch. Copyright © 2014 by Edward Hirsch. Used by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.



collected in
collection
A Poet’s Glossary
Each week we feature a new term from Academy Chancellor Edward Hirsch’...

Late Saturday night's forever epigrammatic.
I am always cleaning up.
I am tired of wasting my life with you.
I want real love,
not to treated like a fool
or being kicked around
like a lamb's wool cushion.

What’s the connection?—
        a secret kept best between plug and socket.
               Prophet man gone the old electric way,
[and durn’ an election year, no less]. Epigrammatic burps, and
  occasional flatulence, of intellection,      
I can’t help
        but admire my own kindofbouquet, it ain’t easy—
                 when Christ was crucified like gas…

…There’s a million and more clichés I could toss around as mud and dirt;
       Alas!,
                         I’d rather speak in terms of glass, [plateglass, stainedglass etc.,
               germs and love, and guns and lovely lovely ca-sh,

today’s math; burnt and sad, self—Walking [my] small town streets, sure to stray faraway of dense windows,
        and passerby's in ugly masks, with karaoke mouthpieces,
                       Ballads of boredom on precipitate tongues, Shoo!—away
and blow apart minstrel clouds.

        No taxis, [ever]
        just men and women in ordinary cars, pedestrians,
                   in obvious shoes,sporting unconscious denim,northeastern scowls
—fashionable scowls,
         nuanced grays that distract from the spots of ill sun [hostage winter sun;]
                 scowls like Northeastern sky herself.

“I’ve surely lost my perspective”
                 [An empty phrase, really. A neat vaguery, I submit.]
        I had a perspective, I still got it;
        Though not much use it does me being how singular it is,
                                       Optics and all, no shades of reflection,
Dense windows of thought, so dense,
       —it’s now a microscope! Hell, all i can make out is a loose collection of colors,

A broken box of loose wires
          and some kinda bang-up dodgy liberty, those frayed connections, too.
                Nothing as tidy as plug and socket,
        however,enough
                to keep the lights on.

At two this midnight the little dark one
Became a poem, her all-knowing smile
The first stanza and her baby bird- glance
Became the next one as she pranced there
On the floor up and down like pendulum
Swinging in the free air, a full fall of force,
A pout of sarcasm from tiny baby lips.

I at midnight wanted to round it off
With a cool third stanza, of epigram
A last line well said, to the deep night.
But she wouldn’t let me, the little one
That squirmed in my hands like a worm
Full of bones that pushed against mine
In my withered palms and finger bones.
It is life which pushed against my death.
As the night creeps I once again go into
My epigrammatic mode of the old poet
With the bally irony thing barely broached.


The curl on my lips that briefly occurred
Vanished without trace in my confusion
As my eye followed her moving in circles.
I thought I had seen the curl on her lips.

Meleager translations

Meleager was a Greek poet who lived circa 140-70 BC. Meleager is most famous today for The Garland, an anthology he compiled from epigrammatic poems of his era and earlier. In his preface Meleager assigned each poet the name of a flower, shrub or herb (hence the term "anthology," which means "flower collection"). In his commentary on The Greek Anthology, editor and translator J. H. Merivale said that as a composer of epigrams Meleager was "very far superior" to the authors he included in The Garland.

If I am Syrian, what of it?
Stranger, we all dwell in one world, not its portals.
The same original Chaos gave birth to all mortals.
—Meleager, loose translation by Michael R. Burch

Love, how can I call on you;
does Desire dwell next to the dead?
Cupid, that bold boy, never bowed his head to wail.
—Meleager, loose translation by Michael R. Burch

Love, I swear,
your quiver holds only empty air,
for all your winged arrows, set free,
are now fixed in me.
—Meleager, loose translation by Michael R. Burch

Love, if you incinerate my soul, touché!
For like you she has wings and can fly away!
—Meleager, loose translation by Michael R. Burch

When I see Theron everything’s revealed.
When he’s gone all’s concealed.
—Meleager, loose translation by Michael R. Burch

When I see Theron everything’s defined;
When he’s gone I’m blind.
—Meleager, loose translation by Michael R. Burch

When I see Theron my eyes bug out;
When he’s gone even sight is in doubt.
—Meleager, loose translation by Michael R. Burch

Mother-Earth, to all men dear,
Aesigenes was never a burden to you,
thus rest lightly on him here.
—Meleager, loose translation by Michael R. Burch

Meleager dedicates this lamp to you, dear Cypris, as a plaything,
since it has been initiated into the mysteries of your nocturnal ceremonies.
—Meleager, loose translation by Michael R. Burch

I know you lied, because these ringlets
still dripping scented essences
betray your wantonness.
These also betray you—
your eyes sagging with the lack of sleep,
stray tendrils of your unchaste hair escaping its garlands,
your limbs uncoordinated by the wine.
Away, trollop, they summon you—
the reveling lyre and the clattering castanets rattled by lewd fingers!
—Meleager, loose translation by Michael R. Burch

Moon and Stars,
lighting the way for lovers,
and Night,
and you, my mournful Mandolin, my ***** companion ...
when will we see her, the little wanton one, lying awake and moaning to her lamp?
Or does she embrace some other companion?
Then let me hang conciliatory garlands on her door,
wilted by my tears,
and let me inscribe thereon these words:
"For you, Cypris,
the one to whom you revealed the mysteries of your revels,
Meleager,
offers these spoiled tokens of his love."
—Meleager, loose translation by Michael R. Burch

Tears, the last gifts of my love,
I send drenching down to you, Heliodora.
Here on your puddling tomb I pour them out—
soul-wrenching tears
in memory of affliction,
in memory of affection.
Piteously, so piteously Meleager mourns you,
you still so precious, so dear to him in death,
paying vain tributes to Acheron.
Alas! Alas! Where is my beautiful one, my heart's desire?
Death has taken her from me, has robbed me of her,
and the lustrous blossom lies trampled in dust.
But Mother-Earth, nurturer of us all ...
Mother, I beseech you, hold her gently to your *****,
the one we all bewail.
—Meleager, loose translation by Michael R. Burch

Love, the cuddly baby
safe in his mother's lap,
chucking the dice one morning,
gambled my soul away.
—Meleager, loose translation by Michael R. Burch

I lie defeated. Set your foot on my neck. Checkmate.
I recognize you by your weight;
Yes, and by the gods, you’re a load to bear.
I am also well aware
of your fiery darts.
But if you seek to ignite human hearts,
******* with your tinders;
mine’s already in cinders.
—Meleager, loose translation by Michael R. Burch

Silence!
They must have carried her off!
Who could be so barbaric,
to act with such violence,
to wage war against Love himself?
Quick, prepare the torches!
But wait!
A footfall, Heliodora's!
Get back in my *****, heart!
—Meleager, loose translation by Michael R. Burch

Keywords/Tags: Meleager, translation, ancient Greek, epigram, Heliodora, garland, flower, anthology, Cupid, Eros

My Pen nonchalantly flows its ink,
Over the empty lines; thirsty.
Thirsty for epigrammatic language.
The spoken line’s elisions and falsifications,
Predispose propensities,
And mutate the prevailing attitude,
Towards us, our future,
Not others or theirs.