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"text": " ὄρθρος ἔβη, Χρύσιλλα, πάλαι δ᾽ ἠῷος ἀλέκτωρ\nκηρύσσων φθονερὴν Ἠριγένειαν ἄγει.\nὀρνίθων ἔρροις φθονερώτατος, ὅς με διώκεις\nοἴκοθεν εἰς πολλοὺς ἠιθέων ὀάρους.\n\n γηράσκεις, Τιθωνέ: τί γὰρ σὴν εὐνέτιν Ἠῶ\nοὕτως ὀρθριδίην ἤλασας ἐκ λεχέων;"
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"text": "L’alba è andata, Crisilla, e il gallo del mattino da molto tempo\nporta cantando Erigenia maligna.\nVa’ in malora, (tu che sei) il più invidioso degli uccelli, che mi spingi\nfuori dalla casa verso molte chiacchiere di giovani.\nStai invecchiando, Titone: perché infatti così di primo mattino \nscacciasti dal letto la tua amante Aurora?"
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"text": "L’alba è giunta, Crisilla: il canto del gallo mattutino \nda sempre annuncia l’arrivo di Erigenia maligna. \nVa’ in malora, tu che tra gli uccelli sei il più invidioso!\nMi spingi fuori di casa a perdermi in chiacchiere tra giovani!\nStai invecchiando, Titone: altrimenti perché avresti cacciato \ncosì presto la tua amante Aurora dal letto?"
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"text": "The day has broken, Chrysilla, and for long early-rising chanticleer\nis crowing to summon envious Dawn.\nA course on thee, most jealous of fowls, who drivest me\nfrom home to the tireless chatter of the young men.\nThou art growing old, Tithonus, or why dost thou chase thy consort Aurora\nso early from thy bed?"
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"text": "Arriva il giorno, Crisilla, da tempo, all’alba, il gallo mattutino\ncantando ha portato l’Aurora invidiosa.\nVa al diavolo tu, il più geloso degli uccelli, che mi butti\nfuori di casa verso i numerosi discorsi dei giovani.\nInvecchi Titone ; altrimenti perché cacci dal letto così presto\nla tua consorte Aurora ?"
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"text": "Le jour se lève, Chrysille, et depuis longtemps, le coq matinier\nchantant a fait apparaître l’Aurore envieuse.\nVa au diable toi, le plus jaloux des oiseaux, qui me presse\nhors de la maison vers les nombreux chants des célibataires.\nTu vieillis, Tithon ; pourquoi sinon tu chasses ton épouse Aurore\ndu lit si tôt ?"
},
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"url": "https://anthologiagraeca.org/api/texts/14922/?format=api",
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"text": "\"Chegou a aurora, Chrysilla, e há tempo o galo matinal, fazendo seu chamado, conduziu a invejosa manhã.\"\r\n\"Vai-te embora, mais invejosa das aves, que me expulsa de casa para o interminável falatório dos jovens! Você envelheceu, Titôno. Ora, por que mais tiraria tão cedo Aurora, sua esposa, do leito?\""
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"comments": [
{
"description": [
"À quelle collection appartiennent les épigrammes 5.2 jusqu’à 5.103, c'est-à-dire ces épigrammes ont été cueillies au *Sylloge Rufiniana* ou d’autre part ? Waltz accepte l’existence du *Sylloge* de Rufin, mais il affirme que parmi ces épigrammes se trouvent « des emprunts faits de sources assez variées : quinze à vingt pièces proviennent de la *Couronne* de Méléagre ; quelques autres sont tirées de celle de Philippe » (Waltz, Pierre.*Anthologie Grecque*. Vol. 2, p. 9). Waltz met les séries 5.6 - 8, 5.23 - 24 et 5.52 - 57 dans la *Couronne* de Méléagre et les épigrammes 5.3 - 5 et 5.30 - 34 dans l’œuvre de Philippe. Conséquemment, il dit qu’« il est peu probable que ses poésies aient été prises dans le recueil de ce grammairien » (Waltz, Pierre. *Anthologie Grecque*. Vol. 2, p. 11). Par contre, Cameron postule que :\r\n\r\n> 2–103 is not nearly so well-defined a sequence, but it does have one unifying feature: 36 of its 101 poems are by Rufinus, who is nowhere else represented in the Anthology. Despite the fact that the remaining poems are by a most heterogeneous variety of authors, some anonymous, it has generally been felt that *AP* V.2-103 constitute a sequence that must be analysed as a whole. (Cameron, Alan. *The Greek anthology: from Meleager to Planudes*, p. 78)\r\n\r\nComme le but n’est pas de donner des réponses définitives à cette question, on a choisi de mettre deux mots-clés de collections aux épigrammes dont Waltz a retrouvé l’origine. Par exemple, à l’épigramme 5.3 on a mis les mots-clés *Couronne* de Philippe, suivant ce qu’affirme Waltz, et aussi *Sylloge Rufiniana*, en accord avec la pensée de Cameron."
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