Dedication by Lysanias and others and captions
created: Transcription from previous editors (CDL).
source date: Perhaps ca. 350 BC
language: ar; en; fr; de; grc; grc-Latn; el; he
availability: CC BY-NC-SA 4.0 Deed Attribution-NonCommercial-ShareAlike 4.0 International License. All citation, reuse or distribution of this work must contain a link back to DOI: https://doi.org/10.60760/unibo/igcyrgvcyr2 and the filename (IGCyr000000 or GVCyr000), as well as the year of consultation. (https://creativecommons.org/licenses/by-nc-sa/4.0/)

[...], with addendum p. 249; [...]; [...], pp. 183-194 and fig. 70-71; from the three precedings [...], 9.769; [...], whence [...], 37.1664; [...] 021. Cf. [...], p. 279; [...], p. 411, footnote 101; [...] II.851; [...], pp. 221-222.

Οἵδε καὶ Εἰρήνηι καὶ Ἐνυαλίωι ἀνέθηκαν
[...]

Λυσανίας Ἰάσονος [...]

[...]αγ[...]να

Εὐρύπυλος

[...]

[...]

[...]

Εἰρήνηι καὶ Ἐνυαλίωι[^a1] ἀνέθηκαν[^a2] [...][^1] [...]αγ[...]να[^a3] Εὐρύπυλος[^a4]

[^a1: Εἰρήνηι καὶ Ἐνυαλίωι | εἰρήνηι καὶ ἐν πολέμωι | Εἰρήνηι καὶ Ἐνδυμίωνι | Εἰρήνηι καὶ Ἐνυοῖ | Εἰρήνηι καὶ Ἐννοίαι | Εἰρήνηι καὶ Ἐνοδίαι | Εἰρήνηι καὶ Ἐνυοῖ | Εἰρήνηι καὶ Ἐνυαλίωι | Ἐν δὲ καὶ εἰρήνηι καὶ ἐν πολέμωι ἥρωες καὶ ἡρῷσσαι ἐγγένεις ἐπηκόοι]

[^a2: ἀνέθηκαν | μ' ἀνέθηκαν | [...] | δεκάταν ἀνέθηκη]

[^a3: [...]αγ[...]να | ἀγῶνα | Ἄποινα | Ἀγανά]

[^a4: Εὐρύπυλος | Εὐρυπύλου | Εὐρύπυλον]

[^1: all editors omit this gap]

Voici ceux qui à Eirènè et Enyalios ont consacré [...]:

Lysanias fils d'Iasôn, Untel fils d'Untel.

[...]na; Eurypylos; [...]; [...]; [...].

Those to Eirene and Enyalios dedicated [...]:

Lysanias son of Iason, So-and-so son of So-and-so.

[...]na; Eurypylos; [...]; [...]; [...].

Questi a Eirene e a Enyalios hanno dedicato [...]:

Lysanias figlio di Iason, il tale figlio del tale.

[...]na; Eurypylos; [...]; [...]; [...].

This unique relief, found not far from the site of Euesperides, was clearly related to that city. Both style of sculpture and lettering give clues to a date about the middle of the fourth century. When found, it was still painted in vivid colours that fainted quickly. Moved to Tripolitania during World War II, then brought to Cyrene and back to Benghazi, it has been exposed in the Museum of that city. The hazardous circumstances of that Museum do not allow to give clear indications about its present condition.

Only Ghislanzoni suspected verse here, but he tried to link all lines together, producing a very strange sentence. At a), the use of non-dialectal forms at line 1 shows that the text was verse. Furthermore, at the beginning of the text, the only possible restoration is οἵδε, a demonstrative plural. So we must assume that Lysanias was not the only dedicator and there is in fact enough space for at least one other name.

It is now admitted that the names in c) were all at the nominative, being captions with the name of each figure. There has been overflowing discussion about the figures. The only clear name, Eurypylos, refers to the episod of the Argonautae at lake Triton (i.e. the sabkha As-Salmani near Euesperides). Saying that he was a son of Poseidon, he helped them out of the lake and predicted the foundation of Cyrene by a descendant of Euphemus. But no other character of that myth has been clearly identified. Other explanations suggest unidentified Libyan deities. What can be said from an epigraphical point of view is that the first name was a feminine; a first letter might have been lost before the first readable alpha. Stucchi's suggestion (forwarded by Chamoux's unpublished copy) of a feminine name Ἀγάνα, meaning 'Mild', is an interesting possibility, as there is one occurrence from Athens as a woman's name. However, no heroine of that name is known.

Metrical analysis of a): a dactylic hexameter was plausibly followed by a lost pentameter, for which there seems to be enough space in the lost part.