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This is the first collection of essays in English devoted to discussion of a newly recovered Sappho poem and two other incomplete texts on the same papyri. The contributions demonstrate how the "New Sappho" can be appreciated as a complete, gracefully spare poetic statement regarding the painful inevitability of death and aging.
"The Tenth Muse" sings to both sexes of desire, rapture, and sorrow. This concise collection of the ancient Greek poet's surviving works was assembled and translated by a distinguished classicist.
The poetry of the archaic poets of Lesbos, Sappho and Alcaeus, has been imperfectly and poorly transmitted either in book fragments or in later ragged papyri, so that new attempts of interpretation will always be required, especially when new research tools and methods have appeared in classical scholarship.The book consists of 14 articles by the author, which present and deal with diverse problems of the two poets of Lesbos. Various questions on already transmitted poems, different readings, reconstructions, and interpretations of the new finds are proposed, but, most importantly, new approaches in general topics, such as the division of Sappho’s work in Books, the logic leading to this division, the order of these Books, the contents of each of them, the interpretation of the surviving fragments, often quite different than before. A feature that characterizes the old-age poetry of Sappho is her anxiety about the posthumous fate of her poetry and her hope that Kleïs, her only daughter, will ensure its dissemination. Finally, the author investigates the communal festival of Hera in Lesbos, a festival performed in common with Zeus and Dionysus, the so-called “Lesbian Triad”. The festival is specified as a welcome to the season of spring at the time of the vernal equinox. Also, the location of the temenos of Hera is investigated, close to Pyrrha of Lesbos, which was the site of Alcaeus’ second exile.
Now available in English for the first time, Franco Ferraris important Sapphos Gift: The Poet and Her Community offers extraordinary new insight into the life and works of Sappho, one of the ancient worlds most brilliant poets.
By combining the ancient mysteries of Sappho with the contemporary wizardry of one of our most fearless and original poets, If Not, Winter provides a tantalizing window onto the genius of a woman whose lyric power spans millennia. Of the nine books of lyrics the ancient Greek poet Sappho is said to have composed, only one poem has survived complete. The rest are fragments. In this miraculous new translation, acclaimed poet and classicist Anne Carson presents all of Sappho’s fragments, in Greek and in English, as if on the ragged scraps of papyrus that preserve them, inviting a thrill of discovery and conjecture that can be described only as electric—or, to use Sappho’s words, as “thin fire . . . racing under skin.” "Sappho's verse has been elevated to new heights in [this] gorgeous translation." --The New York Times "Carson is in many ways [Sappho's] ideal translator....Her command of language is hones to a perfect edge and her approach to the text, respectful yet imaginative, results in verse that lets Sappho shine forth." --Los Angeles Times
Presents a Sappho by a poet and translator that treats the fragments as aesthetic wholes, complete in their fragmentariness, and which is also, as the translator puts it: 'ever mindful of performative qualities, quality of voice, changes of voice...'
It's a familiar story: a beautiful woman is abducted and her husband journeys to recover her. This story’s best-known incarnation is also a central Greek myth—the abduction of Helen that led to the Trojan War. Stealing Helen surveys a vast range of folktales and texts exhibiting the story pattern of the abducted beautiful wife and makes a detailed comparison with the Helen of Troy myth. Lowell Edmunds shows that certain Sanskrit, Welsh, and Old Irish texts suggest there was an Indo-European story of the abducted wife before the Helen myth of the Iliad became known. Investigating Helen’s status in ancient Greek sources, Edmunds argues that if Helen was just one trope of the abducted wife, the quest for Helen’s origin in Spartan cult can be abandoned, as can the quest for an Indo-European goddess who grew into the Helen myth. He explains that Helen was not a divine essence but a narrative figure that could replicate itself as needed, at various times or places in ancient Greece. Edmunds recovers some of these narrative Helens, such as those of the Pythagoreans and of Simon Magus, which then inspired the Helens of the Faust legend and Goethe. Stealing Helen offers a detailed critique of prevailing views behind the "real" Helen and presents an eye-opening exploration of the many sources for this international mythical and literary icon.
Sappho, in the words of poet Algernon Charles Swinburne (1837–1909), was “simply nothing less – as she is certainly nothing more – than the greatest poet who ever was at all.” Born over 2,600 years ago on the Greek island of Lesbos, Sappho, the namesake lesbian, wrote amorously of men and women alike, exhibiting both masculine and feminine tendencies in her poetry and life. What’s left of her writing, and what we know of her, is fragmentary, and thus ever subject to speculation and study. The Shipwreck Sea highlights the love poetry of the soulful Sappho, the impassioned Ibycus, and the playful Anacreon, among other Greek lyric poets of the age (7th to 5th centuries BC), with verse translations into English by author Jeffrey Duban. The book also features selected Latin poets who wrote on erotic themes – Catullus, Lucretius, Horace, and Petronius – and poems by Charles Baudelaire, with his milestone rejoinder to lesbian love (“Lesbos”) and, in the same stanzaic meter, a turn to the consoling power of memory in love’s more frequently tormented recall (“Le Balcon”). Duban also translates selected Carmina Burana of Carl Orff, the poems frequently Anacreontic in spirit. The book’s essays include a comprehensive analysis with a new translation of Horace’s famed Odes 1.5 (“To Pyrrha”), in which the theme of (love’s) shipwreck predominates, and an opening treatise-length argument – exploring painting, sculpture, literature, and other Western art forms – on the irrelevance of gender to artistic creation. (No, Homer was not a woman, and it would make no difference if she were.) Twenty full-color artwork reproductions, masterpieces in their own right, illustrate and bring Duban’s argument to life. Finally, Duban presents a selection of his own love poems, imitations and pastiches written over a lifetime – these composed in the “classical mode”, which is the leitmotif of this volume. The Shipwreck Sea is a delightful and continually thought-provoking companion to The Lesbian Lyre, both books vividly demonstrating that classicism yet thrives in our time, despite the modernism marshaled against it.
The Bacchic gold tablets are a remarkable collection of objects from the Ancient Greek world: inscribed with short verse texts and buried in graves of mystery initiates, they express extraordinary hopes for post-mortem salvation. Past approaches to these objects have sought to reconstruct their underlying belief system. This book is the first to examine them primarily within the context of early Greek poetry and performance culture. The patterns of thought and expression in the tablets find instructive poetic antecedents and analogies, including in non-canonical and inscribed genres that are not included in conventional descriptions of the poetic tradition. Applying a range of analytical approaches from the fields of epigraphy, anthropology, and religious studies, this book ultimately uses the tablets to cast more familiar literature in a new light.