An Anthology of Ancient and Medieval Woman's Song by Anne L. Klinck

By Anne L. Klinck

This assortment specializes in a woman's perspective in love poetry, and juxtaposes poems by means of ladies and poems approximately ladies to elevate questions about how femininity is built. even if so much medieval "woman's songs" are both nameless or male-authored lyrics in a well-liked kind, the time period can usefully be extended to hide poetry composed by way of ladies, and poetry that's aristocratic or realized instead of well known. Poetry from historic Greece and Rome that resonates with the medieval poems is usually incorporated right here. Readers will discover a diversity of voices, usually echoing related subject matters, as girls celebrate or lament, compliment or condemn, plead or curse, communicate in jest or in earnest, to males and to one another, approximately love.

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Me. . This girl . . grace ... C. Meter: Nine-line stanza. Lines 1, 7, 8 dactylic; 2, 3, 4 trochaic; 5, 9 aeolic (choriambic). ” The poem evokes the epiphany of the goddess, who materializes, smiles, and speaks words of power. 5 10 15 Ποικιλ θρον’ iθανbτ’ ’Aφρ διτα, πα Δgο δολ πλοκε, λgσσομαg σε, μx μ’ hσαισι μηδ’ νgαισι δbμνα, π τνια, θ μον, Immortal Aphrodite of the exquisite throne, wile-weaving child of Zeus, to you I pray. Don’t subdue with pains and torments, lady, my heart. iλλn τυgδ’ Oλθ’, α ποτα κiτNρωτα τn Oμα αvδα igοισα πxλοι Oκλυε , πbτρο δP δ μον λgποισα χρjσιον Dλθε But come hither, if ever also in the past, catching my voice from afar, you listened, left your father’s home of gold, and came, hρμ’ Sπασδεjξαισα.

18. , the work of Hitchcock and Jones, and the article by Kelley. 19. See Galmés de Fuentes 32. 20. I am referring here to the German translation of Ibn Sana’ al-Mulk included in Heger’s collection of kharjas and related materials (Heger 187). For an English account, see Linda Fish Compton’s summary of al-Mulk’s pronouncements about the muwashshaha (Andalusian Lyrical Poetry 3–7). 21. Cf. Judith Cohen’s comment on the attitude reflected in two medieval romances, where an aristocratic woman makes a point of dissociating herself from the profession of the joglaresa, the paid performer who is likely also to be a prostitute.

Composed in elegiacs, they lay claim to the same territory as the male love-elegists, but their voice is very different. Sulpicia’s more unassuming style, coupled with her strong sense of personal worth, invites comparison with the real Sappho before her, and with the women troubadours after. See Julia Haig Gaissner, “Threads in the Labyrinth: Competing Views and Voices in Catullus 64,” American Journal of Philology 116 (1995): 579–616; Judith Hallett, “Women’s Voices and Catullus’ Poetry,” Classical World 95 (2002): 421–24; Francis Cairns, Virgil’s Augustan Epic (contains chapters on Dido) (1989); S.

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