By Anne L. Klinck
This assortment specializes in a woman's standpoint in love poetry, and juxtaposes poems through girls and poems approximately girls to elevate questions about how femininity is built. even though so much medieval ''woman's songs'' are both nameless or male-authored lyrics in a favored sort, the time period can usefully be elevated to hide poetry composed by means of ladies, and poetry that's aristocratic or realized instead of renowned. Poetry from old Greece and Rome that resonates with the medieval poems can be integrated the following. Readers will discover a variety of voices, usually echoing comparable topics, 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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Additional info for Anthology of Ancient and Medieval Woman's Song
Nβα ταναο ποσg. . -κομο νοτgα Kινjρα χbρι Rπ παρσενικdν χαgταισιν σδει. Yet Astymeloisa answers me nothing. Holding the garland, like some falling star that darts through the radiant heaven, or like a golden sapling, or a soft feather, ... she has passed along, with light, pointed feet. The scent of Cyprian perfume lies moist on her youthful hair. ’AστυμNλοισα κατn στρατ ν . . μNλημα δbμH . . -μαν Qλο σα . . -λNγω. . εναβαλ’ α γnρ hργυριν . . -gα . . -α δοιμ’ α πω με . . -ο φgλοι eσσον ο σ’ rπαλd χηρ λbβοι, αfψb κ’Rγqν κNτι κxνα γενοgμαν.
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. Georgia Nugent, “The Women of the Aeneid: Vanishing Bodies, Lingering Voices,” Reading Vergil’s Aeneid, ed. Christine Perkell (1999); Mathilde Skoie, Reading Sulpicia (2002); Alison Keith, Tandem venit amor (on Sulpicia), and Pam Gordon, “The Lover’s Voice in Heroides 15,” both in Roman Sexualities, ed.
Oλθε μοι κα ν ν, χαλNπαν δP λ σον Rκ μερgμναν, σσα δN μοι τNλεσσαι θ μο μNρρει, τNλεσον, σw δ’ αvτα σjμμαχο Oσσο. Come to me now too, and set me free from grievous cares; fulfil for me those things my heart desires. It’s you I need. Fight on my side! μαιν λαι θjμH. C. Meter: Sappho’s most characteristic meter, the Sapphic stanza: three 11-syllable lines followed by one 5-syllable line, all based on the choriamb (a long syllable, two short, and another long). 20 ancient and medieval woman’s song 16—“Some say an army of horse, some of foot” Sappho rejects the brilliant military display celebrated by epic verse in favor of a personal admiration for a young woman.