By Anne L. Klinck (eds.)
This assortment makes a speciality of a woman's perspective in love poetry, and juxtaposes poems via girls and poems approximately girls to elevate questions about how femininity is developed. even if such a lot medieval 'woman's songs' are both nameless or male-authored lyrics in a well-liked type, the time period can usefully be improved to hide poetry composed through ladies, and poetry that's aristocratic or realized instead of renowned. Poetry from old Greece and Rome that resonates with the medieval poems can also be incorporated the following. Readers will discover a variety of voices, frequently echoing related issues, as girls celebrate or lament, compliment or condemn, plead or curse, converse in jest or in earnest, to males and to one another, approximately love.
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Extra info for An Anthology of Ancient and Medieval Woman’s Song
As a wedding song, this poem claims to be created for a specific occasion, but is occasional only as a literary artifice. The much simpler Locrian Song seems to be an isolated representative of a vast body of lost popular poetry. On women in relation to Greek literature and society, see Gail HolstWarhaft, Dangerous Voices (1992). On Alcman, see Claude Calame, Choruses of Young Women (English translation 1997), and, for a different view, Wayne Ingalls, “Ritual Performance” (2000). For Sappho, see Margaret Reynolds, The Sappho Companion (2001), and Anne Carson’s poetic rendering, If Not, Winter (2002).
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.
Quine fugit lentos incurvans gurgite remos? praeterea nullo litus, sola insula, tecto, 185 nec patet egressus pelagi cingentibus undis. nulla fugae ratio, nulla spes: omnia muta, omnia sunt deserta, ostentant omnia letum. non tamen ante mihi languescent lumina morte, nec prius a fesso secedent corpore sensus, 190 quam iustam a divis exposcam prodita multam caelestumque fidem postrema comprecer hora. quare facta virum multantes vindice poena Eumenides, quibus anguino redimita capillo frons exspirantis praeportat pectoris iras, 195 huc huc adventate, meas audite querellas, quas ego, vae misera, extremis proferre medullis cogor inops, ardens, amenti caeca furore.