By Ellen Greene
Even though Greek society was once mostly male-dominated, it gave upward thrust to a powerful culture of girl authorship. ladies poets of historical Greece and Rome have lengthy involved readers, although a lot in their poetry survives in basic terms in fragmentary form.
This pathbreaking quantity is the 1st selection of essays to ascertain nearly all surviving poetry through Greek and Roman girls. It elevates the prestige of the poems by way of demonstrating their intensity and artistry. Edited and with an advent by way of Ellen Greene, the amount covers a huge time span, starting with Sappho (ca. 630 b.c.e.) in archaic Greece and lengthening to Sulpicia (first century B.C.E.) in Augustan Rome. of their analyses, the members situate the feminine poets in a longtime male culture, yet in addition they exhibit their noticeably “feminine” views. regardless of hoping on literary conference, the feminine poets usually defy cultural norms, conversing of their personal voices and transcending their positions as items of derision in male-authored texts. of their leading edge reworkings of verified varieties, ladies poets of old Greece and Rome will not be mere imitators yet creators of a special and unique physique of labor.
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Extra resources for Women Poets in Ancient Greece and Rome
Example text
In fr. 90 (part of a commentary), in what appears to be a discussion of the relation between beauty (kállow) and virtue (˙ret}), the scholiast tells us Sappho applied the adjective ˙gérvxow (proud, arrogant) to “women who have too much privilege” (˙ge]rQxou[w tàw ƒgan \xoú]saw géraw). 53 Alcaeus (206) and Archilochus (261) use the same word of boastful men. All these poets are condemning upstarts who do not know their place. 54 tíw d& ˙grofivtiw yélgei nóon . . ˙grofivtin \pemména spólan . . o[k \pistaména tà bráke& ¡lkhn \pì tWn sfúrvn; What country woman bewitches your mind .
Tóde géraw k[. . . . . Greene Chapter 1-2 3/18/05 2:12 PM Page 32 32 WOMEN POETS IN ANCIENT GREECE AND ROME taw semnv]n [˙do]útvn laxWn ˙ceúdian &Ak[rh]feín: —— prátoi [mèn] gà[r Lat]oídaw dv]k& E[vnoúmoi tripódvn \sw ¥v]n [xre]ismv]w \népein, tòn d& \w ga]w balWn Oørieùw timà[n] deúterow Êsxen, —— ph]w [Pot]idávnow: ¡pit& &Va[rí]vn ∆mòw genétvr gh]a[n Û]àn ˙ppasámenow: xΩ mèn Ωran[ò]n ˙mfépi, timàn d&[. . . ]n oπtan. —— tQnek[. . . . ]n \népv t& ˙t[r]ék[ian xrei]smológon: toù dé [nou Ûi]ké t& ˙]yanátuw k| loú[.
In a manner recalling Theognis, Archilochos, Anacreon, and Alcaeus, Sappho is concerned with the proper definition of the noble man, the kalokagathos, by which she means, just as they do, the man who upholds the old aristocratic values against the tide of new wealth. So Sappho 148, defining arete, could have come from the mouth of Alcaeus (cf. 360, 364) or Theognis (cf. Greene Chapter 1-2 3/18/05 2:12 PM Page 11 SAPPHO’S PUBLIC WORLD 11 Wealth without virtue is not a harmless neighbor. 9–11 (SLG 276(1) col.