In the sequence of Voigt numbers, the first is fr. indicates the “non-political conversational material of the hetaireia”); cf. ἀγήραον ἄνθρωπον ἔοντ’ οὐ δύνατον γένεϲθαι. Faraone 2005a and 2005b has recently written about the unit of five couplets as a characteristic building-block of elegy, which he calls a “stanza.” In both articles, he refers to Weil 1862, the first to perceive these units. These elements are devotion to the Muses in the form of song and dance, with related eschatological hopes, all as part of the choric education with which the poem begins. [35], Earlier, I mentioned introductory elements as a shared feature of exempla in monody and epic speeches. Oslo. I agree with Mr. Southerland that quantitative verse in English isn’t easy; I would go one step farther and say it is nigh-high impossible. Bibliography. Howie 1977. As for the Theognidea, lines 1287–1294 (on Atalanta) would also be an example of an “open” ending if it were certain that these lines constitute a single poem. But she forgot to ask for eternal youth. West on Hesiod Theogony 22. Translator’s Preliminary Note. 17, a prayer or cult hymn [12] to the Hera of Lesbos, [13] Sappho, having evoked Hera’s support of the Atreidae, returns to her petition with νῦν δá½² κ[ἄμοι (11; cf. Buenos Aires. And if she refuses gifts, soon she shall give them. is very limited, I am familiar enough with most of them (with the exception of Polish) to get at least a “feel” for the rhythm, structure, rhyme scheme, etc. 2005a. [ 3] I If the “New Sappho” is complete in twelve lines, then it ends with an exemplum. For Sappho, then, there are perhaps two examples, in one of which Sappho returns from the myth to the present. [ back ] 30. Homeric Megathemes: War—Homilia—Homecoming. Still, if anyone is able to reproduce the ancient text here in the comments, please do. This distinction I have made between the way or ways we can read the “New Sappho” and the way the twelve lines would have appeared to Sappho’s audience needs further discussion, as an anonymous reader’s reaction to this paper shows. [ back ] 14. J. M. Bremer, A. M. van Erp Taalman Kip, and S. R. Slings) 95–127. That is so true, and those who think not generally tend to deceive themselves and their own motives. He does not distinguish between kletic hymn and prayer. Someone might say that the closing petition is obligatory in a prayer and therefore has no bearing on the question of how the “New Sappho,” which is not a prayer, ended. The context in Strabo 1.2.40 does not help. Let’s not forget before we all become monkish devotees of midnight and aconite, what the great American psychologist, William James once correctly observed: ‘the deepest principle of human nature is the craving to be appreciated’. The position I have taken in this paper can be reconciled with the positions of Clayman and Lardinois, I believe. Edmunds' point is to deny that a song by Sappho could have ended as the Tithonus poem does on the Cologne papyrus (and his approach emphasises syn-chronic description of archaic song, with 'anachronisms' rigorously excluded). Munich. In other poems Sappho is yet more acerbic, approaching the level of a curse in poem 37, for instance. Hold you little girls to the gifts of violet muses. Narrated” refers to the telling of a story or some part of a story. on comparative frequency in Greek and Latin, on their usage. Several speakers besides me at the two Sappho panels held in San Diego in 2007 addressed the question of the completeness of the “New Sappho.” Dee Clayman described the Cologne papyrus as the remains of a Hellenistic florilegium on old age, mortality and song, comparing the roughly contemporary “New Posidippus” (P.Mil.Vogl. Very nicely done. Already Heubeck 1954:25: “normhafte Dreistufenaufbau.”. Fraenkel, H. 1962. In Homer, the speaker who uses a paradeigma will regularly apply it to the present situation. This fragment, from a scholiast on Iliad 3.168, runs: “Day (῾Ημέρα) fell in love with Tithonus, son of Laomedon, brother of Priam, by whom she had a son Memnon, and, after she had regaled him with a long life, she changed him into a cicada.” One has to agree with Jacoby 1957:466: “mehr als die genealogie wird H nicht gehörchen.” The scholiast offers not an alternate version of the myth but nonsense. 17.11. “Catalogues, Priamels, and Stanzaic Structure in Early Greek Elegy.” Transactions of the American Philological Association 135:249–265. For older discussion, see Heubeck 1954:23n33. Tithonus Alfred Lord Tennyson - 1809-1892 The woods decay, the woods decay and fall, The vapours weep their burthen to the ground, Man comes and tills the field and lies beneath, And after many a summer dies the swan. [ back ]. By the way, there is no reason why we cannot scan quantitatively in English, but where is the poet to accomplish such a powerful possibility through his or her poetry? In Gonis and Obbink 2005:20–21. My question is a simple, formal one: do speakers return from a narrated myth to the situation which prompted the telling? Aarau. “‘Ich aber (sage), das Schönste ist, was einer liebt!’ Eine pragmatische Deutung von Sappho Fr. [ back ] 34. You are an entertaining eccentric, not a critic. ———. It is Alcaeus fr. It can be restated thus: In this kind of argument, as everyone knows, everything depends on the truth of the premises. (Cf. In this particular case Mr. Harris’ observation that the original rhythm is “complicated” is one I would have enjoyed seeing for myself. From Delos to Delphi: A Literary Study of the Homeric Hymn to Apollo. “The Function of the Digressions in the Iliad.” Greek, Roman, and Byzantine Studies 7:295–312. It’s worse than harsh criticism. hair too, once black, grayed. 1982. The Oxyrhynchus Papyri 69. As well, the final likes ring like the authentic conclusion of the poem, so congratulations on that! Gnomon 3:569–576. Now that is something I’ve not heard, Mr. Southerland aspires to write sapphics at the level of Swinburne. Bastianini, G., and A. Casanova, eds. rising and falling.”. In Pindar, he finds three “open” endings, two in odes (Olympian 4; Nemean 1) and one in a paean (4). Taalman Kip 1987:125: “ … [W]e cannot even guess how Alcaeus made the switch from myth to reality at the end of the fragment. [23] Another narrated mythical exemplum in Theognis, this time two couplets long, occurs in a pederastic poem (1341–1350). Mimner- mus, ageneration before Sappho’stime, cites Tithonus as an example of some- thing to be avoided at all costs—old age. Swinburne was the best I’ve seen to write modern sapphics. See Race 1992:28 and n49 on the term “kletic hymn,” which could also be used of Sappho fr. [25] Zeus did it. For example, sixteen of Pindar’s epinicians begin with cult hymns. It does seem that Swinburne comes out of that feverish realm of Byron, Keats and Shelley, particularly the latter; but for me, Swinburne has always seemed too diffuse and too focused on words. In Alcaeus, four relevant examples appear. Cambridge. Having explored these various features in the Brothers Song, I then offer a briefer reading of Sappho’s “Tithonus Poem” (first published in 2004), tracking some of the same effects in this poem as well. We can only say something about the way the myth is introduced. In fr. ———, 2004b. See Henderson 1983 on the framing of the exemplum. To me this sounds tin-eared, but my early translations were no better, though at the time (25 years ago), I thought them “great.” You are a young man. [ back ] 3. Fraenkel, H. 1927. Review of R. Oehler, Mythologische Exempla in der älteren griechischen Dichtung (Aarau 1925). That said, I agree with pretty much everything else you said (and I’m glad you decided to abandon your program for English quantitative verse, although I’m sure it was a valuable effort… but it just isn’t suited to English, if you ask me). I haven’t written anything in Sapphic stanzas, but I did try the form once before abandoning it. Cambridge, MA. light as a fawn’s kick. Notify me of follow-up comments by email. [ back ] 12. [8] Second, the myth in Pindar tends to be more allusive and to be complexly related to the historical reality to which it refers. Hildesheim. [7] Although both Pindar and Sappho are “lyric” poets, they differ in time, place, dialect, meters, and performance venue, thus also, I assume, in the use of the mythical exemplum. vol. Achilles’ concluding formula in the speech to Priam is really a combination of two formulae which can occur separately. The only way around this conclusion, or to counter this conclusion, is to argue that the Tithonus myth, as in the twelve-line “New Sappho,” contains a latent, positive, consolatory idea. First, the opening and closing formulas of the Pindaric mythical narrative are strikingly different from those in monody. 44), two examples of a return from the myth to the present situation (frs. Your email address will not be published. [39] Alex Hardie has put together, from other fragments of Sappho (including, obviously, the one in the Cologne papyrus) and from a vast array of related material, the elements that one would expect to find in the conclusion, even though Hardie appears to believe, in spite of himself, that the twelve lines are a complete poem. American Classical Studies 24. Carried off to a far flung corner, Eos and Tithonus (inscribed Tinthu or Tinthun) provided a pictorial motif that was inscribed on Etruscan bronze hand-mirrorbacks, or cast in low relief. Paideia 2nd edition. See Bierl 2003:121n112 for a list of publications since Howie’s which take the view that fr. Keep reading, reading… then when the time comes, raise the bar. filtered by storm clouds. The … Loeb Classical Library. [41] Likewise, when Bernsdorff cites Horace for the practice of Sappho, I think that he is really talking about a way of reading Sappho which he learned from Horatian innovation in the use of the mythical exemplum. [ back ] 33. “Relative Pronouns and Memory: Pindar Beyond Syntax.” Harvard Studies in Classical Philology 102:41–68. Who seriously praises Swinburne in 21st century poetics? For even if she flees, soon she shall pursue. Learn how your comment data is processed. 58 V. ending right after l. 22 (= “Tithonus poem” only) and not including the last four lines (= “Continuation 2”). And yes, sapphic stanzas are extremely difficult because of the way one has to count. I would be interested in Mr. Harris (or anyone) scanning that first line of Mr. Southerland’s sapphics quantitatively, and show how or why you differ from my scansion. 2005. Feel free to treat this page as your home and remove anyone here who disrespects you. “Alcaeus: ‘Aias and Kassandra’.” Some Recently Found Greek Poems (eds. D. Connolly. Dionysius of Halicarnassus took Pindar and Sappho to represent opposite kinds of style, and Horace is likely to be reflecting this view in Odes 4.2. It requires an ear and ten fingers plus a toe. Mimnermus’ lines on the sun are a description and not a narrative (fr. Trans. skin so supple, smooth— but it’s withered now, 2004. crit. Leiden. 4. Sappho poems, quotations and biography on Sappho poet page. Alcaeus fr. Taalman Kip, A. M. van Erp. Henderson, W. H. 1983. For Alcaeus, then, we have one example of a myth concluding a poem (fr. καὶ γάρ π̣[ο]τ̣α̣ Τίθωνον ἔφαντο βροδόπαχυν Αὔων It was late and I missed it in my draft. back ]43. The two fragments on Jason and the Golden Fleece are from a narrative (frr. [ back ] 28. Meyerhoff, D. 1984. I will keep on reading and writing! Howie, J. G. 1977. Paradeigmata: Beiträge zum Verständnis der Ilias. [ back ], [ back ] 20. Recently, there have been major discoveries of more of Sappho’s poetry. [ back ] 10. NOTE: The Society considers this page, where your poetry resides, to be your residence as well, where you may invite family, friends, and others to visit. Martin shows the lyric basis of Hector’s speech at Iliad 7.235–241. Still, I think praise and criticism should be taken in the same way: all with a grain of salt. Hardie 2005. The Society does not endorse any views expressed in individual poems or comments and reserves the right to remove any comments to maintain the decorum of this website and the integrity of the Society. ———. ———, ed. Delighted that the great Werecub (consciously) contradicts himself by castigating praise and then praising J Simon’s work – that is an excellent paradox, Werecub – well done. 1a. Washington, DC 20008 |. In my opinion, Pindar is the wrong place in which to look. Canter 1933 might be useful for purposes other than mine. [3] If the “New Sappho” is complete in twelve lines, then it ends with an exemplum. It is not clear that this poem, which ends with talk of vengeance on the suitors, is complete. “Sappho Revisited.” Times Literary Supplement December 23. While I very much like the agenda of the Victorian Hellenists, I am not as satisfied with them as I am with the late English Romantics and the German Classical Romantics in that direction, a place Mr. Whidden occasionally goes to in his sonnets. The answer is yes. ἀλλὰ τί κεν ποείην; Greek Elegiac Poetry from the Seventh to the Fifth Centuries BC. Thanks for your comment! He is definitely trying. Nagy 1973:177: “As a coda to this poem, the last two verses amount to a personal and artistic manifesto.”, [ back ] 41. 38A, in which Alcaeus exhorts Melanippus to get drunk with him. 2006. Trans. In another poem, Theognis compares his sufferings to those of Odysseus (1123–1128). Historians and archaeologists have resorted to digging through ancient trash heaps to find fragments of Sappho’s poems - and they … * Tithonus was married to Eos/Aurora, goddess of the dawn, who pleaded with Zeus to make Tithonus immortal, but forgot to ask for eternal youth. I love the way sound presents in sapphics much like the sounds of: “Caught Up In A Silk Tornado Cloud” published in The Pennsylvania Review recently. 42 has the “open” conclusion, which may be owing to its place in a sympotic chain. Here comes some praise. 1.25 καὶ νῦν). In fr. [11] If that was the end of the poem, one can assume that there was a return to the gnome with which the poem begins or to the circumstances which occasioned that gnome. If we moderns can make sense of the twelve-line “New Sappho,” then Sappho’s audience could make sense of it, too. London. On the attribution of these lines to Euenos of Paros, either the contemporary of Socrates or an older one, which was proposed by four different scholars between 1907 and 1934, see Vetta 1980:121–123. Hypomnemata 62. Though all translations are failures of a sort, Mr. Harris nicely interprets a piece of ancient Greece in his couplets. [20] Pittacus is referred to in line 47. In the meantime, I hope the Wikipedia page can give you basically what you’re looking for. ]ι̣μέναν νομίσδει Martin, R. 1989. [ back ] 16. [38] In the “New Sappho,” Tithonus clearly illustrates the gnome that mortals inevitably grow old. Quantitative verse isn’t easy. Lines begin and end with a pair of trochees; [ back ] 25. Not an amalgam but self-consistent: Ferrari 1989:316–320; Gerber 1991:213–214; Gerber 1999:371n4. Race, W. H. 1982. I aspire to be that accomplished. On the distinction between cult hymn and rhapsodic hymn, see Miller 1986:1–5; Race 1992:28–31. I am not, however, the new Oehler whom we need. But as Mr. Yankevich rightly writes, we should pay no heed to empty praise, nor even any praise at all. Share posts by email couplets ( 703–12 ). ” Zeitschrift für Papyrologie und Epigraphik.... The Digressions in the end of his endless life ’. ” Zeitschrift Papyrologie! Howie ’ s audience might have expected heroes: Gotteland 2001:11 or the greats... Self-Consolation and Encomium. ” Papers of the way to go Oehler whom we need been found, save one! You were going for the possibility of different versions in performance ” Greek, Roman, and you., first, the older, thematically arranged Cologne papyrus substitutes a non-Sapphic poem Orpheus. 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