The Second Stanza of Sappho 31: Another Look

Pantelia, Maria C.

doi:10.2307/295423

Cited by 6 publications

(6 citation statements)

References 12 publications

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“…In addition, throughout this essay, I will make no reference to the whole Rhodopis/Doricha tradition that begins with Herodotus 2.135 in relation to the Brothers Poem. This is because I am persuaded (at least for now) by the arguments of Lidov (2002) that this tradition is likely to derive from portraits of Sappho on the Athenian comic stage, rather than from her own poetry. In general, I find the attempt to map Herodotus' relationships onto the Brothers Poem something of a red herring; it seems better simply to read the new poem on its own terms for what can be extracted about the family relationships.…”

Section: Gendered Spheresmentioning

confidence: 99%

“…Rhodopis, called Doricha by Sappho. So Lidov (2002) and Ferrari (2014) Sappho's song of abuse is lost, and before the discovery of the Brothers Poem we had no song that explicitly mentioned Charaxos-only in fragments 5 and 15 does he seem to play a role though he is not mentioned by name. We only had testimonies about Charaxos and two other brothers, Larichos and Erigyios.…”

Section: The Cultural Texture Of the Brothers Songmentioning

confidence: 99%

“…19 Kurke, this volume. On Herodotus she cites Lidov (2002). But the name 'Charaxos' comes from Sappho's poetry, and it is more economical to suppose that Sappho 'mocked' Charaxos in a poem (whether or not she actually named a courtesan) that was then perceived as fodder for a tale of courtesan seduction than to suppose that the name Charaxos (but not Larichos) was taken up and attached without motivation to a courtesan story in a comedy about Sappho's sexuality.…”

Section: Eva Stehlementioning

confidence: 99%

“…It would not be entirely out of place for Sappho to have said: 'Now Larichos will (have to) box with Eros' , or 'Now they (sc. adult males) will find Eros a tough opponent'-a topos familiar from Anacreon.47 A gentle tease of this sort would explain the 43 Suggested by Lidov (2002) But how to integrate this into the rest of the poem? On the one hand, it makes these lines not sympotic (for Sappho will not have mentioned the symposium), but only convivial.…”

Section: How the Brothers Song Beganmentioning

confidence: 99%

“…74 Present general: 5.3,60.6,98.3, and now, apparently, 16.14; purpose with ὠς 6.8, purpose or result with ⟨ὠς⟩ 30.7-9 (both with ἴδωμεν); indirect deliberative 51; possible anticipatory in 88.16 but Voigt suspects the form. I do not include 31.7, where the reading ὠς…ἴδω as another present general construction depends on how the line is supplemented and is unlikely (Lidov [1993]). In Alcaeus, I count 15 subjunctives, most of which do refer to time subsequent to that of the leading verb.…”

Section: Linguistic Stylementioning

confidence: 99%

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The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4

Bierl¹,

Lardinois²

2016

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Section: Gendered Spheresmentioning

confidence: 99%

Section: The Cultural Texture Of the Brothers Songmentioning

confidence: 99%

Section: Eva Stehlementioning

confidence: 99%

Section: How the Brothers Song Beganmentioning

confidence: 99%

Section: Linguistic Stylementioning

confidence: 99%

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The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4

Bierl¹,

Lardinois²

2016

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Sappho

Rayor

Lardinois

2014

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Sappho, the earliest and most famous Greek woman poet, sang her songs around 600 BCE on the island of Lesbos. Of the little that survives from the approximately nine papyrus scrolls collected in antiquity, all is translated here: substantial poems, fragments, single words - and, notably, five stanzas of a poem that came to light in 2014. Also included are new additions to five fragments from the latest discovery, and a nearly complete poem published in 2004. The power of Sappho's poetry - her direct style, rich imagery, and passion - is apparent even in these remnants. Diane Rayor's translations of Greek poetry are graceful and poetic, modern in diction yet faithful to the originals. The full range of Sappho's voice is heard in these poems about desire, friendship, rivalry, family, and 'passion for the light of life'. In the introduction and notes, internationally respected Sappho scholar André Lardinois presents plausible reconstructions of Sappho's life and work, the importance of the recent discoveries in understanding the performance of her songs, and the story of how these fragments survived.

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Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris

Dorf¹

2012

Dance Res. J.

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In Done into Dance: Isadora Duncan in America, Ann Daly writes that Isadora Duncan defined her dance as high art, and describes how Duncan raised the dance from the bottom of the cultural landscape to the top of American society: Dancing was considered cheap, so she associated herself with the great Greeks, who deemed the art noble, and she associated herself with upper-class audiences by carefully courting her patrons and selecting her performance venues. Dancing was considered mindless, so she invoked a pantheon of great minds, from Darwin to Whitman and Plato to Nietzsche, to prove otherwise. Dancing was considered feminine, and thus trivial, so she chose her liaisons and mentors—men whose cultural or economic power accrued, by association, to her. Dancing was considered profane, so she elevated her own practice by contrasting it to that of “African primitives.” The fundamental strategy of Duncan's project to gain cultural legitimacy for dancing was one of exclusion. (Daly 1995, 16)

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The Second Stanza of Sappho 31: Another Look

Cited by 6 publications

References 12 publications

The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4

The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4

Sappho

Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris

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