Chapter I: Previous Response The Critical Difference And it ends upNobody’s, there is nothing for any of usExcept that fearful vacillating around the centralQuestion that brings us closer,For better or for worse, for all this time. John Ashbery, Introduction Critical responses to the poem have varied widely. I survey here the most recent and informed readings in an effort to provide a starting point for my… Read more
Introduction: A Simple Prayer The Complexity of Sappho 1 υἱὲ Ταντάλου, σὲ δ’ ἀντία προτέρων φθέγξομαι Pindar, Olympian I Sappho’s Prayer to Aphrodite (Fragment 1 V. [1] ) holds a special place in Greek Literature. The poem is the only one of Sappho’s which survives complete. [2] Many of the conclusions we draw about Sappho’s poetry come from this one… Read more
Acknowledgments I would first like to express my gratitude to my first teachers of Greek, Leonard Muellner and Mark Davies, without whom, perhaps, none of this would have happened. I am grateful to many people for advice and encouragement throughout the research and writing of this thesis. My thanks go first to Professor Nagy, who always knew the right thing to say; then to Professor Barbara Freeman, Professor Greg Crane,… Read more
Acknowledgments I would first like to express my gratitude to my first teachers of Greek, Leonard Muellner and Mark Davies, without whom, perhaps, none of this would have happened. I am grateful to many people for advice and encouragement throughout the research and writing of this thesis. My thanks go first to Professor Nagy, who always knew the right thing to say; then to Professor Barbara Freeman, Professor Greg Crane,… Read more
Gathered here are selections from CHS publications pertaining to the songmaking of Sappho. The majority of them have been generated in Classical Inquiries, an online, rapid-publication project devoted to sharing some of the latest thinking on the ancient world with researchers and the general public, authored primarily by Gregory Nagy, Director of the Center for Hellenic Studies. Nagy’s approach, which combines diachronic and synchronic perspectives, encourages us to view Sappho’s… Read more
Albert Bates Lord here offers an unparalleled overview of the nature of oral-traditional epic songs and the practices of the singers who composed them. Shaped by the conviction that theory should be based on what singers actually do, and have done in times past, the essays collected here span half a century of Lord’s research on the oral tradition from Homer to the twentieth century. Drawing on his extensive fieldwork… Read more
[The printed version of this article was published in Tradizione e innovazione nella cultura greca da Omero all’ età ellenistica: Scritti in onore di Bruno Gentili (ed. R. Pretagostini) vol. 1, 221–225. Rome 1993. The original pagination of the printed version will be indicated in this electronic version by way of curly brackets (“{“ and “}”). For example, “{221|230}” indicates where p. 221 ends and p. 222 begins.] This presentation brings… Read more
Eukhomai had been glossed traditionally as “pray, long for, wish for; vow, promise; boast, brag, vaunt; profess, declare.” Muellner’s approach is to make a systematic analysis of the constraints in which this word is used in Homeric texts—grammatical, stylistic, and contextual—and to compare them, keeping in mind the framework of traditional diction, in which “a traditional poet uses a repertoire of formulas and themes to express his meaning.” Second online edition… Read more
