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Sappho 31 is a lyric poem by the Archaic Greek poet Sappho of the island of Lesbos. [a] The poem is also known as phainetai moi (φαίνεταί μοι lit. ' It seems to me ') after the opening words of its first line, and as the Ode to Anactoria, based on a conjecture that its subject is Anactoria, a woman mentioned elsewhere by Sappho.
Fragment one of the papyrus preserves four consecutive fragments; frr. 15, 16, 17, and 18 in Voigt's edition. [6] Also preserved, on fragment 56 of the papyrus, is the final poem of Book I of Sappho, fragment 30. [7] A colophon at the end of fragment 56 of the papyrus shows that Sappho's Book I contained 1320 lines, or 330 stanzas. [7]
Commentaries on Sappho's fragments, William Annis. Fragments of Sappho, translated by Gregory Nagy and Julia Dubnoff; Sappho, BBC Radio 4, In Our Time. Sappho, BBC Radio 4, Great Lives. Ancient Greek literature recitations, hosted by the Society for the Oral Reading of Greek and Latin Literature. Including a recording of Sappho 1 by Stephen Daitz.
The fragments of Sappho's poems are arranged in the editions of Lobel and Page, and Voigt, by the book from the Alexandrian edition of her works in which they are believed to have been found. Fragments 1–42 are from Book 1, 43–52 from Book 2, 53–57 from Book 3, 58–91 from Book 4; 92–101 from Book 5, 102 from Book 7, 103 from Book 8 ...
Anactoria (or Anaktoria; Ancient Greek: Ἀνακτορία) is a woman mentioned in the work of the ancient Greek poet Sappho.Sappho, who wrote in the late seventh and early sixth centuries BCE, names Anactoria as the object of her desire in a poem numbered as fragment 16.
The Midnight poem is a fragment of Greek lyric poetry preserved by the Alexandrian grammarian Hephaestion. [1] It is possibly by the archaic Greek poet Sappho, and is fragment 168 B in Eva-Maria Voigt's edition of her works.
Catullus 51 is a poem by Roman love poet Gaius Valerius Catullus (c. 84 – c. 54 BC).It is an adaptation of one of Sappho's fragmentary lyric poems, Sappho 31.Catullus replaces Sappho's beloved with his own beloved Lesbia.
In this analysis, a wide variety of Aeolic verses (whether in Sappho and Alcaeus, or in later choral poetry) are analyzed as a choriambic nucleus (sometimes expanded, as just mentioned), usually preceded by anceps syllables and followed by various single-short sequences (e.g. u – , u – u – , and, by the principle of brevis in longo, u ...