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Aphrodite, the subject of Sappho's poem. This marble sculpture is a Roman copy of Praxiteles's Aphrodite of Knidos. The poem is written in Aeolic Greek and set in Sapphic stanzas, a meter named after Sappho, in which three longer lines of the same length are followed by a fourth, shorter one. [15]
Sappho's poetry is known for its clear language and simple thoughts, sharply-drawn images, and use of direct quotation that brings a sense of immediacy. [97] Unexpected word-play is a characteristic feature of her style. [98]
After setting out Sappho's definition of what beauty is, the poem moves into a more personal section, recalling the narrator's beloved, Anactoria. [18] The transition from the mythological example of Helen and Paris to the narrator's desire for Anactoria is missing, so it is not known what exactly reminded the narrator of her. [19]
In 1508, a collection of Greek rhetorical works edited by Demetrios Doukas and published by Aldus Manutius made a poem by Sappho (the Ode to Aphrodite) available in print for the first time; [28] in 1554, Henri Estienne was the first to collect her poetry when he printed the Ode to Aphrodite and the Midnight poem after a collection of fragments ...
Sappho 2 is a fragment of a poem by the archaic Greek lyric poet Sappho.In antiquity it was part of Book I of the Alexandrian edition of Sappho's poetry. Sixteen lines of the poem survive, preserved on a potsherd discovered in Egypt and first published in 1937 by Medea Norsa.
A papyrus manuscript preserving Sappho's "Fragment 5", a poem written in Sapphic stanzas The Sapphic stanza , named after the poetess Sappho , is an Aeolic verse form of four lines . Originally composed in quantitative verse and unrhymed, since the Middle Ages imitations of the form typically feature rhyme and accentual prosody.
In the conceit of the poem, Anactoria is about to leave Sappho, and Sappho initially longs for the goddess Aphrodite to return Anactoria to her. [31] By the end, however, Sappho rejects Anactoria and the gods in favour of poetry, which she had initially proclaimed herself willing to sacrifice for Anactoria's love. [32]
Sappho: A New Translation is a 1958 book by Mary Barnard with a foreword by Dudley Fitts.Inspired by Salvatore Quasimodo's Lirici Greci (Greek Lyric Poets) and encouraged by Ezra Pound, with whom Barnard had corresponded since 1933, she translated 100 poems of the archaic Greek poet Sappho into English free verse.