By Anne L. Klinck
This assortment makes a speciality of a woman's standpoint in love poetry, and juxtaposes poems by means of girls and poems approximately ladies to elevate questions on how femininity is built. even if so much medieval "woman's songs" are both nameless or male-authored lyrics in a favored type, the time period can usefully be extended to hide poetry composed via girls, and poetry that's aristocratic or realized instead of renowned. Poetry from old Greece and Rome that resonates with the medieval poems is additionally incorporated the following. Readers will discover a variety of voices, usually echoing comparable subject matters, as ladies have fun or lament, compliment or condemn, plead or curse, communicate in jest or in earnest, to males and to one another, approximately love.
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Extra resources for An Anthology of Ancient and Medieval Woman's Song
Xνα. with limb-loosening desire, more meltingly than sleep and death she looks at [me]. Not in vain is she sweet. ’AστυμNλοισα δN μ’ οSδPν iμεgβεται τ ν πυλεaν’ Oχοισα . . τι α γλbεντο iστxρ . . pρανa διαιπετx m χρjσιον Oρνο m rπαλ ν ψgλον . . -ν . . διNβα ταναο ποσg. . -κομο νοτgα Kινjρα χbρι Rπ παρσενικdν χαgταισιν σδει. Yet Astymeloisa answers me nothing. Holding the garland, like some falling star that darts through the radiant heaven, or like a golden sapling, or a soft feather, ...
See Julia Haig Gaissner, “Threads in the Labyrinth: Competing Views and Voices in Catullus 64,” American Journal of Philology 116 (1995): 579–616; Judith Hallett, “Women’s Voices and Catullus’ Poetry,” Classical World 95 (2002): 421–24; Francis Cairns, Virgil’s Augustan Epic (contains chapters on Dido) (1989); S. Georgia Nugent, “The Women of the Aeneid: Vanishing Bodies, Lingering Voices,” Reading Vergil’s Aeneid, ed. Christine Perkell (1999); Mathilde Skoie, Reading Sulpicia (2002); Alison Keith, Tandem venit amor (on Sulpicia), and Pam Gordon, “The Lover’s Voice in Heroides 15,” both in Roman Sexualities, ed.
Iuppiter omnipotens, utinam ne tempore primo Cnosia Cecropiae tetigissent litora puppes, indomito nec dira ferens stipendia tauro perfidus in Creta religasset navita funem, 33 they shrink from no oaths, spare no promises: but as soon as they’ve satisfied the desire of their lustful hearts, they remember nothing of their words, care nothing for their broken vows. It was I, in truth, who saved you whirling in the labyrinth of death, and I thought it better to lose my brother, than fail you at that desperate time—you who have deceived me.
An Anthology of Ancient and Medieval Woman's Song by Anne L. Klinck