There has been some excellent reporting on the Sappho papyrus fragments by Roberta Mazza , from the time of their public debut in with several follow-up posts. David Meadows of rougeclassicism provided a thorough round-up of recent developments in July of But working through all the details can be highly confusing because, as Mazza and others have noted, key elements of the story change with each retelling. A particular locus for the changing of the story is an interview Professor Obbink gave to Live Science in January of I want to revisit some elements of that interview with the close relationship between Scott Carroll and Dirk Obbink in mind. There seems to be no ideal way to present this information, so I am simply going to adopt the chronological list format. As you read through the items, keep in mind the following questions:.
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George Depue Hadzsits, Ph. University of Pennsylvania. David Moore Robinson, Ph. The Johns Hopkins University. The name of Sappho will never die. But it lives in most of the minds that know it at all to-day as hardly more than the hazy nucleus of a ragged fringe suggestive of erotic thoughts or of sexual perversion.
Give your online dating a boost with unlimited profiles from Gaydar – it’s free! The term lesbian is an allusion to Sappho, derived from the island of Lesbos.
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The Poems of Sappho/Chapter 1
Judging from the style of the handwriting, Obbink estimated that it dated to around A. But, as he looked at the curious pattern of the lines—repeated sequences of three long lines followed by a short fourth—he saw that the text, a poem whose beginning had disappeared but of which five stanzas were still intact, had to be older. Much older: about a thousand years more ancient than the papyrus itself. The dialect, diction, and metre of these Greek verses were all typical of the work of Sappho, the seventh-century-B.
Remarkably enough, this was the second major Sappho find in a decade: another nearly complete poem, about the deprivations of old age, came to light in But then Sappho is no ordinary poet.
Print publication year: ; Online publication date: May 19 – Sappho and Pindar in the nineteenth and twentieth centuries. from Part III: Reception.
I would fain have enriched this edition of my Sappho with some new words of the poetess, if only even to the slight extent which I reached in ; but, to the world’s sorrow, that pleasure has been denied me. Still, we need not yet give up all hope, after the unexpected discovery of the unknown Mimiambi of Herondas, on a papyrus-roll used to stuff an Egyptian mummy-case, so few years ago cf. The Academy , Oct. Neverthless, I can now present to the lovers of Sappho a good deal more than was heretofore in my power; in a new form, it is true, but with the same beautiful Greek type.
And with this third edition I am enabled to give a reproduction, in photogravure, of the charming picture of Mitylene by the late Mr. Clarkson Stanfield, R. Garnett, of the British Museum. To enumerate the pictures that have been painted, the articles and books and plays that have been written, which have appealed to the public in the last ten years, would be an almost impossible task.
In my Bibliography I have endeavoured to give a reference to all that is of prominent and permanent interest, ranging from ‘the postman poet,’ Mr. Hosken, to the felicitous paraphrases—some fractions of which I have taken the liberty to quote in the text—of ‘Michael Field’ in her Long Ago. The translation of the Hymn to Aphrodite, which was made for me by the late J.
One of the greatest benefits of an education in Classics is that it teaches you two very important skills which serve you well no matter what field you happen to go into post-degree: critical thinking and source criticism. Sadly, the coverage was tainted from the press release stage with the result — since no one apparently felt the need to check sources — that calendrical precision is being claimed when none really exists.
Martin George, former president of the International Planetarium Society, now at the National Astronomical Research Institute of Thailand, also participated in the work. Henry Thornton Wharton,
However, while presenting a new BBC Four documentary ‘Sappho: Love & Life on Lesbos with And hearing the results of the scientific testing to show its date and how that confirmed Listen on the In Our Time website (available worldwide).
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Sappho, a towering figure in Western culture, is an exemplary case in the history of classical receptions.
Margaret Mountford: lawyer, businesswoman, tv presenter and, most recently, a doctor in Papyrology. When the “new papyrus” was discovered in , after lying unread for over years, Margaret admits she didn’t know much about Sappho. Apart from of course that she was an Ancient Greek poet, with a strong association to a small Aegean island. Further afield, Margaret visits the island where Sappho was born, lived and loved: Lesbos. There she meets the residents who idolise the poet and her attitude to love and life.
I was approached by Maya Vision the production company to consider presenting a series based on papyrus finds and this is I hope! And the more involved I got the more interested I became in the contrast between how little we actually know about Sappho and how much has been projected onto her over the centuries. First, she was a woman poet, and although there were a few others around the same period she is by far the most famous and the one whose works survived the most although very little, of course.
But scholars would say the poetry survived because it is so good, because of the way she expressed feelings and emotions succinctly and exactly and poetically in a way that was unique for her time but timeless. Sappho also influenced Horace and Catullus and through them the whole chain of western love poetry.
Sappho & Neraida Studios Hotel, Vatera
Most of Sappho’s poetry is now lost, and what is extant has mostly survived in fragmentary form; two notable exceptions are the ” Ode to Aphrodite ” and the Tithonus poem. Three epigrams attributed to Sappho are extant, but these are actually Hellenistic imitations of Sappho’s style. Little is known of Sappho’s life.
The dates of these paintings show that a heterosexual Sappho remained conceivable through to the late nineteenth century, particularly in France, where.
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Watch your email for the response. En l’an The Future of the Past. Open Philology Project digitized books Loading I moved it to its own space here beginning in