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SAPPHO: FOR THE STUDENT, is two books in one: Part I is the poems, and fragments of poems by Sappho, with 68 poems by American Poet Laureate, Jean Elizabeth Ward, either paying an homage to Sappho with a Kimo Poem, or a poem inspired by Sappho. Part II is the 1907 book of 100 poems by Bliss Carman. The book ends with a compilation of references for the student in locating reference material and books for the serious student of Sappho. A few illustrations are within.
Robson tackles controversial legal questions, including the treatment of lesbian criminal defendants; lesbianism and violence; the courts' tendency to resort to stereotypes, such as "the good lesbian" and "the bad lesbian"; the numerous debates enveloping same-sex marriage; and the outcome of child custody cases involving lesbians. She also repudiates the recent habit of legal theorists to address lesbians as "alternative family."
An abandoned town named for the classical lesbian leads to questions about history and settlement. Driving along the Pacific Coast Highway, you come to a road sign: Entering Sappho. Nothing remains of the town, just trash at the side of the highway and thick, wet bush. Can Sappho’s breathless eroticism tell us anything about settlement—about why we’re here in front of this sign? Mixing historical documents, oral histories, and experimental translations of the original lesbian poet’s works, this book combines documentary and speculation, surveying a century in reverse. This town is one of many with a classical name. Take it as a symbol: perhaps in a place that no longer exists, another kind of future might be possible.
Willis Barnstone has augmented his widely used anthology of the Greek lyric poets with eleven newly attributed Sappho poems, making this the most complete offering of Sappho in English. Two new sections -- "Sources and Notes" and "Sappho: Her Life and Poems" -- provide the student with the classical sources and an appraisal of this greatest of Western women poets. Barnstone's lucid, elegant translations include a representative sampling of all the significant Greek lyric poets, from Archilochus, in the seventh century B.C., through Pindar ("prince of choral poets") and the other great singers of the classical age, down to the Hellenistic, Roman, and Byzantine periods. William McCulloh's introduction illuminates the forms and development of the Greek lyric. Barnstone introduces each poet with a brief biographical and literary sketch. The critical apparatus includes a glossary, index, bibliography, and concordance. Willis Barnstone is professor of Spanish and comparative literature at Indiana University. He is co-editor of A Book of Women Poets from Antiquity to Now, and has translated poetry of Mao Zedong, Antonio Machado, and St. John of the Cross.
Now available in English for the first time, Franco Ferraris important Sapphos Gift: The Poet and Her Community offers extraordinary new insight into the life and works of Sappho, one of the ancient worlds most brilliant poets.
In this translation of the Greek poetess's work, Barnstone remains faithful to the words of the fragments, only very judiciously filling in a word or phrase in cases where the meaning is obvious.
Presents a Sappho by a poet and translator that treats the fragments as aesthetic wholes, complete in their fragmentariness, and which is also, as the translator puts it: 'ever mindful of performative qualities, quality of voice, changes of voice...'
Sappho was universally recognized by the ancients as the greatest lyric poet. Her lines are spare, bare, and subtle, or as Mosas Hadas put it, "it is ordinary language raised to its highest potential." Alongside the odes to Olympic athletes of Pindar, the wisdom verse of Hesiod, or the epic lays of Homer, Sappho's highly personal poems sound quite modern to our ears. Only a few fragments of her work has survived the centuries, most of them more than one line in length are in this book. The Supplement Edition coordinates with the student text edition, and includes the same poems (www.createspace.com/4185675). This dialogue-style teaching supplement, the Supplement Edition: Sappho: The Poems is arranged by question and answers. Table of Contents Preface for teachers Who was Sappho? Where did Sappho live? Who was in Sappho's family? Map of Aeolian Greek territory What do we know of Sappho's poetry? What was Sappho's school like? What was Sappho's sexual orientation? What makes Sappho's poetry special? What did the ancients think of Sappho? What was the poetry tradition in Lesbos? What was Greek poetry like? What was unique about the Aeolian dialect? What techniques does Sappho use? What was Lesbos culture like What role did Greek women play socially? What about particular poems? BB11. Alkaios: Violet-haired, pure BB12. Ah, the sweet apple that reddens at the tip BB13. Dika, braid your lovely hair BB14. Aphrodite on your shining throne BB21. Raise high the roof-beam, carpenters BB22. The full wine bowl already had BB23. Lucky bridegroom, your wedding day has come BB23. The doorkeeper to the bridal chamber has feet BB24. A messenger came running on powerful legs BB25. Give up groom, we'll camp outside your door BB26. Indeed the stars anywhere near her undisguised brilliance; BB27. You cam. And you did well to come BB28. To me he looks godlike BB30. Anaktoria: Some prize the cavalry, while others favor BB31. Love now shakes my limbs and BB32. Atthis: Even in distant Sardis BB34. So, I'll never see Atthis again BB35. Leave Crete, and come to me here BB36. Mermaids and brine-born Aphrodite, please BB38. Hera, I pray you, may you BB40. I have a little daughter who is like BB41. When our girls were young BB42. Girlhood, girlhood, when you left me BB46. Gongyla, this is surely a sign What is the controversy about Sappho? Who opposed Sappho and why? Did Sappho leap for love? Whom did Sappho influence? What have the modern critics said? What problems in translating Sappho? What English translations of Sappho? What is Sappho's publication history? Bibliography Glossary