I knew scribes made mistakes, changes, and additions; I knew that translations across various languages can change the original text pretty drastically; I knew how manuscripts were made, about vellum and natural pigments; I knew the production of biblical texts in the medieval period were of the utmost importance and severity.
West 2014, overlaps with fr.11 LP (omitted from Voigt).Voigt gives 32 lines; P. GC shows that the final 12 lines of Voigt are a separate poem (16A)Voight numbers the lines up to 34, including l.3a, which is entirely lostThough often presented as a single fragment, the lines come from two separate sources, and West calls the base of the metre Hagesichoreans rather than Acephalous Hipponacteans;Voigt divides 90a into Col. II, ll.1–27, and Col. III, ll.11–30 sfn error: multiple targets (2×): CITEREFLidov2011b ( If Not, Winter irresistibly combines the ancient mysteries of Sappho with the contemporary wizardry of acclaimed poet and classicist Anne Carson in what is sure to become the standard translation of Sappho … The audio and background are my own and may not be reproduced …
While medieval copying in scriptoriums may have been even more difficult and laborious, the act of copying was still difficult.
and the choriambic tetrameter, 1 which is found in longer sequences, as in Sappho’s lines which begin: Hither now, tender Graces and lovely-haired Muses.
The two major sources of surviving fragments of Sappho are quotations in other ancient works, from a whole poem to as little as a single word, and fragments of papyrus, many of which were discovered at These fragments are isolated words quoted by other ancient authors, arranged alphabetically. And who is to say that these surviving fragments are anything like the original? Sappho was a Grecian singer who performed more than 2,500 years ago. Marilyn B. Skinner, Introduction 2. Of the nine volumes of her poetry that once sat in the library of Alexandria, only two full poems, and a few hundred fragments, remain.
Hilary Ilkay is a graduate student in the Liberal Studies Program at The New School for Social Research, where she continues to do research in her native field of Classics. As I’m nearing a 1,000-word count, I’ll cut it short: the unavailability of Sappho’s poems is most likely a result of moralists’ appropriation or complete destruction of her works. It helped me synthesize the knowledge I had, which was overall a really fun and fruitful experience. . The oldest surviving fragment of Sappho currently known is the Cologne papyrus which contains the Tithonus poem; [7] it dates back to the third century BC. The most famous woman poet of all time (so far), and yet remarkably under-read. While monks in a scriptorium most likely did not reproduce Sappho’s poems, in particular, I think the discussion of scriptorium practices helps highlight the ways that the provenances of these texts are muddled.Scriptoriums as centers of both appropriation and change are fascinating, particularly in the early medieval period (~400-900 AD), since Charlemagne encouraged art to flourish while also emulating antique Roman art to assert his legitimacy as Holy Roman Emperor.
Ellen Greene and Marilyn Skinner, editors, The New Sappho on Old Age: Textual and Philosophical Issues A Note on Classics@ 1. Little is known about her life, and information is constantly speculated and contested - and little of it needs to be recounted at the moment.
Over the centuries, Sappho became known as the great Poetess, one of the best (if not Texts from antiquity - and even late antiquity - are incredibly rare. In But why aren’t there late antique or medieval manuscripts that include Sappho’s poems, like Vergil’s epic or Terence’s plays?
None of her music survives. I would be surprised if someone in the class did not also write about Sappho’s poems as texts that have been transmuted by translators, authors, politicians, and clergy over millennia and across cultures; her work epitomizes the “long chain of human activity” that affects media over time, as described in the prompt. Actually copying out a seemingly illegible text in a dim, candlelit setting added a realistic perspective I didn’t have, though.
Sappho. Time to fix that. Dirk Obbink, Sappho Fragments 58–59: Text, Apparatus Criticus, and Translation 3.
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