New PDF release: Anthology of Ancient and Medieval Woman's Song

By Anne L. Klinck

ISBN-10: 1403963096

ISBN-13: 9781403963093

This assortment makes a speciality of a woman's perspective in love poetry, and juxtaposes poems through girls and poems approximately ladies to elevate questions about how femininity is built. even though so much medieval ''woman's songs'' are both nameless or male-authored lyrics in a favored sort, the time period can usefully be multiplied to hide poetry composed by way of ladies, and poetry that's aristocratic or discovered instead of renowned. Poetry from historic Greece and Rome that resonates with the medieval poems can be integrated the following. Readers will discover a diversity of voices, usually echoing comparable issues, as ladies celebrate 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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43 Again, arguing for the existence of a historical Sulpicia, Holt Parker comments that when a male poet writes from a female perspective, “the feminine character is generic and non-specific” (Parker 46). Parker’s comment is too sweeping, but I would agree that the tendency is there. It seems to me that in general, while male authors construct a femininity that appeals to men, female authors emphasize thought and opinion rather than the evocation of beguiling femininity. 44 She points out the prominence of direct address in the trobairitz poems and the interest in a real relationship with a real past (“Female Rhetoric” 64–66).

If our marriage was not what you had at heart— because you feared the cruel commands of your strict father, yet you could have brought me to your home to serve you as your slave with cheerful labor, washing your white feet with clear water, or laying purple spreads over your bed. But why do I lament in vain to the heedless winds, crazed at my evil fate? They possess no senses; they can neither hear words spoken nor utter them in reply. For by this time he’s tossing on the high sea, and there’s no mortal in sight on this empty, weed-strewn shore.

Hither, hither, my love! Come to me too. Come running and open the door. If you don’t, I’ll fall down and lie here. But I want to be in your bosom exchanging thrusts with your rear. Cypris, why are you making me mad for her? Give me relief, I beg you, Eros, and make her come to my chamber. Provenance: Aristophanes lived ca. 450–ca. C. C. Meter: One of the sung sections of the play, this passage uses cretic (long-short-long), iambic, possibly anapaestic (short–short–long), and trochaic meters. All of these are common in comedy; the iambic is associated with invective and burlesque, the cretic and trochaic with vigorous movement.

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Anthology of Ancient and Medieval Woman's Song by Anne L. Klinck


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