The Lesbian Lyre: Reclaiming Sappho for the 21st Century

Hailed by Plato as the "Tenth Muse" of ancient Greek poetry, Sappho is inarguably antiquity's greatest lyric poet. Born more than 2,600 years ago on the Greek island of Lesbos, and writing amorously of women and men alike, she is the namesake lesbian. What's left of her writing, and what we know of her, is fragmentary. Shrouded in mystery, she is nonetheless repeatedly translated and discussed—no, appropriated—by all. Sappho has most recently undergone a variety of treatments by agenda-driven scholars and so-called poet-translators with little or no knowledge of Greek. Classicist-translator Jeffrey Duban debunks the postmodernist scholarship by which Sappho is interpreted today and offers translations reflecting the charm and elegant simplicity of the originals.

Duban provides a reader-friendly overview of Sappho's times and themes, exploring her eroticism and Greek homosexuality overall. He introduces us to Sappho's highly cultured island home, to its lyre-accompanied musical legends, and to the fabled beauty of Lesbian women. Not least, he emphasizes the proximity of Lesbos to Troy, making the translation and enjoyment of Homer's Iliad and Odyssey a further focus.

More than anything else, argues Duban, it is free verse and its rampant legacy—and no two persons more than Walt Whitman and Ezra Pound—that bear responsibility for the ruin of today's classics in translation, to say nothing of poetry in the twentieth century. Beyond matters of reflection for classicists, Duban provides a far-ranging beginner's guide to classical literature, with forays into Spenser and Milton, and into the colonial impulse of Virgil, Spenser, and the West at large.

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The Lesbian Lyre: Reclaiming Sappho for the 21st Century

Hailed by Plato as the "Tenth Muse" of ancient Greek poetry, Sappho is inarguably antiquity's greatest lyric poet. Born more than 2,600 years ago on the Greek island of Lesbos, and writing amorously of women and men alike, she is the namesake lesbian. What's left of her writing, and what we know of her, is fragmentary. Shrouded in mystery, she is nonetheless repeatedly translated and discussed—no, appropriated—by all. Sappho has most recently undergone a variety of treatments by agenda-driven scholars and so-called poet-translators with little or no knowledge of Greek. Classicist-translator Jeffrey Duban debunks the postmodernist scholarship by which Sappho is interpreted today and offers translations reflecting the charm and elegant simplicity of the originals.

Duban provides a reader-friendly overview of Sappho's times and themes, exploring her eroticism and Greek homosexuality overall. He introduces us to Sappho's highly cultured island home, to its lyre-accompanied musical legends, and to the fabled beauty of Lesbian women. Not least, he emphasizes the proximity of Lesbos to Troy, making the translation and enjoyment of Homer's Iliad and Odyssey a further focus.

More than anything else, argues Duban, it is free verse and its rampant legacy—and no two persons more than Walt Whitman and Ezra Pound—that bear responsibility for the ruin of today's classics in translation, to say nothing of poetry in the twentieth century. Beyond matters of reflection for classicists, Duban provides a far-ranging beginner's guide to classical literature, with forays into Spenser and Milton, and into the colonial impulse of Virgil, Spenser, and the West at large.

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The Lesbian Lyre: Reclaiming Sappho for the 21st Century

The Lesbian Lyre: Reclaiming Sappho for the 21st Century

by Jeffrey M Duban
The Lesbian Lyre: Reclaiming Sappho for the 21st Century

The Lesbian Lyre: Reclaiming Sappho for the 21st Century

by Jeffrey M Duban

Hardcover

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Overview

Hailed by Plato as the "Tenth Muse" of ancient Greek poetry, Sappho is inarguably antiquity's greatest lyric poet. Born more than 2,600 years ago on the Greek island of Lesbos, and writing amorously of women and men alike, she is the namesake lesbian. What's left of her writing, and what we know of her, is fragmentary. Shrouded in mystery, she is nonetheless repeatedly translated and discussed—no, appropriated—by all. Sappho has most recently undergone a variety of treatments by agenda-driven scholars and so-called poet-translators with little or no knowledge of Greek. Classicist-translator Jeffrey Duban debunks the postmodernist scholarship by which Sappho is interpreted today and offers translations reflecting the charm and elegant simplicity of the originals.

Duban provides a reader-friendly overview of Sappho's times and themes, exploring her eroticism and Greek homosexuality overall. He introduces us to Sappho's highly cultured island home, to its lyre-accompanied musical legends, and to the fabled beauty of Lesbian women. Not least, he emphasizes the proximity of Lesbos to Troy, making the translation and enjoyment of Homer's Iliad and Odyssey a further focus.

More than anything else, argues Duban, it is free verse and its rampant legacy—and no two persons more than Walt Whitman and Ezra Pound—that bear responsibility for the ruin of today's classics in translation, to say nothing of poetry in the twentieth century. Beyond matters of reflection for classicists, Duban provides a far-ranging beginner's guide to classical literature, with forays into Spenser and Milton, and into the colonial impulse of Virgil, Spenser, and the West at large.


Product Details

ISBN-13: 9781905570799
Publisher: Temple Lodge Publishing
Publication date: 06/28/2016
Pages: 832
Product dimensions: 6.40(w) x 9.50(h) x 2.00(d)

About the Author

Jeffrey M. Duban attended the Boston Public Latin School, beginning his study of Latin in the seventh grade and Greek in the tenth. As a Classics major at Brown, he also studied Old Testament, Sanskrit, and Classics at the Hebrew University of Jerusalem. He obtained his doctorate from Johns Hopkins and briefly taught at a university, later earning his JD from Fordham. As an attorney, he specialized in academic law. The Lesbian Lyre is the inspiration for the author's program in which he serves as the narrator of Sir Granville Bantock's Sappho: Nine Fragments for Contralto.

Table of Contents

Acknowledgments xiii

Abbreviations xv

Guide to Pronunciation xvii

Preface xxv

Part I

1 Greek Lyric, Greek Epic, and Old Testament; the Quarrel of Ancients and Moderns 3

2 Greekless Translators, Theorizing Scholars 20

3 Selected Lyric Poets of Antiquity: Archilochus, Alcman, Anacreon & Ibycus 29

4 Sappho: Antiquity's Poetess and Ours 37

5 Sappho's Eroticism 44

6 The Loves of Men, Gods, and Primordial Forces 53

7 Lesbos, Troy, and Environs; the Principal Greek Genres and Dialects 59

Part II

8 Sappho and the "Lyric Nine," An Aesthetic for Lyric Translation 75

9 The Aesthetic of English-Language Prosody in the Translation of Classical Verse 80

10 Translatability: Achieving Charm and Distinction in Translation 88

11 Translation as the Profession of Ignorance: Mary Barnard, Willis Barnstone, and Others 96

12 Translations Compared 112

Part III Translations

Sappho 125

Alcman 148

Anacreon 153

Archilochus 159

Ibycus 165

Part IV

13 Iliad, Odyssey, and Aeneid: The Epic Cycle in Progress 171

14 Cosmic Preservation and the Heroism of Heracles 182

15 Self-Perpetuation and the Heroism at Troy 185

16 Imperishable Fame and the Evolution of Greek Epic 197

17 Imperishable Fame Denied: Sappho's "Wedding of Hector and Andromache" 201

18 Cataclysm Averted: Homer's Separation of Helen and Achilles 206

Part V

19 Homeric and Sapphic Meter, Metric Formulae and Oral Composition, the Origins of Rhyming Poetry, Milton on Blank Verse 227

20 Accentuation, Sound, and Word Order in Ancient Greek Poetry 252

Part VI

21 Growing Latin from Greek Roots, Rome's Imperial Vision and Its Aftermath 263

Part VII

22 Equal to the Gods: Poetic Sublimity, Inner Collapse 309

23 Equal to a God: Form and Content in Convulsive Union 318

24 Frenzied Emotion, Expressive Control: Form and Content Bound 329

25 Modernism Wins Out: Form and Content Abandoned 338

26 "Freedom, Freedom, Prison to the Free": The Obfuscatory Unfettered 380

27 Sappho Unbound and Boundaryless-Theorized, Personalized, Politicized 387

28 Boundaries, Artistic Fit, and What "Art" Means and Does 412

Part VIII

29 Not Making It New (or Better): Recent Iliads and Aeneids 429

30 So Old It's New (and Better): The Smith/Miller Hexametric Iliad 445

31 On Leaving Well Enough Alone: Rejecting Lattimore for R. Fitzgerald 463

32 Pope's Iliad and E. FitzGerald's Rubáiyát; Pope on Chapman's Iliad 472

33 Versions and Perversions of Homer: R. Fitzgerald, Fagles, and Logue 480

34 Ezra Pound: Damage to Sextus Propertius 507

Addendum 557

Notes 562

Bibliography 729

Index 761

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