Hor Lyric

Newly translated according to a scheme of staggering ambition, an anthology unlike any now available Composed between the early-agricultural 'song culture' of 800 BCE, when praise poems and dirges mingled in a world peopled with gods and monsters, and the time of Imperial Rome, the corpus of Greek and Latin lyric poetry is as densely rich in formal interrelation and allusion as anything we know in English verse. Poets like the Greek Callimachus and the Roman Horace self-consciously modelled themselves on earlier bards - Sappho and Mimnermus, Pindar and Alcaeus - and produced poetry thick with references and resonances from the work of their exemplars. Yet, as a rule, for the reader in English translation, much of this fascinating interplay is inaccessible. One translator approaches a given poet in one way; another translator approaches the next poet in another. We receive the part, but lose the whole. In an undertaking of astonishing ambition, Chris Childers has sought to remedy this situation by translating the most representative and significant poems from both languages in a single volume, and according to consistent principles of translation. No other book now available so much as attempts this. A decade in the making, The Penguin Book of Greek and Latin Lyric Verse gives us back the full complexity and play of two immortal traditions as we have never seen them before.

In The Reception of Greek Lyric Poetry in the Ancient World: Transmission, Canonization and Paratext, twenty-one international scholars discuss the afterlife of early Greek lyric poetry (iambic, elegiac, and melic) from the 5th century BCE to the 12th century CE.

Sappho, a towering figure in Western culture, is an exemplary case in the history of classical receptions. There are three prominent reasons for this. Firstly, Sappho is associated with some of the earliest poetry in the classical tradition, which makes her reception history one of the longest we know of. Furthermore, Sappho's poetry promotes ideologically challenging concepts such as female authority and homoeroticism, which have prompted very conspicuous interpretative strategies to deal with issues of gender and sexuality, revealing the values of the societies that have received her works through time. Finally, Sappho's legacy has been very well explored from the perspective of reception studies: important investigations have been made into responses both to her as poet-figure and to her poetry from her earliest reception through to our own time. However, one of the few eras in Sappho's longstanding reception history that has not been systematically explored before this volume is the Roman period. The omission is a paradox. Receptions of Sappho can be traced in more than eighteen Roman poets, among them many of the most central authors in the history of Latin literature. Surely, few other Greek poets can rival the impact of Sappho at Rome. This important fact calls out for a systematic approach to Sappho's Roman reception, which is the aim of Roman Receptions of Sappho that focuses on the poetry of the central period of Roman literary history, from the time of Lucretius to that of Martial.

Contains revised versions of some papers that were presented at the Sympotic Poetry conference held at Oxford in January 2011--Cited from the Acknowledgements and https://rogueclassicism.com/2011/01/21/conf-sympotic-poetry-2/ (viewed on 12/12/1