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

By Anne L. Klinck

This assortment makes a speciality of a woman's perspective in love poetry, and juxtaposes poems by way of 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 well-liked type, the time period can usefully be increased to hide poetry composed by means of girls, and poetry that's aristocratic or realized instead of renowned. Poetry from old Greece and Rome that resonates with the medieval poems can be integrated the following. Readers will discover a diversity of voices, frequently echoing comparable subject matters, as ladies have fun 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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10. See Corral, “Feminine Voices in the Galician-Portuguese Cantigas de Amigo” 83. Two Arabic and one Hebrew, all of them expressing love for a boy. Solá-Solé sees the kharja as uttered by the poet in the Arabic muwashshahas, by a young girl in the Hebrew. And cf. Heale’s comments on the changing of the pronoun “she” to “they,” in a sixteenth-century English love complaint (“Women and the Courtly Love Lyric” 309–12). , Faral did with poems he regarded as too lascivious to have been composed or performed by women.

Don’t you see the light coming in through the window? Provenance: Locri Epizephyrii in southern Italy, ca. D. 200. This is very late, but songs of this type go back a long way, probably well beyond Clearchus’s fourth-century reference to them. Meter: Uncertain; apparently a stanza from a song. The term “Locrian” may refer to music and meter as well as content. This page intentionally left blank Chapter 2 Ancient Rome Nearly all extant classical Latin poetry is male authored. The composers of personal love poems—Catullus, Propertius, Tibullus, and Ovid—write almost exclusively from the man’s point of view in this supposedly confessional poetry, for which they use elegiac couplets.

Shall I hope for help from my father whom I left behind to follow a young man stained with my brother’s blood? Shall I console myself with a husband’s faithful love— the husband who is hastening across the sea, bending to the resisting oars? Besides, the shore is shelterless, the island solitary. The waves encircle it; there’s no way out— no means of flight, no hope; all is dumb, all deserted; all points to the fatal end. But let not my eyes grow dim in death, nor the senses leave my exhausted body until I demand the gods’ just punishment for my betrayal, and plead to faithful heaven in my final hour.

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