Sappho 31 and Catullus 51 Both poems end with a twist that contradicts what precedes, with Sappho asserting the possibility of self-control and Catullus sermonizing about otium . but suddenly my tongue is snapped off, Catullus 51 is the Roman poet’s translation of Sappho #31 in which poem she is similarly frozen while beholding her lover. Go to Table However, as Catullus gives his take on the same poem, he directs the attention to Lesbia. Search for: Search. The poem is quoted in Longinus's treatise On the Sublime for the intensity of its emotion, Plato draws on it in Socrates' second speech on love in the Phaedrus, and the physical symptoms of desire portrayed in the poem continue to be used to convey the feeling in modern culture. Shown in poem 31 when she writes “he seems to me equal to gods that man whoever he is who opposite you”(1-2). Ladianou’s argument was that both poems are dialogic, and that that dialogism is in fact a defining feature of lyric poetry. Reading the texts of both Sappho fragment 31 and Catullus 51, it is easy to discern that both texts pertain to the same particular event. Written in Sapphic metre, Poem 51 by Catullus is a close, but not slavish translation of Sappho 31. Sappho just has a much subtler way of writing out her feeling of love. There are ruins there that many believe belonged to Catullus. In this poem, Catullus wrote about a place that he loved to visit: Sirmio. With critically acclaimed titles in history, science, higher education, consumer health, humanities, classics, and public health, the Books Division publishes 150 new books each year and maintains a backlist in excess of 3,000 titles. SILENCE IN SAPPHO 31 AND CATULLUS 51* Sappho 31 concerns poetry as much as love or jealousy, like Ca- tullus' "response" in 51, a poem which addresses Sappho's poetic claims and poetic stance at least as much as Lesbia's beauty.' JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. In Catullus’ adaptation of Sappho’s Poem 31, there are difference that show how the two poets view love. Joan DeJean criticises the "jealousy" interpretation of the poem as intended to play down the homoeroticism of the poem. Four strophes of the poem survive, along with a few words of a fifth. This symmetricality of the two poems allows for perfect comparison to highlight the ways in which the styles of the poets differ or resemble the other. Books Some appropriations in Poem 51 of Catullus from Song 31 of Sappho §72. [Übersetzung ...] Ich will nicht darauf eingehen, was für ein Gefühl das ist. Sapho 31, Lyrik im Griechischunterricht der gymnasialen Oberstufe Nos personalia non concoquimus. Instead, the man's role is to act as a "contrast figure", designed to highlight Sappho's love for the girl by juxtaposing the strength of Sappho's emotional reaction with his impassivity. 2, BAKHTIN AND ANCIENT STUDIES: DIALOGUES AND DIALOGICS (Spring 1993), Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. While his poem does make an effort to follow her metrical pattern, his translation is nonetheless even more interesting because it is neither simply literal nor straightforwardly accurate. Project MUSE® The Journals Division publishes 85 journals in the arts and humanities, technology and medicine, higher education, history, political science, and library science. SILENCE IN SAPPHO 31 AND CATULLUS 51* Sappho 31 concerns poetry as much as love or jealousy, like Ca- tullus' "response" in 51, a poem which addresses Sappho's poetic claims and poetic stance at least as much as Lesbia's beauty.' An alternative reading is suggested by Gallavotti: according to his thesis, the text was corrupted over time as a result of the disappearance of the sound [w] (represented by the letter digamma Ϝ) and Sappho's original would have instead said "phainetai woi" (φαίνεταί Ϝοι). This distinguished journal is known for publishing original literary and cultural studies of the ancient world that combine contemporary theoretical perspectives with traditional approaches to literary and material evidence. Some scholars have speculated that Sappho sees the object of her desire at a wedding, which is an interesting parallel with the setting of Dante’s sonnet (translation is my own): When I look at you, even for a short time, While his poem does make an effort to follow her metrical pattern, his translation is nonetheless even more interesting because it is neither simply literal nor straightforwardly accurate. Though this is still a popular interpretation of the poem, many critics deny that the fragment is about jealousy at all. The context of the poem has been the subject of much scholarly debate: Thomas McEvilley calls it the "central controversy" about the poem. It is an adaptation of one of Sappho's fragmentary lyric poems, Sappho 31. Catullus 51, “Ille mi par,” is Catullus’ translation and adaptation of Sappho’s poem “φαίνεταί μοι” (Sappho 31 by the Lobel and Voigt numbering). This reading of the original text, which may be supported by a quote by Apollonius Dyscolus, would dramatically change the perspective of the first verse, its translation roughly being: "God-like he esteems himself to be". That is not to say that Sappho writes without feeling, there is much to be felt in the poems she writes. This symmetricality of the two poems allows for perfect comparison to highlight the ways in which the styles of the poets differ or resemble the other. Published By: The Johns Hopkins University Press, Read Online (Free) relies on page scans, which are not currently available to screen readers. By working through the following versions and translations of Sappho’s 'Fragment 31', students can see how this tradition of poetry as something bodily and vulnerable develops, and how different poets in different eras have either stressed it (as in Byron, for example) or diminished it (as in Catullus). March 1, 2019. What follows uses a loose form of Sapphic stanza in a nod to both Catullus 51 and Sappho 31. William Race, for instance, says that the poem contains nothing to indicate that it is about a wedding, while Christina Clark argues that, though the interaction between the two characters observed by the speaker indicates that they are of similar social status, their interaction is likely to be compatible with a number of possible relationships, not just that between a bride and groom. In Catullus 51, Catullus has modeled his poem after Sappho 31. A more conservative reading would on the other hand offer as a secondary option the change of tone in the poem towards a more hopeful, rather than resigned, position. ... Übersetzung: Catull 51] Metrik: ... Also keine intime, sondern eine repräsentative Situation, und Sappho - so müssen wir uns vorstellen - steht dabei und sieht das. speaking sweetly. option. Wilamowitz suggested that the poem was a wedding song, and that the man mentioned in the initial stanza of the poem was the bridegroom. An icon used to represent a menu that can be toggled by interacting with this icon. Since the second half of the twentieth century, scholars have tended to follow Denys Page in dismissing this argument. One of the largest publishers in the United States, the Johns Hopkins University Press combines traditional books and journals publishing units with cutting-edge service divisions that sustain diversity and independence among nonprofit, scholarly publishers, societies, and associations. The Roman poet Catullus translated a masterful love poem by the Greek poet Sappho, adapting it from her Greek (Sappho 31) into his Latin (Catullus 51). Arethusa introduced the world of classics to the application of new methods in literary theory, and continues to be an exciting venue for innovative and stimulating approaches. It is one of her most frequently adapted and translated poems, and has been the subject of more scholarly commentary than any other of her works. Fragment 31 is one of Sappho's most famous works. The Roman poet, Catullus was so enamoured of Sappho’s work that he reworked Fragment 31, which he would have known in its complete form, into his own version that even rendered the original Sapphic hendecasyllabic metre into Latin [Poem 51].The man is god-like because he can be in the presence of the woman and remain unaffected. Other ancient authors who adapted the poem include Theocritus, in his second Idyll, and Apollonius of Rhodes, in his description of the first meeting between Jason and Medea in the Argonautica. HFS provides print and digital distribution for a distinguished list of university presses and nonprofit institutions. It is one of her most frequently adapted and translated poems, and has been the subject of more scholarly commentary than any other of her works. ... Übersetzung: Catull 51] Metrik: ... Also keine intime, sondern eine repräsentative Situation, und Sappho - so müssen wir uns vorstellen - steht dabei und sieht das. ©2000-2020 ITHAKA. HFS clients enjoy state-of-the-art warehousing, real-time access to critical business data, accounts receivable management and collection, and unparalleled customer service. Sappho 31 and Catullus 51: The Dialogism of Lyric 187 intimate conversation.12 This interpretation of the poem was, of course, standard up until the mid-fifties, having been first advanced by Wilamowitz and later vigorously defended by Snell.13 In 1955, it was to many people's minds decisively refuted by Page, who termed it a "theory . To begin, I review here the analysis §§59–62 in Part Three. In this poem, it appears that Catullus enjoyed this area as a vacation destination. Other Romantic poets influenced by the fragment include Shelley and Keats – for instance in "To Constantia, singing" and "Ode to a Nightingale", respectively. If so, the gorgeous poetry in which Sappho expresses her passion and/or envy now inspires Catullus to those same emotions–passion, perhaps, for the airy lilt of the Greek, envy for its mellifluous polysyllabic movement (e.g. In particular, Catullus’s poem 51 is a direct adaptation of Sappho’s 31. Classical Quarterly 56 (01):297- (2006) Abstract This article has no associated abstract. . To access this article, please, Vol. Fragment 31 is composed in Sapphic stanzas, a metrical form named after Sappho and consisting of stanzas of three long followed by one short line. For terms and use, please refer to our Terms and Conditions The Ancient poetry of Sappho and Catullus has drawn many comparisons since their origins. In Carmen 51, the Roman poet describes Clodia sitting by an unidentified man (perhaps her husband?) The speaker is then counter-posing her own experience in contrast with the man's and the next three stanzas describe the symptoms the narrator experiences "whenever I glance at you for a second". Conquering love: Sappho 31 and Catullus 51. Greek, Roman, and Byzantine Studies 26, No. kai gelaisas imeroen), beside which the sturdy efficiency of Latin (dulce ridentem) seems blocky and prosaic. English Catullus 51 translation on the Catullus site with Latin poems of Gaius Valerius Catullus plus translations of the Carmina Catulli in Latin, English, Dutch, German, Swedish, Italian, Estonian and more but suddenly my tongue is snapped off, Tweet (previously published in Agni 83) He seems like the gods’ equal, that man, who ... which begins “Still, all must be endured, since even a poor…” Wherever Sappho was headed, Catullus goes a different way in the final stanza of his famous free translation, poem 51 ... 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