Słońce w rozpaczy: liryka miłosna Safony w aspekcie oralności
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawn. Uniw. Wrocławskiego
2006
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
2943 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Sun in despair : Sappho's love lyrics in the aspect of orality Literaturverz. S. [247] - 257 |
| Beschreibung: | 270 S. 24 cm |
| ISBN: | 9788322928332 |
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| 500 | |a Literaturverz. S. [247] - 257 | ||
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Datensatz im Suchindex
| _version_ | 1804138503059013632 |
|---|---|
| adam_text | Spis treści
Wstęp
.............................................. 9
Problematyka badawcza
................................. 10
Biografia poetki
..................................... 16
Rozdział I. Oralny charakter liryki Safony
.......................... 25
Zagadnienie formuły w liryce
.............................. 26
Matryca pieśni lirycznej
................................. 33
Publiczność
........................................ 38
Oralność
-
porównanie z innymi poetami lirycznymi
................. 50
Rozdział
II.
Charakter thiasos
................................. 62
Święta czy prostytutka?
................................. 62
Rola pieśni w thiasos
.................................. 68
Pieśń jako narzędzie miłosnych podbojów
....................... 86
Charakter miłości w poezji thiasos
........................... 93
Rozdział III. Anaktoria, panny młode i heroiny (fr.
16).................... 108
Ubi
thesaurus
tuus
ibi
cor tuum
............................. 110
Potęga blasku
...................................... 118
Blask Anaktorii
..................................... 120
Piękno panny młodej
.................................. 126
Jednodniowe heroiny
.................................. 134
Rozdział
IV.
οττι δηύτε ττέπονθα
czemu znów cierpię (fr.
31).............. 138
Historia badań
...................................... 141
Patografía
Bhagavadgity.................................
149
Kolejność symptomów
.................................. 155
Śmierć i przetrwanie
................................... 165
Heroizacja a powtarzalność
............................... 177
Rozdział
V.
Przymierze z podstępną boginią (fr.
1)...................... 184
Siła, a nie słabość bogini
................................. 186
1.
Krytyka słabości
................................. 186
a)
αθάνατος
................................... 186
b)
ποικιλόθρονος
................................ 187
2.
Podkreślenia siły
................................. 189
a) Znaczenie
eufonii
............................... 189
b)
Skąd wzywano boginię
............................ 190
3.
Siła wbrew słabości, czyli odwrócenie znaczeń
................ 191
4.
Splendor bogini wobec rozpaczy człowieka
.................. 195
a) Dystans bóg-człowiek
............................ 195
b) Kontrast światło-ciemność
.......................... 196
c) Epifania jako lek na rozpacz
......................... 198
8
Spis
tresei
5.
Skarga Afrodyty u Dione; zamiana ról
-
Safona
w miejsce słabej Afrodyty
... 199
a)
Topika
militarna; „męska siła Afrodyty
................... 199
b)
Safona
jako słaba córka wobec potężnej i skorej do pomocy matki
.... 200
Współdziałanie człowieka i bóstwa
........................... 200
1.
Problem sankcji modlitwy Safony
....................... 200
2.
Wielkoduszne działanie bogini
......................... 202
3.
Stosunek przymierza człowieka z bóstwem
.................. 205
4.
Interpretacja wersu
18.............................. 206
Interwencja bogini
-
modlitwa czy zaklęcie magiczne?
................ 212
1.
Tezy Petropoulosa: elementy formuły magicznej
................ 212
2.
Tezy Krischera: charakter modlitwy Safony
.................. 217
Kontekst rytualny; funkcjonalne przeznaczenie pieśni
................. 221
1.
Czas mitu —czas epifanii
............................ 221
2.
Krytyka fantazji lotu
.............................. 225
3.
Uwodzenie kobiet
................................ 228
Zakończenie
.......................................... 230
Lokalizacja interwencji bogini
.............................. 230
Lekarstwo na tęsknotę
.................................. 243
Bibliografia
........................................... 247
Summary
............................................ 258
Indeks rzeczowy
........................................ 261
Indeks postaci historycznych, mitologicznych i literackich
.................. 262
Indeks autorów i badaczy
................................... 266
Sun in despair
Sappho s love lyrics
in the aspect of orality
Summary
In the time of Sappho s life and work, i.e. at the threshold of the 7th and 6th century B.C.,
script was in fairly wide but surely not universal use in Greece. With time, its influence on poetry
proved decisive, leading to the emergence of an individual style different from that of oral poetry.
Sappho s work stands on the borderline of both styles, but it might be considered closer to oral
poetry. Several premises substantiate this opinion, of which two do not yet wholly determine the
type of poetry:
1)
traces of conventional language use (lyrical formulas are different from epic
ones, being both more creative and more limited in some of their inflections);
2)
a similarity in
the use of artistic means such as alliterations, assonances, hyperboles etc. The modality of lyrical
song within a work s matrix as postulated by G.
Nagy
can be confirmed with several details, often
underestimated by scholars. For example, the alternation of the
φαίνεται μοι κηνο;
sentence
(fr. 31)
and
φαίνεται
poi
κήνος
(fr. 165)
suggests the existence of different songs based on the
same pattern. The so-called pathography of love might also have had a different shape, as suggested
by fr. 213B and the alternation of terms used to designate sweat:
ψΰχρο;
-
κακό;.
Other song
versions might have existed that did not contain this section, i.e. ones that developed the pattern
in a different way. The rigid division between the private and public character of the song s
performances is incorrect, just as the division into
monodie
and choral songs. In assessing the
relationship of Sappho with her public, we need to note the main characteristics of primitive songs
which were still present in archaic Greek song. The public was not a passive listener, but took an
active part in the performance, while the poet acted as guide
-
εξαρχο;,
suggesting the song to the
audience and leading the performance. The comparison of some fragments of Sappho with works by
other lyrical poets indicated that the
θίασο;
community was not as hermetic as is often suggested.
One is even tempted to agree with Aristotle who sees fr.
137
as a dialogue between Sappho and
the poet Alcaeus, originating from the exchange of humorous and erotic songs in oral culture. The
testimony of Aelian (test.
10)
about Solon s learning a Sappho song during a banquet also indicated
the oral transmission of Sappho s work. Egbert
Bakker
significantly indicates that Homer s epic
language is a stylised version of everyday speech, while Sappho s songs share a similar paratactic
and adding style, although this issue needs further studies.
In discussing the
θίασο;
character, it is important to establish the relationship between the
role in marriage to which girls are preparing and homosexuality which must have met with a certain
amount of social acceptance. In primitive and archaic cultures, sex has an educational function and
constitutes a natural way of transmitting experience and intergenerational wisdom. In
θίασο;,
the
song performs several functions:
1)
integration, in which referring to the memory of common experience consolidates the
community, particularly in the perspective of the possible passing of girls to other
θίασοι.
Condemning rival groups and unfaithful girls was directed not so much to the latter, but mostly
to those girls who remained in Sappho s
θίασο;.
Sappho s condemnation of rivals was usually
Summary
259
combined with self-praise. Such praise often constituted a consolation or reaction to an accusation
voiced by an enemy or rival. In such cases, a complementarity of
ψόγοι;
and
έπαινος
type
poetry becomes evident that is very typical of archaic poetry. Characteristically, praise is voiced
by goddess Aphrodite, who allegedly favours the poet. Interpretations of some poetic fragments
as manifestations of faith in poetry granting immortality seem dubious. First of all, such a song
would need to be practiced also in other
θίασοι,
and immortality would embrace all those that
participate in the song . Sappho would rather have limited herself to inscribing her own person in
the framework of existing songs, as only the object of a song s praise may gain immortality.
2)
love conquests, in which context love poetry offered a practical aspect. On one hand, poets
practiced a kind of erotic blackmail: the praise of the beloved meets with ingratitude, consisting
of the rejection or reluctance of the boy or girl in returning the poet s love. Consequently, poets
pretend to be unjustly hurt. On the other hand, the same song may be used several times in different
circumstances, even addressed to other people, such as in the case of songs fr.
1
and
31,
which do
not explicitly quote the name of the beloved. Such works might have served the
θίασος
even to
summon a mood for love (such as in fr.
2).
At the same time, it might have proved dangerous if
the partner resisted.
The character of love in
a
θίασος
is difficult to define, but it is charaterised by a continuous
presence, a mood saturated with eroticism and an easy shift of emotions to another person. Betrayal
may engender threats but not a fierce attack, as in the case of Andromeda or
Gorgo.
Love relationships
may also be started between girls. In the code of Sappho s love language the arduousness of love,
i.e. violence and suffering that it brings, are rather related with the image of Eros, while Aphrodite
represents pleasure, joy, consolation in misadventure and hope for fulfillment.
In chapters
3-5,
1 discuss various analyses and interpretations of fragments
16,31
and
1.
In the
first of these, Sappho one-sidedly presents the myth of Helen, who as
heroina
rejected everything
that determined the position of a woman in society. Sappho herself not being able to follow such
a step, may only long after the absent Anactoria and detach herself from the common imagination
of the most beautiful. A comparison of the description of Anactoria s beauty with that of feminine
beauty in Sanskrit poetry shows that Sappho s mode of representation is typical but is limited to
addressing the major characteristics of the girl s beauty. Beauty means an
extériorisation
of the
value of each thing. The shiny face of Anactoria signifies an
extériorisation
of the divine value
of her beauty, and a certain heroicisation of the girl herself. In ancient culture, such shine was an
attribute heroines and girls about to be wed. The novelty of Sappho lies in the transfer of judgment
and selection of the beautiful to the subjective verdict. The value of things is determined by how
powerfully it is desired.
The inteipretation of fr.
31
is based on two pillars. Firstly, the comparison of so-called
pathography of love with an excerpt from the Bhagavad
Gita,
scen
27-31,
in which Arjuna is
shocked at seeing his relatives against whom he is due to engage in battle, suggests that the set of
symptoms described by Sappho is highly standardised for this given situation. Another comparison
with Homer s description of Andromache fainting (Iliad
XXII, 447-453
and
460-474)
indicates that
the versions of Sappho and the Bhagavad
Gita
retain more primary characteristics. It is likely that
these convergent descriptions are parallel tales of death and transgression of the soul in shamanic
cultures, Buddhism, and yoga. An analysis of the order in which symptoms are presented in fr.
31
suggests that the text, hitherto based chiefly on conjectural theories by Lobel and Page, should be
renewed; in this light, the rejection of some manuscript readings seems premature. Secondly, there
is evidence of several versions of the same song, which might have presented a different siraational
context. The work s matrix might have stemmed from an actual situation, such as betrothal or
wedding, and its subsequent transformations would reflect an imaginary situation that remained,
however, comprehensible to members of the
θίασος.
The power with which Sappho experienced
love was superior to what an admired girl could have expected from her husband. The fact that
Pseudo-Longinus gave this version of the text might have been caused by a number of reasons.
260
Summary
Fr. 1
is analysed in more detail, including:
1)
criticism of the alleged weakness of the goddess, and a discussion of those fragments that
emphasise her power. The obvious inspiration of the scene from Book
5
of Iliad, in which wounded
and ridiculed Aphrodite complains to her mother Dione and is comforted, leads to a reversal of
meanings: the goddess
ψόγο;
on the side of Diomed and Athena is substituted with the
έπαινος
of her worshipper. The splendour with which Aphrodite is represented contrasts with the despair
of Sappho. In this fragment, a role swap takes place with regard to the epic original: Aphrodite
becomes the comforting and helping mother, while Sappho assumes the role of the suffering
daughter. The depiction of the goddess as belligerent, analogous to the representation of Athena in
Iliad, restitutes her deserved pride in her chief domain: the seduction of women.
2)
presentation of a new solution to the issue of Sappho s prayer. The poetess convinces
Aphrodite to help her, appealing to her magnanimity through her humble and respectful attitude.
Sappho is bound to the goddess by a kind of allegiance which engenders special favours for someone
distinguished with a divine grace. V.
18
should be left as
άψ σ (ε) αγην ές σαν φιλότατα,
as this
form means a cooperation between man and god, the latter not relieving the former but helping him
in his endeavours. The verse should thus be read as: Whom should I convince this time that you
bring [this person] to your love [as a prisoner to your camp] .
3)
discussion of whether this work by Sappho is a magical invocation or a prayer. Follow¬
ing Petropoulos arguments, I discuss the various elements of magical invocation. Their presence
may be explained either by genetic links between the genres of invocation, prayer and song, or a
purposeful use of a previously existing pattern. This, however, bears no influence on the overall
meaning and importance of this song. The distinctive character of Sappho s prayer is based in the
special bond uniting the goddess and her worshipper, which is also present in the mother-daughter
mitologeme.
4)
the repetition of Aphrodite s epiphany signifies the introduction of myth into the life of the
θίασος.
The vitality of this myth engendered a faith in the continuous support of the goddess and
the effectiveness of invoking her. Sappho s honest faith merges with the practical function of the
poem, not only depicting the goddess actions and her sympathy towards the poet who, counting
on Aphrodite s help, threatens her potential or real victim that she stands no chance against such
an effective team and must surrender. The song itself, therefore, is a trick that allows to win a
beloved s heart.
In the conclusion, I discuss the nature of Sappho s insanity to assess the difference between
her state of mind described as a current emotion and that which she desires. In her poetry, Sappho
aimed for a balance between a fully lived emotion and self-control. She operates within the same
pattern as epic poetry: a passage from the
αχος/πένθος
state towards liberation, in her case from
despair to (at least intentionally) fulfilled love. The poet depicts herself as a hero, who with special
support from the goddess, sacrifices herself to become
a
φάρμακον,
medicine for despair,
bringing herself
κλέος
glory , and with it immortality.
Translated by
Wojciech Bońkowski
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| id | DE-604.BV035233983 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T21:29:13Z |
| institution | BVB |
| isbn | 9788322928332 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017039878 |
| oclc_num | 177369659 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 270 S. 24 cm |
| psigel | gbd_4_0903 |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Wydawn. Uniw. Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis |
| series2 | Acta Universitatis Wratislaviensis |
| spelling | Zieliński, Karol Verfasser aut Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności Karol Zieliński Wrocław Wydawn. Uniw. Wrocławskiego 2006 270 S. 24 cm txt rdacontent n rdamedia nc rdacarrier Acta Universitatis Wratislaviensis 2943 Zsfassung in engl. Sprache u.d.T.: Sun in despair : Sappho's love lyrics in the aspect of orality Literaturverz. S. [247] - 257 Sappho - krytyka i interpretacja jhpk Sappho Criticism and interpretation Sappho ca. v7./6. Jh. (DE-588)118605534 gnd rswk-swf Liebeslyrik (DE-588)4114413-2 gnd rswk-swf Sappho lyr. TLG 0009 (DE-2581)TH000002741 gbd Sappho ca. v7./6. Jh. (DE-588)118605534 p Liebeslyrik (DE-588)4114413-2 s DE-604 Acta Universitatis Wratislaviensis 2943 (DE-604)BV004668106 2943 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017039878&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017039878&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Zieliński, Karol Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności Acta Universitatis Wratislaviensis Sappho - krytyka i interpretacja jhpk Sappho Criticism and interpretation Sappho ca. v7./6. Jh. (DE-588)118605534 gnd Liebeslyrik (DE-588)4114413-2 gnd |
| subject_GND | (DE-588)118605534 (DE-588)4114413-2 |
| title | Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności |
| title_auth | Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności |
| title_exact_search | Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności |
| title_full | Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności Karol Zieliński |
| title_fullStr | Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności Karol Zieliński |
| title_full_unstemmed | Słońce w rozpaczy liryka miłosna Safony w aspekcie oralności Karol Zieliński |
| title_short | Słońce w rozpaczy |
| title_sort | slonce w rozpaczy liryka milosna safony w aspekcie oralnosci |
| title_sub | liryka miłosna Safony w aspekcie oralności |
| topic | Sappho - krytyka i interpretacja jhpk Sappho Criticism and interpretation Sappho ca. v7./6. Jh. (DE-588)118605534 gnd Liebeslyrik (DE-588)4114413-2 gnd |
| topic_facet | Sappho - krytyka i interpretacja Sappho Criticism and interpretation Sappho ca. v7./6. Jh. Liebeslyrik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017039878&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017039878&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV004668106 |
| work_keys_str_mv | AT zielinskikarol słoncewrozpaczylirykamiłosnasafonywaspekcieoralnosci |