Three Classical Poets: Sappho, Catullus and JuvenalDuckworth, 1982 - 243 sider In this engaging essay Richard Jenkyns shows us how to read three quite different ancient poets. In a close and sensitive reading of Sappho, Catullus, and Juvenal, Jenkyns delineates the uniqueness of the poet's individual voice in relation to poetic traditions. His book constitutes a challenge to the view that one method will suffice for the interpretation of ancient poetry. He seeks to demonstrate that we can have no substitute for flexible and humane judgment, liberated from critical dogma, if we are to understand the great writers of the past. It is Jenkyns' appealing habit to clarify and illustrate his points by drawing analogies from modern and ancient literature. He deploys his wide learning with agility and grace. |
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Side 17
... fact that I hate every- thing ; it is a fact that I want to die . So if what Page is saying when he draws attention to Sappho's objectivity is that she gives a true account of her sensations , then his statement is possibly true but ...
... fact that I hate every- thing ; it is a fact that I want to die . So if what Page is saying when he draws attention to Sappho's objectivity is that she gives a true account of her sensations , then his statement is possibly true but ...
Side 88
... fact are not wholly independent , and no one would be likely to put forward such a hypothesis unless he thought that it enhanced the value of the poem.2 Putnam himself is frank about his motives : he wants to have a ' unified picture ...
... fact are not wholly independent , and no one would be likely to put forward such a hypothesis unless he thought that it enhanced the value of the poem.2 Putnam himself is frank about his motives : he wants to have a ' unified picture ...
Side 94
... fact writers have at certain periods taken the purely aesthetic line . This fact is incontrovertible , and it follows that while the reductive view of how poets ought to write may still be tenable , the reductive view of how they do ...
... fact writers have at certain periods taken the purely aesthetic line . This fact is incontrovertible , and it follows that while the reductive view of how poets ought to write may still be tenable , the reductive view of how they do ...
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Achilles adjective Aeneid Alcaeus Anacreon Anactoria Aphrodite apple Ariadne Ariadne's beauty begins Catullus charm clause context contrast critics dactyls described echoes effect emotional Ennius epic epithet example expression eyes fantasy feeling flower fragment garden Georgics girl give goddess gods Greek Homer Horace Ibycus idea imagination Juvenal Juvenal's kind language later Latin Lesbia less literally literary literature look Lucretius means metaphor mood moral mythological Naevolus nature neoteric once Ovid paradox paraprosdokian passage passion Peleus and Thetis perhaps phrase picture piece poem poet poet's poetic poetry quae reader realise reality Roman Sapphic stanza Sappho Satire scene seems sense sentence similar simile simple song sound spondees stanza style suggest suppose symbol T. S. Eliot tells theme Theocritus Theseus things tone verb verse Virgil Virro visual vivid wedding words writing δὲ καὶ