By Anne L. Klinck
This assortment makes a speciality of a woman's perspective in love poetry, and juxtaposes poems by means of ladies and poems approximately ladies to elevate questions about how femininity is built. even though such a lot medieval "woman's songs" are both nameless or male-authored lyrics in a well-liked variety, the time period can usefully be improved to hide poetry composed via girls, and poetry that's aristocratic or discovered instead of renowned. Poetry from historic Greece and Rome that resonates with the medieval poems can be incorporated right here. Readers will discover a variety of voices, frequently echoing related topics, as girls have fun or lament, compliment or condemn, plead or curse, converse in jest or in earnest, to males and to one another, approximately love.
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Extra info for An Anthology of Ancient and Medieval Woman's Song
Therefore, you who punish with avenging pains the deeds of men, Eumenides, heads framed with snaky hair that hisses out the rage within your breasts, come, come hither, and hear my lamentations, which I, poor wretch, wring from my very vitals, forced to this point, helpless, burning, blinded by love’s madness. C. From Verona; active in Rome. Meter: Dactylic hexameters. 305–30, 365–87—Two Laments of Dido Dido, queen of Carthage, has befriended Aeneas, shipwrecked on her shore, and taken him as her lover.
The passage included here from Aristophanes’s Ecclesiazusae spoofs love poetry in a hilarious exchange between a sex-crazed couple. On a very different plane, Euripides, in Medea, gives us one of drama’s great tragic characters, both terrible and compelling. The Trojan Women shows us the consequences of war for women—here, for Andromache. Although they could hardly be more different, both Medea and Andromache, in their outpouring of grief, anger, and despair, convey a devastating criticism of male brutality and folly.
Except for the alba, which Bec does include among the chansons de femme, but which some scholars do not, at least when its setting is aristocratic. 28. Gail Sigal, though she dissociates the alba from “women’s oral folk poetry” (8), sees it as the lyric genre that develops the female perspective: the alba lady is “more 16 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. ancient and medieval woman’s song responsive than the canso domna and more dignified than the pastourelle shepherdess” (75).
An Anthology of Ancient and Medieval Woman's Song by Anne L. Klinck