Sappho, Fragment Thirty One
The Face behind the Mask
Bibliographic Data
| ID | 5114916 |
|---|---|
| Authors | Thomas Mcevilley (corresponding author) |
| Year | 1978 |
| Volume | 32 |
| Issue | 1 |
| Pages | 1 |
| Publication date | 1978-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Phoenix (JOURNAL) |
| Journal identifiers | ISSN: 0031-8299 • E-ISSN: 1929-4883 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/1087945 |
| OpenAlex | W2328504445 |
| Language | EN |
| Citations received | 3 |
THE CENTRAL CONTROVERSY about fr. 31 is well-known. Wilamowitz regarded it as a wedding-song (Hochzeitslied) sung by Sappho at the wedding feast of a girl who was leaving her thiasos. He reconstructs the scene: Und nun nimmt Sappho das Barbiton und singt ihr Lied, wie sie so viele fiir die Hochzeiten ihrer Schiilerin verfasst hatte, voll von Scherzen, von fescennina jocatio ... sie hat ja auch fiir Atthis gesungen . . .2 For several decades this view prevailed, especially after Snell's confident defense in 1931.3 The simile in line 1, says Snell, is a conventional
Art · Art history · Face (sociological concept) · Girl · Humanities · Central European national history · German Literature and Culture Studies · Musicology and Musical Analysis · Philosophy · Psychology
| Citations per year | 0.11 |
|---|---|
| Citation span | 1999 - 2018 (20) |
| Highly cited | No |