Aphrodite:The Goddess at Work in Archaic Greek Poetry

<p>Greek literature frequently associates female beauty with clothing and jewellery. In addition, the concept of female beauty and allure is closely connected with the goddess Aphrodite. The fact that her beauty is repeatedly singled out as an object of comparison for mortal women suggests that beauty, to a certain extent, bridges the gap between mortal and immortal. Pandora and Helen best exemplify this connection because, like Aphrodite, they are known for their beauty and also enjoy semi-divine status. Moreover, these three women are notorious for their ability to deceive and it is mostly then that their beauty is emphasised. This has led to an association between beauty and deception which climaxes in the famous seduction scenes of Greek literature. Not only are these seduction scenes closely related to Aphrodite but they also rely heavily on nonverbal communication, in particular so-called significant objects and objects adaptors such as clothing and jewellery. Consequently, female beauty comes to be misrepresented as artificial and relying on external decorations. However, in contrast to the traditional texts of Homer and Hesiod, Sappho offers a different perspective. Combining Homeric and Hesiodic elements with her own ideas, she alters the way female beauty is viewed. For example, the Homeric war chariot - a symbol of male, military prowess - comes to symbolise the totality of Aphrodite's power uniting in itself male and female qualities. Having addressed the concept of beauty directly, Sappho then concludes that beauty lies in the eye of the beholder. With the help of Helen of Troy and her beloved Anaktoria, Sappho sets out to reinvent the concept of female beauty as a godlike, subjective quality that may be expressed in many ways, yet remains inspired by Aphrodite.</p>

Aphrodite:The Goddess at Work in Archaic Greek Poetry

<p>Greek literature frequently associates female beauty with clothing and jewellery. In addition, the concept of female beauty and allure is closely connected with the goddess Aphrodite. The fact that her beauty is repeatedly singled out as an object of comparison for mortal women suggests that beauty, to a certain extent, bridges the gap between mortal and immortal. Pandora and Helen best exemplify this connection because, like Aphrodite, they are known for their beauty and also enjoy semi-divine status. Moreover, these three women are notorious for their ability to deceive and it is mostly then that their beauty is emphasised. This has led to an association between beauty and deception which climaxes in the famous seduction scenes of Greek literature. Not only are these seduction scenes closely related to Aphrodite but they also rely heavily on nonverbal communication, in particular so-called significant objects and objects adaptors such as clothing and jewellery. Consequently, female beauty comes to be misrepresented as artificial and relying on external decorations. However, in contrast to the traditional texts of Homer and Hesiod, Sappho offers a different perspective. Combining Homeric and Hesiodic elements with her own ideas, she alters the way female beauty is viewed. For example, the Homeric war chariot - a symbol of male, military prowess - comes to symbolise the totality of Aphrodite's power uniting in itself male and female qualities. Having addressed the concept of beauty directly, Sappho then concludes that beauty lies in the eye of the beholder. With the help of Helen of Troy and her beloved Anaktoria, Sappho sets out to reinvent the concept of female beauty as a godlike, subjective quality that may be expressed in many ways, yet remains inspired by Aphrodite.</p>

Response and Composition in Archaic Greek Poetry

This paper discusses a series of archaic poems in which one poet responds directly to the work of another, identifying the other by name or by direct allusion (for example, Simonides frag. 542 PMG, Solon frag. 20 West, Sappho frag. 137 Voigt). Such responses often disagree with their models, and this disagreement is frequently constructed in terms of a correction, not only to the subject matter, but also to the way in which the original is composed. These responses, therefore, not only reflect the pattern of improvisation and ‘capping’ common to much Greek poetry, but form an ongoing debate on the nature and role of the poet and his poetry. The construction of such responses also serves to underline both the importance of improvisation and the permanency of the fame conveyed by the completed poem.