In her extant poetry, Sappho uses fourteen female personal names, four of which are not attested elsewhere. The essay is the first attempt to provide a comprehensive analysis of all of them. The results challenge the opinion, still prevailing in scholarship today, that Sappho’s companions were adolescent girls forming an educational or initiatory group, led by the poetess, that prepared them for respectable marriages. As a matter of fact, the female proper names in Sappho belong to (...) four categories: ethnics, abstract nouns, nicknames and mythological names. According to the onomastic conventions of ancient Greece, names of all these categories typically denote females as slaves and courtesans, at least until the Hellenistic period. Thus it is argued that Sappho’s nomenclature creates a ‘reality effect’, implying furthermore that her use of the term hetairai - and likewise of kalai and philai - could also point to the status of courtesans in the technical sense. This best fits the emphasis put on female beauty, seductiveness and musical skills, but also on invective and rivalry. Under the auspices of Aphrodite and from a female perspective, Sappho’s poems feature erotic experiences with lovers of both sexes as well as the reflection of those loves’ vicissitudes. The world imagined and displayed in her songs would therefore be mainly related to the symposion as the dominating realm of archaic poetry. This is how Sappho’s work was actually received in antiquity. (shrink)

Dans les relations sexuelles et amoureuses qui caractérisent une société « d’avant la sexualité », celle de la Grèce archaïque (viiie-ve siècle avant notre ère), le critère de l’âge joue un rôle différent de celui qu’il joue dans les sociétés occidentales contemporaines : cela vaut à la fois pour le mariage mais aussi pour les relations homoérotiques – dites pédérastiques – chantées dans la poésie archaïque, lors du banquet aristocratique (Théognis, Anacréon) ou lors d’autres contextes communautaires (Alcman, Sappho). Le (...) mariage grec est asymétrique en terme d’âge et les relations homoérotiques entre femmes, contrairement à certaines idées préconçues, ne sont pas plus égalitaires que les relations entre hommes. Pour analyser le lien entre âge et sexualité en Grèce archaïque, il convient de comprendre l’éros grec en distinguant l’asymétrie de l’âge de la réciprocité amoureuse (philótēs). (shrink)

In Book 19, chapter 9 of the Nodes Atticae Gellius describes the birthday party of a young Greek of equestrian rank at which a group of professional singers entertained the guests by performing poems by Anacreon, Sappho, ‘et poetarum quoque recentium λεγεα quaedam erotica’ . After the singing, Gellius goes on, some of the Greek συμπόται present challenged Roman achievements in erotic poetry, excepting only Catullus and Calvus, and criticized in particular Laevius, Hortensius, Cinna, and Memmius. Rising (...) to meet this charge, Gellius’ teacher of rhetoric, Antonius Julianus, admits the superiority of the Greeks in what he calls ‘cantilenarum mollitiae’ in general , but to show that the Romans too have some good erotic poets, he recites four early Latin love epigrams, by Valerius Aedituus , Porcius Licinus , and Lutatius Catulus . The same three poets are listed in the same order in Apuleius’ Apology in a list of amatory poets which he provides in order to establish precedents and thus invalidate his prosecutors’ referral to his erotic poems in their accusation . Catulus is also enumerated in Pliny's list of Roman dignitaries who composed ‘uersiculos seueros parum’ like his own , and an amatory epigram of his is cited by Cicero in De Natura Deorum 1.79 . We possess no further evidence connecting the other two with the composition of either erotic or, more generally, ‘light’ verse, but a poem by Porcius Licinus on Roman literary history is attested by several sources including Varro, Suetonius, and Gellius himself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Very Late, In Spring SAPPHO (Translated by Allen Tice) Already the moon has gone down, The Pleiades also flown low, And midnight. The hours move on, Yet I go to bed with no one... arion 28.2 fall 2020...

The Panoply Vase Animation Project has created a new animation from the decoration on an ancient Greek hydria. The vase depicts the poet Sappho with a lyre. The animation enables her to move, touch the strings, and play the instrument. It also features the words from Fragment 44 of her poetry and geometric figures acting out the poem. The music accompanying the animation was scored from the original poem and therefore offers the melody that the poem would have (...) been sung to. This article discusses the decision-making process that informed the creation of the animation and suggests ways in which the animation and its vase can be used in the classroom or lecture-hall as a flexible learning resource. (shrink)

Apuleius’ tale of Cupid and Psyche is shown to feature detailed knowledge of ancient magic integrated into the plot, especially the magic of the so-called ‘Sword of Dardanus’ spell and of other papyri with Middle Platonic content. A recently published gemstone from Perugia testifies to the wide distribution of the ‘Sword’. Apuleius’ allusion to the erotic spell involves both Cupid and Venus torturing Psyche. Although Venus’ intentions are to prevent the bond between the lovers, her actions inadvertently echo those (...) depicted in the ‘Sword’ and contribute to the couple's eternal union. Ancient magic is therefore shown to be potent and effective, despite Venus’ plans. This is a methodology Apuleius is known to use widely, for example in his obvious allusions to, and adaptations of, Hellenistic poetry in the story. Magic joins poetry and philosophy as a category of texts shown to be playfully integrated into Apuleius’ construction of the plot of Cupid and Psyche. (shrink)

This chapter considers Sappho of Lesbos an early philosopher of time. It compares the use of temporal markers, especially “now” (nun) in Sappho’s poetry to Aristotle’s usage of the same term in the context of his treatise on time in Physics IV.10–14. Likewise, it looks at Aristotle’s analysis of phantasia in De Anima III and in the Parva Naturalia as well as Eva Stehle’s reading of Sappho’s Tithonos poem to suggest ways that both Aristotle and (...) class='Hi'>Sappho account for an ability to experience the past, what was “once” (pota), in the present, now. The chapter concludes that Sappho, like Aristotle, was a thinker primarily engaged with the existence and experience of natural beings and, as such, of the ways natural beings primarily act and interact with each other in the world. From such an engagement developed a theory of time. Sappho may have been a hidden influence on Aristotle’s understanding of the relationship between being, beings, and time; nevertheless, her poetry is instructive to all of us still grappling with these issues today. (shrink)

… Pound’s Imagist economy often mixes metaphors of capitalization with metaphors of expenditure. Words, he writes in an early essay, are like cones filled with energy, laden with the accumulated “power of tradition.” When correctly juxtaposed, these words “radiate” or “discharge” or spend this energy , just as the Image releases “an intellectual and emotional complex in an instant of time” . The precise relation of accumulation to expenditure in Pound’s Imagism is never really elaborated. For clarification one would probably (...) have to look toward his theories of sexuality, which hint at a proportion between spermatic retention and intensity of ejaculation. “The liquid solution [of sperm and/or thought],” he writes in his 1921 “Postscript” to Gourmont’s Natural Philosophy of Love, “must be kept at right consistency; one would say the due proportion of liquid to viscous particles, a good circulation; the actual quality of the sieve or separator, counting perhaps most of all; the balance of ejector and retentive media” .13 Similar physiological metaphors will shape Pound’s later economic writings of the thirties and forties. Money will function as a kind of “sieve” or “separator” , and usury will be described as malevolent form of retention, an “obstruction” to the proper circulation of money and goods. Economic justice will therefore involve the institution of a correct “balance” or “measure” between accumulation and expenditure, between “ejector” and “retentive media.” From Pound’s later Confucian perspective, excess in either direction—whether it take the form of “smeary hoarding” or extravagant squandering—always leads to evil and disorder.14Excess is of course what Pound’s Imagist economy most militantly seeks to eliminate from contemporary poetry. Pound writes in 1912, “As to Twentieth-century poetry … it will be harder and saner … ‘nearer the bone.’ It will be as much like granite as it can be … It will not try to seem forcible by rhetorical din, and luxurious riot. We will have fewer painted adjectives impeding the shock and stroke of it…. I want it austere, direct, free from emotional slither” . The vocabulary of this passage combines a discernibly American, puritanical suspicion of ornament with a functionalist asceticism that we have come to recognize as a characteristic feature of the international style of high modernism.15 From a postmodernist vantage point, however, we might well question just why the category of excess or surplus represented by “rhetorical din,” “luxurious riot,” or “emotional slither” should be so inevitably construed as negative or uneconomic. Georges Bataille, for one, provides a provocative refutation of this ideology in La Part maudite. The economics he there seeks to define would instead be based on the valorization of excess, or of what he terms “la dépense improductive,” nonproductive expenditure. Bataille’s “economy of excess” turns on “la perte du proper,” that is, the loss of the literal to the figurative, the loss of purity to scatological defilement, and the loss of personal identity to a sacred expropriation by the Other. 13. See also Kevin Oderman’s comments on the importance of delay and deferral to Pound’s troubadour “eroticism of dalliance” in “ ‘Cavalcanti’: That the Body Is Not Evil,” Paideuma 11 : 257-79. If, according to Pound, the “classic aesthetic” involves “plastic to coitus, plastic plus immediate satisfaction,” Cavalcanti’s cult of Amor instead privileges mental reterntion, “the fine thing held in the mind,” that is, erotic or mnemonic capitalization. See LE, pp. 150-53.14. Rabaté, Language, Sexuality, and Ideology, pp. 217-23, similarly links Pound’s “Postscript” to Gourmont to his later economics.15. Herbert Schneidau, Ezra Pound: The Image and the Real , pp. 177-78. Richard Sieburth is associate professor of French at New York University. He is the author of Instigations: Ezra Pound and Remy de Gourmont and translator of Friedrich Hölderlin’s Hymns and Fragments . He is currently preparing an edition of Pound’s writings on France. (shrink)

This article documents experiences of Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions during COVID-19 pandemic via interviews with 29 participants. Sessions included an international, gender balanced, and cross generational group of over 70 musicians all of whom were living under conditions of social distancing. All sessions were recorded using Zoom software. After 3 months of twice weekly improvisation sessions, 29 interviews with participants were undertaken, recorded, transcribed, and analyzed. Key themes include how the sessions provided opportunities for artistic development, enhanced (...) mood, reduced feelings of isolation, and sustained and developed community. Particular attention is placed upon how improvisation as a universal, real time, social, and collaborative process facilitates interaction, allowing the technological affordances of software (latencies, sound quality, and gallery/speaker view) and hardware (laptop, tablet, instruments, microphones, headphones, and objects in room) to become emergent properties of artistic collaborations. The extent to which this process affects new perceptual and conceptual breakthroughs for practitioners is discussed as is the crucial and innovative relationship between audio and visual elements. Analysis of edited films of the sessions highlight artistic and theoretical and conceptual issues discussed. Emphasis is given to how the domestic environment merges with technologies to createThe Theatre of Home. (shrink)

The poetry of Sappho is the only example of lyric poetry that we shall examine this semester. Lyric poetry repays close attention: do not skim over the verses looking for the main characters and events. You will finish reading quickly, and get nothing out of it at all. Instead, listen to it carefully and repeatedly, until its music becomes apparent to you, and you can assume the perspective (imaginatively, of course) of its speaker.

International array of contributors, bringing together both traditional and more recent approaches to provide valuable insights into the poets’ use of language.Covers authors from Lucilius to Juvenal.Of the peoples of ancient Italy, only the Romans committed newly composed poems to writing, and for 250 years Latin-speakers developed an impressive verse literature.The language had traditional resources of high style, e.g., alliteration, lexical and morphological archaism or grecism, and of course metaphor and word order; and there were also less obvious resources in (...) the technical vocabularies of law, philosophy and medicine.The essays in this volume show how the poets in the classical period combined these elements, and so created a poetic medium that could comprehend satire, invective, erotic elegy, drama, lyric, and the grandest heroic epos. (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

The period from the eighth to the fifth centuries B.C. was one of extraordinary creativity in the Greek-speaking world. Poetry was a public and popular medium, and its production was closely related to developments in contemporary society. At the time when the city states were acquiring their distinctive institutions epic found the greatest of all its exponents in Homer, and lyric poetry for both solo and choral performance became a genre which attracted poets of the first rank, writers (...) of the quality of Sappho, Alcaeus and Pindar, whose influence on later literature was to be profound. This volume covers the epic tradition, the didactic poems of Hesiod and his imitators, and the wide-ranging work of the iambic, elegiac and lyric poets of what is loosely called the archaic age. The contributors make use of recent papyrus finds to fill out the picture of a cosmopolitan and highly sophisticated literary culture which had not yet found its intellectual centre in Athens. (shrink)

In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Age of Grace: “Charis” in Early Greek PoetryDana R. SmithThe Age of Grace: “Charis” in Early Greek Poetry, by Bonnie MacLachlan; xxi & 192 pp. Princeton: Princeton University Press, 1992, $29.95.Bonnie MacLachlan has two concerns in this book. First, she sees early charis, conventionally and inadequately translated as “grace,” as the result of feeling, concrete action, and sometimes concrete objects, fused in such a way that (...) early Greeks did not clearly distinguish these as separate aspects. Second, she focuses on the experience of beauty or pleasure as a crucial part of reciprocity in charis, and argues that many of the now-fashionable models from the social sciences, such as those dealing with reciprocal exchange of goods and favors, are insufficient to account for this particular dynamic of allurement. What later ages sensed, and what we sense, as two or more different kinds of charis “may not have been sensed as such by the archaic Greek mind.” Rather, the early Greeks possessed an integrated sense of these fragments as part of a single experience. “A charis-event, provoked by moral or aesthetic beauty, was disarming; it broke down the barriers of the self, and it demanded that the beneficiary reach out to another.” This study combines extremely able discussions of different sides of this crucial concept with a large vision of their integration into a coherent whole: “[Charis] was the moral glue of their society, linking such other central moral ideas as timê [“honor,” “prerogative,” “price”], dikê [“due portion,” “justice”], themis [“unwritten law”], xenia [“requital of gifts and hospitality”], and aidôs [“reverence,” “awe”].”How well does MacLachlan demonstrate this twofold idea? She deserves high praise for setting forth the essential passages of her authors clearly and succinctly, for giving numerous insights into them, for adducing much pertinent scholarship, and certainly for furthering the development of her important thesis. Her discussion of the earliest conception of charis (chap. 2, “The Charis of Achilles”), focused mainly on Homer, with material from the Homeric Hymns and Hesiod, gives a sensitive and persuasive account of relations among charis, timê, and dikê. She makes excellent points about specific perceptions of beauty, especially visual, although one comes away a bit uncertain as to how these aspects all cohere, and also as to whether there are differences in charis between the Iliad and the Odyssey. Her discussion of the cult dimensions of charis (chap. 3, “The Charites”), while fascinating in itself, contains little direction for using this information so as to understand the thesis. She gives careful readings of her examples of erotic and social charis (chaps. 4 and 5, “Erotic Charis” and “Social Charis”), clearly identifying types that contrast with the earlier prototypical experience, although sometimes her criticism of these is more implicit than stated. A more forceful definition of the “problem” of erotic charis, for example, would have helped unify this discussion with that of erotic charis in Aeschylus. Her discussion of Pindar and Bacchylides (6, “Epinician Charis”), perhaps the high point of the book, shows the richest ties to the multi-dimensional Homeric charis; here we return clearly to the topic of [End Page 172] beauty, see the pertinence of some of the cult information, and sense the transformational dynamics of charis as profoundly important for this genre of poems. She leaves somewhat open, however, the question of whether charis is a single thing in Pindar. The chapter on Aeschylus (7, “Charis in the Oresteia”) presents a powerful reading of different kinds of charis in conflict, private versus public, resulting in a unified view of the trilogy as a whole. Once more we note different senses of charis, but in a way that highlights their collision: the duality of charis is further brought into relation with other dualities, such as that of dikê. This chapter connects well with other parts of the book; erotic and false charis become important issues.If there is a criticism to make of this book, it is that MacLachlan does not do quite enough to work out the relations between her provocative thesis and her discussions of particular poems. Some sections are too dissertation-like in presenting evidence, and more thought about the... (shrink)

Pindar’s songs were composed for men at play, but his poetry was political in its impulse and in its function. The men in question were rich and powerful, and their games were a display of exclusive class attributes, vicariously shared by lesser mortals who responded with gratitude and loyalty . Victories were counted as princely benefactions and laid up as city treasure like the wealth deposited in the treasuries at Delphi . Athletic victory was thus both a manifestation and (...) an enhancement of aristocratic domination, which meant that the poet who praised those who boxed and raced in pan-Hellenic games necessarily praised the social structure that depended on them.Pindar understood his political function and was proud of it—“I would consort with victors” .1 He believed in athletic contest as a model for all human life. He believed in the aristocratic system: “Inherited governance of cities lies properly with the nobility” . He believed also that praise poetry could regulate as well as laud that system, and he believed finally that such poetry was itself incorruptible. Games, song, and princely rulers were all parts of a single brilliant order, and this truth had a linguistic reflection, for the bit that tames a horse, the meter of a poetic line, and the moderation of a ruler were all called by the same name—metron. “Measure inheres in everything” . 1. All translations are my own. Anne Burnett is professor of classical languages and literature at the University of Chicago. Her most recent publications are Three Archaic Poets: Archilochus, Alcaeus, Sappho and The Art of Bacchylides . A monograph on choral poetry, with focus on the Sicilian poet Stesichorus, is forthcoming. (shrink)

This article argues that through her songs and music videos Pagan Poetry, Cocoon and Hidden Place, versatile artist Björk is able to carve out a space for erotic tenderness. This erotic tenderness will be unearthed as a queer or minor sexuality, in the sense that it goes against a phallic and genital majoritarian account of sexuality. Tender sexuality might not be obviously queer, yet a detour through the early work of Freud will show how our hegemonic account (...) of sexuality is built upon a repression of such a tender sexuality. Freud’s psychoanalysis is only able to regard this sexual tenderness in a negative vein as a pathological symptom. Supported primarily by the works of Deleuze, Guattari and Muñoz, this article will propose that Björk’s artistry is able to produce a line of flight outside of this tender-less sexuality, liberating an otherwise repressed minor tender sexuality through a visually and sonically becoming-woman, becoming-child, becoming-BwO and becoming-molecular. (shrink)

Who is Lucrezia, the mysterious woman at the center of Machiavelli’s comic play Mandragola? And why is she deemed “fit to govern a kingdom”? This article revisits these questions with attention to Mandragola’s sophisticated, and often irreverent, allusions to Roman source materials. While scholars have long recognized that Mandragola draws on Roman history and drama, its sustained engagement with Lucretian and Ovidian poetry has gone largely unnoticed. In what follows, I trace these allusions and show how Machiavelli uses them (...) to bring into view the fertility of erotic desire. Mandragola is replete with Lucretian phrases and imagery, but a close examination of these references indicates they are made playfully, and even satirically, in the style of Ovid’s Ars amatoria, a didactic elegy on the art of seduction that develops a mixed assessment of Epicurean teachings. Like Ovid, Machiavelli embraces the hedonism that motivates Epicureanism—but without accepting that happiness requires distancing ourselves from illusion. This departure allows both Ovid and Machiavelli to reassess the status of erotic desire. For Lucretius, erotic desire must be handled with extreme caution lest it entangle the mind in ruinous false beliefs and destroy the possibility of theoretical wisdom. Machiavelli, following Ovid, recommends a different course, in which happiness is achieved through the deliberate manipulation of erotic fantasy. For Machiavelli, staging erotic fantasies is an essential part of statecraft. (shrink)

This article concerns the ‘ancient quarrel between philosophy and poetry’. With the guidance of Leo Strauss, and with reference to French cultural anthropology and the Hebrew Bible, I offer close readings of the origin myths told by the characters of Aristophanes in Plato’s Symposium and Socrates in book 2 of the Republic. I contrast Aristophanes’ prudential and political esotericism with Socrates’ pedagogical esotericism, connecting the former with poetry’s affirmation of the primacy of chaos and the latter with philosophy’s (...) openness to the measures of nature or phusis. Aristophanes regards the political poetry of Olympianism as a necessary corrective of original human disorder, while Socrates traces the sickness of souls and cities to an excess of poiēsis, ‘poetry’ or ‘production’ in all of its cultural and material senses. The quarrel between Socrates and Aristophanes illuminates fundamental questions that were of central concern to Strauss: What is the status of nature? Must we orient ourselves by the forceful impressions of culture, or can we make out natural standards of how to live? Is war the primary human condition, or peace? Are human beings essentially erotic, or thumotic? Is philosophy an expression of reckless boldness, or of saving moderation? (shrink)

L’étude porte sur νόος (νοεῖν, νόημα), dans les trois genres de la poésie archaïque non épique, iambique (Archiloque, Sémonide), élégiaque (Solon, Théognis), mélique (Alcée, Sappho, Simonide, Bacchylide, Pindare). En insistant sur les enjeux pragmatiques de la performance rituelle (par exemple symposiaque ou épinicique) et les effets de la transmission, reconstruction et interprétation post-classique des énoncés, surtout des fragments, qui peut tirer l’analyse sémantique vers une abstraction dualiste de type étique (vs. émique), on observe la multifonctionnalité du νόος figuré poétiquement, (...) en action, comme une faculté rythmée, à la fois sensorielle, expressive, éthique, décisionnelle, cognitive, logique, fondée sur des jeux d’empathie visuelle et kinesthésique, et de maîtrise, par exemple dans les relations entre hommes et dieux. La poéticité des fragments de Xénophane s’en trouve aussi réévaluée. (shrink)

The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from (...) the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms ‘Indo-Islamic’. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major ‘national’ languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times. (shrink)

In an interesting paper read some time ago to the Cambridge Philological Society , H. J. M. Milne analysed the first Ode of Sappho and showed that it is constructed according to those principles of poetical form which we should expect to find in the work of so delicate a Greek artist. If more of these lyrics had survived in their entirety, the task of expounding the technique of Greek poetry would be simpler than it is, because naturally (...) the principles are more easily grasped in a short lyric than in epic or drama. (shrink)

This article considers the conceptual significance of relationality in Sappho. It argues that Sappho's poetry reconstitutes systems of relation by making evident exceptions to their explanatory capacity. These exceptions can be profitably understood through the rubric of the “event.” Drawing in particular on the relational function of prepositions and Alain Badiou's philosophical work on the event, the article examines how “thinking prepositionally” alongside Sappho reveals both the relations that make up the situational world of her (...) class='Hi'>poetry as well as those evental moments of non-relation through which that world is impossibly transformed. The article concludes with considerations of Sapphic fidelity—that is, how Sappho's poetry realizes the transformative potential of the event—and the poet's articulation of the event through figures of preeminence and comparison. (shrink)

The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, (...) rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins”. Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross. (shrink)

The paper explores the relation between a set of poetic formulas in early Greek and Anatolian languages of the second and early first millennia having to do with the cosmography of the rising sun in macrocosm, and going up into bed in microcosm, with an eye to defending the reading and restoration έρωι δέπασ εισομβάμεν in the editio princeps of the new Sappho. The Luvian word for “sky, heaven,” represented as a bowl in Hieroglyphic, is the likeliest source of (...) the Greek word depas, Mycenean dipas, in the second millennium, together with the associative semantics of depas and “heaven” evidenced in Hittite and Luvian texts in the second millennium, and in early Greek poetry in the first. (shrink)

_A philosophical exploration of the power that poetry, music, and the erotic have on us._.

This article examines Adrienne Rich’s Twenty-One Love Poems in relation to Edna St Vincent Millay’s Fatal Interview. Discussing notions such as lyric voice and innovation within traditional genres, the author analyses how Millay’s attempts to challenge commonplace definitions of female sexuality impacted on Rich’s articulation of sexual desire. The intertextual dialogue between the above works reveals that Millay and Rich produced two remarkably similar erotic narratives, which resist masculinist conceptions of literary history and comment on the self-referentiality of poetic (...) composition. Finally, the author approaches Fatal Interview as a work that foregrounds the significance of women’s bonding, and argues that it was precisely this aspect that caught Rich’s attention and helped the younger poet develop her feminist consciousness. (shrink)

This new study challenges traditional ways of reading Plato by showing that his philosophy and political theory cannot be understood apart from a consideration of the literary or aesthetic features of his writing. More specifically, it shows how Plato’s well-known cosmological dialogues—the _Phaedrus, Timaeus, _and _Critias_—are structured using several books of the _Odyssey _as their shared source text. While there has recently been much scholarly discussion of the relation between poetry and philosophy in Plato’s dialogues, little of it addresses (...) questions central to thoroughgoing literary criticism. Planinc’s work is unique in that it shows the significance of Plato’s extensive refiguring of key episodes in the _Odyssey_ for an interpretation of his political philosophy. Plato’s cosmological dialogues are almost always discussed topically. The _Timaeus _is picked through for its theological or scientific doctrines; the _Critias _is reduced to its Atlantis story, or puzzled over because of its ostensible incompleteness; and the _Phaedrus_ is read for its parallels to modern understandings of erotics or rhetoric. The dialogues are not usually considered in relation to one another, and then only in the context of developmental schemes primarily concerned with distinguishing periods in Plato’s metaphysical doctrines. Planinc argues that the main literary features of the _Phaedrus,_ _Timaeus,_ and _Critias _are taken from books 6 to 9 of the _Odyssey,_ the largest part of the story of Odysseus’s stay with the Phaeacians, from the time he swims to shore and encounters Nausicaa to the time he reveals his identity and begins recounting his earlier travels after hearing Demodocus’s songs. By exploring the full range of the many charming and intriguing things the dialogues present in this literary context, he shows that they are a coherent, unified part of Plato’s corpus. _Plato through Homer_ takes a radically new approach to Plato’s texts that illuminates their literary and philosophic significance and highlights their enduring appeal. (shrink)

Resumo O artigo pretende apresentar as principais linhas temáticas da poética de Adélia Prado, escritora que do primeiro ( Bagagem , 1976) ao último livro ( A duração do dia , 2010) tem surpreendido público e crítica com a articulação de temas que o senso comum considera divorciados, mais propriamente, uma religiosidade mística e uma erótica candente. Pensar o erótico e o místico em Adélia é pensar o humano circunscrito pelo horizonte da morte, sabendo-se que, mais do que uma temática, (...) esses são elementos estruturadores e sustentadores dessa poética que se enraíza em uma corporeidade extrema que assume corpo e linguagem como abertos para o sagrado. Entretanto, ainda que religiosa, sua poesia não é ingênua ou catequética e, a experiência mística, à semelhança do que acontece com os grandes místicos Teresa de Avilla e São João da Cruz, se dá no corpo, que se torna porta de abertura para o mistério: ' o mistério vai se mostrar através do corpo' , diz-nos uma das personagens adelianas. Palavras-chaves: Adélia Prado; Mística; Erotismo; Poesia.The article aims to present the main themes of the poetry of Adelia Prado, a writer who since the first book (Bagagem, 1976) to the last (A duração do dia, 2010) has surprised audiences and critics with the articulation of issues that common sense believes divorced, more properly, a mystical religiosity and a burning eroticism. Thinking about the erotic and the mystical in Adelia Prado´s poetry means thinking about human being as circumscribed by the horizon of death, knowing that more than a simple theme, these are elements of a structured and sustained poetry that is rooted in a extreme corporeality that assumes body and language as always open to the sacred. However, although religious, his poetry is neither naive nor catechetical. Such mystical experience, similar to what happens with the great mystics Santa Tereza de Avilla and São João da Cruz, takes place in the body, which becomes the gateway to the mystery. Keywords : Adélia Prado; Mystic; Eroticism; Poetry. - DOI: 10.5752/P.2175-5841.2012v10n25p104. (shrink)

Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the (...) author argues that medieval music was quintessentially a practice of the flesh. The book reveals a medieval world in which erotic desire, sexual practice, torture, flagellation, and even death itself resonated with musical significance and meaning. In its insistence on music as an integral part of the material cultures of the Middle Ages, the book presents a revisionist account of an important aspect of premodern European civilization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature as Sheltering the HumanJohn Durham PetersLiterature as Sheltering the Human, by Frederic Will; 203 pp. Lewiston, Maine: Edwin Mellen Press, 1993, $69.95.This volume contains thirteen essays by Frederic Will, poet, critic, ex-professor of literature, autobiographer, translator, man of letters. All concern the peculiar powers of literature to offer spiritual comfort and protection against the storms of life.A cluster of four theoretical essays begins the collection. The first (...) surveys Husserl’s intellectual offspring, Merleau-Ponty, Sartre, and Heidegger, and seeks in their philosophies of language a grounding for literature’s uniqueness. The second essay argues that everyday language is always on the verge of entropy, but at its best, can be sublimated into literature. The third essay is a fiction of a crazed lit professor trying to master “the whole of literature” (p. 41). The eternally elusive object of “literature” turns out to evoke erotic-aggressive energies. The fourth essay on “Influencing the Past” rehearses some Benjaminian and Borgesian themes about literary influence being not causality, but intertextual resonance.The next set of five essays—which Will calls a “testimony” (p. 133) or “hit and run theology” (p. 138)—forms the core of the book. They treat “sheltering the human” in Homer, the Bible, Sappho, the Bhagavad Gita, and the epistles of St. Paul. Each ponders an enclosure—a retreat from battle, a womb, an act of translation, an inward wrestle of conscience, the blood of Christ—made of words. To my mind, this is the best part of the book: a steady meditation, graced with poetic lines and steeped in wide learning, on the proposition that “poetically man dwells.” Here Will performs the humane survey of world-literature he elsewhere extolls.The concluding section explores the relation of literature to the other arts. There is an essay on the gradual discovery of the oral core of Greek literature, largely through German scholarship, and one on literature’s relation to the other arts, which argues for its unique centrality among human expressive forms, thanks to its alleged continuity with the essential human possession, language. The penultimate essay meditates on Adorno’s aesthetics of music (concluding on an affirmative note not quite in tune with Adorno’s gloomy musings on capitalism), and the grand finale muses on the relation of art to life, via the dubious conceit of “art” as a great resort hotel.The book is remarkable for an intense and bald aestheticism that is exceedingly rare today. Will calls literature “the ripest offspring of language” (p. 1) and is happy to speak of masterpieces, genius, revelation, the autonomy of art, classics, humanism, values lodged in the structure of the universe (p. 125), universal validity (p. 131), “texts high in redemptive claim” (p. 147), the continuing necessity of the classical tradition (p. 190), and the artist as all but a different species (p. 200). The faith in a totality called “literature” is, to put it lightly, out of season in the academy today. As Will, a confirmed foe of [End Page 387] academic politics and pedantry, might well suggest, this may speak in its favor. Though Will’s aestheticism may refresh, I cannot help but wonder with Adorno whether some forms of expression and faith are objectively impossible in certain eras. Can “literature” sustain credulity today as anything more than one among many remarkable human practices?There is something, if I may say it, sheltered about these essays. If, as J. S. Mill said, eloquence is heard but poetry is overheard, this work is more poetry than eloquence. It features repeated and unannounced autobiographical intrusions. The self-reflexive quality supplies ready phrases to the reviewer: Will calls himself a “fallen contemporary classicist,” praises “high-minded eclecticism” and favors those thinkers who “sensualize knowing.” These traits make for a rare voice singing in the cornfields of Iowa.John Durham PetersUniversity of IowaCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sighs and Tears:Biological Signals and John Donne's "Whining Poetry"Michael A. WinkelmanPhebe: Good shepherd, tell this youth what 'tis to love. Silvius: It is to be all made of sighs and tears...—Shakespeare, As You Like It (5.2.83–84)ISighs and tears permeate John Donne's poetry, as well they should. Crying in particular functions as a costly signal in biological terms: a blatant, physiologically-demanding, involuntary indicator of hurt feelings. "Tears dim (...) mine eyes," laments Donne's Sappho ("Sappho to Philaenis," l. 56); they are "Fruits of much grief" in "A Valediction of Weeping" (l. 7).1 The theory of costly signaling, related to the handicap principle, was developed fairly recently by Israeli zoologists Amotz and Avishag Zahavi. As the Zahavis explain: "in order to be effective, signals have to be reliable; in order to be reliable, signals have to be costly."2 Initially their idea was resisted, but it has since become widely accepted and it has proven very helpful in making sense of both animal and human behavior. Wasteful conspicuous consumption among upper-class Americans, as noted a century ago by sociologist Thorstein Veblen, exemplifies this handicap principle in action. Like gazelles jumping in place or stotting rather than running away when wolves appear, it indicates fitness by flaunting excess resources.Shedding tears when feeling sad is an evolved human adaptation that broadcasts unhappiness. The wailing of infants demands attention, and crying does something similar for grown-ups: among other things, it tests the commitment of hearers to appease the distressed. For instance, in Chaucer's tragic medieval romance Troilus and Criseyde, Pandarus advises [End Page 329] Troilus to provoke a suitable reaction from Criseyde by embellishing his billet-doux: "Towchyng thi lettre... Biblotte it with thi teris ek a lite" (touching thy letter... Be-blot it with thy tears a little).3 Early modern authors also knew their importance. In the words of Robert Herrick, "tears are tongues," while Claudius suspects that "There's matter in these sighs, these profound heaves" (Hamlet, 4.1.1).4As a case in point, Donne was overwhelmed by the death of his dear wife Anne in 1617. As his contemporaneous biographer Izaak Walton reported: "his very soul was elemented of nothing but sadness; now, grief took so full a possession of his heart, as to leave no place for joy."5 Donne even hoped to be literally entombed with her soon: "as the grave is become her house, so I would hasten to make it mine also; that we two might there make our beds together in the dark" (Walton, p. 51). His miserable mood was revealed in his initial sermon after her demise:His first motion from his house was to preach, where his beloved wife lay buried (in St. Clement's Church, near Temple-Bar, London) and his text was a part of the Prophet Jeremiah's Lamentation: "Lo, I am the man that have seen affliction."And indeed, his very words and looks testified him to be truly such a man; and they, with the addition of his sighs and tears expressed in his Sermon, did so work upon the affections of his hearers as melted and molded them into a companionable sadness; and so they left the Congregation.(Walton, p. 52)Listeners responded in kind to his honest confessions, a textbook illustration of the empathy generated by crying. (A related issue—how and why literature affects audiences so strongly—is currently generating some very interesting work from New Humanists investigating the question from an evolutionary perspective.)These qualities make sighs and tears fundamental to love poetry. In other words, writers deploy them because they reflect universal states of mind, rather than originating as some arbitrary, socially-constructed literary device. The copious opening sonnet of Petrarch's magnificent Rime sparse codifies the theme:6You who can hear in scattered rhymes the soundof all that sighing which once fed my heartin my first youthful error, when in partI was a person of a different kind—my changing manner as I weep and reason, [End Page 330] between vain aspirations and vain grief,leads everyone who has known... (shrink)

I would like to end this questioning of canonical origins by returning to my point of departure, [Lawrence] Lipking’s notion of a “poetics of abandonment.” Lipking’s article was included in an issue of Critical Inquiry entitled Canons, in which it seemingly was held to represent a feminist perspective on canon formation. Lipking centers his attention on literary theory, a domain that has been granted new prominence, sometimes even the status of literature, in the most recent reformulation of the canon. It (...) may be, as Viktor Shklovsky suggested in Zoo, or Letters Not about Love, that literary theory is the novel’s successor, in which case the resurrection of Ovid’s abandoned women would make generic sense. Furthermore, for the first time in the history of literary criticism, there are today numbers of influential female literary critics, many of whom have called for a major reorganization of literary canons. Given the strategies deployed during previous moments of canon formation, it is perhaps inevitable that some of today’s male literary critics would instigate a debasement of theoretical mothers. Contemporary literary critics are no longer attempting to consign women writers to abandonment. However, even as they promote the cause of women writers, some may also be responding in a manner that reveals their perception that feminist literary theory has provided the most forceful recent challenge not only to literary canons but to critical canons as well.In the final development in his attempt to prove that a mimetic investment in female pain is the basic theoretical strategy deployed by all female readers, Lipking provides an analysis of recent feminist theorists ending with this characterization of the authors of The Madwoman in the Attic: “Sandra Gilbert and Susan Gubar gaze at the mad and outcast heroines of the nineteenth century as if into a mirror” . Thus Gilbert and Gubar—Lipking also cites the examples of Kate Millett and Ellen Moers—become the most recent incarnations of the abandoned literary woman, the literary critic whose views originate in her fear of abandonment. If my analysis of strategies of canon formation deployed in earlier centuries is correct, then the pronouncement from Lipking’s article with which I opened this essay may be a red herring. “In the absence of mothers, a father must raise the right issues.” Lipking may be calling for “a poetics of abandonment” not in response to a perceived maternal deficiency, but in order to consign strong female critics to abandonment, out of a Phaeton complex, a fear that, unless female theorists are cast off, critical sons may have an increasingly difficult time proving their legitimacy. Joan DeJean is professor of French at Princeton University. Her most recent book is Literary Fortifications: Rousseau, Laclos, Sade, and she is currently at work on a study to be titled Fictions of Sappho: Sappho’s Presence in French Literature, 1546-1937. (shrink)

In the six remarkable elegidia transmitted in the Tibullan corpus as 3.13–18 we appear to possess the writings of an educated Roman woman of aristocratic family and high literary connections: a woman, moreover, who participates as an equal in one of the most distinguished artistic salons of the age, and composes poetry in an obstinately male genre on the subject of her own erotic experience, displaying a candour and the exercise of a sexual independence startingly at odds with (...) the ideology of her class. Such a figure is either, depending on one's viewpoint, too good to be true or too embarrassing to be tolerated. The case could easily be put that Sulpicia, more perhaps even than Sappho, has found her poems condemned by accident of gender to a century and a half of condescension, disregard, and wilful misconstruction to accommodate the inelastic sexual politics of elderly male philologists. Certainly even the most sympathetic of recent comment is prone to lapse into a form of critical language outlawed in Catullan scholarship thirty years ago. Yet feminist critics have been strangely cautious in their response. A scholar who rose swiftly to the defence of Erinna when that elusive poet's identity was impugned has notoriously written of Sulpicia: ‘She was not a brilliant artist: her poems are of interest only because the author is female.’ Five years late, Sulpicia has found a place in the major sourcebook on ancient women, but with the cycle of poems violently reordered after the judgment of a nineteenth-century critic, anxious to restore his poetess's chastity against the disconcerting frankness of the texts. (shrink)

The paper discusses erotic desire and the motif of going on pilgrimage in the opening of Geoffrey Chaucer’s General Prologue to The Canterbury Tales and in William Shakespeare’s sonnets. What connects most of the texts chosen for consideration in the paper is their diptych-like composition, corresponding to the dual theme of eros and pilgrimage. At the outset, I read the first eighteen lines of Chaucer’s Prologue and demonstrate how the passage attempts to balance and reconcile the eroticism underlying the (...) description of nature at springtime with Christian devotion and the spirit of compunction. I support the view that the passage is the first wing of a diptych-like construction opening the General Prologue. The second part of the paper focuses on the motif of pilgrimage, particularly erotic pilgrimage, in Shakespeare’s sonnets. I observe that most of the sonnets that exploit the conceit of travel to the beloved form lyrical diptychs. Shakespeare reverses the medieval hierarchy of pilgrimage and desire espoused by Chaucer. Both poets explore and use to their own ends the tensions inherent in the juxtaposition of sacred and profane love. Their compositions encode deeper emotional patterns of desire: Chaucer’s narrator channels sexual drives into the route of communal national penance, whereas the Shakespearean persona employs religious sentiments in the service of private erotic infatuations. (shrink)

The elegy flared into existence, commanded the cultural stage for several decades, then went extinct. This book accounts for the swift rise and sudden decline of a genre whose life span was incredibly brief relative to its impact. Examining every major poet from Catullus to Ovid, Subjecting Verses presents the first comprehensive history of Latin erotic elegy since Georg Luck's. Paul Allen Miller harmoniously weds close readings of the poetry with insights from theoreticians as diverse as Jameson, Foucault, (...) Lacan, and Zizek. In welcome contrast to previous, thematic studies of elegy--efforts that have become bogged down in determining whether particular themes and poets were pro- or anti-Augustan--Miller offers a new, "symptomatic" history. He asks two obvious but rarely posed questions: what historical conditions were necessary to produce elegy, and what provoked its decline? Ultimately, he argues that elegiac poetry arose from a fundamental split in the nature of subjectivity that occurred in the late first century--a split symptomatic of the historical changes taking place at the time. Subjecting Verses is a major interpretive feat whose influence will reach across classics and literary studies. Linking the rise of elegy with changes in how Romans imagined themselves within a rapidly changing society, it offers a new model of literary theory that neither reduces the poems to a reflection of their context nor examines them in a vacuum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Limb-Loosening and the Care of History: Tracing a Motif in Vergil GEORGE SAAD the counter-voice of eros in epic While the Homeric world clearly underlies Vergil’s Aeneid, this Roman appropriation of Greek epic is not without complications. Vergil, taking the whole of history as his theme, develops a world subject to cosmic forces beyond the might and craft of Homeric heroes. To overcome enemies is no mean feat, but (...) how is the world itself overcome? How does the hero move history? Prior to writing the Aeneid, Vergil had already found this world-conquering power in amor and labor improbus,1 which conquer all things. Love and unrelenting toil always step beyond their limits. Unlike Achilles, they rage on after the bodies are buried. Always unsatisfied, they cut deeper than the superficial, personal manipulations of sword and stratagem. These forces reach beyond the satisfaction of any finite objective, encompassing and reshaping the entire world. As Vergil is more than an epic poet, the Aeneid transcends the presuppositions of Homeric epic. Against the wider horizon of world history, the epic form becomes the contingent expression of an outmoded worldview, one now seen from outside itself and suspended in comparison with other possible alternatives. And so, though Vergil sings of arms and the man, it is not at all clear that he means to exult the armed man. The ambiguity of Vergil’s commitments has been expressed in Adam Parry’s reading of Vergil as counterposing “two voices” in the Aeneid, 2 a main voice of Roman triumph and a counter -voice questioning the Roman imperial project. This counter -voice ties Vergil to genres outside of epic, genres with their arion 28.2 fall 2020 44 limb-loosening and the care of history own often opposing views of the human condition. Sappho offers one such critique of epic from the erotic perspective of lyric when she asks if any military pageantry could really be more beautiful than the object of her desire (Sappho LP 16). Though the sentiment comes from Greek lyric, it perfectly applies to the crisis of value-commitments Aeneas faces across his journey, most obviously (but not exclusively) in abandoning Dido for Roman glory. The conflicting voices Parry found within the Aeneid are thus analogous to the contrast between epic and lyric, between a view of the world as violence redeemed by public renown and a view of the world as love contained within personal intimacy. Even in Vergil’s most quintessentially epic moments, the deaths of great heroes, an echo of the lyrical voice is present. A formula repeated at the beginning and end of the epic—solvuntur frigore membra—describes the introductory surrender of Aeneas during the storm (Aen 1.92) as well as the concluding death of Turnus at Aeneas’ own hands (Aen 12.951). The hero and his rival both fall with their “limbs slack in a chill,”3 one in desperate supplication, the other in death. What exactly does this mean? Do the limbs seize up in a kind of terror, stiffening in rigor mortis as frigore would suggest? Or is the stress on the solvuntur, as the limbs loosen with a free sensuality evocative of lyrical eroticism? On the most basic physical level, solvere describes the body as somehow coming apart and losing its unified form, yet in these uses it also suggests the opposite, a rigid stiffening of the body. There is clearly more than a physical account intended in each of these expressions. Some deeper semantic sense unites the physical descriptions. Vergil is not entirely innovating with this expression, as Homer uses a similar phrase to describe the deaths of Patroclus and Hector (Il. 16.856–57; 22.68). I aim to demonstrate how this epic formula draws upon a literary tradition which supplies the wider semantic sense necessary to contextualize these passages in Vergil. The epic poets are relying upon a George Saad 45 long-standing motif to describe the loosening of boundaries between individual and world in a moment of bittersweet release. While this motif arises throughout Greek literature, it is especially characteristic of lyric. The loosening of the limbs becomes especially conspicuous in Vergil because this... (shrink)

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while (...) its feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

Socrates engages his audience in Phaedrus with speeches that include revised or newly composed myths that express his theory of philosophical eros. The aim of the speeches is to generate a love for truth that spills over into dialogue. Speeches are a starting point for dialogue, just like physical attraction is the beginning of love. In the case of Phaedrus, the beginning of philosophy is portrayed using playful and rhetorically rich speeches that serve as "love potions" awakening the novice's soul, (...) and ultimately leading Phaedrus to higher rungs on the ladder of love through the palinode, a medicinal speech. It is thinking about speeches, not the speeches themselves, which moves Socrates' student Phaedrus from the love of speeches to the love of Beauty itself. This is a stark contrast to the purpose of speechmaking for the sophist. The sophist seeks to enchant the soul, while the philosopher seeks to charm the soul into loving wisdom through stimulating discussions. Socrates also uses role reversals in the lover-beloved relationship to model the soul's ascent, contrasting the traditional roles with the way the lover and beloved are presented in Socrates' speeches. The novice must actively recollect Beauty itself in order to ascend, rather than passively listening to speeches that provide an image of beauty. Socrates' interlocutors must move themselves up the ladder of love from their own philosophical eros; wisdom is not attained by merely being pushed all the way up the ladder of love. (shrink)