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The two poets were contemporaries, and both wrote in the same Aeolic dialect; there are several fragments where it is uncertain which of the two is the author. Fragments where the authorship is uncertain. In most cases, this is because the dialect is identifiable as Aeolic, but the poem may be by either Sappho or Alcaeus of Mytilene. [61]
An example is from fragment 96: "now she stands out among Lydian women as after sunset the rose-fingered moon exceeds all stars", [99] a variation of the Homeric epithet "rosy-fingered Dawn". [100] Her poetry often uses hyperbole , according to ancient critics "because of its charm": [ 101 ] for example, in fragment 111 she writes that "The ...
Anton Bierl suggests that it was originally composed as a didactic work, intended to teach young women about beauty and mortality. [15] It is one of a number of Sappho's poems which discuss old age. [13] The poem's common name comes from the Greek myth of Tithonus, which is mentioned in lines 9 to 12.
"For me, one of the most interesting things about looking through old fairy tales has been looking at the ways women were depicted back then, and how a lot of things actually haven't changed," Sparks said. "We still have these almost medieval notions about women at times, with our control over them and their bodies."
The Legend of Good Women is a poem in the form of a dream vision by Geoffrey Chaucer during the fourteenth century.. The poem is the third longest of Chaucer's works, after The Canterbury Tales and Troilus and Criseyde, and is possibly the first significant work in English to use the iambic pentameter or decasyllabic couplets which he later used throughout The Canterbury Tales.
She wrote 59 poems in the Puṟanāṉūṟu. [1] A plaque on a statue of the poet in Chennai suggests the first century BCE for her birthdate. [ 2 ] [ 3 ] The name Avvaiyar means a 'respectable good woman', hence a generic title; her personal name is not known.
And Still I Rise is Maya Angelou's third volume of poetry. She studied and began writing poetry at a young age. [1] After her rape at the age of eight, as recounted in her first autobiography, I Know Why the Caged Bird Sings (1969), she dealt with her trauma by memorizing and reciting great works of literature, including poetry, which helped bring her out of her self-imposed muteness.
From ancient history to the modern day, the clitoris has been discredited, dismissed and deleted -- and women's pleasure has often been left out of the conversation entirely. Now, an underground art movement led by artist Sophia Wallace is emerging across the globe to challenge the lies, question the myths and rewrite the rules around sex and the female body.