Professional Documents
Culture Documents
Ancient Women Writers of Greece and Rome features the extant writings of
major female authors from the Greco-Roman world, brought together for
the first time in a single volume, in both their original languages and
translated into English with accompanying commentaries.
The most cost-effective and comprehensive way to study the women
writers of Greece and Rome, this book provides original texts, accessible
text-commentaries, and detailed English translations of the works of ancient
female poets and authors such as Sappho and Sulpicia. It takes a student-
focused approach, discussing texts alongside new and original English
translations and highlighting the rich, diverse scholarship on ancient women
writers to specialists and non-specialists alike. The perspectives of women in
the ancient world are still relevant and of interest today, as issues of gender
and racial (in)equality remain ever-present in modern society.
Ancient Women Writers of Greece and Rome provides a valuable teaching
tool for students of Greek, Latin, and Classical Studies, as well as those
interested in ancient literature, history, and gender studies who do not have
proficiency in Greek or Latin.
Ancient Rome
Social and Historical Documents from the Early Republic to the Death of
Augustus, 2nd edition
Matthew Dillon and Lynda Garland
PART I
Greece
1 Sappho
2 Corinna
3 Erinna
4 Moero of Byzantium
5 Nossis
6 Anyte
7 Praxilla
PART II
Rome
8 Melinno
9 Sulpicia
10 Sulpicia Caleni
11 Claudia Severa
12 An Inscription from Pompeii
13 Terentia
14 Colossus of Memnon
B.N.
A.P.
November 2021
Text Credits
Sappho
1, 16, 31, 44: Voigt, Eva-Maria (ed.). 1971. Sappho et Alcaeus. Amsterdam:
Polak & Van Gennep.
2: Campbell, David A. (ed.). 1967 and 1982. Greek Lyric Poetry. Bristol:
Bristol Classical Press, p. 41–42.
58: Obbink, Dirk. 2009. “Sappho Fragments 58-59: Text, Apparatus Criticus,
and Translation,” in Ellen Greene and Marilyn B. Skinner (eds.), The New
Sappho on Old Age: Textual and Philosophical Issues. Hellenic Studies
Series 38. Washington, D.C.: Center for Hellenic Studies.
https://chs.harvard.edu/chapter/2-dirk-obbink-sappho-fragments-58-59-
text-apparatus-criticus-and-translation/
16a, “Kypris Song”, “The Brothers Poem”: Obbink, Dirk. 2016. “The Newest
Sappho: Text, Apparatus Criticus, and Translation,” in Anton Bierl and
André Lardinois (eds.), The Newest Sappho: P. Sapph Obbink and P. GC
inv. 105, Frs. 1-4. Brill, p. 13–33.
Corinna
Page, Denys Lionel. 1962. Poetae Melici Graeci. Oxford: Oxford University
Press.
Erinna
“The Distaff” = P.S.I. 1090: We have largely used West’s (1977) edition,
consulting Lloyd-Jones and Parson (1983) in the case of the more
controversial supplements suggested by West.
West, M. L. 1977. “Erinna,” Zeitschrift für Papyrologie und Epigraphik 25: 95–
119.
Lloyd-Jones, H. and P. Parsons. 1983. Supplementum Hellenisticum. Berlin:
De Gruyter, p. 187–189.
Epigrams 1, 2, 3: Gow, A. S. F. and D. L. Page. 1965. The Greek Anthology:
Hellenistic Epigrams, vol. 1.Cambridge: Cambridge University Press, p.
97–98.
Moero
Epigrams 1, 2: Gow, A. S. F. and D. L. Page. 1965. The Greek Anthology:
Hellenistic Epigrams, vol. 1. Cambridge: Cambridge University Press, p.
145.
3: Olson, S. Douglas. 2009. Athenaeus, The Learned Banqueters, Vol. V: Books
10.420e-11. Loeb Classical Library 274. Cambridge, MA: Harvard
University Press, p. 386–388.
Nossis
Gow, A. S. F. and D. L. Page. 1965. The Greek Anthology: Hellenistic
Epigrams, vol. 1. Cambridge: Cambridge University Press, p. 151–154.
Anyte
1-3, 5-21: Gow, A. S. F. and D. L. Page. 1965. The Greek Anthology:
Hellenistic Epigrams, vol. 1. Cambridge: Cambridge University Press, p.
35–41.
4: Geoghegan, D. 1979. Anyte: The Epigrams. Rome: Edizioni dell’ Ateneo &
Bizzarri, p. 56.
Praxilla
Page, Denys Lionel. 1962. Poetae Melici Graeci. Oxford: Oxford University
Press.
Melinno
Gutzwiller, K. (2017). “Melinno,” in D. Sider (ed.), Hellenistic Poetry: A
Selection. University of Michigan Press.
Sulpicia
1-11: Fulkerson, L. (2017). A Literary Commentary on the Elegies of the
‘Appendix Tibulliana’. Pseudepigrapha Latina. Oxford.
12: L’Année Epigraphique 1928.73.
Sulpicia Caleni
1: Dickison, S. and J. P. Hallett. (2015). A Roman Women Reader. Bolchazy-
Carducci.
2: Butrica, J. L. (2000). Sulpiciae Conquestio. http://www.curculio.org/
Sulpiciae/Conquestio.html
3-4: Lindsay, W. M. (1954). M. Val. Martialis: Epigrammata. Oxford.
Terentia
Stevenson, J. (2005). Women Latin Poets: Language, Gender, and Authority
from Antiquity to the Eighteenth Century. Oxford.
Vindolanda Tablets
1: Tabula Vindolanda II 291 (http://vindolanda.csad.ox.ac.uk/)
2: Tabula Vindolanda II 292 (http://vindolanda.csad.ox.ac.uk/)
Colossus of Memnon
all: Bernand, A. and É. Bernand. (1960). Les inscriptions grecques et latines
du colosse de Memnon. Paris.
Sigla
[…] Square brackets: This symbol encloses places in which words have been lost through
physical damage. Oftentimes, dots are placed within the brackets to mark how many
letters have probably been lost (e.g., 2 dots = 2 letters missing, etc.). If letters are placed
within the brackets, it indicates the editor’s attempt at guessing what letters have been
lost.
<… Diamond brackets: This symbol encloses words and letters that an editor has added.
>
(…) Round brackets: This symbol encloses words and letters that have been abbreviated by
the original text.
† Obelus: This symbol marks a section of text is clearly corrupted (i.e., there’s an error),
but the editor does not know how to emend. If only one word is corrupt, the obelus
precedes the word. If multiple words are corrupt, two obeli enclose the corrupted
words.
Abbreviations for Journals Cited
in This Volume
AJA American Journal of Archaeology
AJAH American Journal of Ancient History
AJP American Journal of Philology
ANRW Aufstieg und Niedergang der römischen Welt
AW The Ancient World
CA Classical Antiquity
CJ The Classical Journal
CPh Classical Philology
CQ Classical Quarterly
CW Classical World
GRBS Greek, Roman, and Byzantine Studies
HSCP Harvard Studies in Classical Philology
QUCC Quaderni Urbinati di Cultura Classica
TAPA Transactions of the American Philological Association
YJC Yale Journal of Criticism
ZPE Zeitschrift für Papyrologie und Epigraphik
Introduction
Looking at Ancient Women Writers
through Male and Female Lenses
Judith P. Hallett
DOI: 10.4324/9781003031727-1
The treasure trove of Greek and Latin literary texts preserved from the
Greco-Roman world during what we call the classical era—a period
extending from the 8th century BCE through the 4th century CE—contains
relatively few works by women writers: a cause of frustration not only to
those of us who study classical antiquity but also to those of us interested in
women’s writings through the ages. It is frustrating enough that these
writings by Greek and Roman women preserved from classical antiquity are
far, far fewer in number than the writings preserved from that era by Greek
and Roman men. It is more frustrating still that this small number of
writings by women represents only a portion of the female-authored texts
actually produced in classical antiquity. Our ancient sources testify to the
existence of many others no longer extant.1
We often refer to the extant writings by ancient women available to us
today as “having survived” from classical times. By so doing, we imply that
these texts somehow possess both energy and agency of their own. That they
have pluckily willed themselves to persist physically, withstanding the
human and natural calamities that also led to the loss, in their entirety or in
substantial part, of innumerable male-authored literary works written in
classical times, works ranging from Athenian tragic dramas to Roman
historical chronicles. Yes, we often employ the verb “survive” to characterize
male-authored literary works preserved from classical times. But its
application to ancient women writers is especially apt.
For these ancient women writers, the topic of this volume, include such
significant artistic voices as the Greek poet Sappho and the Latin poet
Sulpicia. Sappho, who flourished on the island of Lesbos from the late 7th
through the early 6th centuries BCE, is renowned for her lyrics about love
and desire between women, as our English words “lesbian” and “sapphic”
document.2 The lesser-known Sulpicia, who wrote in the city of Rome
during the reign of the emperor Augustus, around 20 BCE, is increasingly
valued for her elegiac verses about her illicit sexual liaison with a younger
man.3 Many of us who now read the writings by these and other ancient
women, whether in their original Greek and Latin, or in modern translations
which do literary justice to their actual words, find these writings personally
meaningful and compelling. And rightly so: these writings, especially but by
no means solely the poems of Sappho and Sulpicia, forge strong emotional
connections between artist and audience, albeit in different imaginative
ways. Such an impression of these women’s writings—as powerful in their
own right, owing to their ability to reach, and touch, the feelings of readers
across the millennia—contributes to the notion that these literary texts have
also, and always, possessed the sheer capacity for physical survival, for
enduring life-threatening challenges to their very existence.
But in fact we owe the “survival” of these ancient writings by women
largely to the labors of men who, from classical times to the present day,
have taken pains to preserve what these women wrote. These male
“preservationists” viewed, and judged the worth of, these women’s writings
through their own, male, lenses. Some of these men were themselves
authors, whose own works were deemed important in classical times, and
preserved as important in later eras, even if their own names and writings
may not instantly register with readers today. Thankfully, they made the
effort, in their own writings, to quote passages of varying lengths by certain
women writers. These men chose to do so because they regarded what these
women wrote as noteworthy, for different reasons. In some instances they
even extol these women’s writings for exemplifying literary excellence, or at
least illustrating mastery of their own criteria for artistic accomplishment.
One well-known example of serendipitous preservation by an ancient
male writer impressed with a woman’s literary achievements is a poem,
written in the first person and composed in Sappho’s hallmark lyric meter,
long referred to as Sappho 1 L-P: L and P are the initials of (Edgar) Lobel
and (Sir Denys) Page, two British scholars who published an authoritative
edition of poems by Sappho and her male contemporary Alcaeus in 1955.4
The poem’s speaker, who refers to herself as Sappho, addresses the love
goddess Aphrodite, seeking her divine aid in pursuing a woman she desires.
Sappho’s words in this poem were deemed quote-worthy on stylistic
grounds, and quoted in their entirety, by Dionysius of Halicarnassus, a
Greek historian and rhetorical teacher in Augustan Roman times.5
The male author of a 1st-century CE aesthetic treatise entitled “On the
Sublime,” often referred to as “Longinus”, similarly quotes, discusses, and
should take most of the credit for preserving another renowned and
influential poem, Sappho 31 L-P. Also written in the “Sapphic” meter, it
describes her intense emotional and physical reactions to the presence of
another woman. His discussion focuses on, and expresses high praise for,
Sappho’s representation of feelings and her portrayal of conflicting
sensations and conditions.6 Sappho’s words in this particular poem also
seem to have been echoed by two earlier poets, the 3rd-century BCE Greek
Theocritus and the 1st-century BCE Latin Lucretius, who thereby played
some part in preserving what Sappho wrote.7
More crucially, another Roman poet, Lucretius’ contemporary Catullus,
translates three stanzas of Sappho’s poem into Latin, using Sappho’s
distinctive meter. Strikingly, its first-person speaker of Sappho’s translated
words is represented as a man, and addressed in the poem as Catullus.
Catullus contributed to the preservation of Sappho’s lyrics in other ways,
too, most unforgettably by referring to his artistically cultivated female
beloved as “Lesbia”. A pseudonym metrically equivalent to that of Clodia,
this woman’s actual name, it pays tribute to the Greek island of Lesbos
where Sappho lived, and thereby to Sappho herself, inasmuch as Catullus
depicts this woman as—like Sappho herself—a literarily learned aristocrat,
endowed with keen emotional sensibilities.8
The eleven erotic poems featuring the Augustan poet Sulpicia abound in
echoes of earlier Greek and Roman poetry. Among them are the mythic
epics of both Homer and Vergil, and the erotic lyrics of both Sappho and her
literary devotees Catullus and Horace.9 Eight are narrated by a first-person
speaker, who is twice referred to by the name Sulpicia. Sulpicia’s decision to
write for the most part in the first person, and to refer to herself by her own
name, as Sappho does, merits attention. Several Roman love poets in the
generation following Catullus, who wrote, as Sulpicia does, in what is called
the elegiac meter, used literarily allusive pseudonyms with the same
metrical value, as Catullus did with “Lesbia”, for the women whom they
portray as their lovers. These male elegists represent these women as
involved with them in sexual relationships outside of legitimate Roman
marriage, and as responsive to and immortalized by their own writing. Yet,
following Catullus’ practice, they refer to themselves by their own names.10
If indeed the female inamoratae who memorably figure in their love
elegies were actual rather than fictitious women, these male elegists—
Tibullus, Propertius, and Ovid most prominent among them—presumably
masked these women’s, but not their own, real-life identities owing to the
illicit nature of their liaisons: to “protect” these women’s reputations in a
repressive patriarchal society whose laws granted men much, and women
no, sexual freedom. Sulpicia’s willingness to acknowledge, and explore facets
of her love affair with a man not, and never likely to become, her husband is
unusual in this literary and sociocultural context. So is Sulpicia’s own
reversal of gender norms, inasmuch as she engages in this same literary
practice herself, by using a literally allusive pseudonym, “Cerinthus”, to hide
the actual identity of her own young illicit, male lover. Her name for him
would seem to play on the Greek and Latin words for “wax”, the physical
substance on which love poems were physically inscribed.11
Nevertheless, we only have access to the eleven Sulpicia-elegies because
they are preserved in manuscripts of poems dating from the early modern
period which are attributed to her male contemporary Tibullus, and
organized into three successive “poetry books”. Other than the Sulpicia-
elegies, these manuscripts only contain the work of male Latin poets:
Tibullus himself in Books One and Two, other men in Book Three.12 Ancient
sources attest that both Tibullus and Ovid belonged to a literary circle
fostered by Sulpicia’s maternal uncle and legal guardian, the influential
military and political leader Marcus Valerius Messalla Corvinus, one of
Augustus’ close associates. The inclusion of the eleven Sulpicia-elegies in
these manuscripts of Tibullus, as well as literary affinities between her
poems and those of Ovid and Tibullus, among them evocations of Catullus’
poems, would suggest that this circle included Sulpicia herself too.13
It has been argued that Ovid himself evokes the Sulpicia-elegies in his
own poetry: an elegy in the third book of his Amores; his narratives about
the Babylonian lovers Pyramus and Thisbe in the fourth book, and about the
artist Pygmalion in the tenth, of his mythic epic Metamorphoses.14 But no
other written text from classical antiquity directly quotes Sulpicia’s words,
much less identifies all or even some of the eleven elegies in Tibullus, Book
Three, as her poetry. Indeed, no ancient Roman (or Greek) source other than
the eleven elegies in Tibullus, Book Three, ever mentions her. We can
extrapolate when she lived and wrote from information about her family
members, furnished by a variety of ancient sources, but there is no evidence
directly attesting to her existence, much less providing biographical details
about her.15 In this regard, she contrasts sharply with Sappho, to whose
work—and life—later Greek and Roman writers frequently refer and, as we
have observed, whose lyrics they also both quote and evoke.
There is, however, another of Sulpicia’s poems warranting close scrutiny:
an eight-line funerary inscription written in Sulpicia’s characteristic elegiac
meter, datable by its language and spelling to around 20 BCE, when Sulpicia
appears to have written her erotic elegies. Unearthed in Rome and recorded
in an archaeological publication by an Italian archaeologist named Paolino
Mingazzini in 1926, it was identified as Sulpicia’s writing by a French
classical scholar, Jerome Carcopino, three years later. This inscription
commemorates a 34-year-old Greek slave woman who worked as a lectrix,
female reader, and performer of literary texts, named Petale.16
An elaborate pun on the name Sulpicia in the opening lines of this
inscription identifies Sulpicia as its author, and indicates that Petale was
enslaved by Sulpicia’s noble and wealthy family, and given the Latin name
Sulpicia Petale in addition to free status when she died. The language of the
inscription pointedly evokes the “Distaff”, a celebrated poem by the 4th-
century BCE Greek female poet Erinna. Here Erinna laments the death of
her beloved female friend Baucis, depicting the quintessential female
activity of spinning wool to emotionally moving effect. Petale’s literary
performances for Sulpicia’s household, and instruction of Sulpicia herself in
Greek and Latin poetry, would help to account not only for Sulpicia’s own
familiarity with Erinna’s poem, but also with Greek and Roman authors
such as Homer and Sappho, Vergil, Horace, and Catullus, echoed in the
eleven Sulpicia elegies.17
Sulpicia’s family was also likely to have benefited from the labors of
enslaved men who read and performed literary texts, lectores, along with
this female lectrix. Together these male and female slaves would have
provided her with the hands-on literary education that equipped her to
write verses of funerary commemoration for slave and freed household
staffers as well as erotic elegiac poems. But however these slave-instructors
divided their labors, this testimony to the existence of a woman poetic
expert, whose teaching helped preserve Erinna’s and Sappho’s words
through Sulpicia’s writing, deserves recognition.
Not all of the labors exerted, not all of the lenses applied, by men of both
classical and later times in preserving ancient women’s writings have helped
modern-day readers appreciate, or even clearly comprehend, the distinctive
linguistic and stylistic strengths, or the sheer emotional power, of the words
written by ancient women. For centuries, moreover, male lenses on female
writers were dimmed by a failure to understand, and an outright resistance
to accept, the sexual scenarios apparently represented in women’s texts: in
Sappho’s case, her emotional attraction to other women; in the case of the
aristocratic Sulpicia, her proud involvement, despite a series of major
obstacles, in an illicit sexual liaison with a younger male lover. The labors
and lenses of the renowned Roman poet Ovid, notwithstanding his
membership in Sulpicia’s own literary circle, and his professed indebtedness
to her uncle Messalla, pose problems of their own for those endeavoring to
recover and assess Sulpicia’s writing. Ovid adored and identified himself
with Sappho, striving to outdo her most eminent Roman literary admirers,
Catullus and Horace, in paying her homage. It may be for this reason that he
never mentions Sulpicia by name, and only evoked her poetry to criticize
and erase it, thereby strengthening his claims over hers to be Sappho’s
Roman literary heir.18
But the labors of modern male scholars to preserve, and explicate, the
Sulpicia elegies have shortchanged her poetry too. Most obviously, they have
successfully hypothesized that the first five of the eleven Sulpicia elegies are
actually the work of a male impersonator, whom they label “the Garland
Poet” and “Sulpicia’s amicus, male friend,” on several grounds: that three of
the first five poems are not written in the first person; that these five poems
are longer and more learned than the second six; and that the first five treat
the same themes as the second six, but in a more literarily sophisticated
fashion. The conjecture that Sulpicia herself did not compose the first five of
these elegies has gained wide acceptance, from female and male scholars
alike.19
Since no ancient commentator on Sulpicia’s poems has been preserved,
there is little resistance voiced to this conjecture that attributes those five
elegies to a male, on assumptions that can be easily refuted. Less successful,
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Suppressing Mormonism.
Jas. G. Blaine.
The above well presents the Blaine view of the proposition to have
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The following is the letter proposing a conference of North and
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For some years past a growing disposition has been manifested by certain States
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It has been on several occasions a source of profound satisfaction to the
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shall enlist the good will and active co-operation of all the States of the Western
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He conceives that none of the Governments of America can be less alive than our
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Impressed by these views, the President extends to all the independent countries
of North and South America an earnest invitation to participate in a general
Congress, to be held in the city of Washington, on the 22d of November, 1882, for
the purpose of considering and discussing the methods of preventing war between
the nations of America. He desires that the attention of the Congress shall be
strictly confined to this one great object; and its sole aim shall be to seek a way of
permanently averting the horrors of a cruel and bloody contest between countries
oftenest of one blood and speech, or the even worse calamity of internal
commotion and civil strife; that it shall regard the burdensome and far-reaching
consequences of such a struggle, the legacies of exhausted finances, of oppressive
debt, of onerous taxation, of ruined cities, of paralyzed industries, of devastated
fields, of ruthless conscriptions, of the slaughter of men, of the grief of the widow
and orphan, of embittered resentments that long survive those who provoked them
and heavily afflict the innocent generations that come after.
You will present these views to the Minister of Foreign Affairs of Costa Rica,
enlarging, if need be, in such terms as will readily occur to you upon the great
mission which it is within the power of the proposed Congress to accomplish in the
interest of humanity, and the firm purpose of the United States of America to
maintain a position of the most absolute and impartial friendship toward all. You
will, therefore, in the name of the President of the United States, tender to his
Excellency, the President of ——, a formal invitation to send two commissioners to
the Congress, provided with such powers and instructions on behalf of their
Government as will enable them to consider the questions brought before that
body within the limit of submission contemplated by this invitation.
The United States, as well as the other powers, will in like manner be
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In delivering this invitation through the Minister of Foreign Affairs, you will
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desired by this Government as promptly as the just consideration of so important a
proposition will permit.
I am, sir, your obedient servant,
James G. Blaine.
Minister Logan’s Reply.