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Download Klinck on Corinna.Pdf McGill-Queen's University Press Chapter Title: CORINNA Book Title: Woman's Songs in Ancient Greece Book Author(s): ANNE L. KLINCK Published by: McGill-Queen's University Press. (2008) Stable URL: https://www.jstor.org/stable/j.ctt8137f.11 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms McGill-Queen's University Press is collaborating with JSTOR to digitize, preserve and extend access to Woman's Songs in Ancient Greece This content downloaded from 128.95.104.109 on Thu, 15 Apr 2021 18:23:40 UTC All use subject to https://about.jstor.org/terms 3 corinna Although Sappho is the only woman poet from early Greece who is well known in the modern world, there were others, and may have been many. Then, as now, her reputation surpassed the rest, but it is hard for us to make a judgement about them because so little of their poetry sur- vives. Corinna, who came from Tanagra in Boeotia, is the best repre- sented. Scholars disagree as to whether she was an older contemporary of Pindar in the early fifth century, in accordance with the ancient tradition – according to the Suda, for example, “they say” she defeated Pindar five times in competitions – or a Hellenistic author a couple of hundred years later. The later dating is based on the lack of any reference to her before 50 bce (see Allen and Frel; Snyder, The Woman and the Lyre, 43–4; Campbell, Gk Lyric 4: 1). I am inclined to an early dating for Corinna, because her poetry shows a definite awareness of the female group, both performers and audience, for whom she was composing. Eva Stehle sug- gests that if her cautionary tales about groups of young women were de- signed for choral performance their message “must have seemed directly applicable to the parthenoi who performed them” (Performance and Gen- der 103–4). In the third century (bce) these sentiments would no longer relate to a performance context and would have to be self-consciously ar- chaizing. Marilyn Skinner, in fact, infers that her “ostensible simplicity” is a “deliberately archaizing stance” (“Homer’s Mother” 108–9 n.23). In one poem (655 PMG) Corinna speaks of adorning old tales for maidens (lines 9–11) and of the Tanagrian women or girls (Tanagridessi) for whom the Muse of choral poetry bids her sing (1–3). With what looks like the socially approved female self-deprecation, she rebukes the woman poet Myrtis for This content downloaded from 128.95.104.109 on Thu, 15 Apr 2021 18:23:40 UTC All use subject to https://about.jstor.org/terms CORINNA 153 venturing to compete with Pindar (664a PMG); but more assertively she says that she herself praises the noble deeds of both heroes and heroines (664b pmg). Legend has it that she criticized the young Pindar for failing to tell the traditional stories (mythous); when he showed her a poem beginning with a whole catalogue of possible subjects, she laughed and said, “You should sow with the hand, not with the whole sack” (Plutarch, De gloria Atheniensium 4.347f-348a). Testy relations between Pindar and Corinna are also implied by the anecdote that he was so annoyed at being defeated by her in the poetic contests he called her a sow – but this report, from Aelian in the second cen- tury ce (Varia historia 13.25), may have been prompted by Pindar’s own words about escaping the insult of being a Boeotian pig (Olympian 6.90). Collectively, these glimpses suggest an independent-minded woman who promoted her own sex and presented something of a challenge to men. However, some of Corinna’s poetry is neither in the female voice nor from a particularly feminine perspective – or so it seems. On closer inspec- tion, a certain feminine irony is detectable. Her account of the singing con- test between Mounts Helicon and Cithaeron (654a.i pmg) quotes a song about Zeus, who was saved from his child-devouring “crooked- counselled” father by the superior cunning of his “blessed” mother (lines 12–18). After the gods vote for the winner in the contest, Helicon, the sore loser, flies into a rage and hurls a huge boulder into a myriad pieces (654a.i.31–4). It has been suggested that there is a not-so-veiled reference here to a male poet (i.e., Pindar), who also was a bad loser (see Demand 105). In another poem from the same papyrus (654a.iii), the prophet Acraephen foresees a glorious destiny for the nine daughters of the River Asopus, who have been carried off by gods. Remembering that Alcman narrates male-centered myths mediated through his group of singing maid- ens, one wonders if such is the case with these fragments of Corinna’s. Is the grandiose style in the “Contest of the Mountains” a parody of heroic poetry? I am not the only one to detect humour here (see Collins 20). Are we to imagine a contrast between huge, clumsy mountains and graceful, slender girls singing about them? And is there “at least a whiff of irony” in the pomposity of Acraephen and Asopus (see Larmour 36)? Would the presence of the girl chorus highlight the beautiful daughters of Asopus and their destiny? We need to think of ways in which presentation by a female chorus might affect the narrative and its moral. This content downloaded from 128.95.104.109 on Thu, 15 Apr 2021 18:23:40 UTC All use subject to https://about.jstor.org/terms 154 Woman’s Songs in Ancient Greece 654a col. i . 12 ¼eu ^» ^ ^ ^ ^ ^¼ Kwvrei- te~ e[krou¼yan davqio»n qi¼a`~ brevfo¼~ a[ntroi, laqrav»da¼n ajg- 15 ko¼ulomeivtao Krovnw, ta- nivkav nin klevye mavkhra ïReiva meg¼avlan tÆ »aj¼qanavtwn e[s- ~¼ e{le timavn: tavdÆ e[melyem: mavkara~ dÆ aujtivka Mwvsh 20 f¼erevmen ya`fon e[»t¼atton kr¼oufivan kavlpida~ ejn crou- sofai`~: tu; dÆ a{ma pavnte»~¼ w\rqen: plivona~ dÆ ei|le Kiqhrwvn: tavca dÆ ïErma`~ ajnevfan»evn 25 ni¼n ajouvsa~ ejrata;n wJ~ e{¼le nivkan stef»av¼nusin ^ ^ ¼^ ^ atwv^ ^anekovsmion mavka¼re~: tw` de; novo~ gegavqi: oJ de; lo¼uvphsi kav»q¼ekto~ 30 calep¼h`sin üeli»k¼w;n ej- ^ ^ ^ ^ ¼^ littavda »p¼evtran ^ ^ ^ ^ ¼ken^ dÆ o[»ro¼~: ujktrw`~ ^ ^ ^ ^ ¼wn^ ouJy»ov¼qen ei[ri- sev nin ej¼m mou»ri¼avdessi lavu~: . 654a col. iii . 12 ta`n de; phvdw»n tri`~ m¼e;n e[ci Deuv~ patei;»r pavntw¼n Basileuv~, tri`~ de; povnt»w ga`me¼ mevdwn This content downloaded from 128.95.104.109 on Thu, 15 Apr 2021 18:23:40 UTC All use subject to https://about.jstor.org/terms CORINNA 155 654a col. i “The Curetes 12 reared the goddess’s divine offspring in a cave, kept secret from crooked-counselled Cronus, 15 when blessed Rhea stole him, and from the immortals he received great honour.” These things he sang. And straightaway the Muses were bidding the blessed gods to bring their secret voting pebbles 20 to gold-shining urns. And they all stood up together. And Cithaeron received the majority, and quickly Hermes proclaimed him, calling out that he had received 25 lovely victory, and with garlands ... the blessed gods were adorning him, and his heart rejoiced. But the other, Helicon, overcome with sore resentment ... 30 [took] a smooth rock; and the mountain ... pitiably ... he hurled it from on high into a myriad pieces [traces of about 30 further lines follow 34] 654a col. iii “Of your daughters, 12 Father Zeus, king of all, has three, and Poseidon, who guards the sea, This content downloaded from 128.95.104.109 on Thu, 15 Apr 2021 18:23:40 UTC All use subject to https://about.jstor.org/terms 156 Woman’s Songs in Ancient Greece 15 P»otidavwn, t¼a`n de; doui`n Fu`bo~ levkt»ra¼ kratouvni, ta;n dÆ i[an Mhv»a~¼ ajgaqo;~ ph`~ ïErma`~: ou{»t¼w ga;r ÒErw~ kh; Kouvpri~ piqevtan, tiw;~ 20 ejn dovmw~ bavnta~ kroufavdan kwvra~ ejnnivÆ eJlevsqh: thv pokÆ eiJrwvwn genevqlan ejsgennavsonqÆ eiJm»iqiv¼wn ka[ssonqh p»o¼lou»sp¼erive~ 25 tÆ ajgeivrw tÆ ej~ »m¼a»ntos¼ouvnw trivpodo~ w{it» ^ ^ ^ ^ ^ ^ ^¼ tovde gevra~ k»ekravteicÆ iJw;¼n ej~ penteivko»nta¼ kraterw`n oJmhvmwn pevr»oco¼~ profav- 30 ta~ semnw`n »ajdo¼uvtwn lacw;n ajyeuvdian ÆAk»rh¼feivn: pravtoi »me;n¼ ga;»r Lat¼oi?da~ dw`kÆ Eujwnouvmoi tripovdwn ejs~ iJw`n »cre¼ismw;~ ejnevpein, 35 to;n dÆ ej~ ga`~ balw;n OuJrieu;~ tima;»n¼ deuvtero~ i[scen, ph`~ »Pot¼idavwno~: e[pi- tÆ ÆWa»riv¼wn aJmo;~ genevtwr gh`a»n ü¼a;n ajppasavmeno~: 40 cwj me;n wjran»o;¼n ajmfevpi tima;n dÆ »e[llaco¼n ou{tan. twvnek» ^ ^ ^ ^ ^ ^ ¼n^ ejnevpw tÆ ajt»r¼evk»ian crei¼smolovgon: tou; dev »nou üi`kev tÆ aj¼qanavtu~ This content downloaded from 128.95.104.109 on Thu, 15 Apr 2021 18:23:40 UTC All use subject to https://about.jstor.org/terms CORINNA 157 wedded three, and Phoebus rules 15 the beds of two of them, and one good Hermes, Maia’s son.
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