N266 nightly business report

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N266 nightly business report

This page intentionally left blank Preface This book has arisen out of two long-standing interests—in early poetry, and in the representation of women. As an Anglo-Saxonist and in a secondary way a classicist, it was natural for me to make connections too with the ancient world.

It struck me that this poetry in the voice n266 nightly business report an eager, desiring woman was a noticeable phenomenon there, especially in archaic Greece. Most of the translations are my own. I would like to warmly thank all the people who have contributed to this book by suggesting materials for inclusion, pointing out more accurate—or more poetic—translations, and rescuing me from blunders: Needless to say, they are not to blame for the defects that remain.

I owe a special debt to Teresa Garulo, who contributed the poems by the Muslim princess Wallada, and patiently helped me with the transliteration of Arabic. A significant contribution has also been made by my research assistants, Allison Comeau and Alexandre Santos, who have assisted me with this project over a period of years, and enabled me to bring it to completion.

Anne Klinck Fredericton, Canada, May This page intentionally left blank Preparation of the Texts and Translations I have simplified the conventional editorial marks indicating textual problems. Omission marks are employed for badly damaged or missing words and passages, as well as for skipped sections; a dagger indicates unreconstructed faulty text.

Restorations and emendations are silently incorporated; if large or controversial, they are commented on in the Textual Notes. Square brackets are used for editorial insertions. My translations aim to give a sense of the shape and tone of the original, but I have only occasionally attempted to reproduce rhyme, and never meter in any exact way.

For the most part, translations are line-for-line; I have diverged slightly from this arrangement where it would have made the English awkward. On the rare occasions where my translation is very free, I supply a literal version in the Notes.

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The Galician-Portuguese and Castilian sections have benefited from the sensitive suggestions of Joseph Snow.

I will love Sir John if I love anyone! Usually these poems express feelings toward men, but the first example quoted above declares a passion for another woman, and the man is just a foil.

I have picked poems and passages that appeal to me personally and that resonate with other poems and passages in this book. The voices in these poems, whether authored by women or by men, clearly emerge as contrastive to male voices.

We shall see these attitudes recurring, in poems widely separated in space and time. A word needs to be said also about focussing on voice rather than authorship.

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The study of works by women and of works about women tends to be separated, but I believe it can very usefully be brought together. We can consider authorial gender when known, as well as analysing femininity within texts—and assessing the relationship between the two.

The notion of a text as the property of a particular author, a thing conceived in writing, fixed on paper, and communicated by silent private reading is a relatively late development. All of the poems included here were designed to be performed aloud to an audience; many were intended to be sung, although, sadly, the music has been lost in the majority of cases.

Some songs were also accompanied by dance. The modern clear distinction between composer and performer did not exist in the Middle Ages— or earlier. But since the focus of this book is essentially secular, I have excluded Christian devotional poetry. There are, of course, some close parallels between devotional and love poetry, Christ, Mary, and the Church often being addressed as the beloved.

Conversely, the sentiment and the language of religious devotion are often incorporated into purely secular erotic verse. Nevertheless, the divide between the sacred and the profane is clear in the medieval period, whereas in archaic Greece, they are not separated in this way, but reinforce each other.

For the overall arrangement I have grouped the selected pieces into a series of clusters by language and nationality in a loosely chronological sequence. Reading and comparing the poems in this collection will show how, in addition to the general subject of love or sexuality, certain characteristic attitudes, themes, motifs, and patterns recur: Whether or not these poems are popular, many of them are anonymous, and seem to be the product of oral culture.

But some—the Latin ones, for instance—are highly literate. But very often, perhaps usually, the artlessness is deliberately contrived, and introduction 3 sometimes it masks very subtle effects.

Because most of the surviving examples are either anonymous or male-authored it is often inferred that this type of poetry reflects a male perspective.

And, to be sure, these speakers are for the most part young, beautiful, and outspokenly in love. The poems raise some fascinating questions about which scholars debate, and readers will have their own opinions.

Are these poems popular? Why do they construct women as ingenuous and artless? Is there really a continuous thread to be traced from the ancient into the medieval world?

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n266 nightly business report

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This business, to be sure, makes work for those above, this care disturbs their rest. I will.

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