Titlebook: Anthology of Ancient Medival Woman‘s Song; Anne L. Klinck Book 2004 Palgrave Macmillan, a division of Nature America Inc. 2004 England.lyr

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https://doi.org/10.1007/978-3-476-04286-6in the thirteenth century, Northern Italian poets compose in the same modes. The poems that follow range from the graceful ., by King Frederick, to the energetic ., which draws on a more earthy tradition.

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Book 2004at resonates with the medieval poems is also included here. Readers will find a range of voices, often echoing similar themes, as women rejoice or lament, praise or condemn, plead or curse, speak in jest or in earnest, to men and to each other, about love.

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Ancient Greece, That Sappho was a “l(fā)esbian” is well known, but just what that means continues to be debated. Some, but not all, scholars relate her milieu to that evoked by the ancient girl-choruses, such as the one that speaks in Alcman 26. This poem, like those of Sappho, is in a fragmentary state. Many of the v

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Ancient Rome,exclusively from the man’s point of view in this supposedly confessional poetry, for which they use elegiac couplets. Latin love elegy is a well-developed genre, but very little of it is woman’s song. Propertius 4.3 is composed in the persona of a woman writing to her lover. Horace, . 3.12 . be a dr

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Ireland,n Middle Irish manuscripts. The following poem is drawn from the . (.—also known as .), which purports to be a collection of stories told to Saint Patrick by the two last survivors of the warband (Fían) of Finn Mac Cumhal. Cáel is a Fenian—a member of the Fían, and Créde is a Sidhé woman, both of th