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Posidippus online dating

The epigram is quoted by Athenaeus (13.596c), who lived in the third century CE—and whose native city was in fact Naucratis.In the context of this quotation, Herodotus is accused of being unaware that Rhodōpis and Dōrikha are different women.As I noted in my previous post, 20, Herodotus in his says that Sappho makes pointed references in her songs to the passionate love affair of Kharaxos, and the historian adds that she sings disapprovingly of this affair.[4] The cause of her disapproval becomes clear as we read the whole tale as retold by Herodotus.[5] It is a tale of a self-destructive passion that led Kharaxos, a wealthy aristocrat from the Greek city of Mytilene on the island of Lesbos, to squander his wealth on a beautiful and most seductive courtesan named Rhodōpis, who lived in the Greek enclave of Naucratis in Egypt. So, of course, the aristocratic sister would disapprove of such self-destructive passion.And yet, as I argue in the essay I mentioned at the beginning, the sister would also understand such an experience, and this understanding is most sensually expressed in the songs of Sappho about the affair.In describing Dōrikha, this adjective captures the moment when the beautiful courtesan embraces with one arm her lover Kharaxos under the cover of her perfumed shawl while she reaches out with the other arm for yet another sip of wine after having spent a whole night of lovemaking that now extends, like some unending aubade, into the light of dawn.The element here as ‘skin to skin, complexion making contact with complexion’. This reference to the complexion of the courtesan who is pictured in the act of making contact with her lover’s skin evokes the name by which she will be known forever in the city of Naucratis.The city, as the final wording of the epigram promises, will forever guard safely the name of this woman, keeping it ‘just as it is’. Is it the name that was spoken at the beginning, Dōrikha, or is it a name left unspoken at the ending, which would be Rhodōpis?

Thus the words of the epigram, in capturing the embrace of brother and courtesan, will be telling forever the tale of the lady with the rosy complexion—a tale also told by the name of Rhodōpis. Such a tale as told in the epigram of Posidippus would have a special meaning in the Greek-speaking city of Naucratis in Egypt.

The use of When the first draft of this article was complete, Mr E. Barber told me that in 1951 he had been prompted by the observation of Professor Trypanis mentioned on p.

76 above to make a study of this poem; and with great kindness he and Professor D. Page allowed me to read a correspondence on the subject which at that time passed between them.

The unsaid name here, I suggest, would be Rhodōpis, which as I showed in the post for 20 means ‘she with the rosy looks’. The question remains, how do ‘rosy looks’ that radiate from a beautiful woman’s face connect with the erotic syntax of body language that pictures skin touching skin in the suggestive wording of the epigram by Posidippus?

The answer, I argue, has to do with the fact that the eroticism of the – ‘complexion’ is a distinctive feature of Sappho’s own poetics.

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To my great satisfaction, I learned that Mr Barber had anticipated some of my own remarks. 11; but as Kondoleon's important article had not yet appeared, he was unable to give a satisfactory explanation of Posidippus' claim to be honoured as Archilochus was honoured.

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