周作人的歐洲文學史：從古典到現代，歐洲文學的演進與思潮
周作人的歐洲文學史：從古典到現代，歐洲文學的演進與思潮
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書名：周作人的歐洲文學史：從古典到現代，歐洲文學的演進與思潮，語言：繁體中文，ISBN：9786269790760，頁數：186，出版社：複刻文化，作者：周作人，出版日期：2023/11/22， ...
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SSID-12090737_歐洲文學史.pdf
中國於1950~60 組專家自行寫歐洲文學史
簡體版 岳麓，2010 增加插圖約7幅 都可以詳註說明，討論
WIKIPEDIA
https://en.wikipedia.org/wiki/Anactoria
Anactoria
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Anactoria (or Anaktoria; Ancient Greek: Ἀνακτορία) is a woman mentioned in the work of the ancient Greek poet Sappho. Sappho, who wrote in the late seventh and early sixth centuries BCE, names Anactoria as the object of her desire in a poem numbered as fragment 16. Another of her poems, fragment 31, is traditionally called the "Ode to Anactoria", although no name appears in it. As portrayed by Sappho, Anactoria is likely to have been an aristocratic follower of hers, of marriageable age. It is possible that fragment 16 was written in connection with her wedding to an unknown man. The name "Anactoria" has also been argued to have been a pseudonym, perhaps of a woman named Anagora from Miletus, or an archetypal creation of Sappho's imagination.
The English poet Algernon Charles Swinburne's "Anactoria" was published in his 1866 collection, Poems and Ballads. "Anactoria" is written from the point of view of Sappho, who addresses the title character in a long monologue written in rhyming couplets of iambic pentameter. The monologue expresses Sappho's lust for her in sexually explicit terms; she first rejects art and the gods for Anactoria's love before reversing her stance and claiming to reject Anactoria in favour of poetry. Swinburne's poem created a sensation by openly approaching then-taboo topics such as lesbianism and dystheism. Anactoria later featured in an 1896 play by H. V. Sutherland and in the 1961 poetic series "Three Letters to Anaktoria" by Robert Lowell, in which an unnamed man loves her before transferring, unrequitedly, his affections to Sappho.
In Sappho
Anactoria is named by the ancient Greek poet Sappho, who wrote in the late seventh and early sixth centuries BCE and is known for her love poetry, in fragment 16.[a] Sappho compares her desire for Anactoria, who is described as being absent, with that of Helen of Troy for Paris.[2][b] A second poem, fragment 31, is traditionally called the "Ode to Anactoria", though no name appears in it.[4] It has also been speculated that Anactoria may be the unnamed character in fragment 96, written to another of Sappho's female companions, possibly Atthis.[5] In that poem, Sappho claims that the unnamed character still "thinks of [Sappho] constantly" despite living away in the city of Sardis.[6][c]
In the phrasing of Garry Wills, fragment 16 portrays Anactoria as "menacingly desirable".[8] Sappho describes her manner of walking as attractive, and her face as having amarychma, a word literally meaning 'flashing' or 'sparkling' and likely also to indicate beauty in movement.[9] Based on its allusions to other literary works, particularly those of Hesiod, the term may also indicate that Anactoria was a young, virgin girl of marriageable age.[10] The Anactoria portrayed in Sappho's work is generally considered to have been a follower of Sappho, who educated aristocratic girls with the partial aim of preparing them for marriage.[11][d]
A reference to "Anagora" in the Suda, a tenth-century Byzantine encyclopaedia, is generally considered to refer to Anactoria;[14] the name "Anagora" has been interpreted as an error in the manuscripts,[11] or alternatively by Denys Page as the real name of "Anactoria", to whom Page conjectures Sappho gave a pseudonym to protect her identity and reputation.[15] The Suda names "Anagora" as a native of Miletus, a major Greek city of Ionia.[e] Christopher Brown suggests that Anactoria's absence in fragment 16 was because she had left Sappho's company to return to Miletus and marry;[11] Eric Dodson-Robinson suggests that fragment 16 may have been written for performance at Anactoria's wedding, or for a sympotic event shortly after it.[17] However, George Koniaris suggests that Anactoria may equally have left Sappho's company to be with her family or to work as a musician,[18] and Glenn Most points out that the poem gives no indication of the length of Anactoria's absence: he argues that it may only have been a matter of a few days.[19] Martin West has argued that Sappho generally uses the name of the objects of her desire, such as Anactoria, when portraying their relationship with her as finished or her own attitude towards it as hostile.[20]
Sappho's expressed love for Anactoria is one of few examples of a woman expressing same-sex desire to survive from pre-modern literature.[21] Andrew Ford has argued that Sappho's presentation of Anactoria may be archetypal rather than a representation of any specific individual,[15] while Judith Hallett and André Lardinois have suggested that the speaker may not have been intended as an autobiographical portrayal of Sappho herself.[22] The classicist and archaeologist David Moore Robinson called the description of Anactoria in fragment 16 "the finest lines in all Sappho's poetry".[23]
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