176 Sentences With "sapphic" | Random Sentence Generator

Or that his wife once posed for Sapphic topless photos.

Prepare to be devastated by this gorgeously rendered sapphic fantasy.

There's even Sapphic symbolism that follows this should-be couple around.

" NME magazine hailed her as "the source of the Sapphic Second Coming.

Olivia Colman won the Oscar for her sapphic role in The Favourite.

Has she repressed some form of Sapphic desire as a result of losing Suzanne?

And didn't it seem like Yara and the Khaleesi were taking a Sapphic shine to each other?

The Quad's retrospective — which will be followed by a more conventional Sapphic-vampire series — offers an opportunity for reappraisal.

Dany's sapphic storyline had a similarly strange power dynamic with questionable consent, as she had sex with her handmaiden Irri.

A Sapphic-cinema classic directed by Roy Ward Baker ("A Night to Remember"), "The Vampire Lovers" (screening on Saturday and Aug.

One of my scrolling favorites is Paul Verlaine's once-banned, sapphic Side by Side (Parallèlement, 230), sinuously illustrated by Pierre Bonnard.

Each chapter of the biography is devoted to one of the arts that Eva enthusiastically pursued: Sapphic performances, weaving, Byzantine music, and writing.

And if they don't, have the Sapphic promo images been promising something to LGBTQ fans that the show was never going to deliver on?

We have Irish lesbian penguins at Dingle Oceanworld in Kerry; sapphic gorillas in Rwanda, and even gay German vultures co-parenting an abandoned egg.

Celebrities were inching out of the closet and landing salaciously sapphic Vanity Fair covers next to Cindy Crawford, or coming out on the cover of (where else?) Time.

The two women clean up the milk, randomly get sapphic with each other, then catch the yuletide intruder "caressing his jingle balls," and decide to run with it.

She found Lister's extensive, scandalous diary, which at the time was written in a hieroglyphics-esque code in order to disguise her breathless prose about her Sapphic activities.

"Jealousy and infidelity are common themes in pop music, but Gomez's obsession, her desperation to understand what she supposedly lacks, bleeds into a Sapphic fantasy on 'Perfect,'" Cinquemani wrote.

What mattered about 2019 wasn't just the content of these sapphic moments or the way the internet devoured them, but also how they were received and discussed in the media.

What mattered about 2019 wasn't just the content of these alleged sapphic moments or the way the internet devoured them, but also how they were received and discussed in the media.

Hilary McCollum, who gave a talk at London School of Economics earlier this month called Sapphic Suffragettes: the key role of lesbians in the fight for votes for women, blames some male historians.

" (There are no monumental sculptures in the exhibition, he said, because almost every lifetime cast is in a museum.) The eight drawings include a rare portrait of a Cambodian princess and an explicitly erotic "Sapphic Couple.

"Yet in detail this is no soft-focused Sapphic interlude; it's a wry account of two smart, discreet women navigating the risk of public intrusions … with the particular burden that one of them is the first lady."

Her mother, an Afro–Caribbean woman who once described marriage as a "heinous crime," encouraged Colette to be different, applauding her daughter's six-year Sapphic love affair with an aristocratic, cross-dressing descendent of Henry XV known as Missy.

While Carmilla is now recognized by many as the "original vampire novel of modern Europe," Victorian society had no place for a female-centred story of supernatural seduction—especially one with the Sapphic, homosexual undertones of bite marks on breasts.

She serves sapphic fantasy by cruising alongside Thompson in a pink, hover-car version of the Thelma & Louise cadillac, and spends four-and-a-half minutes among vibrant women partying in the simultaneously vast-yet-intimate setting of the desert.

It's difficult for me to distinguish if lesbian culture is mainstream, and that's why sapphic memes go viral these days, or if there are just a rising number of queer-identifying people who are in on the joke, being loudly lesbian.

Calling his latest feature "a critique of any extremist kind of movement — both on the left and right," the director feigns a take-no-prisoners mindset while kowtowing to cis-gender male visions of non-stop sapphic snogging (his cinematographer, tellingly, is also male).

Some high-profile Emmy wins last month for "San Junipero," a fan-favorite fantasy of sapphic love in the Cloud, proved to everyone else what viewers knew from the season 3 pilot, which has the British Prime Minister blackmailed into porking a pig on live television.

In the past Jerry Falwell junior, president of Liberty University, enlisted both his illustrious father and Jesus in his praise of Mr Trump—a profane business shark who bragged about his penis on TV, makes humiliating gaffes about Christianity and whose wife posed for Sapphic porn.

Permanent secretary for the Swedish Academy Sara Danius defended the win, comparing Dylan to Sappho and Homer and arguing that poetry and song were once conjoined—in fact, Homeric and Sapphic songs pre-date the concept of literature altogether, and only became defined by the written word after they'd survived long enough through oral transmission.

Similar Sapphic stories have been told, but they haven't been executed and acted like Becks—and not with the music itself that is so central to the film: songs that, even with a woman singing female pronouns, prove that music has the power to unify and tap into emotions for any individual who might allow it.

Yes, it's a "ghost" story about four strangers invited to the ominous Hill House to study its supposed haunting, but really it's about the mental dissolution of the main character, Eleanor, whose emotional fragility is a result of a repressive family life, controlling men, and the sapphic—but cruel and gaslighting—relationship with the other woman in the study, Theo.

In 1987, Dr. Bowen, Dr. Abod and two other women wrote a scathing article in Gay Community News about a cruise package that they and dozens of other women had been sold with the pitch that it would be "Sapphic sailing," only to find when they boarded that the ship was full of heterosexual couples, families with children and so on.

Sure, Madonna would kiss Britney and Christina at the MTV VMAs that year in a simulated sapphic embrace, and a few KT Tunstall songs spoke to me, but really there was nothing in popular culture to latch my substantial lustiness onto—until Faith's evil smirk beamed across my box-like TV. Before Faith, my puberty had been shaped by boys' sexual objectification: they either deemed me fuckable or unfuckable.

At the beginning of the Baroque, Kasper Miaskowski employed the Sapphic stanza in some poems. Olbrycht Karmanowski, a minor poet, employed it in the poem O śmierci (On Death). Lenart Gnoiński used Sapphic stanzas in the tenth poem of a sequence named Łzy smutne (Sorrowful Tears). Daniel Naborowski, a Calvinist poet, employed the Sapphic stanza in Lament I from Laments on Death of Duke Radziwiłł, Castellan of Vilnius.

In 1653, Paul Gerhardt used the Sapphic strophe format in the text of his sacred morning song "Lobet den Herren alle, die ihn ehren". Sapphic stanza was often used in poetry of German Humanism and Baroque. It is also used in hymns such as "Herzliebster Jesu" by Johann Heermann.

In the 20th century classic strophes went out of use together with regular verse. Jarosław Iwaszkiewicz used Sapphic stanza in the poem Marzec w Paryżu (March in Paris). It is composed of four stanzas and three are Sapphic ones. Only the last one is made up of four hendecasyllabic lines.

Sappho's contemporary and countryman, Alcaeus of Mytilene, also used the Sapphic stanza. A few centuries later, the Roman poet Catullus admired Sappho's work and used the Sapphic meter in two poems, Catullus 11 and Catullus 51. The latter is a rough translation of Sappho 31. Sapphics were also used by Horace in several of his Odes, including Ode 1.22: The Sapphic stanza was one of the few classical quantitative meters to survive into the Middle Ages, when accentual rather than quantitative prosody became the norm.

Australian Classicist and poet John Lee wrote a Sapphic stanza about the impossibility of writing Sapphic stanzas in English: Making Sapphics isn't that easy, shackling Our reluctant language with trochees. Since you First begot them, songstress of Lesbos, keep them. :I'll never write them. (the poem exists also in a Latin version).

All strophes rhyme ABAB. The Sapphic stanza is still used in translations form Sappho's or Horace's poems. The scheme of Sapphic stanza is so recognizable, that it can be preserved even in free verse. Lucylla Pszczołowska points out that Czesław Miłosz sometimes composed four-line stanzas with last line of five syllables and other lines of different length.

He is the author of the poem Sławna wiktoryja nad Turkami (The Famous Victory over the Turks), which is an example of the use of the Sapphic stanza in an epic function.Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 111. Large parts of Klemens Bolesławiusz's Przeraźliwe echo trąby ostatecznej (The Horrifying Echo of Doomsday Trumpet) are composed in Sapphic stanzas.

The Sapphic stanza's scheme was so attractive to Polish poets that they started to modify it, and many stanzas based on it can be found in Polish literature. Already in the 16th century Jan Kochanowski created a three-line stanza, being just a shortened Sapphic stanza (11/11/5), and used it in his Psalm 34.Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 64.

Sapphic self fashioning in the baroque era: Women's petrarchan parody in English and Spanish. Studies in the Eighteenth Century Culture. 35: 127-60. 2006 Martin, Adrienne.

She also used its scheme for constructing more complicated stanzas. Felicjan Faleński attempted a Polish Sapphic stanza more closely resembling the Greek and Latin models, and in translating Horace's poetry used a hendecasyllable with the caesura after the fourth, not the fifth syllable.Kazimierz Wóycicki, Forma dźwiękowa prozy polskiej i wiersza polskiego, E. Wende i S-ka, Warszawa 1912, p. 211. His Sapphic stanzas influenced the Czech poet Jaroslav Vrchlický.

102-103 (in Polish). He used Sapphic stanzas in the poem O śmierci (On Death), too. Karmanowski was also a translator of verse, including poems by Anacreon and Ovid.

As in other European literatures, Polish poets often looked to Greek and Roman literature as a model. Jan Kochanowski, the most prominent of a family of poets, wrote lyrical poems, often in imitation of Horace. The classic Polish Sapphic stanza was thus 11(5+6) / 11(5+6) / 11(5+6) / 5, typically rhymed a a b b. Jan Kochanowski used this Sapphic stanza several times in his Cantos, Laments, and Psalms.

Named after the Greek poet Sappho who lived on Lesbos Island and wrote love poems to women, this term has been in use since at least the 18th century, with the connotation of lesbian. In 1773, a London magazine described sex between women as "Sapphic passion". The adjective form Sapphic is no longer commonly used in the English language, but saw a spike in use as LGBT slang during the early 2000s.

Another example of Sapphic stanza is a hymn included in Gorzkie żale (Bitter Lamentations), a typically Polish Catholic devotion, sung in churches on Sundays during Lent, and familiar to many Poles.

Much later (1844), Burgos published a revised version, which, although still flawed, has remained a reference - for instance, it is appreciated for its use of the sapphic stanza with free verse.

The Sapphic stanza is the only stanzaic form adapted from Greek and Latin poetry to be used widely in Polish literature. It was introduced during the Renaissance, and since has been used frequently by many prominent poets. The importance of the Sapphic stanza for Polish literature lies not only in its frequent use, but also in the fact that it formed the basis of many new strophes, built up of hendecasyllables (11-syllable lines) and pentasyllables (5-syllable lines).

Accessed 12 August 2007. The term is generally applied only to fanworks based on Western fandoms; the nearest anime/manga equivalents are more often called yuri and shōjo-ai fanfiction. "Saffic" is a portmanteau of Sapphic from the term Sapphic love and fiction.Tosenberger, Catherine (2008) "Homosexuality at the Online Hogwarts: Harry Potter Slash Fanfiction" Children's Literature 36 pp. 185–207 "Altfic" as a term for fanfiction about loving relationships between women was popularized by Xena fans.

The Sapphic stanza, named after Sappho, is an Aeolic verse form spanning four lines (originally three: in the poetry of Sappho and Alcaeus, there is no line-end before the final Adonean).

Melinno seems to have been conscious of and admired Sappho, but spoke a different form of Greek and lived in a different age that called for a recension of the Sapphic tradition.

The Sapphic stanza has been very popular in Polish literature since the 16th century. It was used by many poets. Sebastian Klonowic wrote a long poem, Flis, using the form.Lucylla Pszczołowska,Wiersz polski.

Neither Adam Mickiewicz nor Juliusz Słowacki used the classic Sapphic stanza.Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 222. Słowacki, however, employed its general scheme in his own six-line stanza, discussed below.

Notable contemporary Sapphic poems include "Sapphics for Patience" by Annie Finch, "Dusk: July" by Marilyn Hacker, "Buzzing Affy" (a translation of "An Ode to Aphrodite") by Adam Lowe, and "Sapphics Against Anger" by Timothy Steele.

Melinno is known for five Sapphic stanzas comprising an Ode to Rome, praise poetry addressing the personified deity Roma. Its simultaneous praise of Rome but lack of references to the principate leads scholars to believe that it dates to the Republican Era, after the Pyrrhic War and the Roman conquest of Italy, but before the formation of the Roman Empire. Melinno's work is important because it is a Hellenistic attempt at a revival of the moribund Sapphic stanza in Greek, keeping alive a tradition in the Greek world that was already being translated to Latin by Horace, and would continue with Catullus. But the Sapphic metre of Horace and Catullus imitated the flowing style of Sappho and Alcaeus, in which thoughts can cross metrical boundaries to reach their completion in another line or stanza, while Melinno does not.

Kessler, Kelly. "Politics of the Sitcom Formula: Friends, Mad About You and the Sapphic Second Banana". In The New Queer Aesthetic on Television: Essays on Recent Programming Ed. James R. Keller, Leslie Stratyner. McFarland, 2014. p. 130.

He felt that potential themes of the song may be Sapphic desires, the singer's alter ego and "transient" effects of wine and fame. A writer of Popjustice compared the song's "ravey" beats with work by DJ Tiësto.

The Sapphic stanza was also used in Poland during Enlightenment. Poets of the time preferred the Polish alexandrine (7+6) to the hendecasyllable (5+6), but used the latter metre in Italian forms, such as sesta rima and ottava rima, as well as in Sappho's stanza. Sapphic stanzas can be found in Adam Naruszewicz's poetry. He used the form among others in the poem Pieśń doroczna na dzień ocalenia życia i zdrowia J. K. Mości (Annual song for the day of rescuing life and health of His Majesty, the King).

Fragment 16 is, along with the other poems of Book I of Sappho's works, composed in Sapphic stanzas. This metre is made up of stanzas of four lines, the first three of which are Sapphic hendecasyllables, of the form "¯ ˘ ¯ × ¯ ˘ ˘ ¯ ¯ ˘ ¯ ¯", followed by a five-syllable adonean, of the form "¯ ˘ ˘ ¯ ¯". At least five stanzas survive; whether the poem ends there or continues into what Burris, Fish, and Obbink number fragment 16a is disputed. The poem is one of five surviving poems by Sappho which is about "the power of love".

The Sapphic Sydney website is a resource which details events and community groups as well as featuring a local business directory. There is also a thriving independent queer publishing community in Sydney publishing magazines such as Slit, Dirty Queer, and Spunk.

The whole poem is 471 stanzas long and probably no other work can be compared to it. Tobiasz Wiszniowski, who wrote his own sequence of Laments, employed Sapphic stanza in Tren XVII (Lament XVII).Tobiasz Wiszniowski, Treny. Opracował Jacek Wóycicki, Wydawnictwo Neriton, Warszawa 2008.

In later Greek poetry, the phalaecian was widely used by poets including writers of epigram. The ode to Rome (Supplementum Hellenisticum 541) in Sapphic stanzas by "Melinno" (probably writing during the reign of Hadrian) "is an isolated piece of antiquarianism."West, Greek Metre, p. 167.

The journal has been a pioneer in female publishing, working with female operated publishing companies such as Whole Women Press and Iowa City Women's Press. Sapphic Classics, a partnership between Sinister Wisdom and A Midsummer Night's Press, reprints classic lesbian works for contemporary audiences.

Conservatives and fascists in Europe have held similar positions on many issues, including anti-communism and support of national pride. Conservatives and fascists both reject the liberal and Marxist emphasis on linear progressive evolution in history.Erin G. Carlston. Thinking Fascism: Sapphic Modernism and Fascist Modernity.

While travelling in Florence in 1886, Levy met Vernon Lee, a fiction writer and literary theorist six years her senior, and fell in love with her. Both women went on to explore the themes of sapphic love in their works. Lee inspired Levy's poem "To Vernon Lee".

He also wrote hundreds of formally perfect sonnets, sapphic odes and sestinas as well as thousands of free and direct poems. His creative work embraced every aspect of the arts: cinema, theatre (more of 360 pieces), music, cabaret, the para-theatrical arts, magic and the circus.

The hymn uses classical metres: the Sapphic stanza consisting of three Sapphic hendecasyllables followed by an adonius (a type of dimeter). The chant is useful for teaching singing because of the way it uses successive notes of the scale: the first six musical phrases of each stanza begin on a successively higher notes of the hexachord, giving ut–re–mi–fa–so–la; though ut is replaced by do in modern solfège. The naming of the notes of the hexachord by the first syllable of each hemistich (half line of verse) of the first verse is usually attributed to Guido of Arezzo. Guido, who was active in the eleventh century, is regarded as the father of modern musical notation.

There are also more unusual forms. Jerzy Szlichting, a poet from 17th century, in his Pieśń (Song) made Sapphic-like strophe 13(8+5)a/13(8+5)a/16(8b+8b)/5x. It is an example of stanza with internal rhymes. The strophe is built of segments of five or eight syllables.

It survives on a sixth-century AD scrap of parchment. Scholarship on the poem has focused on whether the initial surviving lines of the poem are spoken by Sappho or the departing woman, and on the interpretation of the eighth stanza, possibly the only mention of homosexual activities in the surviving Sapphic corpus.

In the poem "Idź, idź w pokoju!" ("Go away in peace") Konopnicka used a six- line strophe 5a/11b/11b/11c/11c/5a. Another form used by Konopnicka suggestive of the Sapphic stanza is a quatrain composed of three hendecasyllabic lines and one trisyllable,Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 262.

Try though she might, AMC's Maggie can't seem to convince her ex, Bianca, that her cheating days are over. After begging for forgiveness and pitching in at Fusion, Mags makes her lonely exit on Wednesday, February 7. Is this the end for AMC's Sapphic supercouple? "Bianca still loves her," headwriter Megan McTavish assures the audience.

Sweat is widely known for writing the first sapphic novel in America titled Ethel’s Love Life. It was published in 1859 and more than one hundred copies were sold on the first day. She wrote the novel as a testing ground for social theory. Ethel's Love Life reunites radical American experimentalism with passional freedom.

At the time the novel was published, Rule was a lecturer at the University of British Columbia in Vancouver, and because the novel dealt with sapphic romance, her job was threatened.Heath. Profiles in Canadian Literature. Vol. 7.Dundurn Press Ltd., 1996 Desert of the Heart was first republished in paperback form by Talonbooks in 1977.

Moore has been termed "a cross between Virginia Woolf and Djuna Barnes, but with a more biting wit."Laura Doan and Jane Garrity (2006), Sapphic Modernities: Sexuality, Women, and National Culture, p. 3. Palgrave, New York. . Her novels make free use of modernist techniques such as stream of consciousness in their frank dealings with issues of sexuality and disability.

Especially through the influence of Horace, Aeolic forms have sometimes been employed in post-Classical poetry. For example, Asclepiads have been used by Sidney and W.H. Auden. Poets in English such as Isaac Watts, William Cowper, Algernon Charles Swinburne, Allen Ginsberg, and James Wright have used the Sapphic stanza. In German, Friedrich Hölderlin excelled in Alcaic and Asclepiadic odes.

Avril might be best known for his sapphic, or lesbian, illustrations. Prolific erotica collector Henry Spencer Ashbee commissioned Avril to design a bookplate for him. Avril worked with Octave Uzanne, who after leaving the Société des Amis des Livres, which he found too conservative and too concerned with the reissue of old works, started two new bibliographic societies.

In 1972, Te Awekotuku was denied a visitors permit to the USA on the grounds that she was a homosexual. Publicity around the incident was a catalyst in the formation of Gay Liberation groups in New Zealand. This may have been related to a TV interview she gave in 1971, in which she described herself as a 'sapphic woman'.

University of Michigan Press, 2002. The short fourth line of each stanza is an Adonic, as in a sapphic stanza: "Joys of a season". However, the long lines vary from ten to fourteen syllables, and "make no pretence at exact adherence to the paradigm."Harvey Gross and Robert McDowell: Sound and Form in Modern Poetry, p. 249.

The poem is typical of Sappho's work, with its subject and form both characteristically Sapphic. It deals with separation from someone the poet cares about – what Benjamin Acosta-Hughes describes as Sappho's "poetry of separation and longing". This theme is also treated in several other significant fragments of Sappho, including the Ode to Aphrodite, fr. 16, and fr. 31.

Johann Crügers in C major responds to the positive mood of the text. By changes of quarternotes and halfnotes, the rhythm of the Sapphic stanza is hidden. Crüger added a figured bass in his editions. The melody had baroque expressivity, but it often changed in modern editions, as also a syncope at the end of the third line.

Elsa Gidlow (29 December 1898 – 8 June 1986) was a British-born, Canadian- American poet, freelance journalist, philosopher and humanitarian. She is best known for writing On a Grey Thread (1923), the first volume of openly lesbian love poetry published in North America.Rexroth, Kenneth (1978) and subsequently, penning the first Lesbian autobiography not pseudononously ascribed. "Elsa Gidlow's Sapphic Songs".

Bowra also thinks that Melinno's ode may have been by influenced Pindar's ode Olympian V, written for the tyrant Psaumis of Camarina, which could be a spurious attribution that is really the work of a Sicilian Greek imitator. This punctuated style, unusual for Greek poetry, could have arisen out of a need for it to be sung to accompany the three-stage Olympic mule-car race for which it was written. Melinno's ode could also have been performative, written for some five-stage event celebrating Roma. After being popularized by Melinno, this staged, puncuated Sapphic metre style potentially influenced not only Statius, but also Horace, who followed Sappho in his free-flowing Sapphic- style poetry, but used a punctuated style reminiscent of Melinno and the later Hellenistic Sapphics in his ceremonial Carmen Saeculare.

See: Klemens Bolesławiusz, Przeraźliwe echo trąby ostatecznej. Wydał Jacek Sokolski, Instytut Badań Literackich, Warszawa 2004. This work, which can be compared to The Revelation of St. John or Dante Alighieri's Divine Comedy, was extremely popular and appeared in eighteen editions from 1670 to 1886. It is another example of the Sapphic stanza serving an epic function in Old Polish literature.

The first ten editions also each contained an original Klimt drawing. Many of the works contained in this volume depict erotic scenes of nude women, some of whom are masturbating alone or are coupled in sapphic embraces.Gilles Néret, Gustav Klimt: 1862-1918, Taschen, 2000, p. 47, Gottfried Fliedl, Gustav Klimt, 1862-1918: The World in Female Form, Taschen, 1997, p.

An adonic (Latin: adoneus) is a unit of Aeolic verse, a five-syllable metrical foot consisting of a dactyl followed by a trochee. The last line of a Sapphic stanza is an adonic. The pattern (with "-" a long and "u" a short syllable) is: "- u u - -" when the pattern ends with a spondee (i.e. --) or " -uu -u " if a trochee is intended.

Katherine Everett (1949) Bricks and Flowers With similar lack of inhibition, as early as 1907 the American heiress Natalie Barney (1875–1972) was leading like-minded women in sapphic dances in her Parisian garden,See Diana Souhami (2004) Wild Girls photographs of which look little different from scenes at Woodstock in 1969 and other "pop" festivals of the late 1960s and early 1970s.

Poem 51, on the other hand, is an adaption and re-imagining of Sappho 31. Poems 51 and 11 are the only poems of Catullus written in the meter of Sapphic strophe, and may be respectively his first and last poems to Lesbia. He was also inspired by the corruption of Julius Caesar, Pompey, and the other aristocrats of his time.

Catullus replaces Sappho's beloved with his own beloved Lesbia. Unlike the majority of Catullus' poems, the meter of this poem is the sapphic meter. This meter is more musical, seeing as Sappho mainly sang her poetry. Catullus is not the only poet who translated Sappho’s poem to use for himself: Pierre de Ronsard is also known to have translated a version of it.

Iste confessor is a Latin hymn used in the Divine Office at Lauds and Vespers on feasts of confessors. It exists in two forms. Iste confessor Domini sacratus is the original 8th Century hymn and Iste confessor Domini colentes is a 1632 edition, published by Pope Urban VIII with improved Latin style. The hymn is written in Sapphic and Adonic meter.

William Marston's earliest works were notorious for containing subversive "bondage and sapphic- undertones" subtext. Among Wonder Women's infamous catchphrases, "Suffering Sappho", was a direct reference to lesbianism. Fredric Wertham's Seduction of the Innocent referred to her as the "lesbian counterpart to Batman" (whom he also identified as a homosexual). After Marston's death in 1947, DC Comics downplayed her sexuality and feminist origin.

Cyprian Kamil Norwid, a poet regarded as one of the greatest Polish authors and perhaps the most modern of the poets of the 19th century, used Sapphic stanzas in the poem named Trzy zwrotki (Three strophes), as well as in many other poemsLucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 223. including Sieroctwo (Orphanhood). Sometimes he implemented the scheme freely, as in the poem Buntowniki (Rioters).

This book of poems contains very free translations of Horace, elegies, idylls, epigrams and some sonnets. It handles the syllables quantitatively and it uses Sapphic, Adonic, and Anacreontic meters rather than the forms then current in Spanish literature. This is why his poetry is purely formal, strictly following form and with many circumlocutions. For this reason he set a strong precedent for Neoclassicism in the 18th century.

Little is known of female homosexuality in antiquity. Sappho, born on the island of Lesbos, was included by later Greeks in the canonical list of nine lyric poets. The adjectives deriving from her name and place of birth (Sapphic and Lesbian) came to be applied to female homosexuality beginning in the 19th century. Sappho's poetry centers on passion and love for various personages and both genders.

Aphrodite, the subject of Sappho's poem. This marble sculpture is a Roman copy of Praxiteles's Aphrodite of Knidos. The poem is written in Aeolic Greek and set in Sapphic stanzas, a meter named after Sappho, in which three identical longer lines are followed by a fourth, shorter one. In Hellenistic editions of Sappho's works, it was the first poem of Book I of her poetry.

Bocanegra identifies the poetic form as verso sáfico (Sapphic verse), although what he meant by this is unclear. Each verse is made up of five eight-syllable lines and a closing four-syllable phrase, which in the original printed appeared in italics. Often an epithet, this phrase sometimes links to the next verse.Jeffrey Skidmore, Fire burning in snow at Hyperion website The twenty verses are set strophically.

See and In Polish poetry (in contrast to the Sapphic stanza which was extremely popular since the 16th century) Alcaics were used very rarely. Even in translation Horace's Alcaic stanzas were usually turned into different forms. An example (perhaps the only) of an Alcaic stanza in Polish original literature is Stanisław Trembecki's Ode to Adam Naruszewicz:Adam Ważyk, Mickiewicz i wersyfikacja narodowa, Warszawa 1951 (in Polish).

Kathryn Gutzwiller has argued that this incorporation of Sapphic themes into a poem of lamentation is Erinna's way of feminising a work based on a Homeric model. John Rauk notes particular similarities with fragment 94, with both works on themes of remembrance and forgetting. Diane Rayor, however, rejects this, disputing Rauk's belief that Sappho 94 is a farewell to a companion who is leaving to marry.

A popular form of Polish literature that employs the hendacasyllable is the Sapphic stanza: 11/11/11/5. The Polish hendecasyllable is often combined with an 8-syllable line: 11a/8b/11a/8b. Such a stanza was used by Mickiewicz in his ballads, as in the following example. : Ktokolwiek będziesz w nowogródzkiej stronie, : Do Płużyn ciemnego boru : Wjechawszy, pomnij zatrzymać twe konie, : Byś się przypatrzył jezioru.

Though some English poets attempted quantitative effects in their verse, quantity is not phonemic in English. So imitations of the Sapphic stanza are typically structured by replacing long with stressed syllables, and short with unstressed syllables (and often additional alterations, as exemplified below). The Sapphic stanza was imitated in English, using a line articulated into three sections (stressed on syllables 1, 5, and 10) as the Greek and Latin would have been, by Algernon Charles Swinburne in a poem he simply called Sapphics: So the goddess fled from her place, with awful Sound of feet and thunder of wings around her; While behind a clamour of singing women :Severed the twilight. Thomas Hardy chose to open his first verse collection Wessex Poems and other verses 1898 with "The Temporary the All," a poem in Sapphics, perhaps as a declaration of his skill and as an encapsulation of his personal experience.

Dorothy Larcher died in 1952, at a nursing home in Stroud. She had lived and worked in partnership with Phyllis Barron for almost thirty years.Bridget Elliott, "Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld" in L. Doan and J. Garrity, eds., Sapphic Modernities: Sexuality, Women and Modern Culture (Springer 2006): 109-128.

Virginia Woolf, Cambridge and A Room of One's Own: 'The Proper Upkeep of Names. London: Cecil Woolf Publishers, p. 33. Marcus describes the atmosphere of Woolf's arrival and presence at the women's college with her lover Vita Sackville-West as "sapphic". Woolf is comfortable discussing lesbianism in her talks with the women students because she feels a women's college is a safe and essential place for such discussions.

The Alcaic stanza is a Greek lyrical meter, an Aeolic verse form traditionally believed to have been invented by Alcaeus, a lyric poet from Mytilene on the island of Lesbos, about 600 BC. The Alcaic stanza and the Sapphic stanza named for Alcaeus' contemporary, Sappho, are two important forms of Classical poetry. The Alcaic stanza consists of two Alcaic hendecasyllables, followed by an Alcaic enneasyllable and an Alcaic decasyllable.

Barrios, 158–160. In 1983, American performance artist Holly Hughes wrote a satirical play, The Well of Horniness, whose title is inspired by that of Hall's novel. The play is described as "a high-camp, low- brow Sapphic murder mystery" presented "in the cliff-hanging style of an old- time radio show." In 1985, the Mexican writer and social activist Nancy Cárdenas produced a play based on the novel.

Hardcoded has been generally well received, with reviewers from the trans community especially praising the game's inclusive writing. Rock, Paper, Shotguns Astrid Johnson found the game to be "liberating in its portrayal of trans sexuality" and praised its writing. PC Gamers Jody Macgregor put Hardcoded on a list of best sex games, noting that it has terrific writing. Daily Dots Ana Valens praised Hardcoded for embracing “sapphic desire between trans women without shame.

In this and later periods, she was often associated with Zeus (as guardian of oaths) and Fides (the personification of mutual trust).Roman cult to Fides was instituted in the Late Republic: Cicero, De Natura Deorum, 2. 61. Her Eastern cult appealed for Rome's loyalty and protection - there is no reason to suppose this as other than genuine (and diplomatically sound) respect. A panegyric to her survives, in five Sapphic stanzas attributed to Melinno.

In 1993, readers of Inside Soap voted Blake as "Best Male Character" and Hill as "Best Actor" and "Sexiest Man In Soap". Jess McGuire of Defamer said that she found Sophie and Blake being intimate, more disturbing to watch than two of the serial's sapphic characters kissing. Darren Devlyn of News.com.au said that Hill "burst onto the acting scene" through Home and Away, but did not truly arrive as an actor while on the series.

A Roman sculpture of Sappho, based on a Classical Greek model. The inscription reads ΣΑΠΦΩ ΕΡΕΣΙΑ, or "Sappho of Eresos". The poem is 20 lines (five stanzas) long and written in Sapphic stanzas, a metre named after Sappho, which is composed of three long lines followed by one shorter line. The beginning of the poem is lost, but it is estimated that the complete work was probably between one and three stanzas longer.

Other scholars have argued against Sapphic authorship of the fragment on the basis that Hephaestion does not attribute the poem to her; that the meter is otherwise unknown in Sappho's fragments; and that the poem "seems wrong for Sappho". However, those who believe that Sappho did compose the poem argue that the evidence that the poem was not in Aeolic is "at best ambiguous", and find the other arguments put forward against Sappho's authorship unconvincing.

Jean-Antoine de Baïf elaborated a system which used original graphemes for regulating French versification by quantity on the Greco-Roman model, a system which came to be known as vers mesurés, or vers mesurés à l'antique, which the French language of the Renaissance permitted. In works like his Étrénes de poézie Franzoęze an vęrs mezurés (1574)See, for example, Au Roi. or Chansonnettes he used dactylic hexameter, Sapphic stanzas, etc., in quantitative meters.

June Thunder is a poem of seven stanzas, each of four lines. The poem does not make use of a rhyme scheme. The poem is written in a loose form of the sapphic stanza, and is included by Grace Schulman in a list of English poems that are "sapphics-inspired".Grace Schulman, Sapphics, in An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, edited by Annie Finch and Kathrine Varnes.

The first book of the Alexandrian edition of Sappho's poem, from which Sappho 2 comes, was made up of poems composed in Sapphic stanzas. The metre is made up of stanzas of four lines, three longer lines followed by a single shorter line. Four stanzas in this metre survive; it is uncertain whether the poem was originally longer. The Florentine ostrakon begins with a partial line which reads "coming down from" ("ρανοθεν κατιου[").

Phyllis Barron lived and worked with her partner Dorothy Larcher for almost thirty years, until Larcher's death in 1952.Bridget Elliot, "Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld" in L. Doan and J. Garrity, eds., Sapphic Modernities: Sexuality, Women and Modern Culture (Springer 2006): 109-128. They decorated their home with their own fabrics, and wore printed dresses of their own design.

Both of the latter are epithalamia, a form of laudatory or erotic wedding-poetry that Sappho was famous for. Catullus twice used a meter that Sappho developed, called the Sapphic strophe, in poems 11 and 51, perhaps prompting his successor Horace's interest in the form. Catullus, as was common to his era, was greatly influenced by stories from Greek and Roman myth. His longer poems—such as 63, 64, 65, 66, and 68—allude to mythology in various ways.

The Carmen Campidoctoris ("Song of the Campeador")The poem is untitled in the manuscript. Campidoctoris can be split: Campi Doctoris. is an anonymous medieval Latin epic poem, consisting in 128 sapphic-adonic verses in 32 stanzas, with one line from an unfinished thirty-third. The earliest poem about the Spanish folk hero El Cid Campeador,Later epic treatments include the Cantar de Mio Cid, whose author may have relied on the Carmen (Fletcher, 190), and the Mocedades de Rodrigo.

June Thunder is a 28-line poem by Louis MacNeice. It was first published in book form in MacNeice's poetry collection The Earth Compels (1938). The poem begins with memories of idyllic summer days in the countryside - "the unenduring / Joys of a season" - before returning to the present and "impending thunder". June Thunder is written in a loose form of the sapphic stanza, with three lines set in falling rhythm followed by a shorter fourth line.

The Latin text is composed of ten Sapphic stanzas. It tells the story of King Eric, whose career bears some similarities to a later king Berig whom Magnus claimed united the Swedes and Goths 400 years after Erik. Berig is also found in the Jordanes' 6th-century work Getica. According to the text Eric, the first king of the Goths, sent troops southwards to a country named Vetala, where no one had yet cultivated the land.

Jan Andrzej Morsztyn, whose poetry (influenced strongly by Giambattista Marino) is most typical for Baroque, used Sappho's stanza in Do lutnie (To a Lute) from Lutnia (The Lute) and in Wiejski żywot (Life in a Village from the book Kanikuła, albo psia gwiazda (Canicula or dog star). Zbigniew Morsztyn shaped his Sapphic stanzas so as to make a long chain of linked strophes, exhibiting many enjambments from one to the next stanza.Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 115.

With the development of Greek prosody, various peculiar strophe-forms came into general acceptance, and were made celebrated by the frequency with which leading poets employed them. Among these were the Sapphic, the Elegiac, the Alcaic, and the Asclepiadean strophe, all of them prominent in Greek and Latin verse. The briefest and the most ancient strophe is the dactylic distych, which consists of two verses of the same class of rhythm, the second producing a melodic counterpart to the first.

17 This suggests that the Silvae are revised, impromptu pieces of occasional poetry which were composed in the space of a few days' time. There are thirty-two poems in the collection (almost all with a dedicatee), divided into five books, each with a dedicatory epistle. Of nearly four thousand lines which the books contain, more than five-sixths are hexameters. Four of the pieces are written in the hendecasyllabic metre, and there is one Alcaic and one Sapphic ode.

Among her most well-known stories is "How Ms. Pac-Man Ruined My Gang Life." Vang's work frequently incorporate elements of Magic Realism from a Southeast Asian American perspective. In 2008, Vang's writings were published in two bestselling anthologies. The essay titled, Butterfly Cycles, was published in "Riding Shotgun:Women Write about their Mothers," by Borealis Press in April and the short story, Meet Mr. Krenshaw, was published in "Haunted Hearths and Sapphic Shades: Lesbian Ghost Stories" with Lethe Press in May.

He identified with, among others, Sappho and Alcaeus of Mytilene, composing Sapphic and Alcaic stanzas, and with Archilochus, composing poetic invectives in the Iambus tradition (in which he adopted the metrical form of the epode or "iambic distich"). Horace also wrote verses in dactylic hexameter, employing a conversational and epistolary style. Virgil, his contemporary, composed dactylic hexameters on light and serious themes and his verses are generally regarded as "the supreme metrical system of Latin literature".Richard F. Thomas, Virgil: Georgics Vol.

Also preserved, on fragment 56 of the papyrus, is the final poem of Book I of Sappho, fragment 30. A colophon at the end of fragment 56 of the papyrus shows that Sappho's Book I contained 1320 lines, or 330 stanzas. Sappho's name is not preserved here; instead, the authorship of the fragments is established by the metre (Sapphic stanzas), dialect (Aeolic), and three overlaps with previously-known fragments attributed to Sappho. The papyrus is now in the collection of the Bodleian Library.

The Ode to Aphrodite (or Sappho fragment 1) is a lyric poem by the archaic Greek poet Sappho, in which the speaker calls on the help of Aphrodite in the pursuit of a beloved. The poem - composed in Sapphic stanzas - has only two places of uncertainty in the text. The seriousness with which Sappho intended the poem is disputed, though at least parts of the work appear to be intentionally humorous. The poem makes use of Homeric language, and alludes to episodes from the Iliad.

At that time in Russia, as elsewhere, Sappho was considered a heterosexual poet because she wrote about desire. Both physical love and desire, were perceived as masculine traits, thus women poets who wrote erotic lyrics without shame, regardless of their sexual orientation, were often given the label Sapphic. Simultaneously, she and Eugenia Gertsyk, Adelaida's sister, became closer friends, reveling in their spiritual quest. She viewed her relationship with Eugenia as that of an older and wiser guide, who could help her mature spiritually and break her addiction to love.

Thus he holds a position comparable to Thomas Wyatt, Henry Howard, Earl of Surrey and Portuguese poet Francisco de Sá de Miranda, who introduced the sonnet into their native literatures. He also wrote the first Polish poem in ottava rima, and was an early adopter of the Sapphic stanza in Polish poetry. His best-known poem is a sonnet (based on one of Fiamma's) similar to Philip Sidney's Sonnet 89 from Astrophel and Stella ("Now that of absence the most irksome night"), with the use of epistrophe (repetition of end-words) instead of rhyme.

The only son of Thomas Rennell, Dean of Winchester Cathedral, he was born at Winchester in 1787. Like his father, he was educated at Eton, where he had a brilliant reputation as a scholar. He won one of Dr. Claudius Buchanan's prizes for a Greek Sapphic ode on the propagation of the gospel in India, and a prize for Latin verses on 'Pallentes Morbi' (pale diseases, personified beings in the works of Virgil). He also conducted, in conjunction with three of his contemporaries, a periodical called the Miniature, a successor of the 'Microcosm'.

Alsop was born at Darley Dale in Derbyshire and educated at Westminster School. Going on to Christ Church, Oxford, in 1690, he took the degrees of Bachelor of Arts in 1695 and Master of Arts in 1697. While there he gained a reputation for his elegant Latin verse, some of it produced for public university occasions, some for private circulation, and some Jacobite in spirit. His speciality was the witty verse epistle, most often using the Sapphic stanza. In 1698 Alsop edited a selection of Aesop’s Fables in Latin verse, Fabularum Aesopicarum Delectus.

Since then, girl-girl love scenes have become more common on TV, so it was probably just a matter of time before "The O.C." dipped into the well. Gay and bi-sexual characters have been scattered throughout primetime for years on shows like "Will & Grace" and others. It is believed that Barton's character will just be experimenting with the fairer sex and not committing to a full-on romantic, sapphic relationship. Schwartz insisted that the relationship between Marissa and Alex was not a rating stunt and that Marissa developed real feelings for Alex.

Margaret of Austria > "Happy plant, so cherished in heaven > Where nature placed all its most perfect things, > When it set out to create so much beauty, > I speak of my goddess, Margeruite of Austria."Eisenbichler 130. > -Laudomia Forteguerri Forteguerri was known throughout Siena for her poetry, and her work continues to be noted by modern scholars, particularly for its strong Sapphic themes. Although only six of her sonnets have survived, all are testaments to the love she bore for other women, and five are specifically dedicated to Margaret of Austria.

Blessed Battista Spagnoli composed a Sapphic ode in his honor and a gate in Messina was named after him in 1623. Vincenzo Barbaro and Theodore de Aquis were just two of some who wrote biographies on the late saint. There are sources that suggest Pope Callixtus III either canonized or beatified him through verbal consent on 15 October 1457 but it is believed for the most part that Pope Sixtus IV approved the canonization in a papal bull signed on 31 May 1476. It is likewise believed that Pope Nicholas V beatified him in 1454.

The dividing of verse into long and short syllables and analysis of the metrical family or pattern is called 'scanning' or 'scansion.' The names of the metrical families come from the names of the cola or feet in use, such as iambic, trochaic, dactylic and anapaestic meters. Sometimes meter is named after the subject matter (as in epic or heroic meter), sometimes after the musical instrument that accompanied the poetry (such as lyric meter, accompanied by the lyre), and sometimes according to the verse form (such as Sapphic, Alcaic and elegiac meter).

When the papyrus was first published, Grenfell and Hunt wrote that "it is not very likely that we shall find another poem of Sappho". In 1906, however, a major cache of literary fragments from the remains of two private libraries were discovered – the source of the majority of the Sappho fragments discovered at Oxyrhynchus. Papyrus Oxyrhynchus 7 measures 19.7 cm × 9.6 cm, and is written in an uncial hand. Parts of twenty lines of a poem written in Sapphic stanzas survive, with one and a half feet missing from the beginning of each line.

Frederick Tennyson was the eldest son of George Clayton Tennyson, Rector of Somersby, Lincolnshire, and brother of Alfred, Lord Tennyson. He was educated at Eton College (where, as a skilled cricketer, he was Captain of the Oppidans) and, from 1827, St John's College, Cambridge. While at Cambridge he contributed four poems to Poems, by Two Brothers, which Frederick, Alfred, Lord Tennyson, and their brother Charles Tennyson Turner published in 1827. He also won the Browne medal for Greek verse composition (a Sapphic ode on the pyramids) in 1828, but was rusticated for three terms for refusal to accept punishment for not attending chapel.

An excellent example is Lament XVI. Mikołaj Sęp-Szarzyński, who was the author of Rymy, abo wiersze polskie (The rhymes or Polish poems) and Sebastian Grabowiecki, who was the author of Setnik rymów duchownych (Spiritual Rhymes) also used Sapphic stanzas in their lyrical pieces. Sebastian Fabian Klonowic (known as Acernus) decided to employ the stanza in a longer epic poem. His Flis, to Jest Spuszczanie Statków Wisłą i inszymi rzekami (The lightening or expediting barges on the Vistula river and other rivers) is because of its stanzaic form an exceptional work, perhaps not only in Polish literature.

Milton recommended both works in his treatise of Education.A. Gilbert, Literary Criticism: Plato to Dryden, 124, 669 Horace's Satires and Epistles however also had a huge impact, influencing theorists and critics such as John Dryden.W. Kupersmith, Roman Satirists in Seventeenth Century England, 97–101 There was considerable debate over the value of different lyrical forms for contemporary poets, as represented on one hand by the kind of four-line stanzas made familiar by Horace's Sapphic and Alcaic Odes and, on the other, the loosely structured Pindarics associated with the odes of Pindar. Translations occasionally involved scholars in the dilemmas of censorship.

The novel begins shortly after the end of Christine and Marie- Christine's three-month long sapphic affair. In the first and longest section of the book, entitled "No Man's Land," Christine reacts to the demise of her relationship with Marie-Christine and examines the other relationships in her life, including her relationship with her daughter Léonore and her ex-husband Claude. The next section entitled "Christmas" is divided into several subsections. It begins by detailing the events that occurred between December 25th and 27th, ending with a physical altercation between Christine and Marie- Christine and their separation.

Kenneth J. Dover, followed by Michel Foucault and Halperin, assumed that it was considered improper for the eromenos to feel desire, as that would not be masculine. However, Dover's claim has been questioned in light of evidence of love poetry which suggests a more emotional connection than earlier researchers liked to acknowledge. Sappho, born on the island of Lesbos, was included by later Greeks in the canonical list of nine lyric poets. The adjectives deriving from her name and place of birth (Sapphic and Lesbian) came to be applied to female homosexuality beginning in the 19th century.

Two men at the Rally to Restore Sanity and/or Fear indicate their identity with the word gay in the context of same-sex orientation, and protest its usage in the sense of stupid or uncool. Terms used to describe homosexuality have gone through many changes since the emergence of the first terms in the mid-19th century. In English, some terms in widespread use have been sodomite, Sapphic, Uranian, homophile, lesbian, gay, effeminate, queer, homoaffective, and same-sex attracted. Some of these words are specific to women, some to men, and some can be used of either.

Sappho, born on the island of Lesbos, was included by later Greeks in the canonical list of nine lyric poets. The adjectives deriving from her name and place of birth (sapphic and lesbian) came to be applied to female homosexuality beginning in the 19th century. Sappho's poetry centers on passion and love for various personages and both genders. The narrators of many of her poems speak of infatuations and love (sometimes requited, sometimes not) for various females, but descriptions of physical acts between women are few and subject to debate.Denys Page, Sappho and Alcaeus, Oxford UP, 1959, pp. 142–146.

In a similar vein, Richard Canning in The Independent found the Willow Gables fiction vibrant, well-constructed and entertaining, and praised Larkin's "sly Sapphic spin". In a more recent analysis Terry Castle, writing in the journal Daedalus, disagrees profoundly with the notion expressed by Adam Kirsch in The Times Literary Supplement, that the publication of the Coleman works was damaging to Larkin's reputation. On the contrary, argues Castle, "the Brunette phase speaks volumes about the paradoxical process by which Philip Larkin became 'Larkinesque'—modern English poetry's reigning bard of erotic frustration and depressive (if verse-enabling) self-deprecation".

In her dream the stalker is revealed as the primitive, first slayer, who confronts her aggressively. The two fight, but the First Slayer is defeated when Buffy realizes a key difference between them: the First Slayer was alone and isolated, while Buffy is unique among Slayers in that she has friends and a life beyond slaying, factors which make her the greatest Slayer ever. In Willow's dream she has an intimate conversation with her girlfriend Tara while painting a Sapphic love poem on her bare back. She talks about her unwillingness to leave Tara’s dorm room, a place of comfort and security, but finds herself at college anyway.

The school is perhaps best remembered for an anthology of prose and poetry entitled Flowers of Piety (, 1708), which was composed by the students of the school, made up of epigrams, both in ancient Greek and Latin, Sapphic odes, Italian sonnets, and, most significantly, prose and verse compositions in (Demotic) modern Greek. As such it offers the first surviving Demotic Greek poetry following the termination of the Cretan Renaissance. Additional works composed by the staff of the Flanginian were: "Greece’s Homage to the Venetian Senate", as well as a literary encyclopedia by Ioannis Patousas composed in four volumes, which was a valuable resource for Greek schools operating in the Ottoman Empire.

The fearless American journalist and fashion photographer Emanuelle travels throughout the world in search of a good story for her editor. She is a globe-trotting reporter who is not afraid to disrobe in the name of investigative journalism. In this third installment, Emanuelle goes to Europe to investigate the private harem of wealthy tycoon Eric Van Darren, where she watches a naked woman masturbating a horse named Pedro before having a sapphic encounter in a steam room. She also meets the Italian Duke Alfredo Elvize and travels to his house in Venice where she ends up in a threesome with him and his wife.

Durán had previously distinguished herself as a batik artist, forming part of the Spanish delegation at the International Exhibition of Modern Decorative and Industrial Arts of Paris in 1925. A year later she was part of the group of intellectual women and artists gathered by Maria de Maeztu to found the (within which she was a key player in the development of the Sapphic Circle of Madrid). She also worked with Rivas Cherif on the creation of the Theater School of Art (TEA) in Madrid, and made costumes and sets for the companies of Margarita Xirgu, Federico García Lorca, and . She also made sets and decorations for films such as '.

Travelling abroad on swift-footed horses, Over the wide earth, over all the ocean, How easily you bring deliverance from Death's gelid rigor, Landing on tall ships with a sudden, great bound, A far-away light up the forestays running, Bringing radiance to a ship in trouble, Sailed in the darkness! The poem was written in Sapphic stanzas, a verse form popularly associated with his compatriot, Sappho, but in which he too excelled, here paraphrased in English to suggest the same rhythms. There were probably another three stanzas in the original poem but only nine letters of them remain.David A. Campbell, Greek Lyric Vol.

Lesburlesque is a British burlesque and dance troupe, founded by lesbian cabaret performer Pixie Truffle in 2010. The troupe began as a duet burlesque routine idea, but following favourable responses from established burlesque performers Kitty Liquor, Mona Von Chrome, Isobella Lash and March Violets vocalist Rosie Garland, aka Rosie Lugosi, Pixie dedicated herself to making Lesburlesque into a fully fledged cabaret group. The press in Manchester seemed supportive of their efforts to expand the concept of burlesque to the LGBTQ community and to render sapphic art forms such as drag kinging available to a larger audience. The troupe continue to use established drag king performers The Dyke Kings and Juan Kerr.

Rimas Varias, the first theme the reader encounters is the evocation of traditional suffering of male poets immortalizing female beloved objects. > Ay decreto cruel del bien que adoro > que poseyendo tú, me des la muerte > y que escribiendo yo, te dé la vida Yet, it is important to note that Sor Violante employs a sapphic style in that both grieving speaker and deceased addressee are women (Dugaw 10). In other works found in Rimas varias, Sor Violante do Ceu writes poetic verses about the trials living-in-love and the idea of swooning courtship. The elements she utilizes in these works use a vocabulary of lyrical love that is both idealized and erotic (Dugaw 10).

Their poems were a bold departure from traditional models, being relatively short and describing everyday occurrences and intense personal feelings; by contrast, traditional poetry was generally large and epic, describing titanic battles among heroes and gods. These avant-garde poets drew inspiration from earlier Greek authors, especially Sappho and Callimachus; Catullus himself used Sapphic meter in two poems, Catullus 11 and 51, the second of which is almost a translation. His poems are written in a variety of meters, with hendecasyllabic verse and elegiac couplets being the most common by far. Catullus is renowned for his love poems, particularly the 25 poems addressed to a woman named Lesbia, of which Catullus 5 is perhaps the most famous.

His claims were re-iterated in Dame Edna's autobiography, My Gorgeous Life, when she recalled Kenny's Coming Out, and, after misunderstanding her response, his assumption that she and Madge were also an item. Kenny's sister, Valmai Gittis, makes a similar claim about their mothers relationship with Madge in an unpublished memoir, Edna Dearest, excerpts of which were reproduced in the 1982 book, Dame Edna's Bedside Companion. A photograph, published in the same source, shows Madge Allsop watching adult videos with titles such as Sapphic Traffic, Loins of Lesbos and Kinky Konvent Kapers. It is also revealed the Edna and Madge have been known to share a bed, although, by Edna's account, this is entirely platonic.

The Australian poet John Tranter has also written a poem ("Writing in the Manner of Sappho") in two Sapphic stanzas about the difficulty of writing Sapphics in English: Writing Sapphics well is a tricky business. Lines begin and end with a pair of trochees; in between them dozes a dactyl, rhythm :rising and falling, like a drunk asleep at a party. Ancient Greek — the language seemed to be made for Sapphics, not a worry; anyone used to English :finds it a bastard. The Oxford classicist Armand D'Angour has created mnemonics to illustrate the difference between Sapphics heard as 1) a four-beat line (as in Kipling) and 2) in the (correct) three-beat measure, as follows: 1\.

The "ionic" almost invariably refers to the basic metron u u — —, but this metron is also known by the fuller name ionic a minore in distinction to the rarely used ionic a maiore (— — u u). Modern metricians generally consider the term ionic a maiore to be of little analytic use, a vestige of Hephaestion's "misunderstanding of metre"Kiichiro Itsumi, "What's in a Line? Papyrus Formats and Hephaestionic Formulae," in Hesperos: Studies in Ancient Greek Poetry Presented to M. L. West on his Seventieth Birthday, OUP, 2007, p. 317, in reference to Hephaestion's description of Book IV of the Sapphic corpus as "ionic a maiore acatalectic tetrameter." and desire to balance metrical units with their mirror images.

Carlston completed her PhD at Stanford, with a thesis titled Thinking fascism: Sapphic Modernism and fascist modernity; the published version of the thesis was widely reviewed. Carlston worked at the University of North Carolina at Chapel Hill, where she was on the board of the Carolina Center for Jewish Studies and was director of the Program in Sexuality Studies. She then moved to the University of Auckland, where she is a Professor of English. Carlston's 2013 book Double Agents discusses the interest that white middle-class gay writers have taken in twentieth century espionage and treason, by examining espionage scandals involving Jewish and/or gay men, and how these relate to works by Jewish and/or gay male authors.

This is generally considered not to have been part of Sappho 2: it is followed by a larger blank space than the other strophe ends on the potsherd, suggesting that it is part of a different text. Additionally, κατιου is not in Sappho's Aeolic dialect, and the most likely restoration of the line is unmetrical for a poem in Sapphic stanzas. The poem is in the form of a hymn to the goddess Aphrodite, invoking her and asking her to appear. In the form which it is preserved on the Florentine ostrakon, it seems to begin unusually abruptly – normally such a hymn would begin with a mention of the god being called upon.

She herself always insisted on their platonic nature and characterises her relationships as the "meeting of souls," as in these lines from "To my Excellent Lucasia, on our Friendship": > For as a watch by art is wound To motion, such was mine; But never had > Orinda found A soul till she found thine; Which now inspires, cures, and > supplies, And guides my darkened breast; For thou art all that I can prize, > My joy, my life, my rest. (9–16) Harriette Andreadis has argued that 'her manipulations of the conventions of male poetic discourse constitute a form of lesbian writing.'Harriette Andreadis, 'The Sapphic-Platonics of Katherine Philips, 1632–1664', Signs: Journal of Women in Culture and Society, 1989. Volume 15, number 1, page 59.

On Rotten Tomatoes, the second series has an approval rating of 93% based on 67 reviews, with an average rating of 8.2/10. The website's critical consensus reads, "With the titillating cat-and-mouse game still rooted at its core, Killing Eve returns for an enthralling second season of considerably higher stakes, hilariously dark humor and a captivating dynamic between characters, solidifying its position as one of the best spy thrillers out." On Metacritic, it has a weighted average score of 86 out of 100 based on 22 critics, indicating "universal acclaim". Chitra Ramaswamy wrote in The Guardian that the show "uproots the tired old sexist tropes of spy thrillers then repots them as feminist in-jokes, patriarchal piss-takes, tasteless murders and blooms of sapphic chemistry".

Shockley also has many short stories that she has written, most of which center around the issues surrounding homosexuality, being African American, and being a woman. Through these short stories, Shockley sheds light on the conditions in which these people live and the impact these conditions have on their lives. A few of these short stories include "Holly Craft Isn't Gay"(1980), "A Meeting of Sapphic Daughters" (Spring 1979) which can be found in The Black and White of It (1980), as well as "The Eternal Triangle"(1948), "The Curse of Kapa"(1951), and "Monday Will Be Better"(1964), posted in various outlets such as Afro-American [Baltimore] and Negro Digest. Most of Shockley's short stories were controversial for their time.

In linguistics, Aeolic Greek (), also known as Aeolian (), Lesbian or Lesbic dialect, is the set of dialects of Ancient Greek spoken mainly in Boeotia; in Thessaly; in the Aegean island of Lesbos; and in the Greek colonies of Aeolis in Anatolia and adjoining islands. The Aeolic dialect shows many archaisms in comparison to the other Ancient Greek dialects (Arcadocypriot, Attic, Ionic, and Doric varieties), as well as many innovations. Aeolic Greek is widely known as the language of Sappho and of Alcaeus of Mytilene. Aeolic poetry, which is exemplified in the works of Sappho, mostly uses four classical meters known as the Aeolics: Glyconic (the most basic form of Aeolic line), hendecasyllabic verse, Sapphic stanza, and Alcaic stanza (the latter two are respectively named for Sappho and Alcaeus).

Turning the argument of the anthropologists on their head, Hirschfeld argued that, if same-sex relationships were common among Khoikhoi women, and if the bodies of Khoikhoi women were essentially the same as Western women, then Western women must have the same tendencies. Hirschfeld's theories about a spectrum of sexuality existing in all of the world's cultures implicitly undercut the binary theories about the differences between various races that was the basis of the claim of white supremacy. However, Bauer wrote that Hirschfeld's theories about the universality of homosexuality paid little attention to cultural contexts, and criticized him for his remarks that Hausa women in Nigeria were well known for their lesbian tendencies and would have been executed for their sapphic acts before British rule, as assuming that imperialism was always good for the colonized.

Fem2Fem was an American techno group who released three albums. With actress Lezlie Deane of Freddy's Dead: The Final Nightmare as a member, Fem2Fem were the first and (so-far only) openly lesbian pop group to chart, although the band did contain straight women in addition to open homosexuals. But only some of the members of Fem2Fem were lesbians, and according to Michelle Crispin their intentions at the beginning were to promote a healthy view of sexuality with their music, regardless of sexual orientation. However, an appearance by the band in the December 1993 issue of Playboy magazine and the non-political nature of their sapphic lyrics led to criticism by some in the LGBT community that the band was trying to make a fast buck off playing to the prurient interests of a heterosexual male audience.

"Not Gonna Get Us" received mixed to positive reviews from music critics. Stephen Thomas Erlewine from Allmusic highlighted the track on the album saying it was an "exhausting offering hit" but continued saying; "Well, it's easy not to be into it when Julia and Lena appear to have been run through a marketing processor so they could become two Sapphic tarts who sing songs with suggestive titles like "Not Gonna Get Us", "Show Me Love" and "All the Things She Said" (it's likely a coincidence that the latter two share titles with songs by Robyn and Simple Minds, respectively, but perhaps not) [...]." Popdirt commented that the "high-pitched helium voices" on the song work at "complementing the sensitivity they feel for each other and the reckless abandonment of the outside world perfectly". Furthermore, Pitchfork listed this as the 33rd best single of 2003.

The Carmen Saeculare (Latin for "Secular Hymn" or "Song of the Ages") is a hymn in Sapphic meter written by the Roman poet Horace. It was commissioned by the Roman emperor Augustus in 17 BC. The hymn was sung by a chorus of twenty- seven maidens and the same number of youths on the occasion of the Ludi Saeculares (Secular Games), which celebrated the end of one saeculum (typically 110 years in length) and the beginning of another. The mythological and religious song is in the form of a prayer addressed to Apollo and Diana; it especially brings to prominence Apollo, functioning as a surrogate for and patron of the princeps (Augustus), for whom a new temple on the Palatine had recently been consecrated. A marble inscription recording the ceremony and the part played by Horace still survives.

Robin Nisbet, 'The Poets of the Late Republic' in The Oxford History of the Classical World, J.Boardman, J.Griffin and O.Murray (eds), Oxford University Press (1995) page 487-90 The Alexandrians' preference for short poems influenced Catullus to experiment with a variety of meters borrowed from Greece, including Aeolian forms such as hendecasyllabic verse, the Sapphic stanza and Greater Asclepiad, as well as iambic verses such as the choliamb and the iambic tetrameter catalectic (a dialogue meter borrowed from Old Comedy).Peter Green, The Poems of Catullus, University of California Press (2005), pages 32-7 Horace, whose career spanned both republic and empire, followed Catullus' lead in employing Greek lyrical forms, though he calls himself the first to bring Aeolic verse to Rome."Princeps Aeolium carmen ad Italum," Odes 3.30.13; for Horace's engagement with Catullus see Putnam (2006).

Front and back of one of Kircher's musical rods A hymn constructed using the Arca Musarithmica, as produced by software simulation The arca is a box containing a set of wooden rods or slats (or "tariffa" as Kircher called them). Each slat contains a set of numbers, which correspond to notes in a scale or mode, as well as an assortment of rhythmic treatments for those notes. There are different sets of slats which contain musical phrases expressed in a variety of poetic meters (“Euripedaean”, “Anancreonic”, “Archilochan”, “Sapphic” and so on). Some of the rods are used for counterpoint in the "simple style" (or first-species counterpoint) in which all 4 parts have the same rhythm, and others are used for what Kircher calls the "florid style" (or fifth-species counterpoint), in which the 4 voices move independently.

As a poet, Statius was versatile in his abilities and contrived to represent his work as otium. Taught by his educated father, Statius was familiar with the breadth of classical literature and displayed his learning in his poetry which is densely allusive and has been described as elaborate and mannerist. He was able to compose in hexameter, hendecasyllable, Alcaic and Sapphic meters, to produce deeply researched and highly refined epic and polished impromptu pieces, and to treat a variety of themes with the dazzling rhetorical and poetic skill that inspired the support of his patrons and the emperor. Some of Statius' works, such as his poems for his competitions, have been lost; he is recorded as having written an Agave mime, and a four line fragment remains of his poem on Domitian's military campaigns, the De Bello Germanico composed for the Alban Games in the scholia to Juvenal 4.94.

Chandler's work has appeared in numerous print and online journals and anthologies, including Able Muse, Alabama Literary Review, American Arts Quarterly, The Centrifugal Eye, Comstock Review, First Things, Iambs and Trochees, Light Quarterly, The Lyric, Measure, Möbius, Orbis, Quadrant, The Raintown Review, Texas Poetry Journal and many others. She is the author of Lines of Flight (Able Muse Press, 2011), a highly acclaimed full-length collection of poetry in various forms, including the sonnet, pantoum, rondeau (poetry), villanelle, triolet, sapphic stanza, ballad stanza, quatrain, cinquain, cento (poetry) and other forms. Her second book, Glad and Sorry Seasons was published in the Spring of 2014 by Biblioasis Press of Windsor, Ontario, and her third book, "The Frangible Hour", winner of the Richard Wilbur Award, was published by the University of Evansville Press at the end of December 2016. Her fourth full-length collection, "Pointing Home" was published by Kelsay Books in April 2019.

Lisa Moore has published two single- authored books: Sister Arts: The Erotics of Lesbian Landscapes (Minnesota, 2011), which was awarded Lambda Literary Award in LGBT Studies in 2011 and named a finalist for the Publishing Triangle Judy Grahn Award; and Dangerous Intimacies: Toward a Sapphic History of the British Novel (Duke, 1997). In 2015, Moore published a scholarly edition of The Collected Poems of Anna Seward (Routledge). She also co-edited two books: Transatlantic Feminisms in the Age of Revolutions (Oxford, 2011) (with Joanna Brooks and Caroline Wigginton), which won the Choice Outstanding Academic Book Award for 2012; and Experiments in a Jazz Aesthetic: Art, Activism, Academia and the Austin Project (2010) (with Omi Osun Joni L. Jones, and Sharon Bridgforth), an anthology of creative writing and theory by women of color and allies. She has published articles in GLQ, Eighteenth-Century Studies, Cultural Critique, Feminist Studies, and Textual Practice, as well as more than 40 other book chapters, essays and reviews.

Shoua and the Northern Lights Dragon was jointly published by the Minnesota Humanities Center and the Council on Asian Pacific Minnesotans to address the lack of children's books that speak to the experience of being an Asian Pacific Islander child or youth in the United States. The book supports the development of English literacy skills while recognizing cultural heritage and creating opportunities for children and families to learn about Asian Pacific Islander cultural heritage. Her short stories and essays have been featured in six anthologies including, “Riding Shotgun: Women Write about their Mothers,” published by Borealis Books, and “Haunted Hearths and Sapphic Shades: Lesbian Ghost Stories” published by Lethe Press, which was a national best-seller in the United Kingdom, and the ground-breaking Asian American anthology, “Charlie Chan Is Dead 2: At Home In The World,” published by Penguin Books. In 2009, Ka Vang was featured in the book, “Hmong History Makers,” published by Holt DcDougal for her work collecting and preserving Hmong folklore from the Hmong people across the globe from Australia to Germany.

John Milton's Lycidas first appeared in such a collection. It has few Horatian echoesOne echo of Horace may be found in line 69: "Were it not better done as others use,/ To sport with Amaryllis in the shade/Or with the tangles of Neaera's hair?", which points to the Neara in Odes 3.14.21 (Douglas Bush, Milton: Poetical Works, 144, note 69) yet Milton's associations with Horace were lifelong. He composed a controversial version of Odes 1.5, and Paradise Lost includes references to Horace's 'Roman' Odes 3.1–6 (Book 7 for example begins with echoes of Odes 3.4).J. Talbot, A Horatian Pun in Paradise Lost, 21–3 Yet Horace's lyrics could offer inspiration to libertines as well as moralists, and neo-Latin sometimes served as a kind of discrete veil for the risqué. Thus for example Benjamin Loveling authored a catalogue of Drury Lane and Covent Garden prostitutes, in Sapphic stanzas, and an encomium for a dying lady "of salacious memory".B. Loveling, Latin and English Poems, 49–52, 79–83 Some Latin imitations of Horace were politically subversive, such as a marriage ode by Anthony Alsop that included a rallying cry for the Jacobite cause.

The song received general acclaim from critics. Manny Faces from BirthPlace cited the song as an improvement from her previous material, writing "It’s a little harder, a little less sloppy and a little more promising than some of her previous efforts, many of which have drowned in sonic experimentation that, in some opinions (mine), haven’t done her any favors". A writer for PAPER hailed the track as "[The] first 2013 party jam", adding that the song "will jolt you awake this Wednesday morning more quickly than that venti coffee you've been nursing since 9 am". Rolling Stone writer Jody Rosen gave "BBD" three-and-a-half stars out of five, describing the song as "a typically fleet, flashy collection of disses and boasts that glory in estrogen power, Sapphic delights, and the fun of cuckolding stupid dudes". Spin writer Marc Hogan thought that the track reflected well on Banks' sense of style, writing "With the squiggly high-end and wobbly sub-bass of what we’re really calling trap-rave now, huh, plus some masterfully timed quiet- loud dynamic shifts, the track displays the virtuosically foul-mouthed rapper’s usual immaculately stylish beat selection".

Brooks's realistic style may have led many art critics to dismiss her, and by the 1960s her work was largely forgotten.Secrest, 311–312. The revival of figurative painting since the 1980s, and new interest in the exploration of gender and sexuality through art, have led to a reassessment of her work. She is now seen as a precursor of present-day artists whose works depict gender variance and transgender themes.Chadwick, 8, Langer 204-206. For an extended comparison of Brooks's portraits with a 1990s series of photographs by the transsexual artist Loren Cameron, see Melanie Taylor's "Peter (A Young English Girl): Visualizing Transgender Masculinities." Critics have described her portraits of the 1920s as a "sly celebration of gender-bending as a kind of heroic act" and as creating "the first visible Sapphic stars in the history of modernism." Brooks's portraits starting with her 1914 self-portrait extending through The Cross of France have been interpreted as creating new images of strong women. The portraits of the 1920s in particular--cross-dressed and otherwise--portray their subjects as powerful, self-confident, and fearless.Chadwick, 27, 32.

Stobaeus, who lived approximately four-to-five centuries later, preserved Melinno's work in his Eclogues. He attributes her work to Melinno the Lesbian, but a Lesbian origin is disputed by at least three modern scholars, who note that the stanzas show little trace of the Aeolic dialect used by the Lesbian poets Sappho and Alcaeus, and the few Aeolicisms observed are probably imitative of Sappho. It may be that Stobaeus meant to emphasize her imitation of the Sapphic stanza, not to say that she was from Lesbos; this is the view of George Stanley Farnell, who concludes that while it is possible and indeed probable that she was not from Lesbos, neither can the Locrian connection be proven, and that readers should "remain content to be in ignorance as to the identity of Melinno."George Stanley Farnell, A Complete Collection of the Surviving Passages from the Greek Song-writers, "XXX Ode to Rome", Longmans, Green & Co.:London & New York, 1891 CM Bowra denies that she was from Lesbos, but also refuses to take the step of saying definitely that she was from Locri, because the evidence of Locrian Melinna does not explicitly mention her as the poet Melinno.