Myrtis of Anthedon
Myrtis (Ancient Greek: Μύρτις; fl. 6th century BC) was an ancient Greek poet from Anthedon, a town in Boeotia. She was said to have taught the poets Pindar and Corinna. The only surviving record of her poetry is a paraphrase by Plutarch, discussing a local Boeotian legend. In antiquity she was included by Antipater of Thessalonica in his canon of nine female poets, and a bronze statue of her was reportedly made by Boïscus.
Life
Myrtis was from Anthedon, a small town in Boeotia, and is the earliest poet known to have come from this area of Greece.[1] She dates to the sixth century BC,[2] and was purported to be the teacher of Pindar of Thebes and Corinna of Tanagra.[1][3] Mieke de Vos argues that the fragment of Corinna which mentions Myrtis, criticising her for competing with Pindar, seems to contradict this tradition and positions Corinna and Myrtis as equals.[4]
Poetry
Myrtis is the most obscure of the nine women poets included in Antipater of Thessalonica's canon.[5] All that is known of her poetry can be surmised from Plutarch's paraphrase of one of her poems.[6][1][3] Plutarch cites Myrtis, whom he describes as a lyric poet,[7] as the source for the story that explained why women were forbidden to set foot in a sacred grove dedicated to a local hero, Eunostos, in Tanagra.[1] In the story, a woman named Ochna, Eunostos' cousin, was rejected by him and so told her brothers that Eunostos had raped her. The brothers killed Eunostus but were then taken captive by his father. Ochna then confessed that she had lied; her brothers were allowed to go into exile, and Ochna jumped off of a cliff to her death.[1] It is unclear whether the whole story given in Plutarch is summarised from Myrtis' poem, or if Plutarch is citing her for a specific detail.[8]
Corinna criticized Myrtis for venturing, as a woman, to compete with Pindar.[9] This might have referred to Myrtis entering a poetry contest, although that interpretation would appear to contradict the tradition, known from other sources, that Corinna herself defeated Pindar in such a contest.[10] Alternatively, it might reflect similarities between Pindar's and Myrtis's poetry in genre, style, or subject matter.[3] Perhaps Myrtis therefore wrote on Panhellenic rather than local myths, though the poem described by Plutarch is of local interest and does not reflect this.[11] Diane Rayor suggests that Corinna's criticism of Myrtis was due to her poetry being about male heroes, or for a male audience.[12]
Reception
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Myrtis was called "sweet-sounding" by Antipater of Thessalonica, who includes her in his canon of nine female poets, and "clear-voiced" by Corinna.[1] Tatian, a 2nd-century AD travelling rhetorician and Christian apologist, said that a bronze statue of Myrtis was made by the sculptor Boïscus, otherwise unknown.[13][1][3] A fresco from Pompeii, now lost, is thought to show Corinna, Pindar, and Myrtis.[14] Myrtis seems to have been forgotten after the second century AD.[4]
In the modern world, an 1897 painting by the Swiss artist Ernst Stückelberg depicts Myrtis and Corinna with the Potter Agathon.[15] She is included on Judy Chicago's Heritage Floor, associated with the place-setting for Sappho in The Dinner Party.[16] One of Anselm Kiefer's series of Women of Antiquity represents Myrtis.[17] Myrtis is one of the poets featured in Michael Longley's poem "The Group", published in the collection Snow Water.[18]
References
Citations
- ^ a b c d e f g Snyder 1989, pp. 40–41.
- ^ Natoli, Pitts & Hallett 2022, p. 60
- ^ a b c d Plant 2004, pp. 36–37.
- ^ a b de Vos 2012, p. 84
- ^ de Vos 2012, p. 17
- ^ Plutarch, Greek Questions 40
- ^ de Vos 2012, p. 77
- ^ de Vos 2012, p. 78
- ^ Segal 1989, pp. 198–200.
- ^ Balmer 1996, p. 42, n. 40
- ^ Kirkwood 1974, p. 178
- ^ Rayor 1993, p. 229
- ^ Tatian, Address to the Greeks 33
- ^ Thorsen 2020, pp. 12–13
- ^ Stückelberg, Vico. Katalog von Werken von E. Stückelberg (PDF). p. 169.
- ^ "Myrtis of Anthedon". Brooklyn Museum. Archived from the original on 14 July 2023. Retrieved 19 January 2024.
- ^ "Women of Antiquity". Art Gallery of New South Wales. Retrieved 11 June 2024.
- ^ Longley, Michael. "Lapsed Classicist". In Harrison, S. J. (ed.). Living Classics: Greece and Rome in Contemporary Poetry in English. p. 111.
Sources
- Balmer, Josephine (1996). Classical Women Poets. Newcastle-upon-Tyne: Bloodaxe Books. ISBN 1-85224-342-2.
- de Vos, Mieke (2012). Negen aardse Muzen: Gender en de receptie van dichteressen in het oude Griekenland en Rome (PDF) (Thesis) (in Dutch). Radboud Universiteit Nijmegen.
- Kirkwood, G. M. (1974). Early Greek Monody: The History of a Poetic Type. Ithaca: Cornell University Press.
- Natoli, Bartolo A.; Pitts, Angela; Hallett, Judith P. (2022). Ancient Women Writers of Greece and Rome. Routledge.
- Plant, Ian Michael, ed. (2004). Women Writers of Ancient Greece and Rome: An Anthology. London: University of Oklahoma Press. ISBN 978-0-8061-3621-9.
- Rayor, Diane (1993). "Korinna: Gender and the Narrative Tradition". Arethusa. 26 (3): 219–231. JSTOR 26309654.
- Segal, Charles (1989). "7 Choral Lyric in the Fifth Century". In Easterling, P.E.; Knox, B.M.W. (eds.). The Cambridge History of Classical Literature – Early Greek Poetry (Volume 1, Part 1). Cambridge: Cambridge University Press. pp. 181–203. ISBN 9780521359818. Archived from the original on 2024-06-03. Retrieved 2016-11-23.
- Snyder, Jane McIntosh (1989). The Woman and the Lyre: Women Writers in Classical Greece and Rome. Carbondale, IL: Southern Illinois University Press. ISBN 9780809317066.
- Thorsen, Thea S. (2020). "'Divine Corinna': Pre-Twentieth Century Receptions of an Artistic Authority" (PDF). EuGeStA. 10. Archived (PDF) from the original on 2022-01-27. Retrieved 2024-01-26.
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