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dc.contributor.authorGoldstein, Oliveren
dc.date.accessioned2018-01-12T13:58:03Z
dc.date.available2018-01-12T13:58:03Z
dc.date.issued2017-11-01en
dc.identifier.urihttps://www.repository.cam.ac.uk/handle/1810/270544
dc.description.abstractHenry Thornton Wharton’s Sappho collected and translated for the first time “all the one hundred and seventy fragments that [Sappho’s] latest German editor thinks may be ascribed to her” (xiii-xiv). Beneath three translations of what Wharton listed as fragment 68, the poet Thomas Hardy pencilled his own version – which he would later publish as “Sapphic Fragment” in Poems of the Past and the Present – onto the foot of the page (see fig. 1).1 “That one day,” Hardy went on to explain to Algernon Charles Swinburne in 1897, “when examining several English imitations of a well-known fragment of Sappho, I interested myself in trying to strike out a better equivalent for it than the commonplace ‘Thou, too, shalt die’ &c. which all the translators had used during the last hundred years.” The letter continues: “I then stumbled upon your ‘Thee, too, the years shall cover’, and all my spirit for poetic pains died out of me. Those few words present, I think, the finest drama of Death and Oblivion, so to speak, in our tongue” (Letters 158).
dc.description.sponsorshipTrinity Hall PhD Studentship
dc.languageengen
dc.publisherYork University (Toronto)
dc.title"A Muse in Tatters": Hardy's Poems and Balladsen
dc.typeArticle
prism.publicationDate2017en
prism.publicationNameJournal of Pre-Raphaelite Studies-New Seriesen
prism.volume26en
dc.identifier.doi10.17863/CAM.17441
dcterms.dateAccepted2017-08-14en
rioxxterms.versionAM*
rioxxterms.licenseref.urihttp://www.rioxx.net/licenses/all-rights-reserveden
rioxxterms.licenseref.startdate2017-11-01en
rioxxterms.typeJournal Article/Reviewen
dc.identifier.urlhttp://jprs.apps01.yorku.ca/journal/volume-26-fall-2017/en
rioxxterms.freetoread.startdate2018-11-01


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