When the first volume of the Oxyrhynchus Papyri was published in 1898, all lovers of Sappho must have been disappointed with the latter half of Blass's otherwise excellent restoration of this poem. The perusal of a recent article by J. Sitzler, in which later suggestions are discussed and fresh ones made, only serves to confirm this feeling of dissatisfaction. Sappho's extant work elsewhere combines a dignified simplicity of matter with a dignified simplicity of form. Any obscurity we find in (...) it, is due rather to our ignorance of her dialect than to any real strangeness of thought or diction. By simple ideas, simple constructions, simple words, she produces a beauty all her own. It must be confessed that the latter half of the Ode to the Nereids, as it stands in any of the published restorations falls short of all else of Sappho's that we possess. It is just possible that in line II ⋯τοισι can stand as a feminine, but, grammar apart, nothing, surely, could be tamer than the sentence as it stands with the long relative clause beginning in line 13—‘When he heard the reproach, which used to cut him to the quick and restrain him amid the mirth of his fellow citizens, and which died away for a time only to be revived soon after.’ I hope to bring the poem a stage nearer satisfactory restoration by showing that there are grounds for rejecting some at least of the suggestions which contribute to this result. (shrink)

When the first volume of the Oxyrhynchus Papyri was published in 1898, all lovers of Sappho must have been disappointed with the latter half of Blass's otherwise excellent restoration of this poem. The perusal of a recent article by J. Sitzler, in which later suggestions are discussed and fresh ones made, only serves to confirm this feeling of dissatisfaction. Sappho's extant work elsewhere combines a dignified simplicity of matter with a dignified simplicity of form. Any obscurity we find in (...) it, is due rather to our ignorance of her dialect than to any real strangeness of thought or diction. By simple ideas, simple constructions, simple words, she produces a beauty all her own. It must be confessed that the latter half of the Ode to the Nereids, as it stands in any of the published restorations falls short of all else of Sappho's that we possess. It is just possible that in line II xs22EFτοισι can stand as a feminine, but, grammar apart, nothing, surely, could be tamer than the sentence as it stands with the long relative clause beginning in line 13—‘When he heard the reproach, which used to cut him to the quick and restrain him amid the mirth of his fellow citizens, and which died away for a time only to be revived soon after.’ I hope to bring the poem a stage nearer satisfactory restoration by showing that there are grounds for rejecting some at least of the suggestions which contribute to this result. (shrink)

English summary: In the 20th century it was the distortions of humanism (third humanism, antihumanism) rather than the actual history of the concept and the idea of humanism and of the authors and texts associated with it, from Plato to Humboldt, which shaped its image. This volume contains a number of individual studies which together create a genealogy of humanistic thought in Europe. German description: Im 20. Jahrhundert haben eher die Entstellungen des Humanismus wie der 'dritte Humanismus' oder der 'Antihumanismus' (...) sein Profil gepragt als die tatsachliche Geschichte seines Begriffs, seiner Idee und die damit verbundenen Autoren und Texte von Platon bis Wilhelm von Humboldt.und Ernst Cassirer. In diesem Band wird in zeitkritischer Absicht anhand einer Reihe von Einzeluntersuchungen eine Genealogie des humanistischen Denkens in Europa vorgenommen. Der Band enthalt Beitrage von: Enno Rudolph, Anne Eusterschulte, Achim Geisenhansluke, Charlotte Schoell-Glass, Wolf-Dietrich Hartwich, Andreas Arndt, Vincent von Wroblewsky, Christoph Schulte, Ekkehard W. Stegemann, Kim Sitzler, Ursula Baatz und Joachim Fischer. (shrink)