Nossis

Nossis was from Epizephyrian Locris in Magna Graecia (modern Locri, Calabria).[1] She was probably from a noble family. According to one of her surviving epigrams, her mother was called Theuphilis and her grandmother was Cleocha.[2] Based on her epitaph of the dramatist Rhinthon, she can be dated to the early third century BC.[3] The sophistication of her poetry suggests that she was relatively well-educated.[2]

Nossis is one of the best preserved Greek women poets,[4] with twelve four-line epigrams attributed to her included in the Greek Anthology.[3] The authorship of one of these is uncertain – the heading it is given in the Anthology may mean "in the style of Nossis" or "allegedly by Nossis".[5] It is stylistically and metrically similar to Nossis' other poetry, but may be a later imitation.[6] Like other Hellenistic poets, Nossis probably published her epigrams;[7] it is disputed whether they were also inscribed, or were purely literary productions.[8] Two of Nossis' epigrams preserved in the Greek Anthology may have originally been the opening and closing poems of her own collection;[7] these are not inscriptional and would have been composed for the book.[9]

The majority of Nossis' epigrams are about women.[4] One of these poems (preserved as A. P. 5.170) is modeled after Sappho's fragment 16;[12] it may also allude to Sappho fr. 55.[13] Marilyn B. Skinner argues that as well as laying claim to the legacy of Sappho, this poem also rejects the male tradition of lyric poetry represented by Pindar.[14] Meleager of Gadara describes Nossis as a love poet in his Garland, though only one of her surviving epigrams is about love.[15]

Nossis primarily wrote epigrams for religious dedications and epitaphs;[16] four of these are dedications of women's portraits.[17] Her epigrams were inspired by Sappho, whom she claims to rival.[18] She may have also been influenced by Erinna and Anyte.[19]

Illustration of Nossis by Lucien Lévy-Dhurmer, from Renée Vivien's Les Kitharèdes

Nossis is not mentioned by later commentators or lexicographers, and does not seem to have entered the Greek literary canon.[20] In the third century BC, Theocritus and Posidippus reference Nossis.[21] She was still known in the first century BC, when Meleager of Gadara included her in his Garland, and in the Augustan period she is one of nine female poets in an epigram by Antipater of Thessalonica.[22] One of her epigrams is parodied by Cillactor, and two of Herodas' Mimes allude to her.[22] Mary Maxwell argues that the style of the Augustan poet Sulpicia imitates the Hellenistic women poets, including Nossis.[23]

At the beginning of the twentieth century, Renée Vivien translated the poems of several ancient Greek women into French in Les Kitharèdes, including Nossis; Tama Lea Engelking argues that Vivien was particularly influenced by Nossis' epigram AP 7.718.[24] The imagist poet H. D. was influenced by Nossis,[25] translating her first epigram as part of the poem "Nossis".[26] Judy Chicago included Nossis as part of her Heritage Floor.[27]

• Balmer, Josephine (2013). Piecing Together the Fragments: Translating Classical Verse, Creating Contemporary Poetry. Oxford University Press.
• Barnard, Sylvia (1978). "Hellenistic Women Poets". The Classical Journal. 73 (3).
• Bowman, Laurel (1998). "Nossis, Sappho and Hellenistic Poetry". Ramus. 27 (1).
• Bowman, Laurel (2004). "The 'Women's Tradition' in Greek Poetry". Phoenix. 58 (1).
• "Nossis". Brooklyn Museum. Archived from the original on 3 June 2023. Retrieved 19 July 2022.
• de Vos, Mieke (2014). "From Lesbos She Took Her Honeycomb: Sappho and the 'Female Tradition' in Hellenistic Poetry". In Pieper, Christoph; Ker, James (eds.). Valuing the Past in the Greco-Roman World.
• Engelking, Tama Lea (1992). "Renée Vivien's Sapphic Legacy: Remembering the "House of Muses"". Atlantis. 18.
• Maxwell, Mary (2002). "H.D.: Pound's Sulpicia". Arion: A Journal of Humanities and the Classics. 10 (2). JSTOR 20163884.
• Natoli, Bartolo A.; Pitts, Angela; Hallett, Judith P. (2022). Ancient Women Writers of Greece and Rome. Routledge.
• Plant, I.M. (2004). Women Writers of Ancient Greece and Rome: An Anthology. Norman: University of Oklahoma Press.
• Skinner, Marilyn B. (1989). "Sapphic Nossis". Arethusa. 22.
• Snyder, Jane McIntosh (1991). The Women and the Lyre. Carbondale: Southern Illinois University Press.

• Gigante, M. 1974. “Nosside.” PP 29: 22–39.
• Gow, A. S. F., and D. L. Page, eds. 1965. The Greek Anthology: Hellenistic Epigrams. 2 vols. Cambridge.
• Gutzwiller, K. J. 1998. Poetic Garlands: Hellenistic Epigrams in Context. Berkeley, Los Angeles and London.
• Meyer, D. 2014: “Nossis.” In: B. Zimmermann and A. Rengakos, eds., Handbuch der griechischen Literatur der Antike 2: Die Literatur der klassischen und hellenistischen Zeit. München, 251–253.
• Skinner, M. B. 1991. “Nossis Thêlyglôssos: The Private Text and the Public Book.” In S. B. Pomeroy, ed., Women’s History and Ancient History. Chapel Hill and London: 20–47.
• Skinner, M. B. 2001. “Ladies’ Day at the Art Institute: Theocritus, Herodas, and the Gendered Gaze.” In A. Lardinois and L. McClure, eds., Making Silence Speak: Women's Voices in Greek Literature and Society. Princeton, N.J., 201–22.
• Skinner, Marilyn B. "Aphrodite Garlanded: Erôs and Poetic Creativity in Sappho and Nossis". in Rabinowitz, Nancy Sorkin and Auranger, Lisa. Among Women: From the Homosocial to the Homoerotic in the Ancient World. University of Texas Press, Austin. 2002.

•  Greek Wikisource has original text related to this article: Νοσσίς
• Text of her 12 surviving epigrams