Gorgias of Leontini, orator, c. 485–c. 380 bce, was one of the most well-known and influential of the early Greek rhetoricians. He spent much of his life as an itinerant speaker and reputed educator throughout Greece and contributed to the early development of the art of speech. His extant works include two complete speeches, Encomium of Helen and Defense of Palamedes, and ancient authors also summarize, provide fragments from, or report several additional works: On What-Is-Not, a Funeral Speech, a Pythian Speech, an Olympian Speech, a Speech for the People of Elis, a treatise on the “opportune moment” or kairos, and some manuals of rhetoric.Gorgias of Leontini, orator, c.485–c. 380bce, became one of the most well-known and influential figures of the early, 5th-century generation of thinkers credited with developing and marketing skills, principles, and ideas related to the burgeoning art of speech. Nothing secure is recorded about the events of his early life, although he must have achieved some degree of eminence and respect in .
Blossius Aemilius Dracontius was one of the most remarkable Latin poets in Vandal North Africa. He lived in Carthage around 500 ce, and combined poetry with a career in law. His major Christian work De laudibus dei (‘Praises of God’) combines biblical narrative with exegesis, doctrine, and autobiography. He also wrote a ‘Plea’ (Satisfactio) to the Vandal king Gunthamund, who had imprisoned him, as well as four short mythological epics (on Hylas, Helen, Medea, and Orestes respectively), two epithalamia, two prefaces, three rhetorical pieces, two epigrams, and two now lost panegyrics. Dracontius’ work stands out for its originality in combining sources, for its creative use of literary forms and rhetoric, and for its character descriptions.Blossius Aemilius Dracontius lived in Carthage around 500ce. Only one event in his life, his imprisonment under Gunthamund, can be dated approximately: the Vandal king ruled from 484 to 496.1 Dracontius’ tripartite name, as well as inscriptional evidence for a (different) Dracontius and further Blossii in North Africa, suggests a North African Roman origin; the title .
The poet Sappho, one of the greatest poets of world literature, a rare example of a woman whose work has survived in appreciable measure from archaic Greece, was celebrated in antiquity as “the tenth Muse” (Anth. Pal. 9.506). The Garland of Meleager, a Hellenistic anthology, includes some verses of Sappho, which the poet calls “few, but roses.” Sappho has long been praised as a superb poet of Eros, capable of subtle and effective evocations of desire and erotic pleasure, especially devoted to Aphrodite, who sends the joys and pains of love. Aphrodite is seen by some as an alter ego to the poet herself. Sappho appeals to her, as the poems voice yearning for an absent object of desire.1 She also invokes the Muses, and the Graces. The erotic poems often recall intimacy; express loss, tender yearning, and homoerotic longing; and create in memory a community bound by pleasure and song, exhibiting great elegance of composition and a sensuous luxury.