Praxilla

In the modern world, she has been referenced in artworks by Cy Twombly and Judy Chicago, and one of her poems was adapted by the Irish poet Michael Longley.

[11] The reference to cucumbers, apples, and pears may allude to the vegetables used in the Adonia, a festival commemorating the death of Adonis, and the poem may have been performed there.

[19] Other scholars have argued that, based on the attribution of skolia to Praxilla, she must have been a hetaira, though Jane McIntosh Snyder notes that there is no external evidence for this thesis.

[13] Ian Plant suggests the alternative hypothesis that she was a professional musician, composing songs for symposia because there was a market for such works.

[19] Gregory Jones agrees, and argues that all of the surviving skolia attributed to particular poets are in fact derived from a non-elite oral literary tradition.

[20] Marchinus Van der Valk, who also endorses this theory, allows for the possibility that some skolia were "derived from" Praxilla's poetry and published in antiquity attributed to her.

Antipater of Thessalonica lists her first among his canon of nine "immortal-tongued" women poets, and the sculptor Lysippus (also from Sicyon) sculpted her in bronze.

[4] She was sufficiently well-known in classical Athens that two of Aristophanes' surviving plays (The Wasps and Thesmophoriazusae) parody her work,[4] and part of one of her poems is inscribed on a red-figure cup dating to about 470 BC.

[27] Praxilla was included in Judy Chicago's Heritage Floor, as one of the women associated with the place-setting for Sappho in The Dinner Party.