SAPPHO / R R GS MEMOIR, TEX T, SE LECTED ENDE IN

A LITE RAL TRANSLATION

HE NRY THORNTON WHARTON

WITH PARAPIIRAS EB IN VE RS E BY ANNE BUNNER c o r v n l c n r - x g z o - n v

’ B R E N T A N O S

T H E ' P L I M P T O N ‘ P R E S B

PRE FACE

HO the APP , Greek poetess whom

has ever in the e iret f n , nt y o her works ,

The key to her wondrous reputation which e a would , p rhaps , be still gre ter if it had ever been

fi a h ours . As a langu ges t an name, ae a gure

- e minen in li rar hi t r he has indeed pue t te y s o y, a

hich i o in or has two hymm w Add e m the Spod at ,

My aim in the presen t work is to familiarise a ers English re d , whether they understand Greek or not it ever r f ra slatin , w h y wo d o Sappho, by t n g

to her PRE FACE

I have contented myself with a literal English rose tra slatio or a o is r p n n, ! S pph , pe haps above all ot er oets u tra slata le The er diffi h p , n n b } v y culties in the way of translating her may be the reason why no Englishm an has hitherto under

taken the tas k . M W

and su ersio s I a e uote ygrse, ch v n h v q d e r e me io rit s f I th y ose abov d c y, o ar as have been r able to discove them . ’ After an account of Sappho s life as com l materials a ll e p ete as my h ve a ow d, I have taken her fragments in order as they stand r k ose ex t t i in Be g , wh t I have almos nvariably I a e i e 1 the ri inal fr n followed. h v g v n ( ) o g agme t r 2 ra er i in l in G eek, ( ) a lite l v s on Eng is h prose , i ali t e er distinguished by t c ype, (3) v y English metrical translation that seems worthy of such i i n n 4 a ote f the t appos t o , a d ( ) n o wri er by om and the ir umsta es u er i wh , c c nc nd wh ch , each T ofte a f fragment has been pres erved . oo n rag ent i l a i l r b t I a mi m s on y s ng e wo d, u h ve o tted

n othing . It is curious to note how early in the history f ri i the i f a o p nt ng lterature o S ppho began . The British Museum contains a sort of commentary on Sappho which is dated 1475 in the Catalogue ; this is but twenty years later than the famous M ari i le and onl one ear fter h fi az n B b , y y a t e rst [ vi ] l book was printed in Eng and . It is written in r ius lex a ri us Merula Latin by Geo g A nd n , and is i terest a art from its tr n e t of much n , p s a g ype and

contractions of words . The first edition of any part of Sappho was

t at f the H n to A hrodite H. Ste a h o ym p , by ph nus, n 4 i i f reo l 4 . in his ed t on o Anac , to, 55 Subec quent editions of Anacreon contained other frag ri u to he i ludi e ments att b te d r, nc ng som that are e now known to b by a later hand . Fulvius Ursin us wrote some comments on those then known in the Carmina Novem IHustrium Feminamm u lis e at nt er 8v p b h d A w p, o, l568 . an am n Is. Vossius gave e ded tex t of the two ri i al n his e ition of a ull L p nc p odes i d C t us , ondon , 4 4 to, l68 . ’ But the first separate edition of Sappho s works a ristia lf was that of Joh nn Ch n Wo , which was i i 4to a H m r in 173 publshed n t a bu g 3 , and t e ri te u er an altere title two ears l p n d nd d y ater. ’ Wolf s work is as ex haustive as was possible at H f t e his date . e gives a ron is pi ce figuring all the known coins bearing reference to the poetess ; a life of her ri ten li e the rest of the trea w t , k tise, in Latin occupies 32 pages ; a Latin translation of all the quotations from or references to her in the Gree lassi s an ll th L k c c , d a e atin accounts of her t r h , toge he with t e annotations of most re ious riters and co ious no p v w p tes by himself, FVfi l ii 1 5 8vo L e zi 1810. It was pp . lx vi , 9 , , ip g, and dis!not do mu to on the old lin es , ch r fra men ts ol the knowledge of he g . V ge “ ” a musical scheme which seems more and of i it is ar than useful, wh ch h d i either the origin or the inte nt on . But nothing written before 1816 i n the Sapphic quest o . In that year We c pu b lished his celebrated refutation of the long- current s ainst a o Sa ho 01211 calumnie ag S pph , pp d from r z a prevailing P ejudice. In his eal to establish her character he may have been here and there to ex tra a a e but i is er led in v g nc , t c tain that his searching criticism first made it possible to ap been writte n since has succeeded in invalidating ai co lusio s s i ll h his m n nc n , de p te a t e onslaughts of Colonel Mure an d those few who sympathized with him

Consequently the nex t self- standing edition of ri a Frie ri eue Sa o sti . 1 pph , by Ch n d ch N , pp 06, 4 erlin 182 em o i the resul f to, B , 7 , b dy ng ts o the “ e r w f new d pa tu re, as ar in ad vance of its pred sors not in um rous ela ora ion b in eces c b b t , ut ’ critical ex cellence . Neue s life of the poetess was ( viii l PRE FACE

’ written in the light of Welcker s researches ; his purification of the tex t was due to more ao t f h a i ri curate s udy o t e nc ent manusc pts, assisted by the tex tual criticisms published by Bishop Blomfield the previous year in the Cambridge

’ Since Neue s time much has been written about a o for the most art in Latin or Germa S pph , p n. h f h x t an ll i n T e final revision o t e te , d co ect o of n i l ri to her all that can ow be poss b y asc bed , was

B r k in h oetae / r made by Theodor e g , is P I y wi r i — 24 of the t ir editio 8v G cac . 4 9 , pp 87 h d n, o, Lei zi 1867 hi I a e ere wit rare ex p g, w ch h v h , h

tion follo e . cep s , w d There is a noteworthy dissertation on her or Ko Alkd os and S a ho 8 life by Theod ck, pp , vo , r 862 in i the ar um n ts an Be lin , 1 , wh ch g e d con i f el er are mainl n or clus ons o W ck y e d sed, and ra e t mu t lo i al tail elabo t d wi h ch my ho g c de . Perhaps the fullest account of Sappho which i i has h therto appeared s that by A . Fernandez Merino a third edition of which was published rl la t ar a Ma ri a s e . rit in t d d e y y W ten Spanish, it discusses in an impartial spirit every question on rni a an is es ia l l c ce ng S ppho, d pec ly valuab e f r i r fer n o ts c0 pious e e ces . rofessor omenico om ar i h r P D C p ett , t e celeb ated Floren i e sc olar o w om t n h , t h I shall have occasion to refer ereaf r has r h te , ecently done much to { ix } i of Sapph c criticism .

but his acceptance of

ex tremes between two , h ollec an s ima side is so ard to c t d e t te , for differently constitute d minds to

But after all use the follow . , to

e t w et er the ure t i subj c , h h p h nk

it was platonic or not ; seems to me ” ’ n a o s oeti emi e e nothi g . S pph p c n nc

Those who wish to learn more about

Bibliography which I have added at the

“ to present the great poetess to in a form from which they can judge n for e l s s far as t at celle ce th mse ve , o h

Her more late i to erm Fre c talia an d n G an, n h, I n , d as well as En glish ; but all previous ( 8 1 PRE FACE editions of her works have been written solely f N ars or s olars . ow by schol ch that, through the appreciation of Sappho by modern poets and her ame is e omi da da more painters, n b c ng y by y seems time to s ow her as w ow familiar, it h e kn n to t ose who her to have bee , h have neither leisure nor power to read her in the tongue in

I have not concerned myself much with tex tual ism for do not arro ate an r f di critic , I g y powe o s cernm ent greater than that possessed by a Ber ere h is am li e k . e fi scholar k g Wh satis ed, I H r f r th le n . e o arn n conte t w ote e ed few, a d I only strive to popularize the result of su ch re his : s o i ee f n searches as to h w , nd d, so ar as I ca , that which centuries of scholarship have su c ceeded in accomplishing. he tra slati ns in T n o by Mr. John Add gton Symonds dated 1883 were all mad e especially is or in the earl r and for th w k y part of that yea , a e not ee e se ere li a s h v b n l wh pub shed . My th nk r l ue m a e a so d to Mr. Sy onds for much valuable criticism . The medallion which forms the frontispiece has een en ra e f t er b g v d by my riend Mr. John Co h e after h W bb, t e head of Sappho in the picture

Mr. L. lma m he a e a R . A ex i ite at t by A T d , . , h b d ” Ro al a e in 1 1 iii n m 88 as . x x a d y Ac d y , 0 p cc , now in meri trust A ca. I that my readers will E x i ] sympathize with me in cordial gratitude to both artist and en ra er to the one for his ermission g v , p , h r f li to t e othe or his fide ty .

HE NRY T .

’ 39, St . George s Road,

Kilburn ,

on n . L do , N W. LIFE OF SAPPHO

R ho alle erself Psa h APP O, w c d h pp a eolic dialect is said to in her own A ,

about the year 610 During her lifetime Jeremiah first began to prophesy (628 Daniel was carried away to and captured Jerusalem (587 Solon was

been r ni the fifth king , is said to have eig ng over

h f f hi h reli i n n w ro t e ounder o Bu dd sm , t e g o o p

tio of the n globe. of the events of the life of ShaIG pere ; it can hardly be ex pecte d that the lapse of twenty- five cent uries should have left many authentic records

ter al e i en e o i i h n v d c , up n wh ch b ograp y may rely, can be athered from her ex nt e in g ta po ms , such

[ 1 ] LIFE OF SAPPHO

ra hers no wor of here oul a e sur i cog p , d w d h v v ve d. Yet her writin gs seem to have been preserved in c till at least the third centur of our f ta t y era, or

Epicrates in his Anti- Lois (about 360 say ing that he too

n t b h com l tel Had lear y eart p e y all the song ,

Scaliger says that the works of Sappho and other lyric poets were burnt at Constantinople e in h ear 1073 in the and at Rom t e y , popedom I Cardan of Gregory V I. says the burning took u er Gre or Nazianzen a out place nd g y , b 380 A.. D. a boy that very many of tho works of the Greek

em erors and the ems of re r a p , po G go y N cians en

M . 2 i i. n . 4 2 t ( us cm p . ) th ks hey must all have

“ la r m ri Few ter a ma a s . g n indeed , but those, ” roses as the e Mele r r , po t age said , are the p ecious

verses the aeal of anti- paganism has spared to

’ Of Sappho s parents nothing is definite ly known. Herodotus calls her father Seaman I 2 ] m drmfi us, amd as he wrote within eme hundred and fifty years of her death there is little mason piled a Greelr lex icon in about the eleventh r i u h centu y an , g ves s t e choice of seven other ’ Her m ames . ot er s ame n h n was 0 161s . The celebrated E mstle known as that of S appho to

in the A en dix n hic pp , a d w h is commonly as be v d h h cri d to O i , t oug it is probably of a later ‘ “ e sa Sa dat , ys ppho was only six years old when the bones cf her arent athered u before p , g p their ” r fime, drank in he tears ; this is supposed to fer her father be in f re te . h e s , cause r 90 3 e sp ak

h has tw r r r n h S e o b othe s , Cha ax us a d Laric us ; in ee ames ius t Suidas d d n a third , E uryg , bu i is ow of noth ng kn n him .

an office only held by youths of noble birth (cf.

t i h 1 Prof . Domenico Compare t as lately ( 876) pub lisbed an esss y on the authenticity of this E pistle and on

' v its alue in elucidating th e hmtory of Sappho . After

i e f is in o ni e n n work 0 vid . cludes that it , his p i on, the g u o sem s un f But he does not , it to me, satisfactorily acco t or the fact that the entiie E pistle in question is absent fmm ' all the maker and better manuscripts of Ovid s Heroic

- it as un Ovidian twn centuries ago . [ 3 ] LIFE OF SAFPHO

139 whence it is inferred that 8a h fr. ) , pp o be

for a reat eum of m her frmn slavery g oney .

c Tadmon of am os ha and had on e served S , ving

us rrie n had children b says Charax ma d her, a d y her; but Herodotus only says that she was made

r t ri for a erson of very lovely , acqui ed gre a ches p ” n rt h r ains her condition . Out of a te th pa of e g fr 8 she furnished the tem le of ollo (cf. . 13 ) p Ap

1 Th ex a t site of aucratis cannot now be a er in e c N sc ta ed, but it must hs ve been somewhere near where Desook u ow

the Rosetta mou th of t Nil stands , on he e, some forty miles — F ' i fmm ths sea e oast . or centmies t was the onlv city in E gypt in which the Greeks wei-e permitte d to settle ae d

h uni in Aeolians t ere te d a sort of Hanseatic league , with

T lani0 n , which served as a tie among tbem . his rich

t bli w in v country, con ribute d to pu c orks Hellas, re cei ed f s u t m f political fugitives rom t hat home a g ss s, and ade li e

— model. The women and the flower garlands of Naucratis

[ 4 ]

LIFE OF SAPPHO

Mem is h l s o h ph ; t e eag e , oaring ver t e head of the i w om slia calls P m i i k ng, h A n sa m t chus , and who was a mi isteri us i e a he i d n ng j t c t t t me, let the fall The sa al i to his la . i nd n p k ng, struck with the beauty of the sandaland the sin gularity of the a i e cc d nt , sent over all Egypt to discover the oma hom it elo Th n w n to w b nged. e ow er was found in the city of Nau cratis and brought to the i he ma e her his ueen and at h ea k ng ; d q , er d th e so h s oes recte d , t e tory g , this third pyramid in

Sui ae sa s Sa o marrie one Cercolas d y pph d , a man of re t ealt ho saile from r g a w h , w d And os , ” “ and he a s she had a a ter him , dd , d ugh by , f named CleIs . In fr. 85 (and c . fr. 136) Sappho me tio s t is te r Clafs ame and O i n n h daugh by n , v d ,

f e of to , re ers to her. But the x istence such a r and th husband has been wa mly disputed , e name (Penifer) and that of his country (Virflia) are conj ect ured to have been invente d in ribaldry by the Comic poets ; certainly it was against the custom of the Greeks to amass wealth in one n country and go to seek a wife in a distant islad . The age in which Sappho fl ourished is mainly n t e aeus determined by con current eve ts . A h n or it l a tes the fat er makes her contemp ary w h A y t , h ho rei e o er L ia from 628 to of Croesus, w gn d v yd 570 Eusebius men tion s her in his Chronicle [ 6 ] LIFE OF SAPPHO for the year 604 Snides says she lived about — the 42nd Olympiad (612 609 in the time h ets l aeus Stesichorus and i of t e po A c , , P ttacus .

’ written in answer to Alcaeus addressing her

' ’ ' d' k i Ibr hox yva. ue ki x oueuie E ér doc,

F - i k w e dk é. s 06k » 1 1 . etam, a i claws,

Violet - ea i ure softl - smili a o w v ng, p , y ng S pph , I e i bu s want to say som th ng, t hame prevents me H cf . t e aeus sa s t at rme ( p . A h n y h e sianax , f f e cf r. s e o in an el gy ( . pok Sappho as be an he u o loved by Anacreon, d q tes from the

n x atal e of t i rela L a a , A C ogu h ngs ting to o ve, these lines of his :

And well thou knowest how famed Alcaeus smote

his hi h har the love- enlivened rin Of g p st gs, ’ And raised to Sa ho s raise the enamoured pp p note, Midst noise of mirth and jocund revellings

e tha ni htin ale of Aye, he did lov t g g song ’ i all a lover s ervour and h W th f , , as e un he l to madness Deftly att ed t yre , stung Th h en ious e e Teian hard wit v j alousy .

For h A n h rmin l ri er nacreo , c a g y st , wooed, And ain ould win with sweet mellifiu e f w , ous chim

Woul o ten Samoa le ve a d m d f a , n any a time I 7 J LIFE OF SAPPHO

’ From vanquished Teos ’ T bos i — and m the o viny Les sle, fro ’ L u m a h O er the blue ws ve, on ect c st is

a (Transl ted by J .

in his l a ho Diphilus too, p ay S pp , Archilochus an d Hippbnax as her lovers

n us ru entl m r . j oke , as Athe ae p d y re a ks of ese howe er was a on te m rar th , v , c po y an d it seems certain that Anacreon ll fif ears la er e er iehed fu y ty y t , n v set

fr. Sappho (cf . H lon she li e e o ell ow g v d w cann t t . “ ” tha r mr i c somew at old t y p p , h , that 5 to herself in fr. 7 , may have been The s r a out her rot er tive . to y b b h C Rhodopis wou ld show she lived 572 the year of the accessi i of E t u er ose k ng gyp , nd wh Rhodopis n erence An i scri i so strict a inf . n pt on on the

ir cent cf . sa s th d ury ( . p y s c s rei e o er the t e ia s Ari to le gn d v A h n n ,

placed between 604 and 592 It CB] ’ to this Ovid s assertion that she want

i . . 225 takes , p , the years to be the period in which Sappho

That shs was a native of Le sbos , an island in he e ea sea is u i ersall t A g n , n v y admitted , and all

r f resus a smaller Le t cou tesan o E , sbian ci y , to

n a he omi l n the calum ies , th t t C c poets so o g to whose good name her own contemporaries ’ f l ress t o aeus a her . bore witness ( . A c dd o , p “ in his Geo ra h sa s : Mit lene Strabo , g p y, y y [Mer v or Mun q ] is well provided with

h and o ntem e et t ers . o Men ; Alcaeus t po , h C t ersons fl ouris e a o porary with hese p h d S pph , who was something wonderful; at no period

even the least de ree could be who in any , g , ” f r tr e r compared to her o poe y. Indeed th glo y ( 9 3 LIFE OF SAPPHO

i of Lesbos was that Sappho was ts citizen , and f in t her t its chief ame centres the fac of celebri y. i i By its modern name M tilene , under the domin on h r the is lan of t e Tu ks , d l d Where burning Sappho oved an sung,

mainly kn own for its oil and wine and

l r e r u all most ce eb at d th o gh Greece , and Vergil f r i i es w ic traile li e i re e s to ts v n , h h d k vy on the

in the knowled e of what in her g , age , Lesbos and the Lesbians were ; j around her converges “ all we know of the Aeolian race . For a certain

in his S tudia-s o Greolo Poets first series f , , pp . 127 “ the Aeolians occupied the very foreground of Greek literature an d blamed ou t with a bril lianos of lyrical sple ndour that has never been s ere seems to a surpas ed . Th h ve been some

‘ thing passionate and in te nse in their tempera t w i ma e h em tio s f men , h ch d t e o n o the Dorian

h en tre of eolia r w h t e c A n cultu e , as t e island of overmas tering passions ; the personality of the Greek race burned there with a fierce and ste ady flame of concentrawd f eli Th e ng. e ena gres C10 ]

LIFE OF SAPPHO

n nd m re e a e ce o s sualit n o , a e d c d n t en y e sued. Several circumstances contributed to aid the i development of lyr c poetry in Lesbos . The and domestic freedom than was common in l wome were not o fi e to Greece . Aeo ian n c n n d he i onia s or su e te th i t harem lke I n , bj c d to e r gor ous discipline of the Spartans. While mix ing f l societ the ere l u ree y with male y, y w high y ed t e to ex ress t eir sentiments os ted , and accus om d p h

h i h un il in ee t e rese t t me . T e Les ia t , d d , p n b n

e forme lu s for the culti atio of ture . Th y d c b v n d ic e stu ie the poetry an mus . Th y d d art of

did t e o fi e thmn s an d diction . Nor h y c n n elves U nr s i to the scientific side of art . e tra ned by

d i they cultivated their senses an emot ons , and si All the l developed their wildest pas ons . ux u ries and elegancies of life which that climate and f s oul afl ord w the rich valleys o Le bos c d , ere at

rose and hyacinth spread perfume ; river- beds a l ze i h l r and wil ome ran e b a w th t e o eande d p g at ,

- w ere h lamen olive groves and foun tains, h t e cyc and violet flowered with feathery maidenhair; [ 12 ]

LIFE O F SAPPHO

epigrammatist in the Greek Anthology errprm ly ‘ states a she was urie in an eoli r th t b d A c g ave.

till aon for all the t s t at ai ' S Ph , my h h nata

and i si lo e h s insen bility to v , may have been a n H real perso age . e is said to have been a boat f i n f w . ho was man o M tyle e (cf r. endowed

beauty as a re ward for his having ferried her for h r ius cf . . 36 sa s e nothing . Se v ( p ) ys gave him ala te r x t e eff an bas bo of ointmen , th ect of which was to ma e all m n fall in lo e it h k wo e v w h im , of w om one w he writi as he di h , hom ng d about 4 n oes not me t re erself in 00 a . d na , h w h damair from the liff of Ie ucas on i er i c , wh ch S v us, quot in the aut orit of Me a er sa s the t g h y n nd , y e miile n was founded by Phao of Lesbos . His beauty and wer of i o asse po fasc nati n p d into a proverb. Pliny however says he became the object of ’ Sappho s love because he had found the male f h o root o t e plant called err/ag , probably our sea

ll i e a lo - o and t at t acte li e arm . h y , h d k v ch And

‘ S uch light as can be thrown upon the legend fre m r Comm ative Mythology , and from the possible ety md ogies d the namm of flappho and t hu M n J ear rather inconclusive shown b eone Modona in f ly , y L ' hi o F H s La Sqfl stories ( lorence, uman nature, however varies so litt le m a e to a e that think i , fro g g , I t better to judge the story as it has comc down to m than to re sort to the most erudite guessing . [ 14 ]

LIFE OF SAPPHO

b eo m lr Stra o, in his G g phy a eady “ says : Thm'e is

The rock of le ucas has upon it ll and the lea from it was Apo o , p ' ' r this it is said that st op love. Ih o n

n “r e on b haughty Phao , e d y

mainland and forms one of

anta known as S Maura, ofl f A arn n h coast o c a ia. T e

by those who

fatalto her life or to her summary of his works brfblon of Photi us, gives

much as mention the name of ' cumstantial account of Sappho ( 16 1 LIFE OF SAPPHO

the mo er o ular i ea is iefl fo n d n p p d ch y u ded,

u on his im ination for his facts i p ag , w th hie ” usual ex u isite umour as arto r q h , W n rema ks, in “ 3rd S c at the 23 . 2 1 1 . pe t or, Nov 7 , 7 1 Sappho ” “ he Les ia he sa s in lo e wit t b n, y , v h Phao n, arrived at the temple of Apollo habited like a i e n whi as sn br d , i garments as te ow . She wore rn r l n her head and r a ga la d of my t e o , ca ried in

ollo she hu her arla n n of Ap , ng up g nd o o e side al her on h er e his tar, and harp t e oth . She th n l tucke d up her vestments ike a Spartan virgin, anx ious for her safety and ofl ered u p vows for ar ire tl forwar s to the her deliverance , m ched d c y d h mo to r ere af er utmost summit of t e pro n y, wh , t s er rs having repeated a tan za of h own ve es, o r she re er lf m which we could n t hea , th w h se the rock with such an int repidity as was never before observed in any who had attempted that

late t at t e saw h r fall i to the sea from d h h y e n , . whence she never rose again ; though there were others who aflirmed that she never came to the

ottom of her lea he e b p , bu t that s was chang d i to a s a as she fe and e sa her n w n ll, that th y w h ri B ove ng in the air under that shape . ut [ 17 ] LIFE OF SAPPHO

whether or no tbe white nm and flutt ering of ber

n her m' whether she mi ht not upo , g really be

chol bird is s till a doubt amon the le y , g sbians. s he famous l ric o wh Alcaeu , t y p et , o had for some

found he ver enerousl lamente d her fall , y g y ,

It is w be note d mthis confiwfi on that even in historical timea the part rf the clifl of Santa “ “ ’ ” or Le kadi a h s L Maura v , S pp o eap to this day, was used e ere hr wn into t e s condemned to d ath w t o h es . used it is said to tie numbers oi The people , , birds to the limbs of the condemned and cover them with feathers to bre ak the force of their u If fall d n e ts to i t em . , an the s n d boa p ck h p

e sur i ere ar one . th y v ved , they w p d d

ersio was calle a o n r n eo or v n d Ph eth o Phao . Th d t of Kock (cf . Preface) is the latest ex ponen [ 18 ] LIFE OF SAPPHO

ie s and he us es m these v w , p h the to a very fan ci en t e en ad u i i ful ex t , v d c ng M nce as the sun and Britomartis as the moon to ex plain the

he t ic appear before t A t Comedy, about 395 ’ enturies af a ea more than two c te r S ppho s d th. And the Leucadian leap may have been as cribed

ex piato ry rite connecte d with the worship of Apollo ; the image occurs in Ste sichorus and a r and ma ossi l a e ee use An c eon , y p b y h v b n d by For i sta e en e i es a o Sappho . n nc , Ath a us c t p em by St esichorus about a maiden named Caly ca o in lo e it a ut E ua l wh was v w h yo h named th us, and prayed in a modest man ner to Aphrodite to aid her in becoming his wife ; but when the man s or e her erself f young c n d , she threw h rom a precipice : and this he says happened near t e aeus sa he r Leucas. A h n ys t poet rep esente d the mai e as ar i ularl m at she d n p t c y odest , so th was not willing to live with the youth on his own te rms but ra e os l i t be , p y d that if p sib e she m gh come the wedded wife of E uathlus ; and if that ere not ossible t at she mi t be release w p , h gh d from life c e nt re . And Ana reon; in a fragm p ser e He haestion sa s as if ro er iall v d by p , y , p v b y, “ Now ai risi run wit lo e i e from ag n ng I , d k h v , d v ” the e r i e r e L ucadian ock nto th hoa y wav . [ 19 ] The leap attaining the repoee l

Seeing that six comedies are known to have ' f been written undm the title o Sa ho cf . pp ( p . and that her histe ry fu rnished material for at least four m re i is not s ra e t at muc o , t t ng h h of their substance should in succeeding centuries enuine 1n a later have been regarded as g . and

The fer our of her l of the licentious dram a. v ove, n hc r f her life and the er fac of a a d t pu ity o , v y t woman having been tbe leader of a school of u could ot a e failed to a e poetry and m sic, n h v h v

’ Burn r . M. ouf b it. G c Sappho s time were , as ( e q m l r s to i. has s o in o ete o t a t . 1 4 p 9 ) h wn, c p c n

corruption ; just as the unenviable reputation of the Lesbians was earned long after the date of “ ” a I is not sur ris in writes Mr. ili S ppho . t p g, Ph p ’ his arti le S a ho in mit s Dictionar Smith, in c pp S h y “ i ra h t at the earl of Greek and Roman B og p y, h y have accepted a misrepresentation which the ” Gr l s h i en e The lic n e eeks themse ve ad nv t d . e c ’ of the Attic comedians is testified by Athenaeus

[ 20 ]

to the philosophers of Athens .

The names of many of her girl- friends (in firm) are eser e Th and pu pils (p afllrrpm ) pr v d. e m ost rin f Tales a e celebrate d was E m o , po tess of whose genius too few lines are left for us to

of her from this E pigram in the Greek Anthology

' h h l These are E rinna s songs : how sweet , t ough slig t For she was but a girl of nineteen years z Yet stm nger far than what most men can wfl te

(J . A. Sn ow s . )

f rs h f re e to er . h Probably fr. 77 O t e other h la of am l n t poete ss, Damop y P phy ia, o a word b oll ius of a a survives , ut Ap on Ty n says she

’ poems afte r her model. Suidas says Sappho s “ m a i s and frien s re r i i co p n on d we th ee, v a , Atth a, elesi a and Me ara nd her l T pp , g ; a pupi s were

olo o and E u ne f l l C ph n , ica o Sa amis . She herse f es prais Mnasidica along with Gyrinna in fr. 76;

to her in f 41 she i es at r e a fr om in . r. ; g b And d 70 h n fr an i refers to er . 58 r nt l , d aga n i , appa e y e er o O in r oici r h disc mfit e . f o j ng ove ur Gorg , I 22 ] hr p ase,

a of ll o ft str e I am we ry a thy w rds and so ang ways.

’ ' Anactoria s name is not mentioned in any frag

’ others plsee her in the front rank of Sappho s “ ” “ s intimates : what Alcibiades , he say , and ae rus ere o Soera Charmides and Ph d w t tes ,

fin r in L n . no er i a we he fr t d . esbia A h , D c , ( 78) f her in in ro praising or skill weav g eo nals. And

i en The ame is not r ser one of her ma d s . n p e ved

’ to the service of the Muses . The tex t ov id s

o to Phaon even if it be n uine is Sapph , ge , so

ating there of those she loved ; even the name “ ” f C aries he of her air ydno v in t MSS . Nor “ ” can o we tell who those other hundred maidens were whom Ovid makes her say she loved be Phaon satisfied her B fore heart. ut the presa vation of the names of so many of her assooiate s

’ Little more can he learnt about Sappho s “ fr life . 2 a l . 7 of ct ua In she says herself, I am n one of reve eful bu ot ng temper, t have a simple [ 23 ] LIFE OF SAPTHO

" Anti hs nes in his la Sa mind. p , p y ppho, is said by Athenaeus to have represented her proposing ri les l little did absurd dd , so the Comic writers u ersta her e ius Fr nd nd g n . . 79 is quoted by

r re als fr. 1 1 honou . Compa o and 31 for this testimony to the purity of her love for her girl

' “ frien a x afla o ds : wdw pd r is x afl apocs, untO the pure ll h re r a t ings a pu e . “ l in his P a r s P ato , h ed us , call Sappho beauti ” “ ” ful f the n , or sweet ess of her songs ; and yet ,

That held the fire etern al.

(Swms o m . )

“ ” The epithet beautiful is repeated by so many

E ven Ovid se s to beauty of her writings . em think that her genius threw any lack of comeli h e a la o e er t at if it ness into t e shad , ck , h w v , h , h ed not have esca ed the derision ad ex ist , could p s iall sin e Homer of the Comic writers, e pec y c iad 27 1 had cel rate the eaut of (Il , ix . 1 29 , ) eb d b y

s s the Alcaeus to Sappho quoted on p . 7 , how ’ sweetness cf her re on even if the e thet ex p ssi , m

‘ ’ W. Sappho s riddle is translate d in full by Mr. T. i “ ” H gginson m his Atlantic E ssays , p . 32 1 . [ 24 ] LIFE OF S APPHO for m (violet- weaving) cannot be replaced by i i let l s as ter m (w th v o ock ) , some M88 . Damocharis in the Greek Anth lo read . And , o gy, in an i m on a statue of Sa ho s eaks of ep gra pp , p i her is o c her bright eyes show ng w d m, and om ' her face tha o hm i pmes the bemlty of to t p d te.

“ - is the pride of the lovely haired Lesbian s. “ e n ell Philox enus calls her s eet Anacr o , as w as , w ” voiced (cf . fr. ' But though we know so little of Sappho s ers al r e h ole testimon of the p on appea anc , t e wh y

“ tr in i o ra h alls her a o er S abo , h s Ge g p y, c w nd ’ ful t i a rbv n i a and sa he h ng (Oabu d xp iu ) , ys “ n a who in an knew o wom n y , even the least ” e ree be om are t her f r d g , could c p d o o poetry

(d . p . Su ch was her unique renown that she was “ " “ alle The s c d Poetes , j ust as Homer was The

Plutarch speaks of the grace of her poems acting on her liste ers li e e e n k an nchantm nt , and says that when he read them he set as ide the drinking cu in er p v y sham e . So much was a knowledge at her writings held to be an essential of culture amo th G ng e reeks that Philodem us , a contempo ’ rar f y o Cicero s, in an Epigram in the Greek [ 25 J otes as the mar of an ill- i f AM , n k n ormed ’ woman that she could not even sing Sappho s

Writers of the Greek Anthology call her the m Muse il of ro ite and fi ns m , Ch d Aph d , numhng of the Gmees and Pemuasiom pride of

n ? Aeolia earth That mortal Muse, confemed

arm from whose li s divine r u ion W p Pe s as came,

Gmece to delight , and raise the 1e sbian name .

O e who ever t -f l y wine the three o d thread,

Ye Fates, why number with the silent dead

And Tullius Laurea

“ ” Say not The Lesbian poet ess is dead ; ' ’ Mm s hm ds this mound di d and morte ls work

’ But if thou lookest , for the Muses sake, On me wh the ine have r om all N galanded, ’ Know thou that I have Hades gloom wee ped ’ wn h No da s all lack the lyrist Sappho s name .

And Pinytus

’ tomb re here S h This veals w app o s ashes lie , ’ But her sweet words of wisdom ne er will die .

[ 20 ] LIFE OF SAPPHO

thoughtlemly proclaim the Muses nine ;

oan u (L N n s . )

was engraved on the coins of

J . C . Wolf describes six ex tant

in honour of her; he gives a

Perhaps the best rep

at the Ro yalAcad my et e r e ch d by M .

f forms the frontispiece o this work. A bronze statue of Sappho was splendidly

[ 27 ] LIFE OF S APPHO

hris o in e Greek A l b And C tod rus, th ntho ogy, cle scribes a statue of her as adorning the gymnasium of Zeux ippus at Byzantium in the fifth century kncwm painted a picture of her in the garb of a

Not only do we know the general wtimate of

il io sius of Hali ar a given in great deta . D ny c n ssus, to A hr d t f when he qu ot es her Ode p o i e ( r. l eaut of her describes at ength the b y style. ’ f of emetri is uote a r. Some D us praise q d s 124, but he also elaborately shows her command f I h fi ur r f rhe ri o a l t e g es and a ts o to c. What on i lutar ri n L g nus, P ch, and A stox e us thought of h r r f et a nde r. 2 ve summa ized u . The story

Plutarc in his Life of emetrius l h, D , te ling a story ’ of Antiochus (324 - 261 being in love with Stratonlce the ou ife of his fat er , y ng w h , and making a pretence of sickness says that his the passion he was endeavouring to concealby observing his behaviour at the entrance of every “ isito r to his s v ick chamber. When others eu ” “ tered sa s l r h , y P uta ch , e was entirely unaf fected but en Stratonice ame in as she ; wh c , ofte n did eit er alone or it eleu us his fat er , h w h S c [ h , king of S ria e y ], he show d all the symptoms described 28 J

LIFE OF SAPPHO

complete poems must have h e of e wor of ll h lh t e po ts th ld , a t e i rstriom artists of all literaturea Sappho is the one whose every word has a peculiar and unmistakable per fume s l of lu r e tio , a ea abm te pe f c n and illimitable r her art she was g ace. In unerring. Even

Whether addressing the maidens, whom even in E l sium as H sa s a h c ul y , orace y , S pp o o d not

on eart ex iste u i nfi es th h d, b t wh ch i am e hearts f ts ro i eir s of slee o noblest poe , bb ng th eye p, and giving them the bitterness of tears to drink

s arkles of Greek fire Which still, like p , ’ r ir Burn on through Time, and ne e ex p e, are the ultimate and finished forms of passionate on s to ases and lazi ru ies utterance, diam d , p , b ng b , in which the fire of the scil is crystallised for and with richer and more ardent natures [than thu s of Horace and Alcaeus]: they are endowed wit a se sualit more with keener sensibilities , h n y t emotio noble because of its inte nsity, wi h ns i a ee er fa ult of t ou t more pro found, w th d p c y h gh , ‘ that never lows itself in the shallows of Stoic [ 30 3 ’ urea a e ta e but sim l and x ~ Epic n cc p nc , p y e qui n h fa ts of site ly appre he ds t e c human life .

r l be omitte . ea i of hi spirit , can ha d y d Sp k ng s “ poem Anactono he says : In this poem I have

i and ee ens i to es ir hardens nto rage d p n d pa .

The key - note which I have here touch he “ ru lo si e a o. continues , was st ck ng nc by S pph We r t are om elle u in England a e taugh , c p d nder s o rue and to re ea a penaltie to learn, to c nst , p t , s verses of that supreme poet ; and I at least am

te ul f r the rainin . I have ished gra f o t g w , and I en o e have even v tured to h p , that I might be in time competent to translate into a baser and late r language the divine words which even when a o u d not bu t r i b y I co l ecogn se as divine . o f e r That h pe , i inde d I da ed ever entertain such a o e f h p , I soon found allacious . To trans late the two odes and the remaining fragments of Sappho is the one impossible task ; and as witness of this l will call up one of the gre atest ‘ ’ amo a — r his ng poets . C tullus t ranslate d o as ’ countrymen would now say traduced the Ode — to Anacto ria E ls E mma» : a more beautiful ( 31 J LIFE OF SAPPHO

fi anslation there never was and will never be ; e ree it is l but compared with th G k , co ourless and

t ne set i s ea by ale rations . Let anyo aga n t ch ot er h r s as Lati and Gree and h t e two fi st tanz , n k,

not hope to su cceed ; I tried inste ad to repro duce in a diluted and dilate d form the spirit d a poem which could not be reproduced in the o b dy . ‘ ‘ Now the Ode E l: E pwpévav the Ode to ’ h Anactoria (as it is named by tradition) , t e has in the whole world of verse no companion an d no rival bu t the Ode to Aphrodite has been twice at least translate d or ‘ r h is h t adu ced . t e best (and bad t e est of t eir a ilit t e i olas oileau b ) h b y, h y [N ch B

’ into bad Fre nch and bad Englis h the very

d i l might do it better I could not o t wel , I

of the fragmen ts which the Fates and the Chris tians h I id as ave s . ha e not sa pared us v , sweats and swoons at eight of her favourite by the si e f a I a a stai e from tou d o man . h ve b n d ch in on su ils for t is r n : I felt g ch deta , h easo that [ 33 ] LIFE OF S APPHO myself incompetent to give adequate ex pression in E nglish to the lite ral and absolute words of Sappho ; and would not debase and degrade

dee l than I do the inade uac f p y q y o my work.

‘ could onl l I is as n I y rep y, t ear as I can come ; ’ and man can me l r H no co c ose to he . er re maining verses am the supreme succesa the

hem m ex prem and mprem nt not the poem but h I n nk i s t e poet . did ot thi t requi ite to dis

h ri in H r fallen back upon t e o g al tex t . e e and not sa I have rendered in there, I need y, to r f h I h E nglish the very wo ds o Sapp o . ave tried also to work into words of my own some ex pres

leftier sights and sounds — how they seem akin ‘ mselves all air a to fire and air, bein g the nd ’ h r in h As fire ; other elernent t e e is none t em.

put into her mouth at that point only where l in affection in a er p easure culminates pain , ng ,

’ and demre in despair — they are to be taken as [ 33 ] spirit finds time to breathe and repose above all f he r b l e vex ed senses o t wea y ody , al bitt r labmue ’ of the revolted soul; the poet s pride of place is

me who is es to u ers n . No one w h nd tand

' Sappho can afiord to neglect a study of the pom

The Gre ek comedies relating to the history of a o referre to on re ious a es ere ll S pph , d p v p g , w a

o as h Mi le me kn wn t e dd Co dy, two centuries afte r her time (40 4- 340 The comedy d

eo le rat er t a i i i uals to ri i p p h h n nd v d , diculng sto k to ri h s e c characters , c ticising t e yst ms and merits of l o ers wri phi os ph and ters, to parodies

subjects . The ex tent to which the licence of the Comic writers of that age had reached may be j udged from the passing of the law referre d to on a re ious a 2 - p v p g e (p . 1) m) ad v m um z

ill- on eale ri rs f c c d disguise . W te o such a tem per were obviously unfit to hand down unsullied ’ a c ara ter li e o s h c k Sapph , powerful though their genius might be to make their inventions seem C34 ] more tme than actual history to make the

S appho was the title of comedies by Ameip sias m is An ti hi nes Di hil s E hi , A ph , p , p u , p ppus, ocles bu er littl is o of ir and Tim , t v y e kn wn the Of Amei sias and hi ccmtents . those by p Amp s f s e Athe only a single word out o each urviv s . naeus quotes a few lines out of those by

refers to that by Diphilus for his use of the name of a kind of cup (per m s -f p s) which was used to drink out of when men had was hed their

nd Hi n cf . 8 as lo ers of Archilochus a ppo ax ( . p ) v Of a n ti hanes who s the Sappho. th t by A p , wa most celebrated and the most prolific of the f the Mi le me playwrights o dd Co dy, we have, e s lo er as a e res r again in Ath naeu , a ng p s g p e ved ;

ter not the iloso her ea h rote a Comic wri , ph p ) c w haon Of t at b Anti hanes but play called P . h y p ’ r i l s r er three wo ds rema n . P ato d ama is sev al t e s but o nl en times quoted by A h nae u , y wh he is

[ 35 ] LIFE OF SAPPHO

f r the sake of i r M viously o ts coa senw . enan der wmte a play cafled le umdsq and AntL ' ’ a le ad An phanes one c l d Leuc eus . tiphanes play

of a nin Some lin logue se so gs . es out of Menan ’ r s e dia are uote d a de L uca q bove (p . 16) from i is referred Strabo, and t to by several authore for the sake of sorne word or h as v p r e ; Ser ius , ’ cmn men in on Ver l s A n id i 4 t g g i e e , ii . 27 , gives

ic is me ntio e e 14 wh h n d abov , p . . Su ch is our knowledge of the Cornic accounts ’ ' of Sappho s hmto ry . When we con sider the

accounts which seem to have originate d in su ch

have appeare d in E nglish during the last few

h ch b the la e Mrs. E elle years, one of w i , y t st Lewis has been translated into

e most cele tion on the Athenian stag . The ne o er and one of onsi era le brated o , h wev , c d b “ ” ea t rs o Lille the u uist it rs b u y, by J hn y , E ph ;

w l is alle Queen Elizabeth in 1584 . The ho e [ 35 ]

The uee of Ro u a ia u er her Q n mn , nd m m dc “ ” lume of r e o p Ca m n Sylva, is h wever the most distinguished among modern poets who have ide lis h f B a ed t e li e of Sappho . ut her poem

more to its rich poetic charm than to the act ual facts of the Greek sto ry ; in it the Lesbian seems

to live in the a of to - da Germ ny y.

lt o h so li tle of a remai s h A h ug t S ppho n , er

“ ” ri er e in - n s if e e w t of W dd g S o g , we may beli v Hi r r n er li me ius (cf . f . a d th e is ttle doubt

a ual r s e fro ers . e r he ct ly t an lat d , m h M nande t

in which he says she called upon Artemis and r f er fr 6 Aph odite rom a thousand hills ; p haps .

Artemis is said to have been imitated by Damo h of he as o e la . S w n l re rd p y ( p . a l sides ga d burns makes her sing of herself

M b y lood was hot wan wine of love , ’ And m son s sound the sound thereo y g f, of f The sound the delight o it .

i and le es a i es Ep grams E gi , I mb cs and Monodi , [ 38 ] LIFE OF SAPPHO

h is ls id h ri s e a o sa to ave w tten . Nine books of her l ric Odes are said to ha e ex i b y v sted, ut it is uncerm how t e ere o h y w c mposed . The imita tion s of her style and metre made by Horace are to o well lmown to require more than a psss

l ota his C . iii 2 n b y arm . 1 , Miserarw n est neque

m ar s o e to her fr. Hora e loo e f c p 90 . c k d orward

the irls of her n 1 g own cou try (Cam . ii . 3, 14

i St ll breathed the love, still lived the fire

am . (C iv. 9,

sa s t at amaeleo one of the Athenaeus y h Ch n , is otle rote a oo a out a o disciples of Ar t , w b k b S pph ; and Strabo says Callias of Lesbos interprete d her n er he So ist use to le ture songs . Alex a d t ph d c o of Stratonica in the rei n on her, and Drac n , g e t r n her metres H o omm n a o . of adrian , wr te a c y ect the form She wrote in the Aeolic dial , of

Horace u A quaint mediaeval commentato r on , q ote d b s o Corn e tti sa this ss e uorum y Profe s r par , ys pa ag (q ’ S appho puellia dc popular-flirts ) refe rs to Sappho s com

laini even in d es of her le sbian ellow- maidens p ng , Ha , f for not loving the youth with whom she was herself so much in love. [ 39 3 LIFE OF SAPPHO

f he accen t and throwing back o t , the use of the digamma (F) and of many forms and words u n ordinar Attic Greek all tes if to known to y , t y this . to Theocrltus ls as ri e cf fr. Three idy c b d ( . 65) are

eoli oets and the 28th sa s rof s the old A c p , , y P es or “ is an ele ant little a w to an i or Mahafiy, g dd v y s i le i the oet was se i as a resen t p nd wh ch p nd ng . p

fe of his si ian - frie i ine of to the wi phy c nd, N k Cos ,

poem of Sappho .

for re itation it the aid of musi ere c w h c ; they w , ' “ in fa t to u ote rofessor Mahafi a ai the c , q P y g n , earliest specimens of what is called in modern h n or allad in i days t e S o g B , wh ch the repetitio n of short rhythms produces a certain pleasant m t onotony, easy o remember and easy to u nder ” sta nd . ’ What Melic poetry like Sappho s act ually was ’ is best comprehended in the light of Plato s de finition of melos t at it is , h W

to her the i entio of the Mix o- L ia nv n yd n mode . Since all Greek modes were alike ex cept as to itc p h, Mr. William Chappell thinks the plain I 40 ] LIFE OF SAPPHO

she s softl and la ti el and a ang y p in v y, t a higher pitch than any of her predecessors } All Greek musi orres o s to our iato ic scale i c c p nd d n , w th out the semito es — to the w ite e s in fa n h k y , ct,

sio s of the iato i s ale i to ertai re i n d n c c n c n g ons .

The Mix o- Lydian mode was the scale of our G mi or all ree s ales r or scales n ; G k c we e min , and

had se s . e the n ere all minor venth , t . seve ths w all l l h l a who e tone be ow t e octave . It was caled hi and is now known as the Seventh of the E ccle as ic r re ori si t al o G g an Modes . The more cele brate d ins tances of the use of this mode in

’ modern church music are Palestrina s Mime

i in he man r h g ven t Ro G adual, and t e Serum melo of 'Sanctorum mef itis ri in dy p nte d the Rev. ’ H m e s H o T . el er ymnal N ted. The subjoined ’ ex ample of it is given in Sir George Grove s Dic

r Cha ll has be kin n ou h to wri M . ppe en d e g te to me on i ub in addition to what a ears in his i or o th s s j ect , pp H st y f

[ 41 ] together with - a te chnical description of its con

o a us Sapph is said by Athen e , quoting Menaech mus and n to ha e be Aristo x e us , v en the first of

the Gree oets to use the Pektis m n i a k p ( i s) , forei instrume t of u ertai fo gn n nc n rm , a kind of fr w i ar of . was h p ( . h ch played by the fingers

lainl ro for Mr W p y w ng, . m. Chappell has shown that any instrumen t which was played in octaves as called ma d w a gadis , an when it was in the form of a lyre it had a bridge to divide the strings into tw arts in the ratio of 2 to l so that the o p , , short part of each string gave a sound just one n r a octave higher tha the othe . S ppho also men in f 54 he Barbmos or H r os r. 1 t m an tions ( ) e , d the Sarbito s or Barhltoe inds of many- fi ringed

e s in which Sa ho w As to the mefi pp rote , it is

They are discussed in all tre atises on Greek or

great length in his edition of Sappho . Sumos it to say that Bergk has as far as possible arranged eir r the fragments according to th met m, of which I have given indications often purposely general — the arious i in the headings to v d visions . The metre commonly called afte r her name was prob I 42 J LIFE OF S APPHO ably not invente d by her; it was only called se of her fr ue e f Sapphic becau eq nt us o it . Its s he is made up thus

U V

llis in the refa e to his tra s Mr. Ro binson E , p c n es some ex am les f lation of Catullus, giv p o Eliz a bethan renderings of the Sapphic stanza into i re eats its r thm to English , but noth ng p hy my

me n t u All the night sleep ca o pon my eyelids, h ew nor shook nor un closed a eather S ed not d , f , Yet with lips shut close and with eyes of iron

Stood and beheld me.

’ With such lines as these ringing in the reader s r he n almost ear a e ea s, ca h S ppho h rself singing

Son s that move the h r f h g ea t o t e shaken heaven , Son s that break the h of th g eart e earth with pity,

Hearing, to hear them .

’ In the face of so much testimony to Sappho s e ius and n g n , i the presence of every glowing or of ers t at has een s are to w d h h b p d us, there is no need for me to panegyrize the poetess whom the whole world has been long since con [ 43 ] LIFE OF SAPPHO

u r ll a tente d to hold witho t a pa a el. What S ppho r ear su u allen e fame we can w ote, to n ch nch g d , only vainly long to know ; what still remains for us e h to m to judg er by, I y

SAPPHO

r et r a éws bui’ ct x al 1 dp al dx i y , x E , ’ er an d Mod el at (R Bé pa m) Béx , ,

t r a éws nh at at be m) (fille , x d fi

swim wéhmaa.

m ahen' dv 66 N wou W e no; Kai vi , x

baaa bé ol réheaaat és pepmvdv, p

‘ ’ t réheaov ab 6 abr a 0bum lpéppe ,

abpuax os éaao .

red throne dau r o Immortal Aphrodite of the broide , ghte f

Z eus weaver o wiles I ra thee break not m s irit with , f , p y y p

distress ueen . But come hither ever anguish and , 0 Q , if

m a ar l avin before thou didst hear y voice f , and listen, and e g

’ r s olden house camest with a a thy fathe g chariot yoked, nd f ir

r la in t fl eet sparrows d ew thee, f pp g fast heir wings around the

rom heaven throu h m dark earth, f g id sky. Quickly arrived

b ss one smili i they; and thou , le ed , ng with mmortal counte nance didst as k What now is be h , fallen me, and W y new I “ and hat I in m m r call, W y ad hea t most desire to see. What

Beauty now wouldst thou draw to love thee? Who wrongs

hee S a ho? For even i s ies she shal o o n t , pp f he fl l soon f ll w, a d i she re ects i ts shall f j g f yet give, and if she lo ves not shall ” soon love however loth. Came I a , , pr y thee , now too, and r ase me rom crue r ek f l ca es , and all that my heart desires to

accom ish acc m lish th and o ou be th se m all . fl , p , y lf y y IN SAPPHIC ME TRE

A HYMN TO VE NUS

' f 0 Venus , beauty o the skies , T h m h u o w o a t o sand temples rise, Gail in ntle smiles y false ge ,

Full of love- perplex ing wiles ; O odd rom m heart r m v g ess , f y e o e The n wasting cares a d pains of love.

If ever thou hast kindly heard A son in di ress err g soft st pref ed, ro iti m tune ul v P p ous to y f ow, O en l h m g t e goddess, ear e now. D i h escend, thou br g t immortal guest, In h h m n all t y radiant c ar s co fessed.

Thou once didst leave almighty Jove And all the golden roofs above : Th h e car t y wanton sparrows drew, Hovering m air they lightly fl ew As to my bower they winged their way in I saw their quiver g pinions play .

The birds dismissed (while you remain) Bore back their empty car again : k Then you, with loo s divinely mild, In v e ure m every hea enly f at s iled, An ne m l m e d asked what w co p aints I ad , And why I called you to my aid?

What r nz in m bosom r f e y y aged, An d by what cure to be assuaged? Wh oul at gentle youth I w d allure, Whom in my artful toils secure?

Who does thy tender heart subdue, ho tell m h Tell me, my Sapp , e w o? [ 47 ] SAPPHO

hou h now he shuns th lon in T g y g g arms,

' hou h now th ofl erin s h i T g y g e desp se, He soon to thee shall sacrifice ; hou h now he ree e he soon h T g f z , s all burn, And be h vi im t y ct in his turn .

Celesti al visitant , once more Th need ul resence im y f p I more . In it come and case m p y , y grief, Brin m distem ere g y p d soul relief, ’ Favour th su lian y pp t s hidden fires ,

AMBROS E u m P ps , 1711 .

TO THE GODDE SS OF LOVE

0 enus dau hter of the mi ht ove V , g g y J , M m s f ost kn o wing in the y tery o love, Hel me oh hel me uickl send re lie p , p , q y f, . ' fl eart b h And su er not my h to reak wit grief .

v hou m hen ra If e er t didst hear e w I p yed, ’ C m n to th Sa ho o e ow, my goddess, y pp s aid . risons used su h avour hast thou shewn O , c f , ’ h m n h From eaven s golden ansio s called t ee down .

she m in h r n car See, see , co es e cerulea ,

Passing the middle regions of the air. M k h h r imble a ret h i ar ow e n sp rrows st c the w ng, h i And with uncommon sp eed t eir M stress brin g .

Arriv an arrows loo has tens me ed, d sp sed, to ; i b ? Then smiling as ks , What s it trou les thee [ 48 ] IN SAPPHIC ME TRE

h ll ho W y am I ca ed? Tell me what Sapp wants . kn n f all m lain ? Oh, ow you ot the cause o y p ts

burn and onl love re uire I love, I , y q ;

And n othing less can quench the raging fire . what ravin lover shall ain ? What youth, g I g Where is the captive that should wear my chain?

h ho is this in rate Alas , poor Sapp o, w g rovok hee so for love ret urnin hate? P es t , g Does he now fl y thee? He shall soon return ;

ursue thee and with e ual ardour burn . P , q

Would he no presents at thy han ds receive? v He will rep ent it, and more largely gi e . The force of love no longer can withstand ;

He must be n d wholl at th command . fo , y y

When wilt thou work his chan e? Now en us ree t g , V , f , Now ease my mind of so much misery : In this amour my powerful aider be ; k h b Ma e aon love ut let him love like me . P ,

HE RBE RT 1714 . ,

HYMN TO VE NUS

Immortal en V us, throned above In radiant beaut child of ove y , J , O skilled in every art of love And artful snare ; Dread ower to whom bend the kn p , I ee, Release my soul and set it free From bonds of piercing agony An d gloomy care . [ 49 ] SAPPHO

’ Yet come th sel if e er beni n y f, , g , Thy listening ears thou didst in cline T m h o y rude lay , t e starry shine ’ o urt l vin Of J ve s co ea g,

Thine own immortal birds that bear hee s i t to h h mi dle T w f eart , t e d air i b W th right wings cleaving . Soon the were s ed and thou most bl y p , as t, I hin b n t e own smiles am rosial dressed, Didst ask what griefs my mind oppressed What mean t my song What end my frenzied thoughts pursue For what loved youth I spread anew M amorous nets o Sa h h y Wh , pp o, w o Hath done thee wrong? h h h fl h ’ What t oug e y, e ll soon return Still ress th i ts thou h no he s um p y g f , g w p ; ’ H n eed ot his coldness soon he ll burn , “ E ’ h ” en though t ou chide . An i ho h r ? d sa dst t u t us , d ead goddess Oh, Come then once more to ease my woe ; Gran all and th reat sel besto t , y g f w, My shield and gu ide ! OHN HE RMA ME RI ALE 1 J N V , 833 .

eauti ul- throned immortal A hrodite B f , p , u h r f Z us uiler im lore thee Da g te o e , beg , I p , n th rin and n i h Weigh me ot down wi wea ess a gu s , O thou most holy l

if ver tho in kin Come to me now, e u dness ke t m words and o ten hast thou hearken Hear neds y , f ed in and comin rom the mansions olden Heed g , g f g h reat Father Of t y g , I 50 J IN SAPPHIC ME TRE

h iot borne b th most lovel Yoking t y char , y y y

b - d inio Consecrated irds, with dusky tinte p ns ,

Through the mid- ether

S i tl the vanished leavin thee w f y y , g , O goddess, milin with ace immortal m its beau S g , f ty , A kin h rieved and h m s g w y I g , w y utter longing I had dared call thee ;

Askin what sou t thus ho el in in g I gh , p ess desir g, il ered in brain d s r W d , an p eading nets of passion “ Alas for hom? and saidst hou hee? , w t , Who has harmed t “ O my poor Sappho !

ho h n h ies rel n he h ue thee T ug ow e fl , e o g s all purs ; F arin h i he in turn h brin em e g t y g fts, too s all g th ;

vel - to- morro he hall oo hee Lo ess to day, w s w t , “ ” Though thou shouldst spurn him .

hol A hr ite ! Thus seek me now, 0 y p od m r n uish ive me all ask for Save e f om a g , g I , h hi e shall be the l r Gifts at t y hand ; and t n g o y, Sacred protector!

T . W . Hroomsozs, 1871.

- ess one A hrodite O fickle souled, deathl , p , h f e ver of wiles ra thee Daug ter o Zeus, w a , I p y , t never with an s an d bitter Lady augus , p g Anguish affray me ! ut hith r come o ten as erst with avour B e f , f in i i i ull heedin My vocat ons p t f y g , ’ h ire s l n abode thou camest Leaving t y S go de ,

Down to me sw din g . C51 ] SAPPHO

Yoked to thy car, delicate sparrows drew thee

’ ’ From heaven s height throug h middle ether s liquid

i h u i i i Soon they arr ved ; t o , O d vine one , sm lng rom that countenan all imm r al Sweetly f ce o t ,

From the bright portal?

t m wild u uished for n - s ric ? Wha y so l lang , fre zy t ken “ Who thy love now is it that ill requiteth Sappho? and who thee and thy ten der yearning Wrongfu lly slighteth? fl h l th Though he now y , quickly he s a l pursue ee Scorns he thy gifts? Soon he shall freely ofier h n t? Soon even wert u unwillin Lo ves e o , tho g, ' r h Love shall he p o or. me to me then loosen me rom m tormen t Co , f y , ’ m heart s wish unto ulfilmen uide h All y f t g t ou, Grant and fulfill And an ally most trusty

Monnron oan m o J W usn, in the ' Gentleman s Ma a in 7 g z e, 187 .

Child of Zeus wile- weavin su lica e thee , g , I pp t , Tame not me with an s of the heart dread m s p g , i tress ,

Nay , nor with anguish . B me h u if s ut co t o , ers t in the day departed h u didst lend i e to m ta T o th ne ar y lamen tion , And rom far the ho use of h sire desert in f , t y g , Camest with golden Car yoked : thee thy beautiful sparrows hurried

[ 52 ]

For l beheld in sleep the lig ht that h mu m m mm m m m

v f Saw in a as buming flame rom crown to fest, Im ish b h mr a le, upon er storied seat ;

A mind of many colours, and a mouth Of ma tunes and kimes sh b ny ; and e owed, Wrth all her subtle alo faoe laug hing ud,

” Sa ho? b h — pp ut t ou thy body is the song, Th mouth the music thou art more than l y ; , Thmxgh my voice die not till the whole world die

h Ay , wilt thou slay me les t l kiss t ee dead?

f f th E ven she that flies shall ollow or y sake,

And she shall give thee gifts that would not take,

“ When thou wouldst not — whea ould not kiss thee l i Anactor a . , p 67 f.

O thou of divcrs ' — ea - d lo now D thlecs, God s daughter subac smdc , , fli ht Now too the song above all songs, in g i h ’ H g er than the daye tar s heig ht , And sweet as soimd the mo ving wings of night l

' m s - m m on richly worked throne, is by some

- read m of v wiles su bt i . m ” full arious , le m nded £ 54 ] N SAPPHIC ME TRE

o the iver - c r Thou f d s olou ed seat behold, Her very song of old ! ’ ss - O deathle , O God s daughter s ubtle souledt t t 0 t t i O 0

close cra tswoman I beseec Child of God , f , h thee; a break nor Bid not ache nor gony master, irit Lady, my sp .

of H in Dionysius alicarnassus, writ g at Rome about 25 uotes thi commonl called The e to A hrod q s, y Od p ite , as a perfect illustration of the elaborately finished style f ho in h o poetry, s wing detail ow its grace and beauty lie in he subtle harmon t n h t y be wee t e words and the ideas . f Certain lines o it, though nowhere else the p reserved by Hephaestion and other authors. SAPPHO

E 2 ]

alveral po t xiivos loos 0éoum '

i v a é avr rat pye dump , b n s v los

év t x al aalov i v c wab lf e , wh d he

aas inrax obec

a e b 7 6 o dv x l yehalaas lu p ev, n t a x aphlav év ar ifl eatv ér rbaaev'

i a x va (is qu p ebtbov fipox éws s, db s " obbév $1 elx et ’ ’ “ ‘ ér rov 6 dhhd rap uév ywaaa Za ye, h

r ab uca x pdi iriip br aiebpby ax ev, ’ ’ re ' t ém b bu r d ao t 6 obdév 6pm , pp u ’ flew ; 5 hxovat . ’ d i b o it é p. 15pm x ax x éer at , rp u s

r daav h r a 6G 1rola ype , x hwporép s ’ t ' hat , reflvdx nv 6 6Myw

¢alvoy at [dhha].

N d r dv rbh aro 61rd x al r év r a . u v, [ n j

That man seems to me o ods w o sits in th resence peer f g , h y p , and hears close to him thy sweet speech and lovely laughter; i that ndeed nwkes my heart fl utter in my bosom. For when

I see thee a l I but ittle , have no utterance left, my tongue is br a twa a tle re has m oken doum, and str igh y sub fi run under y skin m es I have no i ht m ears rin t , with y ey s g , y g, swea

in m bod I m r bathes me, and a trembl g seizes all y y; a pete

m ness ittle te than grass , and seem in y mad l bet r than one

B r since one so oor dead . ut I must da e all, p [ 56 ] IN SAPPHIC ME TRE

The amous imitation of this ode b f y Catullus, u . , Ad

lle mi ar esse eo vi ur I p d det , lle si fas est su v I , , perare di os, Qui sedens adversus identidem te Spectat et audit Dul rid n ce e tem, misero quod omnia E ripit sensus mihi : nam simul te, esbia as ex i nihil r L , p , est supe mi O t t t t

in ua sed tor t tenuis sub L g pe , artus Fla m dem n ni u m a a at, so t suopte Tintin ant aures , gemina tegtmtur mi Lu na nocte .

tr b anslated . . E . n is thus y Mr W Gladsto e, M.P. :

Him rival to h t e gods I place, Him lo tier et if lo tier be f y , f , Who esbia si be ore th a , L , ts f y f ce, Who listens and who looks on thee ;

n e thi h Thee smili g soft . Y t s delig t Doth all my sense consign to death ; n h For when thou dawnest o my sig t , fli m labourin b Ah, wretched ! ts y g reath .

Sub l hi My tongue is palsied . t y d Fire creeps me through from limb to limb My loud ears tingle all unbid :

Twin clouds of night mine eyes bedim.

Blest as the immortal gods is he, The uth who ondl si b th yo f y ts y ee, And hears and sees thee all the while l k Soft y spea and sweetly smile . [ 57 ] SAPPHO

Twas this deprived my soul of rest , And raised such tumults in my breast ; hil a ed in t n rt t For w e I g z , ra spo tos , b h ne m i w My reat was go , y vo ce as lost

My bosom glowed ; the subtle flame Ran quick through all my vital frame ; ’ O er my dim eyes a darkness hung ;

My ears with hollow murmurs rung .

In dewy damps my limbs were chilled ; My blood with gentle horror thrilled ; My feeble pulse forgot to play ;

ainted sank and died awa . I f , , y AMB E am p ROS P s , 1711 .

Th tal ha unerrin move y fa s fts g ,

bow be ore thine altar ove . I f , L I feel thy soft resistless flame Glide swi t throu h all m vital f g y frame .

F r while az e m bosom o o I g y gl ws, M b ood in tides im tu y l pe ous flows, H ear and o altern a ope , f , j y te roll, And oods of trans orts whelm m so fl p y ul.

My faltering tongue attempts in vain In soothing murmurs to complain ; Th ton e som y gu e secret magic ties , k Thy murmurs sin in broken sighs .

Condemned to nurse eternal care, An h d ever drop t e silent tear, nh unkn i h U eard I mourn , own I s g ,

d liv un itied die . Unfriende e, p

' r . Su onnE rr, in Rode ick Random, 1741 [ 58 ] IN SAPPHIC ME TRE

Bl h est as t e immortal gods is he, The outh whose e es ma l k on y y y oo thee, ’ Whose earl thy tongue s sweet melody

May still devour. h i ! T ou sm lest too sweet smile, whose charm H r k as st uc my soul with wild alarm, An when e bi i d, I s e thee, ds d sarm

Speechleu I gone : the flame within ’ Runs swift o er all my quivering skin My eyebalk swim; with dizzy din r My b ain reels round , And coll drops fall; and tremblings frail Seize every limb ; and grassy pale I grow; and then together fail B h oth sig t and soun d . oa HE M J N R AN MERIVALE,

eer of he th me the bli P gods seeme to , ssful Man who si d azes at thee be ore him ts an g f ,

Close beside thee sits, and in silence hears thee

Silverly speaking, ’ h u hin lov s low lau ter. Oh this th nl La g g e g , is o y Stirs the troubled heart in my breast to tremble ! r houl bu li m m n Fo s d I t see thee a ttle o e t, Straight is my voice hushed; Y n b n n h h ea, my to gue is roke , a d throug and throug me Neath the flesh impalpable fire runs tingling; o hin see mine f N t g eyes , and a noise o roaring Waves in my ear sounds ; Sweat runs d in rivers a r i own , tremo se zes All m lim y bs, and paler than grass in autumn, Cau ht b ains of men i h al r g y p ac ng deat , I f te ,

s - n Lo t in the love tra ce.

' Ann 1 . J . maroN Sn ow s, 883 [ 59 ] SAPPHO

Compare Lord Tennyson

I watch thy grace; and in its plass h My eart a sham ed slum keeps, While I muse upon thy fu n ; And a languid fire creeps Th rough my veins to allmy frams, Dissolvingly and slowly : soon

weth h Flo ; and t en , as in a swoon,

mul My tre ous tongue fultereth, lose m colour I y , I loo my breath, I drink the cup of a ooltly death Brimm i h li i ed w t de c ous draught of warmest life . die with m deli ht I y g , M ore

I hear what ould hear from thee.

E lednore, 1832

as t ni ht when m one ke his name L g , so e spo , From my swift blood that went and came A thousand little shafts of flame

i ’ And w th line 14, Swinbum e s

r. Paler than grass in summe Sapphics .

- Made like white summer coloured gram.

1 When Fatima was first published (1832) this motto was p refix ed

‘ ‘ Q atver at not n ivor lacs Oeoim v

’ showing Tennyson s acknowledgments to Sappho. (Z60 ]

S APPHO

Stars that shine arormd the refulgerrt full mom

h simile in the lliad twelfth century, to illustrate t e , viii. 551 :

As when in heaven the stars about the moon

silver to the moon ; wherefore Blomfield suggested its

[ 4 21

[bicep] di aper M r 68 babes? aldvaa'ouévwv 86 ebbhhwv

‘

( E ma x ar appei .

And round abord the cool atern gla tlr ough applo

Thro ugh orchard - plots with frag ance crowned

And forest leaves with rustling sound

Invite to soft repose.

[ 62 ] IN SAPPHIC ME TRE

All around through branches of apple- orchards

call while down rom the leaves a- r mb Cool streams , f t e le

A. SYMO . NDS J , 1883 .

‘ b H rmo n a out 170 A .D b e es . as x Cited y ge , , an e ample of t l an to h h l rhetorical s y e, d s ow t e p easure given by de o The ra ment describes th h scripti n . f g e gardens of t e m whi h emetrius abo 1 a o hs c ut 50 . sun Ny p , D , . , says were g h b ho . Cf. tus d y Sapp T eocri , I yl, vii. 135 : High above our heads waved man lar m m- hil y a pop , any an el tree, w e ’ close at hand the sacred water from the Nymphs own h ” v ort i u i A an . ca e welled f w th murmurs m s cal ( . L g) vi Her And O d, old , x v . 157,

A th i h v a h spring ere s w ose sil er w ters s ow, etc.

’ translation in A endix robabl re ers to it . (cf . Pope s pp ) , p y f “ ’ u s h bree e ab c seems more ramp is a guess of Ne e t e z , p ,

v u u u xpvala wcv év v xeaatv dfipws avnuem'yuévov dahiaw t véx r ap

' olvox oevaa.

e s o rus and in olden cu s ser-re nectar Come, godd s n p , g p

nus come Come, Ve ,

Hither with thy golden cup ,

- Where nectar fl oated fl owerets swim. [ 63 ] SAPPHO

h b u Fill, fill t e go let p ;

! Come, Vents , come

ther Kupris , hi

A. 1 Sn m 8 . J . a , 8 3

o b A h b ut an as an ex am le of Qu ted y t enaeus, a o 230 , p ’ A h h ir l d e . Cf. fr the poets invokin g p rodite in t e p e g s . “ ” A hrodite was all ri the C rian be 139 . p c ed Cyp s, yp , cause it was mythologically believed that when she rose fro m the sea she was first received as a goddess on the shore of Cyprus (Homeric Hymns ,

[ 6 ]

" H as Ktnrpos fl II¢i¢os fl IIhvoppos.

r C rus or Pa O yp phos or Panormus [holds] thee.

thee C rus or h r If yp , Pap os, o Panormos A . . Su r 1 . J cuna, 883

From Strabo about , 19 an . Panormus (Palermo) in ’ Sicil was not ounded till a ter y f f Sappho s time, but it was a common name and all , seaports were under the special rote ction of A hr p p odite. [ 64 ] IN SAPPHIC ME TRE

I: 7 AND 8

’ E el 8 37 a» hebx as ézrl Bdmov al‘yos — — — u u — u u u u

x dm heldzw TOt u u u u

But for thee will I [lead] to the altar [the ofl spring] of

A A u 40 .o dduced by pollonius of Alex andria, abo t 1 a . , i i The ment to llustrate similarities n dialects . frag is probably part of an ode describing a sacrifice offered to

E 9 ]

’ vooaréc av A 6 tra Ald 37 m, x p b ¢p 8 ,

' rbvbe rév 11 d hax bnv.

e - r d ite This lot may I win , gold n c owne Aphrod .

m A h i i f Fro pollonius, to show ow adverbs g ve an dea o prayer.

[ 1 0 ]

A! as rmlav ér bno av imm

rd a¢d boio at .

e e Who gave me their gifts and mad m hon oured .

From A ust te th Ae li i ect . pollonius, to ill ra e o c d al I 65 J [ I I ]

— u u This viiv lr alpats

' rais ind ic t répr va 0: 6.t delete.

Quoted by Athenaeus to prove that freeborn women an d

‘

H i f . traip u ( etaerae) , without any dea o reproach

[ 1 2 ]

‘ v u v v Orrtvas 7 dp cf} xfivol he p i kw r a alvov — n u w w u .

e t in ure me most For they whom I ben fi j .

was compiled about the tenth century as .

n o n : tpdr at .

m A to illustrate the use of the erb . Fro ppollonius, v W I 66 J IN SAPPHIC ME TRE

[ I 4 ]

' Tair x dhats bumv [rd] vi rma rimov

r r oi i tduet ov.

m A ll ni the Aeolic use of i ut for Fro po o us, to show np “ ’ bub , to you .

E I S ]

— — ' ’ u u u E y wv i éy aira

And this I feel in myself.

[ 1 6 ]

Taio i it a v evro di [ ] M p s nt h ner, ’ r ap 6 la m rd wrépa. u V

In in B i h i b dar t . 10 e e l of h P , y h. , t ag e Zeus, delg ted y u i m s c, drops his wings, and the Scholiast quotes this frag ment h ha h to s ow t t Sappho says t e same of doves . [ 67 ] SAPPHO

E I 7 ZI

’ ’ Ti v i ér cr hi lovrer duct ¢épater

x al M eidwats .

" h e A u Aeolians used : in t e place of e . p oc is a g ess of ’ “ n . Bergk s for 1mm , wi ds

[ 1 8 ]

’ ’ Aprlws u 6. xpvaozréi thor Aim .

h - Me but now Aurora t e golden sandalled .

. A. Bru ca 1 J , 883 .

uoted b Ammonius of Alex andria at the cl Q y , ose of the ’ ourth centur a.o . to show Sa ho f f y , pp s use o amass.

— — u u u u Ilii as it

r o i c x ' r lx thor p ky: é dhvs e, Abi l

cv x i hov Zpyov.

A broider stra o air L dian work covered ed p f f y herf eet.

’ uoted b the S ho on Aristo hanes Peace Q y c liast p , 1 174 ; and also b oll abo 1 0 y P ux , ut 8 [ 68 ]

IN SAPPHIC ME TRE

Athenaeus says : Hermesianax was mistaken when he n S h n A n as con m rep rese ted app o a d nacreo te p oraries , for Anacreon lived in the time of Cyrus and Poly crates

[probably 563- 478 but Sappho lived in the reign of

Al attes the ather of Croesus . But Chamaeleon in h y f , is n S h h rdin treatise o app o, asserts t at acco g to some these re made u n her b Anacreon verses we po y ,

S irit of ove hose tresse hin p L , w s s e Alon the bree e in olden twine g z g , Come wi hin a ra ran l ud , t f g t c o Blushin with ht th v r h g lig , y ota y s roud, And on those wings that sp arkling play Wa t oh a t me hence awa ! f , w f y ove m soul is ull of thee L , y f ,

Alive to all thy lux ury . But she the n m h for whom , y p I glow, The rett esbian mo k m p y L , c s y woe, Smiles at the hoar an d silvered hues

h im n m orehead stre Whic T e upo y f ws . h k s her charms Alas , I fear s e eep ’ In store for younger hap pier arms . M T . oons .

’

h ll s a h s re l the resent ra ment . T en fo ow S pp o p y , p f g I “ m l hink Athenaeus oes on to sa that Her yse f t , g y, mesianax is joking concerning the love of Anacreon and f Di hil he Comic oet in his la called S appho, or p us t p , p y n Archilochus and Hi onax as the S appho , has represe ted pp f lovers o Sappho . h i urious for certainl Sa ho Possibly the w ole s sp , y pp never saw Anacreon : she probably died before he was

born .

[371] II . IN DACTYLIC METRE

E 2 7 ]

E x ti vauévas év ar rjflecn v imm:

ai/vhdx av p l 7 M aaav r wbh axi m .

hen an er s reads ro t uard th ton ue W g p th ugh the breas , g y g

uoted b tarch in his treatise Restrainin Q y Plu , On g r to in r th n in i noble than Ange , show that w a oth g s more

quietness . III . IN ALCAIC METRE

[ 2 8 ]

’ Al i fix es iahwv lpepov i) x hhwv, ’ T v o v x al mj t. Felr n yw o éx ix a x hxo , ’ ’ atiws x6 0 ob xix avev ir n ur ’ i hh M es r cpt rib i ucalws.

not thy tongue framed some evil speech, shame had not jilled i n th ne eyes, but thou hadst spoken ho estly about it.

TE E Lovns or Su m o AND Are n as

Alcaeus . ain ul k in ul I f wo d spea , I fa wo d tell, B t h m t u s ame and fear y u teran ce quell. a ho au h f if au ht f S pp . If g t o good, g o fair Th y tongue were labouring to declare, Nor shame should dash th lan n y g ce, or fear F rbi h o d thy suit to reac my ear.

E in . . ANON . ( d Rev 1832, p .

ri l in b A stot e . B his . hetoric i 9 a out 0 . , R , , 33 C , says, bas e hin r h t gs dishonour those who do o wish t em , as ‘ h h - Sapp o s owed when Alcaeus said, Violet weaving ,

ure so tl - h wish to somethin p , f y smiling Sapp o , I say g , ’ ” but sham f . r . h e prevents me (o sup a, p and s e an d hi f the r nt en swere m in the words o p ese fragm t .

[ 73 ] I X LY O AND IV . N MI ED G C NIC ALCAIC METRE

[ 2 9 3

x dvr a qSlhos ’ r o x al r i v éw bacots dar é aa v x hptv.

’ Athenaeus s kin of the harm of lovers e , pea g c yes, says Sappho addressed this to a man who was admired above all others for his beauty . Bergk thinks it may have m r f r n f . fo ed pa t o a ode to Phaon (cf. r or of a bridal song .

[ 74 ] V H M M R . IN C ORIA BIC ET E

E 30 ]

’ '

é é wfloc en d i vwv é r . Xpbaeoc. i p fi i dbov o

n r And golde p ulse g ew on the shores .

A h n hen h i s kin of vetches . Quoted by t e aeus, w e s pea g

E 3I J

at aav Zr at Ahrw m i Nrifle. 11a uév M h par.

f th same reason as fr. Quowd by Athenaeus or e 11 .

Co mpare also fr. 143 .

E 32 ]

Mvhoaaflal r tvh dam x al iarepov hyuewv.

Men I think will remember us even hereafter.

’ Compare Swinburne s

m h n Thou art ore t a I , h Though my voice die not till t e whole world die. [ 75 ] With all high things for ever.

he celebra reek rhetori i Dio Chrysostom, t ted G c an,

A.D . writing about 100 , observes that Sappho says

[ 33 ]

’ a» owev t y, av niv 27 , wdhat r i ra.

Atth I loved thee once, is, long ago.

I loved thee, hark, one ten derer note than all is o old time once one l w l n Atth , f , o o g fall, n l n l w lo el l Sighing o e o g o v y oveless call,

’ n h h O e, t en t e old rage of rapture s fieriest rain

SW IN BU RNE S on s o the S rin , g f p gtides, p . 57 .

uoted b He haestion about 1 Q y p , 50 an , as an example of metro. II70 l

SAPPHO

E 37 ]

‘' ’ ’ I atmv i oi ioxlpom bpd ilm . r dx eoiv.

I do not think to touch the sky with my two m ns .

H arm. I. i. u H . Q ote d by erodian Cf. orace, C 36,

h My head, ex alted so, will touch t e stars,

line of ’ Sappho s .

E 38 ]

’ r fl s ié r ats s aid udrepa m replywyai .

And I fl utter like a child after her mother.

’ ik h m h lost L e a child w ose ot er s ,

- I am fluttering , terror toot . am M J . W ouss .

Quoted in the E tymolo gicum Magnum as an ex ample of

Aeolic.

E 39 ]

" Hpos hy 'yehos luepbdmvos 411150”

Th h e nig tingale .

B herd 11 . E N JoNsON , The Sad S hep , act I: 78 ] IN CHORIAMBIC ME TRE

The tawny swee t winged thing

Whose cry was but of Spring .

n o S rin tides . 2 S WINBU RNE , S o gs f the p g , p 5 .

h t on So hocles E lectra 14 Quoted by the Sc olias p , , 9, the nightingale is the messenger of Zeus because it is H

E 40 J

‘ ’ ’ E pos i airré u i hvo méhns ii vei

v 1 ov d 7 h x i rutp uhx avov ipr erov.

Lo ove once mo he lim - vin Kin , L re , t b dissol g g ,

The bitter- sweet im ractic ble thi p a ng,

Wild- - m th beast like rends e wi fierce quivering . D m AD INOTON S NDs 1 . J . O , 883

Compare

0 ove ve v ! 0 with n h ! L , Lo , Lo e eri g mig t

O bitterness of things too sweet !

SW IN BU RNE, Fragoletta.

Sweet ove that so bit r. L , art te

and the son in B l g othwe l, act i. so. 1

Sure l m y ost bitter of all sweet things thou art, And sw t h ee est t ou of all things bitter, love .

uoted b H i f Q y ephaest on . Cf. r. 125 . l: 79 J SAPPHO

E 4I J

” ’ - 0 d r Ar01, 0 ! i imi ev yév r jxdero ’ ’ vr loi v l Avi 0 é av dpo n , err i p p i wi ry.

Bu o me t to thee , Atthis, the thmrght f is hateful; thou littes f t to Andromeda.

f m uo b h h r. 40 Q ted y Hep aestion together wit , but it see s to be h t e beginning of a difl erent ode .

E 42 ]

‘ ’ E o i air Zr t va ev s t !v p s E lu ¢p as, ’ dvepos x ar ipos ipbotv éun éawv.

on the oaks .

Lo ove once more m soul within me ren , L y ds ike ind hat on the m un oak d L w t o tain escends .

' . A S YMONDS J . , 1883 .

te d b M x imus T ri u 150 in Quo y a y us , abo t speaking of Socrates ex citin g Phae drus to Bacchic frenzy when he talked of love.

[ 43 ]

” ' Ora r dvvvx os dad) ; x ard ypet .

i n l s When all n ght lo g [s eep] hold their [eyes ].

h h A f Quote d by Ap ollonius to s ow t e eolic form o c at. I 80 J IN CHORIAMBIC ME TRE

E 44 ]

Xapiuax rpa it x a'y'yim v

' x al rairra év dr a p md eu , tr ead? i n ) wx das

r u ' ' iiipa lp a x a yybvwv.

A ur le na kins or th nd p p p f y lap . thou des ise I sent rom Phocaea recious i ts or p ) f , p g f f thy lap .

’ Quoted by Athenae us out of the fifth book of Sappho s

Son s to A hrodi sh t t a r ere cl h g p te, to ow ha x pip ax p d w ot s, na kins f r Bu he h l e p , o covering the head . t t w o e passag is

[ 45 ]

” Ave 81) x éhv iii not

provi si o n. y évow.

n E of h Quoted by Hermogenes a d ustathius, Sapp o apos

E 46 ]

Kdr dhars inodbmi as ’ r héx rats dwr dr dha iépa.

[ 81 ] E 47 3

‘ I éhhws r aM rhwrépa.

b b bi u 1 A.D Quoted as a prover y Ze no us, abo t 30 . ; said h of those who die an untimely death, or of those w ose in n Gell dulgence brings ruin on their childre . o was a maiden h in u h hose host the esbians said ursued w o died yo t , w g L p

children and carried them 0 6 .

E 48 ]

Mhha i r) xa opnuévas ‘ I ipyws.

or Of G go full weary.

am wear of all th words and so t s I y y f trange ways . Sm RNE An U , actoria, p . 66.

uoted b Choeroboscus about Q y , the end of the six th centur A.D . to show that the A li y , eo c genitive ended in ! as. Max imus Tyrius mentions this girl Gorgo along with

An dromeda cf . fr. 41 as belov b h ( ) ed y Sapp o .

E 49 ]

B ‘ pevdelw Bao thntw.

O a r o er f p oud ( r p f umed, or flowery) palace. [ 82 ] IN CHORIAMBIC ME TRE

Athenaeus says Sappho here mentions the royal d bren heian u u h r if h an the t ng ent toget e , as t ey were n th b h o e and e same thing , ut t e reading rs very un certain .

E 50 ]

‘ ’ E yw i ér l uahdhx av

rbhav or ohéw g ated .

E 51 3

’ o x ‘r lx Kij i hufipo las pév pd np éx paro, ’ ’ o E pui. s i aev ihr tv ié ts olvoq oat . ’ ’ xijvoi i hpa n i vres x apx 'ho td r 55o

t a av é h xi heIBov, hpdoavro i r ur o a

ed n And there the bowl of ambrosia was mix , a d Hermes took the ladle to pour out for the gods; and then they all held libation and wished the bri e ro m a goble ts, and made , d g o d

Quoted by Athenaeus in one place to show that in Sappho

u - h Hermes was c p bearer to the gods, and in anot er that r u he she mentioned ca chesia, c ps narrow in t middle, with h e t m n handles reaching from t e top to th bo to . Lachman

[ 83 ] E 52 ]

Ali vxe atv i. oehdvva

x a m l nlaies, abo ut it ’ ’ uix res r d a i i er , p px dips , i byte t gi ve. x arebiw.

The moon has set, and the Pleiades; it is tim is oin b and I g g y, sleep alone.

The silver moon is set ; The Pleiades are gone ; Hal the lon ni ht is s n f g g pe t, and yet I n lie alo e .

. H. J ME RIvm .

The moon hath left the sky ’ Lost is the Pleiads light ; It is midnight

B ut on my couch alone I lie.

He n an ex m le of me Quoted by phaestio as a p tro .

E 53 ]

’ vv Uhhpys aév idalver d aehd a, ’ at i is r epl flémv to rddno av.

s moon rose full, and the women tood as though around

[ 84 ]

SAPPHO

E 56 ]

aio r i t Afii av iax tvdlvwv ’ r 110 vov [i r 6. 6w r er vx ai ué

eipnv é iov.

Leda they say once found an egg hidden under hyacinth

others . Ber k thinks fr. 112 ma be continuous with g y this , thus

eipnv éiov dim il'i hevxirepov u u u

i 2 f nce Athenaeus uotes fr. 1 1 a ter I 1 s q f r. 56. t s un certain what flower the Greeks meant by hyacinth ; it pro bably n t in n h h had o hing commo wit our hyacint , and it seems

gladiolus, and larkspur.

E 57 ]

it uéhats vix ros du pes.

A - ed S c o nd dark ey leep , hild f Night.

From the E tymologicum Magnum, to show that the first “ ” letter of e o ee d m: 55pm, sl p , was redun dant . [ 86 ] IN CHORIAMBIC ME TRE

E 58 3

" ’ E Av x ec uév ipouéi a x hhav duolfiav.

uoted b He haestion to ether i h in Q y p g w th t e follow g, althou h the lines are obviou g sly out of difl erent odes .

E 59 ]

’ ‘’d h ov A 6i r I r dm , ri rdv r ohbo fi ¢p t av;

S appho, why [celebrate] blissful Aphrodite?

[ 60 ]

r Mo a vvv at tre x ahhlx o ol e lo i . Min i , dfip t s, u

- c r and air haired Muses . Come now, deli ate G aces f

b on Attilius Fort natianus about Quoted y Hephaesti , u ( d rvi an le of the fifth century an Se us, as ex u np ’ Sappho s choriambic tetrameters .

[ 61 ]

t devov dii¢wvov.

From Attili Fo us rtunatianus . [ 87 J [ 62 ]

’ ‘ ' é d o Aiwvts rt re Gei er Kari vhoxet , d pn , fip s , g ;

r Karrtnrreode x ipat x al x arepelx eafle x l wvas .

therea what shall we do? Delicate Adonis is dying, Cy ;

’ n d resumed to be Sa ho s Quoted by Hephaestio , an p pp rom here he sa s she learnt the f a passage in Pausanias , w y name of the mythological personage Oetolinus (as if olror “ Alvon the d th of m the oems of Pam hi s , ea fro p p , a mythical poet of Attica earlier than Homer, and so to h r Ad u The inus son e onis was j st like Oetolinus . L g was ver n ir f hi a y ancie t d ge or lamentation , o w ch a version or rath r late n rin ( e a re de g, apparently Alex andrian ) has been reserved b Scholias t on H m p y a o er, running thus : “ 0 inus honoure d b all the ods for L , y g , to thee first they gave to sing a song to men in clear sweet sounds ; Phoebus ” in env slew thee but th M y , e uses lament thee . A

‘ charming ex ample of what the Linus song was in the third ’ centur B .C . remains f r us in y , o Bion s Lament for Adonis .

[ 63 ]

" ‘ Q ri v Aiwvtv.

Ah for Adonis!

From Marius Plotius , about 600 A.D . It seems to be the re rain of he ode to Ad t nis . f o Cf . fr. 108 . [ 88 ]

[ 66 ]

’ ‘ O i A evs aiol xev A baw rov ‘ u p ¢ q d ynv fila.

But Ares sa s he would dra He haest y g p us by force.

From ris i te P c an, la in the fifth century

[ 67 ]

’ u u u u u IIihha i dvdptiua r orhpt a

x ahawts.

uo b Athe when d n - Q ted y naeus esca ting on drinking cups.

[ 68 ]

a K rdhvow a it “ id eal, oiié T OTO. uvayooiva alder

’ ' ’ ’ ' to oer oirre ri r oi r i o repov ob y i p r eiéx ets fipiiwv

’ ’ ’ ‘ ri w i II la d h d dv m v A a x usp s, h d ns j li iipocs ’ ¢0 t7 d0 ! t$ r ei duabpwv vex iwv éx r er orauéva.

But thou halt r ever s lie dead, nor shall the e be any re membranes o thee then or ther r u hast f eafte , for tho not of the roses of Pieria; but thou shalt wander obscure even in the house o Hades i i f , fl tt ng among the shadowy dead .

Thee to o the years shall cover; thou shalt be As the rose born of ne b o same lood with thee, [ 90 ] IN CHORIAMBIC ME TRE

a son s n as a word said an all As g u g , , d f

- d n m a Flower wise, an be ot any ore t all,

For never Muse has bound above thine hair The high Pierian flowers whose graft outgrows All summer kinship of the mortal rose h And colour of deciduous days, nor s ed of heaven about thine head t Reflex and flush , e c .

SWINBURNE, Anactoria.

die Yea, thou shalt ,

Dumb in the silent tomb ; Nor to thy name Shall there be any famo In ages yet to be or years to come F erin R or of the flow g ose, hi n i ria blows W ch o P e , Thou hast no share : ’ But in sad Hades house, nkn n in loriou U ow , g s,

h hou fl i orth and ha t th film S alt t t f un e y air.

. A Sm Oa 1 J . , 883 .

From Stobaeus, about 500 A.D . , as addressed to an un h uo h ra men educate d woman . Plutarc q tes t e f g t as written to a certain rich lady ; but in another work he h i h f says t e crown of roses was ass gned to t e Muses, or he ’ remembered Sappho s having said to some unp olished and un i educated woman these same words . Arist des, about ’ 1 A fu a in m 50 D . . , speaks of Sappho s boas t fly s y g to so e well- to- d o h h Muses made her blest and woman , t at t e worth she should not die d b y of honour, and that an e

r . forgotten ; though this may refe to fr 10. [ 91 ] SAPPHO

E 69 ]

’ Obi lav iox luouu wpoo liow av ¢dos dhlw 60 0 60 00 4 oo¢lav r dpdevov els oiiéva r w

rocabrav.

N0 one maiden I think shall at any time see the sunlight

that shallbe as wise as thou .

u I i bl o of h me Q owd by Chrysippus . t s proba y ut t e sa

E 70 ]

’ Tl d o r ra an s i yp rii ls t y“ viov, ’ oix tr wrauéva r d d xe M v l‘r l riiv a¢ipwv;

hmo to draw her dress about her ankles ?

w u n a a besto ed po dress, s ys S ppho thus jests upon An o dr meda. Three other authors quote the same lines .

E 7 I J

‘ ’ p v lseili af ht t pwv r dv r avvolipouov.

r t I taught Hero of Gya a, he swift runner.

£ 92 ]

[ 75 ]

’ ’ AH twv ¢lhos dmn v héx os hpvvoo vedvrepov ° ’ rhho' o e: vvo x v lav r oi y i p u h £ l n a yepat épa.

- But if thou lovest us , choose a younger bed fedora; for I will not brook to liw with theefi hine elda as l am.

F ’ A rom Stobaeus Anthology, and postolius .

E 76 ]

E iuopdrorépa Mvao tilx a r ds dr dhas Pvpivvms.

Quowd by Hephaestion as an ex ample of metro.

’ ’ ’ ‘ ' a r a Ao po épas oii u és , d: pavva, otiev rbx ow a.

h Quowd by Hep aestion with the foregoing .

[ 78 ]

’ 2 1) it are dvor Alx a s Oéofl é rai acaw d s, d: , ep pu s M

’ ' ipirax as dvtrroro o' vvéppaw dr dhaw t x épotv eidvdea 7 dp r lherat x al x dpires udx atpa

' ’ udhhov s porépnv' daredavcoro wt i i n vorpédovrat [ 94 ] IN CHORIAMBIC ME TRE

urr nd arlands wi r Do thou, Dies , s ou g th fai foliage, with soft hands twining shoots of dill together: for even the blessed

Rhodo e recline Here, fairest p , ,

And mid thy bright locks intertwine, fi t so down With ngers sof as ftest ,

The ever verdant parsley crown . The Gods are pleased with flowers that bloom An ea sh divin er ume d l ves that ed e p f , B ut, if ungarlanded , despise

The richest ofiered sacrifice .

H. M RI . E E J VAL .

B h ar n on th l ve h ut place t ose g la ds y o ly air, Twining the tender sprouts of anise green With skilful hand ; for ofl erings and flowers h h Are pleasing to the Gods, w o ate all those h m h m ith uncro n h W o co e before t e w w ed eads .

0 . D . YoNos

Of foliage and flowers love- laden win for th h T e wreaths y flowing air, Wi h hin wn so t fin t t e o f gers, maiden , Weave garlands of parsley fair;

For owers are sweet and the Gra fl , ces On suppliants wreathed with may ook down rom their hea nl l L f ve y p aces, Bu t h t urn from t e crown less away .

A. YM 1 . S ND . J O S , 883

Mr. . A h J . Symonds has also thus ex panded t e lines into a sonnet E95 ] SAPPHO

summer o s bri n v g fl wer , ng pa sy, iole t, rin l v l ves ra he riv g o eliest ea , t p et , eglantine , vn myrtlw with the dews oi morning wet : me thou a wreath u pon thy brows to set ; itb thy soft hands the wayward tendrils twinc

n i h n s t e bm th d momm a d the a s , ’ hen su liants throu h Love s te m le wend their pp g p way, i maidens wreathed with ohaplets of the may ;

Jr heed them when the sin nor when ‘ y g they mfi y '

uo in this f mm q t g ragment , says : Sappho gives

fiw h wear garh nds on their heada as they m ” ti ul thin i and acce table to the f g p Gods . The tex t b v l gi e is that of the MSS . ; in the tm nslation l have ’ .ted Bergk s conjecture :

M ub y dp reu m ml x dpcm uh aw ’ “6.t r poaopeiiw .

[ 79 ]

’ » 63 ” l ha wnu 65mm , m Ma 7 6 Mun ”

x a ' as u dehlw l ro x dhov hého yx er.

’ buc i a and l doi o cy, for m n os has thc m s t plendmw

[ 90 ]

VI . IN VARIOUS METRES

[ 82 ]

Abra 54 m) Kahhiowa.

a metre

[ 83 ]

Aaims at akar irapas iv ar fifleo' w u u

- M M in the bom oj thy tendcr aMff imd.

E 84 ]

‘ ' M owa . Aciipo 8116115 oioai , xpfm ov Mr i

Quoted by Hephaestion as an example of a verse made f o two Ithyphallics . 98 J IN VARIOUS ME TRE

E 85 ]

” rak vo low E on poi e. t his, x p w M ém ww

' ’ rp M p tx ow a m y, Khiiis &7 arrhra, ’ 1 ! aw l 5: 31 0 i om Avatar r ad ar oini épaw av.

I d haoe a fair daughter with a fom like a gol en fl ower, Cle s b l the belowd, abovs whom 1 [prizc] nor all ydia nor

I have a child, a lovely one, In beauty like the golden sun Or like sweet flowers of earliest bloom;

And Clots is her name, for whom ’ I ur the mine Lydia s treas es, were y ,

Would glad resign . H m m . J . . M arv

s nned b He haestion al Quoted and elaborately ca y p , i though Bergk regards the lines as merely trocha c.

E S6 J

Ilbhha not rd»

Hohvavax n fia waifia x aiprw.

e o Pol auaz . Alljoy to the , daughter f y

From Max imus Tyrius .

[ 99 ] THE ON MI VII . IN I IC A NORI METRE

E 87 ]

’ 6 é h v liva ur ' Zd hefi pa p K poyevha.

r h In a d eam I spake wit the daughter of Cyprus .

e. A hrodite m He I . p ; fro phaestion .

[ 88 ]

‘ Tl us Havbloms Ki pavva x ehlfiwr ;

da o P Why, lovely swallow, ughter f andton, [weary] me?

F tion ho ho rom Hephaes , w says Sapp wrote whole

[ 89 ]

’ ’ 6 ' Ap¢l 6.5m mhaalois 67) Fe r bx aaoev.

From ll h sa s the r Po ux , w o y line refe s to fine closely

100 ]

VIII . EPITHALAMIA, BRIDAL SONGS

E9 I J

‘ IW 61) “rd M p w " ‘ Iuflm ov

" ' h o t erai l 7 ufip s px oos Apevi, ’ E Tntm v]

’ E Tntvaovl

high k m r Li e A comes the b idegroom, (Hgmenoeus!) taller far a th n a taaman . (Hymenaeus!)

is s the ra ters b hi Art t , raise f ig Ample scope and stately plan

- Mars like comes the bridegroom nigh ,

i . . Anon . (E d n Rev 1832 , p .

oe he the ollows each line . The h menoeur p m, w re refrain f y ’ or wedding - song was sung by the bride s attendants as ’ n they led her to the bridegrooms house, addreming Hyma I: 102 ] E I HA AM A BR DA S GS P T L I , I L ON

h t e od of . Th m tre ms sa s ro essor g marriage e e see , y P f M fl a . . 20 to ba y (Hist. of Clo se. Greek Lit. i p , be

h . t e same as that of the Linus song ; cf . fr 62 .

E 9 2 ]

’ - Hippox or, (in 87 6 Aéafiior m ar ow l» .

b A is unce i ted t d) . It rta n Quo y Demetrius, abou 150

E 93 ]

’ Olov 7 6 yhvximahov tpewerat b ung tr fiaficp

’ ’ " : N oinc 686 mm ér lx eaOai . of adv W haflow ,

- end o the bou h the v r As the sM apple blushes on the f g , e y over na over end of tho bough, which the gatherers looked, y

looked not but could not reach.

nd b others Quoted by the Scholiast on Hermogenes, a y ,

w - le an a le to ex plain the word 7 k bna1w , sweet app , pp grafted on a quince ; it is used as a term of endearment by “ heocri I . th m m sweet T tus ( dyl ii Of ee, y love, y ” a le n e ritin abou 360 an sa s pp , I si g . Him rius, w g t , y ’ A hr r i leav ho of bos to sin p odite s o g es we e to Sapp Les , g

[ 103 ] SAPPHO

Further on he says : the bride- chamber and

b de of the ri . 0 fair appertain to thee : thy n A hro n h and golde p dite , a d t e Sm ons make the ” bloom. These last words , especially

" 0 x aha, (I; x apleaaa

’ taken out of one of h sem Sapp o s hymenealodes,

E 94 ]

Olav rd» W ades b aliped i r olm

’ oa x araar r m elfiow r, x huai

Ar on the hitle the shepha'da trample foot aad thc w ple flmm fis pw l w £ 104 ]

SAPPHO

[ 95 ]

" éa avra ri s“ baa alvohis éaxédao a F r epe, r d p , ¢ lien ,

¢ b é et al‘ a ri s aré c r ealm [¢épe s w, ¢ p s y , d p : u p ]

venin thou brin est all t bri ht m in E g, g hat g orn g scattered , h the oat the child h [the s eep , g , to er mother. ]

Thus imitated by Byron

thou brin t O Hesperus, ges all good things Home to the wear to the h y , ungry cheer, ’ T the oun bird the arent b o y g p s rooding wings, ’ The welcome stall to the o erlaboured ste er; ’ r of a h Whate e pe ce about our earthstone clings, ’ h r ur ho h o f W ate e o use old g ds prote ct o dear, Are gathered round us by thy look of rest ; ’ ’ h brin s the child to i m h T ou g t too ts ot er s breast . D on J uan , iii. 107.

hin s thou brin t E vening, all t g ges Which dawn spread apart from each other;

The lamb and the kid thou bringest, h Thou bringest the boy to his mot er. A . . S m onns 1 J , 883 .

m h From the E tymologicum Magnu , w ere it is adduced “ ” sho the meanin f dawn . The r to w g o alias , f agment l ’ occurs also in Demetrius , as an ex amp e of Sappho s grace.

[ 100 ] E I AM A A P THAL I , BRID L SONGS

[ 96 3

1 m m taco/rat .

I shall be ever maiden .

b S . edited Cram r add From a Parisian M y e , uced to “ ” A of as ever. show the eolic form ,

[ 97 ]

y t d . M oone , fia r mp

h We will give, as afat er

[ 98 ]

8 ér r ‘ m Ovptbpq; 1 6 6 opby oi ,

rt). 83 adufiaha r ep r efibn

' r lovwoi oi éferbvao av.

eet seven ath To the doorkeeper f f oms long, and sandals of ’ k o ten c five bulls hides, the wor f obblers .

From He h i n f m t p aest o , as an ex ample o etre. Deme rius says : And elsewhere Sappho girds at the rustic bride

ra h t er than smgrng, using words out of harmony with dan ce and song . [ 107 ] [ 99 3

" 8 Ohfiie y apfipe aol air 1) vapor, (is dpao, ’ x rer ar 1 84! r aflevov av d ao . é éhe , 2x ): p , p

r now is th weddin come to th desire Happy b idegroom, y g y ,

He h ti n alon with the ollowin Quoted by p aes o , g f g , to ex emplify metres ; both fragments seem to belong to the

same ode .

E 1 0 0 3

’ ’ r 6 tr luép cp x éx vrat r poacbt qr.

And [a bus] of honey- paleness overspreads the lovely

[ 1 0 1 ]

’ 0 ir a 0 11 lb é r a y p mahos, 60 0 w, w he at [fivaflos],

' b 61! x d yaflos abruca x al x ahos to oerac.

H w is i t o w e ho fa r o lo k upon is [good], and he ho is good

Galen h i i n i in bou 160 A .D . , the p ys c a , wr t g a t , says It is better there o e knowin that the beaut of outh f r , g y y i i l hi s like Spring flowers , ts pleasure las ting but a litt e w le, to a f the bi n he nd pprove o what Les a [ re] says, a to believe ” o h h Sol n w en e points out the same .

S APPHO

E ros ]

’ Xai e p , vim ,

ai e ri a x p , me y pfipe, wbhha.

noble brid Hail, bride; egroom, all hail!

uoted b Servius about 390 A .D . on r il Q y , , Ve g , Georg. I . 31 al re b n ; so ferred to y Pollux a d Julian .

[ 1 0 6 ]

a i s é h Of: y p f br pa t is, (I: t m, m abra.

i For there was no other g rl, 0 bridegroom, like her.

From Dionysius of Halicamassus .

’ L1 0 7 1 0 8 J

” Tiler Tuipvaov. “ ’ Tl f or A&im ov.

Ah for Adonis!

h fif h A e tu . From Plotius , about t t or six th cen ry D . , f h ’ to show the metre o Sapp o s hymeneal odes . The tex t is corrupt ; the first verse was thus emended by Bergk ,

[ n o ] E I HA A A B P T L MI , RIDAL SONGS

[ 1 0 9 ]

’ A H fl v . a vla l ol hi p e , r apde a, f us r ow olx y;

. i s B O mén ha r pos at, oimén has .

r Ma denhood maidenhood, whither art thou gone from

o ai . . Ne er ag n will I come to thee, never again

‘ f Sweet Rose of May, sweet Rose o May, h Whit er, ah whither fled away? ‘ ’ ’ What s gone no time can e er restore ’ I come no more, I come no more .

J . H. Mnarvann .

F m m ri h n h ro De et us , w o quotes the fragme t to s ow the ’ r f h g ace o Sappho s style and t e beauty of repetition .

[ 1 1 0 ]

‘ AM av w) x aueo répav ¢géra.

’ i m Be k s emendation t on is fro rg ,

‘ Ahha m) t hat 11) c rept” ¢pb a.

[ 1 1 1 ]

< > 1 alveral F0 t xiivor. From Apollonius, to show that the Aeolians used the i mm F d a a . Ber k s hi g , g say t s fragment does not belong

to fr. 2 .

[ 1 1 2 ]

o v Tito: w h hevxbrepov.

E 1 1 3 ]

’ M r 3 r fi um péht mi e pth waa.

t n Nei her ho ey nor bee for me .

b ted b m n late th A prover quo y a y au ors, referring to

This, and

th f fr. 62 and man h e second line o , y ot er verses, show ’ S h n f r alliteration frs . 4 an app o s fo dness o ; d 5, among h several others, show that s e did not ignore the charm of

[ 1 1 4 ]

M1) elm x épai as.

Quoted by the Scholiast on Apollonius to show that x epdtcs were little heaps of stones . l12

P GR M IX . E I A S

A rved nl i the Greek An ll three are prese o y n thology.

Th h i f th las t fr. 120 is doubt T e aut entic ty o e , , ful. o none of them does Bergk restore the form of the Aeolic

[ 1 1 8 ]

’ H id e a 1 66 twin ) at n t r elios, Mam , : pn ai, dx ovdv Manam a x arfleuéva r gb 1 08631"

' ’ Aldorrla as recipe Aarois avéflmcev Aplara

‘ ’ dba E puoxheuiala 1 61 E avvai ,

‘ - ‘ ' ad. bwo o Bias owe vvacxcbv ) a wp h s, y aat x peiaa

’ a 1rp6¢pwv duerépav eimhéi ov yen av.

i am I a Ma dens, dumb as I spe k thus, if any ask, and set ’ before your feet a tireless voice: To Leto s daughter Aethopia m e l dedicated by Ari sta daughter of Hen noeleides son of

ON A a srs ss or DIANA

Does any ask? I answer from the dead ; ’ A voice that lives is graven o er my head

To da k- e ed Dian ere m s r y , y d ay begun, ’ Aristo o ed me wi e of Sao s son v w , f n h n hear th riestess bear 0 vi in o r T e y p , , rg P we , ’ An th best i n Saon s in d y g fts o l eage shower.

[ 114 ] E PIGRAMS

[ 1 1 9 ]

Tmhhor his f dr 8s) and 7 6mm flavoiioav

“Sara W as man or “ham ,

¢ r a at M 6 ' 6: m l hr o¢0 pb as o 1 1. ouihpw

r M lucprhv xpa bs ”euro xbuav.

’ o i This is the dust f T mas , whom Pa sephone s dark all her fellows dressed with sharponed steel the lovely tresses

ere her bridalhour ’ She lies in Proserpina s gloomy bower;

Out with sharp steel their locks, the strewments

for the dead . A E Sm Cum s . LTO N .

For her the maids who were her fellows shore h mb hi ib bo Their curls and to er to t s tr ute re .

A. Sm O J . a .

[ 1 20 ]

Tc} 7 ptr ei Ileha'ywm war 1)p iwwmce Marianas

'

v i a a o a . xtprov x al xcowa , “V n x xof l s

Over the fisherman Pelagon his father Meniscus sets weel

[ 115 ]

E 1 2 4 ]

Wherefore also Sappho is eloquent and sweet when h sin f B ut as of o ve and S rin h s e gs o ea y, L p g and t e King

Max imus Tyrius says

Diotima sa s that ove ourishes in y L fl prosperity, b ut dies in ad versity ; a sentiment which Sappho comprehen ds when she calls ove xm bitter- sweet f f L y m [c r.

d h ' eo o iver o ain an h y lhwp s g f p . Socrates calls Love the ” h e o wi the c ions . zard, Sapp o am m o: w aver f fi t

1 2 6

T6 1&l rotpbv.

ted b n nd b heodorus H r Quo y Julia , a y T y tacenus in “ i h ” the twelfth century as of the w se Sapp o .

[ 1 2 7 21

h The brightnes s standing over the w ole city, at

‘ v o i hi aMeipo r ds “a ! not destr y ng the sight, as Sappho sa but e nce d ys, dev loping at o an crowning and wate ring with cheer ess in no like h cinth - o r fuln way a ya fl we , but ’ s ch u as earth and sun never yet showed to men . [ 1 1 8 ] MISCE LLANE OUS

1 2 8

Pollux writes

“ h r d wi h Anacreon says t ey are c owne also t dill, h h th f fr. 78 and sa t ou ese as both Sappho [c . ] Alcaeus y ; g ” also say aehlvoi s with parsley .

E I 2 9 I] Philostratus says

“ Thus contend [the maidens] M ofi x ets x al ihutdnn hes c al x ah lur dpyoe x al p ehldtwvoe with rosy arms and glancing e yes and fair cheeks and honeyed voices this indeed is ’ S appho s sweet salutation .

And Aristaenétus

Before the porch the most musical an d nei hi x éewm s oft- voiced of the maidens sang the hymeneal song; this ’ indeed rs Sappho s sweetest utteran ce .

n f d n n tho . P . ix . A tipater o Si o , A l al 66, and others, call

h - i S app o sweet vo ced .

E 1 30 2]

Libani the rhetorician about the ourth c nt A us e ur .D . , f y ,

If therefore nought prevented Sappho the Lesbian

a r 11 d r ao' lav from prayin g 7 6x 1 0. ir fi 7 6 60 0 04 u h that the night i ht be doubled or r let me f m g f he , also as k or something [ 1 19 ] S APPHO

similar. ime ather of ear and mon T , f y ths, stretch out this ver ear for us as far as m y y ay be, as, when Herakles

was born, thou dids t prolong the night.

[ 1 3 1 21

A hundred f further from E l ea urlongs ( a , a city in h m n r Aeolis ) is Can é, t e pro o to y opposite to Ie ctum and f f um f orming the Gulf o Adramytti , o which the E lattic is cit Gulf is ri part. Canae a small y of the lo crians of C nus over a ainst the most southerl ex tremit of L sb y , g y y s os, situate d in the Canaean tcrrito r which ex tenc ~ y, h to Argi nusae and the overhan in clifl which some call Ae a g g g , as ‘ ’ if t but h b a goa , t e second sylla le should be pro nom ced long , Aega, like h ra and tpx a, for this was the name of

to bave been called Aega, as Sappho says, the rest Can5 0r fl

A ollonius calls lo ve the son o hro dite p p , 8appho of

But the A ent d to heoc t rgum prefim T ri us , ldyl x iii ,

ho o Low ths o A hrodits Sapp M l d hild d p ad wven .

t 1 And Parm nias, abou 80 M L , says “ On Love Sappho the Lesbian sang many things which "

Cf. fr. 1 . do not agree with one another. 1 7 [ 120 ]

hee h Le t Hesper lead t fort , a wife, Willing and worshipp ing for life

Th - h th k m e silver t roned , e wedloc da e, H ra ton with ut sham ! Queen e , wan o e

[ 1 34 21

The Scholiast on Apollonius Rhodius says

“ Th f h l ve of Sel n l b S h e story o t e o e e is to d y app o , and by Nicander in the second book of his E uropa; an d it is said that Selene came to E ndymion in the same cave (on mount Latmus in Caria)

[ 1 35 21

n H od . cl D . 4 The Scholiast o esi , 0 p , 7 , says

“ ’ Sappho calls Persuas ion A¢poolrns Gw ar ép a daughter ”

f. f . 4 r 1 1 . of Aphrodite. C

Max imus Tyrina says :

“ r tes blam es X an hi f Soc a t ppe or lamenting his death, as Sappho blames her daughter

' 0 6 y up Oéms év uovaovrcbhwv olx la Opfivov elvai aim h r r 7 um pé ei 666 .

’ For lamentation may not be in a poet s house: such things ” befit not us . I 122 J MISCE LLANE OUS

° a 1 1 6 6.1ro0vi oxew x ax6v 0 2 o fl (h n g S ar ah, 6 1 . y Gal

‘ ' ' r r quip o fn w m plx aow (lawmake h .

in on Hermo enes also uote s the Gregory, comment g g , q

° ol6v dmo w 1) 6m 1 6 hr oflvhaxew x ax 6v ol

' 1 deal who o trw xex plx aaw hr éflvmm w 7 64 a» , sla p in x ah6v hr oflvhaxew.

Several attempts have been made to restore these words ’ orm and this of Hartun s seems to b th to a metrical f , g e e

‘ T6 Ordoxew k an6r abf m xex plx ao‘ i deol'

‘ v E vaoxov y dp elrrep x hho fir 7 006 .

Death is evil; the Gods have so judged: had it been good, they would die .

The preceding fragment (136) seems to have formed part h i of t e same ode the n . erha t was this ode as prese t P ps , which Sappho sent to her daughter forbidding her to lament ' r h hi her mothe s deat , that Solon is said to have so ghly Th A praised . e story is quote d from elian by Stobaeus thus : Solon the Athenian [who died about 558 ’ n of E x ld on h in so ecest es , his nep ew s sing g an ode of ’ Sa ho s v r their l h t n b pp o e wine, was p eased wit i a d ade the boy teach it him ; and when some one as ked why he

took he trouble he id in . s » a d d h t , sa , p as i rs f w w , T at ’ I ma e b re have l y not di efo I earned it . [ 123 ] SAPPHO

E 1 38 ] Athenaeus says “ Naucratis has produced some celebmted courtesans of sx cssding beauty ; as Dofi chm who was beloved by tif Sa Charax us , bro ther of the beau ul ppho , when he went

b him poetry of having ro bed of much . Herodotus calls Rh i not kn in ha Rhod her odop s, ow g t t 0 pis was cfifl erent from the Doricha who dedicate d the famous spits at

b Hero dotus, a out 440 said . “ Rhodopis came to E gyp t with X anthes of Samm ; and hav n come to make onc was i g m y , she ransomed for a h rge m b Charax u f Mit len n m y s o y e , so of Scamandro nym ris b of Th and rother Sappho the poetess . us M orris was made free and con tinued in E t and b in , gyp , e g very lovely aoquimd great fiches for a Rhodopia though no way ' sufficient to erect such a ramid as M py [ ycerinus ] with. For as any one who wishes may to this day see the t snth f h h o her wealt , t ere is no need to attribute any great wcalth

v - ment to herself in Gre ece, an d ha ing had such a m rk made as no one ever et devised and dedicate d in a y temrrle , ’ to ofl er it at Delphi as a mcmorialof hersslf : having there fore made fro m the tenth of her wealth a great numbar of s fm' r sti ox as far as the te th o ho n pits oa ng cm n all wed, shc sent them to Delphi; and tbq are still piled up behind h n t e altar which the Chians dedicated, a d opposite the tem e ts e The pl i lf . ocurteaans bf Naucratis are gansrally very lovely : fm mthe fimt place thh one of whom this account is given , became so famous that all tbe Grs eks became familiar with the name ot odopis ; and in thc ' nex t a r ano w pl ce, afte her ther hose name was Archd ee [ 124 3

S APPHO

b n he was ust and onl to k rom made y a y one, since j y o f h those who had means . He was a wonder among t e Les Th h A bians for his character. e goddess t ey call phro h n n h vin dite the goddess commends t e ma , a d a g p ut on the appearance of a woman now grown old as ks Phao n about sailin g ; he was swift to wait on her and carry her h h u n h across an d deman d nothing . W at t ere po does t e goddess do? They say she transformed the man and t e

o re him to ou h n bea t . his that n h st d y t a d u y T is Phao , er ” love for whom Sappho several times made into a song . Th e story is repeated by many writers .

Philodemus , about 60 in a MS . discovered at Her h a h culaneum, preserves a line w ere S pp o calls Per suasion

v o‘ocbén Oepdr awav

’ Aphrodite s handmaid bright as gold .

hinks that rom the contex t this re ers to Gomperz t , f , f

2 1 . f . 3 Hecate . Cf . rs 13 , 5

Pausanias says Yet that gold does not contract rust the Lesbian

tness and old itsel shows it . poetess is a wi , g f

n in r P th . iv. 407 And the Scholias t o P da , y

b nd h But gold is in destructi le ; a so says Sapp o, E 126 ] MISCE LLANE OUS

' ' ’ Ai a 6 voé x ivov of; or 0 666 x l 56.1l1 é ds fr t: x p s, e } : s t

is s o Z r v Gold on f eus , no moth nor wo m de ours it.

’ Sappho s own phras e is lost .

A .D . Aulus Gellius , about 160 , writes “ Homer sa Niobe had six sons an six ys d daughters, E uri ve f ea S h nine B li pides se n o ch , app o , acchy des and ” Pindar ten .

f h nl r h . m Cf . 1 t e line x tant o t ode h r 3 , o y e f e ere

referred to .

[ 1 44 ] il 2 mm ntin on er A n vi. Servius , co e g V g , e eid , 1 , says

Some would have it believed that Theseus rescued al n with himsel seven bo s an d seven maid n o g f y e s, as la s in his Phaedo and Sa ho in her l rics n P to say pp y , a d hi h r mb Bacchylides in s dit y a ics, and E uripides in his ”

Hercules .

N u h s rom Sa h n rv 0 s c pas age f pp o has bee prese ed .

E 1 45 2]

rv mm t n er il E . vi. Se ius , co en ing o V g , dog 42, says

rometheus son of a etus an Cl mene a ter he P , I p d y , f had reated m n i i to h h c a , s sa d ave as cended to eaven by hel of Minerva and havin a li sm rch r p , g pp ed a all to [o ‘ ’ rha an he un h pe ps w d to t s s wheel, e stole fire and h The s owed it to men . Gods being angered hereby [ 127 ] S APPHO sent two evi u n h ls po t e earth , fevers and disease [the ‘ tex t is here obviously corrupt ; it ought to be women ’ ‘ ' and disease or fevers and women l as Ss ppho and ” H od esi te ll.

I: 1 46 21

Sappho loves the Rose and always crowns ' it with

This remark seems to have led some of tbe earlier cot ’ “ lectors of Sapph o s fragments to include the pleasing " song in commendatio n of the Rose quoted by Achilles Tatius in his love

A. is no reason to attribu te it to Sappho . Mr. J . Symm (1883) thus tmnslates it

Tnn Pnars n or Rosns

If Zeus bad willed it so ’ h fl That o er t e owers one flower should reign a queen . h I know, a well l know

The rose, the rose, that royal flower had been l

She is of earth the gem , Of flowers the diadem ;

’ Nay , she is beauty s self that bright ens In summer whem the warm air lightens l ’ H r r h b e b eath s t e reath of Love, Wherewith he lures the dove Of the faie 'ian queen ;

Of n pi k and quivering green ,

For Cupid when he sleeps .

Or for mil ephym who laughs and weeps . [ 128 ]

SAPPHO

II I so 21

The E tymologicum Magnu m defines

vine rained on n o l am est; a t lo g p les, and says Sappho

a d ul . Ch r b makes the plural h n f “ So oe o oscus, late in th f h ix th o . oc the s century a. , says e currence o t e genitive Mag netics [the usual form being unaudEvos] in Sappho is

' i The E tmnolog cum Magnum says of wrap s , a trench for “ waterin meadows be i b - g , cause t is raised y a water bucket, ’ ” am, being a mas on s instrument that it is a word h ms h ve used and rion about the fifth Sapp o see to a ; O , the l s A. D . e ord similar sa century , also x plains w y and y

Sappho used it .

Apollonius says

e. or And in this way metaplasms of words [i . tenses cases formed from non - ex istent presents or nomin atives]

é ar - m cloths arise , like lp w pp es [chariot drawing], M [ ], ’

n in h r a a Da . a d Sapp o d h , wn

And the E tymologic u m Magnum says

n y a av We fi d r ap s rv) b [during the morning] in Aeolic, ‘ ’ for during the day . 130 J MISCE LLANE OUS

E 1 53 ]

th th su n or My, that is , e day ; us we read in Aeolic. Sappho has

- n orma aims,

Queen Dawn .

I: 1 54 21 Athenaeus says

r sarb tos both The d wuor [baromos] and e dpfii os [ l ], d Anacreon and the of which are mentioned by Sappho an , mbucae are Magadis and the Triangles and the Sa , all ’ ancient instruments .

A h naeus in another lace a arentl re t e p , pp y mo correctly, m of e fir 6 gives the na e th st as 6 pm: [barmos] .

What these instruments precisely were is unknown .

Cf . p . 42 .

E 1 55 ]

’ Sa ho used the word o f a pp M s or woman s dress, a ’ kimberlcon a kind of short tra re , nspa nt frock .

Phr n A ch .D . y l us the grammarian , about 180 , says

’ Sa h - e pp o calls a woman s dressing case, where sh keeps her n ‘ r sce n . ts a d such things , ypi m [ 13 1 ] S APPHO

E 1 57 ]

D . Hesychius, about 370 A. , says Sappho called Zeus ‘ “ l ” E x rw ector i .a. h din ast . p , H , o g f

£ 1 58 ]

b A Parisian MS . edited y Cramer says

“ ' n A 8 used f r Amo g the eolians is o g, as when Sappho ”

r f r v . says {Ma cy o Gi dfiaro , fordable

[ 1 59 ]

A Scholiast on Homer uotes 6 oi y ma I lead om q 7 n s , y , fr

Sappho .

E 1 60 ]

m n h E ust athius , co me ting on t e Iliad, quotes the grammarian Aristophanes [about 260 as saying that Sappho calls a wind that is as if twisted up and descending

ne i im a a wind rushin rom a v a cyclo , mm m; g f bo e. e 2 Nauck would restore the epithet to v rse of fr. 42 .

[ 1 6 1 ]

Choeroboscus says

h m ve f ro Sapp o akes the accusati o v s danger s traw .

A h . not er writer, in the Codex Marc , says ” h r Sappho makes t e accusative s h ew s . 132 ]

[ 1 66 ]

A m I iii. 2 Scholiast on Ho er, liad , 19, says

Sappho said “ attains; of much knowledge as the f ’ dative of t ohfidpcs.

E 1 67 ]

n bout the ninth h in Lex ico a cent r .D P otius, his , u y A .,

cage; is a wood with which they dye wool and hair ” hi h w v 0ho» S c thian yellow, w ch Sapp o calls ual £ y wood.

And the Scholiast on Theocritus , Idyl u . 88 , says

“ 6 640 s is a kind of wood which is also called u vfldpwr r S hian w h and in his o cyt ood , as Sapp o says ; t they dip

m e them f n - ell w n fleeces and ak o a qui ce y o , a d dye their ” hair ll n i é vhov - ye ow; amo g us t is called x p vo é gold wood .

h th h Ahrens thinks that ere e Sc oliast quoted Sappho, and he thus restores the verses

v E v x wt xo fthov, 7 43 Bhwrowl re r flpt a

noisi e r 6G uahwa

' $av0lo60 w l re r d: rplx as .

Sc ian i s yth wood, in which they d p fl eece and make them

- uince c w. q oloured, and dye their hair yello

T a - bu i is uite h psus may have been box wood, t t q

134 ] MISCE LLANE OUS

[ 1 68 ]

The Aeolians say Tlom v teat i m e .» with what eyes

i r f la the da l r f r t [us ng lom or f t , tive p u al o s] as

[ 1 69 ]

b . n u 4 A D . Orion of Thebes , the grammaria , a o t 50 ,

In Sappho x eMwn is x ehtwn a tortoise; which is

b a h eh a ther i etter written x exov , or rat er x w , as o wr ters

Pollux says

Bowls with a boss in the middle are called fis hn e ts

' a ir ular- bottomed rom their sha e vaé ahm c lm, c c , f p , x p mp , ’ - med rom the material like Sa ho gold botto , f . pp s x p v

‘ ' a o wi o ank es . o ao rp h y h c, th g lden l

me few other ra ments are attributed to Sa ho So f g pp , b but Bergk admits none as genuine . A ove is to be seen n be o id r d he every word that ca c ns e e rs .

[ 135 ]

SAPPHO TO PHAON

hine All other loves are lost in only t , outh un r te ul to a ame like mine ! Ah, y g a f fl

Whom would not all those blooming charms surprise,

n h oul ou like hoebus bear The harp a d ow w d y P , A brighte r Phoebus Phaon might appear iv wreaths o r o win hair Would you with y y u fl g , ’ Not Bacchtm self with Phaon could compare : bus loved and Bacchus elt the ame Yet Phoe , f fl ; One Daphne warmed an d one the Cretan dame ; Nymphs that in vm e no more could rival me ' Than e en those gods conte nd in charms with thee. h h s la s The Muses teac me all t eir softe t y , ’ An d the wide world resoun ds with Sappho s praise. Though great Alcaeus more sublimely sings

And strikes with bolder rage the soundin g strings,

Which Venus tunes and all her Loves inspire . To me what Nature has in charms den b d ’ wellb wit s more lastin ames i Is y g fl suppled . h h rt m Thoug s o y stature , yet my name ex tends ’ To heaven itself and earth s remot est ends : Brown as am an Ae io I , th pian dame Inspired young Perseus with a generous flame urtles and doves of difi erent hue un T ite , An loss et is i d with i d g y j pa re sh ning white. If to no charms thou wilt thy heart resign But such as mer such as it , equal thine , n b By no e, alas , y none thou canst be moved hao n alone b h mus P y P ao n t be loved. Yet once thy Sappho could thy cares employ; Once in her arms you cen tred all your joy : N im o t e the dear remembrance can remove, For oh how vast a memory has love ! M y music then you could for ever hear, [ 138 ] SAPPHO TO PHAON

And all my words were music to your car h n You stopt with kisses my enc anting to gue,

And found my kisses sweeter than my song . l u most in hat was best In all I p eased, b t w ; And the last joy was dearer than the rest : each m i Then with each word, each glance, ot on fired d et ou still d You still enjoyed, an y y esired , Till all dissolving in the trance we lay

And in tumultuous raptures died away . The fair Sicilians now thy soulinflame rn ods a esbian dame? Why was I bo , ye g , L m h n r boast But ah , beware, Sicilian ny p s, o That wandering heart which I so lately lost ; Nor be with all those tempting words abused

Those tempting words were all to Sappho used. ’ i And you that rule Sicilia s happy pla ns , ’ H n n o oet s ains . ave pity, Ve us, o y ur p p Shall fortune still in one sad te nor run And still increase the woes so soon begun? n er r Inured to sorrow from my te d yea s, ’ My parent s ashes drank my early tears M brother next n lectin wealth and am y , eg g f e, Ignobly burned in a des tructive flame : h rie s in r ased An infant daug ter late my g f c e , ’ And all a mother s cares distract my breast . Alas what more uld Fate itsel im ose , co f p , f m ? But thee, the last and greates t o y woes fl No more my robes in waving purple ow, Nor on my hand the sparkling diamonds glow; No more my locks in ringlets curled diff use The costly sweetness of Arabian dev s ; Nor braids of gold the varied tresses bind

That fly disordered with the wanton wind . For whom should Sappho use such arts as these? ’ He s gone whom only she desired to please ! [ 139 ] S APPHO TO PHAON

’ Cupid s light darts my te nder bosom move ; Still is there cause for Sappho still to lo ve ; b So from my irth the Siste rs fimed my doom,

Or while m Muse in meltin n , y g otes complains, M ieldi heart lcee s measure to m y y ng p y strains . B charms like thine which all m soul y , y bave won, — Who might m t amwho would not be undone? For those Aurora Ce halus , p might scorn, And with fresh bluahes paint the consciom morn ’ Fm' those mi ht C nthia h , g y lengt en Phaon s sleep, And bid E ndymion nightly ten d his sheep

’ But Mars on tbee i ht m g look with e us eyes.

O scarce a youth, yet scarce a ten der boy l O useful time for lovera to employ l Pride of th y age, and glory of thy race, Come to these arms and melt in this embracel The vows you never wifl mturmre ceive ;

An d take at least the lo ve you will not give . m w See, while I write, y ords are lost in tears h m v Tho lem my sensefi e more y lo e appears . ’ Sure twas not much to bid one kind adieu :

“ " ldl thus Farewe ll 0 esbian maid . Or co y , , L

Nor kne w I then how much I was to grieve . ' No lover s gift your Sappho could confer;

No charge l gave yomand no charge could give — “ ” B mindful of our lov li . But this , e cs, and ve

Now by the Nine, those powers adored by me , And ve the od that ever waite on thee Lo , g ; When first l heard (from whom l hardly know) [ 140 ]

SAPPHO TO PHAON

As if the silent r ve l g o and lonely p ains,

I view the grotto , once the scene of love, The rocks aro und the han in roo s above , g g f , ' hat charmed me more with native m o - T , oss ergrown,

I find the shades that veiled our joys before ; But Ph ue those sha i h , aon go , des delg t no more. Here the pressed herbs with bending tops betray

An l h e ith i h b d a l wit tmrs th w er ng erbs edew. For the the di trees m e fa ng appear to ourn,

Ni ht h h r g s ades t e g ovee, and all in silence lie, All but the mournful Philomel and I : With mournful Philom el I j oin my strain ; us Of Tere she, of Phaon I complain .

Clear as a glass , the shinin g sands below

Shades all the banks and seems imelf a grove ; n m m r n r E te m al gree s the ossy a gi g aee,

I d s with tears tbe flood Here as lay , an welled , Before my aight a watery virgin sto od : “ o r u tha love in She sto d and c ied, O yo t vain ,

’ Apollo s fans surveys the rolling deep ;

Deucalion once with hopelm fury burned ; [ 142 ] SAPPHO TO PHAON

In v he v relentl rr rn . ain lo ed, ess Py ha sco ed But when from hence he plunged into the main D n P rrh eucalion scorned, a d y a lo ved in vain . Sa h haste rom h h eu Haste, pp o, , f ig L cadia throw Th r tched wei ht nor dread th y w e g , e deeps below. She s oke and vanished with the i : p , vo ce I rise, n all tricklin m And sile t tears f g fro my eyes . o e n m hs those rocks and I g , y y p , sees to prove H much ear but ah how much ve ! ow I f , , I lo n m hs where urious l ve ins i I go, ye y p , f o p res ; Let female fears submit to female fires ’ T an fl rom P n h o rocks d sees I y f hao s ate, an And hepe from seas d rocks a milder fate . b Ye gentle gales, beneath my body low, h And softly lay me on t e waves below. And thou kin d o ve m sinkin limbs , L , y g sustain , ’ S read th so t win s an d weft me o er the m p y f g ain , ’ N le over 8 death the uiltl oo or t a l g ess fl d profane. ’ ’ h bus hrine m har I ll then b On P oe s y p estow, An d this inscription shall be placed below : “ h h him Here s e w o sung , to that did inspire, Sappho to Phoebus consecrates her lyre : What uits with S a ho hoebus sui with s pp , P , te thee ; Th i h e e iv r h r . g ft , t g e , and t e god ag ee B h re n h ut w y, alas, le tless youth, ah, w y To distant seas must tender Sappho fly? Th charms han those f m re o y t may ar o p werful be, ’ An d Phoebus self is less a god to me . Ah can tho doom m the r n d , st u e to ocks a sea, 0 far more faithless and more hard than they? Ah h , canst thou rat er see this tender breast Das hed on these rocks than to thy bosom pres sed? his bre hi h on i v n ! u liked ll T ast, w c ce , n ai yo so we ; Where h o es la n d where the Mu d t e v ed a ses ell. L p y , w Al h n m re ins ir as, t e Muses ow n o o p e ; [ 143 ] SAPPHO TO PHAON

ntuned m lute an d silent i m l re U y , s y y M lan uid numbers ve or o to fl y g ha f g t ow, And anc sink beneath the ei ht f f y s w g o woe . Ye esbian vir ins and e esbian dam L g y L es, hem of m vers n b e f m T es y e a d o j cts o y flames, N0 more your gro ves with my glad songs shall ring ; N0 more thes e hands shall touch the trembling string ’ M heon s fled and those resi n : y P , I arts g Wretch that am to ll that ha n mine ! ( I , ca P o ) Return air outh return and brin alon , f y , , g g i Joy to my soul and v gour to my song . ’ Absent rom thee the t s ame ex ires f , poe fl p ; B h fi b h ’ ! ut ah, ow ercely urn t e lover s fires s n n i n God , can o prayers, o s gns , n o umbers move h One savage eart , or teach it how to love? The win m ra m i h um ds y p yers, y s g s, my n bers bear; The in ds ha l h fly g win ve ost t em all in air. Or when alas shall m re i i , , o ausp c ous gales To these fond eyes restore thy welcome sails? ou return ah wh these lon dela s? If y , , y g y

Poor Sappho dies while careless Phaon stays . 0 un ch the bark n r ear he a r lain la , o f t w te y p

Venus for thee shall smooths her native main . un h th bark s of al O la c y , ecure prosperous g es

Cupid for thee shall spread the swellin g sails . ou will fl ha u can be If y y (yet ah, w t ca se , Too cruel outh h u h uld fl rom me? y , t at yo s o y f ) not rom h n mus he for ease If f P ao I t pe , Ah le me k it r m the ra in seas , t see f o g g ; ’ To raging seas unpitied I ll remove ; And either cease to live or cease to love

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1568 . i Verri, Ales sandro : Le Avventure di Safl o poetessa d Mitilene traduzione dal Greco originals nuovamente

O e P . 1 . vo li . sc p rto . p 88 8 , Vercel , 1783 di Verri, Alessandro : Le Avventure di Safio poetessa F i le i i M e l o e b . I e nn itilene, a a niad [ y G . V mp r a ]

ed odi tradu ioni dal reco . 24mo aris 1790 . , z g , P , i e hi r Volger, Heinrich Friedrich Magnus : Diatr b sto ies i i vo critica de Sapphus Poetriae vita et scr pt s . 8 , d ore e e ed orm Go b 1 9 . rinte in m x t nd t a, 80 (Rep a f e ho in his subs equ nt edition of Sapp . ) h Volger, Heinrich Friedrich Magnus : Sapp us Les ri biae Carmina et Fragments recensuit, commenta o he i e di illustravit , sc mata mus cs adjecit . t in ces eon e ii ii e i . F . l r aed O e f c t Henr rid Magnus Vo g , P ag g R g

Ilfelde i Co ll borator. lx viii 195 . vo ei ns s a Pp . , 8 , L p si g, 1810 .

i o i P . Vossius , Isaac: Catullus et n cum bservat ones . p

- 1 1 4to den 1 4 . 12 17 . e , L y , 68 c : A re i Ten C r i Vossius , Isaa nac ont s a m na i i nt r e e lielmus Bax ter. Subj c u u aut m duo v tus [ 159 ] BIBLIOGRAPHY

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ecit . P . blici. Q ui vitam Sappbonis et Indiees adj p

[ IN ]

PARAPHRASE S IN VE RSE

S APPHIC SONG

ARI G heart of outh in the air ne O N y f w morning , ’ outh with son as lad as the k Y g g lar s own carol, How the sunlight glittered across your pinions Soaring towarch Heaven !

Did a shadow darken across the sunlight hat the n s ille i h all Heaven be ore it T so g was t d w t f , h he he turned old and the bri ht win s altered T at t art c , g g f , Closed and dropped earthward?

Broken flight of youth and a song that ended done this hin ? Ma the od or ive it Who has t g y g s f g , f e h For the day is long or th bird , w ose pinions in the or Droop ed m ning .

[ 163 ] h u h - PHRODITE T o , o , most subtle minded f Child o Zeus and weaver of wiles bewildering, s irit i Break not thou my p w th love and longing ,

Wh dost thou now call to me oh beloved one y , ,

Thou, my sweet servant?

What th mad heart asks of y me, l will grant thee. Sweet and stran e are th b g e ways of love, and su tle !

Sa h h pp o, w o wrongs thee?

Is it one who ies? Ab she oll w fl , soon shfl l f o , Foll w thee d b for th i o an eg e g fts she would not . oves she not Ab Sa ho sh l love h L ? , pp , e soon sha l t ee ith l n Broken w o ging .

[ 134 ]

PARAPHRASEB IN VE RSE

' HIS is the dmt of l imag who h laid In the dark chsmber of Prosel-pina; Her own fair hair in sweet disorder spread i hts the cool loom to o uick with li e to ade L g g q f f , While on her tomb her playmates tresses shorn

By the keen sword , mark the last gift to her

[ 166 ] PARAPHRASE S IN VE RSE

WE E when li e is done what of love? T, f You might leave me first ; by what sign u h n he Should I know yo t e , t re above? ’ In he fields be ond ethe s flow t y L , s Where the calm and blest pirits go, Will you not forget you were mine?

thou h ods ma lead shall kee Dear, g g y p , I p Memories of earth nor or e , f g t In E l si n fields ho y a w to weep . tch th tearless d Wa e ead, dear, until One sh ll h e a pass wit yes quick to fill. Mine will be the e es that re et y a w , ” E es no ods could h t y g teac to forge .

[ 167 ] CHORIAMBICS

under the sunny skies v h iser o e t ou . i W , L , han t art L fe that has taught wisdom to thy young eyes

Keeps them clear to deny love that is shame, l ve h h o t at is ot desire,

Scorn ul dear hou art what shall I sa f , , as t , y,

waiting a maid apart . h h th i Guard t y heart if thou wilt , somew ere ere wa ts

love without fear or shame . Oh ! E ranna m dear then let th scorn ade , y , y f

and thy heart grow tame .

[ 168 ]

E D thee Atthia once lon lon LOV , g , g ago ; n lon a o h Lo g , g g t e memory still b dear. Stand ace to ace riend n unv hin f f , f , a d eil t e eyes , Look deep in mine and keep the dead past clear ? Of all regret . What matter if love dies Why shouldst thou think to touch the far 0 6 sky With thy two arms? Or measure love by years? Or hold the swallow when it fain would fly?

loved thee A h h ow o . I , tthis , let t e s ad g

There was a blossom on the topmost bough The gatherers could not reach and so here was a love rc n ce be nd our reach T , pe ha , yo And et loved th let the h dow o y , I ee ; s a g ,

loved thee Atthis on on lon a o . I , , ce l g , g g

[ 170 ] PARAPHRAS E S IN VE RSE

SAPPHICS

ALF the night has pas t and the silvery moon has Set ; and now the Pleaides slowly fading Leave the heavens grey with the coming morning Yet he has come not !

he who la th keen S , y ere with her sweet desire, ’ Ke t love 8 vi il while the lon ni ht was assin p g g g p g, urns now wake ul the stars abov h r T f eyes to e e , r Prays them to linge .

Arm h o n s t at thrilled, when the night was y u g, to greet

him , R each to hold the stars in their hopeless longing, H ld h v ns o t em lest they fade from the pitying hea e ,

Little stars that watched so long for her lover le ave her not with all of her wasted sweetness

[ 171 ] PARAPHRAS E S IN VE RSE

AM full weary of thee h T ou who wert so sweet .

Do not reproach me , thou Has held m eet t y f , When they were fain to wander

ul un l s That I wo d fain c a p . Thy sweet demands f Made o our love a prison, Love that must be free ; And hadst thou let me go I might love thee

his ear as on . T y , ce I loved b Nay, ut I cannot say ; I only know with thee ove h his L ad day,

And now he has departed . f Ask no more o me . I cannot call him back h To comfort t ee .

[ 172 ]

PARAPHRAS E S IN VE RSE

ALCAICS

H thou, whose eyes are troubled with shameful

thoughts,

What knowest thou of Love of the clear- souled god h E ros who comes wit clear eyes shining,

Bringing a gift he is glad to ofier.

Unveil thine eyes Alcaeus ; no love lies there Oh d ubtin lover thou of the tro ble o g , u d soul, Kn h u not tha love is ear owest t o t f less , Knowing no shame in his perfect giving?

[ 174 ] PARAPHRASE S IN VE RS E

CHORIAMBICS

I t l rom t he hills o h n k ND tha fa ls f , n t e stro g oa s . n in h making them be d s ame, iv in Carest thou that the trees l ed deep peace, ’ troubled not til thou came?

Thus to me cometh love, E ros my lord, ill stirring me at his w , Asks no more than the wind asks of the trees

if they would fain be still. Na h sh h m y e aket my soul, masters y heart

e h n sweet swi t eet . com t o , f f Who am I to deny him in his might

E ros the bitter- sweet?

[ 175 ] PARAPHRASE S IN VE RSE

SAPPHICS

the d dreamed of u d r nd waited . LL ay I yo , ea , a E vening came and brought the fast deepening

shadows, hile f in f h he vens W I watched or you the ar, hig a ,

Watched for your homing .

You who flew so far in the air l mornin , f , c ear g, How could who loved ou cli ur bri ht ini I y p yo g p ons , Bid ou y stay beside me in meek submission , who so loved ou ! I , y

Lov l w llow never h ve sou ht a e ou. e y s a , I a g to c g y Now is evening closing round the country : l n nd come to me bird f reedom Fo d your wi gs a , o f ,

Called by desire .

[ 176 ]