APPHO 
 
 A MEMOIR AND TRANSLATION 
 
 
 H. T. WHARTON
 
 SAPPHO,
 
 SAPPHO 
 
 MEMOIR, TEXT, SELECTED RENDERINGS 
 
 AND 
 
 & ^Literal translation 
 
 BY 
 
 HENRY THORNTON WHARTON 
 
 M.A. OXON. 
 
 SECOND EDITION 
 
 ftcnfcon 
 
 DAVID STOTT, 370, OXFORD STREET 
 
 Chicago A. C. McCLURG & CO. 
 
 MDCCCLXXXVII 
 
 [All rights reserved]
 
 PREFACE TO SECOND EDITION. 
 
 HE cordial reception which the first 
 edition of my little book met with 
 has encouraged me to make many 
 improvements in this re-issue. Un- 
 foreseen delays in its production have also helped 
 me to advance upon my first essay. Among 
 other changes, I have been able to obtain a new 
 fount of Greek type, which has to me a peculiar 
 beauty. Unfamiliar though some of the letters 
 may appear at first sight, they reproduce the 
 calligraphy of the manuscripts of the most 
 artistic period of the Middle Ages. This type 
 has been specially cast in Berlin, by favour of 
 the Imperial Government. In a larger size it is 
 not unknown to English scholars, but such as I 
 am now enabled to present has never been used 
 before. 
 
 Last Spring a telegram from the Vienna cor- 
 respondent of the Times announced that some 
 
 2234815
 
 iv Preface to Second Edition. 
 
 new verses of Sappho had been found among 
 the Fa yum papyri in the possession of the Arch- 
 duke Renier. When the paper on His Imperial 
 Highness' papyri was read before the Imperial 
 Academy of Science by Dr. Wilhelm Ritter von 
 Hartel on the loth of March, it became evident 
 that the remark was made, not in allusion to the 
 Archduke's possessions, but to that portion of 
 the Fayum manuscripts which had been acquired 
 by the Imperial Museum in Berlin. The verses 
 referred to were indeed no other than the t\vo 
 fragments which had been deciphered and 
 criticized by the celebrated scholar, Dr. F. Blass, 
 of Kiel, in the Rheinisches Museum for 1880 ; 
 and further edited by Bergk in the posthumous 
 edition of his Poetae Lyrici Graeci. I am now 
 able, not only to print the text of these fragments 
 and a translation of them, but also, through 
 the courtesy of the Imperial Government of 
 Germany, to give an exact reproduction of 
 photographs of the actual scraps of parchment 
 on which they were written a thousand years 
 ago. Dr. Erman, the Director of the Imperial 
 Egyptian Museum, kindly furnished me with 
 the photographs ; and the Autotype Company 
 has copied them with its well-known fidelity. 
 
 Among many other additions, that which I 
 have been able to make to fragment 100 is 
 particularly interesting. The untimely death of
 
 Preface to Second Edition. v 
 
 the young French scholar, M. Charles Graux, 
 who found the quotation among the dry dust of 
 Choricius' rhetorical orations, is indeed to be 
 deplored. Had he lived longer he might have 
 cleared up for us many another obscure passage 
 in the course of his studies of manuscripts which 
 have not hitherto found an editor. 
 
 The publication of the memoir on Naukratis 
 by the Committee of the Egypt Exploration 
 Fund last autumn is an event worthy of notice, 
 the town having been so intimately connected 
 with Sappho's story. On one of the pieces of 
 pottery found at Naucratis by Mr. Petrie occur 
 the inscribed letters 2A* (pi. xxxiv., fig. 532), 
 which some at first thought might refer to 
 Sappho ; but the more probable restoration is 
 ei]c ' A<p[po&iTHv, "to Aphrodite." 
 
 Since the issue of my first edition, M. De 
 Vries has published at Leyden an exhaustive 
 dissertation upon Ovid's Epistle, Sappho to 
 Phaon, which has caused me to modify some of 
 my conclusions regarding it. Although Ovid's 
 authorship of this Epistle seems to me now to 
 be sufficiently vindicated, I still remain con- 
 vinced that we are not justified in taking the 
 statements in it as historically accurate. 
 
 It is curious also that a candidate for the 
 degree of Doctor of Philosophy in the University 
 of Erlangen offered, as his inaugural dissertation,
 
 vi Preface to Second Edition. 
 
 in 1885, an account of "Sappho the Mitylenean." 
 The author, Joacheim I. Paulidos, is a native 
 of Lesbos. It is a pamphlet of sixty pages, 
 written, not in modern, but in classical Greek. 
 His opening sentence, Mia KOI JUOVH efevero 011910 
 "Sappho stands alone and unique," conies 
 near the meaning, but misses the polish of the 
 phrase gives his dominant tone; his acceptance 
 of her character greatly resembles mine. 
 
 Since the years now and then bring to light 
 some fresh verses of Sappho's, there is a faint 
 hope that more may still be found. The rich 
 store of parchments and papyri discovered in 
 the Fayum has not all been examined yet. 
 Indeed among a few of these which were lost in 
 the custom-house at Alexandria in 1881-2, M. 
 Maspero, the renowned Director of Explorations 
 in Egypt, thought he had detected the perfume 
 of Sappho's art. 
 
 It is pleasing to see (cf. fragment 95) that our 
 own Poet Laureate has again recurred, in his 
 latest volume of poems, to a phrase from Sappho 
 which he had first used nearly sixty years ago ; 
 and that he calls her " the poet," implying her 
 supremacy by the absence of any added epithet. 
 
 I am indebted to many kind friends and dis- 
 tinguished scholars for much assistance. Among 
 them I must especially thank Professor Blass, of 
 Kiel. Notwithstanding the frequent recurrence
 
 Preface to Second Edition. vii 
 
 of his name on my pages, I owe more to his 
 cordial help and criticism than I can acknowledge 
 here. 
 
 Little more than I have given is needed to 
 prove how transcendent an artist Sappho was ; 
 but I cannot forbear concluding with an extract 
 from a recent essay on poetry by Mr. Theodore 
 Watts : 
 
 "Never before these songs were sung, and 
 never since, did the human soul, in the grip of 
 a fiery passion utter a cry like hers ; and, from 
 the executive point of view, in directness, in 
 lucidity, in that high imperious verbal economy 
 which only Nature can teach the artist, she has 
 no equal, and none worthy to take the place of 
 second." 
 
 HENRY T. WHARTON. 
 
 39, St. George s Road, 
 
 Kilburn, London, A". II'. 
 
 April, iSSj.
 
 PREFACE TO FIRST EDITION. 
 
 APPHO, the Greek poetess whom 
 more than eighty generations have 
 been obliged to hold without a peer, 
 has never, in the entirety of her 
 works, been brought within the reach of English 
 readers. The key to her wondrous reputation 
 which would, perhaps, be still greater if it had 
 ever been challenged has hitherto lain hidden 
 in other languages than ours. As a name, as a 
 figure pre-eminent in literary history, she has 
 indeed never been overlooked. But the English- 
 reading world has come to think, and to be con- 
 tent with thinking, that no verse of hers survives 
 save those two hymns which Addison, in the 
 Spectator, has made famous by his panegyric, 
 not by Ambrose Philips' translation. 
 
 My aim in the present work is to familiarize 
 English readers, whether they understand Greek 
 or not, with every word of Sappho, by translating
 
 x Preface to First Edition. 
 
 all the one hundred and seventy fragments that 
 her latest German editor thinks may be ascribed 
 to her : 
 
 Love's priestess, mad with pain and joy of song, 
 Song's priestess, mad with joy and pain of love. 
 
 SWINBURNE. 
 
 I have contented myself with a literal English 
 prose translation, for Sappho is, perhaps above 
 all other poets, untranslatable. The very diffi- 
 culties in the way of translating her may be the 
 reason why no Englishman has hitherto under- 
 taken the task. Many of the fragments have 
 been more or less successfully rendered into 
 English verse, and such versions I have quoted 
 whenever they rose above mediocrity, so far as I 
 have been able to discover them. 
 
 After an account of Sappho's life as complete 
 as my materials have allowed, I have taken her 
 fragments in order as they stand in Bergk, whose 
 text I have almost invariably followed. I have 
 given (i) the original fragment in Greek, (2) a 
 literal version in English prose, distinguished by 
 italic type, (3) every English metrical translation 
 that seems worthy of such apposition, and (4) a 
 note of the writer by whom, and the circum- 
 stances under which, each fragment has been 
 preserved. Too often a fragment is only a single 
 word, but I have omitted nothing.
 
 Preface to First Edition. xi 
 
 It is curious to note how early in the history 
 of printing the literature of Sappho began. The 
 British Museum contains a sort of commentary 
 on Sappho which is dated 1475 m the Cata- 
 logue ; this is but twenty years later than the 
 famous " Mazarin " Bible, and only one year 
 after the first book was printed in England. It 
 is written in Latin by Georgius Alexandrinus 
 Merula, and is of much interest, apart from its 
 strange type and contractions of words. 
 
 The first edition of any part of Sappho was 
 that of the Hymn to Aphrodite, by H. Steph- 
 anus, in his edition of Anacreon, /j.to, 1554. 
 Subsequent editions of Anacreon contained 
 other fragments attributed to her, including 
 some that are now known to be by a later hand. 
 Fulvius Ursinus wrote some comments on those 
 then known in the Carmina Novem Illustrium 
 Feminarum published at Antwerp, 8vo, 1568. 
 Is. Vossius gave an amended text of the two 
 principal odes in his edition of Catullus, London, 
 4to, 1684. 
 
 But the first separate edition of Sappho's 
 works was that of Johann Christian Wolf, 
 which was published in 4to at Hamburg in 
 1733, and reprinted under an altered title two 
 years later. Wolf's work is as exhaustive as was 
 possible at his date. He gives a frontispiece 
 figuring all the then known coins bearing refer-
 
 xii Preface to First Edition. 
 
 ence to the poetess ; a life of her written, like 
 the rest of the treatise, in Latin occupies 32 
 pages ; a Latin translation of all the quotations 
 from or references to her in the Greek classics, 
 and all the Latin accounts of her, together 
 with the annotations of most previous writers, 
 and copious notes by himself, in 253 pages ; 
 and the work is completed with elaborate 
 indices. 
 
 The next important critical edition of Sappho 
 was that of Heinrich Friedrich Magnus Volger, 
 pp. Ixviii., 195, 8vo, Leipzig, 1810. It was 
 written on the old lines, and did not do much 
 to advance the knowledge of her fragments. 
 Volger added a " musical scheme," which seems 
 more curious than useful, and of which it is 
 hard to understand either the origin or the 
 intention. 
 
 But nothing written before 1816 really grasped 
 the Sapphic question. In that year Welcker 
 published his celebrated refutation of the long- 
 current calumnies against Sappho, Sappho vin- 
 dicated from a prevailing Prejudice. In his zeal 
 to establish her character he may have been 
 here and there led into extravagance, but it is 
 certain that his searching criticism first made 
 it possible to appreciate her true position. 
 Nothing that has been written since has suc- 
 ceeded in invalidating his main conclusions,
 
 Preface to First Edition. xiii 
 
 despite all the onslaughts of Colonel Mure and 
 those few who sympathized with him. 
 
 Consequently the next self-standing edition of 
 Sappho, by Christian Friedrich Neue, pp. 106, 
 4to, Berlin, 1827, embodying the results of the 
 " new departure," was far in advance of its pre- 
 decessors not in cumbrous elaboration, but in 
 critical excellence. Neue's life of the poetess 
 was written in the light of Welcker's researches ; 
 his purification of the text was due to more 
 accurate study of the ancient manuscripts, 
 assisted by the textual criticisms published by 
 Bishop Blomfield the previous year in the 
 Cambridge Museum Criticum. 
 
 Since Neue's time much has been written about 
 Sappho, for the most part in Latin or German. 
 The final revision of the text, and collection of 
 all that can now be possibly ascribed to her, 
 was made by Theodor Bergk, in his Poetae Lyrici 
 Graeci, pp. 82-140 of the third volume of the 
 fourth edition, 8vo, Leipzig, 1882, which I have 
 here, with rare exceptions, followed. 
 
 There is a noteworthy dissertation on her life 
 by Theodor Kock, Alkdos und Sappho, 8vo, 
 Berlin, 1862, in which the arguments and con- 
 clusions of Welcker are mainly endorsed, and 
 elaborated with much mythological detail. 
 
 Perhaps the fullest account of Sappho which 
 has recently appeared is that by A. Fernandez
 
 xiv Preface to First Edition. 
 
 Merino, a third edition of which was published 
 at Madrid early last year. Written in Spanish, 
 it discusses in an impartial spirit every question 
 concerning Sappho, and is especially valuable 
 for its copious references. 
 
 Professor Domenico Comparetti, the cele- 
 brated Florentine scholar, to whom I shall have 
 occasion to refer hereafter, has recently done 
 much to familiarize Italian readers with the chief 
 points of Sapphic criticism. His enthusiasm for 
 her character and genius is all that can be 
 desired, but his acceptance of Welcker's argu- 
 ments is not so complete as mine. Where truth 
 must lie between two extremes, and evidence on 
 either side is so hard to collect and estimate, it 
 is possible for differently constituted minds to 
 reach very different conclusions. The motto at 
 the back of my title page is the guide I am 
 most willing to follow. But after all, to use the 
 words of a friend whom I consulted on the 
 subject, "whether the pure think her emotion 
 pure or impure ; whether the impure appreciate 
 it rightly, or misinterpret it ; whether, finally, it 
 was platonic or not ; seems to me to matter 
 nothing." Sappho's poetic eminence is inde- 
 pendent of such considerations. To her, 
 
 All thoughts, all passions, all delights, 
 
 Whatever stirs this mortal frame, 
 All are but ministers of Love, 
 
 And feed his sacred flame.
 
 Preface to First Edition. xv 
 
 Those who wish to learn more about Sappho 
 than is here recorded will find a guide in the 
 Bibliography which I have added at the end 
 of the volume. My sole desire in these pages 
 is to present " the great poetess " to English 
 readers in a form from which they can judge 
 of her excellence for themselves, so far as that 
 is possible for those to whom Aeolic Greek is 
 unfamiliar. Her more important fragments 
 have been translated into German, French, 
 Italian, and Spanish, as well as English ; but 
 all previous complete editions of her works have 
 been written solely by scholars for scholars. 
 Now that, through the appreciation of Sappho 
 by modern poets and painters, her name is 
 becoming day by day more familiar, it seems 
 time to show her as we know her to have been, 
 to those who have neither leisure nor power to 
 read her in the tongue in which she wrote. 
 
 I have not concerned myself much with tex- 
 tual criticism, for I do not arrogate any power 
 of discernment greater than that possessed by 
 a scholar like Bergk. Only those who realize 
 what he has done to determine the text of 
 Sappho can quite appreciate the value of his 
 work. Where he is satisfied, I am content. 
 He wrote for the learned few, and I only strive 
 to popularize the result of such researches as 
 his : to show, indeed, so far as I can, that
 
 xvi Preface to First Edition. 
 
 which centuries of scholarship have succeeded 
 in accomplishing. 
 
 The translations by Mr. John Addington 
 Symonds, dated 1883, were all made especially 
 for this work in the early part of that year, and 
 have not been elsewhere published. My thanks 
 are also due to Mr. Symonds for much valuable 
 criticism. 
 
 The medallion which forms the frontispiece 
 has been engraved by my friend Mr. John 
 Cother Webb, after the head of Sappho in the 
 picture by Mr. L. Alma Tadema, R.A., ex- 
 hibited at the Royal Academy in 1881, as 
 "op. ccxxiii.," and now in America. I trust 
 that my readers will sympathize with me in 
 cordial gratitude to both artist and engraver, 
 to the one for his permission, to the other for 
 his fidelity. 
 
 HENRY T. WHARTON. 
 
 3Q, St. George s Road, 
 
 Kilburn, London, A". II'. 
 
 May, iSSj.
 
 LIFE OF SAPPHO. 
 
 [JAPPHO, who called herself Psappha 
 in her own Aeoltc dialect (in frag- 
 ments i and 59), is said to have 
 been at the zenith of her fame 
 about the year 610 B.C. 
 
 During her lifetime Jeremiah first began to 
 prophesy (628 B.C.), Daniel was carried away to 
 Babylon (606 B.C.), Nebuchadnezzar besieged 
 and captured Jerusalem (587 B.C.), Solon was 
 legislating at Athens, and Tarquinius Priscus, 
 the fifth king, is said to have been reigning over 
 Rome. She lived before the birth of Gautama, 
 the founder of Buddhism, the religion now pro- 
 fessed by perhaps almost a third of the whole 
 population of the globe. 
 
 Two centuries have sufficed to obscure most 
 of the events in the life of Shakspere ; it can 
 hardly be expected that the lapse of twenty-five
 
 2 Life of Sappho. 
 
 centuries should have left many authentic records 
 of the history of Sappho. Little even of that 
 internal evidence, upon which biography may 
 rely, can be gathered from her extant poems, in 
 such fragmentary form have they come down to 
 us. Save for the quotations of grammarians and 
 lexicographers, no word of hers would have 
 survived. Yet her writings seem to have been 
 preserved intact till at least the third century of 
 our era, for Athenaeus, who wrote about that 
 time, applies to himself the words of the 
 Athenian comic poet Epicrates in his Anti-Lais 
 (about 360 B.C.), saying that he too 
 
 Had learnt by heart completely all the songs, 
 Breathing of love, which sweetest Sappho sang. 
 
 Scaliger says that the works of Sappho and 
 other lyric peets were burnt at Constantinople 
 and at Rome in the year 1073, in the popedom 
 of Gregory VII. Cardan says the burning took 
 place under Gregory Nazianzen, about 380 A.D. 
 And Petrus Alcyonius relates that he heard when 
 a boy that very many of the works of the Greek 
 poets were burnt by order of the Byzantine 
 emperors, and the poems of Gregory Nazianzen 
 circulated in their stead. Bishop Blomfield 
 (Mus. Crit. i. p. 422) thinks they must all have 
 been destroyed at an early date, because neither 
 Alcaeus nor Sappho was annotated by any of the
 
 Life of Sappho. 3 
 
 later Grammarians. " Few indeed, but those, 
 roses," as the poet Meleager said, are the precious 
 verses the zeal of anti-paganism has spared to us. 
 Of Sappho's parents nothing is definitely 
 known. Herodotus calls her father Scaman- 
 dronymus, and as he wrote within one hundred 
 and fifty years of her death there is little reason 
 to doubt his accuracy. But Suidas, who com- 
 piled a Greek lexicon in about the eleventh 
 century A.D., gives us the choice of seven other 
 names. Her mother's name was Cleis. The 
 celebrated Epistle known as that of Sappho to 
 Phaon, of which I subjoin a translation by 
 Pope in the Appendix, and which is commonly 
 ascribed to Ovid, 1 says Sappho was only six 
 
 1 Prof. Domenico Comparetti has lately (1876) pub- 
 lished an essay on the authenticity of this Epistle and on 
 its value in elucidating the history of Sappho. After 
 minutely examining all the evidence against it, he con- 
 cludes that it is the genuine work of Ovid. And last 
 year De Vries brought out an elaborate dissertation on 
 the same subject ; he. proves, almost to a certainty, that 
 Ovid wrote the Epistle in question. But the fact remains 
 that it is absent from all the oldest and best MSS., and 
 was only given its present place in Ovid's Heroic Epistles 
 by Heinsius in 1629. Even if it be genuine, we may 
 safely aver that in Ovid's day it was far more difficult to 
 estimate Sappho's character rightly than it is now. The 
 Romans, we can well believe, were likely to regard her 
 in no olher light than that in which she had been por- 
 trayed by the facile and unscrupulous comedians of 
 Athens.
 
 4 Life of Sappho. 
 
 years old " when the bones of her parent, 
 gathered up before their time, drank in her 
 tears ; " this is supposed to refer to her father, 
 because in fr. 90 she speaks of her mother as 
 still alive. 
 
 She had two brothers, Charaxus and Lari- 
 chus ; Suidas indeed names a third, Eurygius, 
 but nothing is known of him. 
 
 Larichus was public cup-bearer at Mitylene, 
 an office only held by youths of noble birth 
 (cf. fr. 139), whence it is inferred that Sappho 
 belonged to the wealthy aristocratic class. 
 
 Charaxus was occupied in carrying the highly- 
 prized Lesbian wine to Naucratis x in Egypt, 
 
 1 The exact site of Naucratis was unknown until De- 
 cember, 1884, when Mr. W. M. Flinders Petrie, acting 
 as agent for the Egypt Exploration Fund, discovered it 
 at Nebireh, or rather close to El Gaief, a modern Arab 
 village on the Rosetta mouth of the Nile, about forty 
 miles from the present sea-coast. It is near the edge of 
 the Delta, some six miles N.E. of Tel-el-Barucl, a rail- 
 way station nearly midway between Alexandria and 
 Cairo. Before Mr. Petrie's explorations, Naucratis had 
 been sought for several miles nearer the sea than it actu- 
 ally lay, and its identification had been despaired of. 
 For centuries it was the only city in Egypt in which the 
 Greeks were permitted to settle and carry on commerce 
 unmolested. lonians, Dorians, and Aeolians there united 
 in a sort of Hanseatic league, with special representatives 
 and a common sanctuary, the Panhellenion, which served 
 as a tie among them. This rich colony remained in
 
 Life of Sappho. 5 
 
 where he fell in love with a woman of great 
 beauty, Doricha or Rhodopis, and ransomed 
 her from slavery for a great sum of money. 
 Herodotus says she came originally from Thrace, 
 and had once served ladmon of Samos, having 
 been fellow-slave with Aesop the fabulist. Suidas 
 says Charaxus married her, and had children by 
 her; but Herodotus only says that she was 
 made free by him, and remained in Egypt, and 
 "being very lovely, acquired great riches for a 
 person of her condition." Out of a tenth part 
 of her gains (cf. fr. 138) she furnished the temple 
 of Apollo at Delphi with a number of iron spits 
 for roasting oxen on. Athenaeus however blames 
 Herodotus for having confused two different 
 persons, saying that Charaxus married Doricha, 
 while it was Rhodopis who sent the spits to 
 Delphi. Certainly it appears clear that Sappho 
 in her poem called her Doricha, but Rhodopis, 
 " Rosy-cheek," was probably the name by which 
 she was known among her lovers, on account of 
 her beauty. 
 
 Another confusion respecting Rhodopis is that 
 
 faithful connection with the mother-country, contributed 
 to public works in Hellas, received political fugitives 
 from that home as guests, and made life fair for them, 
 as for its own children, after the Greek model. The 
 women and the flower-garlands of Naucratis were unsur- 
 passed in beauty.
 
 6 Life of Sappho. 
 
 in Greece she was believed to have built the third 
 pyramid, and Herodotus takes pains to show that 
 such a work was far beyond the reach of her 
 wealth, and was really due to kings of a much 
 earlier date. Still the tale remained current, 
 false as it undoubtedly was, at least till the time 
 of Pliny (about 77 A.D.). It has been shown by 
 Bunsen and others that it is probable that 
 
 The Rhodope that built the pyramid 
 
 was Nitocris, the beautiful Egyptian queen who 
 was the heroine of so many legends ; Mycerinus 
 began the third pyramid, and Nitocris finished 
 it. 
 
 Strabo and Aelian relate a story of Rhodopis 
 which recalls that of Cinderella. One day. they 
 say, when Rhodopis was bathing at Naucratis, 
 an eagle snatched up one of her sandals from 
 the hands of her female attendants, and carried 
 it to Memphis ; the eagle, soaring over the head 
 of the king (whom Aelian calls Psammetichus),* 
 who was administering justice at the time, let 
 the sandal fall into his lap. The king, struck 
 with the beauty of the sandal and the singularity 
 of the incident, sent over all Egypt to discover 
 
 * Psammetichus flourished about 588 B.C. He was 
 the Fharaoh-hophra mentioned by the prophet Jeremiah 
 (xliv. 30), whose house in Tahpanhes has been recently 
 discovered by Mr. Petrie.
 
 Life of Sappho. 7 
 
 the woman to whom it belonged. The owner 
 was found in the city of Naucratis and brought 
 to the king ; he made her his queen, and at her 
 death erected, so the story goes, this third pyra- 
 mid in her honour. 
 
 Suidas says Sappho " married one Cercolas, 
 a man of great wealth, who sailed from Andros, 
 and," he adds, " she had a daughter by him, 
 named Cle'is." In fr. 85 (cf. fr. 136) Sappho 
 mentions this daughter Clai's by name, and Ovid, 
 in the Epistle already alluded to, also refers to 
 her. But the existence of such a husband has 
 been warmly disputed, and the name (Penifer) 
 and that of his country (Virllid) are conjectured 
 to have been invented in ribaldry by the Comic 
 poets ; certainly it was against the custom of the 
 Greeks to amass wealth in one country and go 
 to seek a wife in a distant island. Some autho- 
 rities do not mention Andros, one of the islands 
 of the Cyclades, but state that Sappho's family 
 belonged to an Aeolian colony in the Troad. 
 
 The age in which Sappho flourished is mainly 
 determined by concurrent events. Athenaeus 
 makes her contemporary with Alyattes the father 
 of Croesus, who reigned over Lydia from 628 to 
 570 B.C. Eusebius mentions her in his Chro- 
 nicle for the year 604 B.C. Suidas says she 
 lived about the 42nd Olympiad (612-609 B.C.), 
 in the time of the poets Alcaeus, Stesichorus,
 
 8 Life of Sappho. 
 
 and Pittacus. Her own verses in fr. 28 are 
 said to have been written in answer to those 
 of Alcaeus addressing her 
 
 ' lorrXoK cifvu jneAAi)(6jueioe Sdmpoi, 
 0eAa> TiyeiiTHV, aAAci jue KcoAuei mtcog, 
 
 "Violet-weaving, pure, soft-smiling Sappho, I 
 want to say something, but shame deters me " 
 (cf. p. 24). Athenaeus says that Hermesianax, 
 in an elegy (cf. fr. 26), spoke of Sappho as 
 beloved by Anacreon, and he quotes from the 
 third book of some elegiac poetry by Herme- 
 sianax, " A Catalogue of things relating to 
 Love," these lines of his : 
 
 And well thou knowest how famed Alcaeus smote 
 Of his high harp the love-enlivened strings, 
 
 And raised to Sappho's praise the enamoured note, 
 'Midst noise of mirth and jocund revellings : 
 
 Aye, he did love that nightingale of song 
 With all a lover's fervour, and, as he 
 
 Deftly attuned the lyre, to madness stung 
 The Teian bard with envious jealousy. 
 
 For her Anacreon, charming lyrist, wooed, 
 
 And fain would win, with sweet mellifluous chime, 
 
 Encircled by her Lesbian sisterhood ; 
 Would often Samos leave, and many a time 
 
 From vanquished Teos' viny orchards hie 
 To viny Lesbos' isle, and from the shore, 
 
 O'er the blue wave, on Lectum cast his eye, 
 And think on bygone days and times no more. 
 
 ( Translated by J. BAILEY. )
 
 Life of Sappho. 9 
 
 Diphilus too, in his play Sappho, represented 
 Archilochus and Hipponax as her lovers for a 
 joke, as Athenaeus prudently remarks. Neither 
 of these, however, was a contemporary of hers, 
 and it seems quite certain that Anacreon, who 
 flourished fully fifty years later, never set eyes 
 on Sappho (cf. fr. 26). 
 
 How long she lived we cannot tell. The epi- 
 thet repairepa, "somewhat old," which she applies 
 to herself in fr. 75, may have been merely rela- 
 tive. The story about her brother Charaxus and 
 Rhodopis would show she lived at least until 
 572 B.C., the year of the accession of Amasis, 
 king of Egypt, under whose reign Herodotus 
 says Rhodopis flourished ; but one can scarcely 
 draw so strict an inference. If what Herodotus 
 says is true, Sappho may have reached the age 
 of fifty years. At any rate, "the father of 
 history" is more worthy of credence than the 
 scandal-mongers. An inscription on the famous 
 Parian marbles, a system of chronology com- 
 piled, perhaps by a schoolmaster, in the third 
 century B.C. (cf. p. 15), says : "When Aristocles 
 reigned over the Athenians, Sappho fled from 
 Mitylene and sailed to Sicily;" but the exact 
 date is illegible, though it may be placed between 
 604 and 592 B.C. It is hardly safe to refer to 
 this Ovid's assertion that she went to Sicily in 
 pursuit of Phaon.
 
 io Life of Sappho. 
 
 Balancing all the evidence, Fynes-Clinton, in 
 his Fasti Hellenici, i. p. 225, takes the years 
 611-592 B.C. to be the period in which Sappho 
 flourished. 
 
 That she was a native of Lesbos, an island in 
 the Aegean sea, is universally admitted, and all 
 but those writers who speak of a second Sappho 
 say she lived at Mitylene, the chief city of the 
 island. The existence of a Sappho who was a 
 courtesan of Eresus, a smaller Lesbian city, 
 besides the poetess of Mitylene, is the invention 
 of comparatively late authors ; and it is probably 
 due to their desire to detach the calumnies, 
 which the Comic poets so long made popular, 
 from the personality of the poetess to whose 
 good name her own contemporaries bore witness 
 (cf. Alcaeus' address to her, p. 8). 
 
 Strabo, in his Geography, says : " Mitylene 
 [MmjAHVH or MUTIAHVH] is well provided with every- 
 thing. It formerly produced celebrated men, 
 such as Pittacus, one of the Seven Wise Men ; 
 Alcaeus the poet, and others. Contemporary 
 with these persons flourished Sappho, who was 
 something wonderful ; at no period within 
 memory has any woman been known who in 
 any, even the least degree, could be compared 
 to her for poetry." Indeed the glory of Lesbos 
 was that Sappho was its citizen, and its chief 
 fame centres in the fact of her celebrity. By its
 
 Life of Sappho. 1 1 
 
 modern name Mitilene, under the dominion of 
 the Turks, the island, 
 
 Where burning Sappho loved and surg, 
 
 is now mainly known for its oil and wine and 
 its salubrity. In ancient times its wine was the 
 most celebrated through all Greece, and Vergil 
 refers to its vines, which trailed like ivy on the 
 ground, while many authors testify to the excep- 
 tional wholesomeness of Lesbian wine. But the 
 clue to Sappho's individuality can only be found 
 in the knowledge of what, in her age, Lesbos 
 and the Lesbians were; around her converges 
 all we know of the Aeolian race. "For a certain 
 space of time," writes Mr. J. Addington Symonds 
 in his Studies of Greek Poets, first series, pp. 127 
 ff., " the Aeolians occupied the very foreground 
 of Greek literature, and blazed out with a bril- 
 liance of lyrical splendour that has never been 
 surpassed. There seems to have been some- 
 thing passionate and intense in their tempera- 
 ment, which made the emotions of the Dorian 
 and the Ionian feeble by comparison. Lesbos, 
 the centre of Aeolian culture, was the island of 
 overmastering passions ; the personality of the 
 Greek race burned there with a fierce and steady 
 flame of concentrated feeling. The energies 
 which the lonians divided between pleasure, 
 politics, trade, legislation, science, and the arts,
 
 12 Life of Sappho. 
 
 and which the Dorians turned to war and state- 
 craft and social economy, were restrained by 
 the Aeolians within the sphere of individual 
 emotions, ready to burst forth volcanically. No- 
 where in any age of Greek history, or in any part 
 of Hellas, did the love of physical beauty, the 
 sensibility to radiant scenes of nature, the con- 
 suming fervour of personal feeling, assume such 
 grand proportions and receive so illustrious an 
 expression as they did in Lesbos. At first this 
 passion blossomed into the most exquisite lyrical 
 poetry that the world has known : this was the 
 flower-time of the Aeolians, their brief and 
 brilliant spring. But the fruit it bore was bitter 
 and rotten. Lesbos became a byword for cor- 
 ruption. The passions which for a moment had 
 flamed into the gorgeousness of Art, burnt their 
 envelope of words and images, remained a mere 
 furnace of sensuality, from which no expression 
 of the divine in human life could be expected. 
 In this the Lesbian poets were not unlike the 
 Provencal troubadours, who made a literature of 
 Love, or the Venetian painters, who based their 
 Art upon the beauty of colour, the voluptuous 
 charms of the flesh. In each case the motive 
 of enthusiastic passion sufficed to produce a 
 dazzling result. But as soon as its freshness 
 was exhausted there was nothing left for Art to 
 live on, and mere decadence to sensuality ensued.
 
 Life of Sappho. 13 
 
 Several circumstances contributed to aid the 
 development of lyric poetry in Lesbos. The 
 customs of the Aeolians permitted more social 
 and domestic freedom than was common in 
 Greece. Aeolian women were not confined to 
 the harem like lonians, or subjected to the rigo- 
 rous discipline of the Spartans. While mixing 
 freely with male society, they were highly edu- 
 cated, and accustomed to express their sentiments 
 to an extent unknown elsewhere in history 
 until, indeed, the present time. The Lesbian 
 ladies applied themselves successfully to litera- 
 ture. They formed clubs for the cultivation of 
 poetry and music. They studied the art of 
 beauty, and sought to refine metrical forms and 
 diction. Nor did they confine themselves to the 
 scientific side of Art. Unrestrained by public 
 opinion, and passionate for the beautiful, they 
 cultivated their senses and emotions, and de- 
 veloped their wildest passions. All the luxuries 
 and elegancies of life which that climate and 
 the rich valleys of Lesbos could afford, were at 
 their disposal ; exquisite gardens, in which the 
 rose and hyacinth spread perfume ; river-beds 
 ablaze with the oleander and wild pomegranate ; 
 olive-groves and fountains, where the cyclamen 
 and violet flowered with feathery maidenhair ; 
 pine-shadowed coves, where they might bathe 
 in the calm of a tideless sea ; fruits such as only
 
 14 Life of Sapplio. 
 
 the southern sea and sea-wind can mature ; 
 marble cliffs, starred with jonquil and anemone 
 in spring, aromatic with myrtle and lentisk and 
 samphire and wild rosemary through all the 
 months ; nightingales that sang in May ; temples 
 dim with dusky gold and bright with ivory; 
 statues and frescoes of heroic forms. In such 
 scenes as these the Lesbian poets lived, and 
 thought of Love. When we read their poems, 
 we seem to have the perfumes, colours, sounds 
 and lights of that luxurious land distilled in 
 verse. Nor was a brief but biting winter wanting 
 to give tone to their nerves, and, by contrast 
 with the summer, to prevent the palling of so 
 much luxury on sated senses. The voluptuous- 
 ness of Aeolian poetry is not like that of Persian 
 or Arabian art. It is Greek in its self-restraint, 
 proportion, tact. We find nothing burden- 
 some in its sweetness. All is so rhythmic- 
 ally and sublimely ordered in the poems 
 of Sappho that supreme art lends solemnity 
 and grandeur to the expression of unmitigated 
 passion." 
 
 The story of Sappho's love for Phaon, and her 
 leap from the Leucadian rock in consequence 
 of his disdaining her, though it has been so long 
 implicitly believed, does not seem to rest on 
 any firm historical basis. Indeed more than 
 one epigrammatist in the Greek Anthology
 
 Life of Sappho. 15 
 
 expressly states that she was buried in an Aeolic 
 grave. 1 
 
 Still Phaon, for all the myths that cluster 
 round his name, for his miraculous loveliness 
 and his insensibility to love, may yet have been 
 a real personage. Like other heroes, he may 
 possibly have lived at a period long anterior to 
 that of the traditions about him which have 
 been handed down to us. He is said to have 
 been a boatman of Mitylene (cf. fr. 140), who 
 was endowed by Aphrodite with youth and 
 extraordinary beauty as a reward for his having 
 ferried her for nothing. Servius, who wrote 
 about 400 A.D. (cf. p. 38), says she gave him an 
 alabaster box of ointment, the effect of which 
 was to make all women fall in love with him ; 
 and that one of these he does not mention her 
 name threw herself in despair from the cliff of 
 Leucas. Servius further states, on the authority 
 of Menander, that the temple was founded by 
 Phaon of Lesbos. Phaon's beauty and power 
 
 1 Such light as can be thrown upon the legend from 
 Comparative Mythology, and from the possible etymo- 
 logies of the names of Sappho and Phaon, has been, I 
 fear rather inconclusively, gathered by Leonello Modona 
 in his La Saffo storica (Florence, 1878). Human nature, 
 however, varies so little from age to age, that I think it 
 better to judge the story as it has come down to us, than 
 to resort to the most erudite guessing.
 
 1 6 Life of Sappho. 
 
 of fascination passed into a proverb. Pliny, 
 however, says he became the object of Sappho's 
 love because he had found the male root of the 
 plant called eryngo, probably our sea-holly, and 
 that it acted like a love-charm. And when 
 Athenaeus is talking about lettuces, as to their 
 use as food and their anti-aphrodisiac properties, 
 he says Callimachus' story of Aphrodite hiding 
 Adonis under a lettuce is " an allegorical state- 
 ment of the poet's, intended to show that those 
 who are much addicted to the use of lettuces 
 are very little adapted for pleasures of love. 
 Cratinus," he goes on, " says that Aphrodite 
 when in love with Phaon hid him in the leaves 
 of lettuces; but the younger Marsyas says that 
 she hid him amid the grass of barley." 
 
 Those fanciful writers who assert the existence 
 of a second Sappho, say that it was not the 
 poetess who fell in love with Phaon, but that 
 other Sappho on whom they fasten all the absurd 
 stories circulated by the Comic writers. The 
 tale runs that the importunate love of Sappho 
 caused Phaon to flee to Sicily, whither she 
 followed him. Ovid's Epistle, before mentioned 
 (p. 3), is the foundation for the greater part of 
 the legend. The inscription on the Parian 
 marbles (cf. p. 9) also mentions a certain year 
 in which " Sappho sailed from Mitylene and fled 
 to Sicily." The chronicle, however, says nothing
 
 Life of Sappho. 17 
 
 about Phaon, nor is any reason given for her 
 exile ; some have imagined that she was obliged 
 to leave her country on political grounds, but 
 there is no trace in her writings, nor does any 
 report indicate, that she ever interested herself 
 in politics. 
 
 Strabo,in his Geography already quoted (p. 10), 
 says: "There is a white rock which stretches 
 out from Leucas to the sea and towards Cephal- 
 lenia, that takes its name from its whiteness. 
 The rock of Leucas has upon it a temple of 
 Apollo, and the leap from it was believed to 
 stop love. From this it is said that Sappho first, 
 as Menander says somewhere, ' in pursuit of the 
 haughty Phaon, urged on by maddening desire, 
 threw herself from its far-seen rocks, imploring 
 thee [Apollo], lord and king.'" The former 
 promontory of Leucas is now separated from the 
 mainland and forms one of the Ionian islands, 
 known as Santa Maura, off the wild and rugged 
 coast of Acarnania. The story of Sappho's 
 having ventured the Leucadian leap is repeated 
 by Ovid, and was never much doubted, except 
 by those who believed in a second Sappho, till 
 modern times. Still it is strange that none of 
 the many authors who relate the legend say 
 what was the result of the leap whether it was 
 fatal to her life or to her love. Moreover 
 c
 
 1 8 Life of Sappho. 
 
 Ptolemy Hephaestion (about 100 A.D.), who, in 
 the extant summary of his works published in 
 the Myriobiblon of Photius, gives a list of many 
 men and women who by the Leucadian leap 
 were cured of the madness of love or perished, 
 does not so much as mention the name of 
 Sappho. A circumstantial account of Sappho's 
 leap, on which the modern popular idea is 
 chiefly founded, was given by Addison, relying 
 to no small extent upon his imagination for his 
 facts, "with his usual exquisite humour," as 
 Warton remarks, in the 233rd Spectator, Nov. 27, 
 1711. "Sappho the Lesbian," says Addison, 
 " in love with Phaon, arrived at the temple of 
 Apollo habited like a bride, in garments as white 
 as snow. She wore a garland of myrtle on her 
 head, and carried in her hand the little musical 
 instrument of her own invention. After having 
 sung a hymn to Apollo, she hung up her garland 
 on one side cf his altar, and her harp on the 
 other. She then tucked up her vestments like 
 a Spartan virgin, and amidst thousands of 
 spectators, who were anxious for her safety and 
 offered up vows for her deliverance, marched 
 directly forwards to the utmost summit of the 
 promontory, where, after having repeated a 
 stanza of her own verses, which we could not 
 hear, she threw herself off the rock with such 
 an intrepidity as was never before observed in
 
 Life of Sapplio. 19 
 
 any who had attempted that dangerous leap. 
 Many who were present related that they saw 
 her fall into the sea, from whence she never rose 
 again ; though there were others who affirmed 
 that she never came to the bottom of her leap, 
 but that she was changed into a swan as she fell, 
 and that they saw her hovering in the air under 
 that shape. But whether or no the whiteness 
 and fluttering of her garments might not deceive 
 those who looked upon her, or whether she 
 might not really be metamorphosed into that 
 musical and melancholy bird, is still a doubt 
 among the Lesbians. Alcaeus, the famous lyric 
 poet, who had for some time been passionately 
 in love with Sappho, arrived at the promontory 
 of Leucate that very evening in order to take the 
 leap upon her account ; but hearing that Sappho 
 had been there before him, and that her body 
 could be nowhere found, he very generously 
 lamented her fall, and is said to have written 
 his hundred -and -twenty -fifth ode upon that 
 occasion." 
 
 It is to be noted in this connection that the 
 part of the cliff of Santa Maura or Leukadi, 
 known to this day as " Sappho's Leap," was 
 used, even in historical times, as a place whence 
 criminals condemned to death were thrown into 
 the sea. The people used, it is said, to tie 
 numbers of birds to the limbs of the condemned
 
 2O Life of Sappho. 
 
 and cover them with feathers to break the force 
 of their fall, and then send boats to pick them 
 up. If they survived, they were pardoned. 
 
 Those modern critics who reject the whole 
 story as fabulous derive it from the myth of the 
 love of Aphrodite and Adonis, who in the Greek 
 version was called Phaethon or Phaon. Theodor 
 Kock (cf. Preface) is the latest exponent of 
 these views, and he pushes them to a very 
 fanciful extent, even adducing Minos as the sun 
 and Britomartis as the moon to explain the 
 Leucadian leap. Certainly the legend does not 
 appear before the Attic Comedy, about 395 B.C., 
 more than two centuries after Sappho's death. 
 And the Leucadian leap may have been ascribed 
 to her from its having been often mentioned 
 as a mere poetical metaphor taken from an 
 expiatory rite connected with the worship of 
 Apollo ; the image occurs in Stesichorus and 
 Anacreon, and may possibly have been used by 
 Sappho. For instance, Athenaeus cites a poem 
 by Stesichorus about a maiden named Calyca 
 who was in love with a youth named Euathlus, 
 and prayed in a modest manner to Aphrodite to 
 aid her in becoming his wife; but when the 
 young man scorned her, she threw herself from 
 a precipice : and this he says happened near 
 Leucas. Athenaeus says the poet represented 
 the maiden as particularly modest, so that she
 
 Life of Sappho. 21 
 
 was not willing to live with the youth on his own 
 terms, but prayed that if possible she might be- 
 come the wedded wife of Euathlus ; and if that 
 were not possible, that she might be released 
 from life. And Anacreon, in a fragment pre- 
 served by Hephaestion, says, as if proverbially, 
 " Now again rising I, drunk with love, dive from 
 the Leucadian rock into the hoary wave." 
 
 O poet-woman, none forgoes 
 The leap attaining the repose ! 
 
 Sappho " loved, and loved more than once, 
 and loved to the point of desperate sorrow ; 
 though it did not come to the mad and fatal 
 leap from Leucate, as the unnecessary legend 
 pretends. There are, nevertheless," continues 
 Mr. Edwin Arnold, " worse steeps than Leucate 
 down which the heart may fall ; and colder seas of 
 despair than the Adriatic in which to engulf it." 
 
 Seeing that six comedies are known to have 
 been written under the title of Sappho (cf. p. 37), 
 and that her history furnished material for at 
 least four more, it is not strange that much of 
 their substance should in succeeding centuries 
 have been regarded as genuine. In a later and 
 debased age she became a sort of stock character 
 of the licentious drama. The fervour of her love, 
 and the purity of her life, and the very fact of a 
 woman having been the leader of a school of
 
 22- Life of Sappho. 
 
 poetry and music, could not have failed to have 
 been misunderstood by the Greek comedians 
 at the close of the fifth century n.c. The society 
 and habits of the Aeolians at Lesbos in Sappho's 
 time were, as M. Bournouf (Lit. Grecq. \. p. 1 94) 
 has shown, in complete contrast to those of the 
 Athenians in the period of their corruption ; 
 just as the unenviable reputation of the Lesbians 
 was earned long after the date of Sappho. "It 
 is not surprising,'' writes Mr. Philip Smith, in his 
 article Sappho in Smith's Dictionary of Greek 
 and Roman Biography, " that the early Christian 
 writers against heathenism should have accepted 
 a misrepresentation which the Greeks them- 
 selves had invented." The license of the Attic 
 comedians is testified by Athenaeus' mention 
 that Antiochus of Alexandria, a writer otherwise 
 unknown, whose date is quite uncertain, wrote 
 a "Treatise on the Poets who were ridiculed 
 by the Comic writers of the Middle Comedy ; " 
 and by the fact that a little before 403 B.C. a 
 la\v was passed which enacted that no one 
 was to be represented on the stage by name, 
 UH frelv ovojuctSTi Kajjuwbeiv (cf. p. 36). 
 
 It was not till early in the present century 
 that the current calumnies against Sappho were 
 seriously enquired into by the celebrated scholar 
 of Gottingen, Friedrich Gottlieb Welcker, and 
 found to be based on quite insufficient evidence.
 
 Life of Sappho. 23 
 
 Colonel Mure endeavoured at great length, both 
 here and in Germany, to expose fallacies in 
 Welcker's arguments ; but the bitterness of his 
 attack, and the unfairness of much of his reason- 
 ing, go far to weaken his otherwise acknowledged 
 authority. Professor Comparetti has recently 
 examined the question with much fairness and 
 erudition, and, with the possible exception 
 referred to above (p. 3, note), has done much 
 to separate fiction from fact; but he does not 
 endorse all Welcker's conclusions. 
 
 Sappho seems to have been the centre of a 
 society in Mitylene, a kind of aesthetic club, 
 devoted to the service of the Muses. Around 
 her gathered maidens from even comparatively 
 distant places, attracted by her fame, to study 
 under her guidance all that related to poetry and 
 music ; much as at a later age students resorted 
 to the philosophers of Athens. 
 
 The names of many of her girl-friends (eraTpai) 
 and pupils (juaGHTpiai) are preserved. The most 
 celebrated was Erinna of Telos, a poetess of 
 whose genius too few lines are left for us to 
 judge, but we know what the ancients thought 
 of her from this Epigram in the Greek Anthology : 
 
 These are Erinna's songs : how sweet, though slight ! 
 For she was but a girl of nineteen years : 
 
 Yet stronger far than what most men can write : 
 
 Had Death delayed, whose fame had equalled hers? 
 
 (J. A. SYMONDS.)
 
 24 Life of SappJio. 
 
 Probably fr. 77 refers to her. Of the other 
 poetess, Damophyla of Pamphylia, not a word 
 survives, but Apollonius of Tyana says she 
 lived in close friendship with Sappho, and made 
 poems after her model. Suidas says Sappho's 
 "companions and friends were three, viz., Atthis, 
 Telesippa, and Megara ; and her pupils were 
 Anagora of the territory of Miletus, Gongyla 
 of Colophon, and Euneica of Salamis." She 
 herself praises Mnasidica along with Gyrinna (as 
 Maximus Tyrius spells the name) in fr. 76 ; she 
 complains of Atthis preferring Andromeda to 
 her in fr. 41 ; she gibes at Andromeda in fr. 70, 
 and again refers to her in fr. 58, apparently 
 rejoicing over her discomfiture. Of Gorgo, in 
 fr. 48, she seems to say, in Swinburne's para- 
 phrase, 
 
 I am weary of all thy words and soft strange ways. 
 
 Anactoria's name is not mentioned in any 
 fragment we have, although tradition says 
 that fr. 2 was addressed to her; but Maximus 
 Tyrius and others place her in the front rank of 
 Sappho's intimates : " What Alcibiades," he says, 
 " and Charmides and Phaedrus were to Socrates, 
 Gyrinna and Atthis and Anactoria were to the 
 Lesbian." Another, Dica, we find her (in fr. 78) 
 praising for her skill in weaving coronals. And 
 in fr. 86 a daughter of Polyanax is addressed as
 
 Life of Sappho. 25 
 
 one of her maidens. The name is not preserved 
 of her whom (in fr. 68) she reproaches as disloyal 
 to the service of the Muses. The text of Ovid's 
 Sappho io Phaon is so corrupt that we know not 
 whom she is enumerating there of those she 
 loved ; even the name of her " fair Cydno " 
 varies in the MSS. Nor can we tell who " those 
 other hundred maidens " were whom Ovid (cf. 
 p. 184) makes her say she "blamelessly loved" 
 before Phaon satisfied her heart. But the pre- 
 servation of the names of so many of her asso- 
 ciates is enough to prove the celebrity of her 
 teaching. 
 
 Little more can be learnt about Sappho's 
 actual life. In fr. 72 she says of herself, " I am 
 not one of a malignant nature, but have a quiet 
 temper." Antiphanes, in his play Sappho, is said 
 by Athenaeus to have represented her proposing 
 absurd riddles, 1 so little did the Comic writers 
 understand her genius. Fr. 79 is quoted by 
 Athenaeus to show her love for beauty and 
 honour. Compare also fr. u and 31 for his 
 testimony to the purity of her love for her girl- 
 friends : novice Ka6apa roiq Ka9apoi<;, " unto the 
 pure all things are pure." 
 
 Plato, in his Phaedrus, calls Sappho "beauti- 
 ful," for the sweetness of her songs; "and yet," 
 
 1 Sappho's riddle is translated in full by Colonel 
 Higginson in his "Atlantic Essays," p. 321.
 
 26 Life of Sappho. 
 
 says Maximus Tyrius, "she was small and dark," 
 une petite brunette, 
 
 The small dark body's Lesbian loveliness 
 That held the fire eternal. 
 
 (SWINBURNE.) 
 
 The epithet " beautiful " is repeated by so many 
 writers that it may everywhere refer only to the 
 beauty of her writings. Even Ovid seems to 
 think that her genius threw any lack of comeli- 
 ness into the shade, a lack, however, which, if 
 it had existed, could not have escaped the 
 derision of the Comic writers, especially since 
 Homer (Iliad, ix. 129, 271) had celebrated the 
 characteristic beauty of the women of Lesbos. 
 The address of Alcaeus to Sappho, quoted on 
 p. 8, shows the sweetness of her expression, even 
 if the epithet ionAoKoc (violet-weaving) cannot be 
 replaced by lonAoKajuoc (with violet locks), as 
 some MSS. read. And Damocharis, in the 
 Greek Anthology, in an epigram on a statue of 
 Sappho, speaks of her bright eyes showing her 
 wisdom, and compares the beauty of her face to 
 that of Aphrodite. To another writer in the 
 Greek Anthology she is "the pride of the lovely- 
 haired Lesbians." Anacreon, as well as Philo- 
 xenus, calls her "sweet-voiced" (cf. fr. i). 
 
 But though we know so little of Sappho's 
 personal appearance, the whole testimony of
 
 Life of Sappho. 27 
 
 the ancient writers describes the charm of her 
 poetry with unbounded praise. 
 
 Strabo, in his Geography, calls her "something 
 wonderful " (eaujuaarov TI XP^ )) an d says he 
 knew " no woman who in any, even the least 
 degree, could be compared to her for poetry " 
 (cf. p. 10). 
 
 Such was her unique renown that she was 
 called "The Poetess," just as Homer was "The 
 Poet." Plato numbers her among the Wise. 
 Plutarch speaks of the grace of her poems 
 acting on her listeners like an enchantment, 
 and says that when he read them he set aside 
 the drinking-cup in very shame. So much was 
 a knowledge of her writings held to be an 
 essential of culture among the Greeks that 
 Philodemus, a contemporary of Cicero, in an 
 Epigram in the Greek Anthology, notes as the 
 mark of an ill-informed woman that she could 
 not even sing Sappho's songs. 
 
 Writers in the Greek Anthology call her the 
 Tenth Muse, Child of Aphrodite and Eros, nurs- 
 ling of the Graces and Persuasion, pride of Hellas, 
 companion of Apollo, and prophesy her immor- 
 tality. For instance, Antipater of Sidon says : 
 
 Does Sappho then beneath thy bosom rest, 
 Aeolian earth ? That mortal Muse, confessed 
 Inferior only to the choir above, 
 That foster-child of Venus and of Love ;
 
 28 Life of Sappho. 
 
 Warm from whose lips divine Persuasion came, 
 Greece to delight, and raise the Lesbian name. 
 
 O ye who ever twine the three-fold thread, 
 Ye Fates, why number with the silent dead 
 That mighty songstress whose unrivalled powers 
 Weave for the Muse a crown of deathless flowers ? 
 (FRANCIS HODGSON.) 
 
 And Tullius Laurea : 
 
 Stranger, who passest my Aeolian tomb, 
 
 Say not ' ' The Lesbian poetess is dead ; " 
 
 Men's hands this mound did raise, and mortal's work 
 
 Is swiftly buried in forgetfulness. 
 
 But if thou lookest, for the Muses' sake, 
 
 On me whom all the Nine have garlanded, 
 
 Know thou that I have Hades' gloom escaped : 
 
 No dawn shall lack the lyrist Sappho's name. 
 
 And Pinytus : 
 
 This tomb reveals where Sappho's ashes lie, 
 But her sweet words of wisdom ne'er will die. 
 
 (LORD NEAVES.) 
 
 And Plato : 
 
 Some thoughtlessly proclaim the Muses nine ; 
 A tenth is Lesbian Sappho, maid divine. 
 
 (LORD NEAVES.) 
 
 Indeed all the praises of the Epigrammatists 
 are in the same strain ; none but held her, 
 with the poetess Nossis, "the flower of the 
 Graces."
 
 Life of Sappho. 29 
 
 Many authors describe how the Lesbians 
 gloried in Sappho's having been their citizen, 
 and say that her image was engraved on the 
 coins of Mitylene " though she was a woman," 
 as Aristotle remarks. J. C. Wolf describes six 
 extant coins which may presumably have been 
 struck at different times in honour of her ; he 
 gives a figure of each on his frontispiece, but 
 they have little artistic merit. 
 
 It is important to notice that no coins bear- 
 ing the name or effigy of Sappho have hitherto 
 been discovered which were current before the 
 Christian era, so that no conclusion drawn from 
 inscriptions on them is of any historical im- 
 portance. In the time of the Antonines, from 
 which most of these coins seem to date, her 
 name was as much sullied by traditions as it has 
 been to the present day. 
 
 Some busts there are of her, but none seem 
 genuine. Perhaps the best representation of 
 what she and her surroundings might have 
 been is given by Mr. Alma Tadema in his 
 " Sappho," exhibited at the Royal Academy in 
 1881, which has been etched by Mr. C. O. 
 Murray, and admirably photographed in various 
 sizes by the Berlin Photographic Company ; 
 from the head of Sappho in this picture Mr. 
 J. C. Webb has engraved the medallion which 
 forms the frontispiece of this work.
 
 3O Life of Sappho. 
 
 A bronze statue of Sappho was splendidly 
 made by Silanion, and stolen by Verres, accord- 
 ing to Cicero, from the prytaneum at Syracuse. 
 And Christodorus, in the Greek Anthology, 
 describes a statue of her as adorning the gym- 
 nasium of Zeuxippus at Byzantium in the fifth 
 century A.D. Pliny says that Leon, an artist 
 otherwise unknown, painted a picture of her in 
 the garb of a lutist (psaltria). 
 
 Not only do we know the general estimate of 
 Sappho by antiquity, but her praise is also often 
 given in great detail. Dionysius of Halicarnassus, 
 when he quotes her Ode to Aphrodite (fr. i), 
 describes at length the beauty of her style. 
 Some of Demetrius' praise is quoted as fr. 124, 
 but he also elaborately shows her command 
 of all the figures and arts of rhetoric. What 
 Longinus, Plutarch, and Aristoxenus thought of 
 her I have summarized under fr. 2 . The story 
 of Solon's praise is given under fr. 137. And 
 Plutarch, in his Life of Demetrius, telling a story 
 of Antiochus' (324-261 B.C.) being in love with 
 Stratonlce, the young wife of his father, and 
 making a pretence of sickness, says that his 
 physician Erasistratus discovered the object of 
 the passion he was endeavouring to conceal by 
 observing his behaviour at the entrance of every 
 visitor to his sick chamber. "When others 
 entered," says Plutarch, "he was entirely un-
 
 Life of Sappho. 31 
 
 affected ; but when Stratonice came in, as she 
 often did, either alone or with Seleucus [his 
 father, king of Syria], he showed all the symp- 
 toms described by Sappho, the faltering voice, 
 the burning blush, the languid eye, the sudden 
 sweat, the tumultuous pulse ; and at length, the 
 passion overcoming his spirits, he fainted to a 
 mortal paleness." The physician noted what 
 Sappho had described as the true signs of love, 
 and Plutarch touchingly relates how the king in 
 consequence surrendered Stratonice to his son, 
 and made them king and queen of Upper Asia. 
 
 Modern writers are not less unanimous than 
 the ancients in their praise of Sappho. Addison 
 prefixes this quotation from Phaedrus(iii. i, 5), 
 to his first essay on her (Spectator, No. 223) :. 
 "O sweet soul, how good must you have been 
 heretofore, when your remains are so delicious ! " 
 "Her soul," he says, "seems to have been made 
 up of love and poetry. She felt the passion in 
 all its warmth, and described it in all its 
 symptoms. ... I do not know," he goes on, 
 " by the character that is given of her works, 
 whether it is not for the benefit of mankind 
 that they are lost. They are filled with such 
 bewitching tenderness and rapture, that it 
 might have been dangerous to have given them 
 a reading." 
 
 Mr. J. Addington Symonds says : " The world
 
 32 Life of Sappho. 
 
 has suffered no greater literary loss than the loss 
 of Sappho's poems. So perfect are the smallest 
 fragments preserved . . . that we muse in a 
 sad rapture of astonishment to think what the 
 complete poems must have been. ... Of all 
 the poets of the world, of all the illustrious 
 artists of all literatures, Sappho is the one whose 
 every word has a peculiar and unmistakable 
 perfume, a seal of absolute perfection and 
 illimitable grace. In her art she was unerring. 
 Even Archilochus seems commonplace when 
 compared with her exquisite rarity of phrase. 
 . , . Whether addressing the maidens, whom 
 even in Elysium, as Horace says, Sappho could 
 not forget ; or embodying the profounder yearn- 
 ings of an intense soul after beauty, which has 
 never on earth existed, but which inflames the 
 hearts of noblest poets, robbing their eyes of 
 sleep, and giving them the bitterness of tears to 
 drink these dazzling fragments 
 
 Which still, like sparkles of Greek fire, 
 Burn on through Time, and ne'er expire, 
 
 are the ultimate and finished forms of passionate 
 utterance, diamonds, topazes, and blazing rubies, 
 in which the fire of the soul is crystallized for 
 ever. ... In Sappho and Catullus . . . we 
 meet with richer and more ardent natures [than 
 those of Horace and Alcaeus] : they are endowed
 
 Life of Sappho, 33 
 
 with keener sensibilities, with a sensuality more 
 noble because of its intensity, with emotions 
 more profound, with a deeper faculty of thought, 
 that never loses itself in the shallows of ' Stoic- 
 Epicurean acceptance,' but simply and exqui- 
 sitely apprehends the facts of human life." 
 
 And some passages from Swinburne's Notes 
 on Poems and Reviews, showing a modern poet's 
 endeavour to familiarize his readers with Sappho's 
 spirit, can hardly be omitted. Speaking of his 
 poem Anactoria he says : "In this poem I have 
 simply expressed, or tried to express, that violence 
 of affection between one and another which 
 hardens into rage and deepens into despair. 
 The key-note which I have here touched," he 
 continues, "was struck long since by Sappho. 
 We in England are taught, are compelled under 
 penalties to learn, to construe, and to repeat, as 
 schoolboys, the imperishable and incomparable 
 verses of that supreme poet ; and I at least am 
 grateful for the training. I have wished, and I 
 have even ventured to hope, that I might be in 
 time competent to translate into a baser and later 
 language the divine words which even when a 
 boy I could not but recognize as divine. That 
 hope, if indeed I dared ever entertain such a 
 hope, I soon found fallacious. To translate the 
 two odes and the remaining fragments of Sappho 
 is the one impossible task ; and as witness of 
 
 D
 
 34 Life of Sappho. 
 
 this I will call up one of the greatest among 
 poets. Catullus ' translated ' or as his country- 
 men would now say 'traduced' the Ode to 
 Anactoria Etc 'Epcojuevav : a more beautiful trans- 
 lation there never was and will never be ; but 
 compared with the Greek, it is colourless and 
 bloodless, puffed out by additions and enfeebled 
 by alterations. Let anyone set against each 
 other the two first stanzas, Latin and Greek, and 
 pronounce. . . Where Catullus failed, I could 
 not hope to succeed ; I tried instead to repro- 
 duce in a diluted and dilated form the spirit of 
 a poem which could not be reproduced in the 
 body. 
 
 " Now the ode Ei<; ' Epco.uevav the ' Ode to 
 Anactoria ' (as it is named by tradition), the 
 poem . . . which has in the whole world of 
 verse no companion and no rival but the Ode 
 to Aphrodite, has been twice at least translated 
 or traduced.' . . . To the best (and bad is the 
 best) of their ability, they [Nicholas Boileau- 
 Despreaux and Ambrose Philips] have 'done 
 into ' bad French and bad English the very 
 words of Sappho. Feeling that although I 
 might do it better I could not do it well, I 
 abandoned the idea of translation GKWV aeKovii 
 re eujuco. I tried then to write some paraphrase 
 of the fragments which the Fates and the Chris- 
 tians have spared us. I have not said, as
 
 Life of Sappho. 35 
 
 Boileau and Philips have, that the speaker 
 sweats and swoons at sight of her favourite by 
 the side of a man. I have abstained from touch- 
 ing on such details, for this reason : that I felt 
 myself incompetent to give adequate expression 
 in English to the literal and absolute words of 
 Sappho ; and would not debase and degrade 
 them into a viler form. No one can feel more 
 deeply than I do the inadequacy of my work. 
 ' That is not Sappho,' a friend once said to me. 
 I could only reply, ' It is as near as I can come ; 
 and no man can come close to her.' Her 
 remaining verses are the supreme success, the 
 final achievement, of the poetic art. ... I 
 have striven to cast my spirit into the mould of 
 hers, to express and represent not the poem but 
 the poet. I did not think it requisite to dis- 
 figure the page with a foot-note wherever I had 
 fallen back upon the original text. Here and 
 there, I need not say, I have rendered into 
 English the very words of Sappho. I have tried 
 also to work into words of my own some expres- 
 sion of their effect : to bear witness how, more 
 than any other's, her verses strike and sting the 
 memory in lonely places, or at sea, among all 
 loftier sights and sounds how they seem akin 
 to fire and air, being themselves ' all air and 
 fire ' ; other element there is none in them. As 
 to the angry appeal against the supreme mystery
 
 36 Life of Sappho. 
 
 of oppressive heaven, which I have ventured to 
 put into her mouth at that point only where 
 pleasure culminates in pain, affection in anger, 
 and desire in despair they are to be taken as 
 the first outcome or outburst of foiled and fruit- 
 less passion recoiling on itself. After this, the 
 spirit finds time to breathe and repose above all 
 vexed senses of the weary body, all bitter 
 labours of the revolted soul ; the poet's pride of 
 place is resumed, the lofty conscience of invin- 
 cible immortality in the memories and the 
 mouths of men." No one who wishes to under- 
 stand Sappho can afford to neglect a study of 
 the poem thus annotated by its author. 
 
 The Greek comedies relating to the history 
 of Sappho, referred to on previous pages, were 
 all written by dramatists who belonged to what 
 is known as the Middle Comedy, two ceAtujies 
 after her time (404-340 B.C.) The comedy of 
 that period was devoted to satirizing cflfees of 
 people rather than individuals, to ridiculing 
 stock-characters, to criticising the systems and 
 merits of philosophers and writers, to parodies 
 of older poets, and to travesties of mythological 
 subjects. The extent to which the license of 
 the comic writers of that age had reached may 
 be judged from the passing of the law referred 
 to on a previous page (p. 22) JUH 5elv ovojuaari 
 v though the practice continued under
 
 Life of Sappho. 37 
 
 ill-concealed disguise. Writers of such a temper 
 were obviously unfit to hand down unsullied a 
 character like Sappho's, powerful though their 
 genius might be to make their inventions seem 
 more true than actual history " to make the 
 worse appear the better reason." 
 
 Sappho was the title of comedies by Ameipsias, 
 Amphis, Antiphanes, Dlphilus, Ephippus, and 
 Timocles, but very little is known of their con- 
 tents. Of those by Ameipsias and Amphis only 
 a single word out of each survives. Athenaeus 
 quotes a few lines out of those by Ephippus and 
 Timocles, for descriptions of men of con- 
 temptible character. The same writer refers to 
 that by Diphilus for his use of the name of a 
 kind of cup (jueTavirrrpig) which was used to drink 
 out of when men had washed their hands after 
 dinner, and for his having represented Archi- 
 lochus and Hipponax (cf. p. 9) as lovers of 
 Sappho. Of that by Antiphanes (cf. p. 25), 
 who was the most celebrated and the most pro- 
 lific of the playwrights of the Middle Comedy, 
 we have, again in Athenaeus, a longer passage 
 preserved ; but it is merely to show the poetess 
 proposing and solving a wearisome riddle (rpt<po<;), 
 satirizing a subtlety his grosser audience could 
 not understand. 
 
 Besides these, Antiphanes and Plato (the 
 comic writer, not the philosopher) each wrote a
 
 38 Life of Sappho. 
 
 play called Phaon. Of that by Antiphanes but 
 three words remain. Plato's drama is several 
 times quoted by Athenaeus, but only when he 
 is discussing details of cookery one passage 
 obviously for the sake of its coarseness. Menan- 
 der wrote a play called Leucadia, and Antiphanes 
 one called Leucadius. Antiphanes' play fur- 
 nishes Athenaeus with nothing but a catalogue 
 of seasonings. Some lines out of Menander's 
 Leucadia are quoted above (p. 17) from Strabo, 
 and it is referred to by several authors for the 
 sake of some word or phrase ; Servius, com- 
 menting on Vergil's Aeneid, iii. 274, gives a 
 precis of Turpilius' Latin paraphrase of it, which 
 is mentioned above, p. 15. 
 
 Such is our knowledge of the comic accounts 
 of Sappho's history. When we consider the 
 general character of the Middle Comedy, written 
 as it was to please the Athenians after their 
 golden time had passed, it is not unreasonable 
 to take accounts which seem to have originated 
 in such treatment with somewhat more than 
 diffidence. 
 
 But it is not only the Greek dramatists who 
 have written plays on the story of Sappho. Two 
 have appeared in English during the last few 
 years, one of which, by the late Mrs. Estelle 
 Lewis (" Stella "), has been translated into 
 modern Greek by Cambourogio for representa-
 
 Life of Sappho. 39 
 
 tion on the Athenian stage. The most cele- 
 brated, however, and one of considerable beauty, 
 is by John Lilley, " the Euphuist " ; it is called 
 Sapho and Phao, and was acted before Queen 
 Elizabeth in 1584. The whole is allegorical, 
 Sapho being probably meant for Elizabeth, 
 queen of an island, and Phao is supposed to be 
 Leicester. Lilley makes his Sapho a princess of 
 Syracuse, and takes other liberties though not 
 such as the Greeks did with her history ; 
 strangely enough, however, he makes no refer- 
 ence to the Leucadian leap. " When Phao 
 cometh," he makes Sapho soliloquize, "what 
 then ? Wilt thou open thy love ? Yea ? No, 
 Sapho, but staring in his face till thine eyes 
 dazzle and thy spirits faint, die before his face ; 
 then this shall be written on thy tomb, that 
 though thy love were greater than wisdom could 
 endure, yet thine honour was such as love could 
 not violate." Venus is introduced as marring 
 their mutual love, and Phao says : " This shall 
 be my resolution, wherever I wander, to be as I 
 were kneeling before Sapho ; my loyalty un- 
 spotted, though unrewarded. . . . My life 
 shall be spent in sighing and wishing, the one 
 for my bad fortune, the other for Sapho's good." 
 In France, the first opera written by the cele- 
 brated M. Charles Gounod was entitled Sapho. 
 The libretto was by M. Emile Augier. It was
 
 40 Life of Sappho. 
 
 first given at the Acade'mie, April 16, 1851 ; and 
 in Italian, as Safe, at Covent Garden, Aug. 9, 
 in the same year. It was reproduced in 1858, 
 and again in the new Opera House, April 3, 1884. 
 Each time both author and composer recast 
 their work, which contains many brilliant scenes 
 and melodies. The celebrated Madame de Stael 
 wrote a drama called Sapho, but it has been long 
 forgotten. Alphonse Daudet's novel, Sapho, 
 moeurs Parisiennes, of which a version drama- 
 tized by M. Belot was played for the first time 
 at the Gymnase in Paris, December 18, 1885, 
 bears no reference to the poetess beyond the 
 soubriquet of the heroine. The most artistically- 
 finished tragedy of the German dramatist Grill- 
 parzer is his Sappho. It was produced at Vienna 
 in 1819, and is still played at many of the 
 principal German theatres. An inferior Italian 
 translation of it received a high encomium from 
 Lord Byron. It is best known to English readers 
 by Miss Ellen Frothingham's faithful translation. 
 The Queen of Roumania, under her nom de 
 guerre of " Carmen Sylva," is the most distin- 
 guished among living poets who have idealized 
 the life of Sappho. But her poem under that 
 title, published in her Stiirme, owes more to its 
 rich poetic charm than to the actual facts of the 
 Greek story ; in it the Lesbian seems to live in 
 the Germany of to-day.
 
 Life of Sappho. 41 
 
 Although so little of Sappho remains, her 
 complete works must have been considerable. 
 She seems to have been the chief acknowledged 
 writer of " Wedding-Songs," if we may believe 
 Himerius (cf. fr. 93) ; and there is little doubt 
 that Catullus' Epithalamia were copied, if not 
 actually translated, from hers. Menander the 
 Rhetorician praises her " Invocatory Hymns," 
 in which he says she called upon Artemis and 
 Aphrodite from a thousand hills ; perhaps fr. 6 
 is taken out of one of these. Her hymn to 
 Artemis is said to have been imitated by Damo- 
 phyla (cf. p. 24). She was on all sides regarded 
 as the greatest erotic poet of antiquity ; as 
 Swinburne makes her sing of herself 
 
 My blood was hot wan wine of love, 
 And my song's sound the sound thereof, 
 The sound of the delight of it. 
 
 Epigrams and Elegies, Iambics and Monodies, 
 she is also reported to have written. Nine books 
 of her lyric Odes are said to have existed, but 
 it is uncertain how they were composed. The 
 imitations of her style and metre made by 
 Horace are too well known to require more 
 than a passing reference. Some of his odes 
 have been regarded as direct translations from 
 Sappho; notably his Carm. iii. 12, Miserarum 
 est neque amori dare ludum neque duld, which 
 Voiger compares to her fr. 90. Horace looked
 
 4 2 Life of Sappho. 
 
 forward to hearing her in Hades singing plain- 
 tively to the girls of her own country (Car in. ii. 
 13, I4 1 ), and in his time 
 
 Still breathed the love, still lived the fire 
 To which the Lesbian tuned her lyre. 
 
 (Carm. iv. 9. 10. ) 
 
 Athenaeus says that Chamaeleon, one of the 
 disciples of Aristotle, wrote a book about Sappho; 
 and Strabo says Callias of Lesbos interpreted 
 her songs. Alexander the Sophist used to lecture 
 on her, and Dracon of Stratonica, in the reign of 
 Hadrian, wrote a commentary on her metres. 
 
 She wrote in the Aeolic dialect, the form of 
 which Bergk has restored in almost every in- 
 stance. The absence of rough breathings, the 
 throwing back of the accent, and the use of the 
 digamma (f) and of many forms and words un- 
 known to ordinary Attic Greek, all testify to this. 
 Three idyls ascribed to Theocritus (cf. fr. 65) are 
 imitations of the dialect, metre, and manner of 
 the old Aeolic poets; and the 28th, says Professor 
 Mahaffy, "is an elegant little address to an ivory 
 spindle which the poet was sending as a present 
 
 1 A quaint mediaeval commentator on Horace, quoted 
 by Professor Comparetti, says this passage (querentetn 
 Sappho ptiellis de popularibus] refers to Sappho's com- 
 plaining, even in Hades, of her Lesbian fellow-maidens 
 for not loving the youth with whom she was herself so 
 much in love.
 
 Life of Sappho. 43 
 
 to the wife of his physician friend, Nikias of Cos, 
 and was probably composed on the model of a 
 poem of Sappho." 
 
 Her poems or jue\H were undoubtedly written 
 for recitation with the aid of music ; " they were, 
 in fact," to quote Professor Mahaffy again, "the 
 earliest specimens of what is called in modern 
 days the Song or Ballad, in which the repetition 
 of short rhythms produces a certain pleasant 
 monotony, easy to remember and easy to under- 
 stand." 
 
 What Melic poetry like Sappho's actually was 
 is best comprehended in the light of Plato's de- 
 finition of tnelos, that it is " compounded out of 
 three things, speech, music and rhythm." 
 
 Aristoxenus, as quoted by Plutarch, ascribes 
 to her the invention of the Mixo-Lydian mode. 
 Mr. William Chappell thinks the plain meaning 
 of Aristoxenus' assertion is merely that she sang 
 softly and plaintively, and at a higher pitch than 
 any of her predecessors. All Greek modes can 
 be exhibited by means of our diatonic scale, by 
 the white keys, for example, omitting the black 
 ones, of our modern pianofortes; the various 
 modes having been merely divisions of the dia- 
 tonic scale into certain regions each consisting 
 of one octave. The ecclesiastical Mixo-Lydian 
 mode supposed to be similar to the Greek mode 
 of the same name, is the scale of our G major
 
 44 Life of Sappho. 
 
 without the F^ or leading note. It was called 
 in the early Christian Church "the angelic 
 mode," and is now known as the Seventh of 
 the ecclesiastical or Gregorian modes. The 
 more celebrated instances of the use of this 
 mode in modern church music are Palestrina's 
 four-part motet Dies sanctificatus, the Antiphon 
 Asperges me as given in the Roman Gradual, 
 and the Sarum melody of Sanctorum mentis 
 printed in the Rev. T. Helmore's Hymnal 
 Noted. The subjoined example of it is given 
 in Sir George Grove's Dictionary of Music 
 and Musicians: 
 
 together with a technical description of its 
 construction. 
 
 Sappho is said by Athenaeus, quoting Menaech- 
 mus and Aristoxenus, to have been the first of 
 the Greek poets to use the Pektis (TTHKTI<;), a 
 foreign instrument of uncertain form, a kind of 
 harp (cf. fr. 122), which was played by the fingers 
 without a plectrum. Athenaeus says the Pektis 
 was identical with the Magadis, but in this he 
 was plainly wrong, for Mr. Wm Chappell has 
 shown that any instrument which was played in 
 octaves was called a Magadis, and when it was 
 in the form of a lyre it had a bridge to divide
 
 Life of Sappho. 45 
 
 the strings into two parts, in the ratio of 2 to i, 
 so that the short part of each string gave a sound 
 just one octave higher than the other. Sappho 
 also mentions (in fr. 154) the Baromos or 
 Barmos, and the Sarbitos or Barbitos, kinds of 
 many-stringed Lesbian lyres which cannot now 
 be identified. 
 
 As to the metres in which Sappho wrote, it is 
 unnecessary to describe them elaborately here. 
 They are discussed in all treatises on Greek or 
 Latin metres, and Neue has treated of them at 
 great length in his edition of Sappho. Suffice it 
 to say that Bergk has as far as possible arranged 
 the fragments according to their metres, of which 
 I have given indications often purposely general 
 in the headings to the various divisions. The 
 metre commonly called after her name was pro- 
 bably not invented by her ; it was only called 
 Sapphic because of her frequent use of it. Its 
 strophe is made up thus : 
 
 Mr. Robinson Ellis, in the preface to his trans- 
 lation of Catullus, gives some examples of 
 Elizabethan renderings of the Sapphic stanza
 
 46 Life of Sappho. 
 
 into English, but nothing repeats its rhythm to 
 my ear so well as Swinburne's Sapphics : 
 
 All the night sleep came not upon my eyelids, 
 Shed not dew, nor shook nor unclosed a feather, 
 Yet with lips shut close and with eyes of iron 
 Stood and beheld me. 
 
 With such lines as these ringing in the reader's 
 ears, he can almost hear Sappho herself singing 
 
 Songs that move the heart of the shaken heaven, 
 Songs that break the heart of the earth with pity, 
 Hearing, to hear them. 
 
 In the face of so much testimony to Sappho's 
 genius, and in the presence of every glowing 
 word of hers that has been spared to us, there 
 is no need for me to panegyrize the poetess 
 whom the whole world has been long since con- 
 tented to hold without a parallel. What Sappho 
 wrote, to earn such unchallenged fame, we can 
 only vainly long to know ; what still remains for 
 us to judge her by, I am willing to leave my 
 readers to estimate.
 
 I. IN SAPPHIC METRE. 
 
 I. 
 
 TToiKiAoGpov', aedvar' 'A9p65iTa, 
 TTCU Aiog, SoAonAoKe, Ataaojuai ae 
 JUH ju' uocuai JUHT oviaiai bdjuva, 
 
 TTOTVia, 0UJUOV 
 
 aAAa ruib' eA0', mnora KarepcoTa 
 TOQ ejua^ aiibcoc; aioiaa nnAui 
 eKAueg, ncxrpog 6e 66juov Ainoiaa 
 
 Xpuaiov fiAGeq 
 
 apju' uno^eutaiaa' KaAoi 5e a' afov 
 OTpouGoi nepi ffiq jueAatvag 
 &iveuvTe<; nrep' an' wpuvco al'Ge- 
 poq bia jueaaco. 
 
 ai\|/a 6' etKOVTO' TU 5', w jucxKaipa, 
 jueibicioaia' aeavcxrco npoaconco, 
 Hpe', OTTI &HUT6 ntTiovGa KOJTTI 
 
 KOJTTI MOI jua^iOTa GeAco 
 jucuvoAa 6uMcp* jiva 5Hure TTeiQoj 
 Mate; CXJ-HV eg aav ^lAorara, TI^ a' 
 Y'lrep', a6iKH6i;
 
 48 Sappho. 
 
 KOI fop ai 9eufei, raxecoc 6iwi, 
 ai bk 6topa JUH beKer', uAAa 5(i>3ei, 
 ai 6e JUH <ptAei, raxecoc; 9iAH3ei 
 
 KwuK e0eAoisa. 
 
 tA0e MOI Kcti vuv, xaAenav be Auaov 
 K jaepijuvav, oooa be MOI reAeaaoi 
 
 liueppei, reAeoov au 6' aura 
 eaao. 
 
 Immortal Aphrodite of the broidered throne, 
 daughter of Zeus, wearer of wiles, I pray thee 
 break not my spirit with anguish and distress, O 
 Queen. But come hither, if ei'er before thou didst 
 hear my voice afar, and listen, and leaving thy 
 father's golden house earnest with chariot yoked, 
 and fair fleet sparrows drew thee, flapping fast 
 their wings around the dark earth, from heaven 
 through mid sky. Quickly arrived they ; and 
 thou, blessed one, smiling with immortal counte- 
 nance, didst ask What now is befallen me, and 
 U7iy flow I call, and What I in my mad heart 
 most desire to see. " What Beauty now would st 
 thou draw to love thee? Who wrongs thee, 
 Sappho '? For even if she flies she shall soon 
 follo7t>, and if sfie rejects gifts shall yet give, and 
 if she loves not shall soon love, /lonwer loth." 
 Come, I pray thee, nmv too, and release me from 
 cruel cares and all that my heart desires to 
 accomplish, accomplish thon. and be thyself my 
 ally.
 
 In Sapphic Metre. 49 
 
 A HYMN TO VENUS. 
 
 O Venus, beauty of the skies, 
 
 To whom a thousand temples rise, 
 
 Gaily false in gentle smiles, 
 
 Full of love-perplexing wiles ; 
 
 O goddess, from my heart remove 
 
 The wasting cares and pains of love. 
 
 If ever thou hast kindly heard 
 A song in soft distress preferred, 
 Propitious to my tuneful vow, 
 
 gentle goddess, hear me now. 
 Descend, thou bright immortal guest, 
 In all thy radiant charms confessed. 
 
 Thou once didst leave almighty Jove 
 And all the golden roofs above : 
 The car thy wanton sparrows drew, 
 Hovering in air they lightly flew ; 
 As to my bower they winged their way 
 
 1 saw their quivering pinions play. 
 
 The birds dismissed (while you remain) 
 Bore back their empty car again : 
 Then you, with looks divinely mild, 
 In every heavenly feature smiled, 
 And asked what new complaints I made, 
 And why I called you to my aid ? 
 
 E
 
 5O Sappho. 
 
 What frenzy in my bosom raged, 
 And by what cure to be assuaged ? 
 What gentle youth I would allure, 
 Whom in my artful toils secure ? 
 Who does thy tender heart subdue, 
 Tell me, my Sappho, tell me who ? 
 
 Though now he shuns thy longing arms, 
 He soon shall court thy slighted charms ; 
 Though now thy offerings he despise, 
 He soon to thee shall sacrifice ; 
 Though now he freeze, he soon shall burn, 
 And be thy victim in his turn. 
 
 Celestial visitant, once more 
 Thy needful presence I implore. 
 In pity come, and ease my grief, 
 Bring my distempered soul relief, 
 Favour thy suppliant's hidden fires, 
 And give me all my heart desires. 
 
 AMBROSE PHILIPS, 1711. 
 
 TO THE GODDESS OF LOVE. 
 
 O Venus, daughter of the mighty Jove, 
 Most knowing in the mystery of love, 
 Help me, oh help me, quickly send relief, 
 And suffer not my heart to break with grief.
 
 In Sapphic Metre. 5 1 
 
 If ever thou didst hear me when I prayed, 
 Come now, my goddess, to thy Sappho's aid. 
 Orisons used, such favour hast thou shewn, 
 From heaven's golden mansions called thee 
 down. 
 
 See, see, she comes in her cerulean car, 
 Passing the middle regions of the air. 
 Mark how her nimble sparrows stretch the wing, 
 And with uncommon speed their Mistress bring. 
 
 Arrived, and sparrows loosed, hastens to me ; 
 Then smiling asks, What is it troubles thee ? 
 Why am I called ? Tell me what Sappho wants. 
 Oh, know you not the cause of all my plaints ? 
 
 I love, I burn, and only love require ; 
 And nothing less can quench the raging fire. 
 What youth, what raving lover shall I gain ? 
 Where is the captive that should wear my chain ? 
 
 Alas, poor Sappho, who is this ingrate 
 Provokes thee so, for love returning hate ? 
 Does he now fly thee ? He shall soon return : 
 Pursue thee, and with equal ardour burn. 
 
 Would he no presents at thy hands receive ? 
 He will repent it, and more largely give. 
 The force of love no longer can withstand ; 
 He must be fond, wholly at thy command.
 
 5 2 Sappho. 
 
 When wilt thou work this change ? Now, Venus 
 
 free, 
 
 Now ease my mind of so much miser}- ; 
 In this amour my powerful aider be ; 
 Make Phaon love, but let him love like me. 
 
 HERBERT, 1713. 
 
 HYMN TO VENUS. 
 
 Immortal Venus, throned above 
 In radiant beauty, child of Jove, 
 O skilled in every art of love 
 
 And artful snare ; 
 
 Dread power, to whom I bend the knee, 
 Release my soul and set it free 
 From bonds of piercing agony 
 
 And gloomy care. 
 Yet come thyself, if e'er, benign. 
 Thy listening ears thou didst incline 
 To my rude lay, the Starr)* shine 
 
 Of Jove's court leaving, 
 In chariot yoked with coursers fair, 
 Thine own immortal birds that bear 
 Thee swift to earth, the middle air 
 
 With bright wings cleaving. 
 Soon they were sped and thou, most blest, 
 In thine own smiles ambrosial dressed, 
 Didst ask what griefs my mind oppressed 
 
 What meant my song
 
 Iii Sapphic Metre. 53 
 
 What end my frenzied thoughts pursue 
 For what loved youth I spread anew 
 My amorous nets " Who, Sappho, who 
 
 " Hath done thee wrong ? 
 " What though he fly, he'll soon return 
 " Still press thy gifts, though now he spurn ; 
 " Heed not his coldness soon he'll burn, 
 
 " E'en though thou chide." 
 And saidst thou thus, dread goddess ? Oh, 
 Come then once more to ease my woe ; 
 Grant all, and thy great self bestow, 
 
 My shield and guide ! 
 
 JOHN HERMAN MERIVALE, 1833. 
 
 Splendour-throned Queen, immortal Aphrodite, 
 Daughter of Jove, Enchantress, I implore thee 
 Vex not my soul with agonies and anguish ; 
 
 Slay me not, Goddess ! 
 
 Come in thy pity come, if I have prayed thee ; 
 Come at the cry of my sorrow ; in the old times 
 Oft thou hast heard, and left thy father's heaven, 
 
 Left the gold houses, 
 
 Yoking thy chariot. Swiftly did the doves fly, 
 Swiftly they brought thee, waving plumes of 
 
 wonder 
 Waving their dark plumes all across the aether, 
 
 All down the azure. 
 
 Very soon they lighted. Then didst thou, 
 Divine one,
 
 54 SappJio. 
 
 Laugh a bright laugh from lips and eyes 
 
 immortal, 
 Ask me, " What ailed me wherefore out of 
 
 heaven 
 
 " Thus I had called thee ? 
 
 " What it was made me madden in my heart so ? " 
 Question me, smiling say to me, " My Sappho, 
 " Who is it wrongs thee ? Tell me who refuses 
 
 " Thee, vainly sighing." 
 
 " Be it who it may be, he that flies shall follow ; 
 ' ; He that rejects gifts, he shall bring thee many ; 
 " He that hates now shall love thee dearly, 
 
 madly 
 
 " Aye, though thou wouldst not." 
 So once again come, Mistress ; and, releasing 
 Me from my sadness, give me what I sue for, 
 Grant me my prayer, and be as heretofore now 
 Friend and protectress. 
 
 EDWIN ARNOLD, 1869. 
 
 Beautiful-throned, immortal Aphrodite, 
 Daughter of Zeus, beguiler, I implore thee, 
 Weigh me not down with weariness and anguish, 
 O thou most holy ! 
 
 Come to me now, if ever thou in kindness 
 Hearkenedst my words, and often hast thou 
 
 hearkened 
 
 Heeding, and coming from the mansions golden 
 Of thy great Father,
 
 In Sapphic Metre, 55 
 
 Yoking thy chariot, borne by the most lovely 
 Consecrated birds, with dusky-tinted pinions, 
 Waving swift wings from utmost heights of heaven 
 Through the mid-ether ; 
 
 Swiftly they vanished, leaving thee, O goddess, 
 Smiling, with face immortal in its beauty, 
 Asking why I grieved, and why in utter longing 
 I had dared call thee ; 
 
 Asking what I sought, thus hopeless in desiring, 
 Wildered in brain, and spreading nets of 
 
 passion 
 Alas, for whom? and saidst thou, "Who has 
 
 harmed thee ? 
 " O my poor Sappho ! 
 
 " Though now he flies, ere long he shall pursue 
 
 thee ; 
 " Fearing thy gifts, he too in turn shall bring 
 
 them ; 
 
 ' Loveless to-day, to-morrow he shall woo thee, 
 " Though thou shouldst spurn him." 
 
 Thus seek me now, O holy Aphrodite ! 
 Save me from anguish ; give me all I ask for, 
 Gifts at thy hand ; and thine shall be the glory, 
 Sacred protector ! 
 
 T. W. HIGGINSON, 1871.
 
 56 Sappho. 
 
 O fickle-souled, deathless one, Aphrodite, 
 
 Daughter of Zeus, weaver of wiles, I pray thee, 
 Lady august, never with pangs and bitter 
 Anguish affray me ! 
 
 But hither come often, as erst with favour 
 
 My invocations pitifully heeding, 
 Leaving thy sire's golden abode, thou earnest 
 Down to me speeding. 
 
 Yoked to thy car, delicate sparrows drew thee 
 Fleetly to earth, fluttering fast their pinions, 
 From heaven's height through middle ether's 
 
 liquid 
 Sunny dominions. 
 
 Soon they arrived ; thou, O divine one, smiling 
 
 Sweetly from that countenance all immortal, 
 Askedst my grief, wherefore I so had called thee 
 From the bright portal ? 
 
 What my wild soul languished for, fren zy-stricken ? 
 
 " Who thy love now is it that ill requiteth 
 Sappho ? and who thee and thy tender yearning 
 Wrongfully slighteth ? 
 
 Though he now fly, quickly he shall pursue 
 
 thee 
 Scorns he thy gifts ? Soon he shall freely 
 
 offer 
 
 Loves he not ? Soon, even wert thou unwilling, 
 Love shall he proffer."
 
 In Sapphic Metre. 57 
 
 Come to me then, loosen me from my torment, 
 All my heart's wish unto fulfilment guide thou, 
 Grant and fulfil ! And an ally most trusty 
 Ever abide thou. 
 
 MORETON JOHN WALHOUSE, in the 
 Gentleman's Magazine, 1877. 
 
 Star-throned incorruptible Aphrodite, 
 Child of Zeus, wile-weaving, I supplicate thee, 
 Tame not me with pangs of the heart, dread 
 mistress, 
 
 Nay, nor with anguish. 
 But come thou, if erst in the days departed 
 Thou didst lend thine ear to my lamentation, 
 And from far, the house of thy sire deserting, 
 
 Camest with golden 
 
 Car yoked : thee thy beautiful sparrows hurried 
 Swift with multitudinous pinions fluttering 
 Round black earth, adown from the height of 
 heaven 
 
 Through middle ether : 
 
 Quickly journeyed they; and, O thou, blest Lady, 
 Smiling with those brows of undying lustre, 
 Asked me what new grief at my heart lay, 
 wherefore 
 
 Now I had called thee, 
 
 What I fain would have to assuage the torment 
 Of my frenzied soul ; and whom now, to please 
 thee,
 
 5 8 Sappho. 
 
 Must persuasion lure to thy love, and who now, 
 
 Sappho, hath wronged thee ? 
 Yea, for though she flies, she shall quickly chase 
 
 thee ; 
 Yea, though gifts she spurns, she shall soon 
 
 bestow them ; 
 Yea, though now she loves not, she soon shall 
 
 love thee, 
 
 Yea, though she will not ! 
 Come, come now too ! Come, and from heavy 
 
 heart-ache 
 
 Free my soul, and all that my longing yearns to 
 Have done, do thou ; be thou for me thyself too 
 Help in the battle. 
 
 J. ADDINGTON SYMONDS, 1883. 
 
 Besides these complete versions many others 
 there are, but these are by far the best com- 
 pare the following stanza out of Akenside's Ode 
 on Lyric Poetry (about 1745) : 
 
 But lo, to Sappho's melting airs 
 
 Descends the radiant queen of Love : 
 
 She smiles, and asks what fonder cares 
 Her suppliant's plaintive measures move : 
 
 Why is my faithful maid distressed ? 
 
 Who, Sappho, wounds thy tender breast ?
 
 /;/ Sapphic Metre. 59 
 
 Say, flies he ? Soon he shall pursue. 
 
 Shuns he thy gifts ? He soon shall give. 
 
 Slights he thy sorrows ? He shall grieve, 
 And soon to all thy wishes bow. 
 
 And Swinburne's paraphrase- 
 For I beheld in sleep the light that is 
 In her high place in Paphos, heard the kiss 
 Of body and soul that mix with eager tears 
 And laughter stinging through the eyes and ears: 
 Saw Love, as burning flame from crown to feet, 
 Imperishable, upon her storied seat ; 
 Clear eyelids lifted toward the north and south, 
 A mind of many colours, and a mouth 
 Of many tunes and kisses ; and she bowed, 
 With all her subtle face laughing aloud, 
 Bowed down upon me, saying, " Who doth thee 
 
 wrong, 
 
 Sappho?" but thou thy body is the song, 
 Thy mouth the music ; thou art more than I, 
 Though my voice die not till the whole world 
 
 die; 
 Though men that hear it madden ; though love 
 
 weep, 
 Though nature change, though shame be charmed 
 
 to sleep. 
 
 Ay, wilt thou slay me lest I kiss thee dead ? 
 Yet the queen laughed from her sweet heart and 
 
 said :
 
 60 Sappho. 
 
 " Even she that flies shall follow for thy sake, 
 And she shall give thee gifts that would not take, 
 Shall kiss that would not kiss thee "(yea, kiss me) 
 " When thou wouldst not " when I would not 
 kiss thee ! 
 
 Anactoria, p. 67 f, 
 
 And his 
 
 O thou of divers-coloured mind, 1 O thou 
 
 Deathless, God's daughter subtle-souled lo, now. 
 
 Now too the song above all songs, in flight 
 
 Higher than the day-star's height, 
 
 And sweet as sound the moving wings of night ! 
 
 Thou of the divers-coloured seat behold 
 
 Her very song of old ! 
 
 O deathless, O God's daughter subtle-souled .' 
 ***** 
 
 Child of God, close craftswotnan, I beseech thee ; 
 Bid not ache nor agony break nor master, 
 Lady, my spirit. 
 
 Songs of the Spring-tides: On the Cliffs. 
 
 Dionysius of Halicarnassus, writing at Rome 
 about 25 B.C., quotes this, commonly called The 
 Ode to Aphrodite, as a perfect illustration of the 
 
 1 TioiKiXoOpov' =on richly-worked throne, is by some 
 read notKiAo<ppov=full of various wiles, subtle-minded.
 
 /;/ Sapphic Metre. 61 
 
 elaborately finished style of poetry, showing in 
 detail how its grace and beauty lie in the subtle 
 harmony between the words and the ideas. 
 Certain lines of it, though nowhere else the 
 whole, are preserved by Hephaestion and other 
 authors. 
 
 2. 
 
 i MOI KHvoa I'aoc; 6eoiaiv 
 ejujuev a>VHp, SOTIQ evavriog TOI 
 Uavei, Kai nAaoiov a&u 9wveu- 
 
 aaq OnaKouei 
 
 KOI r^ai^aq ijuepoev, TO )aoi MCXV 
 KOpbiav ev GTH0eoiv enroaaev 
 cbq fap euibov ppoxecoc; ae, <pcovaq 
 
 oubev er' eiVer 
 aA\a Kau juev fAcoaaa eafe, \enrov 6' 
 
 6' oubev opHju', enippoju- 
 
 6' aKOuai. 
 a & jui&pwQ KOKxeerai, TpojuoQ 5e 
 naaav afpei, x^wROTepa 5e noiaq 
 ejLiMi, TeOvaKHV b' 6Aij"co 'mbeuHQ 
 
 (paivo)uai [uAAa]. 
 aAAa nav roAjucnrov, [enei Kai nevHta]. 
 
 That man seems to me peer of gods^ who sits in 
 thy presence, and hears dose to him thy sweet 
 speech and lovely laughter ; that indeed makes my
 
 62 Sappho. 
 
 heart flutter in my bosom. For when I see thee 
 but a little, I have no utterance left, my tongue is 
 broken down, and straightway a subtle fire //as 
 run under my skin, with my eyes I have no sight, 
 my ears ring, sweat pours dovvn, and a trembling 
 seizes all my body ; I am paler than grass, and 
 seem in my madness little better than one dead. 
 But I must dare all, since one so poor .... 
 
 The famous imitation of this ode by Catullus, 
 ii., Ad Lesbiam 
 
 Ille mi par esse deo videtur, 
 Ille, si fas est, superare divos, 
 Qui sedens adversus identidem te 
 
 Spectat et audit 
 
 Dulce ridentem, misero quod omnis 
 Eripit sensus mihi : nam simul te, 
 Lesbia, aspexi, nihil est super mi 
 ***** 
 
 Lingua sed torpet, tenuis sub artus 
 Flamma demanat, sonitu suopte 
 Tintinant aures, gemina teguntur 
 Lumina nocte 
 
 is thus translated by Mr. W. E. Gladstone : 
 
 Him rival to the gods I place, 
 
 Him loftier yet, if loftier be, 
 Who, Lesbia, sits before thy face, 
 
 Who listens and who looks on thee ;
 
 In Sapphic Metre. 63 
 
 Thee smiling soft. Yet this delight 
 Doth all my sense consign to death ; 
 
 For when thou dawnest on my sight, 
 
 Ah, wretched ! flits my labouring breath. 
 
 My tongue is palsied. Subtly hid 
 
 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 youth who fondly sits by thee, 
 And hears and sees thee all the while 
 Softly speak and sweetly smile. 
 
 'Twas this deprived my soul of rest, 
 And raised such tumults in my breast ; 
 For while I gazed, in transport tost, 
 My breath was gone, my voice was 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 ; 
 I fainted, sank, and died away. 
 
 AMBROSE PHILIPS, 1711.
 
 64 Sappho. 
 
 Thy fatal shafts unerring move, 
 
 I bow before thine altar, Love. 
 
 I feel thy soft resistless flame 
 
 Glide swift through all my vital frame. 
 
 For while I gaze my bosom glows, 
 My blood in tides impetuous flows, 
 Hope, fear, and joy alternate roll, 
 And floods of transports whelm my soul. 
 
 My faltering tongue attempts in vain 
 In soothing murmurs to complain ; 
 Thy tongue some secret magic ties, 
 Thy murmurs sink in broken sighs. 
 
 Condemned to nurse eternal care, 
 And ever drop the silent tear, 
 Unheard I mourn, unknown I sigh, 
 Unfriended live, unpitied die. 
 
 SMOLLETT, in Roderick Random, 1741. 
 
 Blest as the immortal gods is he, 
 
 The youth whose eyes may look on thee, 
 
 Whose ears thy tongue's sweet melody 
 
 May still devour. 
 
 Thou smilest too ? sweet smile, whose charm 
 Has struck my soul with wild alarm, 
 And, when I see thee, bids disarm 
 
 Each vital power.
 
 In Sapphic Metre. 65 
 
 Speechless I gaze : the flame within 
 Runs swift o'er all my quivering skin ; 
 My eyeballs swim ; with dizzy din 
 
 My brain reels round ; 
 And cold drops fall ; and tremblings frail 
 Seize every limb ; and grassy pale 
 I grow ; and then together fail 
 
 Both sight and sound. 
 
 JOHN HERMAN MERIVALE, 1833. 
 
 Peer of gods he seemeth to me, the blissful 
 Man who sits and gazes at thee before him, 
 Close beside thee sits, and in silence hears thee 
 
 Silverly speaking, 
 
 Laughing love's low laughter. Oh this, this only 
 Stirs the troubled heart in my breast to tremble ! 
 For should I but see thee a little moment, 
 
 Straight is my voice hushed ; 
 Yea, my tongue is broken, and through and 
 
 through me 
 
 'Neath the flesh impalpable fire runs tingling ; 
 Nothing see mine eyes, and a noise of roaring 
 
 Waves in my ear sounds ; 
 Sweat runs down in rivers, a tremor seizes 
 All my limbs, and paler than grass in autumn, 
 Caught by pains of menacing death, I falter, 
 
 Lost in the love-trance. 
 
 J. ADDINGTON SYMONDS, 1883. 
 F
 
 66 Sappho. 
 
 Compare Lord Tennyson : 
 
 I watch thy grace ; and in its place 
 My heart a charmed slumber keeps, 
 
 While I muse upon thy face ; 
 And a languid fire creeps 
 
 Through my veins to all my frame, 
 Dissolvingly and slowly : soon 
 
 From thy rose-red lips my name 
 Floweth ; and then, as in a swoon, 
 With dinning sound my ears are rife, 
 My tremulous tongue faltereth, 
 I lose my colour, I lose my breath, 
 I drink the cup of a costly death 
 Brimmed with delicious draughts of warmest 
 
 life. 
 I die with my delight, before 
 
 I hear what I would hear from thee. 
 
 Eleanore, 1832. 
 And 
 
 I^ast night, when some one spoke his name, 
 From my swift blood that went and came 
 A thousand little shafts of flame 
 Were shiver'd in my narrow frame. Fatima^ 
 
 1 When Fatima was first published (1832) this motto 
 was prefixed 
 
 4>mveTCu juoi KHVOQ TGOQ 6eoTaiv 
 
 ejujLtev avHp, 
 showing Tennyson's acknowledgments to Sappho.
 
 In Sapphic Metre. 67 
 
 And with line 14, Swinburne's 
 
 Paler than grass in summer. Sapphics. 
 
 and, 
 
 Made like white summer-coloured grass. 
 
 Aholibah. 
 
 Longinus, about 250 A.D., uses this, The Ode 
 to Anactoria, or To a beloved Woman, or To a 
 Maiden, as tradition variously names it, to illus- 
 trate the perfection of the Sublime in poetry, 
 calling it " not one passion, but a congress of 
 passions," and showing how Sappho had here 
 seized upon the signs of love-frenzy and har- 
 monized them into faultless phrase. Plutarch 
 had, about 60 A.D., spoken of this ode as 
 " mixed with fire," and quoted Philoxenus as 
 referring to Sappho's " sweet-voiced songs heal- 
 ing love."
 
 68 Sappho. 
 
 3- 
 
 "Aorepeq juev 14191 KctAav oeAavvuv 
 a\y anoKpunroiai <pdevvov et5oQ, 
 oiTTTOTa n\H0oiaa juuMaru AUJUTTH 
 
 rav [em naaav] 
 w w apfupia w w- 
 
 The stars about the fair moon in their turn 
 hide their bright face when she at about her full 
 lights up all earth with silver. 
 
 Planets, that around the beauteous moon 
 Attendant wait, cast into shade 
 
 Their ineffectual lustre, soon 
 As she in full-orbed majesty arrayed, 
 
 Her silver radiance pours 
 
 Upon this world of ours. 
 
 J. H. MERIVALE. 
 
 The stars around the lovely moon 
 Their radiant visage hide as soon 
 As she, full-orbed, appears to sight, 
 Flooding the earth with her silvery light. 
 
 ? FELTON.
 
 In Sapphic Metre. 69 
 
 The stars about the lovely moon 
 Fade back and vanish very soon, 
 When, round and full, her silver face 
 Swims into sight, and lights all space. 
 EDWIN ARNOLD, 1869. 
 
 Stars that shine around the refulgent full moon 
 Pale, and hide their glory of lesser lustre 
 When she pours her silvery plenilunar 
 Light on the orbed earth. 
 
 J. A. SYMONDS, 1883. 
 
 Quoted by Eustathius of Thessalonica, late ir 
 the twelfth century, to illustrate the simile in tht 
 Jliad, viii. 551 : 
 
 As when in heaven the stars about the moon 
 Look beautiful. TENNYSON. 
 
 Julian, about 350 A.D., says Sappho applied the 
 epithet silver to the moon ; wherefore Blomfield 
 suggested its position here.
 
 70 Sappho. 
 
 'Ajucpi 5'e \yuxpov KeA<i6ei bi ua&oov 
 6e 
 
 KCOJUO Karappei. 
 
 And round about the [breeze] murmurs cool 
 through apple-bortghs, and slumber streams from 
 quivering leaves. 
 
 Through orchard-plots with fragrance crowned 
 The clear cold fountain murmuring flows ; 
 
 And forest leaves with rustling sound 
 Invite to soft repose. 
 
 J. H. MERIVALF. 
 
 All around through branches of apple-orchards 
 Cool streams call, while down from the leaves 
 
 a-tremble 
 Slumber distilleth. 
 
 J. A. SYMONDS, 1883. 
 
 Cited by Hermogenes, about 170 A.D., as an 
 example of simple style, and to show the pleasure 
 given by description. The fragment describes
 
 /// Sapphic Metre. Ji 
 
 the gardens of the nymphs, which Demetrius, 
 about 150 A.D., says were sung by Sappho. Cf. 
 Theocritus, Idyl, vii. 135: "High above our 
 heads waved many a poplar, many an elm-tree, 
 while close at hand the sacred water from the 
 Nymph's own cave welled forth with murmurs 
 musical" (A. Lang). And Ovid, Hero'id., xv. 
 157, 
 
 A spring there is whose silver waters show, etc. 
 
 (cf. Pope's translation infra, p. 190) probably 
 refers to it. 
 
 5- 
 
 \j w w w "EA9e Kunpi 
 Xpucicuoiv ev KuAiKeooiv a[3pa><; 
 6a/\icuoi veicrap 
 
 Come, goddess of Cyprus, and in golden cups 
 serve nectar delicately mixed with delights. 
 
 Come, Venus, come 
 Hither with thy golden cup, 
 
 Where nectar-floated flowerets swim.
 
 72 Sappho. 
 
 Fill, fill the goblet up ; 
 
 These laughing lips shall kiss the brim, 
 Come, Venus, come ! 
 
 ANON. (Edin. Rm^ 1832). 
 
 Kupris, hither 
 
 Come, and pour from goblets of gold the nectar 
 Mixed for love's and pleasure's delight with 
 dainty 
 
 Joys of the banquet. 
 
 J. A. SYMOXDS, 1883. 
 
 Athenaeus, a native of Naucratis, who flourished 
 about 230 A.D.. quotes these verses as an example 
 of the poets' custom of invoking Aphrodite in 
 their pledges. Applying them to himself and 
 his fellow-guests, he adds the words TOUTOIGI TO!<; 
 eraipou; ejuoiq re KOI oolq. Some scholars believe 
 that Sappho actually wrote 
 
 Talo5e rate ejuaig erdpaiGi KCU oaiq, 
 For these my companions and thine. 
 
 Aphrodite was called Cypris, " the Cyprian," 
 because it was mythologically believed that when 
 she rose from the sea she was first received as 
 a goddess on the shore of Cyprus {Homeric 
 Hymns, vi.).
 
 Iii Sapphic Metre. 73 
 
 6. 
 
 "H ae Kunpoq KOI TToupoq H TTavopjuoq. 
 
 Or Cyprus and Faphos, or Panormus [holds] 
 thee. 
 
 If thee Cyprus, or Paphos, or Panormos 
 J. A. SYMONDS, 1883. 
 
 From Strabo, about 19 A.D. Panormus 
 (Palermo) in Sicily was not founded till after 
 Sappho's time, but it was a common name, and 
 all seaports were under the special protection of 
 Aphrodite. 
 
 7 AND 8. 
 
 Sot b' erco AeuKac; eni fkojuov 
 KUiriAei\|/w TOI w w w v 
 
 But for thee will I [lead] to the altar [the 
 
 offspring] of a white goat . . . and add a 
 libation for thee.
 
 74 Sappho. 
 
 Adduced by Apollonius of Alexandria, about 
 140 A.D., to illustrate similarities in dialects. 
 The fragment is probably part of an ode de- 
 scribing a sacrifice offered to Aphrodite. 
 
 Al8' If CO, XpU003T9Ov' 'A<pp6&lTCt, 
 
 rov&e TOV nciAov 
 
 This lot may I win, golden-crowned Aphrodite. 
 
 From Apollonius, to show how adverbs give 
 an idea of prayer. 
 
 10. 
 
 At Me Tijaiav tnoHaav epfct 
 TO o<pa 601001. 
 
 Who gave me their gifts and made me honoured. 
 
 From Apollonius, to illustrate the Aeolic dia- 
 lect. Bergk thinks this fragment had some 
 connection with fr. 68, and perhaps with fr. 32. 
 It seems to refer to the Muses.
 
 In Sapphic Metre. 75 
 
 1 1. 
 
 w w Toibe vuv t 
 TCU<; ejuaiai repnva KaAcx; uei 
 
 7X//J will I now sing deftly to please my girl- 
 friends. 
 
 Quoted by Athenaeus to prove that freeborn 
 women and maidens often called their girl 
 associates and friends Iraipai (Hetaerae), without 
 any idea of reproach. 
 
 12. 
 
 ^ w w w "Omvaq rap 
 eu 6eoo, KHVCH jue juaAiara aivvov- 
 TCXI. w w w . 
 
 For they whom I benefit injure me most. 
 
 From the Etymologicum Magmim, a dictionary 
 which was compiled about the tenth century 
 A.D.
 
 SappJio. 
 
 13- 
 
 w w w "EfOJ 5e KHV' OT- 
 
 TCO TIQ eparcu. 
 But that which one desires 7 .... 
 
 From Apollonius, to illustrate the use of the 
 verb epdtco. Bergk now reads eparcti instead of 
 fpaTcu as formerly, on the analogy of ^IUKHTUI and 
 6uva,ucu in the Fayum fragments. 
 
 14. 
 
 TCUQ Kc'Aai<; ujujuiv [TO] VOHJUO TCOJUOV 
 ou 6iajiieiTrrov. 
 
 To you, fair maids, my mind changes not. 
 
 From Apollonius, to show the Aeolic use of 
 for UMIV, " to you."
 
 In Sapphic Metre. // 
 
 15- 
 w w w "Efcov 6' eMOUTOi 
 
 TOUTO GUVOlbct. 
 
 And this I feel in myself. 
 From Apollonius, to show Aeolic accentuation. 
 
 16. 
 
 TOUCH [6e] vt/Gxpoc; juev Ifevro eCjuog, 
 nop b' i'etai TO nrepa. w w 
 
 Bid their heart turned cold and they dropt their 
 wings. 
 
 In Pindar, Pyth. \. 10, the eagle of Zeus, 
 delighted by music, drops his wings, and the 
 Scholiast quotes this fragment to show that 
 Sappho says the same of doves.
 
 78 Sappho. 
 
 w - y w KOT ejuov 
 Tbv 6 emrrAcHovTeg ajuoi cpepoiev 
 
 According to my weeping : it and all care let 
 buffeting winds bear away. 
 
 From the Etymologicum Magnum, to show 
 that the Aeolians used \ in the place of .33. 
 "Ajuoi is a guess of Bergk's for uvejuoi, " winds." 
 
 18. 
 
 M' a xpuoone5iAy\OQ AUCOQ. 
 Me just now the golden-sandalled Dawn .... 
 
 Me but now Aurora the golden-sandalled. 
 J. A. SVMONDS, 1883. 
 
 Quoted by Ammonius of Alexandria, at the 
 close of the fourth century A.D., to show Sappho's 
 use
 
 /// Sapphic Metre. 79 
 
 19. 
 
 w w ww TT6&OQ 54 
 .TTOiKiAog MO^HC; eKaAunre, Aubi- 
 ov KaAov epfov. 
 
 A broidered strap of fair Lydian work covered 
 her feet. 
 
 Quoted by the Scholiast on Aristophanes' 
 Peace, 1174; and also by Pollux, about 180 A.D. 
 Blass thinks the lines may have referred to an 
 apparition of Aphrodite. 
 
 2O. 
 
 - \j w TTavTobdnaig 
 va xpotaioiv. 
 
 Shot with a thousand hues. 
 
 Quoted by the Scholiast on Apollonius of 
 Rhodes, i. 727, in speaking of Jason's double- 
 folded mantle having been reddish instead of 
 name -coloured. Some think, however, that 
 Sappho here refers to Iris, i.e. the rainbow.
 
 8o Sappho. 
 
 21. 
 
 .... EjueOev b' TxeiaGa AuOuv. 
 Me thou forgettest. 
 
 From Apollonius, as is also the following, to 
 show the Aeolic use of ejueQev for tjuoO, "of me." 
 
 22. 
 
 - w - w - w w "H TIV 
 
 [juaAAov] av9pconcL)V "jiieGev (piAnoOa. 
 Or lovest another more than me. 
 
 23- 
 
 Ou TI juoi tjujueg. 
 Ye are nought to me. 
 
 Quoted by Apollonius, as is also the followin 
 fragment, to show that ujueTc was in Aeolic C 
 " you."
 
 In Sapphic Metre. 81 
 
 24- 
 
 A<; Be\er' 
 While ye will. 
 
 25- 
 
 Kui TToSHco KCU juuojucu \j w 
 / yearn and seek .... 
 
 From the Etymologicum Magnum, to show 
 that the Aeolians used no0Hoj for noeeco, " I yearn." 
 
 26. 
 
 Kelvov, co xpu<3o0pove Moua' , tvianeq 
 Gjuvov, K rag KaAAifuvaiKoq tc 
 THioq x^P 01 *^ cv aei&e repnvax; 
 
 O Muse of the golden throne, raise that strain 
 which the reverend elder of Teos, from the goodly 
 land of fair women, used to sing so sweetly. 
 G
 
 82 Sappho. 
 
 O Muse, who sitt'st on golden throne, 
 Full many a hymn of dulcet tone 
 
 The Teian sage is taught by thee ; 
 But, goddess, from thy throne of gold, 
 The sweetest hymn thou'st ever told 
 
 He lately learned and sang for me. 
 
 T. MOORE. 
 
 Athenaeus says " Hermesianax was mistaken 
 when he represented Sappho and Anacreon as 
 contemporaries, for Anacreon lived in the time 
 of Cyrus and Polycrates [probably 563-478 B.C.], 
 but Sappho lived in the reign of Alyattes the 
 father of Croesus. But Chamaeleon, in his 
 treatise on Sappho, asserts that according to 
 some these verses were made upon her by 
 Anacreon, 
 
 ' Spirit of Love, whose tresses shine 
 Along the breeze in golden twine, 
 Come, within a fragrant cloud 
 Blushing with light, thy votary shroud, 
 And on those wings that sparkling play 
 Waft, oh waft me hence away ! 
 Love, my soul is full of thee, 
 Alive to all thy luxury.
 
 /// Sapphic Metre. 83 
 
 But she, the nymph for whom I glow, 
 The pretty Lesbian, mocks my woe, 
 Smiles at the hoar and silvered hues 
 Which Time upon my forehead strews. 
 
 Alas, I fear she keeps her charms. 
 In store for younger happier arms.' " 
 
 T. MOORE. 
 
 Then follows Sappho's reply, the present frag-, 
 ment. " I myself think," Athenaeus goes on to 
 say, " that Hermesianax is joking concerning 
 the love of Anacreon and Sappho, for Diphilus 
 the comic poet, in his play called Sappho^ has 
 represented Archilochus and Hipponax as the 
 lovers of Sappho." 
 
 Probably the whole is spurious, for certainly 
 Sappho never saw Anacreon : she probably died 
 before he was born. Even Athenaeus says that 
 it is clear to every one that the verses are not 
 Sappho's.
 
 84 Sappho. 
 
 II. IN DACTYLIC METRE. 
 
 27. 
 
 evaq ev GTH0eaiv opfaq 
 
 When anger spreads through the breast, guard 
 thy tongue from barking idly. 
 
 Quoted by Plutarch, in his treatise On re- 
 straining anger, to show that in wrath nothing is 
 more noble than quietness. Blass thinks that 
 Bergk is wrong in his restoration of the verses ; 
 he considers their metre choriambic (like fr. 
 64, ff.), and reads them thus : 
 
 * ^ OKi&vajueva<; OTHGeoiv opfaq Tre<puAafjueva (?) 
 f\u>oaav jaavfuAaKav ww ww ^ 
 
 He compares fr. 72 with them.
 
 In Alcaic Metre. 85 
 
 III. IN ALCAIC METRE. 
 28. 
 
 Ai 6' Hxeq eoAoov i'juepov H xaAoov, 
 Kcti JUH TI yehrHV rAcooa* eKUKa KOKOV, 
 ai6a>g Ke a' ou Kixavev 
 aM' tAefeq nepl TOO 
 
 Hadst thou felt desire for things good or noble, 
 and had not thy tongue framed some evil speech, 
 shame had not filled thine eyes, but thou hadst 
 spoken honestly about it. 
 
 THE LOVES OF SAPPHO AND ALCAEUS. 
 
 Alcaeus. I fain would speak, I fain would tell, 
 But shame and fear my utterance 
 
 quell. 
 Sappho. If aught of good, if aught of fair 
 
 Thy tongue were labouring to declare, 
 Nor shame should dash thy glance, 
 
 nor fear 
 
 Forbid thy suit to reach my ear. 
 ANON. (Edin. Rev., 1832, p. 190).
 
 86 Sappho. 
 
 Aristotle, in his Rhetoric, i. 9, about 330 B.C., 
 says "base things dishonour those who do or 
 wish them, as Sappho showed when Alcaeus said, 
 ionAoK* oirvct jueMuxMei&e Zdnqxu, 
 0e/\<jo TI ./einHV, a\Aa jue KCoAuei ai'Scoq. 
 ' Violet-weaving, pure, softly-smiling Sappho, I 
 would say something, but shame restrains me,'" 
 (cf. supra, p. 8,) and she answered him in the 
 words of the present fragment. 
 
 Blass (Rhein. Mus. 1879, xx ix-> P- I 5>) 
 believes that these verses also are Sappho's, 
 not Alcaeus'. Certainly they were quoted as 
 Sappho's by Anna Comnena, about mo A.D., 
 as well as by another writer whom Blass refers 
 to. Blass would read the last line nepi & SiKaiooq 
 C&IKCIUOQ) = nepi ou ebiKctlouc, about that ivJiich then 
 didst pretend. 
 
 IV. IN MIXED GLYCONIC AND 
 ALCAIC METRE. 
 
 29. 
 
 Kavra 
 rav en' oaaoiq ajuntTuoov X"P IV - 
 
 Stand face to face, friend .... and unveil 
 the grace in thine eyes.
 
 hi CJioriambic Metre. 87 
 
 Athenaeus, speaking of the charm of lovers' 
 eyes, says Sappho addressed this to a man who 
 was admired above all others for his beauty. 
 Bergk thinks it may have formed part of an ode 
 to Phaon (cf. fr. 140), or of a bridal song; and 
 A. Schoene suspects that it was possibly ad- 
 dressed to Sappho's brother. The metre is quite 
 uncertain. 
 
 V. IN CHORIAMBIC METRE. 
 
 [This is a very unsatisfactory category. Some of the 
 fragments, e.g. 30-43, are in Aeolian dactyls, wherein the 
 second foot is always a dactyl ; 44-49 are Gly conies ; 
 50-54 are in the Ionic a majore metre ; some others are 
 Asclepiads, etc. But where so much is uncertain, it 
 seems to be the simplest way to group them thus.] 
 
 30. 
 
 Xpuaeoi 6' epefJivOoi err' ai'ovwv ^u 
 And golden pulse grew on the shores. 
 
 Quoted by Athenaeus, when he is speaking of 
 vetches.
 
 88 Sappho. 
 
 ACITCO KCU Niofkt juaAa M'CV (piAcu naav tTtupui. 
 Leto and Niobe were friends full dear. 
 
 Quoted by Athenaeus for the same reason as 
 fr. ii. Compare also fr. 143. 
 
 32. 
 
 MvaoesOai riva 901111 KOI usrepov 
 Men 1 think will remember us even hereafter. 
 
 Compare Swinburne's 
 
 Thou art more than I, 
 Though my voice die not till the whole world 
 
 die. 
 and 
 
 Memories shall mix and metaphors of me. 
 and 
 
 I Sappho shall be one with all these things, 
 With all high things for ever. 
 
 Anactoria.
 
 In Choriambic Metre. 89 
 
 Dio Chrysostom, the celebrated Greek rhe- 
 torician, writing about too A.D., observes that 
 Sappho says this " with perfect beauty." 
 
 To illustrate this use of 90,111, Bergk quotes 
 a fragment preserved by Plutarch, which may 
 have been written by Sappho : 
 
 ..... erco 
 Moisuv eu 
 
 / think I have a goodly portion in the violet- 
 weaving Muses. 
 
 33- 
 
 'Hpdjuav juev efa> oe0ev, "ArGi, naAai nora. 
 / loved thee once, Atthis, long ago. 
 
 I loved thee, hark, one tenderer note than all 
 Atthis, of old time, once one low long fall, 
 Sighing one long low lovely loveless call, 
 Dying one pause in song so flamelike fast 
 Atthis, long since in old time overpast 
 One soft first pause and last. 
 One, then the old rage of rapture's fieriest rain 
 Storms all the music-maddened night again. 
 SWINBURNE, Songs of the Springtides, p. 57.
 
 go SappJio. 
 
 Quoted by Hephaestion, about 150 A.D., as 
 an example of metre. The verse stood at the 
 beginning of the first ode of the second book of 
 Sappho's poems, which Hephaestion says was 
 composed entirely of odes in this metre : thus, 
 
 34- 
 
 S.uiKpct juoi Trai'g ejujuev e<pa!veo 
 
 A slight and ill-favoured child didst thou seem 
 to me. 
 
 Quoted by Plutarch ; and by others also. 
 
 Bergk thinks it is certain that this fragment 
 belongs to the same poem as does the preceding, 
 judging from references to it by Terentianus 
 Maurus, about 100 A.D., and by Marius Victo- 
 rinus, about 350 A.D. 
 
 35- 
 
 "AAAct, JUH juefaAuveo baKTuAioo nepi. 
 Foolish woman, pride not thyself on a ring. 
 Preserved by Herodian the grammarian, who 
 lived about 160 A.D.
 
 /;/ Choriambic Metre. 91 
 
 36. 
 
 OUK 016' OTTI 8eco- 6uo juoi TO VOHMOTO. 
 / know not what to do ; my mind is divided. 
 
 Quoted by the Stoic philosopher Chrysippus, 
 about 220 B.C. 
 
 37- 
 
 6' ou &OKIJUOIJU' opavco 6uai nd 
 
 / do not think to touch the sky with my two 
 arms. 
 
 Quoted by Herodian. Cf. Horace, Carm. I. 
 i. 36, Sublimi feriam sidera vertice, 
 
 My head, exalted so, will touch the stars, 
 
 which some think a direct translation of this line 
 of Sappho's. 
 
 Old Horace? M will strike,' said he, 
 'The stars with head sublime.' 
 
 TENNYSON, Ttresias, 1885.
 
 92 Sappho. 
 
 33. 
 *Q<; 6e new; nebct jLtorepa nerrrepufcoiuai. 
 
 ^^/ I flutter like a child after her mother. 
 
 I ,ike a child whose mother 's lost, 
 I am fluttering, terror-tost. 
 
 M. J. WALHOtVK. 
 
 Quoted in the Etymologicum Magnum as an 
 example of Aeolic. It may have related to a 
 sparrow, and been imitated by Catullus, 3, 6 ff. : 
 
 Sweet, all honey : a bird that ever hailed her 
 Lady mistress, as hails the maid a mother. 
 Nor would move from her arms away : but only 
 Hopping round her, about her, hence or hither, 
 Piped his colloquy, piped to none beside her. 
 (ROBINSON ELLIS.) 
 
 39- 
 
 'Hpoc; uffeAoc ljUpo9cavoc UH 
 Springs messenger, the sweet-voiced nightingale.
 
 In CJioriambic Metre. 93 
 
 The dear good angel of the Spring, 
 The nightingale. 
 
 BEN JONSON, The Sad Shepherd, Act ii. 
 
 The tawny sweet winged thing 
 Whose cry was but of Spring. 
 
 SWINBURNE, Songs of tfie Springtides, 
 
 P- 52. 
 
 Quoted by the Scholiast on Sophocles, Electro, 
 149, "the nightingale is the messenger of Zeus, 
 because it is the sign of Spring." 
 
 40. 
 
 Satire n' 6 AusijueAm; bovei 
 fAuKuniKpov ujuuxavov opnerov. 
 
 Ncnv Love masters my limbs and shakes me, 
 fatal creature, bitter-sweet. 
 
 Lo, Love once more, the limb-dissolving King, 
 The bitter-sweet impracticable thing, 
 Wild-beast-like rends me with fierce quivering. 
 J. ADDINGTON SYMONDS, 1883.
 
 94 Sappho. 
 
 Compare 
 
 O Love, Love, Love ! O withering might ! 
 TENNYSON, Fatima. 
 
 O bitterness of things too sweet ! 
 
 SWINBURNE, Fragoktta. 
 
 Sweet Love, that art so bitter. 
 
 SWINBURNE, Tristram of Lyonesse. 
 
 and the song in Bothwell, act i. sc. i : 
 
 Surely most bitter of all sweet things thou art, 
 And sweetest thou of all things bitter, love. 
 
 Quoted by Hephaestion. Cf. fr. 125, 
 
 41. 
 
 "ArQt, ool 6* ejueQev juev u 
 9povria6HV, eni &' 'AvSpojuebav TTOTH. 
 
 But to f/tee, Atthis, the thought of me is hateful ; 
 thouflittest to Andromeda. 
 
 Quoted by Hephaestion together with fr. 40, 
 but it seems to be the beginning of a different 
 ode.
 
 In Choriambic Metre. 95 
 
 42. 
 
 "Epog 6aur' erivaSev ejuoi 9ptvag, 
 avejuoQ KQT' opog 6puaiv ejuneacov. 
 
 Now Eros shakes my soul, a wind on the 
 mountain falling on the oaks. 
 
 Lo, Love once more my soul within me rends, 
 Like wind that on the mountain oak descends. 
 J. A. SYMONDS, 1883. 
 
 Quoted by Maximus Tyrius, about 150 B.C., 
 in speaking of Socrates exciting Phaedrus to 
 Bacchic frenzy when he talked of love. 
 
 43- 
 
 "Oia navvuxoc aacpi Kcrrarpei. 
 IVhen all night long [sleep] holds their [eyes]. 
 
 Quoted by Apollonius to show the Aeolic 
 form of acpi. Bergk thinks that Sappho may 
 have written - 
 
 OTTTTCIT' [acopog], 
 OTO navvuxog 0091 
 
 therefore I translate it so.
 
 96 Sappho. 
 
 44. 
 
 XetpojLiaKTpa 5e KCtj-rovoov 
 nop<pupa .... 
 Kai raura juev OTijuaaeK;, 
 enejuV emu ^GOKOCU; 
 bcopa ri.uia Kctfrovcov. 
 
 And purple napkins for thy lap . . . (even these 
 wilt thou despise) I sent from Phocaea, precious 
 gifts for thy lap. 
 
 Quoted by Athenaeus out of the fifth book of 
 Sappho's Songs to Aphrodite, to show that x e 'P"- 
 juaKTpa were cloths, handkerchiefs, for covering 
 the head. But the whole passage is hopelessly 
 corrupt. 
 
 45- 
 
 "Are &H xeAu &ia MOI 
 <poovdeaaa fevoio. 
 
 Come nou>, divine shell, become vocal for me. 
 
 Quoted by Hermogenes and Eustathius, of 
 Sappho apostrophizing her lyre.
 
 In Choriamb ic Metre. 97 
 
 46. 
 
 KundAcuc; u 
 
 UJUTT' anu\a bepa. 
 
 And tender woven garlands round tender neck. 
 From Athenaeus. 
 
 47- 
 PeAAcoc; TrcufxxpiAampa. 
 
 Fonder of maids than Gellc. 
 
 Quoted as a proverb by Zenobius, about 130 
 A. ix ; said of those who die an untimely death, 
 or of those whose indulgence brings ruin on 
 their children. Gello was a maiden who died 
 in youth, whose ghost the Lesbians said 
 pursued children and carried them off.
 
 98 Sappho. 
 
 48. 
 
 MuAd &H 
 
 Of G or go full weary. 
 
 I am weary of all thy words and soft strange 
 ways. 
 
 SWINBURNE, Anactoria. 
 
 Quoted by Choeroboscus, about the end of 
 the sixth century A.D., to show that the Aeolic 
 genitive ended in -cog. Maximus Tyrius men- 
 tions this girl Gorgo along with Andromeda 
 (cf. fr. 41) as beloved by Sappho. 
 
 49. 
 
 Bpev6eioo 
 Of a proud (or perfumed, we flowery) palace. 
 
 Athneaeus says Sappho here mentions the 
 " royal " and the "brentheian" unguent together, 
 as if they were one and the same thing ; but the 
 reading is very uncertain.
 
 In CJiorianibic Metre. 99 
 
 50. 
 
 "Ej-oo 6' eni )ua/\0uKav 
 juAav ano\eco 
 
 But I upon a soft cushion dispose my liwi>.<. 
 From Herodian. 
 
 KH b' uju3poaiaq juev Kpurnp e 
 
 ' Epjuaq b' eAev b/\niv eeoiq 
 
 KHVOI 6' cipa ncwreq KapXHGici T' H\OV 
 
 Kci\ei3ov, upuaavTO 5e ndjunav eaAa 
 
 no faju[3pa). 
 
 And there the bowl of ambrosia was mixed, and 
 Hermes took the ladle to pour out for the gods ; 
 and then they all held goblets, and made libation, 
 and wished the bridegroom all good luck. 
 
 The first two lines are quoted by Athenaeus 
 to show that in Sappho Hermes was cupbearer 
 to the gods ; and in another place he quotes the
 
 ioo Sappho. 
 
 rest to illustrate her mention of carchesia, cups 
 narrow in the middle, with handles reaching from 
 the top to the bottom. Lachmann first joined 
 the two fragments. The verses appear to belong 
 to the Epithalamia. 
 
 52. 
 
 Ae6uK juev a ceAavva 
 KG! TTAma&ec, jueaai 6e 
 vuKTeg, wapa 6' epX T> a>pa, 
 If co be jjova Kare-Jbco. 
 
 The moon has set, and the Pleiades ; it is mid- 
 night, the time is going by, and I sleep alone. 
 
 The silver moon is set ; 
 
 The Pleiades are gone ; 
 Half the long night is spent, and yet 
 
 I lie alone. J. H. MERIVALE. 
 
 The moon hath left the sky ; 
 
 Lost is the Pleiads' light ; 
 
 It is midnight 
 And time slips by ; 
 But on my couch alone I lie. 
 
 J. A. SYMONDS, 1883. 
 
 Quoted by Hephaestion as an example of 
 metre.
 
 /// Owriambic Metre. 101 
 
 53- 
 
 TT,\HpHc; uev ecpaiver' a oeXavva, 
 ai 6' cl)g nepi POOJUOV e 
 
 T/ie moon rose full, and the women stood as 
 though around an altar. 
 
 Quoted by Hephaestion as an example of 
 Praxilleian verses, i.e. such as the Sicyonian 
 poetess Praxilla (about B.C. 450) wrote in the 
 metre known as the Ionic a majore trimeter 
 brachycatalectic. Blass thinks that the lines are 
 part of the same poem as that to which the 
 succeeding fragment belongs. 
 
 54- 
 
 saai vu nor* a>5' ejuMeAeooc; 
 
 UTTCt\oi<; 0^9' epoevra fJoijuov 
 repev avSog juaXaKOV juoiTeioai. 
 
 Thus at times with tender feet the Cretan 
 ivomen dance in measure round the fair altar, 
 trampling the fine soft bloom of the grass.
 
 102 Sappho. 
 
 Mr. Moreton J. Walhouse thus combines the 
 previous fragment with this : 
 
 Then, as the broad moon rose on high, 
 The maidens stood the altar nigh ; 
 And some in graceful measure 
 
 The well-loved spot danced round, 
 With lightsome footsteps treading 
 The soft and grassy ground. 
 
 Quoted by Hephaestion as an example of 
 metre, vv. i and 2 in one place and v. 3 in 
 another ; Bergk says Santen first joined them. 
 
 "Afipa bHure TTOXHO ono\a a/V\6]uav. 
 Then delicately in thick robe I sprang. 
 
 From Herodian, as an illustration of the 
 Aeolic dialect. Bergk attributes this to Sappho, 
 but Cramer and others think that Alcaeus wrote 
 the line.
 
 /;/ CJioriainbic Metre. 103 
 
 56. 
 
 4>aioi &H noTct AH&CXV uaKiv9iva>v 
 [un' av9ea>v] nenuKabjuevov 
 eupHv anov. 
 
 Leda they say once found an egg hidden under 
 hyacinth-blossoms, 
 
 From the Etymologicum Magnum, Athenaeus, 
 and others. Bergk thinks fr. 112 may be con- 
 tinuous with this, thus 
 
 eupHv OHOV cbtco 
 
 TTO/Xl) \6UKOTepOV w w v 
 
 since Athenaeus quotes fr. 112 after fr. 56. It 
 is uncertain what flower the Greeks meant by 
 " hyacinth ;" it probably had nothing in common 
 with our hyacinth, and it seems to have com- 
 prised several flowers, especially the iris, gladiolus, 
 and larkspur. 
 
 57- 
 
 ' Oip9a\juoi(; be jueAmc; VUKTOQ ucopog. 
 And dark-eyed Sleep, child of Night. 
 
 From the Etymologicum Magnum, to show 
 that the first letter of uwpoq = wpoq, "sleep," 
 was redundant.
 
 104 Sappho. 
 
 57A. 
 
 Oepdnaivav ' 
 Aphroditfs handmaid bright as gold. 
 
 Philodemus, about 60 B.C., in a MS. discovered 
 at Herculaneum, says that Sappho thus addresses 
 TTeieoj, Persuasion. The MS. is however de- 
 fective, and Gomperz, the editor, thinks from 
 the context that Hecate is here referred to. 
 Cf. frr. 132, 155. (Bergk formerly numbered 
 this fr. 141.) 
 
 58. 
 
 "Eyei juev 'Av&poMefca Ka\av ci 
 Andromeda has a fair requital. 
 
 Quoted by Hephaestion together with the 
 following, although the lines are obviously out 
 of different odes. Probably each fragment is 
 the first line of separate poems.
 
 In Choriambic Metre. 105 
 
 59- 
 
 I TUV TroAuoA(3ov ' A(ppc5irav ; 
 Sappho, why [celebrate] blissful Aphrodite ? 
 
 60. 
 
 Acute vuv, ttjSpcu Xdpueg, KaMiKOMoi re Moioai. 
 Come now, delicate Graces and fair-haired Muses. 
 
 Quoted by Hephaestion, Attilius Fortunatianus 
 (about the fifth century A.D.), and Servius, as an 
 example of Sappho's choriambic tetrameters. 
 
 61. 
 
 TTcipSevov abucptovov. 
 A sweet-voiced maiden. 
 From Attilius Fortunatianus.
 
 106 SappJio. 
 
 62. 
 
 KorOvddKCt, Ki'SepH 1 , afjpog "Aboovig, ri e Oeijuev ; 
 KamjTrrca9e KOpai KQI KarepeiKeaGe 
 
 Delicate Adonis is dying, Cytherea ; what 
 shall we do ? Beat your breasts, maidens, and 
 rend your tunics. 
 
 Quoted by Hephaestion, and presumed to be 
 Sappho's from a passage in Pausanias, where he 
 says she learnt the name of the mythological 
 personage Oetolmus (as if OITOQ Aivou, " the death 
 of Linus"), from the poems of Pamphos, a 
 mythical poet of Attica earlier than Homer, and 
 so to her Adonis was just like Oetolinus. The 
 Linus-song was a very ancient dirge or lamenta- 
 tion, of which a version (or rather a late render- 
 ing, apparently Alexandrian) has been preserved 
 by a Scholiast on Homer, running thus: "O 
 Linus, honoured by all the gods, for to thee first 
 they gave to sing a song to men in clear sweet 
 sounds ; Phoebus in envy slew thee, but the 
 Muses lament thee." A charming example of 
 what the Linus-song was in the third century 
 B.C., remains for us in Bion's Lament for Adonis.
 
 In CJwriambic Metre. 107 
 
 63- 
 
 *O TOV "Abcoviv. 
 Ah for Adonis ! 
 
 From Marius Plotius, about 600 A.D. It seems 
 to be the refrain of the ode to Adonis. Cf. fr. 
 108. 
 
 64. 
 
 "E/\0ovT* e opcxvo) nop9t>piav [exovra] nepOejuevov 
 
 Coming from heaven wearing a purple mantle. 
 
 From heaven he came, 
 
 And round him the red chlamys burned like 
 flame. J. A. SYMONDS. 
 
 Quoted by Pollux, about 180 A.D., who says 
 that Sappho, in her ode to Eros, out of which 
 this verse probably came, was the first to use the 
 word x^Mik, a short mantle fastened by a brooch 
 on the right shoulder, so as to hang in a curve 
 across the body.
 
 loS Sappho. 
 
 65- 
 
 aj-vai Xctpuec, beure Aiog Kopcu. 
 Come, rosy-armed pure Graces, daughters of Zeus. 
 
 Theocritus' Idyl 28, On a Distaff, according 
 to the argument prefixed to it, was written in the 
 dialect and metre of this fragment. And Philo- 
 stratus, about 220 A.D., says "Sappho loves the 
 rose, and always crowns it with some praise, 
 likening to it the beauty of her maidens; she 
 likens it also to the arms of the Graces, when 
 she describes their elbows bare." Cf. fr. 146. 
 
 66. 
 
 w '06' "Apeuc 901101 Kev v A9oisrov ctpnv 3iu. 
 
 But Ares says he would drag Hephaestus by force. 
 
 From Priscian, late in the fifth century A.D. 
 
 w ww ww TToAAa 6" dvapitt.uu 
 
 TTOTHpld Kd/NuicplQ. 
 
 Many thousand cups thou drainest. 
 
 Quoted by Athenaeus when descanting on 
 drinking-cups.
 
 Iii Clioriambic Metre. 109 
 
 68. 
 
 Kc<T6uvotoa 6e Keiaeai TTOTO, KCOU fivotMoauva aeOcv 
 eaaer' cure TOT OUT' ucrrepov oi) rap nebexcig 3pc6a>v 
 TOOV IK TTiepiaq, a\,\' acpdvHc; KHV 'At&a OOJUOK; 
 9oiT(iseig ne&' ajuaupcov veKucov EKnenoTajaeva. 
 
 But thou shalt ever lie dead, nor shall there be 
 any remembrance of thee then or thereafter, for 
 thou hast not of the roses of Pieria ; but thou shalt 
 wander obscure even in the house of Hades, flitting 
 among the shadowy dead. 
 
 In the cold grave where thou shalt lie 
 All memory too of thee shall die, 
 Who in this life's auspicious hours 
 Disdained Pieria's genial flowers ; 
 And in the mansions of the dead, 
 With the vile crowd of ghosts, thy shade, 
 While nobler spirits point with scorn, 
 Shall flit neglected and forlorn. 
 
 ? FELTOX. 
 
 Thee too the years shall cover ; thou shalt be 
 As the rose born of one same blood with thee, 
 As a song sung, as a word said, and fall 
 Flower-wise, and be not any more at all,
 
 1 10 Sappho. 
 
 Nor any memory of thee anywhere ; 
 For never Muse has bound above thine hair 
 The high Pierian flowers whose graft outgrows 
 All Summer kinship of the mortal rose 
 And colour of deciduous days, nor shed 
 Reflex and flush of heaven about thine head, etc. 
 SWINBURNE, Anactoria. 
 
 Thou liest dead, and there will be no memory 
 
 left behind 
 Of thee or thine in all the earth, for never didst 
 
 thou bind 
 The roses of Pierian streams upon thy brow : 
 
 thy doom 
 Is writ to flit with unknown ghosts in cold and 
 
 nameless gloom. 
 
 EDWIN ARNOLD, 1869. 
 
 Yea, thou shalt die, 
 And lie 
 
 Dumb in the silent tomb ; 
 Nor of thy name 
 Shall there be any fame 
 
 In ages yet to be or years to come : 
 For of the flowering Rose, 
 Which on Pieria blows, 
 
 Thou hast no share :
 
 /// Choriamb ic Metre. 1 1 1 
 
 But in sad Hades' house, 
 
 Unknown, inglorious, 
 'Mid the dim shades that wander there 
 Shalt thou flit forth and haunt the filmy air. 
 J. A. SYMONDS, 1883. 
 
 \Vhen thou fallest in death, dead shalt thou lie, 
 
 nor shall thy memory 
 Henceforth ever again ever be heard then or in 
 
 days to be, 
 Since no flowers upon earth ever were thine, 
 
 plucked from Pieria's spring, 
 Unknown also 'mid hell's shadowy throng thou 
 shalt go wandering. 
 
 ANON., Love in Idleness, 1883. 
 
 From Stobaeus, about 500 A.D., as addressed 
 to an uneducated woman. Plutarch quotes the 
 fragment as written to a certain rich lady ; but 
 in another work he says the crown of roses was 
 assigned to the Muses, for he remembered 
 Sappho's having said to some unpolished and un- 
 educated woman these same words. Aristides, 
 about 150 A.D., speaks of Sappho's boastfully 
 saying to some well-to-do woman, " that the 
 Muses made her blest and worthy of honour, 
 and that she should not die and be forgotten ; " 
 though this may refer to fr. 10.
 
 1 1 2 Sappho. 
 
 69. 
 
 Ovb' lav &OKIMOIJLU npoai5oiaav <pdoQ u\ia> 
 eoae<j6ai aocpiav ndpOevov eig oi/6eva nw 
 TOiaurav. 
 
 No one maiden I think shall at any time see the 
 sunlight that shall be as wise as thou. 
 
 Methinks no maiden ever 
 
 Will live beneath the sun 
 Who is as wise as thou art, 
 
 Not e'en till Time is done. 
 
 Quoted by Chrysippus. It is probably out 
 of the same ode as the preceding. 
 
 70. 
 
 Tic 5* aFpoicoTic; TOI OeAfet voov, 
 
 OUK eniirraMeva ra [JpaKe' !\KHV eni TOW 
 
 What country girl bewitches thy /uarf, KV/V 
 knows not how to draw her dress about her ankles ?
 
 /// Choriambic Metre. \ 1 3 
 
 What country maiden charms thee, 
 
 However fair her face, 
 Who knows not how to gather 
 
 Her dress with artless grace ? 
 
 Athenaeus, speaking of the care which the 
 ancients bestowed upon dress, says Sappho thus 
 jests upon Andromeda. Three other authors 
 quote the same lines. 
 
 "Hptov ee5iua' IK Fuapoov TUV Tavuaibpojuov. 
 / taught Hero of Gyara, the sivift runner. 
 
 Quoted by Choeroboscus, to show the Aeolic 
 accusative. 
 
 72. 
 
 w 'AAA('t TIC; OUK ejUMi 
 
 opfav, a\A' agciKHV rav (ppev' exw w 
 
 / am not of a malignant nature, but hare a 
 quiet temper. 
 
 Quoted in the Etymologicum Magnum to 
 show the meaning of a3aKHQ, " childlike, in- 
 nocent." 
 
 I
 
 U4 Sappho. 
 
 73- 
 
 -j Aurop opened 3Te<pavHTT,\oKeuv. 
 But charming [maidens] plaited garlands. 
 
 Quoted by the Scholiast on Aristophanes' 
 Thesmophoriazusae 401, to show that plaiting 
 wreaths was a sign of being in love. 
 
 74- 
 
 - w Si) re KOIUOC; 0epano>v " Epcoq. 
 Ttioti and my servant Love. 
 
 Quoted by Maximus Tyrius to show that 
 Sappho agreed with Diotima when the latter 
 said to Socrates (Plato, Syrnpos., p. 328) that 
 Love is not the son, but the attendant and ser- 
 vant of Aphrodite.
 
 /// Choriambic Metre. 1 1 5 
 
 75- 
 
 AXA* eoov <pi;\OQ ujujuiv [a\\o] 
 
 Ae)(0(; apvuoo veiorepov 
 ou fap rAaaoju' ero> SUVOIKHV 
 
 vtw f eiaa fepairepa. 
 
 if thou lovest us, choose another and a 
 younger bed-fellow ; for I will not brook to live 
 with thee, old woman with young man. 
 
 From Stobaeus' Anthology, and Apostolius. 
 
 76. 
 Eu,uop9cmpa Mvaoi&iKa raq and/\ac fupivvcoq. 
 
 Mnasidica is more shapely than the tender 
 Gyrimw. 
 
 Quoted by Hephaestion as an example of 
 metre (cf. p. 24).
 
 1 1 6 SappJio. 
 
 77- 
 
 oubaju' en', a> "puvva, oeOev 
 
 Scornf idler than thee, Eranna, have I nawherc 
 found. 
 
 Quoted by Hephaestion with the foregoing. 
 The MSS. do not agree; perhaps w'pawa is an 
 adjective, for &> epareivH, O lovely . 
 
 78. 
 
 c, w AIKO, np839' epcirai^ <po3ui3iv 
 QVHTOIO ayveppaio' airaXatai xtpotv- 
 6L'av6eaiv K fup neXerai KOI xap'TOQ juaKaipav 
 iuV\ov nporepHV 3T9avcoTOioi 
 
 Do thou, Dica, set garlands round thy lovely 
 twining slwots of dill together with soft 
 hands : for those who have fair flowers mav best 
 stand first, even in the favour of Goddesses ; ichc 
 turn their face aivayfroin those who lack garland.
 
 In Ckoriambic Metre. 1 1 / 
 
 Here, fairest Rhopode, recline, 
 
 And 'mid thy bright locks intertwine, 
 
 With fingers soft as softest down, 
 
 The ever verdant parsley crown. 
 
 The Gods are pleased with flowers that bloom 
 
 And leaves that shed divine perfume, 
 
 But, if ungarlanded, despise 
 
 The richest offered sacrifice. 
 
 J. H. MERIVALE. 
 
 But place those garlands on thy lovely hair, 
 Twining the tender sprouts of anise green 
 With skilful hand ; for offerings and flowers 
 Are pleasing to the Gods, who hate all those 
 Who come before them with uncrowned heads. 
 
 C. D. YONGK. 
 
 Of foliage and flowers love-laden 
 Twine wreaths for thy flowing hair, 
 
 With thine own soft fingers, maiden. 
 Weave garlands of parsley fair ; 
 
 For flowers are sweet, and the Graces 
 On suppliants wreathed with may 
 
 Look down from their heavenly places, 
 But turn from the crownless away. 
 
 J. A. SY.MONDS, 1883.
 
 1 1 8 Sappho. 
 
 Mr. J. A. Symonds has also thus expanded 
 the lines into a sonnet (1883) : 
 
 Bring summer flowers, bring pansy, violet, 
 
 Moss-rose and sweet-briar and blue columbine ; 
 
 Bring loveliest leaves, rathe privet, eglantine, 
 Brown myrtles with the dews of morning wet : 
 Twine thou a wreath upon thy brows to set ; 
 
 With thy soft hands the wayward tendrils 
 twine ; 
 
 Then place them, maiden, on those curls of 
 
 thine, 
 Those curls too fair for gems or coronet. 
 
 Sweet is the breath of blossoms, and the Graces, 
 When suppliants through Love's temple wend 
 
 their way, 
 
 Look down with smiles from their celestial places 
 On maidens wreathed with chaplets of the 
 
 may ; 
 But from the crownless choir they hide their 
 
 faces, 
 
 Nor heed them when they sing nor when they 
 pray. 
 
 Athenaeus, quoting this fragment, says : 
 "Sappho gives a more simple reason for our 
 wearing garlands, speaking as follows .... in 
 which lines she enjoins all who offer sacrifice to 
 wear garlands on their heads, as they are beautiful 
 things and acceptable to the Gods."
 
 In Choriambic Metre. 1 1 9 
 
 79- 
 
 Efoj 6'e 9i\Hju' (<3poauvv, KOI juoi TO \junpov 
 tpcx; ^ ae.Nico KCU TO xaAov 
 
 delicacy, and for me Love has the sun's 
 splendour and beaut\. 
 
 In speaking of perfumes, Athenaeus, quoting 
 Clearchus, says : " Sappho, being a thorough 
 woman and a poetess besides, was ashamed to 
 separate honour from elegance, and speaks thus 
 .... making it evident to everybody that the 
 desire of life that she confessed had brilliancy 
 and honour in it ; and these things especially 
 belong to virtue." 
 
 80. 
 
 Kaju juev re TU\OV 
 And down 1 set the cushion. 
 Quoted by Herodian, along with fr. 50.
 
 1 20 Sappho. 
 
 81. 
 
 'O nAouroQ oveu aeu f' opera 'sr' OUK aaivHC irapoiKOQ 
 [H 6' e aucpcnipcov Kpaaiq eubaijuoviaq e\ei TO uKpovj. 
 
 U'calth without thee, Worth, is no safe neigh- 
 bour [but the mixture of both is the height of 
 happiness\. 
 
 Wealth without virtue is a dangerous guest : 
 Who holds them mingled is supremely blest. 
 
 J. H. MKRIVAI.K. 
 
 From the Scholiast on Pindar. The second 
 line appears to be the gloss of the commentator, 
 though Blass believes it is Sappho's.
 
 In Various Metres. 121 
 
 VI. IN VARIOUS METRES. 
 
 82. 
 
 Aura 6e ou KaAAiona. 
 And thou thyself, Calliope. 
 
 Quoted by Hephaestion when he is analyzing 
 a metre invented by Archilochus. 
 
 AOUOIQ anctAaQ erupat; 
 ev GTHGetuv v ^ . 
 
 Sleep thou in the bosom of thy tender girl- 
 friend. 
 
 From the Etymologicum Magnum. Blass 
 thinks that the proper place for this fragment is 
 among the Epithalamia,
 
 122 Sappho. 
 
 84. 
 
 Aeupo 5nure Motaai, xpusiov \inoiaai. 
 Hither noiv, Muses, leaving golden 
 
 Quoted by Hephaestion as an example of a 
 verse made of two Ithyphallics. 
 
 8 5 . 
 
 "Em juoi Ka\a nai'q, 
 
 ejn9pHv exoiaa nop9 
 
 avri ra; efco oube Aubiav naiaav ou5' tpavvav. 
 
 / have a fair daughter with a form like a 
 golden flower, Cleis the beloved, above whom I 
 [prize] nor all Lydia nor lovely [Lesbos] .... 
 
 I have a child, a lovely one, 
 
 In beauty like the golden sun, 
 
 Or like sweet flowers of earliest bloom : 
 
 And Clai's is her name, for whom 
 
 I Lydia's treasures, were they mine, 
 
 Would glad resign. J. H. MERIVALK. 
 
 Quoted and elaborately scanned by Hephae- 
 stion, although Bergk regards the lines as merely 
 trochaic.
 
 /;/ the Ionic a Minor e Metre. 123 
 
 86. 
 
 TToAAcc juoi TOV 
 TToAuuvaKTiba natoa xop HV - 
 
 All joy to thee, daughter of Poly an ax. 
 
 From Maximus Tyrius. It seems to be 
 addressed to either Gorgo or Andromeda. 
 
 VII. IN THE IONIC A MI NO RE 
 METRE. 
 
 87. 
 
 Zu 5' eAe,uav ovap KunpofevHa. 
 
 //; a dream I spake with the daughter of 
 Cyprus. 
 
 I. e. Aphrodite. From Hephaestion
 
 1 24 Sappho. 
 
 88. 
 Ti jue TTav&iovu; d> "pavva 
 
 , lovely swallow, daughter of Pandlon, 
 [weary] me? 
 
 From Hephaestion, who says Sappho wrote 
 whole songs in this metre. "Q "pavva is Is. 
 Vossius' emendation ; cbpdva is the ordinary 
 reading, which Hesychius explains as perhaps 
 an epithet of the swallow " dwelling under the 
 roof." 
 
 89. 
 
 . . . . Aju 9! &' SppoiQ Aaaiou; eu fe TnjKciaoev. 
 She wrapped herself ivell in delicate hairy .... 
 
 From Pollux, who says the line refers to fine 
 closely-woven linen.
 
 In tJie Ionic a Minore Metre. 125 
 90. 
 
 inurep, OUTOI buvajuai KpeKHV TOV IOTOV, 
 noOa) bajueiaa nafSoq ppabivav 61 'Acppo&irav. 
 
 Sweet Mother, I cannot weave my web, broken 
 as T am by longing for a maiden, at soft Aphro- 
 dite's will. 
 
 [As o'er her loom the Lesbian maid 
 
 In love sick langour hung her head, 
 Unknowing where her fingers strayed 
 She weeping turned away and said ] 
 
 " Oh, my sweet mother, 'tis in vain, 
 I cannot weave as once I wove, 
 So wildered is my heart and brain 
 \Vith thinking of that youth I love." 
 
 T. MOORE, Evenings in 
 
 Greece, p. 18. 
 Sweet mother, I the web 
 
 Can weave no more; 
 Keen yearning for my love 
 
 Subdues me sore, 
 And tender Aphrodite 
 Thrills my heart's core. 
 
 M. J. WALHOUSE. 
 
 Cf. Mrs. John Hunter's " My mother bids me 
 bind my hair," etc. 
 
 From Hephaestion, as an example of metre.
 
 126 Sappho. 
 
 VIII. EPITHALAMIA, BRIDAL 
 SONGS. 
 
 91. 
 
 "l\yoi fen TO 
 
 ' Y/LIHVQOV 
 aeppere TeKjovrec uvbpec 
 
 ' YjuHvaov. 
 rajufJpoq epxerai taoq Apeu'i, 
 
 [' YJUHVOOV] 
 avbpoc juefaAco noAu /aeisCDv 
 
 [' YjuHvaov]. 
 
 Raise high the roof-beam, carpenters. (Hymen- 
 aeus /) Like Ares comes tfie bridegroom, (Hyincn- 
 aeus /) taller far than a tall man. (Hymen- 
 aeus /) 
 
 Artists, raise the rafters high ! 
 
 Ample scope and stately plan 
 Mars-like comes the bridegroom nigh, 
 
 Loftier than a lofty man. 
 
 ANON., Edinb. Rev., 1832, p. 109. 
 
 Quoted by Hephaestion as an example of a 
 iiits-hymnic poem, where the refrain follows each
 
 Epithalainia, Bridal Songs. 127 
 
 line. The hymcnaeus or wedding-song was sung 
 by the bride's attendants as they led her to the 
 bridegroom's house, addressing Hymen the god 
 of marriage. The metre seems, says Professor 
 Mahaffy (Hist, of Class. Greek Lit., i., p. 20, 
 1880), to be the same as that of the Linus song; 
 cf. fr. 62. 
 
 TTeppoxoq, dx; or' aoi&oq 6 AeajSioq aAAo&dnoiow. 
 
 Toiuering, as the Lesbian singer towers among 
 men of other lands. 
 
 Quoted by Demetrius, about 150 A.D. It is 
 uncertain what " Lesbian singer " is here referred 
 to ; probably Terpander, but Neue thinks it may 
 mean the whole Lesbian race, from their pre- 
 eminence in poetry. 
 
 93- 
 
 Otov TO r/\uKujua,Nov epeuGerai aKpa> tn' uo5a) 
 aKpov en' aKpcmmp- \e\a9ovro 6e Ma\o6p6nHe<;, 
 ou ,uJiv tKXeAaGovT', a\A' OUK ebuvavr'
 
 1 28 Sappho. 
 
 As the siveet-apple blushes on the end of the 
 bough, the very end of the bough, which the 
 gatherers overlooked, nay overlooked not but could 
 not reach. 
 
 Quoted by the Scholiast on Hermogenes, 
 and by others, to explain the word r\uKuua\ov, 
 "sweet-apple," an apple grafted on a quince; 
 it is used as a term of endearment by Theocritus 
 (Idyl ii. 39), "Of thee, my love, my sweet- 
 apple, I sing." Himerius, writing about 360 
 A.D., says: "Aphrodite's orgies we leave to 
 Sappho of Lesbos, to sing to the lyre and make 
 the bride-chamber her theme. She enters the 
 chamber after the games, makes the room, 
 spreads Homer's bed, assembles the maidens, 
 leads them into the apartment with Aphrodite 
 in the Graces' car and a band of Loves for 
 playmates. Binding her tresses with hyacinth, 
 except what is parted to fringe her forehead, she 
 lets the rest wave to the wind if it chance to 
 strike them. Their wings and curls she decks 
 with gold, and drives them in procession before 
 the car as they shake the torch on high." And 
 particularly this : " It was for Sappho to liken 
 the maiden to an apple, allowing to those who 
 would pluck before the time to touch not even 
 with the finger-tip, but to him who was to gather 
 the apple in season to watch its ripe beauty ; to
 
 Epiihalamia, Bridal Songs. 129 
 
 compare the bridegroom with Achilles, to match 
 the youth's deeds with the hero's." Further on 
 he says : " Coine then, we will lead him into the 
 bride-chamber and persuade him to meet the 
 beauty of the bride. O fair and lovely, the 
 Lesbian's praises appertain to thee : thy play- 
 mates are rosy-ankled Graces and golden 
 Aphrodite, and the Seasons make the meadows 
 bloom." These last words, especially 
 
 "Q KctAa, co 
 O fair, O lovely . . . 
 
 seem taken out of one of Sappho's hymeneal 
 odes, although they also occur in Theocritus, 
 Idyl xviii. 38. 
 
 94- 
 
 Oiv TCIV uuKivSov tv oupeoi noiiuevec; av5pe<; 
 nooai KUTaoTeipoioi, x^MCd &' emrrop9upei uv6oQ. 
 
 As on the hills the shepherds trample the hyacinth 
 under foot, and the flower darkens on the ground. 
 K
 
 1 30 Sappho. 
 
 Compare Catullus, xi. 21-24 : 
 
 Think not henceforth, thou, to recall Catullus' 
 Love ; thy own sin slew it, as on the meadow's 
 Verge declines, un-gently beneath the ploughshare 
 Stricken, a flower. (ROBINSON ELLIS.) 
 
 And Vergil, Aeneid, ix. 435, of Euryalus dying: 
 
 And like the purple flower the plough cuts down 
 He droops and dies. 
 
 Pines she like to the hyacinth out on the path by 
 
 the hill top } 
 Shepherds tread it aside, and its purples lie lost on 
 
 the herbage. 
 
 EDWIN ARNOLD, 1869. 
 
 ONE GIRL. 
 
 (A combination from Sappho.} 
 i. 
 
 I -ike the sweet apple which reddens upon the 
 
 topmost bough, 
 A-top on the topmost twig, which the pluckers 
 
 forgot, somehow, 
 Forgot it not, nay, but got it not, for none could 
 
 get it till now.
 
 Epitkalantia, Bridal Songs. 131 
 
 n. 
 
 Like the wild hyacinth flower which on the hills 
 
 is found, 
 Which the passing feet of the shepherds for ever 
 
 tear and wound, 
 Until the purple blossom is trodden into the 
 
 ground. 
 
 D. G. ROSSETTI, 1870 ; 
 
 in 1 88 1 he altered the title to Beauty. (A com- 
 bination from Sappho.] 
 
 Quoted by Demetrius, as an example of the 
 ornament and beauty proper to a concluding 
 sentence. Bergk first attributed the lines to 
 Sappho. 
 
 95- 
 
 yeonepe, TTUVTO 9tpcov, ooct <puivo\i<; eoKeSao" auax;, 
 <ptpeig oi'v, cptpec; cura, (ptpeig anu jaarepi nat&a. 
 
 Evening, thou that b /ingest all that bright 
 morning scattered ; thou bringest the sheep, //it' 
 goat, the child back to her mother.
 
 1 32 Sappho. 
 
 Thus imitated by Byron : 
 
 O Hesperus, thou bringest all good things 
 Home to the weary, to the hungry cheer, 
 
 To the young bird the parent's brooding wings, 
 The welcome stall to the o'erlaboured steer : 
 
 Whate'er of peace about our hearthstone clings, 
 Whate'er our household gods protect of dear, 
 
 Are gathered round us by thy look of rest ; 
 
 Thou bring'st the child too to its mother's breast. 
 Don Juan, iii. 107. 
 
 And by Tennyson :- 
 
 The ancient poetess singeth, that Hesperus all 
 
 things bringeth, 
 Smoothing the wearied mind : bring me my love, 
 
 Rosalind. 
 Thou comest morning or even ; she cometh not 
 
 morning or evening. 
 False-eyed Hesper, unkind, where is my sweet 
 
 Rosalind ? 
 
 Leonine Elegiacs, 1830-1884. 
 
 Hesperus brings all things back 
 Which the daylight made us lack. 
 Brings the sheep and goats to rest, 
 Brings the baby to the breast. 
 
 EDWIN ARNOLD, 1869.
 
 EpitJialainia, Bridal Songs. 133 
 
 livening, all things thou bringest 
 
 Which dawn spread apart from each other ; 
 The lamb and the kid thou bringest, 
 
 Thou bringest the boy to his mother. 
 
 J. A. SYMONDS, 1883. 
 
 Hesper, whom the poet call'd the Bringer home 
 of all good things. TENNYSON, 
 
 Lock sky Hall Sixty Years After, 1886. 
 
 From the Etymologicum Magnum, where it is 
 adduced to show the meaning of auox;, " dawn." 
 The fragment occurs also in Demetrius, as an 
 example of Sappho's grace. 
 
 96. 
 
 ' ATm'tp9evo<; 55 
 I shall be ever maiden. 
 
 From a Parisian MS. edited by Cramer, ad- 
 cuuxd to show the Aeolic form of ud, " ever."
 
 1 34 Sappho. 
 
 97- 
 
 AtOGOJUeV, HGl TTOTHp. 
 
 Jlc will give, says the father . . . . 
 From a Parisian MS. edited by Cramer. 
 
 98. 
 
 Oupcopo) TTt>6e(; tTrroporuioi, 
 TCI fee adjugaAa nejunepoHa, 
 msurroi 5e &.K' ISenovaauv. 
 
 To the doorkeeper feet seven fathoms long, and 
 sandals of five bulls' hides, the work often cobblers. 
 
 From Hephaestion, as an example of metre. 
 I )emetrius says : " And elsewhere Sappho girds 
 at the rustic bridegroom and the doorkeeper 
 ready for the wedding, in prosaic rather than 
 poetic phrase, as if she were reasoning rather 
 than singing, using words out of harmony with 
 dance and song."
 
 Epithalamia^ Bridal Songs. 135 
 
 99- 
 
 ie rajufBpe ooi juev 6h ruMoq, COQ cipoo, 
 ' xHc; 5'e ndp9evov, v cipao. 
 
 Happy bridegroom, noiv is thy wedding come 
 to thy desire, and thou hast the maiden of thy 
 desire. 
 
 Quoted by Hephaestion, along with the follow- 
 ing, to exemplify metres ; both fragments seem 
 to belong to the same ode. 
 
 IOO. 
 
 A\6,V\()(io(; 5' en' ijueprw Kexurcu npoaconq). 
 
 And a soft [paleness] is spread orer the lovely 
 face. 
 
 In the National Library of Madrid there is 
 a MS. of an epithalamium by Choricius, a 
 rhetorician of Gaza, who flourished about 520 
 A.D., in which the lamented Ch. Graux (Rerue 
 de Philologie, 1880, p. 81) found a quotation 
 from Sappho which is partly identical with this
 
 1 36 Sappho. 
 
 fragment preserved by Hephaestion. H ; Weil 
 thus attempts to restore the passage : 
 
 Sol xpiev ju'ev el&oc;, omrcxTU o' w v 
 jueMixp' , epo<; o' en' ijueprco 
 
 Kexurcti nposcbnor 
 w TerijuotK' Itoxa a' 'Acppobira. 
 
 Well favoured is thy form, and thine eyes .... 
 honeyed, and love is spread over thy fair face . . . 
 Aphrodite has honoured thee above all. 
 
 Two apparent imitations by Catullus are 
 quoted by Weil to confirm his restoration of 
 Sappho's verses ; viz., mellitos oculos, honeyed 
 eyes (48, i), and pulcher es, neque te Venus 
 negligit, fair thou art, nor does Venus neglect 
 thee (61, 194). 
 
 101. 
 
 'O (iiev fop KC'</\OQ, 0330V i&Hv, TreAeTOi [a 
 6 6e KOfaGoq CUTIKO Kai Ka\o<; eaaerai. 
 
 He who is fair to look upon is [good], and he 
 who is good will soon be fair also. 
 
 Beauty, fair flower, upon the surface lies ; 
 But worth with beauty e'en in aspect vies. 
 
 ? FEI.TON.
 
 Epithalamia, Bridal Songs. 137 
 
 Galen, the physician, writing about 160 A.D., 
 says : " It is better therefore, knowing that the 
 beauty of youth is like Spring flowers, its pleasure 
 lasting but a little while, to approve of what the 
 Lesbian [here] says, and to believe Solon when 
 he points out the same." 
 
 I O2. 
 
 *Hp' en nup9evla<; tnifJuXAojuai ; 
 Do I still long for maidenhood? 
 
 Quoted by Apollonius, and by the Scholiast 
 on Dionysius of Thrace, to illustrate the inter- 
 rogative particle Spa, Aeolic fipa, and as an ex- 
 ample of the catalectic iambic. 
 
 103. 
 
 Xaipoiaa vujucpa, xaiperco 5' 6 ftxj 
 
 The bride [comes] rejoicing ; let the bridegroom 
 rejoice. 
 
 From Hephaestion, as a catalectic iambic.
 
 138 Sappho. 
 
 104. 
 
 Tico a" , co <pi/\e rajufSpe, KuAtog uV.uacio ; 
 ppabivco oe KOAIGT' eiKaabco. 
 
 Whereunto may I well liken t/iee. dear bride- 
 groom ? To a soft shoot may 1 best liken thce. 
 
 From Hephaestion, as an example of metre. 
 
 105. 
 
 ...... Xaipe, vu.ucpn, 
 
 Xipe, Ti.iue ruMppe, noAAo. 
 
 If ail, bride .' noble bridegroom, all hail .' 
 
 Quoted by Servius, about 390 A.D., on Vergil, 
 Georg. I. 31 ; also referred to by Pollux and 
 Julian.
 
 Epifha/amta, Bridal Songs. 139 
 
 1 06. 
 
 Oi) fup HV urepa ndl'q, d> rajuPpe, roiauia. 
 
 For there was no other girl, O bridegroom, like 
 her. 
 
 From Dionysius of Halicarnassus. 
 
 107, 108. 
 
 'Earrer' 'YjuHvoov. 
 "fi TOV 'Abobviov. 
 
 Sing Hymenaeus .' 
 Ah for Adonis ! 
 
 From Plotius, about the fifth or sixth century 
 A.D., to show the metre of Sappho's hymeneal 
 odes. The text is corrupt ; the first verse is 
 thus emended by Bergk, the second by Scaliger. 
 Cf. fr. 63.
 
 140 SappJto. 
 
 109. 
 
 A. TTopGevio, napOevio, not jue A'mois" OIXH ; 
 
 B. OUKETI HtCO TTpOC G, Ol)KTi HCOJ. 
 
 A. Maidenhood, maidenhood, whither art thou 
 
 gone away from me? 
 
 B. Never again will I come to thee, never again. 
 
 " Sweet Rose of May, sweet Rose of May, 
 Whither, ah whither fled away ? " 
 " What's gone no time can e'er restore 
 I come no more, I come no more." 
 
 J. H. MERIVALE. 
 
 From Demetrius, who quotes the fragment to 
 show the grace of Sappho's style and the beauty 
 of repetition. 
 
 IIO. 
 
 "AAAov JUH KajneoTcpav <ppeva. 
 fool, faint not thou in thy strong heart. 
 
 From a very corrupt passage in Herodian. 
 The translation is from Bergk's former emenda- 
 tion, 
 
 "A\Aa JUH Kajae TU orepeav <ppeva.
 
 Epithalamia, Bridal Songs. 141 
 1 1 1. 
 
 4>aiveTC<! /oi Khivoq. 
 To himself he seems ..... 
 
 From Apollonius, to show that the Aeolians 
 used the digamma,/". Bergk says this fragment 
 does not belong to fr. 2. 
 
 112. 
 
 ' Qtco TTO\U Aeimorepov. 
 Mifch whiter than an egg. 
 From Athenaeus ; cf. frs. 56 and 122. 
 
 A\HT' ejuoi jue/\i 
 Neither honey nor bee for me. 
 
 A proverb quoted by many late authors, 
 referring to those who wish for good unmixed 
 with evil. They seem to be the words of the 
 bride. This, and the second line of fr. 62, and
 
 142 Sappho. 
 
 many other verses, show Sappho's fondness for 
 alliteration ; frs. 4 and 5, among several others, 
 show that she did not ignore the charm of 
 assonance. 
 
 114, 
 
 MH KIVH x^ 
 Stir not the shingle. 
 
 Quoted by the Scholiast on Apollonius to 
 show that xepo&eg were "little heaps of stones." 
 
 ajujue. 
 Thou burnest us. 
 
 Compare Swinburne's 
 My life 'is bitter with thy love ; thine eyes 
 Blind me, thy tresses burn me, thy sharp sighs 
 Divide my flesh and spirit with soft sound, etc. 
 
 Anactoria. 
 
 Quoted by Apollonius to show die Aeolic 
 form of Hjuog, " us."
 
 EpitJialamui, Bridal Songs. 143 
 
 116. 
 
 A napkin dripping. 
 
 From the Scholiast on Aristophanes' Plutns* 
 quoted to show the meaning of HMITU^IOV, "a 
 half worn out shred of linen with which to wipe 
 
 the hands." 
 
 117. 
 
 Tov /bv nai6 
 Slie called him her son. 
 
 Quoted by Apollonius to show the Aeolic use 
 of the digamma. Cf. fr. 132.
 
 M4 Sappho. 
 
 IX. EPIGRAMS. 
 
 All three are preserved only in the Greek 
 Anthology, The authenticity of the last, fr. 1 20, 
 is doubtful. To none of them does Bergk restore 
 the form of the Aeolic dialect. 
 
 118. 
 
 TTcu&ec;, ucpcovoq toioa rob' evvemo, at TIQ 
 <peovav aKOfuaTav KcrrGeueva npb nobiov 
 
 Aieonia jue Kopa Aarouc aveSHKev 'Apiara 
 ' EpMOKAeibaia TO> ZaovaTdba, 
 
 aa TTponoXoq, beanoiva fuvaiKciv ti ai) 
 v euic\eiaov feveav. 
 
 Maidens, dumb as I am, I speak thus, if any 
 ask, and set before your feet a tireless voice : To 
 Letds daughter Aethopia was I dedicated by Arista 
 daughter of Hermodeides son of Saona'iades, thy 
 setvant, O queen of women ; whom bless thou, and 
 deign to glorify our house.
 
 Epigrams. 145 
 
 Ox A PRIESTESS OF DIANA. 
 
 1 )oes any ask ? I answer from the dead ; 
 A voice that lives is graven o'er my head : 
 To dark-eyed Dian, ere my days begun, 
 Aristo vowed me, wife of Saon's son : 
 Then hear thy priestess, hear, O virgin Power, 
 And thy best gifts on Saon's lineage shower. 
 
 R. 
 
 The goddess here invoked as the " queen of 
 women" appears to have been Artemis, the 
 Diana of the Romans. 
 
 119. 
 
 Ti.ua6oQ a&e KOVIC, rav &H npb fajuoio SavcGjav 
 
 5earo 4>epae(p6vc(q Kucivecx; OaAajuoq, 
 (; KOI oirocpQtuevaq naaai veo0afi oi&apco 
 t.uepruv Kpcrrix; eOevro KO.UOV. 
 
 This is the dust of Tiinas, whom Persephone's 
 dark chamber received, dead before her wedding ; 
 when she perished, all her fellows dressed with 
 sharpened steel the lovely tresses of their heads. 
 
 L
 
 1 46 SappJio. 
 
 This dust was Timas'; ere her bridal hour 
 She lies in Proserpina's gloomy bower ; 
 Her virgin playmates from each lovely head 
 Cut with sharp steel their locks, their strewments 
 for the dead. 
 
 SIR CHARLES A. ELTON. 
 
 This is the dust of Timas, whom unwed 
 Persephone locked in her darksome bed : 
 For her the maids who were her fellows shore 
 Their curls, and to her tomb this tribute bore. 
 
 J. A. SYMONDS. 
 
 1 20. 
 
 Tto rpinel TTe/Ndfoovi narnp tneGHKe MevlaKOc; 
 Kuprov Kui Kconav, juva.jua K 
 
 Over the fisherman Pelagon his father Meniscus 
 set weel and oar^ memorial of a luckless life. 
 
 ON A FISHERMAN. 
 
 This oar and net and fisher's wickered snare 
 Meniscus placed above his buried son 
 
 Memorials of the lot in life he bore, 
 The hard and needy life of Pelagon. 
 
 SIR CHARLES A. ELTON.
 
 Miscellaneous. 147 
 
 Here, to the fisher Pelagon, his sire Meniscus 
 
 laid 
 A wicker-net and oar, to show his weary life and 
 
 trade. 
 
 LORD NEAVKS. 
 
 Bergk sees no reason to accept the voice of 
 tradition in attributing this epigram to Sappho. 
 
 X. MISCELLANEOUS. 
 
 121. 
 
 Athenaeus says : 
 
 " It is something natural that people who 
 fancy themselves beautiful and elegant should 
 be fond of flowers ; on which account the 
 companions of Persephone are represented as 
 gathering flowers. And Sappho says she saw 
 
 uvOe' a.uepfouacev naib' otfav dnaAuv, 
 "A maiden full tender plucking flowers"
 
 148 Sappko. 
 
 122, 123. 
 
 TT6\u nuKTiSoq u&ujueAeoTtpu, 
 
 Far sweeter of tone than harp, more golden than 
 gold. 
 
 Quoted by Demetrius as an example of hyper- 
 bolic phrase. A commentator on Hermogenes 
 the rhetorician says : " These things basely 
 flatter the ear, like the erotic phrases which 
 Anacreon and Sappho use, r^axToc AeuK<mp 
 whiter than milk, GEicrrog unuAorrepa fresher than 
 water, TTHKTI&OOV ejuMeAeoTepa more musical tlian 
 the harp, mnou fauporepa more skittish than a 
 horse, p66a>v afjporepa more delicate than the rose, 
 luarlou eavou jucxAaKcorepa softer than a fine robe, 
 XpuaoG Tijuicorepa more precious than gold." 
 
 124. 
 
 Demetrius says : 
 
 " Wherefore also Sappho is eloquent and sweet 
 when she sings of Beauty as of Love and Spring 
 and the Kingfisher ; and every beautiful expres- 
 sion is woven into her poetry, besides what she 
 herself invented."
 
 Miscellaneous. \ 49 
 
 125. 
 
 Maximus Tyrius says : 
 
 " Diotima says that Love flourishes in pros- 
 perity, but dies in adversity ; a sentiment which 
 Sappho comprehends when she calls Love rXuKu- 
 ntKpog bitter-sweet [cf. fr. 40], and aAfeolboopoc; 
 giver of pain. Socrates calls Love the wizard, 
 Sappho juuQcmAoKoc; the weaver of fictions.'' 
 
 126. 
 
 To jue\H)iia TOUJUOV. 
 My darling. 
 
 Quoted by Julian, and by Theodorus Hyrta- 
 cenus in the twelfth century A.D., as of " the 
 wise Sappho." Eergk says Sappho would have 
 written TO jue/\Hjua d),uov in her own dialect.
 
 150 Sappho. 
 
 127. 
 
 Aristides says : 
 
 "To ravoc; the brightness standing over the 
 whole city, ou fcict<p6eTpov rai; ovj/etg not destroying 
 the sight, as Sappho says, but developing at once 
 and crowning and' watering with cheerfulness ; 
 in no way uaKivOlvw av9ei o,uoiov like a hyannth- 
 flmver, but such as earth and sun never yet 
 showed to men.'' 
 
 128. 
 
 Pollux writes : 
 
 " Anacreon says they are crowned 
 
 also with dill, as both Sappho [cf. fr. 78] and 
 Alcaeus say ; though these also say seAivoiq with 
 parsley.' 1 ''
 
 Miscellaneous. 151 
 
 129. 
 
 Philostratus says : 
 
 " Thus contend [the maidens] po&onHxei<; KOI 
 (\iKcbni5eq Kcti KdAMnupHoi KOI jueAicpwvoi with rosy 
 arms and glancing eyes and fair cheeks and 
 honeyed voices this indeed is Sappho's sweet 
 salutation." 
 
 And Aristaenetus : 
 
 " Before the porch the most musical and 
 jLieiMx6<poivoi soft-voiced of the maidens sang the 
 hymeneal song ; this indeed is Sappho's sweet- 
 est utterance." 
 
 Antipater of Sidon, Anthol. Pal. ix. 66, and 
 others, calJ Sappho siveet-voiced. 
 
 130. 
 
 Libanius the rhetorician, about the fourth 
 century A.D., says : 
 
 " If therefore nought prevented Sappho the 
 Lesbian from praying VUKTCI OHJTH revea0ai birrAaotov 
 that the night might be doubled for her, let me 
 also ask for something similar. Time, father of
 
 152 Sappho. 
 
 year and months, stretch out this very year for 
 us as far as may be, as, when Herakles was born, 
 thou didst prolong the night." 
 
 Bergk thinks that Sappho probably prayed for 
 VUKTCX TpmAaaictv a night thrice as long as an ordin- 
 ary night, in reference to the myth of Jupiter 
 and Alcmene, the mother of Hercules. 
 
 Strabo says : 
 
 " A hundred furlongs further (from Elaea, a 
 city in Aeolis) is Cane, the promontory opposite 
 to Lectum, and forming the Gulf of Adramyttium, 
 of which the Elaitic Gulf is a part. Canae is a 
 small city of the Locrians of Cynus, over against 
 the most southerly extremity of Lesbos, situated 
 in the Canaean territory, which extends to Argi- 
 nusae and the overhanging cliff which some call 
 Aega, as if 'a goat,' but the second syllable 
 .should be pronounced long, Aega, like KTU and 
 <ipxa> for this was the name of the whole moun- 
 tain which at present is called Cane or Canae 
 .... and the promontory itself seems after- 
 wards to have been called Aega, as Sappho says. 
 the rest Cane or Canae."
 
 Miscellaneous, 153 
 
 132. 
 
 The Scholiast on Apollonius Rhodius says : 
 " Apollonius calls Love the son of Aphrodite, 
 Sappho of Earth and Heaven." 
 
 But the Argument prefixed to Theocritus, Idyl 
 xiii., says : 
 
 " Sappho called Love the child of Aphrodite 
 and Heaven" 
 
 And Pausanias, about 1 80 A.D., says : 
 "On Love Sappho the Lesbian sang many- 
 things which do not agree with one another." 
 Cf. fr. 117. 
 
 133- 
 
 Himerius says : 
 
 " Thou art, I think, an evening-star, of all 
 stars the fairest: this is Sappho's song to 
 Hesperus." And again : " Now thou didst ap- 
 pear like that fairest of all stars ; for the Athen- 
 ians call thee Hesperus." 
 
 Bergk thinks Sappho's line ran thus : 
 'Aajtpwv mivTcov 6 KuMorog .... 
 
 Of all stars the fairest.
 
 1 54 SappJio. 
 
 Elsewhere Himerius refers to what seems an 
 imitation of Sappho, and says : " If an ode had 
 been wanted, I should have given him such an 
 ode as this 
 
 pofceoov epamov ppuouaa, Nu^upa 
 cifaAjna KCcAAiorov, 181 npbq CUVHV, 181 irpoc 
 AiXa nai?ouoa, rAuKeta vuj^lar "Earrepcx; a' CKOUSOV 
 ufoi, aprvpoOpovov ^ufiav"Hpav 
 
 Bride teeming with rosy loves, bride, fairest 
 image of the goddess of Paphos, go to the couch, go 
 to the bed, softly sporting, sweet to the bridegroom. 
 May Hesperus lead thee rejoicing, honouring H \ra 
 of the silver throne, goddess of marriage. 
 
 Bride, in whose breast haunt rosy lovo .' 
 Bride, fairest of the Paphian groves ! 
 Hence, to thy marriage rise, and go ! 
 Hence, to thy bed, where thou shalt show 
 With honeyed play thy wedded charms, 
 Thy sweetness in the bridegroom's arms ! 
 I^et Hesper lead thee forth, a wife, 
 Willing and worshipping for life, 
 The silver-throned, the wedlock dame. 
 Queen Hera, wanton without shame ! 
 
 J. A. SYMOXDS, 1883.
 
 Miscellaneous. 155 
 
 134- 
 
 The Scholiast on Apollonius Rhodius says: 
 " The story of the love of Selene is told by 
 Sappho, and by Nicander in the second book of 
 his Europa ; and it is said that Selene came to 
 Endymion in the same cave " (on Mount Latin us 
 in Caria). 
 
 135- 
 
 The Scholiast on Hesiod, Op. et. D., 74, 
 says : 
 
 "Sappho calls Persuasion 'A<ppo5m)(; 
 Daughter of Aphrodite." Cf. fr. 141. 
 
 136. 
 
 Maximus Tyrius says : 
 " Socrates blames Xanthippe for lamenting his 
 death, as Sappho blames her daughter 
 
 Ou fup 6ejiuQ ev IUOUOOTKOAGOV okia 6pfivov eivai' 
 ou K ajujui npenei Ta5e. 
 
 for lamentation may not be in a poet's house : 
 such things befit not us."
 
 1 56 Sappho. 
 
 137- 
 
 Aristotle, in his Rtietoric, ii. 23, writes: 
 
 H coonep 001900, on TO cmoGvHaKeiv KOKOV oi 6eoi 
 rap OUTGO KeKpiKaaiv ane0vHGKOv fap av. 
 
 Gregory, commenting on Hermogenes, also 
 quotes the same saying : 
 
 oiov <pHOiv H ZaTTcpcb, cm TO ano9vHCJKeiv KUKOV oi 
 Qeoi fap OUTCO KeKpiKaoiv aneOvHOKOv fap av, etnep HV 
 KaAov TO ano9vHOKeiv. 
 
 Several attempts have been made to restore 
 these words to a metrical form, and this of 
 Hartung's appears to be the simplest : 
 
 Tb 6VOGKIV KUKOV OUTGO KeKplKdGl GeOl' 
 
 edvaOKOv fap av ei'nep KoiAov HV Tube. 
 
 Death is evil; the Gods have so judged : Jiad 
 it been good, they would die. 
 
 The preceding fragment (136) seems to have 
 formed part of the same ode as the present. 
 1'erhaps it was this ode, which Sappho sent to 
 her daughter forbidding her to lament her 
 mother's death, that Solon is said to have so 
 highly praised. The story is quoted from Aclian
 
 Miscellaneous. 157 
 
 by Stobaeus thus : " Solon the Athenian [who 
 died about 558 B.C.], son of Execestides, on his 
 nephew's singing an ode of Sappho's over their 
 wine, was pleased with it, and bade the boy teach 
 it him ; and when some one asked why he 
 took the trouble, he said, iva juaQwv curb anoedvoo, 
 ' That I may not die before I have learned it.'" 
 
 138. 
 
 Athenaeus says : 
 
 " Naucratis has produced some celebrated 
 courtesans of exceeding beauty ; as Doricha, 
 who was beloved by Charaxus, brother of the 
 beautiful Sappho, when he went to Naucratis on 
 business, and whom she accuses in her poetry of 
 having robbed him of much. Herodotus calls 
 her Rhodopis, not knowing that Rhodopis was 
 different from the Doricha who dedicated the 
 famous spits at Delphi." 
 
 Herodotus, about 440 B.C., said : 
 
 " Rhodopis came to Egypt with Xanthes of 
 
 Samos ; and having come to make money, she 
 
 was ransomed for a large sum by Charaxus of 
 
 Mitylene, son of Scamandronymus and brother
 
 158 Sappho. 
 
 of Sappho the poetess. Thus Rhodopis was 
 made free, and continued in Egypt, and being 
 very lovely acquired great riches for a Rhodopis, 
 though no way sufficient to erect such a pyramid 
 [as Mycermus'] with. For as any one who wishes 
 may to this day see the tenth of her wealth, there 
 is no need to attribute any great wealth to her. 
 For Rhodopis was desirous of leaving a monu- 
 ment to herself in Greece, and having had such 
 a work made as no one ever yet devised and 
 dedicated in a temple, to offer it at Delphi as a 
 memorial of herself : having therefore made from 
 the tenth of her wealth a great number of iron 
 spits for roasting oxen, as far as the tenth allowed, 
 she sent them to Delphi ; and they are still piled 
 up behind the altar which the Chians dedicated, 
 and opposite the temple itself. The courtesans 
 of Naucratis are generally very lovely : for in the 
 first place this one, of whom this account is given, 
 became so famous that all the Greeks became 
 familiar with the name Rhodopis ; and in the 
 next place, after her another whose name was 
 Archidice became celebrated throughout Greece, 
 though less talked about than the former. As 
 for Charaxus, after ransoming Rhodopis he 
 returned to Mitylene, where Sappho ridiculed 
 him bitterly in an ode."
 
 Miscellaneous. 1 59 
 
 And Strabo : 
 
 " It is said that the tomb of the courtesan was 
 erected by her lovers : Sappho the lyric poet calls 
 her Doricha. She was beloved by Sappho's 
 brother Charaxus, who traded to the port of 
 Naucratis with Lesbian wine. Others call her 
 Rhodopis." 
 
 And another writer (Appendix Prov., iv. 51) 
 
 says : 
 
 " The beautiful courtesan Rhodopis, whom 
 Sappho and Herodotus commemorate, was of 
 Naucratis in Egypt." 
 
 139- 
 
 Athenaeus says : 
 
 ' The beautiful Sappho in several places cele- 
 brates her brother, Larichus, as cup-bearer to the 
 Mitylenaeans in the town-hail." 
 
 The Scholiast on the Iliad, xx. 234, says : 
 
 " It was the custom, as Sappho also says, for 
 v,-,ll-born and beautiful youths to pour out wine.''
 
 160 Sappho. 
 
 140. 
 
 Palaephatus, probably an Alexandrian Greek, 
 says : 
 
 " Phaon gained his livelihood by a boat and 
 the sea ; the sea was crossed by a ferry ; and no 
 complaint was made by any one, since he was 
 just, and only took from those who had means. 
 He was a wonder among the Lesbians for his 
 character. The goddess they call Aphrodite 
 4 the goddess ' commends the man, and having 
 put on the appearance of a woman now grown 
 old, asks Phaon about sailing ; he was swift to 
 wait on her and carry her across and demand 
 nothing. What thereupon does the goddess do ? 
 They say she transformed the man and restored 
 him to youth and beauty. This is that Phaon, 
 her love for whom Sappho several times made 
 into a song." 
 
 The story is repeated by many writers. Cf. 
 fr. 29. 
 
 141. 
 
 [Fr. 141 now appears as fr. 57 A. q. r.J
 
 Miscellaneous. 161 
 
 142. 
 
 Pausanias says : 
 
 " Yet that gold does not contract rust the 
 Lesbian poetess is a witness, and gold itself 
 shows it." 
 
 And the Scholiast on Pindar, Pyth., iv. 407 : 
 
 " But gold is indestructible ; and so says 
 Sappho, 
 
 Aibq naig 6 xpuooc;, Keivov ou OHQ ou5e K'K; bdirret, 
 Gold is son of 'Zeus ; no moth nor worm devours it." 
 Sappho's own phrase is lost. 
 
 143- 
 
 Aulus Gellius, about 160 A.D., writes: 
 
 " Homer says Niobe had six sons and six 
 daughters, Euripides seven of each, Sappho nine, 
 Bacchylides and Pindar ten." 
 
 Cf. fr. 31, the only line extant from the ode 
 here referred to. 
 
 M
 
 1 62 Sappho. 
 
 144. 
 
 Servius, commenting on Vergil, Aeneid, vi. 21, 
 says : 
 
 "Some would have it believed that Theseus 
 rescued along with himself seven boys and seven 
 maidens, as Plato says in his Phaedo, and Sappho 
 in her lyrics, and Bacchylides in his dithyrambics, 
 and Euripides in his Hercules" 
 
 No such passage from Sappho has been pre 
 served. 
 
 145. 
 
 Servius, commenting on Vergil, Edog., vi. 42, 
 says : 
 
 " Prometheus, son of lapetus and Clymene, 
 after he had created man, is said to have 
 ascended to heaven by help of Minerva, and 
 having applied a small torch [or perhaps 'wand'] 
 to the sun's wheel, he stole fire and showed it to 
 men. The Gods being angered hereby sent two 
 evils upon the earth, fevers and disease [the text 
 is here obviously corrupt ; it ought to be 'women 
 and disease' or 'fevers and women'], as Sappho 
 and Hesiod tell."
 
 Miscellaneous. 163 
 
 146. 
 
 Philostratus says : 
 
 " Sappho loves the Rose, and always crowns 
 it with some praise, likening beautiful maidens 
 to it." 
 
 This remark seems to have led some of the 
 earlier collectors of Sappho's fragments to include 
 the " pleasing song in commendation of the 
 Rose " quoted by Achilles Tatius in his love- 
 story Clitophon and Lcucippe, but there is no 
 reason to attribute it to Sappho. Mr. J. A. 
 Symonds (1883) thus translates it : 
 
 THE PRAISE OF ROSES. 
 
 If Zeus had willed it so 
 
 That o'er the flowers one flower should reign 
 
 a queen, 
 I know, ah well I know 
 
 The rose, the rose, that ro.yal flower had been ! 
 She is of earth the gem, 
 Of flowers the diadem ; 
 And with her flush 
 The meadows blush ;
 
 1 64 Sappho. 
 
 Nay, she is beauty's self that brightens 
 
 In Summer, when the warm air lightens ! 
 
 Her breath's the breath of Love, 
 
 Wherewith he lures the dove 
 
 Of the fair Cyprian queen ; 
 
 Her petals are a screen 
 
 Of pink and quivering green, 
 
 For Cupid when he sleeps, 
 
 Or for mild Zephyrus, who laughs and weeps. 
 
 147, 
 
 Himerius says : 
 
 " These gifts of yours must now be likened to 
 those of the leader of the Muses himself, as 
 Sappho and Pindar, in an ode, adorn him with 
 golden hair and lyres, and attend him with a 
 team of swans to Helicon while he dances with 
 Muses and Graces ; or as poets inspired by the 
 Muses crown the Bacchanal (for thus the lyre 
 calls him, meaning Dionysos), when Spring has 
 just flashed out for the first time, with Spring 
 flowers and ivy-clusters, and lead him, now to 
 the topmost heights of Caucasus and vales of 
 Lydia, now to the cliffs of Parnassus and the 
 rock of Delphi, while he leaps and gives his 
 female followers the note for the Evian tune."
 
 Miscellaneous. 165 
 
 148. 
 
 Eustathius says : 
 
 " There is, we see, a vagabond friendship, as 
 Sappho would say, KU/\OV &HMOGIOV, a public 
 blessing." 
 
 This appears to have been said against Rho- 
 dopis. Cf. fr. 138. 
 
 149. 
 
 The Lexicon Seguerianum defines 
 
 ""AKOKOQ one who has no experience of ill, not, 
 one who is good-natured. So Sappho uses the 
 word." 
 
 ISO. 
 
 The Etymologicum Magnum defines 
 
 'Ajuajuatuc a vine trained on long poles, and says 
 Sappho makes the plural ajuajuu&eQ. So Choe- 
 roboscus, late in the sixth century A.D., says 
 " the occurrence of the genitive aMMaubo<; 
 [the usual form being ojuajuaSuoc;] in Sappho is 
 strange."
 
 1 66 SappJw. 
 
 151. 
 
 The Etymologiatm Magnum says of 'Ajuupa, 
 a trench for watering meadows, " because it is 
 raised by a water-bucket, SJUH being a mason's 
 instrument " that it is a word Sappho seems 
 to have used ; and Orion, about the fifth century 
 A.D., also explains the word similarly, and says 
 Sappho used it. 
 
 152. 
 
 Apollonius says : 
 
 " And in this way metaplasms of words [t.e, 
 tenses or cases formed from non-existent presents 
 or nominatives] arise, like epuodpjucn-eq [chariot- 
 drawing], AITO [cloths], and in Sappho TO aCa, 
 Dawn" 
 
 And the Etymologicum Magnum says : 
 
 "We find napa THV auav [during the morning] 
 in Aeolic, for ' during the day.' "
 
 Miscellaneous. 167 
 
 153- 
 
 The Etymologicum Magnum says : 
 
 " AUCOQ or HCOQ, that is, the day ; thus we read 
 in Aeolic. Sappho has 
 
 rroTVia aucoq, 
 Queen Dawn" 
 
 154. 
 
 Athenaeus says : 
 
 " The pdpw,uo<; \baromos\ and oappmx; \sar- 
 lntos\, both of which are mentioned by Sappho 
 and Anacreon, and the Magadis and the Triangles 
 and the Sambucae, are all ancient instruments." 
 
 Athenaeus in another place, apparently more 
 correctly, gives the name of the first as pdpjuoc; 
 \barmos\. 
 
 What these instruments precisely were is un- 
 known. Cf. p. 45.
 
 1 68 Sappho. 
 
 Pollux says : 
 
 " Sappho used the word Peu&oq for a woman's 
 dress, a kimbertcon, a kind of short transparent 
 frock." 
 
 I 5 6. 
 
 Phrynichus the grammarian, about 180 A.D., 
 says : 
 
 " Sappho calls a woman's dressing-case, where 
 she keeps her scents and such things, TRUTH." 
 
 157- 
 
 Hesychius, about 370 A.D., says Sappho 
 called Zeus"EKT<op, Hector, i.e. "holding fast."
 
 Miscellaneous. 1 69 
 
 158. 
 
 A Parisian MS. edited by Cramer says : 
 " Among the Aeolians 6 is used for ?, as when 
 Sappho says ?ot<rrov for 'b\.u.$a\ov,fordable" 
 
 159- 
 
 A Scholiast on Homer quotes arctj-oiHv, may 
 I lead, from Sappho. 
 
 1 60. 
 
 Eustathius, commenting on the Iliad, quotes 
 the grammarian Aristophanes [about 260 B.C.] 
 as saying that Sappho calls a wind that is as 
 if twisted up and descending, a cyclone, ave,uov 
 KcrrapH a it. ind rushing from above. 
 
 Nauck would restore the epithet to verse 2 of 
 fr. 42.
 
 1 70 SappJto. 
 
 i6i. 
 
 Choeroboscus says : 
 
 " Sappho makes the accusative of 
 danger Kivbuv." 
 
 Another writer, in the Codex Marc., says : 
 " Sappho makes the accusative Kiv&uva." 
 
 162. 
 
 Joannes Alexandrinus, about the seventh cen- 
 tury A.D., says : 
 
 "The acute accent falls either on the last 
 syllable or the last but one or the last but 
 two, but never on the last but three ; the accent 
 of /V\H&eia \Medeia the sorceress, wife of Jason] in 
 Sappho is allowed by supposing the ei to form a 
 diphthong." 
 
 163. 
 
 An unknown author, in Antiattidsta^ says : 
 
 " Sappho, in her second book, calls 
 myrrh
 
 Miscellaneous. 1 7 r 
 
 164. 
 
 A treatise on grammar edited by Cramer 
 says : 
 
 " The genitive plural of Mousa is Mcoadcov 
 among the Laconians, Moiadcov of the Muses 
 in Sappho." 
 
 16: 
 
 Phrynicus quotes : 
 
 Nirpov natron (carbonate of soda) as the form 
 " an Aeolian would use, such as Sappho, with a 
 v; but," he goes on, "an Athenian would spell 
 it with a ,\, Arrpov." 
 
 1 66. 
 
 A Scholiast on Homer, Iliad,, iii. 219, says: 
 
 " Sappho said iroAut6pi6i of much knowledge as 
 the dative of rroAui'&pu;."
 
 Sappho. 
 
 167. 
 
 Photius, in his Lexicon, about the ninth century 
 A.D., says : 
 
 " 0a\|/oc; is a wood with which they dye wool 
 and hair yellow, which Sappho calls ZKUSIKOV 
 tuAov Scythian wood" 
 
 And the Scholiast on Theocritus, Idyl ii. 88, 
 says : 
 
 " 6dvoq is a kind of wood which is also called 
 5Ku6upiov or Scythian wood, as Sappho says ; 
 and in this they dip fleeces and make them of a 
 quince-yellow, and dye their hair yellow; among 
 us it is called xpuaoiuAov gold-ivood." 
 
 Ahrens thinks that here the Scholiast quoted 
 Sappho, and he thus restores the verses : 
 
 - w - ZKl}6lKOV 
 
 TO) 3aTrroi3i re THpia 
 TTotetai 6e juaAiva 
 av6i06oioi re rag 
 
 Scythian wood, in which they dip fleeces and 
 make them quince-coloured, and dye their hair 
 yellow. 
 
 Thapsus may have been box-wood, but it is 
 quite uncertain.
 
 Miscellaneous. 1/3 
 
 1 68. 
 
 The Etymologicum Magnum says : 
 
 " The Aeolians say Tioisiv o96aAjuoic>iv ivith 
 
 u>hat eyes .... [using rioiai for TWI, the dative 
 
 plural of TIQ] as Sappho does." 
 
 169. 
 
 Orion of Thebes, the grammarian, about 450 
 A.D., says : 
 
 "In Sappho x -^ VH is X^VH a tortoise;" 
 which is better written x e ^ vct > r rather yt\uva, 
 as other writers imply. 
 
 I/O. 
 
 Pollux says : 
 
 " Bowls with a boss in the middle are called 
 3\uvei6ju<pa\oi, circular-bottomed, from their 
 shape, xP ua "M<pct;\oi, gold-bottomed, from the 
 material, like Sappho's xP uGa<3T P"rc^ot, with 
 golden ankles"
 
 174 
 
 Sappho. 
 
 Some few other fragments are attributed to 
 Sappho, but Bergk admits none as genuine. 
 Above is to be seen every word which he con- 
 sidered hers. An account of some which have 
 recently been brought to light is given on the 
 succeeding pages.
 
 THE FAYUM FRAGMENTS. 
 
 [N the Egyptian Museum at Berlin 
 there are some ancient manuscripts 
 which were bought in the Summer of 
 1879, and which are believed to 
 have come from Medinet-el-Fayum in Central 
 Egypt, near the ancient Arsinoe or Crocodilo- 
 polis. A tiny scrap of parchment among these 
 was deciphered by Professor F. Blass of Kiel, 
 and described by him with much minuteness in 
 the Rheinisches Museum for 1880, vol. xxxv., pp. 
 287-290. Through the kindness of Dr. Erman, 
 the Director of the Museum, and Professor of 
 Egyptian Archeology in the University, I have 
 been favoured with photographs of each side of 
 this piece of parchment, exactly the size of the 
 original. These have been reproduced in fac- 
 simile by the Autotype Company upon the 
 accompanying plate. Some of the minutiae 
 of the manuscript are lost in the copy, but it
 
 1 76 Sappho. 
 
 gives a fair general idea of the precious relic, and 
 exhibits the manner in which it has been torn 
 and perforated and defaced. It also shows some 
 of the difficulties with which those who decipher 
 ancient manuscripts have to contend. Few, at 
 the first glance, would guess how much could be 
 made out of so little. 
 
 The letters on each side of the parchment are 
 clearly written, punctuated, and accented. They 
 appear to belong to the eighth century A.D., so 
 that the writing is at least a thousand years old. 
 The actual letters are these, those which are not 
 decipherable with certainty being marked off by 
 brackets : 
 
 (A.) &OOOHV (B.) 6e9u,uojLi 
 
 iiTcovjuevr' en juiTTa,unov 
 
 aAoov KaoAcov (j 6uva,uai 
 AOIQ. MJTTKK; re ja 
 
 5. n' ovei&o<; 5. aaKevH,uoi 
 
 oibinaaiq. em T (a q) avriAojunHv 
 
 ia(v)uoaio. TO jttp Aovrrpoaamov 
 M) OVOUK' OUTIO (iu 
 
 10. M (H& 10. ... (pog 
 
 The two fragments, distinguished by Blass as A. 
 and B., occur, the one on the front, the other on 
 the back of the scrap of parchment. They were 
 edited by Bergk, in the fourth (posthumous)

 
 Tlie Fay urn Fragments. 177 
 
 edition of his Poetae Lyrici Graeci, 1882, vol. iii., 
 pp. 704, 705. Blass ascribed the verses to 
 Sappho, and he is still of opinion that they are 
 hers, from the metre, the dialect, and " the 
 colour of the diction," to use his own expression 
 in a letter to me. Indeed every word of them 
 makes one feel that no poet or poetess save 
 Sappho could have so exquisitely combined 
 simplicity and beauty. Bergk however prints 
 them as of uncertain origin, fragmenta adespota 
 (56 A., 56 B). He agrees with Blass that they 
 are in the Lesbian dialect and the Sapphic metre, 
 but he thinks that they may have been written 
 by Alcaeus. Bergk's decision partly rests upon 
 the statement of Suidas, that Horapollo, the 
 Greek grammarian, who first taught at Alexandria 
 and afterwards at Constantinople, in the reign of 
 Theodosius, about 400 A.D., wrote a commentary 
 on Alcaeus ; but he gives no reason for believing 
 that these Fayum manuscripts necessarily come 
 from Alexandria : their history is very uncertain. 
 Blass thinks that the greater fame, especially in 
 later times, of Sappho, strongly favours his own 
 view. To my mind there is little doubt that 
 we have herein none but her very words. 
 
 A restoration of such imperfect fragments 
 must needs be guess-work. Bergk has, however, 
 attempted it in part, and he has accepted the 
 
 N
 
 178 Sappho. 
 
 emendations of Blass in lines 3-5 of fragment A. 
 Biicheler, one of the editors of the Rheinisches 
 Museum, has also expressed his views with regard 
 to some of the lines ; but they are not endorsed 
 by the authority of Bergk. According to the 
 latter distinguished scholar, fragment A may 
 have run thus : 
 
 i. w w oKijuoiq xP lv 
 
 OUK CtTTU&OXjHV 
 
 - K\UTO)V JU6V T* 
 
 - KCtACOV KOa\Ci>V V w - w - w 
 
 9iAoig, AUTTHC re Me KanopirrrHg 
 5. eiQ eju' oveiboq. 
 
 fi Key oiOHjaiq, eni T' alf* 
 SKupiav aaaio- TO fap VOHJUO 
 rcJajuov OUK OUTOJ MaAaKOcppov, 
 
 TOiq 6lUKHTUl. 
 IO. w JUH&' w - vw - w - w 
 
 In which case it might have had this mean- 
 ing : 
 
 Thou seemest not to care to return my favour ; 
 and indeed thou didst fly away from famous 
 . ... of the fair and noble ..... to thy 
 friends, and painest me, and easiest reproach at 
 me. Truly thou mayst swell, and sate thyself \\\\h 
 milking a goat of Scyros. For my mood is not 
 so soft-hearted to those soever to whom // is dis- 
 posed unfriendly ..... nor ..... 
 The words which are here italicised are those
 
 The Fayum Fragments. 179 
 
 which alone are extant in full in the manuscript ; 
 the others are only plausible guesses, though 
 some of them are indicated by the existence of 
 accents and portions of letters. 
 
 Bergk's ingenious restoration of lines 6 and 7 
 is founded on a fragment of Alcaeus (fr. no), 
 wherein Chrysippus explains cut iKupict, a goat of 
 Scyros, as a proverb of those who spoil kindness 
 (tni TCOV roc euepfeoiaq dvarpenovTcov), as a goat up- 
 sets her milking-pail (eneiSH noAAdiac TO affeia 
 ovarpenei H ate). Blass would, however, complete 
 the phrase thus : 
 
 en! T (u re AwfJa 
 Kdpci) inv aocuo, 
 And with the outrage sate thy heart. 
 
 Disappointing as this is, the restoration of 
 fragment B is yet more hopeless. Authorities 
 are agreed as to the position of the words in the 
 Sapphic stanza, thus : 
 
 w w ww 0e Bujuov 
 
 w w w w ,Ul TTajUTTGtV 
 
 w w v> w ouvajuui 
 
 V W W 
 
 5. w ^ wwac Kev H juoi 
 - w w ^ w avTiAa.uiTHv 
 
 w w w Kci) Aov npoaconov 
 
 w ^ w 
 
 w w ^ w au) fxpota6eiq 
 10. -w v wv erai) poq.
 
 i So Sappho. 
 
 The only additions hazarded by Bergk, or 
 accepted by him from Blass, are given on the 
 left of the biackets. Bergk says that buvauai (as 
 if w ; cf. fr. 13) is an old form of the con- 
 junction for buvoojucu. He reads line 5, ag KEV H juoi, 
 comparing Theocritus, 29, 20, 3<; KCV epHq, "as 
 long as thou lovest : " Bergk and Blass alike con- 
 sider H as a later form of H. The words may 
 mean : 
 
 soul altogether 
 
 / should be able 
 
 tts long indeed as to me to flash 
 
 back fair face 
 
 stained orer f/iend. 
 
 But in the absence of any context the very 
 meaning of the separate words is uncertain. 
 
 Bergk thinks that the fragments belong to 
 different poems, unless we read fragment A. 
 after fragment B ; there is nothing on the 
 parchment to indicate sequence. 
 
 In fragment B it will be seen that a space 
 occurs in each place where the last (or Adonic) 
 verses of each Sapphic stanza would have been, 
 as if they had been written more to the left in 
 the manuscript ; they probably therefore ranged 
 with the Ions lines of which we have onlv some
 
 TJic Fay in > i Fragments. 
 
 181 
 
 of the last syllables preserved. Indenting the 
 shorter verses is a modern fashion ; the ancient 
 way was to begin each one at the same distance 
 from the margin.
 
 SAPPHO TO PHAON. 
 
 A TRANSLATION OF OVID'S HEROIC EPISTLE, XV. 
 BY ALEXANDER POPE, 1707. 
 
 AY, lovely youth that dost my heart 
 
 command, 
 Can Phaon's eyes forget his Sappho's 
 
 hand? 
 
 Must then her name the wretched writer prove, 
 To thy remembrance lost as to thy love ? 
 
 Ask not the cause that I new numbers choose, 
 The lute neglected and the lyric Muse : 
 Love taught my tears in sadder notes to flow, 
 And tuned my heart to elegies of woe. 
 
 I burn, I burn, as when through ripened corn 
 By driving winds the spreading flames are borne. 
 Phaon to Aetna's scorching fields retires, 
 While I consume with more than Aetna's fires.
 
 184 SappJio to Phaon. 
 
 No more my soul a charm in music finds ; 
 Music has charms alone for peaceful minds : 
 Soft scenes of solitude no more can please ; 
 Love enters there, and I'm my own disease. 
 T^o more the Lesbian dames my passion move, 
 Once the dear objects of my guilty love i 1 
 All other loves are lost in only thine, 
 Ah, youth ungrateful to a flame like mine ! 
 Whom would not all those blooming charms 
 
 surprise, 
 
 Those heavenly looks and dear deluding eyes ? 
 The harp and bow would you like Phoebus bear, 
 A brighter Phoebus Phaon might appear : 
 Would you with ivy wreathe your flowing hair, 
 Not Bacchus' self with Phaon could compare : 
 Yet Phoebus loved, and Bacchus felt the flame ; 
 One Daphne warmed and one the Cretan dame; 
 Nymphs that in verse no more could rival me 
 Than e'en those gods contend in charms with 
 
 thee. 
 
 The Muses teach me all their softest lays, 
 And the wide world resounds with Sappho's 
 
 praise. 
 
 1 Line 19, "quas non sine crimine amavi," which Pope 
 translates thus, is read in almost all old texts " quas hie 
 sine crimine amavi " = whom here I blamelessly loved; 
 and even if the former reading be adopted, it must be 
 remembered that critnen means "an accusation" more 
 often than it does " a crime."
 
 SappJio to Phaon. 185 
 
 Though great Alcaeus more sublimely sings, 
 And strikes with bolder rage the sounding 
 
 strings, 
 
 No less renown attends the moving lyre 
 Which Venus tunes and all her Loves inspire. 
 To me what Nature has in charms denied 
 Is well by wit's more lasting flames supplied. 
 Though short my stature, yet my name extends 
 To heaven itself and earth's remotest ends : 
 Brown as I am, an Aethiopian dame 
 Inspired young Perseus with a generous flame : 
 Turtles and doves of different hue unite, 
 And glossy jet is paired with shining white. 
 If to no charms thou wilt thy heart resign 
 But such as merit, such as equal thine, 
 By none, alas, by none thou canst be moved ; 
 Phaon alone by Phaon must be loved. 
 Yet once thy Sappho could thy cares employ ; 
 Once in her arms you centred all your joy : 
 No time the dear remembrance can remove, 
 For oh how vast a memory has love ! 
 My music then you could for ever hear, 
 And all my words were music to your ear : 
 You stopt with kisses my enchanting tongue, 
 And found my kisses sweeter than my song. 
 In all I pleased, but most in what was best ; 
 And the last joy was dearer than the rest : 
 Then with each word, each glance, each motion 
 
 fired,
 
 1 86 Sappho to Phaon. 
 
 You still enjoyed, and yet you still desired, 
 Till all dissolving in the trance we lay, 
 And in tumultuous raptures died away. 
 
 The fair Sicilians now thy soul inflame : 
 Why was I born, ye gods, a Lesbian dame ? 
 But ah, beware Sicilian nymphs, nor boast 
 That wandering heart which I so lately lost : 
 Nor be with all those tempting words abused : 
 Those tempting words were all to Sappho used. 
 And you that rule Sicilia's happy plains, 
 Have pity, Venus, on your poet's pains. 
 
 Shall fortune still in one sad tenor run 
 And still increase the woes so soon begun ? 
 Inured to sorrow from my tender years, 
 My parent's ashes drank my early tears : 
 My brother next, neglecting wealth and fame, 
 Ignobly burned in a destructive flame : 
 An infant daughter late my griefs increased, 
 And all a mother's cares distract my breast. 
 Alas, what more could Fate itself impose, 
 But thee, the last and greatest of my woes ? 
 No more my robes in waving purple flow, 
 Nor on my hand the sparkling diamonds glow ; 
 No more my locks in ringlets curled diffuse 
 The costly sweetness of Arabian dews ; 
 Nor braids of gold the varied tresses bind 
 That fly disordered with the wanton wind. 
 For whom should Sappho use such arts as these?
 
 Sappho to Phaon. 187 
 
 He's gone whom only she desired to please ! 
 Cupid's light darts my tender bosom move; 
 Still is there cause for Sappho still to love ; 
 So 'from my birth the Sisters fixed my doom, 
 And gave to Venus all my life to come : 
 Or, while my Muse in melting notes complains, 
 My yielding heart keeps measure to my strains. 
 By charms like thine, which all my soul have won, 
 Who might not ah, who would not be undone? 
 For those, Aurora Cephalus might scorn, 
 And with fresh blushes paint the conscious morn : 
 For those, might Cynthia lengthen Phaon's sleep, 
 And bid Endymion nightly tend his sheep : 
 Venus for those had rapt thee to the skies, 
 But Mars on thee might look with Venus' eyes. 
 O scarce a youth, yet scarce a tender boy ! 
 O useful time for lovers to employ ! 
 Pride of thy age, and glory of thy race, 
 Come to these arms and melt in this embrace ! 
 The vows you never will return, receive ; 
 And take at least the love you will not give. 
 See, while I write, my words are lost in tears : 
 The less my sense, the more my love appears. 
 
 Sure 'twas not much to bid one kind adieu : 
 At least, to feign was never hard to you. 
 " Farewell, my Lesbian love," you might have 
 
 said; 
 Or coldly thus, " Farewell, O Lesbian maid."
 
 1 88 Sappho to Phaon. 
 
 No tear did you, no parting kiss receive, 
 Nor knew I then how much I was to grieve. 
 No lover's gift your Sappho could confer ; 
 And wrongs and woes were all you left with her. 
 No charge I gave you, and no charge could give 
 But this " Be mindful of our loves, and live.'' 
 Now by the Nine, those powers adored by me, 
 And Love, the god that ever waits on thee ; 
 When first I heard (from whom I hardly knew) 
 That you were fled and all my joys with you, 
 Like some sad statue, speechless, pale I stood ; 
 Grief chilled my breast and stopt my freezing 
 
 blood ; 
 
 No sigh to rise, no tear had power to flow, 
 Fixed in a stupid lethargy of woe. 
 But when its way the impetuous passion found, 
 I rend my tresses and my breasts I wound ; 
 I rave, then weep ; I curse, and then complain ; 
 Now swell to rage, now melt in tears again. 
 Not fiercer pangs distract the mournful dame 
 Whose first-born infant feeds the funeral flame. 
 My scornful brother with a smile appears, 
 Insults my woes, and triumphs in my tears ; 
 His hated image ever haunts my eyes ; 
 "And why this grief? thy daughter lives,'' he 
 
 cries. 
 
 Stung with my love and furious with despair, 
 All torn my garments and my bosom bare,
 
 SappJio to PJiaon. 1^9 
 
 My woes, thy crimes, I to the world proclaim ; 
 Such inconsistent things are love and shame. 
 'Tis thou art all my care and my delight, 
 My daily longing and my dream by night. 
 
 night, more pleasing than the brightest day, 
 When fancy gives what absence takes away, 
 And, dressed in all its visionary charms, 
 Restores my fair deserter to my arms ! 
 
 Then round your neck in wanton wreath I twine ; 
 Then you, methinks, as fondly circle mine : 
 A thousand tender words I hear and speak ; 
 A thousand melting kisses give and take : 
 Then fiercer joys ; I blush to mention these, 
 Yet, while I blush, confess how much they please. 
 But when with day the sweet delusions fly, 
 And all things wake to life and joy, but 1 ; 
 As if once more forsaken, I complain, 
 And close my eyes to dream of you again : 
 Then frantic rise ; and, like some fury, rove 
 Through lonely plains, and through the silent 
 
 grove, 
 
 As if the silent grove and lonely plains, 
 That knew my pleasures, could relieve my pains. 
 
 1 view the grotto, once the scene of love, 
 The rocks around, the hanging roofs above, 
 That charmed me more, with native moss o'er- 
 
 grown, 
 Than Phrygian marble or the Parian stone :
 
 190 SappJio to PJiaon. 
 
 I find the shades that veiled our joys before ; 
 But, Phaon gone, those shades delight no more. 
 Here the pressed herbs with bending tops betray 
 Where oft entwined in amorous folds we lay ; 
 I kiss that earth which once was pressed by you, 
 And all with tears the withering herbs bedew. 
 For thee the fading trees appear to mourn, 
 And birds defer their songs till thy return : 
 Night shades the groves, and all in silence lie, 
 All but the mournful Philomel and I : 
 With mournful Philomel I join my strain ; 
 Of Tereus she, of Phaon I complain, 
 
 A spring there is whose silver waters show, 
 Clear as a glass, the shining sands below : 
 A flowery lotos spreads its arms above, 
 Shades all the banks and seems itself a grove ; 
 Eternal greens the mossy margin grace, 
 Watched by the sylvan genius of the place : 
 Here as I lay, and swelled with tears the flood, 
 Before my sight a watery virgin .stood : 
 She stood and cried, "O you that love in vain, 
 Fly hence and seek the fair Leucadian main : 
 There stands a rock from whose impending 
 
 steep 
 
 Apollo's fane surveys the rolling deep ; 
 There injured lovers, leaping from above, 
 Their flames extinguish and forget to love. 
 Deucalion once with hopeless fury burned ;
 
 Sappho to Phaon. 191 
 
 In vain he loved, relentless Pyrrha scorned. 
 But when from hence he plunged into the main 
 .Deucalion scorned, and Pyrrha loved in vain. 
 Haste, Sappho, haste, from high Leucadia throw 
 Thy wretched weight, nor dread the deeps 
 below." 
 
 She spoke, and vanished with the voice : I 
 
 rise, 
 
 And silent tears fall trickling from my eyes. 
 I go, ye nymphs, those rocks and seas to prove : 
 How much I fear, but ah, how much I love ! 
 I go, ye nymphs, where furious love inspires ; 
 Let female fears submit to female fires : 
 To rocks and seas I fly from Phaon's hate, 
 And hope from seas and rocks a milder fate. 
 Ye gentle gales, beneath my body blow, 
 And softly lay me on the waves below. 
 And thou, kind Love, my sinking limbs sustain, 
 Spread thy soft wings and waft me o'er the main, 
 Nor let a lover's death the guiltless flood profane. 
 On Phoebus' shrine my harp I'll then bestow, 
 And this inscription shall be placed below : 
 " Here she who sung, to him that did inspire, 
 Sappho to Phoebus consecrates her lyre : 
 What suits with Sappho, Phoebus, suits with thee ; 
 The gift, the giver, and the god agree." 
 
 But why, alas, relentless youth, ah, why 
 To distant seas must tender Sappho fly ?
 
 1 92 SappJio to PJiaon. 
 
 Thy charms than those may far more powerful be, 
 And Phoebus' self is less a god to me. 
 Ah, canst thou doom me to the rocks and sea, 
 O far more faithless and more hard than they ? 
 Ah, canst thou rather see this tender breast 
 Dashed on these rocks that to thy bosom pressed? 
 This breast, which once, in vain ! you liked so 
 
 well ; 
 Where the Loves played, and where the Muses 
 
 dwell. 
 
 Alas, the Muses now no more inspire ; 
 Untuned my lute, and silent is my lyre : 
 My languid numbers have forgot to flow, 
 And fancy sinks beneath the weight of woe. 
 
 Ye Lesbian virgins and ye Lesbian dames, 
 Themes of my verse and objects of my flames, 
 No more your groves with my glad songs shall 
 
 ring ; 
 No more these hands shall touch the trembling 
 
 string : 
 
 My Phaon's fled, and I those arts resign : 
 (Wretch that I am, to call that Phaon mine !) 
 Return, fair youth, return, and bring along 
 Joy to my soul and vigour to my song. 
 Absent from thee, the poet's flame expires ; 
 But ah, how fiercely burn the lover's fires ! 
 Gods, can no prayers, no sighs, no numbers move 
 One savage heart, or teach it how to love ?
 
 Sappho to Phaon. 193 
 
 The winds my prayers, my sighs, my numbers 
 
 bear; 
 
 The flying winds have lost them all in air. 
 Or when, alas, shall more auspicious gales 
 To these fond eyes restore thy welcome sails ? 
 If you return, ah, why these long delays ? 
 Poor Sappho dies while careless Phaon stays. 
 O launch the bark, nor fear the watery plain : 
 Venus for thee shall smooth her native main. 
 O launch thy bark, secure of prosperous gales : 
 Cupid for thee shall spread the swelling sails. 
 If you will fly (yet ah, what cause can be, 
 Too cruel youth, that you should fly from me ?) 
 If not from Phaon I must hope for ease, 
 Ah, let me seek it from the raging seas : 
 To raging seas unpitied I'll remove ; 
 And either cease to live or cease to love.
 
 BIBLIOGRAPHY. 
 
 The following list comprises most of the books and 
 articles in Sapphic literature which I have consulted. I 
 have added a few to which I have had reference, but 
 which I have not succeeded in seeing : many of them are 
 mere curiosities. I could have still further extended the 
 bibliography, if I had taken more on trust. I have not 
 generally thought it necessary to quote well-known his- 
 tories of Greece and Greek literature. 
 
 Addison, John : The Works of Anacreon translated into 
 English Verse ; with Notes explanatory and poetical. 
 To which are added the Odes, Fragments, and 
 Epigrams of Sappho. With the original Greek 
 placed opposite to the Translation. 8vo, London, 
 
 1735- 
 Addison, Joseph : Spectator, No. 223, Nov. 15, 1711 ; 
 
 and No. 233, Nov. 27, 1711. 
 Ahrens, Heinrich Ludolf : De Graecae Linguae Uia- 
 
 lectis, Sapphus fragmenta, pp. 256-274 of Lib. I. 8vo, 
 
 Gottingen, 1839.
 
 1 96 Bibliography. 
 
 Ahrens, Heinrich Ludolf: Conjectural in Alcaus 
 und Sappho, Rheinisches Museum, 1842, pp. 388- 
 401. 
 
 Anacreontis Carmina. cum Sapphonis et Alcaei fragmen- 
 tis. Glasgow, 1744, 1757, 1761, and 1783. 
 
 Anacreontis et Sapphonis Carmina. Cum virorum doc- 
 torum notis et emendationibus, in usum juventutis 
 Academiae Salfordiensis, Com. Lancastriae. 8vo, 
 London, 1754. 
 
 Andreas, Elias : Anacreontis Teii antiquissimi poe'tae 
 Lyrici Odae, ab Helia Andrea Latinae factae. i6mo, 
 Lutetiae, 1556. 
 
 Andreas, Elias : Anacreontis, Sapphus, et Erinnae 
 Carmina interpretibus Henrico Stephano et Elia 
 Andrea. 64010, Edinburgh, 1766. 
 
 Arnold, Dr. Bernhard : Sappho. Vortrag, gehalten 
 zu Munchen am 25 Marz 1870- Aus Sammlung ge- 
 nieinverstoendlicher Vortrege heraus v. Rud. Virchow 
 und Fr. von Holtzendorff. Berlin, 1871. 
 
 Arnold, Edwin, M.A., C.S.I. : The Poets of Greece 
 [pp. 105-118]. 8vo, London, 1869. 
 
 Baxter, William : see Vossius, Isaac (1695). 
 
 Baxter, William : Anacreontis Teii Carmina Graece e 
 reeensione Guilielmi Baxteri cum ejusdem Henr. 
 item Stephani atque Tanegvidi Fabri notis acces- 
 serunt duo Sapphus Odaria [pp. 167-172; 249-254] 
 et Theocriti Anacreonticum in mortuum Adonin. 
 Iterum edidit varietatemque lectionibus cum suis 
 animadversionibus et Anacreontis fragmenta adjecit 
 Joh. Frider. Fischerus. 8vo, Leipzig, 1776. 
 
 Beau, Gabriel : La Grece Poetique. Anacreon 
 Sappho [pp. 81-97] Bion Moschus Theocrite. 
 I2mo, Paris, 1884.
 
 Bibliography. 1 97 
 
 Bentley, Richard, D.D. : inGraevius' Callimachi Frag- 
 
 menta, 8vo, Utrecht, 1697, ad fr. 417, de Sapphus 
 
 fragm. 118. 
 Bergk, Theodor : De aliquot fragmentis Sapphonis et 
 
 Alcaei, in Rheinisches Museum fiir Philologie, 8vo. 
 
 Bonn, 1835, PP- 209-231. 
 Bergk, Theodor : Anthologia Lyrica. 8vo, Leipzig, 
 
 1854, pp. 261-273 ( text only). 
 Bergk, Theodor : Poetae Lyrici Graeci, ed. 4, vol. 3, 
 
 pp. 82-140. 8vo, Leipzig, 1882. 
 Bibliotheque Universelle des Dames ; alias Bibliotheque 
 
 de Mesdemoiselles Eulalie, Felicite, Sophie, Emilie 
 
 De Marcilly. Melanges. Tom. viii., pp. 95-130. 
 
 24010, Paris, 1787. 
 
 Bland, Rev. Robert : see Merivale, J. H. 
 Blass, Friedrich, of Kiel : Zu den Griechischen 
 
 Lyrikern. Rhein. Mus., vol. xxix., 1874: Sappho, 
 
 pp. 149-151. 
 Blass, Friedrich, of Kiel : Neue Fragmente .... 
 
 der Sappho. Rhein Mas., vol. xxxv. 1880; pp. 
 
 287-290. 
 
 Blomfield, Charles James, Bishop of London : Cam- 
 bridge Museum Criticum, vol. i., pp. 1-31, 250-252, 
 
 421, 422. 8vo, 1826. 
 
 Blomfield, Charles James : see Gaisford. 
 Blum, Johann Christian : in Olearius' De Poetriis 
 
 Graecis. 4to, Leipzig, 1712. 
 Eoetticher, K. : Zwei Hermenbildnisse der Sappho ; 
 
 with a photograph. Archaologische Zeitung, 4to, 
 
 Berlin, 1872, pp. 83-86. 
 Born, Friedrich Gottlieb, Ph. D. : Anacreontis et 
 
 Sapphus [pp. 219-227] Carmina Graece recensuit 
 
 notisque illustravit ex optimis interpretibus, quibus 
 
 et suas adjecit. 8vo, Leipzig, 1789.
 
 198 Bibliography. 
 
 Bothe, Fridericus Henricus : Anacreontica Graece re- 
 censuit notisque criticis instruxit. Sorrcpouc; Aeivyuva, 
 pp. 77-81. i6mo, Leipzig, 1805. 
 
 Braun, G. C. : Die Fiagmente der Sappho, iibersetzt 
 von G. C. B[raun]. 8vo, Wetzlar, 1815. 
 
 Brockhausen, R. : Sappho's Lieder in deutschen Versen 
 
 nach gebildet. Lemgo, 1827. 
 Brunck, Richard Fran?ois Philippe : Analecta vet- 
 
 erum poetarum Graecorum : i., pp. 54-57 ; ii., p. 8, 
 
 Svo, Strasburg, 1772. 
 Brunck, Richard Francois Philippe : Anacreontis 
 
 Carmina : accedunt quaedam e lyricorum reliquiis 
 
 pp. 82-86. Ed. 2, I2mo, Strasburg, 1786. 
 Brunck, Richard Frangois Philippe: see Weise, G. H. 
 
 (1844). 
 Burger, Eduard : Anacreonund andere lyrische Dichter 
 
 Griechenlands in deutschen Reimen. 32mo, Stutt- 
 gart, 1855. 
 Bustelli, Giuseppe : Vita e Frammenti di Saffo de 
 
 Mitilene. Discorso e versione (prinia intera). Pp. 
 
 104. Svo, Bologna, 1863. 
 
 Cappone, Francesco Antonio : Liriche Parafrasi di 
 D. Francesco Antonio Cappone, Academico ozioso. 
 Supra tutte 1'Ode d'Anacreonte, e sopra alcune altre 
 Poesie di diversi Lirici Poeti Greci. Secundo la 
 preposta version Latina de' 1'or piii celebri Traduttori. 
 Pp. 190-200. 241110, Venice, 1670. 
 
 Comparetti, Professor Domenico : Saffo e Faone 
 dinanzi alia critica storia, in the Nuova Antologia di 
 Scienze, I^ttere ed Arti, anno xi., seconda serie, 
 vol. i., fasc. ii., pp. 253-288. Svo, Florence, Febr. 
 1876.
 
 Bibliography. 199 
 
 Comparetti, Professor Domenico : Sulla Epistola 
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 perfezionamento in Firenze, Sezione di Filosofia e 
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 Florence, 1876. 
 
 Coup in : see Girodet de Roussy. 
 
 Courtier, P.-L. : Daphnis et Chloe, traduit par P.-L. 
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 duction nouvelle d'apres un Maniiscrit de 1'ecole 
 d'Athenes. 8vo, Paris, 1878. 
 
 Cramer, John Antony, D.D. : Anecdota Graeca e 
 codd. manuscriptis Bibliothecarum Oxoniensium de- 
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 Cramer, J. Chr. : Diatribe chronologico-critica de patria 
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 Cramer, J. Chr. : Diatribe chronologico-critica de ouf- 
 <ppoviojuw Sapphus et Anacreontis. 4to, Jena, 1755. 
 
 Dacier, Anne Lefevre 1 : Les Poesies d'Anacreon et 
 de Sapho, traduites de Grec en Franyois, avec des 
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