Chapter VI: Part 6

“He laid aside his guitar and lit his pipe, that made a pink
glow in the darkness. He tried to form in his mind an image of
Sappho and of her Isle of Lesbos, tried to wander back through
the labyrinthine ages, ages misty with music, dusky with gold,
red with wars, and blushing with roses—forgotten wars, faded
roses mingling to form the perfume of the centuries. He pulled
on his pipe. ‘Where is she now?’ Easy enough to imagine Sappho
with her ivory throat, her violet eyes and sandals of golden
dawn, back in the golden dawn of poetry. For, overhead, these
were her stars. But he wondered about the form her singing soul
had taken after she had leaped into the Ionian Sea. Had the
waters quenched the spark, or was her soul immortal—a flame
that twenty-five hundred years had failed to extinguish? Again
he asked: ‘Where are you now? Where in this, the most cluttered
up of all the ages?’ He tried to imagine her beside the Little
Calfpasture—Sappho beside the Calfpasture Creek, sighing,
laughing, singing her lyrics! ‘No use falling in love! Sang
your songs twenty-five hundred years ago!’”

In May, 1922, Miss Bertha Bennett of Carleton College produced
an interesting pageant “A Grecian Festival” on the Sappho and
Phaon story, with adaptations of Sappho’s first two odes and
representing Sappho as leaping into Lyman lake. It ends with
the union of Sappho and Phaon, after death, on Mt. Olympus.

AN ADDENDUM ON SAPPHO IN RUSSIAN

Many Russian writers mention Sappho, especially Vyacheslav Ivanov; and in a volume republished in Berlin, 1923, (_Zovy Drevnosti_, _Echoes of the Past_) Konstantin Dmitriyevich Balmont has translated eight of Sappho’s fragments. The same poet (_Zacharovanny Grot_, _The Enchanted Grotto_, vol. III, 1908) has published a poem on Sappho which my former student, now of Columbia University, Dr. Clarence Manning, has translated in the original metre:

O Sappho, thou dost know alone
How hard the poet strives revealing
The secrets beauty once has shown
In moments of immortal feeling.

O Sappho, thou dost know alone—
Thy name a perfume’s sweetness holy—
The dreams that we one day have known
But lost unspoken, faded wholly.

O Sappho, thou dost know alone
How clearly in uncounted masses
Still unreached flowers yet are grown
Where life through the charmed grotto passes.

XII. SAPPHO’S INFLUENCE ON MUSIC

On the operatic stage Sappho has had much influence; and above I have told how Lamartine said that Sappho was a superb subject for an opera, although he never wrote the opera, and how Grillparzer was asked to write an opera on Sappho. In French we have a lyrical tragedy, _Sapho_, by Empis and Courniol (1818), Delavault’s _Sapho_ and Gounod’s _Sapho_ (1851); and a few years ago (1897) Massenet produced his _Sapho_. In Italian there is Pacini’s _Saffo_ (Naples 1840); in Dutch, Bree’s _Sapho_; in German, Schwartzendorf’s _Sappho_ and Kanne’s _Sappho_; in Bohemian, there is Reicha’s _Sappho_; and in Russian, Lissenko’s _Sappho_.

Brahms composed a _Sapphic Ode_, which is very familiar because it is often sung to-day and there is an English victrola record of it by Julia Clausen, but while it deals with Sappho’s favorite flower, the rose, it is Sapphic only in name and metre:

Rosen brach ich nachts mir am dunklen Hage.
Süsser hauchten Duft sie, als je am Tage;
Doch verstreuten reich die bewegten Aeste
Thau, der mich nässte.
Auch der Küsse Duft mich wie nie berückte,
Die ich nachts von Strauch deiner Lippen pflückte;
Doch auch dir bewegt ein Gemüth gleich jenen,
Thauten die Thränen.

(Words by HANS SCHMIDT)

From the time of the _Schemata Musica_ printed in Volger’s edition of 1810, down to the music published by G. Cipollini in 1890 in his brother’s _Saffo_, many have put Sappho’s songs to music. Even in the last few years many have tried their hand at the task. Perhaps the most successful music, with a real touch of the old Greek flavor, is that which was composed by Professor Stanley for several of Sappho’s fragments in connection with Mr. Harrison Grey Fiske’s stage presentation of Percy Mackaye’s _Sappho and Phaon_. This has been reprinted this year in a general treatment of Greek music by Professor Stanley of the University of Michigan. The selections published include “Builders, Build the Roof-Beam High, Hymenaeon”; “Gath’rers, What Have We Forgot, Hymenaeon!”; “What shall we do, Cytherea?”; “Hollow Shell, Horny Shell”; “Akoue, Poseidon”; “Hesper, Eleleu”, etc. Miss Pearl C. Wilson, of Miss Chandor’s School in New York, a former student of Professor Perry of Columbia University, without making any pretense of reproducing the ancient music has composed musical accompaniments for several of the odes and also of the new fragments, which have been sung with much success. She tried to illustrate the metre of each fragment, but found it more satisfactory to write the music without the modern division into bars and rests, simply indicating the long and short syllables by notes of different values. This makes possible a lyric delivery of the poems, each line determined solely by the words and their meaning. In that way the simple melodies as expressions of the thought gain a great deal when sung. I can testify from my own public experiments in readings from Sappho that her fragments can be much better recited or chanted when accompanied by music, as I am convinced they were originally.

XIII. EPILOGUE AND CONCLUSION

I venture to hope that out of all I have written in the preceding pages some fairly clear idea of Sappho may have emerged. Yet the discussion has had to wander widely through literature which has, indeed, been influenced strongly by her name but journeys far from the Lesbian lyrist herself. In closing this study it may be well, therefore, to return to the woman and the poet and add some final words.

The fragments of many other ancient poets have been collected for merely scholastic reasons, but Sappho’s literary remains are more than antique specimens. They constitute a great and noble literature and some of the latest found are among the best. They often rank as highly as the completed poems of other writers—surely an unparalleled phenomenon. In them we recognize the creator’s genius as clearly as in a fragmentary torso of Phidias we see the sculptor’s art in every chiselled line. While we miss the fullness of her life, we can restore her figure because the fragments are “the real blood of her heart and the real flame of her thought.” Nearly every line of them has been imitated, dilated or diluted, and, disgraceful to say, many who have drunk of her living water have poisoned it into stagnant and salacious slime. There is nothing like this in the history of literature. Higginson in 1871 summarized the case:

“What other woman played such a part in moulding the great
literature that has moulded the world? Colonel Mure thinks
that a hundred such women might have demoralized all Greece.
But it grew demoralized at any rate; and even the island where
Sappho taught took its share in the degradation. If, on the
other hand, the view taken of her by more careful criticism
be correct, a hundred such women might have done much to save
it. Modern nations must again take up the problem where Athens
failed and Lesbos only pointed the way to the solution,—to
create a civilization where the highest culture shall be
extended to woman also. It is not enough that we should dream,
with Plato, of a republic where man is free and woman but
a serf. The aspirations of modern life culminate, like the
greatest of modern poems, in the elevation of womanhood. ‘Die
ewige Weibliche zieht uns hinan.’”

Sappho, then, was a pure and good woman, busily and successfully engaged in the work of her chosen profession. She was a teacher of singing and dancing and the technique of poetry, and to give her pupils the finest models she applied herself so seriously to the lyric art that she reached a perfection in it to which no other classic poet attained. If she ever collected her verse it was only to promote the idealization of marriage pageants, and not with the purpose of publishing a full edition of her songs. It would not be safe to deny that there was a practically useful collection of Sappho’s songs in the archives of her school or guild or in the Temple of Aphrodite, but no copies were sold at the book-stalls in her own day as certainly was later the case in fifth century Athens.

Sappho, in fact, must be listed with two other names which, taken together, form a unique and astonishing group, a group whose peculiar and distinguishing feature is that their enduring thoughts and imperishable words were indispensable necessities in their life-work rather than productions as literature for the sake of literature. It is not because of the accidental alliteration that we rank Sappho with Socrates and Shakespeare. These great exemplars of song, ethics, and drama, respectively, were alike in that it was not by their intention that their works became literature. Shakespeare as a theatrical manager was obliged by his position to write plays that would attract audiences. He was compelled by his genius to make those dramas imperishable. But if he had had his way none of them would ever have been printed. Our gratitude must be given to prompters’ copies and to literary thieves. Socrates was a teacher whose purely oral lessons his pupils, Plato and Xenophon, committed to writing that the master’s inspiring thoughts might not die.

Socrates’ love for his young disciples was a love passing the love of women. The myriad-minded man of Stratford,—“Gentle Will,” as his comrades called him,—had an affectionate sympathy with all sorts and conditions of his fellow-men. Sappho’s love for her girl friends was so intense that there are those who, not knowing how passionate the love of woman can be for woman, still fail, despite the evidence, to recognize a love more sublime even than that for man.

How jealous she could be of her family’s good name! More than once she prays that no dishonor may come to her house. How jealous also of those who sought to win away the love of her girls and of the girls themselves when any of them seemed to have forgotten her! How intensely, too, she could hate, the outbursting passion against the “she-dog” at the close of fragment E 36, which we have translated on page 20, may serve to suggest. The fierceness of her satire is also incidentally shown in this as well as in other fragments. (See E 35, 37, 71, _et al._)

Like Socrates and Shakespeare Sappho had a planetary mind swinging in its orbit with ease through all realms, whether of nature, or human nature, or the divine nature of the unseen world. This need not be elaborated here, save in Sappho’s case. But it may be worth while to repeat some of the evidence as to Sappho’s wide range of thought as it is seen in a few typical instances. She loved the roses, the clover, and the anthrysc. She loved the doves and the nightingales, and knew their colorings and discerned their ways. But the unplucked apple on the top of the topmost bough, the myriad ears of the listening night that hears what the girl across the sea says and relays it right over the waves, the rosy-fingered moon well above the horizon and launching light across the rolling sea and over the fields of flowers, reveal even in the fragments which are “small but roses” how surpassing were her instincts for nature’s loftier meanings as well as its minute details and how exquisite were her comparisons. As for the phases of love—they were her daily business,—and each new couple whose wedding festivities she arranged in song gave her new material. Where in all literature is there a finer example of the union of human love along with insight into the soul of nature than in the ode, _To Absent Anactoria_? (See p. 72).

As we have said, she knew the heart of the Greek bride and her dread at the loss of her free virginity. Mother love, too, was never more exquisitely portrayed than in the song we have quoted on pp. 27-28. But the subject of woman’s love for woman is peculiarly her own. The finest lines in all Sappho’s poetry are those descriptive of Anactoria in a poem which we might call _Old Love is Best_ (E. 38, pp. 82-83 above).

Finished style, the γλαφυρὸς χαρακτήρ, as the Greek critics called it, simple purity but effective luminosity and exquisite rarity of expression, faultless constraint, fine taste in choosing appropriate subjects, marvellous verbal economy, comprehensive power in single words, fiery passion as well as austerity, richness and beauty, good arrangement of words, assonance, alliteration, consonantal harmonies, lingering vowel music and melody, produced often by the repetition of long vowels, the soft Aeolic quality of the Greek sounds, swift changes of nature and enchanting images, varied metres, but above all else, charm, that greatest characteristic of Sappho so emphasized by the ancients and moderns,—all these qualities she used that her songs and hymns might be perfect. It is this simple natural perfection of her art, like the “nothing too much” of the Parthenon frieze, that makes her untranslatable, even though it is precisely the quality which modern literature lacks but needs. Her nature was so great and her genius so marvellous and her purposes so inexorable that, in attending with her whole soul to her business as the poetic and musical caterer for successive weddings upon an ancient and interesting island, she incidentally made word-music and created thought-images which sounded the depths and scaled the heights of human passion and which winged their way to distant shores. The strains of her songs are beginning to be heard everywhere and are ever growing clearer and sweeter in this present timely century, the century of woman’s exaltation and glorification. Her genius is concisely summed up by Watts-Dunton in his _Essay on Poetry_, as follows: “_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._”

In the Lesbus and the Asia Minor of Sappho’s day as in those of Homer, women were at their zenith and were allowed greater freedom in life and speech than in later Athens where woman’s position had reached its nadir, even though literature and art had attained their highest bloom. In Athens women were cabin’d, cribb’d, confined. The more ancient Greeks in general, however, even if their law made the wife the property of her lord and master, appreciated their women and considered them close to the divine, else they would not have appointed them to important priesthoods and other offices and to be interpreters of the desires of the gods and counsellors of their own political troubles. Sappho was a twentieth century woman living in sixth century Lesbus, who could go about town without a chaperon and take part in the most intellectual and religious meetings. Of course she was “ni une sainte ni surtout une prude,” as Reinach says. Rarely is a woman who is interesting a “saint.” Reinach compares her also to Madame de Sévigné, who wrote to her daughter “paroles de feu et de fièvre ... tout pareils à ceux de l’amour.” What with her teaching, with her own writings, and with the executive work of the _hetairiai_, those ancient Y. W. C. A.’s for the cultivation of poetry and music, which Mackail has so aptly compared with the Courts of Love which existed in Languedoc from the twelfth to the fourteenth century, she was too noble and too busy to be devoted to ignobler ways, falsely ascribed to her. But her love was deeper than that of the schoolgirl in convent, conservatory of music, or literary club. She was no Ruskin-like school-mistress presiding over a group of virtuous but bold young women. She was respectable and respected. There was in her sacred guild under the patronage of Aphrodite “l’étroite et tendre intimité de jeunes filles de bonne naissance entre elles et avec leurs dirigeantes” (Reinach). But we utterly reject to-day the Athenian vaudeville idea of Sappho, who never should have been branded a courtesan.

How the fine radiance Sappho shed on woman’s love for woman and on her love of love and on the glory of pure and honorable marriage shines at last across these twenty-five hundred years! Her figure stands there on her isle. In itself it is white marble veined with gold. Much mud from many lands has been flung against it. For centuries, almost for millenniums, it has been soiled and stained. Even good men have come to think of the stains as integral parts of the statue, and of the gold as base metal. But the winds and rains of time have tired out the soilers and washed the figure white and clean of all Attic and all later defilings. It is all pure marble now, veined with warm gold. Something that suggests the Pygmalion miracle is happening to it. The statue is alive and luminous with its own beauty, grace, and power. Sappho’s poetry deals with the eternal experiences of the human heart and carries with it those touches which make the whole world kin. As T. G. Tucker says: “Love and Sorrow are re-born with every human being. Time and civilisation make little difference.”

And not unhallowed was the page
By wingèd Love inscribed, to assuage
The pangs of vain pursuit;
Love listening while the Lesbian Maid
With finest touch of passion swayed
Her own Aeolian lute.

(WORDSWORTH, _Upon the Same
Occasion_, 1819)

NOTES AND BIBLIOGRAPHY

NOTES

(The dates given in the text with authors are generally those of _floruit_, _i.e._ about the fortieth year.)

[1] Somewhere recently in a newspaper I saw these lines entitled, _They Lived Too Soon_:

I fear Cleopatra was wasted
Way back in her misty old realm.
As matters befell, she did fairly well
But she’d have been great in a film.
If Dido and Sappho were with us—
They’re advertised widely, you see—
And Helen of Troy—good gracious
My boy, what movie successes they’d be.

[2] _Oxyrhynchus Papyri_, XV. 1787, frag. 4.

[3] Galen, _Protrep._, 2.

[4] _Classical Philology_, XVIII. 35 ff. (1923).

[5] Sir Edward Cook, _More Literary Recreations_, 1919, p. 205, quotes Wharton with approval to the effect that Tennyson called Sappho “the poet, implying her supremacy by the absence of any added epithet.”

[6] _Anth. Pal._, VII. 16.

[7] Athenaeus, _Deipnosophistae_ (Doctors at dinner), 596 b.

[8] _Odes_, IV. 9. 11.

[9] _Amatorius_, 18.

[10] Athenaeus, 598 b.

[11] _Loves_, 30.

[12] Lord Neaves, _The Greek Anthology_, p. 113.

[13] _Anth. Pal._, VII. 15.

[14] Fraenkel, _Inschriften von Pergamon_, I, p. 118, no. 198; _C. I. G._ 3555.

[15] _Sappho und Simonides_, p. 41, 1.

[16] _Anth. Pal._, IX. 66.

[17] _Anth. Pal._, VII. 14.

[18] _Anth. Pal._, VII. 407.

[19] _Anth. Pal._, IX. 189. Cf. A. J. Butler, _Amaranth and Asphodel_, Oxford, 1922, p. 195. The ending is “you shall fain Deem that Calliope doth hymn the strain.”

[20] _Anth. Pal._, IX. 571.

[21] XXXV. 16.

[22] Cf. also Epigr. LXX, Jacobs, II, p. 25; Plut., _Amat._, XII, p. 42.

[23] P. 186 (1921).

[24] 280, pp. 817-818. Cf. also _Posthumous Essays_ in _Sat. Rev._, Feb. 21, 1914.

[25] Professor Scribner in _The Classical Weekly_ XV, 1921, p. 78, says “there still is room for a work giving a complete critical treatment of Sappho’s influence on ancient and modern literature down to our own time.”

[26] Athenaeus, 599 c; _Oxyr. Pap._, XV. 1800.

[27] Strabo, 618; Athenaeus, 85 c.

[28] Cf. Herodotus, II. 135; Schol. Plato, _Phaedrus_, 235 c; _Ox. Pap._, XV. 1800. The papyrus gives Scamandrus, which is otherwise known as a good Lesbian name, as well as Scamandronymus. Scamandrus like Suidas’ Scamon is an abbreviation or _Kosenamen_.

[29] _Her._, XV. 61.

[30] Confirmed by the new papyrus. The more correct form would be Clévis (Κλεῦις or Κλεῖϊς) after the founder of Lesbus, who was named Κλεύας, Strabo, 582.

[31] Cf. Edmonds, pp. 144-147.

[32] Hiller von Gaertringen, _Inschriften von Priene_, 18; for Erygyius cf. also Diodorus, XVII. 81, 83; Arrian, III. 6, 5.

[33] The name occurs as a love-name on the interior of an Attic cylix in the Metropolitan Museum of New York, signed by Hieron (480 B.C.), published in _American Journal of Archaeology_, XXVII. 274 (1923). Near a female figure dancing to the accompaniment of the double flute played by a satyr is the inscription, “Beautiful Rhodopis.” Cf. also Lucian, _De Saltatione_, 2.

[34] Cf. Poulsen, _Delphi_, London, 1920, pp. 31, 72, 205, 294.

[35] Edmonds’ first poetical translation is given in his _Sappho in the Added Light of the New Fragments_, p. 8; but he gives a revised prose version in the _Classical Review_, XXXIV. 5-6 (1920) and in _Lyra Graeca_, I, p. 207.

[36] Solmsen in _Rhein. Mus._, LVI. 502, 1 (1901) gives arguments for the spelling with double p.

[37] 599 c.

[38] γέγονε often means flourished, not “was born.” Those who put Sappho’s birth as late as 610 forget this.

[39] Strabo, 617, also makes Sappho contemporary with Pittacus and Alcaeus. Eusebius puts the _floruit_ of Sappho in the first year of the forty-fifth Olympiad (599 B.C.). Edmonds, _Lyra Graeca_, I, p. 142, adopts the reading Ol. 45, 2 (598 B.C.), but this would be rather the date of her exile.

[40] The abbreviation E, is used throughout for Edmonds, _Lyra Graeca_, vol. I.

[41] Cf. Prinz, _Funde aus Naukratis_, 1906, pp. 57 ff.

[42] II. 134.

[43] In another fragment (E. 35) Edmonds calls Sappho “an old bird,” but this is a very dubious restoration based on only three preserved letters.

[44] _Flor._, XXIX. 58.

[45] Dioscorides in _Anth. Pal._, VII. 407 has Eresus; and coins and Suidas give both towns. Cf. Wilamowitz, _Sappho und Simonides_, 23; Her. II. 135 and references in Jacoby, _Das Marmor Parium_, 1904, p. 101. Many sources call Sappho a Mytilenaean, Schol. to Pindar (E. p. 144); Schol. Plato, _Phaedrus_, 235 c; Arist., _Rhet._, 1398 b; _Anth. Pal._, VII. 17. Some scholars assume that there were two Sapphos, but the two traditions can easily be reconciled by supposing that Sappho belonged to both cities, born at Eresus but later living at Mytilene. Edmonds thinks that Strabo would have mentioned Sappho when he is speaking of Eresus (618), had he believed her to have been born there, but Strabo omits many famous writers. The tradition of two Sapphos is found also in Aelian, _Historical Miscellanies_, XII. 19 and in Suidas. Cf. the novel _Beulah_ by Augusta Evans, pp. 216-218: “Do you think that Sappho’s frenzy was established by the Leucadian leap? You confound the poetess with a Sappho, who lived later, and threw herself into the sea from the promontory of Leucate. Doubtless she too had ‘poetic idiosyncrasies,’ but her spotless life, and I believe natural death, afford no indication of an unsound intellect.”

[46] _Studies of the Greek Poets_, vol. I., pp. 307 ff. (American ed.)

[47] I. 9.

[48] Cf. _The Poet Loves of Sappho_ from the third book of _A Catalogue of Things Relating to Love_, an elegiac poem by Hermesianax, translated by J. Bailey.

[49] Athenaeus, 450 e.

[50] _Class. Phil._, XIII. 348 (1918).

[51] XVIII. 9.

[52] Edmonds, 82, p. 240.

[53] _Oxyrhynchus Papyri_, XV, 1922, 1800. Also now published in Miller-Robinson, _The Songs of Sappho_.

[54] Lunák, _Quaestiones Sapphicae_, Kazan, 1888.

[55] Lucy Milburn, p. 21, makes Sappho say, “When Cleïs, I called her for my mother, was two years old, I found myself a widow.” But we have no such evidence, how old Cleïs was when her father died. Miss Milburn (Letter XIX) is also quite wrong in translating “I would rather have my little daughter know her own worth than to bequeath to her all the treasures of Lydia, were they mine.”

[56] I. 30.

[57] Edmonds, 116 reads Εἴρηνα (peace) for Ἔραννα so that it is doubtful if Erinna, the poetess who wrote poems worthy of Homer before her early death at the age of nineteen, is really meant by Sappho. Most scholars now date her long after Sappho’s time, some even as late as 350 B.C.

[58] Cf. _Jahrbuch_, XXV. 150 (1910).

[59] _A. J. P._, XXXIV. 106 (1913).

[60] _Anth. Pal._, XVI. 310.

[61] XVIII.

[62] _Odes_, I. 1. 36.

[63] Cf. _Anth. Pal._, VII. 14 and 17 for epigrams about Sappho’s grave. Cf. Edmonds, 42 and 99. Tucker translates:

As friends we’ll part:
Win thee a younger bride:
Too old, I lack the heart
To keep thee at my side.

[64] My late colleague and dear friend, Kirby Flower Smith, made a brilliant reconstruction of the story which he read several times in public. It is to be deeply regretted that the manuscript has never been printed. Cf. for the Menander fragment, F. G. Allinson’s _Menander_, in _The Loeb Classical Library_, pp. 400-401. For fragments of Plato’s _Phaon_, cf. Kock, _C. A. F._, I, p. 645. Cf. Servius on Virgil, _Aeneid_, III. 274.

[65] Lucian for example, _Dialogues of the Dead_, 9, has Phaon carry Aphrodite over in his boat from Chios.

[66] _Incred._, 49 in Apostolius, _Paroem._, II. 707.

[67] 596 b; “according to Nymphis in his _Voyage around Asia_, the courtesan of Eresus who was a namesake of the other Sappho and lover of the fair Phaon won great notoriety.” Cf. also Suidas, s. v. _Phaon_.

[68] Cf. Furtwängler-Reichhold, _Gr. Vas._, pl. 59; Milani, _Monumenti scelti del R. Museo Arch. di Firenze_, pl. 3; Nicole, _Meidias_, pl. VI, I. Cf. also on Phaon, Wilamowitz, _Sappho und Simonides_, pp. 33 ff.

[69] 69 d.

[70] Strabo, 452.

[71] Cf. Curtis, _A. J. A._, XXIV. 146 ff. (1920); Paribeni, _Boll. d’Arte_, I. 104 (1921); F. Cumont, _Rassegna d’Arte_, VIII. 44 ff. (1921); Leopold, _Mélanges d’Archéologie et d’Histoire_, XXXIX. pl. II. 181 ff. (1921); _Le Musée Belge_, XXVII. 15 ff. (1923), there connected by Hubaux with the cult of the Thracian Cotyto. _Cf. Memoirs Am. Ac. in Rome_, IV. 85 f., pl. XLV.

[72] For another version cf. G. Showerman’s _Ovid_ in _The Loeb Classical Library_. A new translation by Marion Mills Miller, where the narrative portions are in recitative and the frequent outbursts of emotion in lyrical form, appears in Miller-Robinson, _The Songs of Sappho_.

[73] Countless translations have been made. Among a few, I mention Philips (1711), Herbert (1713), Akenside’s paraphrase (1745), Fawkes (1760), Merivale (1833), Elton (1814), Egerton (1815), Edinburgh Review (1832), Palgrave (1854), Arnold (1869), Higginson (1871), Walhouse (1877), Symonds (at least two versions), Swinburne, Thomas Davidson, Marion Mills Miller (in _The Classics_ and also in his play _The Return of Odysseus_, p. 82), Appleton, Fairclough (_The Raven_, V, 1904, p. 120), Easby Smith, Stobart (_The Glory that was Greece_, p. 119), Lawton, Tucker, Petersen, Lawrence (_Classical Review_, XXXVI, 1922, p. 2), Edmonds, William A. Drake (_Sewanee Review_, April 1923).

[74] στροῦθοι in l. 10 are birds of Venus, swans, or better doves, rather than the dirty chatterers of our city streets, who never appear in Greek art. Cf. Throop, _Wash. Univ. Studies_, IX 282 (1922); Aristophanes, _Lysistrata_, 723 f.; Statius, _Silvae_, I. 2. Edmonds p. 183 reads the dual and translates “thy two swans.” For swans drawing Aphrodite’s or Cupid’s car, cf. Reinach, _Répertoire des Vases Peints_, I, pp. 57, 271.

[75] _Dem._, 38.

[76] _Iliad_, X. 90-95. Cf. also _Od._, XVII. 518-521. For Homer’s influence on Sappho cf. Smyth, p. 230; H. L. Ebeling, in _The Classical Weekly_, XVI. 195 ff. (1923).

[77] III. 152-158.

[78] Edmonds, pp. 186-7, makes the ingenious but very uncertain suggestion that in line 7 a proper noun, Brocheo or Brochea, corresponding to Catullus’ Lesbia, should be read and now translates: “When I look on you, Brocheo, my speech comes short or fails me quite.” Formerly he thought that the poem was sent by the banished Sappho at the age of eighteen to some beloved girl friend soon after her arrival in Sicily in 596 B.C., but Sappho was older than eighteen in 596, and Edmonds now makes an entirely different emendation of the last line, “but now that I am poor, I must fain be content ...” meaning “beggars can’t be choosers.” But the reading is uncertain and I do not believe that Sappho was poor, nor do I agree with Miss Patrick that the words do not describe love at all.

[79] For such head-cloths cf. the Latin word _struppus_ and the festival at Falerii, called _struppearia_, Dion. Hal., XI. 39 and Poulsen, _Etruscan Tomb Paintings_, p. 23. Edmonds’ new reading is very uncertain; for his previous reading and poetical version cf. _Sappho in the Added Light of the New Fragments_, p. 28.

[80] I keep Bergk’s reading, “Foolish woman, pride not thyself on a ring.” Edmonds changes the text and translates, “But come, be not so proud of a ring.”

[81] Cf. Poulsen, in _Jahrbuch_, XXI. 209 ff. (1906); _Die Bronzen von Olympia_, IV., pl. VII. 74.

[82] There are many other poetical versions by Merivale, Symonds, F. Tennyson, Tucker, Cox, Edmonds, etc. For an absurd interpretation _Sappho in the Rain_, cf. _Wiener Studien_, XXXVIII. 176 ff. (1916).

[83] Poetical translations by Merivale, Arnold, Appleton, F. Tennyson, Symonds, Edmonds, Miller, Percy Mackaye, etc.

[84] _Sappho in the Added Light of the New Fragments_, p. 25, but in _Lyra Graeca_, I, p. 253, he changes his previous emendation and reads a text which I consider very uncertain, “and pours down a sweet shrill song from beneath his wings, when the Sun-god illumines the earth with his downshed flame outspread.”

[85] _Praec. Con._, 48; _Qu. Conv._, III. 1. 2.

[86] _Flor._, IV. 12.

[87] For Swinburne’s expansion cf. p. 210; cf. also Percy Mackaye in _Sappho and Phaon_. Bliss Carman has evolved the following from Sappho’s one line:

I loved thee, Atthis, in the long ago
When the great oleanders were in flower
In the broad herded meadows full of sun.
And we would often at the fall of dusk
Wander together by the silver stream,
When the soft grass-heads were all wet with dew
And purple misted in the fading light,
And joy I knew and sorrow at thy voice,
And the superb magnificence of love—
The loneliness that saddens solitude,
And the sweet speech that makes it durable,
The bitter longing and the keen desire,
The sweet companionship through quiet days
In the slow ample beauty of the world
And the unutterable glad release
Within the temple of the holy night;
O Atthis, how I loved thee long ago
In that fair perished summer by the sea.

[88] Cf. Miss Shields, “_Lesbos in the Trojan War_,” in _The Classical Jour._, XIII. 670 ff. (1918); _The Cults of Lesbos_ (Johns Hopkins University Diss.) 1917.

[89] Cf. _Transactions and Proceedings of the American Philological Association_, LIII. xvi (1922).

[90] For Mnesidice Edmonds would now read Anactoria. There is a good metrical translation by G. M. Whicher in Manatt, _Aegean Days_, London, 1913, p. 286.

[91] _Odes_, I. 3. 22.

[92] O’Hara renders as follows:

Gold is the son of Zeus,
Immortal, bright;
Nor moth nor worm may eat it,
Nor rust tarnish.

So are the Muse’s gifts
The offspring fair,
That merit from high heaven
Youth eternal.

[93] These may be vases in the form of an _astragalus_ or knuckle-bone, two or three of which in clay are to be seen in museums, or they may be bowls or cups with the bottom rounded like one end of a knuckle-bone. They might be bowls with a mid-boss in the form of a knuckle-bone. For such gold-bossed golden bowls as Pollux (VI, 98) mentions in the context of this quotation see the recently acquired beautiful gold bowl with a Corinthian inscription of about Sappho’s time in the Boston Museum, which, however, is probably a modern forgery. Cf. _Bulletin, Boston Museum of Fine Arts_, XX. 65 ff. (1922).

[94] German and Austrian scholars have failed to see the lovely lyrical literature in this delightful ballad. Aly considers it only the beginning of a longer ode; and I cannot agree with him that it does not fit in with what we know of Sappho who often expresses her loneliness in the absence of her companions. Even if the thought is of love, we must not expect consistency in a high-strung Aeolian woman. Fragments such as E. 152, 159, 167 may have been in a totally different context. But I do not mean to say that the ballad certainly refers to Sappho herself. The context is gone and it is not even definitely assigned to Sappho. Some of the editions seem to have contained it, but much anonymous literature has been included in the Sapphic _corpus_ as in that of Plato or Hippocrates. However, as it is one of the prettiest and most perfect pieces and quite in Sappho’s style and metre and thought, I consider it genuine. Ovid (_Sappho to Phaon_, 155 ff.) seems to know the lines. Ruthlessly to insert a negative in the text (“Alone I do not sleep”) as does Lunák (_Wiener Studien_, XL, 1918, p. 98) spoils the literary quality and makes it insipid. How much suggestive concision in those seventeen words in four verses (four of them small particles), but what vast and profound humanity; silence, solitude, obscurity, waiting, anxiety, sympathy of nature. How the strong and rapid description catches our deepest thoughts. Such things disprove the arguments against its genuineness by Wilamowitz, _Textgeschichte_, p. 33; and _Sappho und Simonides_, p. 75. Cf. Münscher, _Hermes_, LIV. 29, 4 (1919).

[95] _Scribner’s Magazine_, September 1905, p. 304.

[96] On the whole tradition of the wedding song cf. Mangelsdorff, _Das lyrische Hochzeitsgedicht bei den Griechen und Römern_, 1913; Reitzenstein, _Hermes_, XXXV. 95 ff. (1900); Croiset, _Journal des Savants_, July 1914; Girard, _Le Mariage de Hector_, _Comptes-rendus Ac. des Sc. et Belles-lettres_, 1914, pp. 658-9.

[97] I. 4.

[98] Cf. Robinson, _The Classical Weekly_, V. 68 (1911).

[99] In this account of Sappho’s wedding-songs I am much indebted to Koechly, _Akademische Vorträge und Reden_, Zürich, 1859, pp. 153-217.

[100] For Usener’s interesting conjecture about Lesbian marriage customs based on this fragment cf. _Kleine Schriften_, IV, pp. 308 ff.

[101] An excellent modern musical version will be found in A. A. Stanley, _Greek Themes in Modern Musical Settings_.

[102] For the history of dialogue in Greek epigrams and examples of stones speaking with the passer-by and for sepulchral symbolism as in the Pelagon epigram cf., D. M. Robinson, “Two Epitaphs from Sardis,” in _Anatolian Studies presented to Sir William Mitchell Ramsay_, Manchester, 1923, pp. 341-353.

[103] For a bronze in the British Museum supposed to represent the reclining Sappho cf. Walters, _Cat. of Bronzes_, London, 1899, 203.

[104] Pollux, IX. 84.

[105] Cf. Bernoulli, _Griechische Ikonographie_, pp. 59-72; _Cat. of Coins in the Brit. Mus., Lesbos_, pl. XXXIX; Miss Patrick, pp. 73, 81; Jacoby, _Marmor Parium_, p. 101; Forrer, _Les Portraits de Sappho sur les monnaies_, in _Revue Belge de numismatique_, 1901, pp. 413 ff.; _Zeitschrift für Numismatik_, IX. 114, pl. IV.

[106] _Meisterwerke_, p. 103.

[107] _Greek Hero Cults and Ideas of Immortality_, Oxford, 1921, p. 367.

[108] Walters, _Cat. of Terra-cottas in the British Museum_, London, 1903, pl. 19.

[109] The ancient representations of Sappho on vases have been well studied by Jahn, _Darstellungen griechischer Dichter auf Vasenbildern_, _Abh. d. Sächs. Ges. d. Wiss._, VIII. 699 ff. (1861); Comparetti, _Museo Italiano di Antichita classica_, II, 41-80, pls. III-VI (1888); Cipollini, pp. 319-344; Wilamowitz, _Sappho und Simonides_, pp. 40 ff. Little new material has come to light, but the individual vases have been better interpreted in the later publications which we cite in other notes. Aly omits the busts, though he mentions the vases, but he calls the Steinhauser fragment a clay relief and fails to recognize that it is part of a vase.

[110] Cf. Jahn, pl. III; Comparetti, _op. cit._, pl. IV; Furtwängler-Reichhold, _Gr. Vas._, II, pp. 21 ff., 308 ff., pl. 64; Steiner, _Sappho_, pp. 54-5; Perrot et Chipiez, _Histoire de l’art_, X, p. 624, pl. 15; Beazley, _J. H. S._, XLII, 1922, p. 91; Pfuhl, _Malerei und Zeichnung der Griechen_, Munich, 1923, p. 399; Hoppin, _Handbook of Attic Red-figured Vases_, I, p. 461. Hoppin wrongly rejects Furtwängler’s attribution to the factory of Brygus; and wrongly identifies Hauser’s “Frau Meisterin” with Beazley’s Niobid Painter. Perrot (p. 626) says that the Munich vase belongs to a contemporary of Duris but that we shall never know the painter; but on p. 634 he says: “we would be tempted to add the vase to the Berlin amphora painter.”

[111] Comparetti, _op. cit._, pl. III, 1; De Witte, _Antiq. de l’hôtel Lambert_, no. 32, pl. III; Reinach, _Répertoire des Vases_, I, p. 524. Formerly in the Dzialinsky collection at Paris.

[112] Comparetti, _op. cit._, pl. III, 2; Steiner, pp. 44 ff.; Cipollini, p. 328; De Courten, p. III; Reinach _op. cit._, I, p. 525.

[113] Comparetti, _op. cit._, pl. V; Cipollini, p. 331; De Courten, p. 95; _Röm. Mitt._ III, 1888, pl. IX; _Jahreshefte_, VIII. 35-40 (1905); Nicole, _Meidias_, pl. VII; Reinach, _op. cit._, I, p. 526.

[114] _B. C. H._, IV. 373 (1880); Cipollini, pp. 337-8.

[115] Cf. Comparetti, pl. VI; Steiner, pp. 16 ff.; Edmonds, _Class. Quart._, XVI. 1 ff. (1922), where he fails to cite _Jahreshefte_, VIII. 40 (1905).

[116] J. C. Hoppin, _Handbook of Attic Red-figured Vases_, Harvard University Press, 1919, p. 410.

[117] Murray, _White Athenian Vases in the British Museum_, London, 1896, pl. XVII; Pfuhl, _op. cit._, II, p. 546, fig. 527.

[118] _Ann. d. Inst._, XXX, 1858, p. 42, pl. B; Cipollini, pp. 339-341.

[119] Cf. Cipollini, pp. 343-4.

[120] Cf. Nicole, _Meidias_, Geneva, 1908, pls. III and VI. I cannot agree with Nicole in dating Meidias as late as 375-350 B.C. He belongs to the time of the Peloponnesian War, 431-404 B.C. This fatal war did not stop the Athenians from producing during war times such great works of art as the Erechtheum, beautiful vases and statues. Cf. also note 68 above.

[121] Cf. Pfuhl, _op. cit._, p. 566, III, Fig. 557; Pellegrini, _Museo Civico di Bologna, Catalogo dei Vasi Greci_, pp. 133-135, Fig. 77.

[122] _N. H._, XXXV. 141. Brunn, _Kunstgeschichte_, p. 299, identifies him with a bronze-sculptor, Leon, but we are equally ignorant about him.

[123] _Anth. Plan._, 310 (Edmonds, p. 173); Tatian, _Adv. Gr._, 130.

[124] Cf. Hermann, _Denkmäler der Malerei des Altertums_, pl. 28; Pfuhl, _op. cit._, p. 734; Lippold, _Röm. Mitt._, XXXIII. 71 ff. (1918).

[125] For replicas of the Sappho cf. Rizzo, _Rev. Arch._, 1901, pp. 301 ff. The latest and best discussion is by Percy Gardner, _J. H. S._ XXXVIII. 10 ff. (1918). For a copy of Silanion’s Corinna at Compiègne cf. _Rev. Arch._ XXXII. 161 (1894); XXXVI 169 (1898); Furtwängler, _Meisterwerke_, pp. 99 ff. would class many of the so-called Sapphos as Aphrodite and thinks that those which are copies of fifth century art may represent the Aphrodite of Phidias which was to be seen in later days in the portico of Octavia at Rome (Pliny, _N. H._ XXXVI, 15).

[126] II. 4. 57.

[127] _Anth. Pal._, VII. 15.

[128] Cf. Fraenkel, _Inschriften von Pergamon_, 198. According to _C. I. G._ 3555 Jucundus and Cyriac of Ancona still saw the inscription at Pergamum.

[129] _Ecphr._, 69-71.

[130] On the Albani bust cf. _Jahrbuch_, V. 152 ff. (1890), pl. III; Morcelli, Fea, Visconti, _Descr. della Villa Albani_, 1033; Schneider, _Jb. d. Ak. Kunstsammlungen_, XII, 72 ff. (1891); Arndt, Brunn-Bruckmann, _Griechische und Römische Porträts_, pl. 147-148; for the bust in the Pitti cf. Arndt, pls. 149-150; for that in the Uffizi, pls. 145-146; cf. also Cipollini, pp. 345-356. On the Biscari and Naples busts cf. Rizzo, _Rev. Arch._ XXXIX, 1901, pp. 301-307, pls. XXI, XXII. On the Constantinople head cf. Mendel’s _Cat._ no. 626.

[131] _Art and Archaeology_, VI. 277 ff. (1917), Robinson, _ibid._, pp. 285 ff. I have omitted mention of many other ancient works of art wrongly supposed to represent Sappho, such as Stackelberg, _Die Gräber der Hellenen_, Berlin, 1837, pl. LXX, called Sappho with a female friend sitting in her lap, merely because of the book-roll.

[132] _Arch. Anzeiger_, XXVII. 124 (1912).

[133] Cipollini, p. 405, pictures Magni’s Saffo; p. 409 Confalonieri’s Saffo; p. 413 Pradier’s Sapho; p. 417 Pradier’s standing Sapho; p. 421 Barrias’ painting; p. 425 Gleyre’s couch of Sappho. There is a bust of Sappho by Canova in Turin.

[134] Cf. Reinach, in _Revue Archéologique_, XX, 2. 433-434 (1912), X, 2. 392 (1919).

[135] Cf. for influence of Pamphos, a mythical poet earlier than Homer, Pausanias, IX. 29, 8; of Homer, _Neue Jahrbücher_, XXXIII 227 (1914); De Courten, pp. 74-76.

[136] E. 114 influenced by _Theogony_, 3 ff.; E. 122 by _Works and Days_, 568; E. 81 by _Theogony_, 121.

[137] Theognis, 1017.

[138] Schol. Hesiod, _Works and Days_, 428.

[139] Athenaeus, 554 b, 639 a.

[140] Porphyrio on Horace, _Satires_, II. 1. 30, “ostendit Sapphonem et Alcaeum volumina sua loco sodalium habuisse.”

[141] Wilamowitz, _Textgeschichte der Bukoliker_, p. 88.

[142] III. 153 f.; VI. 1181.

[143] Wilamowitz, _Sappho und Simonides_, p. 58, 2. There is an enormous literature on Catullus’ relation to Sappho and much discussion of textual matters. Cf. for the most recent _Bursian Jahresbericht_, CLXXVIII, 1919, p. 46. Compare E. 32, 147 and 149 with Catullus LXII, 26, 35; E. 151 with LXII, 61; E. 148 with LXII. In XXXV, 17-18 we have “Ignosco tibi, Sapphica puella Musa doctior.”

[144] _The Classical Quarterly_, XVI. 1-14 (1922).

[145] IV. 9. 10.

[146] II. 13. 24.

[147] Cf. Ogle, _A. J. P._, XLIII. 55 ff. (1922). For Sappho’s influence on Horace cf. Pasquali, _Orazio lirico_, 1920. Most of the literature on the subject is not fit to read. Cf. Richard F. Burton’s _The Book of the Thousand Nights and a Night_, Terminal Essay, X, p. 208, for a filthy, wrong interpretation of the word ‘mascula’. It is surprising to find as great a modern scholar as Bloch, _Die Prostitution_, Berlin, 1912, I, p. 383, saying in his discussion of Homosexuality, ἀσέλγεια τριβακή, “Schon in früher Zeit galten Sparta und die Insel Lesbos als Orte, wo die weibliche Liebe besonders verbreitet war und an letzterem Ort in der Dichterin Sappho eine weltberühmte Vertreterin fand.” Cf. also on _tribadie_ in Lesbos Bloch, _Der Ursprung der Syphilis_, II, pp. 586-588, where he thinks that he gives definite proof that Sappho was “eine echte Tribade.” It is lamentable that as great a literary critic as J. A. Symonds should say that “Sappho gave this female passion an eminent place in Greek Literature;” see J. A. Symonds, _A Problem in Greek Ethics, An Inquiry into the Phenomenon of Sexual Inversion_, London, 1901, pp. 70-72. Fortunately the monograph was issued only in a very limited edition.

[148] _Silvae_, V. 3. 154.

[149] VII. 69.

[150] _Symp._, VII. 8. 2.

[151] XIX. 9. 4.

[152] _Loves_, 30.

[153] _On Paid Companions_, 36; _Pictures_, 18.

[154] On the influence of Sappho on Himerius cf. Rizzo, _Saggio su Imerio il sofista_, in _Riv. Fil. Cl._, XXVI 513-16 (1898). In _Orations_, I. 4 the words τὸ λέχος Ὁμήρου were incomprehensible and Edmonds still omits Ὁμήρου, but the reading is undoubtedly correct and the significance is now apparent from the new epithalamium of Hector and Andromache.

[155] XV. 35, 36, 37.

[156] I. 16, 19, 20.

[157] Cf. _Anth. Pal._, V. 246; VII. 14, 15, 16, 17, 407, 718; IX. 26, 66, 184, 189, 190, 506, 521, 571; XVI. 310.

[158] V. 246. I give a literal translation and Greek texts of all epigrams which mention Sappho in Miller-Robinson, _Songs of Sappho_.

[159] Cf. _A. J. P._, XXXVIII. 66 (1917).

[160] Photius only cites the selections made by Sopater the Sophist, among which in his second book he included some quotations from Sappho’s eighth book.

[161] _Vita dell’ Imperatore Alessio o Alesseide_, XV.

[162] IV. 25.

[163] His comment on Martial, VII. 67 is “Tribadem autem fuisse carmen indicat quod extat.”

[164] There is an interesting item in Natales Comes, _Mythologiae sive explicationes fabularum_, Venice, 1551, Book V, c. XVI, p. 286, “Scriptum reliquit Sappho, Adonim mortuum fuisse a Venere inter lactucas depositum.” According to Athenaeus 69 d, Cratinus had Aphrodite conceal Phaon among the “fair wild-lettuces.”

[165] In my library I have a copy dated 1696 of Anne Le Fèvre, _Les Poësies d’Anacréon et de Sapho_. This, however, is a second edition and the first was in 1681.

[166] Welcker, _Kleine Schriften_: II, pp. 80 ff., _Sappho von einem herrschenden Vorurteil befreit_. Goethe occupied himself much with this article. For references in Goethe to Sappho cf. W. J. Keller, _Goethe’s Estimate of the Greek and Latin Writers_, Madison, Wis., 1916, p. 51.

[167] Sauer, _Grillparzer’s sämtliche Werke_, Stuttgart, 1892, XIX, pp. 71 ff. For source of _Sappho_ cf. _J. Engl. Germ. Phil._, XXII, 503 ff. (1923).

[168] Cf. Jean Giraud, _D’Après Sapho. Variations sur un thème éternel_, in _Revue d’Histoire littéraire de la France_, XXVII, 1920, pp. 194-203. I have added considerable material not there, since this article deals only with the second ode. I am indebted in this chapter to my learned colleagues, Professor Henry Carrington Lancaster and Professor Gilbert Chinard, for helpful suggestions.

[169] _Traduction de quelques autres epigrammes Grecs, Œuvres de Ronsard_, Tome 2, Paris, 1889, p. 56.

[170] The date is often wrongly given as 1682. In my copy, which is a second edition (Lyon 1696), it is stated that permission to publish the book was granted to Damoiselle Anne Le Fèvre on June 10, 1681, all rights to continue for six years. “Le dit livre a esté achevé d’imprimer pour la première fois le 1, Decembre 1681.” My copy gives only the first two odes and the epigrams on Pelagon and Timas and quotes an inaccurate Latin prose translation of the first ode by her father. He has made several emendations, as in ode II, l. 7, ὡς βρόγχον, “nihil vocis pervenit ad fauces meas,” as good a suggestion as Edmonds’ creation of an unknown proper name Brocheo.

[171] Cf. _Œuvres de Fontenelle_ (Paris 1818), II, pp. 187, 188.

[172] My copy is the thirteenth edition published by Bertrand, Paris, 1818. The idea of a manuscript of Sappho found at Herculaneum is repeated by Lucy Milburn and Percy Mackaye.

[173] My copy is dated London 1810 and is anonymous, _Poésies de Sapho suivies de différentes Poésies dans le même genre_. It contains also _Les Tourterelles de Zelmis_ and the _Poésies Erotiques_ of M. de Parny, who was such an admirer of Sappho. The adaptations are the same as those of Sauvigny. Why this edition is anonymous, I do not know.

[174] XII, p. 181 ed. Furne, Jouvet et Cie., Paris.

[175] My edition is Giguet et Michaud, Paris, 1805. This book with its long notes and citations, though little known, is important for the student of Sappho’s influence.

[176] Cf. Wilamowitz, _Sappho und Simonides_, pp. 63-69 on _Chansons de Bilitis_, pp. 71-78 on Lesbian Love.

[177] Cf. Edwin M. Cox, p. 5, where he quotes Barnabe Barnes’ _Parthenophil and Parthenophe_, 1593:

O, that I could make her, whom I love best,
Find in a face, with misery wrinkled,
Find in a heart, with sighs over ill-pined,
Her cruel hatred.

In Davison’s _Poetical Rhapsody_, 1602, are some Sapphics by the mysterious “A. W.” Here is a sample:

Hatred eternal, furious revenging,
Merciless raging, bloody persecuting;
Slanderous speeches, odious revilings;
Causeless abhorring.

In 1601 Campion and Roseter, _Lyrics, Elegies_, etc., give a clumsy example of Sapphic verse. In 1614 a tract called _The Martyrdom of Saint George of Cappadocia_ contains at the end some “Sapphicks” which resemble the real Sappho only in having the same number of syllables to the verse. Cox and all others, so far as I know, fail to mention Sir Philip Sidney’s translation of the second ode.

[178] Cf. W. C. Lawton, _Sappho_ with some new translations, _Lippincott Magazine_, 77, 583; W. A. R. Kerr, “_Sappho’s Soliloquy_,” in _Canadian Magazine_, 12, 426; E. Saltus, “_Sappho_” in _Lippincott’s Magazine_, 51, 503; M. Thompson, “_The Secret of Sappho_,” in _The Atlantic Monthly_, 73, 365; M. Gray, “_Sappho_,” in _Argosy_, 51, 203; _Athenaeum_, 1889, 2, 56; F. B. Harte, “_Sappho of Green Springs_,” in _Lippincott’s Magazine_, 45, 627; _Democratic Review_, 7, 18; Higginson, in _The Atlantic Monthly_, 28, 83; G. Hill, in _Appleton’s Journal_, 6, 158, 179; Mrs. Hamilton in _Harper’s_, 56, 177 (has nothing to do with the real Sappho); M. Thompson, “_Sappho’s Apple_,” in _The Independent_, 53, 416; A. Chisholm, in _Canadian Magazine_, 15, 453; Reinach, _Révue Archéologique_, XXIV, 1914, 2, pp. 336-337; IX, 1919, p. 204; X, 1919, p. 225; H. I. R., _Fragment of a Poem by Sappho done into English verse_, in _The Literary Digest_, 48, 1493; “_Real Personal Character of the Poetess Sappho_,” in _The Review of Reviews_, 46, 107-8; Swinburne, “_Sappho_,” in _The Living Age_, 280, 817-8; W. L. Courtney, “_Sappho and Aspasia_,” in _The Fortnightly Review_, _N. S._ 91 (1912), 479-88; “_Sappho from the Dust_,” in _The Literary Digest_, 48, 1362-3; M. M. Miller, “Sappho’s Songs of Exile,” in _The Independent_, 87, 344; _New York Nation_, 1914, 1, p. 602; Aldington, “_Letters to Unknown Women_,” in _The Dial_, 64, 430-1; W. A. Percy, _Sappho in Leukas and Other Poems_, New Haven, 1915; Horton, “_New Sappho Fragment in English Verse_,” in _The Dial_, 61, 179; Michael Monahan, “_Sappho_,” in _All’s Well or the Mirror Repolished_, II, 1922, pp. 87 ff.; Robinson, in _The Baltimore Sun_, Jan. 22, 1922.

[178a] In _Charmides_ he says: “Or from the Lesbian waters plucked drowned Sappho’s golden quill.”

[179] See _Pericles and Aspasia_, Letters 47, 48, 82, 95, 149, 150, 152, 153.

[180] _Idyls of the King, Lancelot and Elaine_, 1003-1004. Not in Mustard, _Classical Echoes in Tennyson_, New York, 1904.

[181] _Lyrics and Sonnets_ (Edinburgh, 1903), p. 66.

[182] Miller-Robinson, _Songs of Sappho_.

[183] Litz, _Father Tabb_, Johns Hopkins Press, 1923, p. 168.

[184] _Collected Poems_, New York, 1922, pp. 227-228.

[185] _Art and Archaeology_, XII. 217 (1921).

[186] _Sappho in Leukas and other Poems_, Yale University Press, 1915.

[187] _Art and Archaeology_, XV. 13 (1923).

[188] J. U. Nicolson, _King of the Black Isles_, p. 3, Chicago, 1924.

SELECTED BIBLIOGRAPHY OF RECENT BOOKS ON SAPPHO

ALY, see Pauly-Wissowa.

BASCOUL, J. M. F., _La chaste Sappho de Lesbos et le mouvement féministe à Athènes au IVe siècle av. J. C._ Paris. 1911.

BASCOUL, J. M. F., _La chaste Sappho de Lesbos et Stésichore. Les prétendues amies de Sappho_. Paris, 1913.

BERGK, TH., _Poetae Lyrici Graeci_. Vol. III, Leipzig, 1914.

BETHE, E., _Griechische Lyrik_. Berlin, 1920.

BRANDT, LIDA R., _Social Aspects of Greek Life in the Sixth Century B.C._ Philadelphia, 1921.

BRANDT, P., _Sappho, ein Lebensbild aus den Frühlingstagen altgriechischer Dichtung_. Leipzig, 1905.

BUNNER, ANNE, see Wharton.

CARMAN, BLISS, _Sappho, One Hundred Lyrics_. Boston, 1904.

CARROLL, M., _Greek Women_. Philadelphia, 1907.

CHRIST, W. VON—SCHMID, W., _Geschichte der griechischen Litteratur_. Munich, 1912.

COX, E. M., _Sappho and the Sapphic Metre in English_. London, 1916. _Poems of Sappho._ London, New York, 1924.

CIPOLLINI, A., _Saffo_. Milan, 1890.

CROISET, A., _Histoire de la Litterature Grecque_ (vol. II, pp. 226-244). Paris, 1898.

DE COURTEN, MARIA L. G., _Saffo_ (Supplementi ad “Aegyptus”). Milan, 1921.

DIEHL, E., _Supplementum lyricum_[3] (Kleine Texte, 33-34). Bonn, 1917.

EDMONDS, J. M., _The New Fragments of Alcaeus, Sappho and Corinna_. Cambridge, 1909.

EDMONDS, J. M., _Sappho in the Added Light of the New Fragments_. Cambridge, 1912. (Has some poetical translations.)

EDMONDS, J. M., _Lyra Graeca_, I, in _The Loeb Classical Library_. New York, 1922. [Abbreviated as E.]

EDMONDS, J. M., Various articles in _Classical Review_, _Classical Quarterly_ and _Cambridge Philological Society’s Proceedings_, from 1909 to 1922.

FARNELL, G. S., _Greek Lyric Poetry_. London, 1891.

GLASER, R., _Sappho, die zehnte Muse_ (Südwest-deutsche Monatsblätter). 1916.

GRENFELL, B. P., and HUNT, A. S., _The Oxyrhynchus Papyri_. Vols. I-XV, especially I, X, and XV. London, 1898. 1922.

HIGGINSON, T. W., _Atlantic Essays_. Boston, 1871.

LATINI, GIOV., _Saffo, Mimnermo e Catullo_. Viterbo, 1914.

LAVAGNINI, B., _I Lirici Greci_. Turin, 1923.

LOBEL, E., _Sappho_. Oxford, 1925.

MACKAIL, J. W., _Lectures on Greek Poetry_ (pp. 83-112). London and New York, 1911.

MEABE, T., _Saffo_ (Spanish translation). Paris, 1913.

MERINO, A. FERNANDEZ, _Estudios de Literatura Griega. Safo ante la crítica moderna_.[3] Madrid, 1884.

MEUNIER, M., _Sappho, Traduction nouvelle de tous les fragments_. (Has not recent fragments.) Paris, 1911.

MILBURN, LUCY MCD., _Lost Letters from Lesbos_. Chicago, 1902.

MILLER, MARION MILLS, and ROBINSON, D. M. _The Songs of Sappho_ (Greek text of all Sappho, of all the epigrams about her, of Erinna, of the new papyrus biography of Sappho, etc., prepared and annotated and literally translated by D. M. Robinson.) Introduction on _The Recovery and Restoration of the Egyptian Relics of Sappho_ and a critical _Memoir of the Real Sappho_ by D. M. Robinson. Introduction by M. M. Miller on the Sapphic Metre, and Poetical Adaptations of Sappho. New York, 1924.

MUSTARD, W. P., _Classical Echoes in Tennyson_. New York, 1904.

O’HARA, J. M., _The Poems of Sappho_. Portland, 1910.

OSBORN, PERCY, _Poems of Sappho_. London, 1909.

PASELLA, PIETRO, _I Frammenti di Alceo e di Saffo tradotti_. Rome, 1922.

PATRICK, MARY MILLS, _Sappho and the Island of Lesbos_. Boston, 1914. Reprinted, 1924.

PAULY-WISSOWA,—KROLL-WITTE, _Real-Encyclopädie_. Exhaustive article on Sappho by Aly. Stuttgart, 1920.

PETERSEN, W., _The Lyric Songs of the Greeks. Translated into English Verse_. Boston, 1918.

REINACH, TH., _Pour mieux connaître Sappho (Académie des Inscriptions et Belles-Lettres)_. Paris, 1911.

ROBINSON, D. M. _See_ Miller-Robinson.

SCOLLARD, C. L.,—JONES, T. S., _Sapphics_. Clinton, N. Y., 1910.