Ag a ober i Bs = ; : : ; oe F % ee ie Li = he ' = 4 . 0 a ae onl an ‘ j i ue ‘« a A ea nlc” Oe . r o ee re a 5 ; fie ‘ - iF : 4 - ae * , i 7% ' Aim s - ce nt wi it - < a " eal oh fener 6 THE POEMS OF Gaeta k® WITH HISTORICAL & CRITICAL NOTES TRANSLATIONS, AND A BIBLIOGRAPHY BY EDWIN MARION COX LONDON: WILLIAMS & NORGATE, LTD. NEW YORK: CHARLES SCRIBNER’S SONS 1925 + - Ze aS. « tet Ps : : Hal P« aS, a Bae S Ses ee : > we le “. oF «yer Se _— Pt a 7 Ys. 4 a ee an! * ral = e "PRINTED IN GREAT BRITAIN. : > CHISWICK PRESS: CHARLES WHITTINGHAM AND GRIGGS (PRINTERS), Lap. d _ TOOKS COURT, CHANCERY LANE, TONDOR: 5 at as ‘ ~ — - s P F ~% $¢ . - ; <. =<) - — ’ Pox F y . S - ‘ j — > + a - . - . r “ > +g he + ¥ ya ee * os * ; . =? ‘ a: = % = * “ Geert: : ins ae tt hetrasnee reesrntes =) ce eo et ewe. Sagat. dtan cons bas Pee & Sire ee dhe ped: 5 oon ; Beers ot | a > : o> Se ak ne oe = at 2hc FOREWORD HE general English reader, as distinguished from the classical student, has not had presented to him any edition approaching completeness of the remains of Sappho’s poetic genius since that of H. T. Wharton, first published in 1885, and subsequently reprinted several times during the succeeding two decades. ‘That edition was com- prehensive and satisfactory as far as it went. The translations which it contained were however, not the work of its editor, but were reprinted by him from various sources and, since the publication of the book, a considerable quantity of new material has come to light in the fragmentary papyri found in the delta of the Nile. This present edition is an attempt to bring the subject more up to date, and at the same time to offer a number of new translations which it is hoped will be acceptable. In some instances a number of the older transla- tions which seemed most suitable and interesting have also been printed. In the case of some of the fragments there have been previously only literal translations, and further- more, some of them are so short and defective that they are insusceptible of anything but a literal rendering, though they often consist of words or phrases of great beauty, both in idea and in language. The plan adopted in this edition has 7 8 THE POEMS OF SAPPHO been to print first the Greek text, then the literal or prose translation, then a metrical version, adhering as nearly as possible to the meaning of the Greek, and finally, notes and commentary. About twenty fragments consisting of one or two words only or such as are of doubtful authenticity, which are included by Wharton and others, have been omitted from the present arrangement. With the kind permission of the Egypt Exploration Society, and of Mr. J. M. Edmonds the text with emenda- tions of No. 3 has been included in the present volume. Other fragmentary poems which have from time to time been published by the Egypt Exploration Society, and emended and restored with very great industry and learning by several scholars, have not been reprinted. The amount of restoration is so great that the fragments, while of very great interest to the philologist and palaeographer, do not appeal very strongly to the general reader. In the spelling of Greek proper names, when they are printed in Roman type, the form to which the English reader is accustomed has been adopted. Philological commentary and variant readings have, in nearly all cases, been omitted, as in the present state of the subje& Mr. Edmond’s arrange- ment in his “Lyra Graeca” offers all that the classical student, as distinguished from the general reader, can expea. EM. G, CONTENTS CHAP. PAGE FoREWORD : : : ; ; : Cs ae I. BrloGRAPHICAL AND HistTORICAL : : heh es Il. THe Writincs oF SappHo In EnGuisu LItERA- PEER, 2 2 : Z : A A 28 III, Texr AND TRANSLATIONS . ; : ; LAS ITV. BrBiioGRaAPHy . s : , ; ; eel CORRIGENDA Page 73, last line, for “Chapter 1” read “ Chapter II.” Page 100, fragment 59, first line, for “rt ke @cimen,” read “tt ke OEIMEN.” ’ 2? “ce f ? Page 111, fragment 88, for “réxtontec ” read “ téKToNec. ~~ THE POEMS OF SAPPHO CHAPTER I BIOGRAPHICAL AND HISTORICAL ESBOS, the chief town of which Mytilene claims with ig the honour of having been the bitthplace of Sappho, has been from the earliest ages famous for its fertility, its beauty, and the perfection of its climate. The nearest point of the mainland of Asia Minor is eight miles distant, and the whole island, with its irregular coast-line, is one hundred and thirty-eight miles in circumference. Though its surface is mountainous, the soil is very prolific, and its oil, wine, and grain have from immemorial times been proverbially celebrated. Even as early as the Homeric poems there ate references to its wealth and its populous cities. Mitylene was the only Aeolian city which maintained a navy, and Lesbos had for generations many flourishing colonies in Asia Minor and in Thrace. Methymna, Antissa, Eresus, and Pyrrha were the other four important towns which, at the period of its greatness, joo B.C. to 500 B.C., caused the island to be known as Pentapolis. After the defeat of Croesus, about 546 B.c., II sy” 12 THE POEMS OF SAPPHO Lesbos fell under Persian domination, but later was freed and joined the Delian confederacy. The subsequent some- what dismal history of the island is of no interest to us at present, but the glories of the lyric poetry of its golden age have never sunk into oblivion and can never fail to be a soutce of inspitation to students of form and language in poetical composition. It is obvious that after the vicissitudes of twenty-five centuries, the task of disentangling biographical details in conne@ion with an individual however eminent, with any degree of accuracy and completeness must, in the nature of the case, be one of great difficulty. Almost every important writer of ancient times has suffered to a considerable extent from negle&, ignorance, or insensate destructiveness and bigotry, and if we were called upon to designate the period when reaétionaty forces had reduced ieee att, and literary appreciation to their lowest point, we should be right in choosing the six black centuries from about A.D. 400 to about A.D. 1000. The state of European civilization in general at that period is too well known to need comment, but it may be noted that among the writers singled out from time to time during some centuries for such assaults of bigotry and destructiveness were the ancient lyric poets, and it is a matter of knowledge that among these Sappho was a prominent victim. There is known to have been one orgy of such destructiveness about A.D. 380 at the instigation of BIOGRAPHICAL AND HISTORICAL 13 Gregoty Nazianzen, and another in the year 1073 when Gregory VII was pope. Rome and Constantinople were the chief centres of this madness, and the value of what was destroyed on these and similar occasions is from the present-day point of view incalculable. p A consequence of such occurtences as far as Sappho is concerned is that, notwithstanding the esteem in which she’ was held by writers who came within a measurable distance of her epoch, her writings have practically disappeared, although a large proportion of the works of many Greek writers living not much after her have come down to us with something approaching completeness. For the story of her life we must depend upon the scanty, more ot less casual, and sometimes hostile statements of writers who, in most cases, wete, in point of time, further away from her than we are from Shakespeare. It is only by collating the statements of these later writers, while giving much greater proportionate weight to what was written by those who lived nearest to the period of her life, that we can arrive at even approximate accutacy in the details of her biography. Sappho was the one woman poet in history to whom the somewhat misused term “ great” may be justly applied. We do not know with certainty the date either of her birth ot of her death, but the years from 610 B.C. to 570 B.C. may reasonably be assumed to have covered the most important 14 THE POEMS OF SAPPHO patt of her life. Herodotus, who wrote within about one hundred and fifty years of her death, tells us that the name of her father was Scamandronymus, and in the absence of any trustworthy evidence to the contrary this statement may be accepted as true. Suidas, in his Greek Lexicon, written in the eleventh century, mentions other names, but gteat importance need not be attached to his statements in the face of what Herodotus has written upon the subjeé&. The place of Sappho’s birth was either Eresus or Mytilene, but if it were the former, she apparently did not remain there long, for tradition soon and ever afterwards associated her with Mytilene. Among events contemporary with her life were the prophecies of Jeremiah about 628 B.c., the capture of Jeru- salem by Nebuchadnezzar in 587 B.c., the period of Solon in Athens, and of Pittacus in Mytilene. Terpander, the first important lyric poet of Lesbos, of whose works we have also only the scantiest remains, preceded her by about a centuty, and when she flourished Gautama Buddha had not been born. Sappho had two brothers, Charaxus and Larichus, and, according to Suidas, a third, named Eurygius, of whom, if he really existed, nothing is known. From Athenaeus we learn that Larichus held the office of cup-bearer at Mytilene, and as this office appeats to have been a perquisite of the aristocracy, it is therefore with good reason inferred that Sappho and her family were patricians. Chataxus, the other brother, was a BIOGRAPHICAL AND HISTORICAL 15 merchant engaged in exporting the highly prized wine of Lesbos to Naucratis in Egypt, and it was apparently on one of his expeditions in this conneétion that he met the beautiful Dotricha, surnamed Rhodopis, to whose chatms he suc- cumbed. At great expense he is said to have ransomed her from bondage. According to Herodotus, she later became vety tich, and her name, no doubt without justification, was associated with the building of one of the pyramids. Suidas makes the statement that Charaxus and Doricha wete married. If this tradition is founded on faét, it would indicate that there was considerable material prosperity in the family of Sappho. The poetess disapproved of the episode, and expressed herself in verse upon the subject. There was one important event in the early life of Sappho of which we have dire&t documentary evidence, and that is her sojourn in Sicily. A celebrated inscription cut in a block of marble and found at Paros, now in the British Museum, ptofesses to give a chronological account of the chief events in Greek history from the sixteenth to the third century B.c. Among the other statements which appear in this chronicle is one which tells us that when Aristocles ruled the Athenians Sappho fled from Lesbos to Sicily. When this flight took place the reason no doubt was that she and her family happened to be involved with the losing side in some political convulsion in her native island. She apparently remained in Sicily for some years, though she was still B 16 THE POEMS OF SAPPHO comparatively young when she returned to Mytilene, for the tradition is that she soon afterwards married a man called Cercolas, who came from the island of Andros, and that later she had a daughter whom she named Cleis, after her own mother. One of the surviving poetical fragments refers to this daughter by name, but nothing more is known about her. To judge by the absence of any further reference to Cercolas, it may be inferred that he played no very important part in the life of Sappho, or that possibly he did not live very long. In any case, history gives us no later information concerning him. One episode, until comparatively recently always included in biographical accounts of the poetess, is that associating her name with the possibly mythical Phaon. Although this story of Sappho’s alleged love for Phaon, who according to tradition was a boatman endowed with unusual physical beauty, was prevalent in ancient and mediaeval times, and although it helped to inspire the poetical efforts of many writers and has been handed down to very recent times as if it had some authentic foundation, there is no real reason to accept as true the statement that Sappho ever even saw the Leucadian promontory, much less leaped from it as the Phaon legend suggests. ‘The story is no doubt a myth founded on an allegory tricked out in the meretricious trappings of mediocte poetical efforts, and it is probable that any other name than that of Sappho would have served as the incarnation of scorned femininity in the poems upon this BIOGRAPHICAL AND HISTORICAL y subject. As noted elsewhere, modern English writers justly treat this Phaon legend as incredible and as one founded neither on reason nor on sound evidence. The whole story seems, indeed, to be a legend of a not infrequent type. It is not known certainly how long Sappho lived, but from the expression repaitepa, “ rather old,”? which she uses about herself it may be supposed that she lived past middle life. Such biographical material is all too scanty, and it contains a considerable amount of conjecture, yet with it we must perforce be satisfied. Our knowledge of Sappho’s life-history is never likely to be amplified materially, though there is always reasonable hope that in the future mote of her poems may be recovered. As already indicated, the position, climate, and natural resources were all favourable to a high degree of material and intelle@tual development in the island of Lesbos, and such a State of affairs did actually exist even in these early times. The commercial and material prosperity no doubt came first, but it is known that in the seventh century B.c., before the birth of Sappho, there was already in existence a considerable body of lyric poetry, as well as other evidence of artistic, musical, and literary culture in the chief centres of population such as Mytilene. There is, furthermore, evidence that in some ways the customs of the Lesbians differed from, and wete in advance of, those of many of the other divisions of the Greek population. The women of Lesbos of all classes 18 THE POEMS OF SAPPHO enjoyed a freedom from restraint unknown among the other Greeks, and it may be reasonably assumed that this freedom, so enjoyed by them in earlier ages, had, with the increase in wealth, luxury, and refinement, lost much of its simplicity, and may later have degenerated into a mode of life in which there was much more licence than had ever been known before in any patt of the world inhabited by people of the Greek race. However much such licence might be deplored, if its existence could be proved, it need not therefore be assumed that there was a generally depraved state of society. In the case of Sappho it serves no good purpose to concern outselves very much with the morality of her sentiments and condu&. We should rather concentrate our attention upon the poetic depth, intensity, and value of what she wrote, and upon its philological and historical interest. One thing is certainly evident and that is that when we read those sur- viving fragments which describe love and passion, we need nevet look elsewhere for anything nearer perfection in intensity, in sound, and in rhythm in any language. How- evet the question may be considered, there is no trustworthy evidence to prove that, at the time when Sappho lived, the moral standards in Lesbian society were low, and it is by no means cettain that the decadence and corruption which did undoubtedly develop as time went on had even begun during her lifetime. It should also be remembered that Scandal, like Death, BIOGRAPHICAL AND HISTORICAL 19 loves a shining matk, and such was Sappho for several centuries after her death. The invocation to Aphrodite for aid in secuting the affetions of a membet of the same sex causes some suspicion that the expression of passion con- tained in it shows an abnormal element, but in endeavouring to teach a decision on this point, it must be remembered that thete is no certainty that in the seventh century .c. the word “ Aphrodite ” represented the same conception that it does in the twentieth century a.p., and thete should not be too much haste in giving judgment upon social and psychological conditions of that early era. Furthermote, if we knew the age of Sappho when she wrote the poem, our conclusion would be influenced by that knowledge. If fot example, it could actually be proved that the poem was the work of a gitl of eighteen, a not impossible contingency in dealing with genius, our estimate of the psychology of its writer would differ widely from what it would be if we knew that we were dealing with the work of a woman twice that age. Beginning two or three centuries after the death of Sappho there was a gtadual development of a certain amount of obloquy in connection with her name, and as time went on this gathered force and definiteness, until, leaving her genius out of the question, her name came, to some extent, to connote decadence and depravity. The first important disseminators of the scandal wete the later comic writers who apparently attacked her reputation in 20 THE POEMS OF SAPPHO the same way in which, by the use of satire and suggestive allusion, they attacked other famous individuals. They used Sappho merely as a celebrity whom they considered vulnerable, but they were certainly not attempting to conduc a moral ctusade like some of theit more sanétimonious and ignorant successors. From an evidential point of view these onslaughts may be safely disregarded. Later, during the Middle Ages, Sappho seems to have suffered attack, not on account of alleged moral depravity, but because she, like other lyric poets, wrote what some austere fanatics chose to consider frivolous and, according to their views, immoral poems. The attacks of this nature were against her works rather than against her character, and this is a distinétion which must be kept before our minds in weighing much that has been written upon the subje&. Many other ancient writers were treated in the same way. ‘There were six comedies entitled “ Sappho ” and two entitled “‘ Phaon ” produced in the era of the Middle Comedy, all more or less scurtilous, and when we consider the way, for example, in which Socrates was lampooned by Aristophanes, we are justified in absolutely rejecting any account of Sappho which rests upon the authority of the writers of such comedies. It has already been noted that in the golden period about 600 B.C. Lesbos was the centre of a rich and highly organized literary, social, and commercial life. At about that date there flourished an unsurpassed school of lyric poetry. In BIOGRAPHICAL AND HISTORICAL 21 the organization of academies ot classes which reached a high degree of development in the study and produétion of such poetry, women often took a prominent part, their position among the Aeolian Greeks being better and less subject to social restraint than was the case anywhere else in the then known civilized world. Terpander and Alcaeus were natives of Lesbos, the latter a contemporaty of Sappho, and there were several lesser lights among the lytic poets who were women. Sappho even in her own time easily overtopped all others of her sex, and she was called te poetess in the same way that Homer was called the poet. She was called also “the tenth muse,” “ the flower of the Graces,” and was credited with having written nine books of lyrics. We ourselves know from the fragmentary remains of her - works left to us after the attrition of centuries that she was incomparable in the perfection of every line, in the felicitous correspondence of the sense and the sound of her words, and that she had a perfect command over all the most delicate resoutces of versification. This combination of qualities, almost matvellous, is exemplified over and over again in many of the all too truncated fragments with which we must, so fat, be satisfied. From the time of her own epoch the works of Sappho have never been entirely forgotten, and since the Renaissance the fragmentary remains of her poems have been eagerly studied by scholars of almost every country. Her mette, her style, her choice of words both as to 29 22 THE POEMS OF SAPPHO meaning and sound, and her command of language in expressing emotion have been held up to us as exhibiting all that was most perfect in those particulars. Aristotle, in his “ Rhetoric,” mentions her three times, always with appro- bation, and there are many references to her in the works of various other writers before the beginning of the Christian eta. In the time of Augustus there occurred the first revival of Roman interest in her works. Of all those who, at that period, sought to imitate or adapt any part of them, Catullus was the foremost and most successful. He made the well-known Latin paraphrase of the ode preserved in its original Greek by Longinus, and he was mote successful than any of his Roman contemporaries in entering into the spirit of the Greek rhythm. Horace also was a successful imitator of the Sapphic metre which he employed in numerous instances, but both he and Catullus were imitators, not translators or preservers. In the Augustan age a knowledge of the poems of Sappho was looked upon as almost an essential accomplishment among the Roman women of education. There was at this period a considerable amount of intelleCtual traffic between Rome and Athens, and a knowledge of the Greek language and litera- ture was considered, among the educated classes, to be very important. Ovid’s epistle, “ Sappho to Phaon,” belongs to this period, but whatever may be its poetical and literary merits, it may, from a historical and biographical point of BIOGRAPHICAL AND HISTORICAL 23 view, be safely disregarded. As will be seen later, this epistle of Ovid attracted some attention among English writers, but as fat as Sappho is concerned their ‘oeieibestibns to the subject are unimportant. To Dionysus of Halicarnassus out gtatitude is due for the transmission to posterity of the Hymn ot Invocation to Aphrodite, for it is only in his writings that this has been handed down in its entirety. His comment is sufficiently appreciative to cause astonishment that he did not think it worth while to preserve for us something else, and by so doing to magnify our indebtedness to him. Time, neglect, and ignorance have combined almost completely to annihilate the nine books of lyrics known to have been in existence at one petiod, except for the series of fragments which have been collected and published by various editors and commentators. ‘The series begins with the hymn to Aphrodite in its complete perfection and ends with a col- le€tion of fragments consisting often of a word or two quoted by some prolix grammarian to illustrate a point of syntax or a diale&tic peculiarity. During the past few years the Egypt Exploration Society has sent indefatigable workers to the delta of the Nile,and among other treasure trove there occurs a number, tantalizingly small it is true, of most interesting fragments from second and third century papyri of Sappho’s wotks. These recovered fragments have been deciphered, translated, and from time to time published. During the seventeenth and eighteenth centuries the 24 THE POEMS OF SAPPHO character of Sappho did undoubtedly suffer from attack both direét and by insinuation, and also because her name was often used by those who were merely repeating the un- substantiated statements of others in order to personify something decadent and depraved. However, at the same time that this state of affairs existed some more appreciative and discerning writers were already calling attention to the pre-eminent qualities of genius which the then known tfe- mains of her poems patently showed. It is, however, well to keep in mind the faé& that, no matter what weight we may give to the evidence either for or against the spotlessness of the personal character of Sappho, a decision on this subject should not in any way influence our estimate of her poetic genius. Taking into consideration all of the faéts and conjectures at our disposal, the most unfavour- able verdi& which could with justice be rendered upon the question of these alleged moral derelitions is one of “ not ptoven.” As to the personal appearance of Sappho, we have nothing but some untrustworthy tradition to assist us. She has been described as small and dark, and remembering her race, this may well have been the case. There are really no contemporaty authentic coins, statues, or medallions representing her in existence, although for many decades and even some centuries after her death she was teptesented upon coins, and more rarely upon vases. Such a vase of about the fifth century B.c., found at Agrti- BIOGRAPHICAL AND HISTORICAL 25 gentum, shows Sappho and Alcaeus, each with a musical instrument. This vase is now in Munich. According to Cicero there was a fine bronze statue made by Silanion, which was stolen by Verres from the Prytaneum at Syracuse, and Christodorus also describes a statue of the poetess in the gymnasium of Zeuxippus at Byzantium in the fifth century A.D. Unfortunately, all trace of these statues has disappeared. The Aeolic diale& in which Sappho wrote is the softest, smoothest, and most dire& in expression of all the varieties of the Greek language. There ate said to be traces of this diale&t in the ordinary speech of the people of Lesbos even to the present day. In it the rough breathings were absent, there was a frequent throwing back of the accent, the digamma (F) was used to some extent, and ’H frequently became 4, for example, # ceAHnn became 4 ceddnna, It should be noted in this connection that Sappho sometimes calls herself “‘ Psappha,” which is an Aeolic form of her name. This soft Aeolic Greek was a fitting medium for the rich and sensuous language and imagery of her poems, and the result is perhaps more pleasing than would have been the case had the circumstances of time and place caused her to use the crystalline and more finely chiselled Attic Greek of two centuries later. It is vety important to remember the part played by musical instruments in relation to the composition and recitation of the lyric poetry of Lesbos. Stringed instru- 26 THE POEMS OF SAPPHO ments were popular, and of them there were several varieties in use, one of which, the Muxtic, apparently a sort of small harp, is said to have been first used by Sappho herself. One ot two other varieties of instruments, also Stringed, are mentioned, but at this late date their identification is un- certain, although in at least two instances their names ate known. To judge by what remains of them, many of the poems wete patticularly suitable for recitative chanting in con- juntion with such musical instruments. The metres in which Sappho wrote were several. She used pre-eminently that known as Sapphic, but she also wrote in Alcaic, choriambic, and several others, all appar- ently with equal facility and delicacy. The metre known as Sapphic was not actually invented by Sappho herself, for it had been in use before her time, but she adopted it in many of her poems, and her use of it was so successful that it soon became associated with her name. Many of the fragments apparently belong to poems which contain very beautiful descriptions of natural phenomena or allusions to such things, and these have nothing to do with the passionate quality found in much that Sappho wrote. So much attention has been lavished upon these poems which contain descriptions of some sort of passionate devotion or invoca- tion that the nature poems and some of those which evidently had a wonderful, wistful, and haunting quality of reminis- BIOGRAPHICAL AND HISTORICAL 27 cence, of hope, and of friendship have not had accorded to them the importance to which they are entitled. Sappho has had her enthusiastic admirets amongst writers in almost all important languages, and those who have written in English have been in the forefront of this enthusi- asm. Among them all, John Addington Symonds, the trans- lator of many of her poems, embodies his opinion in a few lines, well worth quoting. He says: “ Of all the poets of the world, of all the illustrious artists of all literatures, Sappho is the one whose evety word has a peculiar and unmistakable perfume, a seal of absolute perfection and illimitable grace.” There is nothing to add to such words of concentrated praise, even if we possibly lag a little behind their writer in our own enthusiasm. CHAPTER II THE WRITINGS OF SAPPHO IN ENGLISH LITERATURE HE history of the writings of Sappho, as far as translations into English are concerned, only begins in the seventeenth century, though before the middle of that period there was a considerable number of references of varying length and importance scattered through English books, chiefly on historical and poetical subjects. Although few of these early references to the poetess have anything to do with aual translation of the fragments, their character and occurrence have a certain interest and a bibliographical relationship with the later attempts at translation into Eng- lish. Such references also serve as an indication of the mental attitude of writers of the sixteenth and seventeenth centuries towards Sappho, and from them we acquire the impression that there was a gradual growth in appreciation and comprehension as the eighteenth century loomed into view, though this appreciation and comprehension were often clouded by the inability of these writers, owing to their imperfect knowledge and the prepossessions of ‘their intelleCtual environment, to shake themselves free from the effects of the scandals launched by the later Greek comic writers, who were undoubtedly writing down to their 28 IN ENGLISH LITERATURE 29 audiences in many of the comedies which they ptoduced. It is to be hoped that some interest attaches to the tracing of teferences to Sappho in English books of the sixteenth, seventeenth, and eighteenth centuries in addition to the interest of the translations of her writings, in the narrower bibliographical sense. Though her poems in the original were known to a few Englishmen in Elizabethan and Jacobean times, this know- ledge appeats to have been superficial with a large proportion of it infected with the Ovidian version of the alleged episode in connection with Phaon, for references to this and to the Leucadian rock legend, with a few doubtful biographical details from late classical sources comprise all that we have in English up to, as we shall see later, the appearance of John Hall’s translation of Longinus in 1652. There was apparently no attempt to translate the magnificent Hymn to Aphrodite, although nearly every classical writer of anything like equal importance had some attention during this period. Much that was Greek we must, however, remember came to England in French or Latin versions frequently tinctured with the personal views of the translators into those lan- guages. It is a fact worth noting that the Sapphic mette attracted certain poets and compilers soon after it was known in England, but the first attempts to use it in our language were not in the nature of translations, but of original com- positions. Apparently the first attempt to use the Sapphic metre in 30 THE POEMS OF SAPPHO English was made by William Webbe in 1586. This writer took his degree at one of the colleges at Cambridge in 1572 ot 1573, and in 1586 published his book, “ A Discourse of English Poetry, together with the Author’s judgment touching the Reformation of our English Verse. By William Webbe graduate. Imprinted at London by John Charle- wood for Robert Walley 1586.” The author turns part of Spenset’s fourth Eclogue into English Sapphics which he describes as “ homely ”—a just description. He also says, “for in truth I am perswaded a little paine taking might furnish out speeche with as much pleasant delight in this kind of verse, as any other whatsoever.” Of this book only two copies ate known. Thomas Lodge, in his “ Margarite of America,” published in 1596, inserts a dedication “’'To the noble learned and vertuous Ladie, the Ladie Russell, our English Sappho.” There is, however, no further reference to Sappho herself. Another example occurs in Barnabe Barnes’ “* Pattheno- phil and Parthenophe,” 1593, in which there are two attempts at lyrics in imitation of the Greek, one in Sapphics and one in Anacreontics. The first verse of the Sapphic poem goes as follows “O, that I could make her, whom I love best, - Find ina face, with misery wrinkled, Find ina heart, with sighs over ill-pined Her cruel hatred,” IN ENGLISH LITERATURE 31 and the other four verses are of the same somewhat jetky and undistinguished quality. In Davison’s “ Poetical Rhapsody,” 1602, thete is also an attempt at Sapphics in a set of verses supposed to be by the mysterious “A. W.,”) who contti- buted other poems to this rare anthology. A specimen verse is as follows: “ Hatred eternal, furious revenging, Merciless raging, bloody persecuting; Slanderous speeches, odious revilings; Causeless abhorring. This is very vigorous, and also very tough, and a bad imitation of poetry noted particularly for its sweetness and melody. In “‘ Wits Theatre of the Little World,” 1599, on leaf 72 of this curious collection of extracts from classical and mediaeval writers on all sorts of subjects occurs the statement that “‘ poets fain that in Leucadia there is a very high steepe rocke which is a notable remedy to asswage love,” and on leaf 152 it is said that “‘ Lucilius was the first that wrote Satyres and Sappho the first poeme of love,” the reference being to Pausanias. No other particulars of Sappho’s life ot works ate given. In 1601 Thomas Campion and Philip Roseter published a book called “ Lyrics, Elegies,” etc., and in the Address to the Reader Sapphic verse is mentioned, and in the book itself an example is given. It is a sort of English Cc 32 THE POEMS OF SAPPHO hymn in Sapphic metre, but there is no reference to the actual poetry of Sappho. The imitation is rather clumsy and has a somewhat sanétimonious ring about it. Again, in 1614 there was published a tract of sixteen leaves entitled, “ The Martyrdom of Saint George of Cappadocia,” etc. It contains two dedications, the second of which is signed “ Tristram White.” There is at the end a page devoted to what the author calls “‘ Sapphicks,” which resemble the real poetry of Sappho only in having the same number of syllables to the line. There is nothing of the true Sappho in the produétion, and obviously no appreciation of the greatness of her poetic genius. Ben Jonson in “The Sad Shepherd,” Act II, Scene VI, used the expression, “‘ the dear good Angel of the spring, the nightingale,” which is decidedly reminiscent of Sappho’s “Hpoc arredoc imepdwnoc aHd@n, with which it is likely that such a good classical scholar as Jonson was familiar. Although a little later in the century the cultivated and learned’ Thomas Stanley translated the works of Anacreon and other Greek writers, Sappho either escaped his notice or he did not consider the fragments of sufficient importance to put into English, for no reference to them or their author appeats in his volume privately printed in sections in 1650 and 1651, and re-issued by a bookseller in 1652 as a book for public circulation. In Burton’s immortal “ Anatomy of Melancholy,” first published in 1621, again in 1624, and in 1628 for the first IN ENGLISH LITERATURE 33 time with the engraved title-page, in Part 3, SeCtion 2, there is a reference to “ Leucata Petra,” and it is stated that “ here leaped down that Lesbian Sappho for Phaon on whom she misetably doted, hoping thus to ease herself and to be freed of her love pangs.” This legend with its Ovidian handling seems to have been of perennial interest in the earlier days of classical studies in England, but as far as Burton is con- cetned Sappho as a writer of poetty might never have existed, and his remarks are only of incidental interest. Apparently the first a@ual rendering into English of either of the two important Sapphic fragments occurs in an un- common little book, a translation of Longinus on the Sublime, done by John Hall of Durham, the poet, in 1652. This volume, and another to be described later, seem to have escaped the notice of writers on Sappho, and both were certainly unknown to Joseph Addison, who definitely states in the “ Spectator ” that the translations done by Ambrose Philips in 1711 were the first in English. This book is a very small oétavo, and the title, printed in red and black, reads as follows: “‘ Tlepi “Yyoye or Dionysius Longinus of the Height of Eloquence tendered out of the Original by J. H. Esq. London Printed by Roger Daniel for Francis Eaglesfield at the Marygold in Pauls Churchyard 1652.” The collation is A—H, in eights. The portion of interest to us at present 1s §8 which contains a translation of the ode beginning gainétai mol Kfinoc,” for the preservation of which our thanks 34 THE POEMS OF SAPPHO are due to Longinus. As this is the first effort of its kind it is perhaps worth quoting: “ He that sits next to thee now and hears Thy charming voyce, to me appears Beauteous as any Deity That rules the skie. How did his pleasing glances dart Sweet languots to my tavish’d heart At the first sight though so prevailed That my voyce fail’d. I’me speechless, feavrish, fires assail My fainting flesh, my sight doth fail Whilst to my restless mind my ears Still hum new fears. Cold sweats and tremblings so invade That like a wither’d flower I fade So that my life being almost lost, I seem a Ghost. Yet since ’me wretched must I dare.” The translator then goes on: “‘ Thus did Sappho single out all those accidents that are either inherent or consequen- tial to love and melancholy,” etc. Hall’s rendering of the text of Longinus is acceptable, but his translation of the Sapphic fragment is stiff and without distin@ion. His IN ENGLISH LITERATURE 35 attempt to reptoduce the metre of the original, with four syllables instead of five in the last line of each stanza is a failure. This volume contains a.long dedication to “ My Lord Commissioner Whitelock,” and a short address “ To the Reader.” The dedication is signed “ J. Hall.” He was also the author of a volume of poems in 1646, and of several other translations, some of which were unpublished at the time of his death at the early age of thirty-one. When Edward Phillips in 1675 compiled his colle@ion of biographical notes which he called “ Theatrum Poetarum,” he thought it desirable to add a chapter on ancient poetesses, and among these is Sappho of whom he gives a short notice occupying about one page of his duodecimo volume. She is described as “‘ not inferior in fame to the best lyric poets,” but no quotations are given and there is no description of the sutviving fragments. The account is very perfunctory, and the unnecessarily manufactured tradition that there was a second and contemporaneous Sappho to serve as a pack- horse for obloquy is mentioned, and as usual the Leucadian tock is brought in with the customary categorical definite- ness. The gteatness of the poetess seems to be in no way appteciated, and the influence of Ovid is obvious. Longinus soon had another translator. In 1680 there was published a book described on its title-page as follows: “ A treatise of the Loftiness or Elegancy of Speech, Written Originally in Gteek by Longin and now translated out of French by 36 THE POEMS OF SAPPHO Mr. J. Pulteney,” then a quotation from Cicero and the imprint,—‘ London Printed by N.T. for John Holford Bookseller in the Pall Mall over against St. Alban’s Street, 1680.” ‘This volume is duodecimo size and the translation is rather colloquial. For our present purpose Chap. VIII is the most interesting. It is headed: “ Of Loftiness drawn from Circumstances ” and the text reads as follows: “‘ when Sapho [sic] would express the disorders of love, she calls to mind all the accidents which are either inherent or conse- quential to this Passion, but singles out such chiefly, as declare the excessive violence thereof. ‘ Bless’d is the man, thrice bless’d who sits by thee, Enjoys thy tongue’s soft melting harmony Sees silent joys sit smiling on thy brow; The Gods themselves do not such pleasure know: When thou appears’t, streight at my heaving heart My bloud boils up, and runs through every patt, Into such Extasies of Joy, I’m thrown, My voice fotsakes me and I’m speechless grown; A heavy darkness hovers o’er my eyes From my pale cheeks, the coward colour flies; Intrane’d I lie, panting for want of breath And shake as in an Agony of death. Yet since ’'m wretched, I must dare, etc.’ “Don’t you wonder how she brings together all these different things, the Soul, Body, Speech, Looks, etc., as if IN ENGLISH LITERATURE 37 they had been so many distin persons just expiring?” The translation of the commentary of Longinus then proceeds. It is interesting to compare Pulteney’s version of this second important Sapphic fragment, with the work of Hall already described. As it is not improbable that Pulteney knew no Greek, and as his version is filtered through the French, it is not remarkable that in this process the Sapphic metre should have disappeared and that considerable divergence from the otiginal should have developed. There was a thitd trans- lation of Longinus by an unknown author, published at Oxford in 1695. The “ Athenian Mercury,” a curious seventeenth-century journal, which ran for a few years from 1691 to 1697 contains in the issue for 12th January 1691, in No. 13, Question 8, an interesting reference to Sappho, but no translation or quota- tion from her poems. Question 8 is “ whether Sappho or Mts. Behn were the better poetess.” The reply to this query is somewhat rambling, but part of it is worth repeating, if only for its amusing qualities. It is Stated “‘ That Sappho writ too little and Mrs. Behn too much, for us to give ’em any just or equal character” and further, “ but yet one Fragment consisting of but a few lines which we have of Sappho’s carries something in it so soft, luscious and charming even in the sound of the words, that Catullus himself who has endeavoured somewhat like ’em in Latin comes infinitely short of em, and so have all the rest who %s hs 38 THE POEMS OF SAPPHO have writ their own thoughts on that subjec&t,—for which we cou’d wish that Mrs. Behn herself had translated ’em before she went to Elysium to meet her.” ‘The italics are in the original and the writer thus shows, as he apparently means the italics to indicate emphasis, that he had a real appreciation for the melodious qualities of the Hymn to Aphrodite, obviously the poem in his mind, although his seventeenth- century imagination did not permit him sufficiently to differ- entiate between the studied salaciousness of Mrs. Behn and the ardent but somewhat detached passion expressed by Sappho. This sprightly lady’s translation would no doubt have been interesting, but probably not too convenable, and perhaps the loss need not be deplored. We see again in the comment of this writer that the reputation of Sappho has suffered owing to the ignorance and lack of a just critical faculty on the part of those too ready to accept the scurrility of afew degenerate Greeks who lived centuries after her time and who wete writing down to audiences themselves decadent. Sit Thomas Pope Blount published in 1694 his book, “ De Re Poetica or Remarks upon Poetry.” After a somewhat cursory and diffuse essay upon poetry and versification with copious quotations from Dryden, Rapin, and others, a considerable portion of this quarto volume is then given up to what are called “ Charaétets and Censures.” In this portion there is a two-page biography of Sappho, who is described as “ an excellent poetess, called the = me IN ENGLISH LITERATURE 39 Ninth Lyrick and the Tenth Muse and is said to have written Epigrams, Elegies, Iambicks, Monodies, and nine books of Lyrick Verses; and was the Inventress of that kind of verse which from her is called Sapphick.” ‘There are a few bio- gtaphical and critical details similar to those in the “ Thea- trum Poetarum,” but no fragments ate quoted and no trans- lations ate offered or even mentioned. However, the general tone of Blount’s remarks is highly laudatoty and appreciative. The Leucadian rock legend is not mentioned and the name of Phaon does not occur. The first reasoned criticism of Sappho and her works in English did not appear until 1711, when in Nos. 223, 229, and 233 of the “‘ Spectator,” Joseph Addison gave us a mote ot less comprehensive view of the subject. He says that “among the mutilated poets of antiquity there is none whose fragments ate so beautiful as those of Sappho,” and he describes her as “not descending to those little points, conceits, and turns of wit with which many of our modern lytics ate so miserably infected.” He repeats the legend connecting her with Phaon, and gives a circumstantial repetition of the Leucadian rock story. In the first-mentiond number of the “ Spectator” he introduces a translation by Ambrose Philips, of what he calls the “Ode.” Addison professed to believe that this translation had “all the ease and spirit of an original,” and altogether praised it much mote highly than we should feel inclined to do now. The 40 THE POEMS OF SAPPHO translation consists of seven six-line verses in rhyming coup- lets, but the mellifluous cadence of the Sapphic metre is entirely lost in an eighteenth-century jingle. The rendering itself is very free, and has suffered by thus diverging from the otiginal. Addison gives also a translation of the ode pre- setved by Longinus, which has the same general characteristics as the first production, and is also from the pen of Philips. We may shate Addison’s feeling here expressed that he “cannot but wonder that these two finished pieces have nevet been attempted before by any of our countrymen,” but part of our feeling is also astonishment that he should have been unaware of Hall’s and Pulteney’s two efforts. At the time when this was written only three important frag- ments of Sappho’s writings were known, but Addison and Philips seem to have stimulated an interest in her poetry for there were soon other attempts with these poems, and also with a few other fragments. The Sapphic metre, however, seems to have been beyond the taste or comprehension of these eighteenth-century medioctrities, for so we may call them when we ate comparing their efforts with the perfection of the Hymn to Aphrodite, which reaches a height to which they could not rise. The attitude of the eighteenth century towards Sappho is very well shown by the inclusion, among other translations, of this Hymn in English from the pen of Mr. Herbert in the 1713-14 edition of the translation of Petronius Arbiter, a IN ENGLISH LITERATURE AI writer studied by the few for his historical and literaty interest and by a larger number for other reasons. This book, an o@avo, contains in addition to the translation of Petronius “by several hands,” versions of the works of Catullus, Tibullus, Propettius, Pindar, Anacreon,and Sappho. The Sapphic fragments occur on pages 325 and328. Herbert’s vetsion of the hymn is perhaps better than the company in which it is found. It consists of eight four-line stanzas, the Sapphic metre being ignored. Whatever majestic beauty the original derives from this element in the poem is therefore lost, and the translator has allowed his preconceptions to interfere with accuracy in rendering. For example, aoAdmoxe becomes “‘ most knowing in the mystery of love,” a poor substitute for something more literal, besides containing a meaning entirely absent from the Greek word. Elijah Fenton, in his volume of “ Poems on Several Occasions,” published in 1717, thought it worth while to include “‘ Sappho to Phaon, a Love-epistle, translated from Ovid,” but for some treason, perhaps ignorance or lack of apprecia- tion and understanding, he offered nothing of the teal Sappho. He added, however, an epistle of “ Phaon to Sappho,” which he states that he thought suitable. His translation had already appeared in 1712 in a volume of miscellaneous poems, published by Lintott, a volume which also contained the first appearance in print of Pope’s “ Rape of the Lock.” 42 THE POEMS OF SAPPHO Two yeats after their appearance in the “ Spectator,” the vetsions by Ambrose Philips were included in a volume of collected translations, described on the title-page as follows: “ The works of Anacteon and Sappho done from the Greek by Several Hands, with their Lives prefixed. To which is added the Prize of Wisdom,” etc. “ Also Bion’s Idyllium upon the Death of Adonis, by the Earl of Winchelsea. Printed for E. Curll at the Dial and Bible in Fleet Street and A. Bettesworth at the Red Lion on London Bridge 1713. Price 2s. Where may be had Mr. Creech’s Translation of Theocritus. Price 2s. 6d.” The book is a small oftavo with an emblematic frontispiece. The preface is signed G.S., the initials of Sewell, and it states, erroneously of coutse, that Cowley was the first translator of Anacreon. Why Thomas Stanley was thus overlooked it is impossible to say. ‘The portion of this volumedevoted to Sappho has a sub-title thus: ““ Odes of Sappho done from Greek by Mr. A. Philips,” and there is a so-called life of Sappho occupying four pages, chiefly devoted to a somewhat fantastic exposition of the Leucadian legend. The translations themselves have already been noticed. It was some yeats after this before another translation of the poetess appeared in English. In 1735 John Addison published an edition of Anacreon and Sappho, in which at the end there is a section devoted to the works of the poetess. At the beginning of this portion of the volume there is an engraving by Van der Gucht, of a “ busto ” at ~~ IN ENGLISH LITERATURE 43 Wilton House. As was customary there is first a biographical account in which as much as was known or could be reason- ably conjectured about her family and friends is set down, and the Leucadian legend is apparently accepted. ‘The Sapphic portion of the volume extends from page 247 to the end at page 279. The author gives his own version of the immortal hymn, in which he says in twenty-eight lines what Philips said in forty-two, and he also gives translations of the other known fragments. As a translator he is certainly as successful as Philips, but there is nothing specially dis- tinguished in his work in this connection. He justly rejects the mistaken chronology which made Anacreon a con- temporaty of Sappho. The Greek text in this edition is placed opposite the English version, and the Greek type is unpleasant on account of the number of ligatures. There are included eight of the shorter fragments. This John Addison published an edition in English of Petronius in 1736. “ The Works of Anacreon, Sappho, Bion, Moschus, and Musaeus. ‘Translated into English by a Gentleman of Cambtidge,” is the title of the small o¢tavo published in 1760, and containing versions of the Sapphic fragments so far as they were then known. The author was Francis Fawkes, and he precedes his translations with a few bio- gtaphical and critical notes. The translations themselves do not differ materially, in general, from those which had 44 THE POEMS OF SAPPHO preceded them. In his introduétion Fawkes traverses Addi- son’s favourable criticisms of Ambrose Philips, and calls cettain of his lines “amazingly rough and awkward.” He thinks that Addison’s friendship for Philips may have influ- enced his judgment, and this is probably true. The next edition of the poetess was that in which the introductory poem entitled: “ The Classic, a Poem” is signed E.B.G., initials which belong to E. Burnaby Greene. The book is called “ The Works of Anacreon and Sappho, with Pieces from Ancient Authors and Occasional Essays,” etc. The imprint is “London, Printed for J. Ridley in St. James’ Street, 1768.” It isa small o&avo. The two chief portions of Sappho’s works occupy pages 139 to 146 inclusive, and the so-called fragments, pages 165 to 169. The Hymn to Aphrodite occupies forty-two lines, and the translation is vety free and decidedly mediocre. As was usual with his predecessors, this translator also ignores the Sapphic mette. The biographical remarks in this edition are stereotyped and uninteresting, and their uncritical writer, while admitting the genius of the poetess, is inclined to accept the scandals and the absurd Phaon legend. It is curious to note how every writer up to the nineteenth century was ready to accept the Ovidian version of this alleged episode, apparently without Stopping to think that Ovid himself might be straining probability in order to indulge in the licence of a poet. In this edition odKeec ctpoyeo: become “ feathered steeds,” and IN ENGLISH LITERATURE 45 we may tecotd the fa& that the philological and historical footnotes have a certain amount of interest. Some yeats before this edition, in 1745, Akenside published his thin quatto volume of Odes. In Ode X he introduces a ftee paraphrase of the great Sapphic hymn, in which he has made a not wholly unsuccessful use of the material, but that is the most we can say for his effort. The beauty of the original evidently appealed to him, but its rhythm and metre were beyond his powers of conversion into English, or else he had no wish to go beyond a mete paraphrase. During the temainder of the eighteenth century there was not much done in the way of translating or editing Sappho. There were some teprints, for example, Ambrose Philips in 1748 and 1765, and Fawkes in 1789, and in 1799 a charmingly produced little book, called “ The Wreath,” and edited by _ Edward Du Bois, appeared. It contained selections from Sappho, Theocritus, Bion, and Moschus, with text, notes, and literal translations. It is a well printed volume, and the Greek type is very satisfactory. It was not, however, until the nineteenth century was well under way that attention began to be devoted to the scientific treatment of the literary remains of the poetess. The study of the subje&t was stimulated later in the century by the dis- covety of additional fragments of her works, and, still mote recently, during the last ten or fifteen years the Egyptian dis- coveries have tantalized us with several small but important 46 THE POEMS OF SAPPHO rewards for great effort, and have held out the alluring prospect of further good fortune in this direction. An inter- esting collection of translations from the Greek poets is that called “ Collections from the Greek Anthology by the Late Rev. Robert Bland and Others.” Of this there appeared in 1833 what was described as a new edition by J. H. Merivale, and for our present purpose the interest lies in the small section devoted to Sappho, in faé barely ten pages including the biographical and critical notice, which is very shott. The Hymn and the Ode are turned into English Sapphics, and the other known fragments are likewise suitably trans- lated, in neatly every case by Merivale, who was responsible for the rendering of the two important poems. The version of these is an improvement upon all that had gone before, though it is perhaps more the work of a scholar than of a poet, and in any case it makes evident the inherent and essential difficulty of filtering through the mind of the scholar the perfervid imagery and clean-cut, mellifluous diGtion of the poetess, without losing some of the beauty of the original. In 1838 appeared the two-volume Pickering edition of Merivale’s “ Poems Original and Translated ” in which the translations of Sappho are repeated. There were several other translations during the earlier decades of the nineteenth century, such as those of Elton in 1814, Egerton in 1815, and later, Palgrave in 1854, and Walhouse in 1877, but these do not call for special comment. They show, however, that #, ” Po IN ENGLISH LITERATURE AT interest in the poetess was becoming more general in spite of the fact that for some years the stimulation of new dis- coveries was wanting. In 1869 Edwin Arnold published his “ Poets of Greece,” a book covering much ground in comparatively small space. The portion devoted to Sappho extends from page 118, and she is called that “ exquisite poetess . . . whose genius among all feminine votaries of singing stands incontestably highest,” and is referred to as “ the purest impersonation of the art of lyric song.” Swinburne is rightly taken to task for repeating “the untrue and unnatural scandal against her sweet name which gossiping generations have invented,” though credit is given to him for doing “ brilliant justice to her deathless genius.” Arnold rejects the Leucadian rock legend as well as the alleged Phaon episode. His translation of the im- mortal hymn into English Sapphic mette is easily the best up to the time of its appearance, and is only rivalled by that of J. A. Symonds, first printed in Whatton’s edition of the poetess. The rhythm and the majestic lyrical qualities of the original are preserved in this rendering, but naturally some- thing must be lost by the transfer of such a masterpiece from its original into aay language. Arnold also gives translations of nine other fragments, and adds a number of illuminating comments. J. A. Symonds’ own work, “ Studies of the Greek Poets” which passed through several editions, is almost entirely historical and critical, not being much con- D 48 THE POEMS OF SAPPHO cerned with translations into English. Arnold was happily able to shake himself entirely free from the effe& of the scandals which he so justly condemns, but, as we have seen, the earlier writers, particularly in the seventeenth and eigh- teenth centuties, wete too easily led astray in this particular. Donne’s works afford an example of how difficult or perhaps impossible it was for even great writers to escape the effects of such scandalous traditions. They were far too ready to accept these stories, and to use them in connection with Sappho as a peg on which to hang some gaudy produc of their own licentious imaginations. Donne’s poem, published in 1633 and entitled “‘ Sapho to Philaenis,” is an instance. It is as impossible to deny to Donne the possession of poetic instinct as it is to assume that he had any particular tendency to exploit the indecent, so we must explain such poems as this by his ignorance of Greek and of all that concerned Sappho, except the unpleasant tradition which her name connoted at the time when he wrote. Some modern writers have also been guilty of the same sort of thing. An important article on Sappho appeared in the “ Atlantic Monthly ” for July 1871, by T. W. Higginson. It occupies ten pages, and in it the writer gives as much general informa- tion of a biographical and critical nature as was available at the time. He repudiates the calumnies of the comic writers of later centuries, such as Ameipsias, Amphis, Antiphanes, Diphilus, Ephippus, and Timocles who by the way ate IN ENGLISH LITERATURE 49 known only by vety scanty references, and he traces the Phaon legend to its Ovidian source. He mentions Welcket’s important essay published in 1816, “Sappho von einem herrschenden Voruttheil befteit,” this being a successful effort to clear away the obloquy for which willing credulity and a certain foul-mindedness among these comic writers had supplied the foundations upon which a later super- Structure of scandal rested. Higginson’s estimate of Sappho’s genius was one of enthusiastic appreciation, and he subjeés Mute to a number of hard knocks for his narrow-minded and unreasoning support of these comic writers. He offers versions in English of prattically all the fragments known up to the time when he wrote, the Hymn, as might be expected, being the most ambitious effort, and of this he says, ““ it is safe to say that there is not a lyrical poem in Greek literature nor in any other which has by its artistic struGture _ inspired more enthusiasm than this.” He devotes a page to the legend of the Leucadian rock and treats it, as far as Sappho is concerned, as of little account and insubstantial. He also discusses the question whether such a poem as the Hymn to Aphrodite is in any way autobiogtaphical. Thete ‘should not, however, be any difficulty in arriving at a con- clusion in this respeét. The poem may be autobiographical, but is probably not so in the ordinary sense. It represents pethaps the autobiography of a poetic mood, a mood evanes- cent and transitory which no mote represents autobiogtaphy 50 THE POEMS OF SAPPHO in the ordinary sense than do Hamlet’s introspective musings ot the malign meditations of Iago. In 1885 H. TI. Wharton published his “ Sappho,” a choice example of bookmaking, a careful general bibliography of the subject in all languages, and an appreciation of the poetess and her writings which at once strongly appealed to the book-lover, the classical scholar, and the ordinary reader of good books. This edition, a small oftavo, is unexceptionable in appearance and construction, and the Greek type used for the original text is dignified and agreeable to read. The frontispiece, however, is distin@ly the produ& of mid- Victorian ideas in conception and execution, and while it has a little interest as an ornament it has no value from the histori- cal point of view. There is a bust of the Graeco-Roman period in the Galleria Geographica in the Vatican which appeals much more strongly to the imagination and is the most pleasing of all the reputed likenesses of the poetess. A photographic reprodudtion of this bust is used as a frontis- piece in “ Sappho and the Island of Lesbos ” by Mary M. Patrick (1912). Wharton’s book contains the first appearance of J. A. Symonds’ rendering of the Hymn which shares with Arnold’s the merit of being perhaps the best reprodudtion in out language of the cadence and rhythm of the original. It contains twenty-eight lines as in the original, and the Sapphic mette is successfully reproduced. This edition is a vety complete compilation of text and translations, combined IN ENGLISH LITERATURE 51 with biography and criticism. It was reprinted in 1887, 1895, and 1898, each time with some additions. Before the appearance of Wharton’s book, Swinburne had put on record what he thought about Sappho. In “ Notes on Poems and Reviews,” referring to his “ Anaétoria ” he says, “ the key- note which I have here touched was struck long since by Sappho,” and he expresses regret at his feeling of inability to tender into English what he describes as “ the supreme success, the final achievement of poetic art.’ We could wish that he had not been so sensitive to the difficulties of turning into English the melodious cadences and the passion- ate rhythm of the Hymn to Aphrodite and the Ode, when he was composing his vibrant panegyric of the immortal poetess so that we might now have, in addition to a few fine transla- tions, one from the pen of him in whom shone mote brilli- — antly than in almost any other modern the incandescence of Greek poetic genius. It cannot be doubted that that effort would have been crowned with a great measure of success, though in one or two teferences to Sappho, Swinburne is inclined to extravagance, and Arnold’s criticism of him, already mentioned, is justified. In March 1894 the “ Atlantic Monthly ” was again the vehicle for an interesting and able article of seven pages, entitled “‘ The Sapphic Secret,” written by Maurice Thomp- son. ‘This writer incidentally translates many of the shorter fragments usually literally, but does not attempt the two 52 THE POEMS OF SAPPHO long lyrics. He emphasizes “ the amazing power of Greek words as words,” and says that this is shown “ in such a way that phrases like ripe fruit clusters seem bursting with a rich juice of passionate meaning.” He notes also the marvellous “ verbal economy ” of Sappho, and the comprehensiveness and power of such a word as imepdpwnoc, Critical apptecia- tion, not translation, is the purpose of this article. In 1903 J. R. Tutin published at Cottingham, near Hull, a small pamphlet in grey wrappers, which contained various selected translations of most of the Sapphic fragments, but without commentaty and without Greek text. There is a short prefatory note explaining the reasons for the issue of the compilation. A comprehensive discourse on the subject of Sappho was a lecture by Professor Tucker, of Melbourne, delivered in 1913 before the Classical Association of Victoria, and pub- lished in 1914. Itis an appreciative and discriminating thesis, and among its other good points it gives short shrift to the Leucadian rock story and to the scandals of the Greek comic writers and their Roman plagiarists in this conneétion. Not much attention is given to English translations, except in using them to illustrate comparative poetical construGtion and form. Some writers, especially the earlier ones, empha- size the disadvantages of English as a language into which to translate Greek poetry, the inference being that English as a IN ENGLISH LITERATURE 53 Janguage is unsuitable. It is not really that English is an unsuitable or inferior language for the expression of poetic conceptions, but that it is different, and that the transfer of perfection in one language into perfeétion in another is not within the bounds of possibility. Approximation is all that even genius can hope for in the attempt. Ai&X Sues uy yer’, MMe Swayze ALS wy DIAG Gres QiAnoy, Kom xedbns. EASe 01 ve vw arena JB Adoor Ex secesupdu' Coser de mol TeACOTCY Qupss ido, reAcoov,ov oY’ aura Luupeayog Caso. Tig aims yoy Gok. Addins Ay & oerqe, Kaj wAdades, cory St Nudes, arc; epyalcipa, Eye) paves nx Kv. CHAPTER III TEXT AND TRANSLATIONS I TToikiAd@pon’ AbANAT “Acppdaita, trai Aioc, AOADTIAOKE, Aiccomal ce MH M ACAICl MHT ONIAICI AAMNA, TIOTNIA, OYMON. BANA TYIN EAS, AITIOTA KATEPWTA T&c €mac aYAwe aioica THAYI ekAyec TIATpOC AE AGMON AITTOICA , > XPYCION HAGEC &pM yrrozeyzaica, KAAOI Aé CATON @KeEc CTPOYOO! Trepi F&C MEAAINAC TIYKNd AINEYNTEC TITép ATT GpaNa@ alBe- -poc Ald MECCa. aiya dX €ZIKONTO, cy X, @ MAKAIPA, MEIAIACAIC ABANATW TIPOCUITOD, Hpé OTT! AHYTE TETTONOA KOTTI AHYTE KAAHMI, K@TTI MOL MAAICTA BEA TENECBAl MAINGAA BYMG, TINA AHYTE TrElb@ MAIC ACHN €C CAN CIAGTATA TIC T, @ Yang, AdiKHel; 58 TEXT AND TRANSLATIONS 59 kal rap al deyrel, Tayéwe Ardzel, ai Aé A@pa MH A€keT AAA Awdcel, ai Aé MH gidel Tayéwc oiAticel KWYK EBEAOICA. EAGE MO! KAI NYN, YAAETTAN Ae AYCON €K MEPIMNAN, OCCA Aé MOI TEAECCAl @YMoc imMeppel TéEAECON, CY X ayTa CYMMAYOC €CCO. Immortal Aphrodite of the shimmering throne, daughter of Zeus, weaver of wiles, I pray thee crush not my spirit with anguish and distress, O Queen. But come hither if ever before thou didst hear my voice afar, and hearken, and leav- ing the golden house of thy father, camest with chariot yoked, and swift birds drew thee, their swift pinions flutter- ing over the dark earth, from heaven through mid-space, Quickly they arrived; and thou blessed one with immortal countenance smiling didst ask: What now is befallen me and why now I call and what I in my heart’s madness, most desire. What fair one now wouldst thou draw to love thee? Who wrongs thee Sappho? For even if she flies she shall soon follow and if she rejects gifts, shall soon offer them and if she loves not shall soon love, however telu@tant. Come I pray thee now and release me from cruel cares, and let my heart accomplish all that it desires, and be thou my ally. 60 THE POEMS OF SAPPHO I Shimmering-throned immortal Aphrodite, Daughter of Zeus, Enchantress, I implore thee, Spare me, O Queen, this agony and anguish, Crush not my spirit. II Whenever before thou hast hearkened to me— To my voice calling to thee in the distance, And heeding, thou hast come, leaving thy father’s Golden dominions, III With chariot yoked to thy fleet-winged coursers, Fluttering swift pinions over earth’s darkness, And bringing thee through the infinite, gliding Downwartds from heaven, IV Then, soon they arrived and thou, blessed goddess, With divine countenance smiling, didst ask me What new woe had befallen me now and why, Thus I had called thee. =. What in my mad heart was my greatest desire, — Who was it now that must feel my allurements, Who was the fair one that must be persuaded, Who wronged thee Sappho? TEXT AND TRANSLATIONS 61 VI For if now she flees, quickly she shall follow And if she spurns gifts, soon shall she offer them, Yea, if she knows not love, soon shall she feel it Even reluctant. VII Come then, I pray, grant me surcease from sortow, Drive away care, I beseech thee, O goddess Fulfil for me what I yearn to accomplish, Be thou my ally. A number of other versions in English are of interest for historical or poetical reasons. The first translation of the poem, that by Ambrose Philips in 1711, has chiefly historical and bibliographical importance. A HYMN TO VENUS I 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 cates and pains of love. 62 THE POEMS OF SAPPHO II If ever thou hast kindly heard A song in soft distress preferred, Propitious to my tuneful vow, O gentle goddess hear me now. Descend thou bright immortal guest In all thy radiant charms confessed. III 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 I saw their quivering pinions play. IV The bitds 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. &. TEXT AND TRANSLATIONS 63 V , What frenzy in my bosom raged, And by what cute 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. VI 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. VII 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. E 64. THE POEMS OF SAPPHO Among the translations of the nineteenth century that of John Addington Symonds is one of the best. I Glittering-throned undying Aphrodite, Wile-weaving daughter of high Zeus, I pray thee Tame not my soul with heavy woe, dread mistress, Nay, nor with anguish, II But hither come, if ever erst of old time Thou didst incline, and listenedst to my crying, And from thy father’s palace down descending Camest with golden Il Chariot yoked: thee fair swift flying sparrows Over datk earth with multitudinous fluttering, Pinion on pinion through middle ether Down from heaven hurried. IV Quickly they came like light, and thou, blest lady, Smiling with clear undying eyes, didst ask me What was the woe that troubled me, and wherefore I had cried to thee; TEXT AND TRANSLATIONS 65 < What thing I longed fot to appease my frantic Soul: and whom now mutt I persuade, thou askedst, Whom mutt entangle to thy love, and who now, Sappho, hath wronged thee. VI Yea, for if now he shun, he soon shall chase thee; Yea, if he take not gifts, he soon shall give them; Yea, if he love not soon shall he begin to Love thee, unwilling. VII Come to me now too, and from tyrannous sottow Free me, and all things that my soul desires to Have done, do for me Queen, and let thyself too Be my gteat ally. Another good translation is that of Edwin Arnold, 1869, but it does not follow the original closely enough to be very satisfactory. I Splendour-throned Queen, immortal Aphrodite, Daughter of Jove, Enchantress, I implore thee Vex not my soul with agonies and anguish, Slay me not, Goddess! 66 THE POEMS OF SAPPHO I 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, Il Yoking thy chariot. Swiftly did the doves fly, Swiftly they brought thee, waving plumes of wonder, Waving their dark plumes all across the ether, All down the azure. IV Very soon they lighted. Then didst thou, Divine one, Laugh a bright laugh from lips and eyes immortal, Ask me what ailed me—wherefore out of heaven Thus I had called thee. Vv What was it 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. VI Be it who that 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. TEXT AND TRANSLATIONS 65 VII 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. The translation of T. W. Higginson, 1871, is also good, but again it diverges unnecessarily from the original. I Beautiful-throned, immortal Aphrodite, Daughter of Zeus, beguiler, I implore thee Weigh me not down with weariness and anguish, O thou most holy! I Come to me now if ever thou in kindness Hearkenest my words—and often hast thou hearkened Heeding, and coming from the mansions golden Of thy great Father, III 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; THE POEMS OF SAPPHO IV 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; Vv Asking what I sought, thus hopeless in desiring, Wildeted in brain and spreading nets of passion: Alas, fot whom? and saidst thou, Who has harmedthee? O my poor Sappho! VI 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. VII 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! There have been some other versions of the poem in English, but none particularly noteworthy. The Greek text of this great poem was preserved by Dionysius of Halicar- nassus, who was living in Rome about a.p. 25. His praise of it was unstinted, TEXT AND TRANSLATIONS 65 2 ainetal Mol KANOC coc éoIcIN EMMEN GNHP OCTIC ENANTIOC TOI IZANEl KAI TAACION AAY Cooney- -CAC YTIAKOYE! Kal PeAAICAC IMMEPGEN, TO AH "MAN KAPAIAN €N CTHOECIN éTTTOACEN, @c rap eYIAON Bpoyéwc ce, mdanac OYAEN €T eIkeEl, dAAA KAM MEN FAQdCCA FATE, ASTITON X aYTIKA Yp@ Yp YradeAdpdmaken, OmmaAtecci X OYAEN OPHM, éTTIppdm- -Beicl A akoyal. & AE M IAPC KAKY ETAL, TPOMOC Aé TAicaN Arpel, YA@POTEPA AE TIOIAC Emmi, TEONAKHN A OAIP@ *TIACYFHN dainomal [dAAa]. TIAN TOAMATON [.....- | That one seems to me the equal of the gods, who sits in thy ptesence and hears near him thy sweet voice and lovely laughter; that indeed makes my heart beat fast in my bosom. For when I see thee even a little I am bereft of utterance, my Jo THE POEMS OF SAPPHO tongue is useless and at once a subtle fire races under my skin, my eyes see nothing, my ears ring, sweat pours forth and all my body is seized with trembling. I am paler than [dried] grass and seem in my madness little better than dead. But I must date all. ... I Peer of the gods, the happiest man I seem Sitting before thee, rapt at thy sight, hearing Thy soft laughter and thy voice most gentle, Speaking so sweetly. II Then in my bosom my heart wildly flutters, And, when on thee I gaze never so little, Bereft am I of all power of utterance, My tongue is useless. III There rushes at once through my flesh tingling fire, My eyes are deprived of all power of vision, My ears hear nothing but sounds of winds roaring, | And all is blackness, TEXT AND TRANSLATIONS 71 IV Down coutses in streams the sweat of emotion, A dread trembling o’erwhelms me, paler am I Than dried grass in autumn, and in my madness Dead I seem almost. Another translation is that of John Herman Merivale, 1833. Blest as the immortal gods is he, The youth whose eyes may look on thee, Whose eats 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. 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. 72 THE POEMS OF SAPPHO A later and a better translation is that by J. A. Symonds in 1883. =I Peet 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, II 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; II 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; IV Sweat runs down in tivers, 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. TEXT AND TRANSLATIONS 73 This apparently nearly complete poem is preserved by Longinus, writing about A.D. 250. He calls it “not one passion, but a congtess of passions.” It was also mentioned by Plutarch about a.D. 60, who referred to it as “ mixed with fire ”—a remarkably felicitous phrase. The ode written by Catullus in imitation and called “ Ad Lesbiam ” is as follows: Ile mi par esse deo videtur, Ille, si fas est, superate divos, Qui sedens adversus identidem te Spectat et audit Dulce tidentem miseto quod omnis Eripit sensus mihi; nam simul te, Lesbia aspexi, nihil est super mi * ae. Ba daae Lingua sed torpet, tenuis sub artus Flamma demanat, sonitu suopte Tintinant aures, gemina teguntur Lumina noéte. This was actually the first of any of Sappho’s poems to be translated into English. John Hall of Durham in 1652, in his translation of Longinus, gives his version which has already been quoted in the description of the book in Chapter I. 74 THE POEMS OF SAPPHO 3 sf O]i men inmHan ctpdTON oj} A€ TrECAGN Ol AE NAN chaic él F&N MEAAINAN , m»” ‘ nw > mw €|MMENAI KAAAICTON’ €f@) A€ KAN OT- -T TIC EpaTal. II TA]ryy A €YMapec CYNETON TIOHCAl Td|NtI tTLoy]T. & rap TAY TrepcKdrrEIca KAJAAOC ANOP@TION *EAENa [TO]N ANAPA [KPINNEN 4p ICTON, III dc td TAN] céBac Tpoiafc 6]Aecc[e, K@YAE TIAjiAoc oYAE [HiIA]JoN Tol K]HON MAAAON] EMNACOH, A[AAA] Trapdrar AYTAN TIAA ide can, IV °*Qpoc. eyk]Jammton rap [del TO OAAY] al Ké] Tic KoYpwe [dO TApON N]oHcH. oy ]Aé NY, Anaktopi[a, T]Y mémnat AH] Trapeloicac, Vv T&]c Ke BOAAOIMAN EpaToN Te Bama KJamapyrma AAMTTPON IAHN TrpOCcaDTT@ \ , >» > ” H TA Ayn apmaTa KAN OTTAOICI TIECAOM JAYENTAC TEXT AND TRANSLATIONS 75 VI €) MEN IA|MEN OY AYNATON réNecOal A@cT] ON ANOparoic, TeA€yHN J” Apacéal, [THN TréAeIYdN EcTI BpdToIc! A@ON] [H AeAd@ecOal. | With the emendations by Mr. J. M. Edmonds, the teptinting of which he has been kind enough to permit, a nearly literal rendering would be as follows: Some say that the fairest thing upon the dark earth is a host of horsemen, and some say a host of foot soldiers, and others again a fleet of ships, but for me it is my beloved. And it is easy to make anyone understand this. When Helen saw the most beautiful of mortals, she chose for best that one, the destroyer of all the honour of Troy and thought not much of child or dear parent, but was led astray by Love, to bestow her heart far off, for woman is ever easy to lead astray when she thinks of no account what is near and dear. Even so, Anactoria, you do not remember, it seems, when she is with you, one the gentle sound of whose footfall I would rather hear and the brightness of whose shining face I would rather see than all the chariots and mail-clad foot- men of Lydia. I know that in this world man cannot have the best; yet to pray for a part of what was once shared is better than to forget it.... 76 THE POEMS OF SAPPHO I A troop of horse, the serried ranks of marchers, A noble fleet, some think these of all on earth Most beautiful. For me naught else regarding Is my beloved. I To understand this is for all most simple, For thus gazing much on mortal perfection And knowing already what life could give her, Him chose fair Helen, III Him the betrayer of Ilium’s honour. Then recked she not of adored child or parent, But yielded to love, and forced by her passion, Dared Fate in exile. IV Thus quickly is bent the will of that woman To whom things neat and dear seem to be nothing. So mightest thou fail, My Anactoria, If she were with you. TEXT AND TRANSLATIONS 77 V , She whose gentle footfall and radiant face Hold the power to charm more than a vision Of chariots and the mail-clad battalions of Lydia’s army. VI So must we learn in a world made as this one Man can never attain his greatest desire, [But must pray for what good fortune Fate holdeth, Never unmindful.] In the volume of the Egypt Exploration Society, “ Oxy- rhynchus Papyrus,” Part X, 1914, is printed this important fragment of a poem by Sappho. There are nearly six stanzas, and the editors, as well as Mr. Edmonds, have es- sayed the interesting and difficult task of emendation. In the “ Classical Review,” May 1914, Mr. Edmonds published his version as here given, and his result is somewhat different from that of the editors of the Exploration Society’s volume. However, both sets of conjectures are plausible, and some ate almost obviously right. Mr. Edmonds has attempted the fuller restoration. The fraement with his conjectural restorations in brackets is as it is here printed. There is a very great deal of restoration in the last few lines, and in the “ Classical Review,” June 1914, 78 THE POEMS OF SAPPHO pp. 126-127, Mr. A. S. Hunt takes exception to some of Mr. Edmonds’ emendations, giving the reasons for his objections. Without necessarily accepting in full the emendations of either, it may be admitted that the effort to make them is most interesting and scholarly, and that it makes a reasonable basis for suggesting the purport of the poem. In September 1914, again in the “ Classical Review,” Mr. T. L. Agar offers suggestions which differ in many ways from those of the other two commentators. 4 Actepec MEN AMcpI KAAAN CEAANNAN Aly ATTYKPYTITOIC! PAENNON E/AOC, OMITOTA TIAHBOICA MAAICTA AAMTTHC dprypia r&n. The stars about the fair moon lose their bright beauty when she, almost full, illumines all earth with silver. The gleaming stars all about the shining moon Hide their bright faces, when full-orbed and splendid In the sky she floats, flooding the shadowed earth with clear silver light. Quoted by Eustathius of Thessalonica in the twelfth century. TEXT AND TRANSLATIONS 79 5 ami XY YAwp YYXPON GNeMOc KEAdAE! AP YCADN _ MAAIN@N, AIBYCCOMENGN AE PYAAWN KG@MA_ KATAPPEl. And by the cool stream the breeze murmurs through apple branches and slumber pouts down from quivering leaves. By the cool water the breeze murmurs, rustling Through apple branches, while from quivering leaves Streams down deep slumber. The sound of the words, the repetition of long vowels, particularly , the poetic imagery of the whole and the drowsy cadence of the last two words give this fragment a combination of qualities probably not surpassed in any language. Kama is something more than ordinary sleep; it is deeper with a quality of oblivion in it, and so differs from Ymwoc, the mote ofdinary term. Poe in the “Haunted Palace” ap- proaches this, when he writes: Banners—yellow, glorious, golden, On its roof did float and flow. (This, all this was in the olden Time long ago.) F 80 THE POEMS OF SAPPHO But here there is just a suggestion of effort which is absent from the work of Sappho. This beautiful fragment is quoted by Hermogenes about A.D. 170. Demetrius, about A.D. 150, says that it is part of Sappho’s description of the garden of the nymphs. 6 —-v—-v—v w~ “Edbe, Kympl, XPYCIAICIN EN KYAIKECCIN ABpaic CYMMEMIPMENON OAAIAICI NEKTAP OINOYGEICA. Come, goddess of Cyprus, and in golden cups serve nectar delicately mixed with delights. Come hither foam-born Cyprian goddess, come, And in golden goblets pour richest nectar All mixed in most ethereal perfection, Thus to delight us. Quoted by Athenaeus, who wrote in the first half of the third century a.p. The fragment is apparently part of an invocation to Aphrodite. TEXT AND TRANSLATIONS 81 5 "H_ ce Kytpoc kai Txdoc 4 TAnopmoc If thee, Cyprus or Paphos or Panormos [holds]. This from Strabo, early first century a.p. Panormos was a frequent name, and does not refer to Palermo, which was not founded in Sappho’s time. 8 Zoi X éfw AeYKac Ett! BAMON Alroc Se SS eS an ee KATIAEIY® TO YY - YU —¥ But for thee I will [bring] to the altar [the young] of a white goat .. . and add a libation for thee. Cited by Apol- lonius of Alexandria about a.p. 140. The reading is un- certain. 9 Ai’ €ra ypycoctépan “Adpoaita, TONAE TON TIAAON AAXOHN. May I win this prize, O golden-crowned Aphrodite. From Apollonius. Sappho invented many beautiful epithets to apply to Aphrodite, and this fragment contains one of them. 82 THE POEMS OF SAPPHO IO Ai’ me TIMIAN éTTOHCAN Epra TA cad Aoical; Who made me gifts and honoured me? From Apollonius, illustrating Aeolic diale& in the word ca II —~v—v— Tare nin étaipaic TAIC EMAICI TEPTINA KAA@C AEICO This will I now sing skilfully to please my friends. Athenaeus quotes this to show that there is not necessarily any reproach in the word étaipa, Like many others, this fragment is unfortunately too short for anything but a literal translation. The breathing of the word in question in Attic Greek would of course be rough. I2 >», ‘ -v-vn—y v “Ortinac rap 2 ‘ n ’ ' €Y 8€W KANO] ME MAAICTA CINNON- “Tah Vvo-v For thee to whom I do good, thou harmest me the most. From the “ Etymologicum Magnum,” tenth century A.D. TEXT AND TRANSLATIONS 83 13 —-v-v—v"Ero Aé KHAN OT- -TW TIC EpaTal. But that which one desires I. Quoted by Apollonius and in 1914 found to be part of the poem in the “ Oxyrhynchus Papyrus,” No. 1231. 14 nr ey ry ' > Tac KAAAIC YMMIN [TO] NOHMA T@MON Oi AIAMEITITON. To you, fair maidens, my mind does not change. From Apollonius to illustrate the Aeolic form Yamin, ES —-vVvro-Ve v *Eroon x EMAYTA TOYTO CYNOIAA. And this I feel myself. Quoted by Apollonius to illustrate Aeolic method of accentuation, 84 THE POEMS OF SAPPHO 16 taici [Aé] yYypoc MEeN Erento OYmoc, m4p & teicl TA TITEpPA-— Y — ¥ But the spirit within them turned chill and down dropped their wings. The Scholiast quotes this to show that Sappho says the same thing of doves as Pindar (Pyth. 1-10) says of the eagle of Zeus. Another reading is yafkpoc, “light,” for yfypoc, “ moist ot chill.” The sense would then be, “ the spirit within them became light and they relaxed their wings in rest.” 17 —v—-—v—v Kat EMON CTAAATMON, TON A €TTITTAAZONTEC AMO! CEPOIEN Kal MEAEADNAIC. From my distress: let buffeting winds bear it and all care away. From the “ Etymologicum Magnum ” to show the Aeolic use of z in place of cc, Bergk conjectures duo for dnemol, “winds.” The fragment is tantalizingly incomplete} as so many others are, and the reading of one or two words in it is not certain. TEXT AND TRANSLATIONS 85 E 18 Aptiac Mm 4 ypycoméaiAdoc *Ayac. The just now the golden-sandalled Dawn [has called]. There could hardly be a more beautiful epithet than “ golden-sandalled ” to apply to the Dawn. It is fully equal in this respect to “ rosy-fingered,” and in Greek both words ate beautiful in sound. This is quoted by Ammonius of Alexandria about A.D. 400. to show Sappho’s use of *Aptiaec. 19 —-v—v—v vy [Modadac dé TOIKIAOG ~MACAHC ékdAyTITe, AyAl- -ON KAAON EPfON. A broidered strap of beautiful Lydian work covered her feet. Her shining ankles clad in fairest fashion In broidered leather from the realm of Lydia, So came the Goddess. This fragment is vety likely from an invocation to 86 THE POEMS OF SAPPHO Aphrodite. It is from the Scholiast on Aristophanes’ “Peace,” 1174; Pollux about A.D. 180 also mentions it. 20 - uv - & Tlantodatraic MEMIPME- -NA XPOIAICIN. Shot with innumerable hues. Quoted by the Scholiast on Apollonius of Rhodes, 1, 727. Sappho’s reference may be to the rainbow. 21 "EmeOen A €yelcOa AABAN. Thou forgettest me. 22 St TIN AAAON [M&AAON] ANOPDTTWN EMEBEN HIAHCOA. Or lovest another more than you do me. Both from Apollonius to show the Aeolic émesen for émof. ‘\ TEXT AND TRANSLATIONS 87 _ 23 Oy ti mor ymmec. You ate nought to me. Ac @e\eT YMMEC. While you will. These are quoted by Apollonius to show the Acolic form YMMEC. 24 Kal TTOPH@) Kal MAOMAI. I yearn and I seek. From the “ Etymologicum Magnum ” to show the Aeolic form moéHie for m0eéw, “ T yearn.” 25 ZKIANAMENAC EN CTHOECIN Oprac MAPYAAKAN TA@CCAN TIEPYAAYOAl. When anger spreads through the breast keep thy tongue from barking foolishly (or idly). When anger surges through thy heart Let not thy foolish tongue take part. This piece of somewhat sententious advice is of an unusual 88 THE POEMS OF SAPPHO typeamongst the Sapphic fragments. It is quoted by Plutarch in his essay, “‘ On Restraining Anger.” 26 Ai & Hyec EcA@N IMEPON H KAAQDN, KAl MH TI Fe€ITTEN FA@CC e@KYKA KAKON, alkwc KE C OY KIYANEN OTTTIAT BAN €derec TEP! TH AlKAiadc. Hadst thou wished for things good or noble and had not thy tongue formed evil speech, shame would not have shown from thine eyes, but thou hadst spoken frankly about it. Aristotle (“ Rhetoric,” i, 9), about 330 B.c., says “ base things dishonour those who do or wish them, as Sappho showed when Alcaeus said: idTAOK ArNA MEAAIYOMEIAE LATICO! O€AW Tl FEITIEN AAAA ME KAYE! AIAGC. “* Violet-weaving, chaste sweetly smiling Sappho, I would speak but bashfulness restrains me.’ ” And she answered him in the words of the present fragment. Blass thinks that these two lines assigned to Alcaeus are also by Sappho, and about A.p. 1110 Anna Comnena certainly suggested the same authorship. TEXT AND TRANSLATIONS 89 27 ZTAO1 KANTA iAOc,..... KAl TAN €IT OCCOIC AMTIETACON YAPIN. Face me, my dear one... and unveil the grace in thine eyes. Turn to me, dear one, turn thy face, And unveil for me in thine eyes, their grace. Athenaeus says that Sappho addressed the poem, of which this is a fragment, to a man famous for his physical beauty. It has also been suggested that the lines may have been addressed to Sappho’s brother. It need not, however, necessarily be assumed that any particular person is meant. 28 Xpyceoi XY epéBINOol ETF AIONWN EdyoNTo. And golden pulse grew along the shores. From Athenaeus. 29 Adtoy Kai NidBa M&AA MEN IAAI HAN ETAIPAL. e Lato and Niobe were most dear friends. From Athenaeus, go THE POEMS OF SAPPHO 30 Mnacecdal TINK cami Kal YCTEPON AMMEQDN. I think men will remember us even hereafter. From Dio Chrysostom, who, writing about A.D. 100, remarks that this is said “‘ with perfect beauty.” 31 "Hpdman MeN Ero ceen, “ATOI, TIAAAI TIOTA. I loved thee Atthis, once long ago. From Hephaestion, about A.D. 150, quoted as an example of metre. 32 Zmikpa MO! TIAIC EMMEN Edaineo KAyapic. To me thou didst seem a small and ungraceful child. Quoted by Plutarch and others. 33 "AANX ONMH METaAYNNEO AAKTYAI@ TrEpI. Foolish woman! Have no pride about a ring. Mentioned by Herodian about A.D, 160. TEXT AND TRANSLATIONS 91 34 > = »” , ’ Oyk oiX Ottl G€a, AYO MOL TA NOHMatTa. I know not what to do: I have two minds. In doubt I am, I have two minds, I know not what to do. Quoted about 220 B.c. by Chrysippus, the Stoic philo- sopher. 35 YayHN & OY AOKIMOIM OpadNod AYCI TIAXECIN. With my two arms, I do not aspire to touch the sky. Quoted by Herodian. 36 "Qe Aé Traic TéAA MATEpA TIETITEPYTOMaAl. So, like a child after its mother, I flutter. From the “ Etymologicum Magnum.” 92 THE POEMS OF SAPPHO DY: *Hpoc arreAoc imepdcpa@noc AHAON. The messenger of Spring, the sweet-voiced nightingale. Quoted by the Scholiast on the Electra of Sophocles, 149, “ the nightingale is the messenger of Zeus, because it is the sign of Spring.” Compare Ben Jonson’s “'The Sad Shepherd,” A& I], Scene vi: “ The dear good angel of the Spring, the night- ingale.” 38 “Epoc Aayté M 6 AYCIMEAHC AONEl, FAYKYTIKPON AMAYANON OPTTETON. Now Love, the ineluctable, dominates and shakes my being, and fills me with bitter-sweetness. Now Love, the inelu€table, with bitter sweetness Fills me, overwhelms me, and shakes my being. Quoted by Hephaestion. TEXT AND TRANSLATIONS 93 39 "AT@I col A émeOéN MeN ATTHyBeTO ponticaHn, ém A’ "ANApOMEAAN TIOTH. But to thee, Atthis, the thought of me is hateful; thou fliest to Andromeda. Quoted by Hephaestion with the preceding, to which it does not appear really to belong. 40 “Epoc AayT ETINAZEN EMO! CpENac, ANEMOC KAT OPOC APYCIN EMTTECON. Now Eros shakes my soul, a wind on the mountain over- whelming the oaks. Now like a mountain wind the oaks o’erwhelming, Eros shakes my soul. Quoted by Maximus Tytius about 150 B.c. He speaks of Socrates exciting Phaedrus to madness, when he speaks of love. 94 THE POEMS OF SAPPHO 41 "Ota TANNYYOC Aci KATArPel. When all night long [sleep] holds them. Bergk suggests that the words dnmat awpoc may have pteceded these words. The fragment is quoted by Apolloni- us, and its sense may be: “ when all night long sleep holds their eyes.” 42 “Are AH yéAy Aid MOI a@Ndecca FENOIO. Come, O divine shell, yield thy resonances to me. Come, O come, divinest shell, And in my ear all thy secrets tell. Quoted by Hermogenes and Eustathius. Sappho is apparently addressing her lyre. The legend is that Hermes is supposed to have made the first lyre by stretching the Strings across the cavity of a tortoise’s shell. Karradaic YTOBYMIAAC TIAEKTAIC AMTT” ATTAAA AEPA. And delicately woven garlands round tender neck. Quoted by Athenaeus. TEXT AND TRANSLATIONS 95 44 TEAA@C TrAIAodiAwTépa. Mote fond of children than Gello. Zenobius, about a.p. 130, quotes this as a proverb. The ghost of Gello was said by the Lesbians to pursue and catry off young children. 45 Mara Ad KeKopHmenac Fdprac. Vety weary of Gorgo. Quoted by Choeroboscus about A.D. 600 to show the Acolic genitive in-ec. Gorgo is mentioned by Maximus Tyrius with Andromeda as being friends of Sappho. 46 "Eray X él MAABAKAN TYAAN CTIOAEW MEAEA. But upon a soft cushion I dispose my limbs. From Herodian. This is a good example of the choice of words which combine meaning and sound poetically. G 96 THE POEMS OF SAPPHO 47 KA X AmBpociac MEN KPATHP EKEKPATO, ’"Epmdc & EEN GATIIN OEIC OINOXOHCAl. KAiNol A Apa TIANTEC KAPXHCIA T HYON KAAEIBON APACANTO AE TIAMTIAN ECAd Ta PdmMBpa). And thete the bowl of ambrosia was mixed and Hetmes took the ladle to pour out for the gods; and then all held goblets and made libation, and wished good fortune to the bridegroom. Athenaeus quotes this fragment in two portions in differ- ent places. Lachmann first joined the two parts. The poem was evidently one of the Epithalamia. 48 AédyKe MEN & CEAANNA Kal TIAHIadec, Mécal Ae NYKTeC TIAPA A EpyeT apa, €rw AE MONA KATEYAQ. The moon has set, and the Pleiades; it is midnight, the time is going by and I recline alone. The sinking moon has left the sky, The Pleiades have also gone. Midnight comes—and goes, the hours fly And solitary still, I lie. TEXT AND TRANSLATIONS 97 The Moon has 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. This singularly beautiful fragment is quoted by Hephaestion as an example of metre. With the “ Hymn to Aphrodite ” it was the first portion of the Poems of Sappho to be printed in 1554. TIAHpHc MEN EqcaineT’ A CeAANNA > > > \ ” > / ai X @c Trepi BAMON ECTAOHCAN. The moon rose full, and as around an altar, stood the women. Now tose the moon, full and argentine, While round stood the maidens, as at a shrine. Quoted by Hephaestion as an example of the metre known as the Ionic a majore trimeter brachycatalectic. Poetically the figure is a fine one, and shows Sappho’s wonderful power of visualizing a scene in a few unerringly chosen words. The moon and its light had a great attraction for her, as a number of fragments shows. 98 THE POEMS OF SAPPHO 5O Kpticcal NY TOT GX EmMeAEC TIOAECCIN GpyefnT Arddoic Amp Epdenta BAMON TIdac TEPEN ANOOC MAAAKON MATEICAI. Thus sometimes, the Cretan women, tender footed, dance in measure round the fair altar, crushing the fine bloom of the grass. From Hephaestion as an example of metre. Blass thinks that this and the preceding fragment belong together. The whole is another example of the delicate imagery of Sappho. qi *ABpa AHYTE TIAXHA CTIOAA AAAOMAN. Then lightly, in an enfolding garment I sprang. From Herodian as a specimen of metre. It may not be by Sappho. 52 Paici Ad Tota AHAAN YAKINOINN [ytr ANGEwN] TrETTYKAAMENON €YPHN GION. They say that Leda once found an egg under the hyacinths. From the “Etymologicum Magnum.” It is uncertain what flower the Greeks described by the word “ hyacinth ” In this case the itis may be meant. TEXT AND TRANSLATIONS 99 53 “Opoddrmoic AE MEéAalc NYKTOC Awpoc. And dark-eyed Sleep, child of Night. From the “ Etymologicum Magnum.” 54 Xpyco@an Gepdrainan “Adpoditac. The handmaiden of Aphrodite, shining like gold. In a manuscript of Philodemus about 60 B.c., found at Herculaneum, in which it is said that Sappho thus addresses Team, ‘There is some doubt about this as the manuscript is defective. ») “Eyer men “ANAPOMEAA KAAAN AMOIBAN, Andromeda has a fair reward. 56 Yaror Ti TAN MOAYOABON “Adpdaltan ; Sappho, why [celebrate or worship] most happy Aphrodite? Both of these ate quoted by Hephaestion. 100 THE POEMS OF SAPPHO sy Acfré nyN &Bpat Xdpitec, KAAAiKomol Te Moical. Come now gentle Graces, and fair-haired Muses. Quoted by Hephaestion, Attilius Fortunatianus, and Servius as an example of the choriambic tetrameter used by Sappho. 58 TTApOeNON AAYNON, A sweet-voiced maiden. Quoted by Attilius, about the fifth century A.D. Katendackel Ky@épH’, aBpoc “Adwnic, Ti Ke OeiMeN, KATTYMTECHE KOPAl KAI KATEPEIKECOE YITWNAC. Gentle Adonis is dying, O Cythera; what shall we do? Beat your breasts, O maidens, and rend your garments. Gentle Adonis wounded lies, dying, dying. What message, O Cythera, dost thou send? Beat, beat your white breasts, O ye weeping maidens, And in wild grief your mourning garments rend. TEXT AND TRANSLATIONS IOI Quoted by Hephaestion and presumed to be written by Sappho from a passage in Pausanias. The reverberating beat of the repetitions of the letter « is vety remarkable. 60 "Q TON "AAONIN. O for Adonis. Quoted by Marius Plotius about a.p. 600. It appears to be the refrain of an ode. 61 "EA@onT €Z GpAnad Tropdypian [eyonTa] TIEPOEMENON YAAMYN. Coming from heaven, clad in a purple mantle. Quoted by Pollux about A.D. 180 to illustrate Sappho’s use of the word yAamyc, which she is said to have been the first to use. 62 Bpodordyeec arnat Xapitec, Aeyte Aioc KOpal. Come rosy-armed Graces, virgin daughters of Zeus. The Idyll on a Distaff by Theoctitus, according to the atgument before it, was written in the metre of this fragment. Philostratus, about A.D. 220, tefers to this as indicating Sappho’s love for the rose. 102 THE POEMS OF SAPPHO 63 —~v—’O X& “Apeye cbaici Ken “AcaicTon ArHN Bia. But Ares said he would forcibly drag Hephaestus. From Priscian, fifth century A.D. 64 TToAAa X ANApIOMA TIOTHPIA KAAAIIC. Innumerable drinking cups thou drainest. From Athenaeus. 65 KaT@anoica A€ KEICEAl TIOTA, KWY MNAMOCYNA CEOEN écceT OYTE TOT OYT YCTEPON. OY FAP TrEAEyEIC BPOAN TON €k Mepiac, AAX AdNHc KHN "AiAa AdMOIC oiTAcelc TEA AMAYPWN NEKYON EKTTETTOTAMENA. But thou shalt ever lie dead nor shall there be any remem- brance of thee then or ever, for thou hast none of the roses of Pieria; but thou shalt wander unnoticed, even in the houses of Hades, flitting among the shadowy dead. TEXT AND TRANSLATIONS 103 Forever shalt thou lie dead, nor shall there be any temem- brance of thee now or heteafter, for never hast thou had any of the roses of Pietia; but thou shalt wander, eternally untegatded in the houses of Hades, flitting among the insubstantial shades. Quoted by Stobaeus about A.D. 500 as addtessed to a woman of no education. Plutarch also quotes the fragment, twice in fact, once as if written to a rich woman, and again when he says that the crown of toses was assigned to the Muses, for he remembers that Sappho had said these same words to some uneducated woman. 66 OY [aN AOKIMOIMI TIPOCIAOICAN d0C AAW €CCECOAI COMIAN TIAPOENON EIC OYAENA TIO) YPONON TOIAYTAN. I think that no maiden shall ever see the sunlight, who shall have thy wisdom. No maiden, I think, more wise than thou Shall ever see the sun. Quoted by Chrysippus, and may be part of the preceding poem. 104 THE POEMS OF SAPPHO 67 Tic X drpoidtic to1 B€Arel NOON, OYK €TICTAMENA TA BpAKe EAKHN ET TON CPYPON ; What rustic girl bewitches thee who knows not how to draw her dress about her ankles ? What rustic girl bewitches thee, Who cannot even draw Her garments neat as they should be, Her ankles roundabout? Athenaeus and others quote these lines. 68 "Hpan €ZeAidaz? €k Tyapan TAN TANYCIAPOMON. Heto of Gyata, that swift runner, I taught. Quoted by Choeroboscus to show an Acolic form of the accusative. TEXT AND TRANSLATIONS 105 69 "ANAK TIC OYK EMMI TIAAITKOTOON Opran, AAN ABAKHN TAN pen’ eyo. 1 am not of a malign nature but have a calm tempet. Quoted in the “ Etymologicum Magnum” to show the meaning of 484kuc, “ innocent,” “ unsophisticated.” 7O AyTap Opaial CTEPANHTTAGKEYN. Then sweet maidens wove garlands. Quoted by the Scholiast upon the “ Thermophoriazusae ” of Aristophanes to show that the weaving of floral garlands was a sign of being in love. 71 —— 2y Te K&moc Gepstrwn “Epoc. Thou and my servant, Eros. Quoted by Maximus Tyrius. THE POEMS OF SAPPHO 106 72 "AAN €@N idAoc AmmiIN [AAAO] Aéyoc APNYCO) NE@TEPON, oY rap TAAcOM éfw ZYNOIKHN Néw Pf €cca repaltépa. For if thou lovest us, choose another and a younger spouse; for I will not endure to live with thee, old woman with young man. From the Anthology of Stobaeus. 73 Eymopdotépa Mnacidika t&c amtddac Typinnesc. Mote shapely is Mnasidica, than gentle Gyrinno. Quoted by Hephaestion as an example of metre. 74 "Acapotepac oydam’ étt G PANNA CEéBEN TYYOICA. One more scornful than thee, O Eranna, I have never found. Quoted by Hephaestion. The reading is doubtful. TEXT AND TRANSLATIONS 107 75 Zy dé cteddnoic, a Aika, mepeéc@ epdtaic dBaicin, OPTIAKAC ANHTOIO CYN ‘ppalc AtTdAalcl YéPcIN, €YANOECIN EK YAp TIEAETAI Kal YAPITOC MaKAIPAN MAAAON TIPOTEPHN, ACTEMANDTOIC! X ATTYCTPEONTAl. Do thou, O Dica, set garlands upon thy lovely hair, weaving sprigs of dill with thy delicate hands; for those who wear fair blossoms may surely stand first, even in the presence of Goddesses who look without favour upon those who come ungarlanded. Athenaeus quotes this fragment, saying that according to Sappho those who approach the gods should wear garlands, as beautiful things are acceptable to them. 76 “Era Aé iIAHM ABpOCYNAN, Kal MOI TO AdMTIPON époc deAl@ Kal TO KAAON AEAOTYEN. I love refinement and for me Love has the splendour and beauty of the sun. From Athenaeus. del. Kam MEN TE TYAAN KACTIOAEOD. And down I set the cushion. From Herodian. 108 THE POEMS OF SAPPHO °O mAoYToc ANey ce¥ Ff Apéeta "ct OYK ACINHC TAPOIKOC, [H A éZ dmdotépwn KpAcic eYAAIMONiAc Exel TO AKpON. | Wealth without thee, Worthiness is no safe neighbour, [but the mixture of both is the height of happiness]. From the Scholiast on Pindar. The second line is appar- ently a gloss of the commentator. 79 Ayta Aé cy KadAiorta. And thou thyself, Calliope. Quoted by Hephaestion when discussing a metre of Archilochus. 80 Aayoic amdAac ETApAc EN CTHOECIN. Sleep thou, in the bosom of thy sweetheart. From the “‘ Etymologicum Magnum.” ‘This fragment probably belongs among the Epithalamia. TEXT AND TRANSLATIONS 109 8I Aefpo Anyte Moicat ypycion Airrotcal. Hither now, ye Muses, leaving golden [sutroundings]. Quoted by Hephaestion. 82 “Ecti Mol KAAA TIAIC ypyCIoIcIN ANOEMOICIN EMepHN ExoIcCA MOpdan, KAAic drattata, ANTI T&c Erw oydé AyAlan TraicaN OYA EPANNAaN. I have a fair daughter with a form like golden flowers, Cleis the belovedest whom I cherish more than all Lydia or lovely [Lesbos]. A fair daughter have I, Cleis by name, Like a golden flower she seems to me. Far more than all Lydia, her do I love, Or Lesbos shimmering in the sea. Quoted and commented upon by Hephaestion. 83 TIdAAa Mol TAN Tl@AYANAKTIAA TIATAA YAIPHN. From me all joy to thee, O daughter of Polyanax. From Maximus Tyrius. 110 THE POEMS OF SAPPHO 84 ZA 8 €\eZAMan ONap Kymporenta. » In my dream, I spoke to the Cyprian goddess. From Hephaestion. 85 Ti me Tlanaionic @ “PANNA YeEAIAODN ; Why lovely swallow, Paudion’s child dost thou [weary] me? From Hephaestion. Another reading suggests @pana, 86 "Amoi & ABpoic Aacioic eY FE TYKACCEN. She wrapped herself well in gossamer garments. Pollux says that the line refers to finely woven linen. 87 TAyKela MA&Tep, OY TO! AYNAMAI KPéKHN TON ICTON, TO0q AdMEICA TIAIAOC BPAdINAN Ai “AdpdaiTan. My sweet mother, broken by soft Aphrodite’s spell, longing for a youth, I can no more weave the cloth. TEXT AND TRANSLATIONS III My sweet mother! Fair Aphrodite’s spell Has from me sense and treason all bereft, And, yearning for that dear beloved youth, No longer can I see the warp or weft. Quoted by Hephaestion as an example of mettre. 88 “lyor AH TO MEAaOpON, ”*YMHNAON AEPPETE TEKTONTEC ANAPEC, ”YMHNAON ramBpoc épyetai icoc “Apeyi, [YmHNoon | ANAPOC MELAA@ TIOAY MEIZOON [YMHNAON. | Raise high the roof beams, Workmen! Hymenaeus! Like Ares comes the bridegroom! Hymenaeus! Taller far than all tall men! Hymenaeus! Quoted by Hephaestion as an example of mes-hymnic poem. H 1T2 THE POEMS OF SAPPHO 89 Tléppoyoc ac Gr doidoc 6 A€écBioc AAAOAATIOICIN. Towering like the singer of Lesbos among men of other lands. Quoted by Demetrius about A.D. 150. It is possible that Terpander is meant, but the line may be merely a reference to Lesbian poets in general. go Ofon TO FAYKYMAAON EpeyOeTal Akpw em Ycdw AKPON ETT AKPOTATW, AEAABONTO AE MAAOAPOTTHEC, OY MAN €KAEAAOONT, AAA OYK EAYNANT. ETTIKECOAI. As the sweet apple blushes on the end of the bough, the vety end of the bough which the gatherers missed, nay missed not, but could not reach. At the end of the bough—its uttermost end, Missed by the harvesters, ripens the apple, Nay, not overlooked, but far out of their reach, So with all best things. Quoted by the Scholiast on Hermogenes and elsewhere. The “ sweet-apple ” to which Sappho refers was probably the result of a graft of apple on quince. TEXT AND TRANSLATIONS 113 Ol Olan TAN YAKINOON EN OYpecI TrOIMENEc ANApeEC TOccl KaTacTeIBoICl, YAMAl AX ertitropdyper ANGoc. As on the hills the shepherds trample the larkspur (?) under foot and the flower lies empurpling in decay on the ground. O’er the hills the heedless shepherd, Heavy footed, plods his way; Crushed behind him lies the larkspur, Soon empurpling in decay. Quoted by Demetrius, who comments on the ornament and beauty of the lines. Bergk was the first to assign the lines to Sappho. The last three words contain a picture of a ctushed flower decaying on the ground, which would pethaps be impossible to put in so few words in any language but Greek. The Greek word yAkinooc does not mean the flowet which at the present day is called “ hyacinth.” The Greek name was applied to several flowets of which one was almost certainly the larkspur, and another, as noted else- where, the iris. 114 THE POEMS OF SAPPHO Q2 Féctrepe, TANTA Epwn, Oca cainoAic EckEAAC aywc, épeic oIN, épeic aira, épeic Atty maTep! Tala. Evening, thou that bringest all that bright morning scattered, thou bringest the sheep, the goat, and the child back to its mother. Hail, gentle Evening, that bringest back All things that bright morning hath beguiled. Thou bringest the lamb, thou bringest the kid, And to its mother, her drowsy child. From the “ Etymologicum Magnum,” where the meaning of aywc (“ dawn ”’) is discussed. The beauty of the fragment needs no emphasizing. 93 *AiTlapOeNoc Eccomal. Ever shall I be a maid. From a manuscript in Paris, edited by Cramer. 94 Awcomen, Hcl TATHP. We will give, says the father. From the same manuscript as the preceding. TEXT AND TRANSLATIONS 115 Oypwpa mddec éntopdryiot TA AE CAMBAAA TreMTTEBOHA, Tcyrrol Aé AéK EZeETTONACAN. To the door-keeper, feet seven fathoms long, and sandals of five bulls’ hides, work for ten cobblers. Quoted by Hephaestion as a specimen of mette. “OABle FAMBpe, COl MEN AH fdamOc, WC APao €kTeTEAECT EXeIC AE TIAPOENON, AN Apao. Happy bridegroom, now has come thy wedding as thou wished, and thou hast the maiden of thy desire. Thou happy bridegroom! Now has dawned That day of days supreme, When in thine arms thou’It hold at last The maiden of thy dream. From Hephaestion. oe Meadiyioc & én? immépta KexyTAl TIPOCwTTO. And a sweet exptession spreads over her fair face. From Hephaestion. Compare Catullus, “ Mellitos oculos ” and ‘ Pulcher es neque te Venus negligit.” 116 THE POEMS OF SAPPHO "0. MeN fap KAAOC, GccON TAHN, TIeAETAI [Aradoc] 6 Ad KAraGoc AYTIKA Kal KAAOC écceETAl. He who is fait to look upon is good, and he who is good, will soon be fair also. He should be good who is fair of face, And he will be fair whose soul has grace. Galen, writing about A.D. 160, says: “It is better there- fore, knowing as we do that youthful beauty is like the flowers of spring, its allurement lasting but a short time, to agree with the Lesbian poetess, and to believe Solon when he points out the same.” 99 "Hp étl TrapOeNniac eTTIBAAAOMAI ; Do I still long for maidenhood? Quoted by Apollonius to show the Acolic form tipa, the interrogative particle dpa, and also as a specimen of metre. TEXT AND TRANSLATIONS 117 | Cele) Xaipoica NYMoa, yalpéTw@ aX 6 ramBpoc. The bride [comes] rejoicing, let the bridegroom also rejoice. From Hephaestion as a specimen of catalectic iambic. IOI Tia c, & ide ramBpe, KAAWC EiKACA® ; OpTiaki Bpadinad ce KAAICT €iKACAO. To what may I liken thee, dear bridegroom? Best to a tender shoot may I liken thee. From Hephaestion as an example of metre. 102 ..» Xaipe, nYMa, yaipe, TIMIe TAMBpE, TIOAAA. Hail bride, and all hail! noble bridegtoom. Quoted by Servius about s.p. 390, and referred to by Pollux and Julian, 118 THE POEMS OF SAPPHO 103 Oy rAp HN Atépa traic, © PAMBpe, TOAYTA. For, like her, O bridegroom, there was no other maiden. From Dionysius of Halicarnassus. 104 A. Tlap6enia, TrapOenia, TO ME AITIOIC ATTOLYH ; B. Oykéti H2@ mpoc cé, oYKETI HZ0. Maidenhood, maidenhood, whither art thou gone from me? Never, O, never again, shall I return to thee. Quoted by Demetrius, to show the beauty of Sappho’s Style, and her successful use of repetition. 105 Painetal For KANOC.... To himself he seems . . . Quoted by Apollonius to show the use of F in Aecolic Greek. TEXT AND TRANSLATIONS 119 106 "Qiw TAY AeyKdTEpON. [A thing] much whiter than an egg. From Athenaeus. 107 Mut émor MéAl MHTE MéAICCa. Neither honey nor bee for me. This is a proverb quoted by a number of late authors; It is an example of Sappho’s successful use of alliteration. 108 M+ KINH yépaadac. Stir not the pebbles. From the Scholiast on Apollonius Rhodius. Xepaaec were little heaps of stones. 109 *Orrtaic AMME. Thou burnest us. be) From Apollonius, showing Acolic form adc, “ us. 120 THE POEMS OF SAPPHO IIo *HmityBION CTAAACCON. A napkin dripping. From the Scholiast on the Plutus of Aristophanes to show the meaning of timity8ion, This was a piece of soft linen for wiping the hands. i HS TON FON TIAIAA KAAEl. Him she called her son. From Apollonius to show the use of F. I1I2 Tlaidec, Awnoc éoica TON ENNETI, Al TIC EPHTAl, WNAN AKAMATAN KATOEMENA TIPO TIOADN, "Albortia Me Kdpa Aatofc ANEOHKEN ’Apicta "EpmokAeidaia TO Zaonaidda, cA TIPOTOAOC, AECTIOINA FYNAIK@N, A CY YAPeica TIPUMP@N AMETEPAN EYKAEICON FENEAN. Maidens, though I am dumb, yet thus I speak, if any ask and place at your feet one with an untiring voice: To Aethopia the daughter of Leto was I consecrated by Arista, daughter of Hermocleides Saonaiades, thy servant, O queen TEXT AND TRANSLATIONS 121 of women; whom mayest thou bless and deign to glorify out house. From the Greek Anthology. It is a difficult and obscure piece. Bergk has not attempted to restore the Aecolic form. 113 Timadoc ade KONIC, TAN AH TIPO FAMOIO BANOYCAN AéZaTo Pepceddnac KYANEOC BAAaMOC, ac Kal ATTOMOIMENAC TIAcAl NEObATI CIAAPa@ &AIKEC IMMEPTAN KP&TOC EOBENTO KOMAN. This is the dust of Timas whom the dark chamber of Persephone received, dead before her wedding; when she died all her companions clipped with sharpened metal all their lovely tresses. Here rests the dust of 'Timas who, unwed, Passed the dark portals of Persephone. With sharpened metal, when her spirit fled, Her mourning friends each shore her fair-tressed head. The version of J. A. Symonds is as follows: 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. The verse is from the Greek Anthology. 122 THE POEMS OF SAPPHO II4 "ANOe AMEproycAN TAIN ArAN ATIAAAN. A most tender maiden gathering flowers. Quoted by Athenaeus. IIs TIdAy trAkTIAoc AAyMEAECTEpA, YpYC@ ypyYCOTEpa. Than the lyre, far sweeter in tone, than gold, more golden. Far sweeter than the throbbing lyre in sound, A voice more golden than gold, new found. Quoted by Demetrius to show the poetical value of hyper- bolical phrase. 116 Maximus ‘Tyrius says that Socrates calls Love the wizard, while Sappho uses the term myeomAdkoc, “ fidtion weaving.” 117 Aristides quotes Sappho as saying 16 rdnoc . . . oY Aladeeipon tac oyerc, * the brightness . . . not destroying the sight.” TEXT AND TRANSLATIONS 123 118 ‘Podortiyeic Kal EAIKadTTIAEC KA; KAAAITTIAPHO! Kal MEIAIYOONOI. With rosy cheeks and glancing eyes and voices sweet as honey. Philostratus says that this indeed is Sappho’s sweet salutation. Aristaenetus says that Sappho in a hymeneal song uses the epithet meiAixdanol, “ soft voiced.” 119 Pausanias, about A.D. 180, says of Sappho that concerning love she sang many things that do not always agree with one another. 120 Himerius, apparently quoting, says, “ Thou art the evening star, of all stars the fairest, I think,” and he says that the line comes from Sappho’s song to Hesperus. Again he says, quoting: “Now thoudidst appear like that fairest of all stars; for the Athenians call thee, Hesperus.” Himerius also refers to an ode which was apparently an imitation of the work of Sappho. ‘This ode has been trans- lated by J. A. Symonds. 124 THE POEMS OF SAPPHO I2I The Scholiast on Hesiod, Op. et D., 74, says that Sappho calls Persuasion, ’Adpoditne oyrarépa. 122 Athenaeus mentions Bapwmoc and cépBiroc, two stringed instruments in use in the time of Sappho. ‘Their exact character is not known. He also gives the form Bapmoc for the name of the former instrument. A few single words or short phrases attributed to Sappho have been preserved here and there by various writers. Some examples may be given, as they have a certain interest. Eustathius speaks of a “ vagabond friendship, as Sappho would say,” kaddn AnMécion— a public good.” The “ Lexicon Sequetrianum ” defines “Akakoc as meaning “without experience of ill,” and says “so Sappho uses the word.” The “ Etymologicum Magnum ” defines "Auamazye as a vine trained on poles, and says that Sappho makes the plural dmamazyaec, ‘The same work mentions Sappho’s use of the form ayoc for Hac, “ the dawn.” TEXT AND TRANSLATIONS 125 Pollux says that Sappho used the word Befaoc for a woman’s dress. Phrynichus, the grammarian, says that Sappho calls a woman’s dressing-case where she keeps her scents, rpytn. A Parisian manuscript (ed. Cramer) says: “ Among the Aeolians z is used for 4, as when Sappho says zaBaton for AlsBaton, * fordable.’ ” Choeroboscus says: “Sappho makes the accusative of kinAynoc, danger, kindyn.” Another writer says, kinayna, Photius, in his Lexicon (ninth century) says: “ edyoc is a wood used to dye hair and wool yellow, which Sappho called 2Z¥hon 2kyeikoN, Scythian wood.” The Fayum fragments in the Egyptian Museum in Berlin, brought there in 1879, contain among other things a very small scrap :with a very imperfect text on both sides of it. The fragment is considered to be of the eight century a.p., and Professor Blass of Kiel ascribes the text to Sappho, judging by the metre and the diale@. There is a posthumous essay by Bergk on this subject in the fourth edition, 1882, of his “‘ Poetae Lyrici Graeci,” but the text of the fragments is so exceedingly imperfect that attempts at restoration ate the merest conjectures. 126 THE POEMS OF SAPPHO Finally, the following verse may be quoted: Keinon & ypycdepone Moc’, énicrrec YMNON €K TAC KAAAITYNAIKOC E€CcOAAC Tuioc yapac ON A€ide TEPTINGC TpécByc arayoc. O Muse, golden throned, sing that strain which the revered elder of Teos, from the rich land of fair women, sang so melodiously. This vetse was almost certainly not written by Sappho. Athenaeus says that “ Hermesianax was mistaken when he represented Sappho and Anacreon as contemporaries, for Anacreon lived in the time of Cyrus and Polycrates [about 563-478 B.C.], while Sappho lived in the reign of Alyattes, father of Croesus.” It is extremely improbable that Sappho was still living when Anacreon was born. CHAPTER IV A BIBLIOGRAPHICAL LIST OF PRINTED BOOKS, CHRONOLOGICALLY ARRANGED, WHICH REFER TO SAPPHO AND HER POEMS. Vindelin de Spire, 1470. Opera Gtammatica. No place or date, but per- haps Ulric Hahn, about 1470. — Opera Grammatica Omnia, cum Rufino de Metris, et Dionysio de Situ Orbis. Same type as first edition, but is dated 1472. Venice. Meruta Alexandrinus Georgius Commentarium in Sapphus Epistolam. Venice, 1475. 4to. Reprinted 1499, 1510, and 1528 with additional commentaries by Badius, Calderinus, and Egnatius. Disceptatio oratorum duorum regum Romani scilicet et Franci super raptu Illustrissime Ducisse Britannice. 4to. 1492. Probably printed at Heidelberg. This book con- tains two poems in Latin Sapphics, but these are of little interest except as early examples of imitation of the Sapphic mettre. ZENOBIUS. Epitome. Florence, Giunta, 1497. The first book from the Giunta press. I Prawn De Oéto Partibus Orationis. Venice, 128 THE POEMS OF SAPPHO Surpas. Lexicon graecum. Mediolani, Johannes Bissolus et Benedi&tus Mangius, 1499. Fol. Graec. cat., 516 ff. nn. Mark of Bissolus et Mangius (Kristeller 67). The first printed edition of Suidas. Etymologicum Magnum Graecum. Venice, 1499. Large folio. Preface by M. Musurus. Zaccharia Calliergi. Pottux, Jutius. Vocabularium Graece. Venice, Aldus, 1502; and again Florence, Giunta, 1520. Heropianus. The Greek text of Herodian was printed for the first time in 1503 by Aldus, in conneétion with the “‘ Omissa Xenophontis.” Prurarcu. Plutarchi Opuscula LXX XXII. Venice, Aldus, 1509. Vitae Ulustrium Virorum. Venice, Aldus, 1519. ATHENAEUS. First edition, printed by Aldus in Venice, 1514. Folio. AroLtonius. De Constructione, etc. The first printed edition was done by Aldus in Venice in 1495, and was issued with the Grammar of Theodore Gaza. Also Florence, Giunta, 1515. Srraso. De Situ Orbis. First edition printed by Aldus in Venice, 1516. Folio. Purynicuus. Eclogae nominum et Verborum Atticorum, Graece. Romae, Z. Calliergi, 1517. 8vo. HerpHarstion. The first edition of the Enchiridion printed in Greek by the Giunta in Florence, 1526. It is frequently BIBLIOGRAPHY 129 joined to the Greek grammar of the same date and the same publishers. HeERMoGENEs. Arts Rhetorica Absolutissima, etc. First edition, printed in Paris, 1530-1531. C. Wechelius. Four patts. , StoBakEus. Colleétiones Sententiarum. First edition. Venice, 1536. Dionysii Halicarnassei Antiquitatem Romanarum, Lib. X. Lutetiae, Stephanus, 1546. Second part in same volume, 1547. Demetrius PHaLereus. De Elocutione. Florentiae apud Juntas, 1552. 8vo. First separate edition. Originally printed in Rhetores Graeci, published by Aldus. Lonecinus. Oporinus. Bale, 1554. Folio. First edition. ANAKPEONTO2 Tuioy méAnH, Anacteontis Teii Odae. Ab Henrico Stephano luce et Latinitate nunc primum donatae. Lutetiae. Apud Henricum Stephanum. mpuimt. Ex Privilegio Regis. 4to. Editio Princeps of Anacteon and Sappho. This volume contains, in addition to the works of Anacreon, four fragments of Alcaeus, and Sappho’s Hymn to Aphrodite, and one other fragment, beginning Aédyke men & ceAdnna, This quarto edition was reprinted in 1556 in o¢tavo. In addition to the two poems of Sappho already printed, we have in this volume also, for the first time, the ode beginning dainetal mol KANOC Icoc GeoiciIn, ‘There 130 THE POEMS OF SAPPHO ate likewise the fragments of Alcaeus, and one or two other lytic poets. The imprint of the volume is: “Parisiis MpLtvr. Apud Guil. Morelium in Graecis typographum. Regium et Rob. Stephanum.” This book and its predecessor are well printed, though the Greek type is rather trying on account of the ligatures. Anpreas, Eras. Anacreontis Teii antiquissimi poetae Lyrici Odae, ab Helia Andrea Latinae faétae. Liutetiae, 1556. 16mo. STrEPHANUS, HENrIcus. Carminum Poetarum novem, lyricae poeseos principu fragmenta . . . Sapphus (pp. 37-71)... nonnulla etiam aliorum. Editio secunda. Paris, 1566. 16mo. Prefixed to the text is: Sapphus vita, ex Lilii Greg. Gyraldi dialogo IX. De poetarum historia. Reprinted in 1660 and other years. Ursinus, Futvrus. Carmina novem illustrium feminarum, Sapphus (pp. 2-36), etc. Antwerp, 1568. 8Vvo. Litty, Jon (“the Euphuist”). Sapho and Phao, played before the Queen’s Majesty on Shrove Tuesday, by her Majesty’s children and the Boys of St. Paul’s. London, 1584. 4to. WesseE, Witt1am. A Discoutse of English Poetry together with the author’s judgment touching the Reformation of our English Verse. By William Webbe, Graduate, Imprinted at London by John Charlewood for Robert Walley, 1586. BIBLIOGRAPHY 131 The author turns part of Spenser’s fourth eclogue into Sapphics which he describes as “ homely.” 8vo. Thete are only two copies of this book known. Barnes, B. Parthenophil and Parthenope. Barnabe Barnes. 1593. 4to. This contains two attempts to imitate Greek lyrics, one of Sappho and one of Anacreon. Wits Theatre of the Little World. 1599. 8vo. Leaf 152 for reference to Sappho. Campion, T., and Roserer, P. Lyrics, Elegies, etc., by Thomas Campion and Philip Roseter, 1601, contains an imitation of the Sapphic metre in English. Davison’s Poetical Rhapsody. 1602. 8vo. This contains an attempt at Sapphics in English by the mysterious re eh ans The Martyrdom of St. George of Cappadocia. 1614. 4to. Contains an imitation of Sappho’s mettre. Hatt, J. Mepi “Yyoye or Dionysius Longinus of the Height. of Eloquence rendered out of the Original by J[ohn] H[all]. London, 1652. ‘This small book contains the first translation into English of the actual work of Sappho. CAPPONE, FRANCESCO ANTONIO. Liriche Parafrasi di D. Francesco Antonio Cappone, Academico ozioso. Supra tutte l’Ode d’Anacreonte, e sopra alcune altre Poesie di diversi Lirici Poeti Greci. Secundo la preposta version Latina de’or pit celebri Traduttori, pp. 190-200. Venice, 1670. 24mo. 132 THE POEMS OF SAPPHO Anacreontis et Sapphonis Carmina Tanaquillus Faber. Saumur, 1670. 24mo. Theatrum Poetarum. Edward Phillips, 1675. 8vo. Notice of Sappho. A Treatise of the Loftiness or Elegancy of Speech, written otiginally in Greek by Longin and now translated out of French by Mr. J. Pulteney. London, 1680. 8vo. Second translation of painetai mor KANoc, etc. Les Poesies d’Anacréon et de Sappho traduites de Grec en Francois avec des Remarques. Paris, 1681. 12mo. The translator of this, the first French edition of the two poets, was Anne Lefévre, daughter of Tanneguy Lefévre. She was born about 1654 and married Andre Dacier. She died in the Louvre in 1720. Her book was reprinted at Lyons in 1696, with “ par Mademoiselle Lefévre” added to the title, and again at Amsterdam in 1699 with the title altered so as to read “avec des Remarques par Madame Dacier. Nouvelle Edition augmentée des Notes Latines de Mr. Le Févre.” These three editions were all 12mo. Les Poesies d’Anacréon et de Sapho [sic] en grec avec la traduction en vers francois et des remarques pat H. B. Detequeleyne. Paris, 1684. Chorus Poetarum, or Poems on Several Occasions. 1684. 8vo. On pp. 30-31 there is a paraphrastic translation “by Madame Behn ” of ¢ainetai moi KANoc, etc. . BIBLIOGRAPHY 133 The Athenian Metcuty. Jan. 12th, 1691. No. 13. Question 8 refers to Sappho. LONGEPIERRE, M. pE. Les Oeuvres d’Anactéon et de Sapho, contenant leurs Poésies, et les galanteries de Pancienne Gréce. Traduites de Grec en vers Francois pat Mr. de Longepierre, avec des Notes cutieuses sur tout Pouvrage. Les Poésies de Sapho de Lesbos, pp. 347-398. Paris, 1692. 12mo. De Re Poetica, or Remarks upon Poetry. By Sir Thomas Pope Blount. 1694. 4to. Two pages devoted to historical notice of Sappho. Anacreontis Teii Carmina. Subjiciuntur autem duo vetus- tissimae Poetriae Sapphus, elegantissima odaria una cum correctione Isaaci Vossii. London, 1695. 8vo. BentLEy, RicuHarp, D.D. In Graevius’ Callimachi Frag- menta. Utrecht, 1697. 8vo. Ad. fr. 417, de Sapphus fragom. 118. Ammontus of Alexandria (Tatianus). Oxford, 1700. Hupson, JoHN, D.D. Dionysius Longinus de Sublimitate, cum praefationibus, notis, et variis lectionibus. Ox- ford, 1710. 8vo. The Spectator. Joseph Addison. Nos. 223, 229, 233. 1711. Gacon, Francors. Les Odes d’Anacréon et de Sappho, PP. 343-354, en vers Frangois par le poéte Sans Fard. Rotterdam, 1712. 12mo. —— Les Poésies d’Anacréon, etc. Paris, 1754. 32mo. ad e ’ a 134 THE POEMS OF SAPPHO The Works of Anacteon and Sappho done from the Greek by several hands, etc. London, 1713. 8vo. The Sapphic portion is by Ambrose Philips, and it contains the first translation into English of the Hymn to Aphro- dite. This book was reprinted in 1748. Petronius Arbiter, translated by several hands. Sapphic portion by Mr. Herbert. Also translations of Catullus, Tibullus, Propertius, Pindar, and Anacreon. London, 1713-14. 8vo. | | Les Poesies d’Anacreon et de Sappho traduites de Grec en Francois avec des Remarques, par Madame Dacier, Nouvelle Edition augmentée des Notes Latines de Mr. Le Févre. Amsterdam, 1716. 8vo. The most complete version of Madame Dacier’s translations. Poems on Several Occasions by Elijah Fenton. London, 1717. 8vo. Contains a translation of Ovid’s Epistle. Wotr, JOHANN CuristiAN. Sapphus, poetriae Lesbiae, fragmenta et elogia, quotquot in auctoribus antiquis Graecis et Latinus repertuntur, cum virorum doétorum notis integris, cura et Studio Jo. Christiani Wolfii, in Gymnasio Hamburgensi Professoris Publici. Qui vitam Sapphonis et Indices adjecit. Pp. xxxii, 279. Hamburg, 1733. 8vo. Griiver. Anacteontis carmina, etc... . et poetriae Sapphus quae supersunt. London, 1733. Appison, JoHN. The Works of Anacreon translated into . o BIBLIOGRAPHY ae by English Verse; with Notes explanatory and poetical. To which are added the Odes, Fragments, and Epigrams of Sappho. London, 1735. 8vo. Sappho, pp. 247-279. Anacteontis Carmina cum notis perpetuis, etc. Accedunt ejusdem et Sapphus fragmenta Curante J. Trapp. London, 1742. Anacreontis et Sapphonis Carmina. Gr. et Lat. Glasguae, 1744. Foulis. 8vo. Reprinted 1757. AKENSIDE, Marx. Odes. London, 1745. Contains a para- phrase of Ode to Aphrodite. Guiem, J. W. L. Die Oden Anakerons in reimlosen versen. Nebst einigen andern Gedichten. Die 2 Oden der Dichterin Sappho, pp. 45-48. Frankfort and Leipzig, 1746. 8vo. CRAMER, J. Cur. Diatribe chronologico-critica de patria Sapphus. Jena, n.d. (¢. 1750). 4to. Anacreontis Carmina cum Sapphonis et Alcaei fragmentis. Gr. Glasguae, 1751. 32mo. A few copies were printed on silk. Gacon, Francors. *Anakpéontoc THoy méAH. Zamofc dcmata, Patis, 1754. 16mo. Anacteontis et Sapphonis Carmina. Cum virorum doétorum notis et emendationibus, in usum juventutis Academiae Salfordiensis, Com. Lancastriae. London, 1754. 8Vvo. Cramer, J.Cur. Diatribe chronologico-critica de cyrpponicmés Sapphus et Anacreontis. Jena, 1755. 4to. 136 THE POEMS OF SAPPHO Stvry, Pornstnet pe. Anacréon, Sapho, etc., traduits en vets Francais. Poésies de Sapho de Mytilene, pp. viii, 24. Nancy, 1758. 8vo. The Works of Anacreon, Sappho, Bion, Moschus, and Musaeus. Translated into English by a Gentleman of Cambridge [Francis Fawkes]. 1760. 8vo. Often re- printed. Die Gedichte Anaktreons und der Sappho Oden aus dem Griechischen tibersetzt, und mit Anmerkungen begleitet, pp. 205-216. Carlsruhe, 1760. 8vo. Discours sur la Poésie lyrique, avec les modéles du genre tirés de Pindare d’Anacréon, de Sapho [pp. 137-140], de Malherbe, etc. Paris, 1761. 24mo. ANDREAS, Extras. Anacteontis, Sapphus, et Erinnae Car- mina interpretibus Henrico Stephano et Elia Andrea. Edinburgh, 1766. 64mo. GREENE, E. Burnasy. The Works of Anacreon and Sappho with Pieces from Ancient Authors, etc. London, 1768. 8vo. OcILviE, JOHN. Poems on Several Subjects. London, 1769. 2 vols., 8vo. Translation of Hymn to Venus in Vol. I. BRuNCK, RICHARD FRaANcots Puitippr. Analeéta veterum poetarum Graecorum. I, pp. 54-57; IJ, p. 8. Strass- burg, 1772. 8vo. Anacréon, Sapho [s/c], Bion, et Moschus. Tradu@ion nouvelle en prose suivie de la Veillée des Fétes de Venus, etc. Paris, Le Boucher, 1773. 8vo. BIBLIOGRAPHY 137 Mouronnet-Crarrrons, J. J. Anacréon, Sapho [pp. 95-118], Bion, et Moschus, traduction nouvelle en Prose. Paphos and Paris, 1773. 4to. (In 1780 another edition was issued, with illustrations by Eisen.) Sacy, C.L.M. Les Amours de Sapho et de Phaon. Pp. 180. Amsterdam, 1775. 8vo. Luzan, Don Icnacio pg. Las dos Odas de Safo, in vol. iv, pp. 169-171, of J. J. Lopez de Sedano’s Parnasso Espafiol. Colleccion de Poesias escogidas de los man celebres poetas Castellanos. Madrid, 1776. 8vo. SAUVIGNY, E. BILLARDON DE. Poesies de Sapho, suivies de différentes poésies dans le méme genre. Amésterdam, 1777; London, 1781, 1792. 12mo. Poetae Graeci sive Selecta ex Homeri Odyss. . . . Sapphone [p. 168]... Musaeo, cum vulgata versione emendata, ac vatiis partim Scholiastarum Graecorum, partim Doctorum recentiorum notis. In usum Regiae Scholae Etonensis. Edito altera. Eton, 1777. 8vo. VerRRI, ALESSANDRO. Le Avventute di Saffo poetessa di Mitilene, traduzione dal Greco originale nuovamente scopetto. (An original romance in Italian by A. V.). Pp. 188. Vercelli, 1780-1804. 8Vvo. Rocati, FRANCESCO SAVERIO DE’. Le Odi di Anacreonte e di Saffo [vol. ii, pp. 193-217] recate in versi Italiani. Colle, 1782; ed. 2, 1818. 2 vols., 8vo. GunTHER Want, F. L. Anacreon und Sappho, Lieder der Liebe aus dem Griech. Erfurt, 1783. 138 THE POEMS OF SAPPHO TresHaM, Enrico. Le Avventure di Saffo. Rome, 1784. Folio. 18 plates, drawn and engraved by Enrico Tresham; no text. Bruncx, RicHarp Francors Pxturpe. Anacreontis Car- mina: accedunt quaedam e lyricorum reliquis, pp. 82-86, Ed. 2. Strassburg, 1786. 12mo. DrcEn, J. F. Anacréon und Sappho’s Lieder nebst and. lyr. Gedichten, Text und Ubers. Altenburg, 1787. The Adventures of Sappho, Poetess of Mitylene. Translation from the Greek Original, newly discovered. London, 1789. 8vo. Apparently the first piece of fiction in English referring to Sappho. An imaginary composition. Anacreontis Odaria et Sapphonis Carmina graece recensuit notisque illustravit, etc. F.G. Born, Lipsiae, 1789. 8vo. VeERRI, ALESSANDRO. Le Avventure di Saffo poetessa di Mitilene, e la Faoniade (by G. V. Imperiale) inni ed odi, traduzioni dal greco. Paris, 1790. 24mo. Har xs, alias HARLEss, GOTTLIEB CHRISTOPHER. Anthologia Graeca Poetica, pp. 239-249. Baruthi, 1792. 8vo. PAGNINI, G. M. Poésie di Anacreonte recate in versi Italiani da Eritisco Pilenejo [a pseudonym]. Le Poesie di Saffo di Lesbo, pp. 91-99. Parma, 1793. 8vo. Le Poesie di Anacreonte di Saffo [pp. 46-49] e di Erinna dal Greco trasportate in rime Toscano per opera di Eritisco Pilenejo, PA. Lucca, 1794. 8vo. —— Le Odi d’Anacreonte e le poesie di Saffo. Trad. in BIBLIOGRAPHY 139 Versi Ital. da Eritisco Pilenejo. Bodoni, Parma, 1793. 8vo. Pseudonym of G. M. Pagnini. RaaBe, A. Interpretatio odarii Sapphici in Venerem. Leipzig, 1794. Rosrnson, Mrs. Mary. Sappho and Phaon, in a series of legitimate Sonnets, etc. London, 1796. 16mo. Les Hymnes de Sapho [sic]. Nouvellement découvertes et traduites pour la premiére fois, avec des notes et une version Italienne. J. B. Grainville, Paris, An. V (1797). E20; FrrepricH. Bion, Anacreon, und Sappho. Aus d. Griech. iibers. Libau, 1797. The Wreath, composed of Selections from Sappho, etc., by Edward Du Bois. London, 1799. 8vo. RAMLER, Kart WILHELM. Anakreons auserlesene Oden, und die zwey noch tibrigen Oden der Sappho. Berlin, 1801. 8vo. Anacteontis Carmina cum Sapphonis et Alcaei fragmentis. Gr. et Lat. Glasguae, 1801. 8vo. SCHNEIDER, A. Mofcon “Anew sive selecta Poetriarum Graecatum Carmina et Fragmenta edidit, earum vitas, animadversiones et indices adjecit A. Schneider, pp. 3-82. Giessen, 1802. 8vo. Borne, Fripericus Henricus. Anacreontica Graece recen- suit notisque criticis instruxit, Zamofc Aelyana, pp. 77-81. Leipzig, 1805. 16mo. 140 THE POEMS OF SAPPHO Anacteontis et Sapphus Reliquiae, Graece, etc. J. H. Van Reenen. Amsterdam, 1807. 4to. GotpMann, C. A. F. Bion, nebst einigen Gedichten der Sappho, der Erinna, und des Mimnermus tibers. Soest, 1808. Oxes, Hott. Quaedam Fragmenta Lyrica Sapphus, Alcaei, et aliorum numeris suis restituta et recensita. Pp. 11. Cambridge, 1809. 8vo. VouGeEr, Henricu FriepricH MaGnus. Diatribe historico- ctitica de Sapphus Poetriae vita et scriptis. Gotha, 1809. 8vo. (Reprinted in a more extended form in his subse- quent edition of Sappho.) — Sapphus Lesbiae Carmina et Fragmenta. Gr. et Lat. H. F. M. Vogler, Lipsiae, 1810. 8vo. Sapphus Lesbiae Carmina et Fragmenta recensuit, commentatio illustravit, schemata musica adjecit, et indices confecit Henr. Frid. Magnus Volger, Paedagogii Regii Ilfeldensis Collaborator, pp. xviii, 195. Leipzig, 1810. 8vo. FINKENSTEIN, F. L. K. Sappho, Ode aus Aphrodita iibers. Berlin, 1810. Museum Criticum. Cambridge, 1813. 8vo. Sapphic frag- ments in first part. Specimens of the Classic Poets, translated into English Verse, etc. By Sir Charles Abraham Elton, Bart. London, 1814. 8vo. BIBLIOGRAPHY 141 A Fragment of an ode of Sappho from Longinus, also an Ode of Sappho from Dionysius of Halicarnassus. Edited by _F.H. Egerton. Paris, 1815. 8vo. Braun, G. C. Die Fragmente der Sappho, tibersetzt von G. C. B[raun]. Wetzlar, 1815. 8vo. Mosius, E. A. L. Oden. Griech. und Deutsch. Von E. A. L. Mébius. Hannover, 1815. WELCKER. Sappho von einem hertschenden Urtheil befreit. Welcker, Géttingen, 1816. 8vo. FoNVIELLE, B. F. A. Sapho, ou Le Saut de fleueate tragédie lyrique en trois actes. Paris, 1816. 8vo. CasEtut, G. Le Odi di Anacreonte e di Safo [sic] recati in versi Italiani da G. Caselli. Firenze, 1819. Folio. HAUTEROCHE, ALLIER DE. Notizie intorno a Saffo de Ereso. Paris, 1822. GalsForD, THomas, D.D. Sapphonis Fragmenta, edited by Charles James Blomfield, and reprinted from the Cam- bridge Museum Criticum, fasc. i, in Gaisford’s Poetae Minores Graeci, vol. ili, pp. 289-314. Leipzig, 1823. 8vo. TRANER, J. Sapphus, graecanicae Poetriae, quae exstant, Residua. Progrr. acadd. Upsalae, par. x, 1824. 8vo. Mitesi, Branca. Vita di Saffo, scritto da Bianca Milesi. Paris, 1824. 8vo. Orcer, THomas, LL.D. The Odes of Anactreon, with the fragments of Sappho [pp. 81-85] and Alcaeus, literally translated into English prose. London, 1825. 8vo. 142 THE POEMS OF SAPPHO BLOMFIELD, CHARLES JAMES (Bishop of London). Museum Criticum, vol. i, pp. 1-31, 250-252, 421, 422. Cambridge, 1826. 8vo. Mogsrus, Ernst ANron Lupwic. Anacteontis, quae feruntur, Carmina, Sapphus [pp. 104-110] et Erinnae fragmenta. ‘Textum passim refinxit brevique annotatione illustravit Ernst Ant. Moebius. Forming vol. 19 of Frid. Jacobs and Val. Chr. Fr. Rost’s Bibliotheca Graeca. Gotha and Erfurt, 1826. 8vo. PLEHN, SEVERUS LuciANus. Lesbiacorum Liber, pp. 175-196. Berlin, 1826. 8vo. REINHOLD, J. L. Anacreon und der Sappho, Lieder, Text, und Ubetsetz. Riga, 1826. Nevg, C. F. Sapphonis Mytilinaeae Fragmenta, etc. C. F. Neue, Berlin, 1827. 4to. BROCKHAUSEN, R. Sappho’s Lieder in deutschen Versen nachgebildet. Lemgo, 1827. KANNEGIESSER, K. L. Anacreon und Sappho, iibers. Prenzlau, 1827. SEIDLER. Uber einige Fragmente der Sappho und des Alcaius, von Herrn Hofrath Seidler, in the Rheinisches Museum fiir Philologie, pp. 153-228. Bonn, 1829. 8vo. GrRoDET DE Roussy, ANNE Lours. Sappho, Bion, Moschus, Recueil de Compositions dessinées par Girodet, et gravées par M. Chatillon, son éléve, avec la traduction en vers pat Gitodet, et une Notice sur la Vie et les CEuvres de Sappho, par Coupin. Paris, 1829. 4to. BIBLIOGRAPHY 143 Anacteonte, Safo [sic] y Tirteo traducidos en prosa y verso pat Don Jose del Castillo. Madrid, 1832. 8vo. HorrMann, S. F. W. Lexicon Bibliographicum, sive Index Editionum et Interpretationum Scriptorum Graecorum, tum sacorum tum profanorum. V. sub voce Sappho, vol. iii, Leipzig, 1832. 8vo. RICHTER, PROFESSOR Frz. W. Sappho und Erinna nach ihrem Leben beschrieben und in ihren poétischen Uberresten tibersetz und erklirt. Quedlinburg and Leipzig, 1833. 8vo. Bianp, R. Collections from the Greek Anthology by the late Rev. Robert Bland and others. Edited by J. H. Merivale. London, 1833. 8Vvo. HarnesacH, J. H. Specimen Scriptorum Graecorum minorum, quorum reliquias, fere omnium melioris notae, ex editionibus variis excerptas ab. J. A. Giles recognoscet et supplebit J. H. Hainebach. Frankfort, 1834. 8vo. BEerGK, THEopoR. De aliquot Fragmentis Sapphonis et -Alcae. Rheinisches Museum ftir Philogie, pp. 209-231. Bonn, 1835. 8vo. Hermann, G. Bermerkungen tiber Homer und die Frag- mente der Sappho, in his Works, vol. vi, pp. 70-141. 1835. sevaaltt Joun Antony, D.D. Anecdota Graeca e codd. manuscriptis Bibliothecarum Oxoniensium descripsit. Frag. 95, vol. i, p. 444; frag. 158, YORI D325. Oxford, 1835-6. 2 vols., 8vo. K 144 THE POEMS OF SAPPHO Odes d’Anacréon traduites en francois et en prose pat MM. Gregoire et Colombet; en vers francois par MM. de Saint Victor, F. Didot, etc., etc. (also translations into Latin, German, Italian, Spanish, and English) et des poésies de Sapho [sic] traduites en vers francais et en prose par M. Breghot du Lut. Lyon, 1835. Large 8vo. A curious polyglot production. SCHNEIDEWIN, F. G. Deleé&tus Poesis Graecorum Ele- giacae, Iambicae, Melicae—Sapphonis Mitylenacae Car- mina, pp. 289-322. Gdttingen, 1838. 8vo. Poems, Original and Translated. J. H. Merivale. London, 1838. 8vo. AHRENS, HemnricH LupotpH. De Graecae Linguae Dia- leétis, Sapphus fragmenta, pp. 256-274 of Lib. I. Géttin- gen, 1839. 8vo. Conjecturem in Alcéus und Sappho. Rheinisches Museum, 1842, pp. 388-401. : Lyriques gtecs Orphée, Anacréon, Sappho, etc. Tra- duction Falconnet et a. Paris, 1841. in-8. Manna, Antonio La. Le Odi di Anacreonte tradotte in versi Siciliani, con altre poésie; Sappho’s fragm. 1, 2, and §2 ON pp. 129-131. Palermo, 1843. 12mo. Weise, C. H. Anacreontis Carmina, cum Sapphus alior- umque teliquiis. Adje€tae sunt integrae Brunckii notae. Nova editio stereotypa curante C. H. Weise. Leipzig (Tauchnitz), 1844-1878. 32mo. BIBLIOGRAPHY 145 GERHARD, W. Anacréon und Sappho. Freie Nachbildung fiir den deutschen Gesang. Leipzig, 1847. MarcELor ET Grosset. Odes d’Anacréon et de Sapho, traduction frangaise avec le texte en regard. Paris, 1847. Mure, CoLtonet WitiraM. Sappho, and the ideal love of the Greeks; in the Rheinisches Museum ftir Philologie, 1847, Ppp. 564-593. JAEGER, W. Sappho, poésies frangaises et allemandes. Berlin, 1852. SAINT-REMY, REDAREZ. Les Poésies de Sapho de Lesbos. Pp. 120. Paris, 1852. 8vo. BErGK, THEODOR. Anthologia Lyrica, pp. 261-273 (text only). Leipzig, 1854. 8vo. Burcer, Epuarp. Anacreon und andere lyrische Dichter Griechenlands in deutschen Reimen. Stuttgart, 1855. 3.2mo. Hetter, H. J. Carmen Sapphus Secundum, in Philologus, pp. 431-437. Géttingen, 1856. 8vo. (Heller reads the last line thus: mn Aé ToAmaTéon Em Té ’raTHTA, 7.¢., amicae causa ad amicam mihi conciliandam. Hartune, J. A. Die Griechischen Lyriker, vol. vi, pp. 63-110. Leipzig, 1857. 8vo. Korcuty, H. Uber Sappho, mit Riicksicht auf die gesell- schaftliche Stellung der Frauen bei den Griechen. Academische Votttige, Ziirich, 1859, pp. 155-277, 406-412. 146 THE POEMS OF SAPPHO WesrpHaL, K. Zwei Strophen der Sappho, in the Jahrbuch" fiir class. Philologie, pp. 690-694. 1860. Kock, THropor. Alkdos und Sappho, pp. 22-98. Berlin, 1862. 8vo. BustRELLI, GrusEprE. Vita e Frammenti di Saffo de Mitilene. Discorso e versione (prima intera), pp. 104. Bologna, 1863. 8vo. Rossry, Henri. Mélanges Poétiques, suivis de quelques traductions d’Horace, Sapho [pp. 223-228] et Anacréon. Paris, 1863. 12mo. ScHOENE, ALFRED. Untersuchungen iiber das Leben der Sappho, pp. 731-762 of Symbola Philologorum Bonnen- sium in honorem Friderici Ritschelii colleéta. Leipzig, 1864-7. 8vo. PriEN, Dr. Cart. Die Symmetrie und Responsion der Sapphischen und Horaischen Ode. Liibeck, 1865. 4to. MicHAELIs, ADOLF THEODOR FRieDRICH. Thamyris und Sappho auf einen Vasenbilde. 1 plate, pp. 18. Leipzig, 1865. 4to. Mauty, J. Sappho bei Himerius. Rheinisches Museum fiir Philologie, Neue Folge, pp. 301-308. Frankfort, 1866. 8vo. RICHEPIN, JEAN. Sapphé. Illustrations par MM. Heétor Leroux, D. Vierge, Kauffman. Pp. 36. Paris, 1866. 8vo. FELTON, CORNELIUS Conway, LL.D. Greece, Ancient and Modern. Lectures delivered before the Lowell Institute, BIBLIOGRAPHY 147 1852-1854 (Sappho, vol. i, pp. 171-180). Boston, 1867. 2 vols., 8vo. WELCKER, FRIEDRICH GOTTLIEB. Sappho und Phaon, in the Rheinisches Museum, pp. 242-252, 1863. Reprinted in his Kleine Schriften, vol. v, pp. 228-242. Elberfeld, 1867. 8vo. A review of Mute and Koch. STADELMANN, Hernraicu. Aus Tibur und Teos. Eine Auswahl lytrischer Gedichte von Horaz, Anakreon, Catull, Sappho [pp. 87-95] u. A. In deutscher Nach- dichtung von Heinrich Stadelmann. Halle, 1868. 32mo. ARNOLD, Sir Epwin. The Poets of Greece, by Edwin Arnold, London, 1869. 8vo. SmitH, Pui. Art. Sappho, in Dr. William Smith’s Didionary of Greek and Roman Biography and Myth- ology, vol. ili, pp. 707-711. London, 1870. 8vo. Atlantic Monthly, July, 1871. Article by T. W. Higginson. ArNotp, Dr. BERNARD. Sappho. Vortrag, gehalten zu Miinchen am 25. Marz, 1870. Aus Sammlung gemein- verstandlicher Vortrage herausg. v. Rud. Virchow und Fr. von Holtzendorff. Berlin, 1871. BorrricHER, K. Zwei Hermenbildnisse der Sappho. With a photograph. Archiologische Zeitung, pp. 83-86. Berlin, 1872. 4to. Harter, W. Die Sappho und die Sappho-Sage, in the Oesterr. Wochenschrift f. Wissenschaft und Kunst v. W. Bucher. N.F., 1872. 148 THE POEMS OF SAPPHO Hiner, E. Die Madrider Sapphoherme. Archaologische Zeitung, Berlin, 1872, pp. 86-87; 1873, pp. 46, 47. 8vo Dusors-GucHAN, E. P. La Pléiade Grecque. Traductions contenant Les Odes et Fragments d’Anacréon, Les Poésies de Sapho, etc., pp. 71-88. Paris, 1873. 8Vvo. Symonps, J. A. Studies of the Greek Poets. John Adding- ton Symonds. London, 1873. Also 1893. 8vo. Buass, FriEpDRICH, of Kiel. Zu den Griechischen Lyrikern. Rhein. Mus., vol. xxix, 1874; Sappho, pp. 149-151. FROTHINGHAM, ELLEN. Sappho, a tragedy in five atts. A translation from the German play by Franz Grillparzer. Boston, U.S.A., 1876. 16mo. PoESTION, JOSEPH CaLAzANz. Griechische Dichterinnen, ein Beitrag zur Geschichte der Frauenliteratur, pp. 33-92. Wien, Pest, Leipzig, 1876. 8vo. CoMPARETTI, PROFESSOR DOMENICO. Saffo e Faone dinanzi alla critica Storia, in the Nuova Antologia di Scienze, Lettere ed Arti, anno xi, seconda serie, vol. i, fasc. ii, pp. 253-288. Florence, Febr. 1876. 8vo. Sulla Epistola Ovidiana di Saffo a Faone, studico critico. Published by the R. Istituto di Studi Superiori practici e di perfezionamento in Firenze, Sezione di Filosofia e Filologia, vol. ii, dispensa prima. Pp. 53. Florence, 1876. 8vo. WatuousE, M. J. The Nine Greek Lyric Poets. M. J. Walhouse, Gentleman’s Magazine, April, 1877. BIBLIOGRAPHY 149 PeLayo, MENENDEZ Y. ‘Translation in Spanish verse of the Ode to Aphrodite in the first edition of his Las Poesias de tan doéto academico. Madrid, 1877. Mopona, LEONELLO. La Saffo storica, ed il mito di Saffo e Faone, published in the Revista Internazionale, April 16, 1878, and reprinted, pp. 25. Florence, 1878. 8vo. CourtEr, P. L. Daphnis et Chloé, traduit par P. L. Courier. Suivi des Poésies d’Anacréon et de Sappho, Odes I and Il in French prose, pp. 45-49. Traduétion nouvelle d’aprés un Manuscrit de l’école d’Athénes. Paris, 1878. 8vo. Brass, FRIEDRICH of Kiel. Neue Fragmenta... der Sappho. Rhein. Mus., vol. xxxv, 1880, pp. 287-290. Rupio y Liucu, ANTONIO. ‘Trad. catalana de la oda a Afrodita y de frag. cons. por longino. Barcelona, 1880. Lewis, Mrs. Esteite. Sappho, a Tragedy in five acts, by * Stella.” Ed. 6th. London, 1881. 8vo. RocHE-AYMON, DE LA. Poésies de Anacréon et de Sappho (pp. 89-97). Traduétion en vers de M. de la Roche- Aymon, ancien professeur de rhetorique. Illustrations de P. Avril. Paris, 1882. 32mo. BERGK, THEODOR. Poetae Lyrici Graeci, ed. 4, vol. 3, pp. 82-140. Leipzig, 1882. 8vo. Merino, A. FERNANDEZ. Estudios de Literatura Griega. Safo ante la critica moderna. Ed. 3, pp. 80. Madrid, 1884. 8vo. Si 150 THE POEMS OF SAPPHO Brau, GasrieLt. La Gréce Poétique. Anacréon-Sappho. [Pp. 81-97.] Bion-Moschus-Théocrite. Paris, 1884. 12mo. Pomrow, Jon. Poetae Lyrici Graeci minores, vol. i, pp. 100-116, 341, 342. Leipzig, 1885. 2 vols., 16mo. Vrigs, S. G. DE. Epistula Sapphus ad Phaonem apparatu ctitico instructa, commentario illustrata, et Ovidio vindi- cata. An inaugural dissertation for the doétorate, Pp. ix, 155. Leyden, 1885. 8vo. j PauLipos JOACHEIM, J., of Lesbos, Ph.D. Zama 4H MytiAHNaia. Inaugural-Dissertion zur Erlangung der Doétorwiirde der hohen philisophischen Facultét der Universitat Erlangen vorgelegt. Leipzig, 1885. 8vo. Wuarton, H. T. Sappho: Memoir, Text, Selected Render- ings, etc. By Henry Thornton Wharton, M.A. London, 1885. 8vo. Reprinted several times. CoMPARETTI, PROFESSOR Domenico. Sappho nelle Antiche Rappresentanze Vascolari. Published in the Museo Italiano di Antichita Classica, pp. 41-80, with 4 plates. Firenze, 1886. 4to. PALGRAVE, FRANCIS TURNER, Professor of Poetty in the University of Oxford. A Le&ure on Poetry and the other Fine Arts, The National Review, O&. 1887, vol. x, pp. 202-218. LunrAK (LUNAR), JOHN, Phil. Mag. Quaestiones Sapphicae; accedit Corallarium criticum atque exegeticum ad Ovidi- % BIBLIOGRAPHY 151 anam, Sapphus Epistulam, pp. vi, 115. Kazan, Russia, 1888. 8vo. Freip, MicHaet. Long Ago, pp. 132. London, 1889. 8vo. TENNYSON, FREDERICK. The Isles of Greece. Sappho and Alcaeus. London, 1890. 8vo. FARNELL, G.S. Greek Lyric Poetry. London, 1891. 8vo. Easpy-Smirn, JAMEs S. The Songs of Sappho, pp. ix, 97. Washington, 1891. 8vo. HoskeEn, JAMES DrypDEN, “ the Postman-Poet.” Phaon and Sappho, a Play. Penzance, 1891. 8vo. Harrison, FREDERIC. The New Calendar of Great Men, pp. 46, 47. London, 1892. 8vo. The Atlantic Monthly, March 1894. The Sapphic Secret, by Maurice Thompson. Murray, GitBert. History of Ancient Greek Literature. London, 1902. 8vo. Tutin, J. R. Sappho: Odes and Fragments. Translated into English Verse. J.R.Tutin. Cottingham, near Hull, 1903. 8vo. HeapiamM, WALTER, Litt.D. A Book of Greek Verse. Cambridge, 1907. Contains a few Sapphic fragments, with text and translations. Sapho [sic] et Huit Poétesses Grecques. Texte et Traduc- tion. Paris, Lemerte, 1909. First 98 pages devoted to the Sapphic fragments with literal translation into French. 152 THE POEMS OF SAPPHO Sappho. Life and Work. London, Humphreys, 1910. 8vo. Royal Library, Belles Lettres Series. Supplementum lyricum. Neue Bruchstiicke v. Archilochus, Alcaeus, Sappho, Corinna, Pindar. Hrsg. u. erkl. v. E. Diehl. 2. od. 3. A. Bonn 1910 and 1917. Bascout, J. M. F, °H “ATNA 2ATI®Q, La Chaste Sappho de Lesbos et le Mouvement Feministe 4 Athénes au IV Siécle av. J.-C. J. M.F. Bascoul. Paris, 1911. 8vo. La Chaste Sappho de Lesbos et Stesichore, etc. J. M. F. Bascoul, D.M.M. Paris, 1913. 8vo. Patrick, Mary M. Sappho and the Island of Lesbos. Mary Mills Patrick. London [1912]. 8vo. Epmonps, J. M. Sappho in the added light of the new Fragments. Classical Society, Newnham College, 22nd Feb. 1912. Cambridge, J. M. Edmonds, 1912. 8vo. Von WILLAMOWITZ-MOELLENDORFF. Sappho und Simon- ides Untersuchlungen tiber Griechsiche Lyriker, von U. von Willamowitz-Moellendorff. Berlin, 1913. 8vo. This is an important contribution to the subjed. Tucker. Lecture delivered by Professor Tucker before the Classical Association of Victoria at Melbourne in 1913. Published in 1914. Patt X, Egypt Exploration Fund, Oxyrhynchus Papyri. London, 1914. 4to. This volume contains the results of very important discoveries in connection with Sappho. A nearly complete poem is contained in the fragments of BIBLIOGRAPHY 153 papyrus No, 1231. See also Classical Review, May and June 1914. Cox, E. M. Sappho and the Sapphic Metre in English. London, 1916. 8vo. STORER, Epwarp. Poems and Fragments of Sappho. Translated by Edward Storer [1916]. A small pamphlet with no title-page. Mitier, Marton M. Sappho’s Songs of Exile. By Marion Mills Miller. New York Independent, 4th Sept. 1916. STACPOOLE, H. pE V. Sappho: a new rendering. London [1920]. Way, ArtHour S., D.Litt. Sappho and the Vigil of Venus. Translated by Arthur S. Way. London, Macmillan, 1920. A paraphrase and condensation. Egypt Exploration Society. Oxyrhynchus Papyri. Part XV. Grenfell and Hunt. London and New York, 1922. This volume of the Egypt Exploration Society contains the results of an examination of the remains of what is apparently the sixth papyrus of Sappho so far obtained from Oxyrhynchus. The editors assign the fragments conjecturally to her fourth book, but these remains are so scanty and disconnected that their chief interest is etymological and dialectic. The editors state that the remains of at least eight poems can be distinguished in the papyrus numbered 1787. Epmonps, J. M. Lyra Graeca, being the Remains of all the 154 THE POEMS OF SAPPHO Greek Lyric Poets from Eumelus to Timotheus, except- ing Pindar. Newly edited and translated by J. M. Edmonds, etc. In Three Volumes. London and New York, 1922. Volume I contains a complete series of the known poems and fragments of Sappho, including the latest discoveries. Authorities are quoted in their original language and translations of the remarks of these authorities and of the fragments are given. The latest discoveries ate extensively emended, necessarily so owing to the very defective state of the papyri from which they come. The foregoing list does not include books which contain merely a reference to Sappho, or a short quotation from her works either in English or in Greek, with no bearing on the bibliography of the subject. THE END Caney DUAL LONDON : CHARLES WHITTINGHAM AND GRIGGS (PRINTERS), LTD, CHISWICK PRESS, TOOKS COURT, CHANCERY LANE. y Vi d . WAC ACh. aan nate a Bari aia 7 “prt hie: in a