{
 "field": [
  {
   "id": "B1",
   "card": "Wikipedia — Sappho 31",
   "url": "https://en.wikipedia.org/wiki/Sappho_31",
   "fetched": "page text by HTTP fetch, verbatim excerpts 2026-10-07"
  },
  {
   "id": "B2",
   "card": "Literary Matters — Sappho 31 - Chris Childers - Literary Matters",
   "url": "https://www.literarymatters.org/1-1-sappho-31/",
   "fetched": "page text by HTTP fetch, verbatim excerpts 2026-10-07"
  },
  {
   "id": "B3",
   "card": "The Slowdown — 1185: Fragment 31 by Sappho, translated by Christopher Childers",
   "url": "https://www.slowdownshow.org/episode/2024/08/16/1185-fragment-31-by-sappho-translated-by-christopher-childers",
   "fetched": "page text by HTTP fetch, verbatim excerpts 2026-10-07"
  },
  {
   "id": "B4",
   "card": "W. W. Norton & Company — TRANSLATION LAB: Sappho, Poem 31 - W.W. Norton",
   "url": "https://nerd.wwnorton.com/ebooks/epub/worldlit5/EPUB/content/1.2.3.0.0.0-chapter04.xhtml",
   "fetched": "page text by HTTP fetch, verbatim excerpts 2026-10-07"
  },
  {
   "id": "B5",
   "card": "EduBirdie — Sappho's Fragment 31: Jealousy, Desire, Longing",
   "url": "https://hub.edubirdie.com/examples/analysis-of-sapphos-fragment-31-in-the-light-of-jealousy-the-triangle-of-desire-and-erotic-longing/",
   "fetched": "page text by HTTP fetch, verbatim excerpts 2026-10-07"
  },
  {
   "id": "B6",
   "card": "YouTube·Octo — Read Ancient Greek: Sappho 31 (29:47)",
   "url": null,
   "fetched": "not fetched: YouTube, title only (rule)"
  }
 ],
 "field_claims": {
  "F1": {
   "source": "B1",
   "locus": "lead",
   "quote": "\"Sappho 31 is a lyric poem by the Archaic Greek poet Sappho of the island of Lesbos.\"",
   "claim": "A lyric poem by the Archaic Greek poet Sappho of Lesbos",
   "modality": "stipulation",
   "kernel": true,
   "const": true,
   "lineage": "s31-identity"
  },
  "F2": {
   "source": "B1",
   "locus": "lead",
   "quote": "\"The poem is also known as phainetai moi (φαίνεταί μοι lit. 'It seems to me') after the opening words of its first line\"",
   "claim": "Also known as phainetai moi, from its opening words",
   "modality": "documented",
   "kernel": false,
   "const": true,
   "lineage": "s31-names"
  },
  "F3": {
   "source": "B1",
   "locus": "lead",
   "quote": "\"as the Ode to Anactoria, based on a conjecture that its subject is Anactoria, a woman mentioned elsewhere by Sappho\"",
   "claim": "The title Ode to Anactoria rests on a conjecture",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-names"
  },
  "F4": {
   "source": "B1",
   "locus": "lead",
   "quote": "\"It is one of Sappho's most famous poems, describing her love for a young woman.\"",
   "claim": "One of Sappho's most famous poems, describing her love for a young woman",
   "modality": "documented",
   "kernel": true,
   "const": false,
   "lineage": "s31-subject-love"
  },
  "F5": {
   "source": "B1",
   "locus": "Preservation",
   "quote": "\"preserved in the first-century AD treatise on aesthetics On the Sublime\"",
   "claim": "Preserved in the first-century AD treatise On the Sublime",
   "modality": "documented",
   "kernel": false,
   "const": true,
   "lineage": "s31-preserved-by-longinus"
  },
  "F6": {
   "source": "B1",
   "locus": "Preservation",
   "quote": "\"Four stanzas are well-preserved, followed by part of one more line; this, as well as Catullus' adaptation of the poem, suggests that there was originally one more stanza of the poem,\"",
   "claim": "Four stanzas and part of a line survive; probably one more stanza originally",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-incomplete"
  },
  "F7": {
   "source": "B1",
   "locus": "Preservation",
   "quote": "\"A reconstruction of the poem by classicist Armand D'Angour suggests that the original poem may have had up to 8 stanzas.\"",
   "claim": "D'Angour's reconstruction: up to 8 stanzas",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-incomplete"
  },
  "F8": {
   "source": "B1",
   "locus": "Poem",
   "quote": "\"Fragment 31 is composed in Sapphic stanzas, a metrical form named after Sappho and consisting of stanzas of three long followed by one short line.\"",
   "claim": "Composed in Sapphic stanzas",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-metre"
  },
  "F9": {
   "source": "B1",
   "locus": "Poem",
   "quote": "\"The poem is written in the Aeolic dialect\"",
   "claim": "Written in the Aeolic dialect",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-dialect"
  },
  "F10": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"The poem centres around three characters: a man and a woman, both otherwise unidentified, and the speaker.\"",
   "claim": "Three characters: a man, a woman, the speaker",
   "modality": "documented",
   "kernel": false,
   "const": true,
   "lineage": "s31-scene"
  },
  "F11": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"The context of the poem has been the subject of much scholarly debate: Thomas McEvilley calls it the \"central controversy\" about the poem.\"",
   "claim": "The poem's context is debated; McEvilley's 'central controversy'",
   "modality": "contested",
   "kernel": true,
   "const": false,
   "lineage": "s31-context-debated"
  },
  "F12": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"Wilamowitz suggested that the poem was a wedding song, and that the man mentioned in the initial stanza of the poem was the bridegroom.\"",
   "claim": "Wilamowitz: a wedding song, the man the bridegroom",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-wedding-song"
  },
  "F13": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"Since the second half of the twentieth century, scholars have tended to follow Denys Page in dismissing the wedding-song argument.\"",
   "claim": "Scholars since mid-century follow Page in dismissing the wedding-song argument",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-wedding-song"
  },
  "F14": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"the man's role is to act as a \"contrast figure\",\"",
   "claim": "The man as a 'contrast figure'",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-that-man"
  },
  "F15": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"John Winkler argues that \"'That man' in poem 31 is like the military armament in poem 16, an introductory set-up to be dismissed\".\"",
   "claim": "Winkler: that man is an introductory set-up to be dismissed",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-that-man"
  },
  "F16": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"As far back as the eighteenth century, it has been proposed that the poem is about Sappho's jealousy of the man who sits with her beloved.\"",
   "claim": "Since the eighteenth century the poem has been read as jealousy",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-jealousy"
  },
  "F17": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"Though this is still a popular interpretation of the poem, many critics deny that the fragment is about jealousy at all.\"",
   "claim": "Many critics deny the poem is about jealousy",
   "modality": "contested",
   "kernel": false,
   "const": false,
   "lineage": "s31-jealousy"
  },
  "F18": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"Anne Carson argues that Sappho has no wish to take the man's place, nor is she concerned that he will usurp hers: thus, she is not jealous of him, but amazed at his ability to retain his composure so close to the object of her desire.\"",
   "claim": "Carson: not jealousy, amazement at his composure",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-jealousy"
  },
  "F19": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"Joan DeJean criticises the \"jealousy\" interpretation of the poem as intended to play down the homoeroticism of the poem.\"",
   "claim": "DeJean: the jealousy reading plays down the homoeroticism",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-jealousy"
  },
  "F20": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"Armand D'Angour argues that the phrase ἀλλὰ πὰν τόλματον means \"all must be dared\", rather than \"endured\" as it is sometimes translated.\"",
   "claim": "D'Angour: 'all must be dared', not 'endured'",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-final-line"
  },
  "F21": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"An alternative reading is suggested by Gallavotti: according to his thesis, the text was corrupted over time as a result of the disappearance of the sound [w]\"",
   "claim": "Gallavotti: the opening corrupted by loss of digamma (phainetai woi)",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-opening-text"
  },
  "F22": {
   "source": "B1",
   "locus": "Contents",
   "quote": "\"In 1970, an article by Hungarian-French psychoanalyst George Devereux suggested that what Sappho is describing here is a seizure, pointing that the symptoms listed in the fragment are the same symptoms of an anxiety attack.\"",
   "claim": "Devereux (1970): the symptoms are those of an anxiety attack",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-symptoms"
  },
  "F23": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"according to Emmet Robbins, \"probably the single most famous poem to come down from Antiquity\".\"",
   "claim": "Robbins: probably the most famous poem from Antiquity",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-fame"
  },
  "F24": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"has been the subject of more scholarly commentary than any other of her works.\"",
   "claim": "More commentary than any other of Sappho's works",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-fame"
  },
  "F25": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"In ancient Rome, the poet Catullus adapted it into his 51st poem, putting his muse Lesbia into the role of Sappho's beloved.\"",
   "claim": "Catullus adapted it as poem 51, with Lesbia as the beloved",
   "modality": "documented",
   "kernel": true,
   "const": false,
   "lineage": "s31-catullus-51"
  },
  "F26": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"The ancient Greek authors Theocritus and Apollonius of Rhodes both adapted the poem\"",
   "claim": "Theocritus and Apollonius adapted it",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-ancient-adaptation"
  },
  "F27": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"The poem is quoted in Longinus's treatise On the Sublime for the intensity of its emotion,\"",
   "claim": "Longinus quotes it for the intensity of its emotion",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-preserved-by-longinus"
  },
  "F28": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"Plato draws on it in Socrates' second speech on love in the Phaedrus,\"",
   "claim": "Plato draws on it in the Phaedrus",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-ancient-adaptation"
  },
  "F29": {
   "source": "B1",
   "locus": "Reception and influence",
   "quote": "\"In the nineteenth century, the poem began to be seen as an exemplar of Romantic lyric,\"",
   "claim": "Nineteenth century: an exemplar of Romantic lyric",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-modern-reception"
  },
  "F30": {
   "source": "B2",
   "locus": "Note",
   "quote": "\"This deservedly famous poem is quoted in the first- or third-century A.D. treatise On the Sublime attributed to Longinus\"",
   "claim": "Quoted in On the Sublime, first- or third-century, attributed to Longinus",
   "modality": "documented",
   "kernel": true,
   "const": false,
   "lineage": "s31-preserved-by-longinus"
  },
  "F31": {
   "source": "B2",
   "locus": "Note",
   "quote": "\"the selection of the most striking of them and their combination into a single whole that has produced the singular excellence of the passage\"",
   "claim": "Longinus: excellence lies in selecting and combining the symptoms",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-longinus-concourse"
  },
  "F32": {
   "source": "B2",
   "locus": "Note",
   "quote": "\"scholars have spent a lot of time trying to pinpoint the significance of the man in the first stanza, and whether Sappho’s symptoms are of eros or envy.\"",
   "claim": "Scholars debate the man and whether the symptoms are eros or envy",
   "modality": "contested",
   "kernel": false,
   "const": false,
   "lineage": "s31-context-debated"
  },
  "F33": {
   "source": "B2",
   "locus": "Note",
   "quote": "\"that very “unpin-down-able” quality, that slippery multivalence under a limpid surface, the strangeness at the heart, is an intimate part of the poem’s appeal.\"",
   "claim": "Childers: the poem's multivalence is part of its appeal",
   "modality": "interpretation",
   "kernel": true,
   "const": false,
   "lineage": "s31-multivalence"
  },
  "F34": {
   "source": "B2",
   "locus": "Note",
   "quote": "\"Though it feels complete, the poem is a fragment: for some reason “Longinus” leaves off his quotation one line into the fifth stanza, which begins “Still, all must be endured, since even a poor…”\"",
   "claim": "The quotation breaks off one line into the fifth stanza",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-incomplete"
  },
  "F35": {
   "source": "B2",
   "locus": "Note",
   "quote": "\"Catullus goes a different way in the final stanza of his famous free translation, poem 51\"",
   "claim": "Catullus 51, a free translation, diverges in its final stanza",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-catullus-51"
  },
  "F36": {
   "source": "B3",
   "locus": "Major Jackson's introduction",
   "quote": "\"Today’s lyric poem was written in the fifth century B.C., although it reads as if it were written yesterday.\"",
   "claim": "Jackson dates the poem to the fifth century B.C.",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-date"
  },
  "F37": {
   "source": "B3",
   "locus": "Major Jackson's introduction",
   "quote": "\"The portrait of a speaker viscerally filled with jealousy is evidence of the endurance of human emotions across the ages.\"",
   "claim": "Jackson: a speaker filled with jealousy; emotions endure",
   "modality": "interpretation",
   "kernel": true,
   "const": false,
   "lineage": "s31-jealousy"
  },
  "F38": {
   "source": "B4",
   "locus": "headnote",
   "quote": "\"The poem describes the response of the speaker, a woman, to watching another woman talking to a man. (The grammar of the original Greek makes the gender of each figure clear.)\"",
   "claim": "The speaker is a woman watching another woman talking to a man; the Greek makes genders clear",
   "modality": "documented",
   "kernel": true,
   "const": true,
   "lineage": "s31-scene"
  },
  "F39": {
   "source": "B4",
   "locus": "headnote",
   "quote": "\"then, in an extraordinary switch, focuses in detail on herself and her own intense contradictory bodily emotions of jealousy and desire.\"",
   "claim": "The poem switches to the speaker's contradictory bodily emotions of jealousy and desire",
   "modality": "interpretation",
   "kernel": false,
   "const": false,
   "lineage": "s31-symptoms"
  },
  "F40": {
   "source": "B4",
   "locus": "headnote",
   "quote": "\"as preserved (through a quotation in On the Sublime, a Roman Imperial–era Greek treatise), it seems to be missing the ending.\"",
   "claim": "Preserved by quotation in On the Sublime; seems to lack its ending",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-incomplete"
  },
  "F41": {
   "source": "B4",
   "locus": "headnote",
   "quote": "\"The fragmentary final stanza is treated differently by the translators: Barnard skips it altogether; Carson treats it as a call to action, and Poochigian presents it as a moment of self-hating submission.\"",
   "claim": "Translators treat the fragmentary final stanza differently",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-final-line"
  },
  "F42": {
   "source": "B4",
   "locus": "headnote",
   "quote": "\"Catullus, who had access to the whole original, provides a very different final stanza.\"",
   "claim": "Catullus had the whole original and wrote a very different final stanza",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-catullus-51"
  },
  "F43": {
   "source": "B4",
   "locus": "Critical thinking questions",
   "quote": "\"this is unambiguously a poem about same-sex desire.\"",
   "claim": "Unambiguously a poem about same-sex desire",
   "modality": "interpretation",
   "kernel": false,
   "const": false,
   "lineage": "s31-subject-love"
  },
  "F44": {
   "source": "B4",
   "locus": "Critical thinking questions",
   "quote": "\"In the original, Sappho uses a series of different syntactical subjects for the sentence that straddles the third and fourth stanzas: “tongue,” “fire,” “seeing/eyes,” “hearing/ears,” “sweat,” and “trembling” are all grammatical subjects of the verbs—rather than “I.”\"",
   "claim": "The body parts, not 'I', are the grammatical subjects; Carson keeps this",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-symptoms"
  },
  "F45": {
   "source": "B5",
   "locus": "opening",
   "quote": "\"The theory that Sappho’s emotions are that of jealousy and envy is a major theory put forward by many critics.\"",
   "claim": "The jealousy theory is a major theory among critics",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-jealousy"
  },
  "F46": {
   "source": "B5",
   "locus": "opening",
   "quote": "\"The identification of ‘that man’ in Sappho’s best-known poem, has proven to be one of the most complex and difficult problems in the interpretation of her extant poetry.\"",
   "claim": "Identifying 'that man' is among the hardest problems",
   "modality": "contested",
   "kernel": true,
   "const": false,
   "lineage": "s31-that-man"
  },
  "F47": {
   "source": "B5",
   "locus": "body",
   "quote": "\"Longinus, a Greek teacher writing under the Roman Empire hundreds of years after Sappho’s lifetime, explains what is so unforgettable about Sappho\"",
   "claim": "Longinus, writing under the Roman Empire, explains its excellence",
   "modality": "attributed",
   "kernel": false,
   "const": false,
   "lineage": "s31-longinus-concourse"
  },
  "F48": {
   "source": "B5",
   "locus": "body",
   "quote": "\"This poem has no explicit mention of a marriage\"",
   "claim": "The poem does not mention marriage",
   "modality": "documented",
   "kernel": false,
   "const": false,
   "lineage": "s31-wedding-song"
  },
  "F49": {
   "source": "B6",
   "locus": "card title",
   "quote": "\"Read Ancient Greek: Sappho 31\"",
   "claim": "A reading of the poem in Ancient Greek (video)",
   "modality": "self-description",
   "kernel": false,
   "const": false,
   "lineage": "s31-greek-reading"
  }
 }
}