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Salamis (search for this): chapter 11
ndon, 1865. It was among these well-trained women that the most eminent poetess of the world was born. Let us now turn and look upon her in her later abode of Mitylene; either in some garden of orange and myrtle, such as once skirted the city, or in that marble house which she called the dwelling of the Muses. *mousopo/lwZZZ oi)ki/an.> Let us call around her, in fancy, the maidens who have come from different parts of Greece to learn of her. Anactoria is here from Miletus, Eunica from Salamis, Gongyla from Colophon, and others from Pamphylia and the isle of Telos. Erinna and Damophyla. study together the complex Sapphic metres: Atthis learns how to strike the harp with the plectron, Sappho's invention; Mnasidica embroiders a sacred robe for the temple. The teacher meanwhile corrects the measures of one, the notes of another, the stitches of a third, then summons all from their work to rehearse together some sacred chorus or temple ritual; then stops to read a verse of her own
Charmides (search for this): chapter 11
n society in the reports of Maximus Tyrius, whom Felton strangely calls a tedious writer of the time of the Antonines, but who seems to me often to rival Epictetus and Plutarch in eloquence and nobleness of tone. In his eighth dissertation he draws a parallel between the instruction given by Socrates to men and that afforded by Sappho to women. Each, he says, appears to me to deal with the same kind of love, the one as subsisting among males, the other among females. What Alcibiades and Charmides and Phaedrus are with Socrates, that Gyrinna and Atthis and Anactoria are with the Lesbian. And what those rivals Prodicus, Gorgias, Thrasymachus, and Protagoras are to Socrates, that Gorgo and Andromeda are to Sappho. At one time she reproves, at another she confutes these, and addresses them in the same ironical language with Socrates. Then he draws parallels between the writings of the two. Diotima says to Socrates that love flourishes in abundance, but dies in want. Sappho conveys
Phaon (search for this): chapter 11
rd womanly virtue as only a pretty fable. He took up the tale of Sappho, conjured up a certain Phaon, with whom she might be enamored, and left her memory covered with stains such as even the Leuca review of Neue's edition of her works, first published in 1828 (K. S., 1. 110), and Sappho unmd Phaon, published in 1863, a review of Mure and Theodor Kock (K. S., V. 228). from which all modern estvoluminous authors. But perhaps these specimens are enough. It remains to say that the name of Phaon, who is represented by Ovid as having been her lover, is not once mentioned in these fragments, s of Aphrodite and Adonis, who was called by the Greeks Phethon or Phaon. It was said that this Phaon was a ferryman at Mitylene, who was growing old and ugly till he rowed Aphrodite in his boat, an of little consequence; Sappho doubtless had lovers, and one of them may as well have been named Phaon as anything else. But to lose her fabled leap from the Leucadian promontory would doubtless b
Cleopatra (search for this): chapter 11
cily, perhaps to escape the political persecutions that prevailed in the island. It is not necessary to assume that she had reached an advanced age when she spoke of herself as one of the elders, gerai/tera inasmuch as people are quite as likely to use that term of mild self-reproach while young enough for somebody to contradict them. It is hard to ascertain whether she possessed beauty even in her prime. Tradition represents her as having been little and dark, but tradition describes Cleopatra in the same way; and we should clearly lose much from history by ignoring all the execution done by small brunettes. The Greek Anthology describes her as the pride of the lovely-haired Lesbianis ; Plato calls her the beautiful Sappho or the fair Sappho, *sapfou=s th=s kalh=s. Phaedr. 24. Homer celebrates the beauty of the Lesbian women in his day. Iliad, 9.129, 271.--as you please to render the phrase more or less ardently,--and Plutarch and Athenaeus use similar epithets. But when Pr
Gorgo (search for this): chapter 11
nobleness of tone. In his eighth dissertation he draws a parallel between the instruction given by Socrates to men and that afforded by Sappho to women. Each, he says, appears to me to deal with the same kind of love, the one as subsisting among males, the other among females. What Alcibiades and Charmides and Phaedrus are with Socrates, that Gyrinna and Atthis and Anactoria are with the Lesbian. And what those rivals Prodicus, Gorgias, Thrasymachus, and Protagoras are to Socrates, that Gorgo and Andromeda are to Sappho. At one time she reproves, at another she confutes these, and addresses them in the same ironical language with Socrates. Then he draws parallels between the writings of the two. Diotima says to Socrates that love flourishes in abundance, but dies in want. Sappho conveys the same meaning when she calls love sweetly bitter and a painful gift. Socrates calls love a sophist, Sappho a ringlet of words. Socrates says that he is agitated with Bacchic fury through
Corinna (search for this): chapter 11
hink that he is too easily pleased with the outside of the lady's head, however it may have been with the inside. The most interesting intellectual fact in Sappho's life was doubtless her relation to her great townsman Alcaeus. These two will always be united in fame as the joint founders of the lyric poetry of Greece, and therefore of the world. Anacreon was a child, or perhaps unborn, when they died; and Pindar was a pupil of women who seem to have been Sappho's imitators, Myrtis and Corinna. The Latin poets Horace and Catullus, five or six centuries after, drew avowedly from these Aeolian models, to whom nearly all their metres have been traced back. Horace wrote of Alcaeus: The Lesbian poet sang of war amid the din of arms, or when he had bound the storm-tossed ship to the moist shore, he sang of Bacchus, and the Muses, of Venus and the boy who clings forever by her side, and of Lycus, beautiful with his black hair and black eyes. Carm. 1.32.5. But the name of the Greek
Adonis (search for this): chapter 11
er. And thus we might go on through the literature of Greece, peering after little grains of Sappho among the rubbish of voluminous authors. But perhaps these specimens are enough. It remains to say that the name of Phaon, who is represented by Ovid as having been her lover, is not once mentioned in these fragments, and the general tendency of modern criticism is to deny his existence. Some suppose him to have been a merely mythical being, based upon the supposed loves of Aphrodite and Adonis, who was called by the Greeks Phethon or Phaon. It was said that this Phaon was a ferryman at Mitylene, who was growing old and ugly till he rowed Aphrodite in his boat, and then refused payment; on which she gave him for recompense youth, beauty, and Sappho. This was certainly, Take, O boatman, thrice thy fee, as in Uhland's ballad; but the Greek passengers have long since grown as shadowy as the German, and we shall never know whether this oarsman really ferried himself into the favor of
Plato (search for this): chapter 11
arly lose much from history by ignoring all the execution done by small brunettes. The Greek Anthology describes her as the pride of the lovely-haired Lesbianis ; Plato calls her the beautiful Sappho or the fair Sappho, *sapfou=s th=s kalh=s. Phaedr. 24. Homer celebrates the beauty of the Lesbian women in his day. Iliad, 9.129,on that the recitation of one of her poems so affected the great lawgiver Solon, that he expressed the wish that he might not die till he had learned it by heart. Plato called her the tenth Muse. Others described her as uniting in herself the qualities of Muse and Aphrodite; and others again as the joint foster-child of Aphrodite pointed the way to the solution,--to create a civilization where the highest culture shall be extended to woman also. It is not enough that we should dream, with Plato, of a republic where man is free and woman but a serf. The aspirations of modern life culminate, like the greatest of modern poems, in the elevation of womanhood.
Lycus (search for this): chapter 11
ed; and Pindar was a pupil of women who seem to have been Sappho's imitators, Myrtis and Corinna. The Latin poets Horace and Catullus, five or six centuries after, drew avowedly from these Aeolian models, to whom nearly all their metres have been traced back. Horace wrote of Alcaeus: The Lesbian poet sang of war amid the din of arms, or when he had bound the storm-tossed ship to the moist shore, he sang of Bacchus, and the Muses, of Venus and the boy who clings forever by her side, and of Lycus, beautiful with his black hair and black eyes. Carm. 1.32.5. But the name of the Greek singer is still better preserved to Anglo-Saxons through an imitation of a single fragment by Sir William Jones,--the noble poem beginning What constitutes a state? It is worth while to remember that we owe these fine lines to the lover of Sappho. And indeed the poems of Alcaeus, so far as they remain, show much of the grace and elegance of Horace, joined with a far more heroic tone. His life was spe
Welcker (search for this): chapter 11
celle. In place of that heroic image there would have remained to us only a monster of profligacy, unless some possible Welcker had appeared, long centuries after, to right the wrong. The remarkable essay of Welcker, Sappho von einem herrschendWelcker, Sappho von einem herrschenden Vorurtheil befreit, Welcker, Kleine Schriften, II. 80. See also his Sappho, a review of Neue's edition of her works, first published in 1828 (K. S., 1. 110), and Sappho unmd Phaon, published in 1863, a review of Mure and Theodor Kock (K. S., V. Welcker, Kleine Schriften, II. 80. See also his Sappho, a review of Neue's edition of her works, first published in 1828 (K. S., 1. 110), and Sappho unmd Phaon, published in 1863, a review of Mure and Theodor Kock (K. S., V. 228). from which all modern estimates of Sappho date, was first published in 1816, under the title, Sappho vindicated from a prevailing prejudice. It was a remarkable instance of the power of a single exhaustive investigation to change the verdictgatives of genius, and daring to compete with men in the struggle for fame and glory. Indeed, I know of no writer since Welcker who has seriously attempted to impugn his conclusions, except Colonel Mure, an Edinburgh advocate, whose onslaught upon
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