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Diotima (search for this): chapter 11
ve, 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 the love of Phoedrus; but she that love shakes her mind as the wind when it falls on mountain-oaks. Socrates reproves Xantippe when she laments that he must die, and Sappho writes to her daughter, Grief is not lawful
Aphrodite (search for this): chapter 11
er as uniting in herself the qualities of Muse and Aphrodite; and others again as the joint foster-child of AphAphrodite, Cupid, and the Graces. Grammarians lectured on her poems and wrote essays on her metres; and her imagesome such grace, even to a translation. Hymn to Aphrodite. Beautiful-throned, immortal Aphrodite! Daughter oAphrodite! Daughter of Zeus, beguiler, I implore thee, Weigh me not down with weariness and anguish, O thou most holy! Come to me nthou shouldst spurn him.” Thus seek me now, O holy Aphrodite! Save me from anguish, give me all I ask for, Gift. It should be:-- So much I love the youth, by Aphrodite's charm. Percival also translates one striking a flash of beauty. It breathes of love, welcomes Aphrodite, adorns itself with fragrant leaves, and is deckedy mythical being, based upon the supposed loves of Aphrodite and Adonis, who was called by the Greeks Phethon otylene, who was growing old and ugly till he rowed Aphrodite in his boat, and then refused payment; on which sh
Aspasia (search for this): chapter 11
band has good reason to wish it were not. Precisely thus did an Athenian view a Lesbian woman; and if she collected round her a class of young pupils for instruction, so much the worse. He could no more imagine any difference between Sappho and Aspasia, than could a Frenchman between Margaret Fuller and George Sand. To claim any high moral standard, in either case, would merely strengthen the indictment by the additional count of hypocrisy. Better Aspasia than a learned woman who had the effAspasia than a learned woman who had the effrontery to set up for the domestic virtues. The stories that thus gradually came to be told about Sappho in later years — scandal at longer and longer range — were simply inevitable, from the point of view of Athens. If Aristophanes spared neither Socrates nor Euripides, why should his successors spare Sappho? Therefore the reckless comic authors of that luxurious city, those Pre-Bohemians of literature, made the most of their game. Ameipsias, Amphis, Antiphanes, Diphilus, Ephippus, Timoc
Thrasymachus (search for this): chapter 11
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 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
Protagoras (search for this): chapter 11
s such as was nowhere else seen; the dignity of maidenhood was celebrated in public songs, called Parthenia, which were peculiar to Sparta; and the women took so free a part in the conversation, that Socrates, in a half-sarcastic passage in the Protagoras, compares their quickness of wit to that of the men. The best authority in regard to the Spartan women is K. O. Muller's Dorier, Book IV. c. IV., also Book V. c. VIII. 5 (Eng. tr. Vol. II. pp. 290--300; also p. 311). For his view of the wo, 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. Diotim
Sappho (search for this): chapter 11
arns how to strike the harp with the plectron, Sappho's invention; Mnasidica embroiders a sacred rob said Strabo, writing a little before our era, Sappho, a wondrous creature; for we know not any womanor Euripides, why should his successors spare Sappho? Therefore the reckless comic authors of th only a pretty fable. He took up the tale of Sappho, conjured up a certain Phaon, with whom she mieucadian leap could not purge. Finally, since Sappho was a heathen, a theologian was found at last l, for instance, says of it: The tenderness of Sappho, whose character has been rescued, by one of twas this Lesbian school that assembled around Sappho? Mure pronounces it to have been a school of and appealed to Sappho, who thus replied:-- Sappho's solution. A letter is a thing essentiallyt it seems rather a pity that this memorial of Sappho should be preserved, while her solemn hymns andess or of dame. It is of little consequence; Sappho doubtless had lovers, and one of them may as w[54 more...]
William Jones (search for this): chapter 11
n 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 spent amid political convulsions, in which he was prominent, and, in spite of his fine verses, it is suspected, from the evidence remaining, that he was a good deal of a fop and not much of a soldier
John Knox (search for this): chapter 11
she has shared the fortunes of others of her sex, endowed like her with God's richest gifts of intellect and heart, who have been the victims of remorseless calumny for asserting the prerogatives 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 Sappho is so vehement that Felton compares it to that of John Knox on Mary Stuart, and finds in it proof of a constitutional hostility between Scotch Presbyterians and handsome women. But Mure's scholarship is not high, when tried by the German standard, whatever it may be according to the English or American. His book is also somewhat vitiated in this respect by being obviously written under a theory, namely, that love, as a theme for poetry, is a rather low and debasing thing; that the subordinate part it plays in Homer is one reason why Homer is gr
Adv (search for this): chapter 11
of Sappho, conjured up a certain Phaon, with whom she might be enamored, and left her memory covered with stains such as even the Leucadian leap could not purge. Finally, since Sappho was a heathen, a theologian was found at last to make an end of her; the Church put an apostolic sanction upon these corrupt reveries of the Roman profligate, and Tatian, the Christian Father, fixed her name in ecclesiastical tradition as that of an impure and love-sick woman who sings her own shame. Tatian, Adv. Grecos, c. 33. Ovid, Heroid., 15.61-70. The process has, alas! plenty of parallels in history. Worse, for instance, than the malice of the Greek comedians or of Ovid — since they possibly believed their own stories — was the attempt made by Voltaire to pollute, through twenty-one books of an epic poem, the stainless fame of his own virgin country-woman, Joan of Arc. In that work he revels in a series of impurities so loathsome that the worst of them are omitted from the common edition
Euripides (search for this): chapter 11
Frenchman between Margaret Fuller and George Sand. To claim any high moral standard, in either case, would merely strengthen the indictment by the additional count of hypocrisy. Better Aspasia than a learned woman who had the effrontery to set up for the domestic virtues. The stories that thus gradually came to be told about Sappho in later years — scandal at longer and longer range — were simply inevitable, from the point of view of Athens. If Aristophanes spared neither Socrates nor Euripides, why should his successors spare Sappho? Therefore the reckless comic authors of that luxurious city, those Pre-Bohemians of literature, made the most of their game. Ameipsias, Amphis, Antiphanes, Diphilus, Ephippus, Timocles, all wrote farces bearing the name of a woman who had died in excellent repute, so far as appears, two centuries before. With what utter recklessness they did their work is shown by their naming as her lovers Archilochus, who died before she was born, and Hippona
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