SAPPHO
AND HER INFLUENCE

BY
DAVID M. ROBINSON, Ph.D., LL.D.

W. H. Collins Vickers Professor of Archaeology and
Epigraphy and Lecturer on Greek Literature
The Johns Hopkins University

MARSHALL JONES COMPANY
BOSTON · MASSACHUSETTS

COPYRIGHT · 1924 · BY MARSHALL JONES COMPANY

All rights reserved

Printed December, 1924

THE PLIMPTON PRESS · NORWOOD · MASSACHUSETTS
PRINTED IN THE UNITED STATES OF AMERICA

To

THE MEMORY OF
BASIL LANNEAU GILDERSLEEVE
MASTER, COLLEAGUE, AND FRIEND

AND TO MY FORMER TEACHERS

EDWARD CAPPS
PAUL SHOREY
ULRICH von WILAMOWITZ-MOELLENDORFF

CONTENTS

ILLUSTRATIONS

SAPPHO AND HER INFLUENCE

I. SOME APPRECIATIONS, ANCIENT AND MODERN

The name of Sappho will never die. But it lives in most of the minds that know it at all to-day as hardly more than the hazy nucleus of a ragged fringe suggestive of erotic thoughts or of sexual perversion. Very seldom does it evoke the vision of a great and pure poetess with marvellous expressions of beauty, grace, and power at her command, who not only haunts the dawn of Grecian Lyric poetry but lives in scattered and broken lights that glint from vases and papyri and from the pages of cold grammarians and warm admirers, whose eulogies we would gladly trade for the unrecorded poems which they quote so meagerly. Sappho has furnished the title of such a novel as Daudet’s Sapho. It figures in suggestive moving pictures.1 The name will answer prettily as that of a bird or even a boat such as the yacht with which Mr. Douglas defended the American cup in 1871. The modern idea of Sappho truly seems to be based mainly on Daudet, who with Pierre Louys in recent times has done most to degrade her good character and who goes so far as to say that “the word Sappho itself by the force of rolling descent through ages is encrusted with unclean legends and has degenerated from the name of a goddess to that of a malady.” But to the lover of lyrics, who is also a student of Greek Literature in Greek, this poetess of passion becomes a living and illustrious personality, who of all the poets of the world, as Symonds says, is the “one whose every word has a peculiar and unmistakable perfume, a seal of absolute perfection and inimitable grace.” “Sappho,” says Tennyson in The Princess, “in arts of grace vied with any man.” She is one whose fervid fragments, as the great Irish translator of the Odes of Anacreon and the Anacreontics, Thomas Moore, says in his Evenings in Greece,

a prophecy still true even in this materialistic day. Sappho, herself, had intimations of immortality, for she writes with perfect beauty and modesty:

This brief, pellucid verse Swinburne in his Anactoria has distorted into the gorgeous emotional rhetoric of fourteen verses. But its own quiet prophecy stands good to-day. A fragment first published in 19222 also seems to make her say:

In general, antiquity thought of her as “the poetess” κατ’ἐξοχήν, ἡ ποιήτρια,3 just as Professor Harmon has recently shown4 that “the poet” in ancient literature means Homer. Down to the present day Sappho has kept the definite article which antiquity gave her and has been called the poetess, though we must be careful to test a writer’s use of the term. Therefore, we must not understand by the absence of any added epithet, as Wharton does, that Tennyson rates her higher than all other poets, merely because in Locksley Hall, Sixty Years After he speaks of Sappho as “The Poet,” having called her in his youth “The Ancient Poetess,”5—for he also speaks of Dante as “The Poet,” when in Locksley Hall he says, “this is truth the poet sings,” and then cites verse 121 of the Inferno. It is rare, however, even in modern times to find Sappho classed with any other poet as a peer, as in the beautiful tribute To Christina Rossetti of William Watson, one of the best modern writers of epigrams, where Mrs. Browning and Sappho are the two other women referred to:

In ancient days Pinytus (1st cent. A.D.) composed this epigram:6

Tullius Laureas, who wrote both in Greek and Latin about 60 B.C., puts into her mouth the following: “When you pass my Aeolian grave, stranger, call not the songstress of Mytilene dead. For ’tis true this tomb was built by the hands of men, and such works of humankind sink swiftly into oblivion; yet if you ask after me for the sake of the holy Muses from each of whom I have taken a flower for my posy of nine, you shall know that I have escaped the darkness of Death, and no sun shall ever rise that keepeth not the name of the lyrist Sappho.” (Edmonds, with variations.)

Posidippus7 (250 B.C.) says:

Horace8 says:

That inadequate and misleading metaphor of fire, as Mackail says, recurs in all her eulogists. Μεμιγμένα πυρὶ φθέγγεται, “her words are mingled with fire,” writes Plutarch,9 but the “fire” of the burning Sappho is not raging hot, it is an unscorching calm, brilliant lustre that makes other poetry seem cold by comparison. No wonder that Hermesianax10 (about 290 B.C.) called her “that nightingale of hymns” and Lucian11 “the honeyed boast of the Lesbians.” Strabo (1 A.D.) said: “Sappho is a marvellous creature (θαυμαστόν τι χρῆμα), in all history you will find no woman who can challenge comparison with her even in the slightest degree.” Antipater of Thessalonica (10 B.C.) named Sappho as one of the nine poetesses who were god-tongued and called her one of the nine muses: “The female Homer: Sappho pride and choice of Lesbian dames, whose locks have earned a name.”12 In another epigram in the Anthology,13 probably from the base of a lost statue of Sappho in the famous library at Pergamum,14 and which Jucundus and Cyriac were able to cite many hundreds of years later, Antipater says,

are the words of Plato in Lord Neaves’ translation of an epigram of which Wilamowitz15 now timidly defends the genuineness. Antipater of Sidon (150 B.C.)16 in his encomium on Sappho tells how

He also speaks17 of Sappho as “one that is sung for a mortal Muse among Muses immortal ... a delight unto Greece.” Dioscorides18 (180 B.C.) says: “Sappho, thou Muse of Aeolian Eresus, sweetest of all love-pillows unto the burning young, sure am I that Pieria or ivied Helicon must honour thee, along with the Muses, seeing that thy spirit is their spirit.” Again, in an anonymous epigram19 it is said: “her song will seem Calliope’s own voice.” Another writer,20 also anonymous, discussing the nine lyric poets, says:

Catullus21 speaks of the Sapphica Musa, and Ausonius in Epigram XXXII calls her Lesbia Pieriis Sappho soror addita Musis.22

If we turn now from the praise of the ancients to modern literary critics of classic lore we shall not find any depredation but rather an enhancing of that ancient praise. The classic estimate of Sappho holds its own and more than holds it to-day. J. A. K. Thomson in his Greeks and Barbarians23 says: “Landor is not Greek any more than Leconte de Lisle is Greek ... they have not the banked and inward-burning fire which makes Sappho so different.” Mackail speaks of “the feeling expressed in splendid but hardly exaggerated language by Swinburne, in that early poem where, alone among the moderns, he has mastered and all but reproduced one of her favourite metres, the Sapphic stanza which she invented and to which she gave her name”—

Swinburne himself was thoroughly steeped in Sappho whom he considered “the supreme success, the final achievement of the poetic art.” He laid abounding tribute at her feet both in verse and prose. In an appreciation first published posthumously in 1914 in The Living Age,24 he says: “Judging even from the mutilated fragments fallen within our reach from the broken altar of her sacrifice of song, I for one have always agreed with all Grecian tradition in thinking Sappho to be beyond all question and comparison the very greatest poet that ever lived. Aeschylus is the greatest poet who ever was also a prophet; Shakespeare is the greatest dramatist who ever was also a poet, but Sappho is simply nothing less—as she is certainly nothing more—than the greatest poet who ever was at all. Such at least is the simple and sincere profession of my lifelong faith.” Alfred Noyes recognizes in Swinburne’s praise of Sappho a spirit which would make them congenial companions in another world, when in the poem In Memory of Swinburne he writes:

J. W. Mackail echoes Swinburne’s high praise: “Many women have written poetry and some have written poetry of high merit and extreme beauty. But no other woman can claim an assured place in the first rank of poets” ... “The sole woman of any age or country who gained and still holds an unchallenged place in the first rank of the world’s poets, she is also one of the few poets of whom it may be said with confidence that they hold of none and borrow of none, and that their poetry is, in some unique way, an immediate inspiration.”

Many another modern critic ranks Sappho as supreme. Typical are such eulogies as “Sappho, the most famous of all women” (Aldington), or “Sappho, incomparably the greatest poetess the world has ever seen” (Watts-Dunton in ninth ed. Encyclopædia Britannica).

II. SAPPHO’S LIFE, LESBUS, HER LOVE-AFFAIRS, HER PERSONALITY AND PUPILS

It is my purpose in the limited space at my disposal to show in a general way, since it will not be possible to go into details, the truth of Sappho’s prophecy that men would think of her25 in after-times: to show her importance as a woman and poetess and our debt to her, and also to give my readers some acquaintance with the real and the unreal Sappho so that they can judge how much is fact and how much is fancy in what they hear and read about Sappho, thus proving again that the warp and woof of literature cannot be understood without a knowledge of the original Greek threads. This chapter will consider Sappho’s Life.

Unfortunately we know little of Sappho herself, and about that little there is doubt. Even the ancient lives of Sappho are lost. If we had Chamaeleon’s work on Sappho,26 or the exegesis of Sappho and Alcaeus27 by Callias of Mytilene, or the book on Sappho’s metres by Dracon of Stratonicea, we should not be left so in the dark; but all these have perished or, what comes to the same thing, are undiscovered. Like Homer, Sappho gives us almost no definite information about herself, and we must depend on late lexicographers, commentators, and imitators. Villainous stories arose about her and gathered added vileness till they reached a climax in the licentious Latin of Ovid, especially as seen in Pope’s translation of the epistle of Sappho to Phaon.

Sappho came of a noble family belonging to an Aeolian colony in the Troad. Though Suidas gives eight possibilities for the name of Sappho’s father, the most probable is Scamandronymus, a good Asia Minor name vouched for by Herodotus, Aelian and other ancient writers and now confirmed by a recently discovered papyrus.28 He was rich and noble and probably a wine-merchant. He died, according to Ovid,29 when Sappho’s eldest child was six years of age.

Her mother’s name, says Suidas, was Cleïs.30 Commentators assume that she was living when Sappho began to write poetry because of the reference to “mother” in the “Spinner in Love”; but this may be an impersonal poem. According to the Greek custom of naming the child after a grandparent the poetess called her only daughter Cleïs.

The poetess had three brothers, Charaxus, Larichus, who held the aristocratic office of cup-bearer in the Prytaneum to the highest officials of Mytilene, and, according to Suidas, a third brother, Eurygyius,31 of whom nothing is known.

Athenaeus tells us that the beautiful Sappho often sang the praises of her brother Larichus; and the name was handed down in families of Mytilene, for it occurs in a Priene inscription32 as the name of the father of a friend of Alexander who was named Eurygyius. This shows the family tradition and how descendants of Sappho’s family attained high ranks in Alexander’s army.

Charaxus, the eldest brother as we now know, “sailed to Egypt and as an associate with a certain Doricha spent very much money on her,” according to the recently found late papyrus biography. Charaxus had strayed from home about 572 and sailed as a merchant to Naucratis, the great Greek port colony established in the delta of the Nile under conditions similar to those of China’s treaty-ports. There he was bartering Lesbian wine, Horace’s innocentis pocula Lesbii, for loveliness and pleasures, when he fell in love with and ransomed the beautiful Thracian courtesan, the world-renowned demi-mondaine. She was called Doricha by Sappho according to the Augustan geographer, Strabo, but Herodotus names her Rhodopis, rosy-cheeked,33 and evidently thought she had contributed to Delphi34 the collection of obeliskoi or iron spits, the small change of ancient days before coin money was used to any great extent. Herodotus, the only writer preserved before 400 B.C. who gives us any details about Sappho tells the story and how the sister roundly rebuked her brother in a poem. Some four hundred years later Strabo, adding a legend which recalls that of Cinderella, repeats the story and it is retold by Athenaeus after another two hundred years. In our own day it has slightly influenced William Morris in the Earthly Paradise. Except for archaeology, however, we should never have heard Sappho’s own words. About 1898 the sands of Egypt gave up five mutilated stanzas of this poem which scholars had for many a year longed to hear, but the beginnings of the lines are gone and only a few letters of the last stanza remain. My own interest in Sappho dates from that very year when I wrote for Professor Edward Capps, then of the University of Chicago, a detailed seminary paper on The Nereid Ode, and for the twenty-five years since I have been gathering material about Sappho. We must be careful not to accept as certainly Sappho’s, especially the un-Sapphic idea of the last stanza, the restorations of Wilamowitz, Edmonds, and a host of other scholars, who have changed their own conjectures several times. Wilamowitz goes so far as to think that the words apply to Larichus, but most critics have restored them with reference to Charaxus. I give a version which I have based on Edmonds’ latest and revised text,35 taking a model from the stanza used by Tennyson in his Palace of Art.

In offering a new translation of such songs as these it should be fully realized that no translation of a really beautiful poem can possibly represent the original in any fair or complete fashion. Unfortunately languages differ; and in translating a single word of Sappho into a word of English which fairly represents its meaning, one may easily have lost the musical charm of the original, and still further he may have broken up the general charm or spirit which the word has because of its associations with the spirit of the whole song. It ought to be clear that in preserving the literal meanings of the words in a song the translator may be compelled to part in large measure with the musical note that comes from assonance, alliteration, and association; or again that in rendering the music as Swinburne could do, he may have diluted or even lost the real meaning and spirit of the poem; and finally that, though the spirit of the poem may be seized ever so effectively, the working out of the details of music and meaning may fail to respond to those of the original. Of course a slight measure of successful representation may be attained. But whatever poetical value anyone senses in these translations must be almost indefinitely heightened by imagination, if the beauty, grace, and power of the original are to be realized. Why then translate at all? Well, just because of a desire to make an English reader share even in a small measure the pleasure the translator feels in the original and to furnish him with paths along which his imagination may lawfully climb toward the height reached by this strangely gifted woman’s pen.