The stars around the lovely moon
Their radiant visage hide as soon
As she, full-orbed, appears to sight,
Flooding the earth with her silvery light.
? Felton.
The stars about the lovely moon
Fade back and vanish very soon,
When, round and full, her silver face
Swims into sight, and lights all space.
Edwin Arnold, 1869.
Stars that shine around the refulgent full moon
Pale, and hide their glory of lesser lustre
When she pours her silvery plenilunar
Light on the orbed earth.
J. A. Symonds, 1883.
'As the stars draw back their shining faces when they surround the fair moon in her silver fulness.' F. T. Palgrave.
Quoted by Eustathius of Thessalonica, late in the twelfth century, to illustrate the simile in the Iliad, viii. 551:—
As when in heaven the stars about the moon
Look beautiful.
Tennyson.
Julian, about 350 A.D., says Sappho applied the epithet silver to the moon; wherefore Blomfield suggested its position here.
4
Ἀμφὶ δὲ ψῦχρον κελάδει δι' ὔσδων
μαλίνων, αἰθυσσομένων δὲ φύλλων
κῶμα καταρρεῖ
And round about the [breeze] murmurs cool through apple-boughs, and slumber streams from quivering leaves.
Through orchard-plots with fragrance crowned
The clear cold fountain murmuring flows;
And forest leaves with rustling sound
Invite to soft repose.
J. H. Merivale.
All around through branches of apple-orchards
Cool streams call, while down from the leaves a-tremble
Slumber distilleth.
J. A. Symonds, 1883.
Professor F. T. Palgrave says:—
'We have three lines on a garden scene full of the heat and sleep of the fortunate South:—
'"Round about the cool water thrills through the apple-branches, and sleep flows down upon us in the rustling leaves."
'If there were any authority,' he adds in a note, 'I should like to translate "through the troughs of apple-wood." That Eastern mode of garden irrigation gives a much more defined, and hence a more Sappho-like, image than "through the boughs."'
From the sound of cool waters heard through the green boughs
Of the fruit-bearing trees,
And the rustling breeze,
Deep sleep, as a trance, down over me flows.
Frederick Tennyson, 1890.
Cited by Hermogenes, about 170 A.D., as an example of simple style, and to show the pleasure given by description. The fragment describes the gardens of the nymphs, which Demetrius, about 150 A.D., says were sung by Sappho. Cf. Theocritus, Idyl vii. 135: 'High above our heads waved many a poplar, many an elm-tree, while close at hand the sacred water from the Nymph's own cave welled forth with murmurs musical' (A. Lang). And Ovid, Heroïd., xv. 157—
A spring there is whose silver waters show, etc.—
(cf. Pope's translation, infra, p. 194) probably refers to it.
5
macronmacronmacronmacronmacronmacronmacron Ἔλθε Κύπρι
χρυσίαισιν ἐν κυλίκεσσιν ἄβρως
συμμεμιγμένον θαλίαισι νέκταρ
οἰνοχοεῦσα.
Come, goddess of Cyprus, and in golden cups serve nectar delicately mixed with delights.
Come, Venus, come
Hither with thy golden cup,
Where nectar-floated flowerets swim.
Fill, fill the goblet up;
These laughing lips shall kiss the brim,—
Come, Venus, come!
Anon. (Edin. Rev., 1832).
Kupris, hither
Come, and pour from goblets of gold the nectar
Mixed for love's and pleasure's delight with dainty
Joys of the banquet.
J. A. Symonds, 1883.
Athenaeus, a native of Naucratis, who flourished about 230 A.D., quotes these verses as an example of the poets' custom of invoking Aphrodite in their pledges. Applying them to himself and his fellow-guests, he adds the words τούτοισι τοῖς ἑταίροις ἐμοῖς γε καὶ σοῖς. Some scholars believe that Sappho actually wrote—
ταῖσδε ταῖς ἔμαις ἐτάραισι καὶ σαῖς,
For these my companions and thine.
Aphrodite was called Cypris, 'the Cyprian,' because it was mythologically believed that when she rose from the sea she was first received as a goddess on the shore of Cyprus (Homeric Hymns, vi.). Sappho seems to be here figuratively referring to the nectar of love.
6
Ἤ σε Κύπρος καὶ Πάφος ἤ Πάνορμος.
Or Cyprus and Paphos, or Panormus [holds] thee.
If thee Cyprus, or Paphos, or Panormos.
J. A. Symonds, 1883.
From Strabo, about 19 A.D. Panormus (Palermo) in Sicily was not founded till after Sappho's time, but it was a common name, and all seaports were under the special protection of Aphrodite.
7, 8
Σοὶ δ' ἔγω λεύκας ἐπὶ βῶμον αἶγος
macronmacronmacronmacronmacronmacronmacronmacronmacronmacronmacron
κἀπιλείψω τοι macronmacronmacronmacronmacronmacron·
But for thee will I [lead] to the altar [the offspring] of a white goat ... and add a libation for thee.
Adduced by Apollonius of Alexandria, about 140 A.D., to illustrate similarities in dialects. The fragment is probably part of an ode describing a sacrifice offered to Aphrodite.
9
Αἴθ' ἔγω, χρυσοστέφαν' Ἀφρόδιτα,
τόνδε τὸν πάλον λαχόην.
This lot may I win, golden-crowned Aphrodite.
From Apollonius, to show how adverbs give an idea of prayer.
10
Αἴ με τιμίαν ἐπόησαν ἔργα
τὰ σφὰ δοῖσαι.
Who gave me their gifts and made me honoured.
From Apollonius, to illustrate the Aeolic dialect. Bergk thinks this fragment had some connection with fr. 68, and perhaps with fr. 32. It seems to refer to the Muses.
11
macronmacronmacronmacronmacron Τάδε νῦν ἐταίραις
ταῖς ἔμαισι τέρπνα κάλως ἀείσω.
This will I now sing deftly to please my girl-friends.
Quoted by Athenaeus to prove that freeborn women and maidens often called their girl associates and friends ἐταῖραι (Hetaerae), without any idea of reproach.
12
macronmacronmacronmacronmacronmacronmacron Ὄττινας γὰρ
εὖ θέω, κῆνοί με μάλιστα σίννον-
ται. macronmacronmacronmacron·
For they whom I benefit injure me most.
From the Etymologicum Magnum, a dictionary which was compiled about the tenth century A.D.
13
macronmacronmacronmacronmacronmacron Ἔγω δὲ κήν' ὄτ-
τω τις ἔραται.
But that which one desires I ...
From Apollonius, to illustrate the use of the verb ἐράω. Bergk now reads ἔραται instead of ἐρᾶται as formerly, on the analogy of διάκηται and δύνᾶμαι in the Fayum fragments.
14
Ταῖς κάλαις υμμιν [τὸ] νόημα τῶμον
οἰ διάμειπτον.
To you, fair maids, my mind changes not.
From Apollonius, to show the Aeolic use of ὔμμιν for ὑμῖν, 'to you.'
15
macronmacronmacronmacronmacronmacron Ἔγων δ' ἰμαύτᾳ
τοῦτο σύνοιδα.
And this I feel in myself.
From Apollonius, to show Aeolic accentuation.
16
Ταῖσι [δὲ] ψῦχρος μὲν ἔγεντο θῦμος,
παρ δ' ἴεισι τὰ πτέρα. macronmacronmacronmacron
But their heart turned cold and they dropt their wings.
In Pindar, Pyth. i. 10, the eagle of Zeus, delighted by music, drops his wings, and the Scholiast quotes this fragment to show that Sappho says the same of doves.
17
macronmacronmacronmacronmacronmacron κατ' ἔμον στάλαγμον·
Τον δ' ἐπιπλάζοντες ἄμοι φέροιεν
καὶ μελεδώναις.
According to my weeping: it and all care let buffeting winds bear away.
Him the wanderer o'er the world
Far away the winds will bear,
And restless care.
Frederick Tennyson.
From the Etymologicum Magnum, to show that the Aeolians used ζ in the place of σσ. Ἄμοι is a guess of Bergk's for ἄνεμοι, 'winds.'
18
Ἀρτίως μ' ἀ χρυσοπέδιλλος Αὔως.
Me just now the golden-sandalled Dawn ...
Me but now Aurora the golden-sandalled.
J. A. Symonds, 1883.
Quoted by Ammonius of Alexandria, at the close of the fourth century A.D., to show Sappho's use of ἀρτίως.
19
macronmacronmacronmacronmacronmacronmacron Πόδας δέ
ποίκιλος μάσλης ἐκάλυπτε, Λύδι-
ον κάλον ἔργον.
A broidered strap of fair Lydian work covered her feet.
Quoted by the Scholiast on Aristophanes' Peace, 1174; and also by Pollux, about 180 A.D. Blass thinks the lines may have referred to an apparition of Aphrodite.
20
macronmacronmacronmacron Παντοδάπαις μεμιγμέ-
να χροΐαισιν.
Shot with a thousand hues.
Quoted by the Scholiast on Apollonius of Rhodes, i. 727, in speaking of Jason's double-folded mantle having been reddish instead of flame-coloured. Some think, however, that Sappho here refers to Iris, i.e. the rainbow.
21
... Ἔμεθεν δ' ἔχεισθα λάθαν
Me thou forgettest.
From Apollonius, as is also the following, to show the Aeolic use of ἔμεθεν for ἐμοῦ, 'of me.'
22
macronmacronmacronmacronmacronmacronmacron Ἤ τιν' ἄλλον
[μᾶλλον] ἀνθρώπων ἔμεθεν φίλησθα.
Or lovest another more than me.
23
Ου τι μοι υμμες.
Ye are nought to me.
Quoted by Apollonius, as is also the following fragment, to show that ὑμεῖς was in Aeolic ὔμμες 'you.'
24
Ας θέλετ' ὔμμες.
While ye will.
25
Καὶ ποθήω καὶ μαόμαι macronmacronmacron
I yearn and seek ...
From the Etymologicum Magnum, to show that the Aeolians used ποθήω for ποθέω, 'I yearn.'
26
Κεῖνον, ὦ χρυσόθρονε Μοῦσ', ἔνισπες
ὕμνον, ἐκ τᾶς καλλιγύναικος ἐσθλᾶς
Τήιος χώρας ὃν ἄειδε τερπνῶς
πρέσβυς ἀγαυός.
O Muse of the golden throne, raise that strain which the reverend elder of Teos, from the goodly land of fair women, used to sing so sweetly.
O Muse, who sitt'st on golden throne,
Full many a hymn of dulcet tone
The Teian sage is taught by thee;
But, goddess, from thy throne of gold,
The sweetest hymn thou'st ever told
He lately learned and sang for me.
T. Moore.
Athenaeus says 'Hermesianax was mistaken when he represented Sappho and Anacreon as contemporaries, for Anacreon lived in the time of Cyrus and Polycrates [probably 563-478 B.C.], but Sappho lived in the reign of Alyattes the father of Croesus. But Chamaeleon, in his treatise on Sappho, asserts that according to some these verses were made upon her by Anacreon:—
"Spirit of Love, whose tresses shine
Along the breeze in golden twine,
Come, within a fragrant cloud
Blushing with light, thy votary shroud,
And on those wings that sparkling play
Waft, oh waft me hence away!
Love, my soul is full of thee,
Alive to all thy luxury.
But she, the nymph for whom I glow,
The pretty Lesbian, mocks my woe,
Smiles at the hoar and silvery hues
Which Time upon my forehead strews.
Alas, I fear she keeps her charms
In store for younger, happier arms."'
T. Moore.
Then follows Sappho's reply, the present fragment. 'I myself think,' Athenaeus goes on to say, 'that Hermesianax is joking concerning the love of Anacreon and Sappho, for Diphilus the comic poet, in his play called Sappho, has represented Archilochus and Hipponax as the lovers of Sappho.'
Probably the whole is spurious, for certainly Sappho never saw Anacreon: she must have died before he was born. Even Athenaeus says that it is clear to every one that the verses are not Sappho's.
II
27
Σκιδναμένας ἐν στήθεσιν ὄργας
μαψυλάκαν γλῶσσαν πεφύλαχθαι.
When anger spreads through the breast, guard thy tongue from barking idly.
When through thy breast wild wrath doth spread
And work thy inmost being harm,
Leave thou the fiery word unsaid,
Guard thee; be calm.
Michael Field, 1889.
Quoted by Plutarch, in his treatise On restraining anger, to show that in wrath nothing is more noble than quietness. Blass thinks that Bergk is wrong in his restoration of the verses; he considers their metre choriambic (like fr. 64, ff.), and reads them thus:
breve over macronbreve over macron σκιδναμένας στήθεσιν ὄργας πεφυλαγμένα (?)
γλῶσσαν μαψυλάκαν macronmacronmacronmacronmacronmacronmacronmacronmacronmacron
He compares fr. 72 with them.
III
28
Αἰ δ' ἦχες ἔσλων ἴμερον η κάλων,
καὶ μή τι ϝείπην γλῶσσ' ἐκύκα κάκον,
αἴδως κέ σ' οὐ κίχανεν ὄππατ',
ἀλλ' ἔλεγες περὶ τῶ δικαίως.
Hadst thou felt desire for things good or noble, and had not thy tongue framed some evil speech, shame had not filled thine eyes, but thou hadst spoken honestly about it.
The Loves of Sappho and Alcaeus.
Alcaeus.—I fain would speak, I fain would tell,
But shame and fear my utterance quell.
Sappho.—If aught of good, if aught of fair
Thy tongue were labouring to declare,
Nor shame should dash thy glance, nor fear
Forbid thy suit to reach my ear.
Anon. (Edin. Rev., 1832, p. 190).
Aristotle, in his Rhetoric, i. 9, about 330 B.C., says 'base things dishonour those who do or wish them, as Sappho showed when Alcaeus said—
ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι,
θέλω τι ϝείπην, ἀλλά με κωλύει αἴδως.
"Violet-weaving, pure, softly-smiling Sappho, I would say something, but shame restrains me"' (cf. supra, p. 8), and she answered him in the words of the present fragment.
Blass (Rhein. Mus. 1879, xxix. p. 150) believes that these verses also are Sappho's, not Alcaeus'. Certainly they were quoted as Sappho's by Anna Comnena, about 1110 A.D., as well as by another writer whom Blass refers to. Blass would read the last line περὶ ὦ δικαίως ('δικαίως) = περὶ οὗ ἐδικαίους, about that which thou didst pretend.
IV
29
Στᾶθι κἄντα φίλος ...
καὶ τὰν ἐπ' ὄσσοις ἀμπέτασον χάριν.
Stand face to face, friend ... and unveil the grace in thine eyes.
Athenaeus, speaking of the charm of lovers' eyes, says Sappho addressed this to a man who was admired above all others for his beauty. Bergk thinks it may have formed part of an ode to Phaon (cf. fr. 140), or of a bridal song; and A. Schoene suspects that it was possibly addressed to Sappho's brother. The metre is quite uncertain.
V
[This is a very unsatisfactory category. Some of the fragments, e.g. 30-43, are in Aeolian dactyls, wherein the second foot is always a dactyl; 44-49 are Glyconics; 50-54 are in the Ionic a majore metre; some others are Asclepiads, etc. But where so much is uncertain, it seems to be the simplest way to group them thus.]
30
Χρύσεοι δ' ἐρέβινθοι ἐπ' ἀϊόνων ἐφύοντο.
And golden pulse grew on the shores.
Quoted by Athenaeus, when he is speaking of vetches.
31
Λάτω καὶ Νιόβα μάλα μὲν φίλαι ἦσαν ἔταιπαι.
Leto and Niobe were friends full dear.
Quoted by Athenaeus for the same reason as fr. 11. Compare also fr. 143.
32
Μνάσεσθαί τινά φαμι καὶ ὔστερον ἄμμεων.
Men I think will remember us even hereafter.
Compare Swinburne's—
Thou art more than I,
Though my voice die not till the whole world die.
and—
Memories shall mix and metaphors of me.
and—
I Sappho shall be one with all these things,
With all high things for ever.
Anactoria.
Dio Chrysostom, the celebrated Greek rhetorician, writing about 100 A.D., observes that Sappho says this 'with perfect beauty.'
To illustrate this use of φαμι, Bergk quotes a fragment preserved by Plutarch, which may have been written by Sappho:
. . . . . ἔγω φᾶμι ἰοπλόκων
Μοισᾶν εὖ λάχεμεν.
I think I have a goodly portion in the violet weaving Muses.
33
Ηράμαν μὲν εγω σέθεν, Ἄτθι, πάλαι πότα.
I loved thee once, Atthis, long ago.
I loved thee,—hark, one tenderer note than all—
Atthis, of old time, once—one low long fall,
Sighing—one long low lovely loveless call,
Dying—one pause in song so flamelike fast—
Atthis, long since in old time overpast—
One soft first pause and last.
One,—then the old rage of rapture's fieriest rain
Storms all the music-maddened night again.
Swinburne, Songs of the Springtides, p. 57.
Quoted by Hephaestion, about 150 A.D., as an example of metre. The verse stood at the beginning of the first ode of the second book of Sappho's poems, which Hephaestion says was composed entirely of odes in this metre: thus,
breve over macronbreve over macronmacronmacronmacronmacronmacronmacronmacronmacronmacronmacronmacronmacron over breve·
34
Σμίκρα μοι πάϊς ἔμμεν ἐφαίνεο κἄχαρις.
A slight and ill-favoured child didst thou seem to me.
Quoted by Plutarch; and by others also.
Bergk thinks it is certain that this fragment belongs to the same poem as does the preceding, judging from references to it by Terentianus Mauris, about 100 A.D., and by Marius Victorinus, about 350 A.D.