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-The Project Gutenberg EBook of Sappho, by Thomas George Tucker
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Sappho
-
-Author: Thomas George Tucker
-
-Release Date: December 12, 2019 [EBook #60906]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SAPPHO ***
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-Distributed Proofreading Team at http://www.pgdp.net (This
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-SAPPHO
-
-
-
-
-  A Lecture delivered before
-  the Classical Association
-  of Victoria, 1913.
-
-
-
-
-  SAPPHO
-
-
-  T. G. TUCKER,
-  LITT.D. (CAMB.), HON. LITT.D. (DUBLIN)
-
-  Professor of Classical Philology in the University of
-  Melbourne
-
-
-  MELBOURNE
-  THOMAS C. LOTHIAN
-  1914
-
-  _PRINTED IN ENGLAND_
-
-
-
-
-  COPYRIGHT.
-  _First Edition, May 1914._
-
-
-
-
-SAPPHO
-
-
-It is hardly possible to realise and judge of Sappho without realising
-her environment. The picture must have its background, and the
-background is Lesbos about the year 600 B.C. One may well regret never
-to have seen the island now called Mytilini, but known in ancient times
-as Lesbos. There are, however, descriptions not a few, and with these
-we must perforce be satisfied. On the map it lies there in the Ægean
-Sea, a sort of triangle with rounded edges, pierced deeply on the south
-by two deep lochs or fiords, while toward each of its three angles it
-rises into mountains of from two to three thousand feet in height. One
-way it stretches some thirty-five miles, the other some twenty-five.
-
-It is twenty-five centuries ago since this island was the home of
-Sappho, of Alcæus, and of a whole school of the most finished lyric
-poetry and music ever heard in Greece. From its northern shore, across
-only seven miles of laughing sea, the poetess might every day look upon
-the Troad, the land of Homeric legend; and in the North-East distance,
-over the broadening strait, rose the storied crest of “many-fountained
-Ida.” The air was clear with that translucency of which Athens also
-boasted, and in which the Athenian poet rightly or wrongly found one
-cause of the Athenian intellectual brilliancy. The climate was, and
-still is, famous for its mildness and salubrity. The Lesbian soil was,
-and still is, rich in corn and oil and wine, in figs and olives, in
-building-wood and tinted marble. It was eminently a land of flowers and
-aromatic plants, of the rose and the iris, the myrtle and the violet,
-and the Lesbians would seem to have loved and cultivated flowers much
-as they are loved and cultivated in Japan.
-
-Such was the land. The Greeks who inhabited it belonged apparently to
-that Achæan-Æolian branch which was the first to cross from Europe
-to the north-west Ægæan and to oust, or plant colonies among, the
-older nameless--perhaps “Pelasgian”--occupants. This is not the place
-to discuss the tribal or even racial differences which once existed
-between Æolian, Ionian, and Dorian Greeks. Their divergence of
-character was great; it was of the first significance as exhibited in
-war, in social life, in art. The fact that each division spoke the
-Greek tongue, though with various accents and idioms, is no longer held
-as proof that their racial origin and capacity were the same. Between
-the Greek of Lesbos and the Greek of Sparta there were differences in
-temper, in adaptability, and in taste, as great as those between the
-English-speaking Irishman, with his nimble sympathies and his ready
-eloquence and wit, and the slower if surer Saxon of Mid-lothian. If
-we touch upon this question here, it is merely because it casts some
-measure of light upon those social and literary characteristics of the
-Lesbians in which Sappho fortunately shared. Almost beyond a doubt
-the Æolian Greeks who first made Lesbos their home were the nearest of
-kin to those fair-haired Achæans who, in the _Iliad_, followed their
-feudal lords to the siege of Troy. Socially a distinguishing mark of
-these people was the liberty and high position enjoyed by the women in
-the household, by the Penelopes as well as by the Helens. This fact
-has hardly been sufficiently considered in dealing with that peculiar
-position of Sappho and her coterie, concerning which something will be
-said later on. Artistically their distinguishing mark, as represented
-first in Homer, was their clear, open-eyed, original observation
-of essentials, their veracity of description, their dislike of the
-indefinite and the mystic. This too is clearly reflected in the work of
-Sappho and her compatriots.
-
-We must not, it is true, make too much of this racial derivation and
-its consequences. The population of Lesbos doubtless became mixed; the
-lapse of centuries, the passing away of the feudal relation, increasing
-ease and wealth in a softening climate, long intercourse with the trade
-and culture of the neighbouring Asiatic coast--all these had their
-inevitable effects. Nevertheless, among it all, the frank genius of
-earliest Greece is still discernible in the classic poetry of Lesbos.
-
-The island naturally possessed its characteristic speech. The dialect
-of Lesbos was strongly marked. It is altogether unsafe to specify at
-this distance of time the particular qualities of softness or sonority
-which belonged to Greek dialects; but, if one may venture where doubt
-must always be so great, it would not be unreasonable to speak of
-Lesbian Greek as perhaps the most “singable” of them all. In several
-ways it is peculiarly like Italian. The aspirate is gone, the double
-consonants are brought out with an Italian clarity unique in Greece,
-the vowels are firm and musical. And here we must remember that a
-local Greek dialect must never be looked upon as a provincial _patois_
-simply because it is not Attic. Neither Attic nor any other one speech
-possessed a pre-eminence in Greece in the year 600 B.C. The poet of
-every little independent Grecian state was free to compose in his own
-idiom, with no more hesitation or self-consciousness than would have
-occurred to a Provençal troubadour, an early _trouvère_ of Normandy,
-or a Sicilian poet before the age of Dante. The half-doubts of Burns
-when writing his native Scots would find no sympathy in Sappho or
-Alcæus. No poetry that profoundly stirs the heart was ever written with
-effort in an alien speech. Burns perhaps had some reason to be tempted
-to write in English. The Lesbian singers had no temptation to write in
-anything but Lesbian. Sappho may indeed be called the Burns of Greece,
-but if her dialect, like his, was local, it was at the same time the
-genuine and recognised language of the most cultured men and women of
-her people.
-
-Having thus spoken of Lesbos, its people, and its language, we may
-proceed to the social and ethical surroundings into which Sappho was
-born. The island contained, after the usual Greek fashion, perhaps
-half-a-dozen little communities independent of each other. All
-these had their “little summer wars” and their little revolutions;
-but it is with Mitylene, the chief and largest town, that the life
-of Sappho is identified. The history of such a town at this period
-may be compared to that of an Italian city in the later thirteenth
-century. It was the history of a struggle between a despotism, or an
-oligarchy of aristocrats, and the rights of the citizens. The _grandi_
-and _popolari_ of Florence in the time of Dante find their analogues
-in the conflicts of nobles like Alcæus and his brother Antimenidas
-against the champions of the common folk of Mitylene. There were also
-feuds less immediately explainable, just as there were feuds of Guelfs
-and Ghibellines, of Blacks and Whites. We need not inquire into the
-usurpations of Melanchrus and Myrsilus or the dictatorship of Pittacus.
-Men carried to power by favour of one party might drive their opponents
-into banishment, just as Dante was exiled to Verona and Ravenna. Among
-those who thus left their country for a space were the poet Alcæus and
-his greater contemporary Sappho. Particularly haughty and turbulent
-were the nobly born, and these often elected to roam abroad and serve
-as _condottieri_ in foreign armies rather than condescend to obey the
-rule of the commons at home. It may be mentioned in passing that the
-brother of the poet Alcæus took service under King Nebuchadnezzar, and
-in his wars killed a Goliath, who “lacked but a hand’s-breath of five
-cubits.”
-
-Yet these are after all but surface incidents, of which history
-often makes too much. As in modern times, the little wars and little
-revolutions caused but an inconsiderable suspension of social and
-industrial life. Commerce and art went on very much as before. The
-vines of Lesbos were pruned, the ships of Lesbos went trading down the
-coast, the poets and musicians of Lesbos played and sang. We know that
-while Guelfs were quarrelling with Ghibellines and Florentines were
-fighting with Pisans or Genoese, the festive processions went with song
-across the Arno, Giotto’s tower rose from the ground, Guido Cavalcanti
-composed his sonnets, and Dante, for all that he must fight in the
-front ranks at Campaldino, found time and hearers for his _Donne ch’
-avete intelletto d’amore_. So it was at Mitylene. We need not therefore
-picture Sappho and her society of maidens as living perpetually among
-war’s alarms or fluttering in daily expectation of battle, murder, and
-sudden death. Life in Lesbos must have been passing cheerful, as life
-goes.
-
-When we proceed next to speak of the lively enthusiasm of this Lesbian
-folk for beauty in all its forms, and in especial for the beauty of
-music and poetry, we must guard against a misconception. Under all
-the love of art which ruled in Lesbos, amid all its eager cultivation
-of the Muses and the Graces, this isle of Greece “where burning
-Sappho loved and sung” carried on its daily work as strenuously as
-any Greeks were wont. Its farmers and fishermen, its quarriers and
-vine-dressers, laboured like others in sun or cold. There was no doubt
-plenty of envy, hatred, and malice, and no little that was coarse and
-gross. Nevertheless the love of art and beauty and the spontaneous
-appreciation of them penetrated far deeper into a Greek people
-than it does with us. It was not an artificial outgrowth, a dainty
-efflorescence of leisure and luxury. It was no private possession of
-the _virtuoso_, or sequestered playground of the amateur. Even now the
-popular songs of the village Greeks are in literary grace and thought
-of a higher quality than many songs familiar to our drawing-rooms.
-Life without song and dance upon the sward was unimaginable in old
-Hellas.
-
-The special pride of Lesbos was in its music and poetry. In the
-language of the legend, when that magic singer Orpheus had been torn to
-pieces in Thrace, his head--with, as some say, his lyre--was carried
-“down the swift Hebrus to the Lesbian shore.” On the coins of Mitylene,
-as on the flag of Ireland, may be seen a harp. The first great name
-in the musical history of Greece is that of the Lesbian Terpander.
-It is not indeed a probable story that he was the first to increase
-the strings of the lyre from four to seven, but it is practically
-certain that he both improved that instrument and invented new forms
-of composition to embody a lyrical idea. Another world-known poet and
-musician who shed glory on Lesbos was Arion. Of him in later days the
-story grew that, when he was thrown overboard by pirates, a dolphin,
-which had been charmed by his melodies, bore him upon its back safe to
-the Tarentine shore.
-
-In Lesbos, as in every part of Greece, there were abundant demands upon
-musician and poet. Every occasion of worship, festivity, and grief
-required its song. The gods were hymned by groups at their altars
-and by white-robed maidens in processions; at weddings the hymeneal
-chorus was chanted along the street, and the epithalamion before the
-doors of the bridal home; at every banquet were sung lively catches and
-jocund songs of Bacchus; every season--spring, summer, harvest--had
-its popular ditty, exultant or pathetic; almost every occupation, of
-herdsman, boatman, gardener, was beguiled with melody; at the coming
-of the first swallow, as on the old English Mayday, the children sang
-the “swallow-song” from house to house. And let it be remembered that
-the Greeks had none of our modern tolerance for a song of which the
-words were nought and the tune everything. To them the thought, the
-sentiment, was first; the melody was simply its proper vehicle. Italian
-opera, when not a word is intelligible, would have seemed to them a
-strange anomaly. To them _mousikê_ was the “art of the Muses,” and this
-meant literature no less than minstrelsy. The poet, unless, like Burns,
-he wrote his verses to existing tunes, was his own composer. In either
-case he was poet first and foremost.
-
-Now for generations the songs for special purposes had been shaping
-themselves on special lines. To use a phrase of Aristotle, experience
-had found out the right species to fit the case. There were sundry
-recognised stanzas and metres for a processional, a hymeneal, or a
-dirge. In most cases, therefore, the task of a new poet was to write
-new words; the melody would, as in the case of Burns, almost find
-itself. Nevertheless the complete poet could not dispense with an
-elaborate training in music. To invent beautiful variations of existing
-tunes was part of his glory; he must at least write words which should
-sing themselves to the melody he selected. “Melodies” is the word,
-for the Greeks knew practically nothing of harmonies. Their songs were
-sung in unison, or simply with an octave interval when men sang with
-women or with boys. The accompanying instrument was generally the
-lyre, or one of many stringed instruments akin thereto; sometimes it
-was the so-called flute, which was in truth a clarinet. Whatever their
-musical deficiencies, it has been maintained by competent authorities
-that in nicety of ear for pitch and time the training of the Greeks
-incomparably surpassed the modern. Be that as it may, it must never be
-left out of sight that, when a Lesbian wrote a song, it was in the
-first place as perfect a poem as he could create, and in the second
-it was meant to be sung, not merely to be read. Shelley’s _Ode to a
-Skylark_ is consummate literature. Yet we may doubt if it could ever
-be sung, and assuredly it was not written to that end. On the other
-hand, the songs of Moore are often but sickly stuff to read, but they
-lend themselves perfectly to those touching Irish airs, to which, by
-the way, the Lesbians seem to have been akin in a peculiar tone of
-plaintiveness. A Greek lyric aimed at combining the literary _mousikê_
-of Shelley’s _Ode_ with the songful _mousikê_ of Moore. It is in the
-perfection of this combination that Sappho excels all women who have
-ever written verse.
-
-Where song was for generations so abundant, it follows that there was
-floating about among the people many an old ballad or favourite ditty
-whose author had been long forgotten. Numbers of these _Volkslieder_,
-or snatches of them, lay, sometimes with consciousness and sometimes
-unrealised, in the memory of every child of Lesbos. The artistic poet
-did not scorn them; he feared no charge of plagiarism if he adopted
-and adapted them; he often acted as Burns acted with the ballads of
-Scotland; he took them, gave them that marvellous and inexplicable
-touch of finality which only genius can impart, and so made them his
-for ever. This also did Sappho do, and her verses, when she deals with
-well-worn themes, are beyond question often fed with the hints of older
-nameless songsters.
-
-There is one department of lyric verse in which Lesbos stood supreme,
-and Sappho supreme in Lesbos. It is the poetry, not of religion or
-marriage, of the banquet or the seasons, but of personal emotion; the
-verse of the “lyric cry,” which tells of the writer’s own passion, its
-waves of joy and sorrow, love and hate. It is the monody, the verse
-sung, not by a gathered company, but from the one overflowing heart,
-the song best represented at Rome by Catullus, and in modern times by
-Burns or Heine. For most of her poems in this kind there is no reason
-to suppose that Sappho relied upon any promptings but those of her own
-soul. She took the floating rhythms of the ballads, modified them, and
-into their mould she poured verse which, as George Sand said of her own
-writings, came from “the real blood of her heart and the real flame of
-her thought.”
-
-And here at length we come to the poetess herself. Into this land,
-devoted to poetry, to music, to flowers, and so regardful of loveliness
-that a public “prize of beauty” was annually competed for in the
-temple of Hera, was Sappho--or Psappha, as she apparently called
-herself--born in the latter part of the seventh century before Christ.
-Our ancient authorities are sufficiently in agreement as to her date,
-and we may lay it down that she was in her prime about the year 600
-B.C., or nearly a hundred and fifty years before that great period of
-Athenian literary culture which is represented by Æschylus, Sophocles
-and Euripides. The ascertainable facts of her career are miserably
-few, and concerning those matters which are in debate as to her life
-and character the present exponent must be permitted to express simply
-his own views, premising that they have been formed with all due and
-deliberate care.
-
-Whether the names of her parents were or were not Scamandronymus and
-Clêis is an unimportant question. We may simply remark that both
-those names are of aristocratic colour, and both are more or less
-authenticated. Whether again she was born at Mitylene itself, or at the
-smaller town of Eresos, is of little moment, since we know that at any
-rate Mitylene was the scene of her life’s work. That she belonged to
-the ranks of the well-born, and that good looks were in the family, is
-proved by the choice of her brother Larichus as cup-bearer of Mitylene,
-an office which was bestowed only on handsome and noble youth. That
-at least one member of the family possessed considerable means is
-known from the rather romantic history of a second brother, Charaxus.
-This young man sailed away in his ship, laden with the famous Lesbian
-wine--the _innocentis pocula Lesbii_ of Horace--as far as Egypt.
-There he traded in that merchandise at the Pan-Grecian free-town of
-Naucratis, which had been established in the Delta under a permission
-somewhat similar to that by which settlement was first allowed in
-the treaty-ports of China. Here, however, he fell in love with the
-world-famed _demi-mondaine_ whose name, Doricha, is less familiar than
-her sobriquet Rhodôpis--“complexion of a rose”--and his gains were
-spent in chivalrously ransoming that lady from a degrading slavery. It
-is of interest to know, though the verses are not preserved to us, that
-his poetess sister reproved him sharply for this conduct. Her “love of
-love” did not blind her to the claims of family honour and dignity.
-It is gratifying to learn that at a later time she expresses her
-reconciliation to her brother in a poem which, like those of Herondas
-and Bacchylides, has but recently been disgorged, though in a sadly
-mutilated state, by the omnivorous sands of Egypt. Sappho herself is
-said to have married a wealthy islander of Andros, and to have had at
-least one daughter, whose name, according to Greek custom, was the name
-of the grandmother, Clêis. It is apparently this Clêis whom she is
-addressing in a fragment which we may venture to translate thus----
-
-  “I have a maid, a bonny maid,
-     As dainty as the golden flowers,
-   My darling Clêis. Were I paid
-     All Lydia, and the lovely bowers
-   Of Cyprus, ’twould not buy my maid.”
-
-An inscription on the Parian marbles informs us that, at some uncertain
-date, Sappho fled, or was driven, into banishment to Sicily. There
-is nothing unlikely in the circumstance, and it is worth noting that
-more than 500 years later, in the days of Cicero, Verres, the governor
-of that island, appropriated a bronze statue of Sappho, wrought by a
-Grecian master and greatly prized at Syracuse.
-
-As _Aberglaube_ which has gathered about Sappho’s history, there are
-two strange legends, or rather there is one strange legend in two
-parts, which must here be told briefly.
-
-The story goes that once upon a time Aphrodite, goddess of love,
-disguised as an aged woman, was gallantly ferried across to Lesbos by
-a young waterman of the name of Phaon. In reward she bestowed upon him
-marvellous beauty and irresistible charm. Of him, the fable tells,
-Sappho became enamoured to the point of frenzy, and, unable to win his
-heart, she resolved to attempt the last and most desperate cure known
-for her disease. Away in the Ionian Sea was the jutting rock of Leucas,
-and it was believed that those who cast themselves down from that
-cliff into the sea either ended their miseries in death or rose from
-the waters cured of their malady. What became of Sappho when she took
-that “lover’s leap” may be found narrated by Hephæstion. It is given in
-Addison’s 233rd _Spectator_. “Many who were present related that they
-saw her fall into the sea, from whence she never rose again; there were
-others who affirmed that she never came to the bottom of her leap, but
-that she was changed into a swan as she fell, and that they saw her
-hovering in the air under that shape. But whether or no the whiteness
-and fluttering of her garments might not deceive those who looked upon
-her, or whether she might not really be metamorphosed into that musical
-and melancholy bird, is still a doubt among the Lesbians.” Well, let
-us share the Lesbian doubt, and a little more. Suffice it to say that,
-though this story, which has been elaborated by the fancy of Ovid,
-appears to have been known in some shape to Menander and other comic
-poets of Athens, there is absolutely no trace of the name of Phaon or
-of anything connected with him in any fragment of Sappho. Nor was there
-likely to be, seeing that he is in all probability but another _avatar_
-of the mythical youth Adonis. More interesting is it to observe that
-the rock of desperation is called “Sappho’s Leap” unto this day.
-Unfortunately we do not know when or by whom it was so baptized.
-
-Of Sappho’s personal appearance we have no certain knowledge. More
-than four centuries later a philosopher named Maximus Tyrius says that
-she was considered beautiful, “though” short and dark, and hence is
-prompted Swinburne’s assumption--
-
-  “The small dark body’s Lesbian loveliness
-   That held the fire eternal.”
-
-If this be true, she was sufficiently unlike the conventional ideal of
-Lesbian beauty. Her contemporary Alcæus speaks of her “sweet smile,”
-and Anacreon, in the next generation, of her “sweet voice.” Later
-writers of epigrams, who can hardly have known much about the matter,
-call her “bright-eyed,” or “the pride of the lovely-haired Lesbians,”
-but those are as likely as not mere descriptive guesses of the kind
-in which poetical fancy may pardonably indulge. If we meet with the
-untranslatable adjective _kalê_ applied to her by Plato, we have to
-remember that it is a stock epithet of admiration for a writer of
-charm and genius, and in such cases contains no reference whatever to
-beauty of person.
-
-What we really know best of Sappho’s life is that she was acknowledged
-the choicest spirit of her time in music and poetry, and that,
-whether as friendly guide or professional teacher or something of
-both, she gathered about her what may be variously called a coterie,
-academy, conservatorium, or club, of young women, not only from Lesbos
-itself but from other islands, and even from Miletus and the distant
-Pamphylia. Sometimes they were called her “companions,” sometimes her
-“disciples.” One of them, Erinna of Telos, herself became famous, but
-unhappily survives for us as a lyrist only in an inconsiderable line or
-two.
-
-Sappho appears to have taught these damsels music and also the art of
-poetry, so far as that art is teachable. She appears, moreover, to
-have taught them whatever charms and graces of bearing and behaviour
-were most desired by women, whether in their social life or in
-their frequent appearances in religious or secular processions and
-ceremonies. There exists a short fragment in which she derides the
-rusticity of the woman who has no idea how to hold up her train about
-her ankles. In another place she bids one of her maidens--
-
-  “Take sprigs of anise fair
-     With soft hands twined,
-   And round thy bonny hair
-     A chaplet bind;
-   The Muse with smiles will bless
-     Thy blossoms gay,
-   While from the garlandless
-     She turns away.”
-
-It has often been observed that the relations of Sappho with the young
-women Erinna and Atthis and Anactoria resembled those of Socrates
-with the young men Alcibiades and Charmides and Phædrus. But it has
-apparently not been also pointed out as a parallel that, three
-centuries later, there similarly gathered about the _maître_ Philêtas,
-in the isle of Cos, a school of young poets, among whom were no less
-persons than Theocritus, Asclepiades and Aratus.
-
-The peculiarity of Sappho’s coterie lay to the general mind in the fact
-that it was a club of women. And here we must handle with brief and
-gentle touch, but with no false reserve, a topic which no discourse
-on Sappho can shrink from facing. The reputation of Sappho and her
-comrades has long been made to suffer from what is probably, and almost
-certainly, a cruel injustice. Partly through the social depravity of
-the later Greek and Roman, partly through taking too seriously the
-scurrilous humours of the comic dramatists of Athens, many ancients
-and most moderns have formed concerning that Lesbian school a notion
-which in all likelihood does bitter wrong to Sappho, wrong to art,
-and wrong to human nature. At Athens, as among all the Ionian Greeks,
-and later on among Greeks almost everywhere, a woman of character was
-kept in a seclusion suggestive of the oriental. The woman most to be
-praised, Pericles declared, was “she of whom least is said among men
-whether for good or evil.” This, as we have seen, was not the way of
-the older Æolian Lesbos, where woman still enjoyed much of the Homeric
-freedom and independence to go and come and live her life. What more
-natural than for Athenians to imagine that the famous coterie of Sappho
-consisted of women of the same class as the brilliant Aspasia? Their
-very talent was proof enough, for the Athenian housekeeper who passed
-for wife made no pretensions to literature and art. What more natural
-also than for an Athenian playwright, like him of the _Ecclesiazusæ_,
-or “_Women in Parliament_,” to find scandalous comedy in the
-_Précieuses_ of Lesbos? Again, the poems of Sappho are nearly all poems
-of love, and to the ordinary Greek, especially of a later date, it was
-unseemly for modest women to acknowledge so positive a passion. An
-Elizabeth Barrett Browning would have received no countenance from the
-Athenian Mrs. Grundy. The truth seems to be that Lesbos in the year 600
-B.C. was in this respect socially and ethically almost as different
-from the Athens of two hundred years later as the emancipated young
-woman of America is different from the dragon-guarded Spanish maiden of
-Madrid.
-
-We may pass by other considerations which might be urged, but it is
-no surprise that the false notion of Sappho, constructed by decadent
-Greeks and refined upon by the vice of the Romans, should do her
-special harm in the days when paganism gave way to Christianity. Among
-the many works destroyed by the unco’ guid in the early Byzantine days
-were the poems of Sappho--destroyed the more savagely because that
-particular pagan, who so passionately invoked the Queen of love, was a
-woman, and woman’s ideal place was then the cloister. Unhappily certain
-moderns, who are anything but unco’ guid, have carried on the wrong in
-a different way, and, for example, the title _Sapho_ of Daudet’s sketch
-of _mœurs Parisiennes_ is a choice which may pardonably stir the ire of
-any Hellenist.
-
-The few fragments of Sappho which have been preserved are not those
-which have been spared by the saints or which have been culled for
-special innocence. They simply happen to be quoted here and there by
-ancient critics, grammarians, and even lexicographers, to illustrate
-some æsthetic doctrine, the use of some word, or even some peculiarity
-of grammar. And no understanding man or woman can read them without
-feeling that what we find is sheer poetry, sound and true, free
-from dross in either form or thought. Says Sappho herself, “I love
-daintiness, and for me love possesses the brightness and beauty of the
-sun.” To Alcæus, her fellow-countryman and acquaintance, she was the
-“violet-weaving, pure, sweetly-smiling Sappho.” To Plato, who judged
-even art by ethical standards, she is “beautiful and wise.” Her reply
-to her fellow-poet, when he was too bashful to say something which was
-in his mind, was this--
-
-  “Had your desire been right and good,
-     Your tongue perplex’d with no bad thought,
-   With frank eye unabashed you would
-     Have spoken of the thing you ought.”
-
-To some lover she says--if she is speaking in her own person--
-
-  “As friends we’ll part:
-     Win thee a younger bride;
-   Too old, I lack the heart
-     To keep thee at my side.”
-
-Nay, we may go further and say that, after reading and re-reading
-and translating and commenting on her poems, so far as we possess
-them, we find her verse full indeed of warmth and colour, full of
-poignant feeling, but never riotous, always sane, always controlled
-by the truest sense of art. Obedience to the central Greek motto
-μηδὲν ἄγαν--“nothing too much”--was never better exemplified. The
-Greeks would never have set her on such a pedestal if she had been
-the poetical mænad who seems to exist in the mind of Swinburne, when
-he writes of her, in that vicious exaggeration of phrase which he too
-often affects, as--
-
-  “Love’s priestess, mad with pain and joy of song,
-   Song’s priestess, mad with joy and pain of love.”
-
-No writer so lacking in _sophrosyne_ could assert, as Swinburne
-elsewhere in his finer and truer style makes her assert--
-
-  “I Sappho shall be one ...
-   ... with all high things for ever.”
-
-There is not a line of Sappho of which you do not feel that, glow as
-it may with feeling, it is constructed with such art as--unconscious
-though it may possibly be--can only be sustained in a mind of perfect
-sanity.
-
-There is something else which is too often strangely overlooked in
-judging a poet from his writings alone. It is particularly liable to be
-forgotten when the writings which have been preserved are but fragments
-severed from their context. The poet is not always writing in his
-own person; he is not always revealing his own feelings. He is often
-dramatising; and his verses then utter the sentiments and passions
-suited to the character concerned. No one will accept a passage culled
-from Shakespeare as proof of the ethical views of Shakespeare himself.
-It may express only the whim of Falstaff, or the snarl of Shylock, or
-the banter of Benedick, or the melancholy humour of Hamlet. Allowing
-for all the difference between lyric poetry and dramatic, the lyrist
-also has his passages in which he is speaking for another. He may be
-actually writing _for_ another. _In Memoriam_ doubtless represents the
-heart of Tennyson himself. But suppose posterity to retain but a few
-fragments of his other works. What shall we say of those who might take
-the isolated words “I am aweary, aweary, I would that I were dead” as
-a proof of the settled pessimism of our poet? We know that the speaker
-was Mariana. We do not always know who is the speaker in the fragments
-of Sappho. But, even if we did know, there still remains not a verse
-which betrays the too much, or which passes beyond the pathetic into
-the reckless, the hysterical, still less the dissolute.
-
-Behind Sappho, as behind Burns before he wrote “Green grow the rushes
-O” or “Auld Lang Syne,” lay a mass of popular ballads and a wealth
-of lyrical ideas to be seized upon and shaped when the perfect mood
-arrived. When she sings--
-
-  “Sunk is the moon;
-     The Pleiades are set;
-   ’Tis midnight; soon
-     The hour is past; and yet
-   I lie alone”--
-
-it is probable that she is setting one such prehistoric lyrical idea to
-new words or recasting one such vagrom ditty. It is practically certain
-that she is doing so in that quatrain which begins “Sweet mother mine,
-I cannot ply my loom.” That thought is embodied in English folksong
-also--“O mother, put my wheel away; I cannot spin to-night”--as well as
-in German and other tongues.
-
-Let us then sweep aside from the memory of Sappho the myths of Phaon
-and the Leucadian leap, and the calumnies of Athenian worldlings in
-the comic theatre; let us reject all that Swinburnian hyperbole which
-makes her “mad” in any sense whatever; and let us simply take her upon
-the strength of the “few passages, but roses” which are left to us,
-and upon the word of Alcæus that she was the “violet-weaving, pure,
-sweetly-smiling Sappho.”
-
-Her life as teacher and æsthetic guide in Lesbos evidently did not pass
-without a cloud. Her talent, like talent everywhere, found jealous
-rivals and detractors. A certain Andromeda seems to have caused her
-special vexation by luring away her favourite pupil Atthis. There
-were also, then as now, rich but uncultured women who had little love
-for art and its votaries, particularly if these latter were all too
-charming. To one such woman Sappho, who, like a true Æolian, looked
-with horror on a life without poetry and a death unhonoured by song,
-writes--
-
-  “When thou art dead, thou shalt lie, with none to remember or mourn,
-     For ever and aye; for thy head no Pierian roses adorn;
-   But e’en in the nether abodes thou shalt herd thee, unnoted, forlorn,
-     With the dead whom the great dead scorn.”
-
-Her work as poetess, though of everlasting value for what it touches in
-universal humanity, naturally bears many marks of her country and her
-time. Besides her songs of personal emotion, she wrote in several of
-the various forms of occasional verse which we found reason to mention
-as existing in Lesbos. Of her wedding songs and epithalamia we possess
-a number of short fragments. Among them is one in the accepted amœbæan
-or antiphonic style, in which a band of girls mock the men with failure
-to win some dainty maiden, and the men reply with a taunt at the
-neglected bloom of the unprofitable virgin. Say the maids--
-
-  “On the top of the topmost spray
-     The pippin blushes red,
-   Forgot by the gatherers--nay!
-     Was it “forgot” we said?
-   ’Twas too far overhead!”
-
-Reply the men--
-
-  “The hyacinth so sweet
-     On the hills where the herdsmen go
-   Is trampled ’neath their feet,
-     And its purple bloom laid low--”
-
-and there unhappily the record deserts us.
-
-The writing of Sappho was thus in no way dissociated from the
-surrounding life of Lesbos. Similarly the Lesbian love of bright
-and beautiful things--of gold, of roses, of sweet odours and sweet
-sounds--pervades all that is left of her. The Queen of Love sits on a
-richly-coloured throne; she dispenses the “nectar” of love in “beakers
-of gold”; she wears a “golden coronal”; the Graces have “rosy arms”;
-verses are the “rose-wreath of the Muses”; the blessed goddesses shower
-grace upon those who approach them with garlands on their heads. If
-maidens dance around the altar, they may dance most pleasantly on the
-tender grass flecked with flowers. It is sweet to lie in the garden of
-the Nymphs, where--
-
-  “Through apple-boughs, with purling sound,
-     Cool waters creep;
-   From quivering leaves descends around
-     The dew of sleep.”
-
-Sweet among sounds is that of the “harbinger of spring, the
-nightingale, whose voice is all desire.” Sappho does in very truth, as
-she declares, love daintiness. Above all, she loves love. Love is the
-“nectar” in the lines--
-
-  “Come, Cyprian Queen, and, debonair,
-     In golden cups the nectar bear,
-   Wherein all festal joy must share
-     Or be no joy.”
-
-But there is nothing morbid, nothing of the hot-house, about all this.
-It is simply the frank, naïve, half-physical, half-mental, enjoyment
-of the youth of the world, as fresh and healthy as the love of the
-_trouvères_, or of Chaucer, for the daisy, and of the balladist for
-the season when the “shaws be sheen and leaves be large and long.”
-
-Unhappily of the nine books of Sappho there have survived only one
-complete poem, one or two considerable fragments, and a number of
-scraps and lines. So far as we possess even these we have to thank
-ancient critics, such as Aristotle, Dionysius, and Longinus, writers
-of miscellanies, such as Plutarch and Athenæus, or grammarians like
-Hephæstion. We have also to thank those modern scholars, and particular
-Bergk, who have acutely and patiently gleaned the scattered remnants
-from the pages of these ancient authorities. Scanty as they are, we can
-gather from them as profound a conviction of their creator’s genius
-as we gather from some fragmentary torso of an ancient masterpiece of
-sculpture. We may grieve that a torso of Praxiteles is so mutilated;
-nevertheless the art of the master speaks in every recognisable line
-of it. According to the old proverbs, “Hercules may be known from his
-foot” and “a lion from his toe-nail.” What remains of Sappho is enough
-to make us fully comprehend the splendour of her poetic reputation in
-ancient times. That reputation was unique. To the Greeks “the poet”
-meant Homer; “the poetess” meant Sappho. The story goes that Solon,
-the Athenian sage and legislator who was her contemporary, hearing
-his nephew sing one of Sappho’s odes, demanded to be taught it, “So
-that I may not die without learning it.” Plato consents to praise her,
-and that, when Plato speaks of a poet, is praise from Sir Hubert. To
-Aristotle she ranks with Homer and Archilochus. Strabo, the geographer,
-calls her “a marvellous being,” whom “no woman could pretend to rival
-in the very least in the matter of poetry.” Plutarch avers that “her
-utterances are veritably mingled with fire,” and that “the warmth of
-her heart comes forth from her in her songs.” He confesses also that
-their dainty charm shamed him to put by the wine-cup. To one writer of
-epigrams, said to be Plato himself, she is the “Tenth Muse”; to others
-she is the “pride of Greece” or the “flower of the Graces.” It is
-recorded that Mitylene stamped her effigy upon its coins. If imitation
-is the sincerest flattery, she was flattered abundantly. The most
-genuine lyric poet of Rome, Catullus, and its most skilful artificer of
-odes, Horace, both freely copied her. They did more than imitate; they
-plagiarised, they translated, sometimes almost word for word. There
-is scarcely an intelligible fragment left of Sappho which has not been
-borrowed or adapted by some modern poet, in English, French, or German.
-
-There is one mutilated ode of hers which no one can translate. It is
-quoted by Longinus as showing with what vivid terseness she can portray
-the tumultuous and conflicting sensations of a lover in that bright
-fierce south. Ambrose Philips makes it wordy; Boileau makes it formal.
-It displays all the grand Greek directness, but a directness clothed
-in the grand Greek charm of perfect rhythmical expression. We can
-preserve, if we will, the directness, but the charm of its medium will
-inevitably vanish.
-
-In effect, lamentably stripped of its native verbal charm, it may be
-rendered--
-
-  “Blest as the gods, methinks, is he
-   Who sitteth face to face with thee
-     And hears thy sweet voice nigh,
-   Thy winsome laugh, whereat my heart
-   Doth in my bosom throb and start;
-     One glimpse of thee, and I
-   Am speechless, tongue-tied; subtle flame
-   Steals in a moment through my frame;
-     My ears ring; to mine eye
-   All’s dark; a cold sweat breaks; all o’er
-   I tremble, pale as death; nay more,
-     I seem almost to die.”
-
-When after this we read in the _Phèdre_ of Racine these four lines--
-
-  Je le vis, je rougis, je palis à sa vue,
-  Un trouble s’éleva dans mon âme éperdue;
-  Mes yeux ne voyaient plus, je ne pouvais parler,
-  Je sentais tout mon cœur et transir et brûler:
-
-we recognise their source. We recognise, also, if it were not already
-confessed, the source of this of Tennyson in his _Fatima_:
-
-  “Last night, when some one spoke his name,
-   From my swift blood, that went and came,
-   A thousand little shafts of flame
-   Were shivered in my narrow frame.”
-
-If this physical perturbation seems strange to the more reticent man of
-northern blood, it was in no way strange to Theocritus, to Catullus, or
-to Lucretius. Once more, according to the German proverb, “he who would
-comprehend the poet must travel in the poet’s land.”
-
-And here we are confronted with a supreme difficulty. While mere fact
-is readily translatable, and thought is approximately translatable,
-the literary quality, which is warm with the pressure and pulsation of
-a writer’s mood and rhythmic with his emotional state, is hopelessly
-untranslatable. It can be suggested, but it cannot be reproduced. The
-translation is too often like the bare, cold photograph of a scene of
-which the emotional effect is largely due to colour and atmosphere. The
-simpler and more direct the words of the original, the more impossible
-is translation. In the original the words, though simple and direct,
-are poetical, beautiful in quality and association. They contain in
-their own nature hints of pathos, sparks of fire, which any so-called
-synonym would lack. They are musical in themselves and musical in
-their combinations. They flow easily, sweetly, touchingly through the
-ear into the heart. The translator may seek high and low in his own
-language for words and combinations of the same _timbre_, the same
-ethical or emotional influence, the same gracious and touching music.
-He will generally seek in vain. In his own language there may exist
-words approximately answering in meaning, but, even if they are fairly
-simple and direct, they are often commonplace, sullied with “ignoble
-use,” harsh in sound, without distinction or charm. He may require a
-whole phrase to convey the same tone and effect; he becomes diffuse,
-where terseness is a special virtue of his original. Let a foreigner
-study to render this--
-
-  “Had we never loved sae kindly,
-   Had we never loved sae blindly,
-   Never met, or never parted,
-   We had ne’er been broken-hearted.”
-
-Or this----
-
-  “Take, O take those lips away,
-     That so sweetly were forsworn,
-   And those eyes, the break of day,
-     Lights that do mislead the morn!
-   But my kisses bring again,
-   Seals of love, but sealed in vain.”
-
-Is it to be imagined that he could create precisely the effect of
-either of these stanzas in French or Italian? Is not much of that
-effect inseparable from the words?
-
-Take a perfectly simple stanza of Heine--
-
-  “Du bist wie eine Blume
-   So hold und schön und rein:
-   Ich schau’ dich an, und Wehmuth
-   Schleicht mir ins Herz hinein.”
-
-Near as English is to German, incomparably more easy as it is to render
-German into English than Greek into English, it may be declared that no
-English rendering of this verse conveys, or ever will convey, exactly
-the impression of the German original.
-
-In respect of mere musical sound, what other words could run precisely
-like those of Coleridge at the opening of _Kubla Khan_, or like
-Shelley’s “I arise from dreams of thee”? The case is exactly the same
-when we turn to a Greek lyric. Alcæus writes four words which mean
-simply “I felt the coming of the flowery spring”; but no juxtaposition
-of English words yet attempted to that effect can recall to the student
-of Greek the impression of
-
-  ἦρος ἀνθεμόεντος ἐπάϊον ἐρχομένοιο.
-
-It is necessarily so with Sappho. She is an embodiment of the typical
-Greek genius, which demanded the terse and clear, yet fine and noble,
-expression of a natural thought, free, as Addison well says, from
-“those little conceits and turns of wit with which many of our modern
-lyrics are so miserably infected.” True Greek art detests pointless
-elaboration, strained effects, or effects which have to be hunted for.
-The Greek lyric spirit would therefore have loved the best of Burns
-and would have recognised him for its own. But you cannot translate
-Burns. Neither can you translate Sappho. Nevertheless one attempt may
-be nearer, less inadequate, than another. Let us take the hymn to
-Aphrodite. It is quoted by the critic Dionysius for its “happy language
-and its easy grace of composition.”
-
-The first stanza contains in the Greek sixteen words, big and little.
-In woeful prose these may be literally rendered “_Radiant-throned
-immortal Aphrodite, child of Zeus, guile-weaver, I beseech thee, Queen,
-crush not my heart with griefs or cares._”
-
-In turning Greek poetry into English, and so inserting all those little
-pronouns and articles and prepositions with which a synthetic language
-can dispense, it may be estimated that the number of words will be
-greater by about one half,--the little words making the odd half. But
-Ambrose Philips makes thirty-four words out of those sixteen--
-
-  “O Venus, _beauty of the skies,
-   To whom a thousand temples rise,
-   Gaily false in gentle smiles_,
-   Full of love-perplexing wiles;
-   O Goddess, from my heart remove
-   The wasting cares and pains of love.”
-
-The italics should suffice for criticism upon the fidelity of this
-“translation.” Mr. J. H. Merivale, though more faithful to the material
-contents, finds forty-three words necessary--
-
-  “Immortal Venus, throned above
-   In radiant beauty, child of Jove,
-   O skilled in every _art of love
-     And_ artful snare;
-   _Dread power, to whom I bend the knee,
-   Release_ my soul and set it free
-   From _bonds_ of _piercing_ agony
-     And _gloomy_ care.”
-
-We may perhaps without presumption ask whether the sense is not given
-more faithfully, in a more natural English form and rhythm, and in
-a shape sufficiently reminiscent of the original stanza, in the
-twenty-three words which follow--
-
-  “Guile-weaving child of Zeus, who art
-   Immortal, throned in radiance, spare,
-   O Queen of Love, to break my heart
-     With grief and care.”
-
-Keeping to the same principles of strict compression and strict
-simplicity we may thus continue with the remainder of the poem--
-
-  “But hither come, as thou of old,
-   When my voice reached thine ear afar,
-   Didst leave thy father’s hall of gold,
-     And yoke thy car,
-   And through mid air their whirring wing
-   Thy bonny doves did swiftly ply
-   O’er the dark earth, and thee did bring
-     Down from the sky.
-   Right soon they came, and thou, blest Queen,
-   A smile upon thy face divine,
-   Didst ask what ail’d me, what might mean
-     That call of mine.
-   ‘What would’st thou have, with heart on fire,
-   Sappho?’ thou saidst. ‘Whom pray’st thou me
-   To win for thee to fond desire?
-     Who wrongeth thee?
-   Soon shall he seek, who now doth shun;
-   Who scorns thy gifts, shall gifts bestow;
-   Who loves thee not, shall love anon,
-     Wilt thou or no.’
-   So come thou now, and set me free
-   From carking cares; bring to full end
-   My heart’s desire; thyself O be
-     My stay and friend!”
-
-The perfection of the Greek style is fine simplicity. We must not
-say that this characteristic perfection is more absolutely displayed
-in Sappho than in Homer or Sophocles. It is, however, illustrated by
-Sappho in that region of verse which pre-eminently demands it, the
-lyric of personal emotion. There may be, with different persons and
-at different dates, wide differences of interest in regard to the
-themes and structures of the epic, the drama, or the triumphal ode.
-Most forms of poetry must some time cease to find full appreciation,
-because of the peculiar ideas and conventions of their time and place.
-But the poetry of the primal and eternal passions of the human heart,
-of its experiences and its emotions, carries with it those touches
-which make the whole world kin. Love and sorrow are re-born with every
-human being. Time and civilisation make little difference. But those
-touches are only weakened by far-sought words and elaborate metres, by
-recondite conceits and ambitious psychology.
-
-Perhaps the woman who seeks to come nearest to Sappho in poetry is Mrs.
-Browning, but she falls far short of her predecessor, not only through
-inferior mastery of form, but also through an excessive “bookishness”
-of thought. The poet moves by--
-
-  “High and passionate thoughts
-   To their own music chanted.”
-
-In the case of songs whose theme is what Sappho calls the “bitter
-sweet” of love, their proper style has been determined by the gathering
-consensus of humanity, and it is a style simple but powerful, with a
-magic recurring in cadences easy to grasp and too affecting to forget.
-It is the style of “Ye flowery banks o’ bonnie Doon,” not of the Ode on
-St. Cecilia’s Day. Sappho’s songs fulfil all the conditions, and even
-of her fragments that is true which her imitator Horace said of her
-completer poems, as he more happily possessed them--
-
-  “Still breathes the love, still lives the fire
-   Imparted to the Lesbian’s lyre.”
-
-The virtue of Sappho is supreme art without artificiality, utter truth
-to natural feeling wedded to words of utter truth. Let Pausanias,
-that ancient Baedeker, declare that “concerning love Sappho sang many
-things which are inconsistent with one another.” She is only the more
-truthful therefor. No human heart, frankly enjoying or suffering the
-“bitter-sweet” moods and experiences of love, ever was consistent.
-Consistency belongs only to the cool and calculating brain. If love is
-cool and calculating, it is not love.
-
-How much Sappho may have written on other subjects than this, the most
-engrossing of all, we shall perhaps never know. But we may be sure that
-one of the most priceless poetical treasures lost to the world has been
-those other verses which, to quote Shelley on Keats, told of--
-
-  “All she had loved, and moulded into thought
-   From shape and hue and odour and sweet sound.”
-
-There is, we may add, one quality besides beauty in verse which can
-never be analysed. It is charm. Sappho is pervaded with charm. And this
-suggests that we may conclude by quoting the judgment of Matthew Arnold
-upon one defect at least which must make Heine rank always lower than
-Sappho:--
-
-  “Charm is the glory which makes
-   Song of the poet divine;
-   Love is the fountain of charm.
-   How without charm wilt thou draw,
-   Poet! the world to thy way?
-   Not by thy lightnings of wit--
-   Not by thy thunder of scorn!
-   These to the world, too, are given;
-   Wit it possesses and scorn--
-   Charm is the poet’s alone.”
-
-
-THE ST. ABBS PRESS, LONDON
-
-
-
-
-Transcriber’s Note
-
-
-Punctuation and spelling were made consistent when a predominant
-preference was found in the original book; otherwise they were not
-changed.
-
-
-
-
-
-End of the Project Gutenberg EBook of Sappho, by Thomas George Tucker
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