NOTES

(The dates given in the text with authors are generally those of floruit, i.e. about the fortieth year.)1. Somewhere recently in a newspaper I saw these lines entitled, They Lived Too Soon:

2. Oxyrhynchus Papyri, XV. 1787, frag. 4.3. Galen, Protrep., 2.4. Classical Philology, XVIII. 35 ff. (1923).5. Sir Edward Cook, More Literary Recreations, 1919, p. 205, quotes Wharton with approval to the effect that Tennyson called Sappho “the poet, implying her supremacy by the absence of any added epithet.”6. Anth. Pal., VII. 16.7. Athenaeus, Deipnosophistae (Doctors at dinner), 596 b.8. Odes, IV. 9. 11.9. Amatorius, 18.10. Athenaeus, 598 b.11. Loves, 30.12. Lord Neaves, The Greek Anthology, p. 113.13. Anth. Pal., VII. 15.14. Fraenkel, Inschriften von Pergamon, I, p. 118, no. 198; C. I. G. 3555.15. Sappho und Simonides, p. 41, 1.16. Anth. Pal., IX. 66.17. Anth. Pal., VII. 14.18. Anth. Pal., VII. 407.19. Anth. Pal., IX. 189. Cf. A. J. Butler, Amaranth and Asphodel, Oxford, 1922, p. 195. The ending is “you shall fain Deem that Calliope doth hymn the strain.”20. Anth. Pal., IX. 571.21. XXXV. 16.22. Cf. also Epigr. LXX, Jacobs, II, p. 25; Plut., Amat., XII, p. 42.23. P. 186 (1921).24. 280, pp. 817-818. Cf. also Posthumous Essays in Sat. Rev., Feb. 21, 1914.25. Professor Scribner in The Classical Weekly XV, 1921, p. 78, says “there still is room for a work giving a complete critical treatment of Sappho’s influence on ancient and modern literature down to our own time.”26. Athenaeus, 599 c; Oxyr. Pap., XV. 1800.27. Strabo, 618; Athenaeus, 85 c.28. Cf. Herodotus, II. 135; Schol. Plato, Phaedrus, 235 c; Ox. Pap., XV. 1800. The papyrus gives Scamandrus, which is otherwise known as a good Lesbian name, as well as Scamandronymus. Scamandrus like Suidas’ Scamon is an abbreviation or Kosenamen.29. Her., XV. 61.30. Confirmed by the new papyrus. The more correct form would be ClÉvis (??e??? or ??e???) after the founder of Lesbus, who was named ??e?a?, Strabo, 582.31. Cf. Edmonds, pp. 144-147.32. Hiller von Gaertringen, Inschriften von Priene, 18; for Erygyius cf. also Diodorus, XVII. 81, 83; Arrian, III. 6, 5.33. The name occurs as a love-name on the interior of an Attic cylix in the Metropolitan Museum of New York, signed by Hieron (480 B.C.), published in American Journal of Archaeology, XXVII. 274 (1923). Near a female figure dancing to the accompaniment of the double flute played by a satyr is the inscription, “Beautiful Rhodopis.” Cf. also Lucian, De Saltatione, 2.34. Cf. Poulsen, Delphi, London, 1920, pp. 31, 72, 205, 294.35. Edmonds’ first poetical translation is given in his Sappho in the Added Light of the New Fragments, p. 8; but he gives a revised prose version in the Classical Review, XXXIV. 5-6 (1920) and in Lyra Graeca, I, p. 207.36. Solmsen in Rhein. Mus., LVI. 502, 1 (1901) gives arguments for the spelling with double p.37. 599 c.38. ?????e often means flourished, not “was born.” Those who put Sappho’s birth as late as 610 forget this.39. Strabo, 617, also makes Sappho contemporary with Pittacus and Alcaeus. Eusebius puts the floruit of Sappho in the first year of the forty-fifth Olympiad (599 B.C.). Edmonds, Lyra Graeca, I, p. 142, adopts the reading Ol. 45, 2 (598 B.C.), but this would be rather the date of her exile.40. The abbreviation E, is used throughout for Edmonds, Lyra Graeca, vol. I.41. Cf. Prinz, Funde aus Naukratis, 1906, pp. 57 ff.42. II. 134.43. In another fragment (E. 35) Edmonds calls Sappho “an old bird,” but this is a very dubious restoration based on only three preserved letters.44. Flor., XXIX. 58.45. Dioscorides in Anth. Pal., VII. 407 has Eresus; and coins and Suidas give both towns. Cf. Wilamowitz, Sappho und Simonides, 23; Her. II. 135 and references in Jacoby, Das Marmor Parium, 1904, p. 101. Many sources call Sappho a Mytilenaean, Schol. to Pindar (E. p. 144); Schol. Plato, Phaedrus, 235 c; Arist., Rhet., 1398 b; Anth. Pal., VII. 17. Some scholars assume that there were two Sapphos, but the two traditions can easily be reconciled by supposing that Sappho belonged to both cities, born at Eresus but later living at Mytilene. Edmonds thinks that Strabo would have mentioned Sappho when he is speaking of Eresus (618), had he believed her to have been born there, but Strabo omits many famous writers. The tradition of two Sapphos is found also in Aelian, Historical Miscellanies, XII. 19 and in Suidas. Cf. the novel Beulah by Augusta Evans, pp. 216-218: “Do you think that Sappho’s frenzy was established by the Leucadian leap? You confound the poetess with a Sappho, who lived later, and threw herself into the sea from the promontory of Leucate. Doubtless she too had ‘poetic idiosyncrasies,’ but her spotless life, and I believe natural death, afford no indication of an unsound intellect.”46. Studies of the Greek Poets, vol. I., pp. 307 ff. (American ed.)47. I. 9.48. Cf. The Poet Loves of Sappho from the third book of A Catalogue of Things Relating to Love, an elegiac poem by Hermesianax, translated by J. Bailey.49. Athenaeus, 450 e.50. Class. Phil., XIII. 348 (1918).51. XVIII. 9.52. Edmonds, 82, p. 240.53. Oxyrhynchus Papyri, XV, 1922, 1800. Also now published in Miller-Robinson, The Songs of Sappho.54. LunÁk, Quaestiones Sapphicae, Kazan, 1888.55. Lucy Milburn, p. 21, makes Sappho say, “When CleÏs, I called her for my mother, was two years old, I found myself a widow.” But we have no such evidence, how old CleÏs was when her father died. Miss Milburn (Letter XIX) is also quite wrong in translating “I would rather have my little daughter know her own worth than to bequeath to her all the treasures of Lydia, were they mine.”56. I. 30.57. Edmonds, 116 reads ?????a (peace) for ??a??a so that it is doubtful if Erinna, the poetess who wrote poems worthy of Homer before her early death at the age of nineteen, is really meant by Sappho. Most scholars now date her long after Sappho’s time, some even as late as 350 B.C.58. Cf. Jahrbuch, XXV. 150 (1910).59. A. J. P., XXXIV. 106 (1913).60. Anth. Pal., XVI. 310.61. XVIII.62. Odes, I. 1. 36.63. Cf. Anth. Pal., VII. 14 and 17 for epigrams about Sappho’s grave. Cf. Edmonds, 42 and 99. Tucker translates:

64. My late colleague and dear friend, Kirby Flower Smith, made a brilliant reconstruction of the story which he read several times in public. It is to be deeply regretted that the manuscript has never been printed. Cf. for the Menander fragment, F. G. Allinson’s Menander, in The Loeb Classical Library, pp. 400-401. For fragments of Plato’s Phaon, cf. Kock, C. A. F., I, p. 645. Cf. Servius on Virgil, Aeneid, III. 274.65. Lucian for example, Dialogues of the Dead, 9, has Phaon carry Aphrodite over in his boat from Chios.66. Incred., 49 in Apostolius, Paroem., II. 707.67. 596 b; “according to Nymphis in his Voyage around Asia, the courtesan of Eresus who was a namesake of the other Sappho and lover of the fair Phaon won great notoriety.” Cf. also Suidas, s. v. Phaon.68. Cf. FurtwÄngler-Reichhold, Gr. Vas., pl. 59; Milani, Monumenti scelti del R. Museo Arch. di Firenze, pl. 3; Nicole, Meidias, pl. VI, I. Cf. also on Phaon, Wilamowitz, Sappho und Simonides, pp. 33 ff.69. 69 d.70. Strabo, 452.71. Cf. Curtis, A. J. A., XXIV. 146 ff. (1920); Paribeni, Boll. d’Arte, I. 104 (1921); F. Cumont, Rassegna d’Arte, VIII. 44 ff. (1921); Leopold, MÉlanges d’ArchÉologie et d’Histoire, XXXIX. pl. II. 181 ff. (1921); Le MusÉe Belge, XXVII. 15 ff. (1923), there connected by Hubaux with the cult of the Thracian Cotyto. Cf. Memoirs Am. Ac. in Rome, IV. 85 f., pl. XLV.72. For another version cf. G. Showerman’s Ovid in The Loeb Classical Library. A new translation by Marion Mills Miller, where the narrative portions are in recitative and the frequent outbursts of emotion in lyrical form, appears in Miller-Robinson, The Songs of Sappho.73. Countless translations have been made. Among a few, I mention Philips (1711), Herbert (1713), Akenside’s paraphrase (1745), Fawkes (1760), Merivale (1833), Elton (1814), Egerton (1815), Edinburgh Review (1832), Palgrave (1854), Arnold (1869), Higginson (1871), Walhouse (1877), Symonds (at least two versions), Swinburne, Thomas Davidson, Marion Mills Miller (in The Classics and also in his play The Return of Odysseus, p. 82), Appleton, Fairclough (The Raven, V, 1904, p. 120), Easby Smith, Stobart (The Glory that was Greece, p. 119), Lawton, Tucker, Petersen, Lawrence (Classical Review, XXXVI, 1922, p. 2), Edmonds, William A. Drake (Sewanee Review, April 1923).74. st?????? in l. 10 are birds of Venus, swans, or better doves, rather than the dirty chatterers of our city streets, who never appear in Greek art. Cf. Throop, Wash. Univ. Studies, IX 282 (1922); Aristophanes, Lysistrata, 723 f.; Statius, Silvae, I. 2. Edmonds p. 183 reads the dual and translates “thy two swans.” For swans drawing Aphrodite’s or Cupid’s car, cf. Reinach, RÉpertoire des Vases Peints, I, pp. 57, 271.75. Dem., 38.76. Iliad, X. 90-95. Cf. also Od., XVII. 518-521. For Homer’s influence on Sappho cf. Smyth, p. 230; H. L. Ebeling, in The Classical Weekly, XVI. 195 ff. (1923).77. III. 152-158.78. Edmonds, pp. 186-7, makes the ingenious but very uncertain suggestion that in line 7 a proper noun, Brocheo or Brochea, corresponding to Catullus’ Lesbia, should be read and now translates: “When I look on you, Brocheo, my speech comes short or fails me quite.” Formerly he thought that the poem was sent by the banished Sappho at the age of eighteen to some beloved girl friend soon after her arrival in Sicily in 596 B.C., but Sappho was older than eighteen in 596, and Edmonds now makes an entirely different emendation of the last line, “but now that I am poor, I must fain be content ...” meaning “beggars can’t be choosers.” But the reading is uncertain and I do not believe that Sappho was poor, nor do I agree with Miss Patrick that the words do not describe love at all.79. For such head-cloths cf. the Latin word struppus and the festival at Falerii, called struppearia, Dion. Hal., XI. 39 and Poulsen, Etruscan Tomb Paintings, p. 23. Edmonds’ new reading is very uncertain; for his previous reading and poetical version cf. Sappho in the Added Light of the New Fragments, p. 28.80. I keep Bergk’s reading, “Foolish woman, pride not thyself on a ring.” Edmonds changes the text and translates, “But come, be not so proud of a ring.”81. Cf. Poulsen, in Jahrbuch, XXI. 209 ff. (1906); Die Bronzen von Olympia, IV., pl. VII. 74.82. There are many other poetical versions by Merivale, Symonds, F. Tennyson, Tucker, Cox, Edmonds, etc. For an absurd interpretation Sappho in the Rain, cf. Wiener Studien, XXXVIII. 176 ff. (1916).83. Poetical translations by Merivale, Arnold, Appleton, F. Tennyson, Symonds, Edmonds, Miller, Percy Mackaye, etc.84. Sappho in the Added Light of the New Fragments, p. 25, but in Lyra Graeca, I, p. 253, he changes his previous emendation and reads a text which I consider very uncertain, “and pours down a sweet shrill song from beneath his wings, when the Sun-god illumines the earth with his downshed flame outspread.”85. Praec. Con., 48; Qu. Conv., III. 1. 2.86. Flor., IV. 12.87. For Swinburne’s expansion cf. p. 210; cf. also Percy Mackaye in Sappho and Phaon. Bliss Carman has evolved the following from Sappho’s one line:

88. Cf. Miss Shields, “Lesbos in the Trojan War,” in The Classical Jour., XIII. 670 ff. (1918); The Cults of Lesbos (Johns Hopkins University Diss.) 1917.89. Cf. Transactions and Proceedings of the American Philological Association, LIII. xvi (1922).90. For Mnesidice Edmonds would now read Anactoria. There is a good metrical translation by G. M. Whicher in Manatt, Aegean Days, London, 1913, p. 286.91. Odes, I. 3. 22.92. O’Hara renders as follows:

93. These may be vases in the form of an astragalus or knuckle-bone, two or three of which in clay are to be seen in museums, or they may be bowls or cups with the bottom rounded like one end of a knuckle-bone. They might be bowls with a mid-boss in the form of a knuckle-bone. For such gold-bossed golden bowls as Pollux (VI, 98) mentions in the context of this quotation see the recently acquired beautiful gold bowl with a Corinthian inscription of about Sappho’s time in the Boston Museum, which, however, is probably a modern forgery. Cf. Bulletin, Boston Museum of Fine Arts, XX. 65 ff. (1922).94. German and Austrian scholars have failed to see the lovely lyrical literature in this delightful ballad. Aly considers it only the beginning of a longer ode; and I cannot agree with him that it does not fit in with what we know of Sappho who often expresses her loneliness in the absence of her companions. Even if the thought is of love, we must not expect consistency in a high-strung Aeolian woman. Fragments such as E. 152, 159, 167 may have been in a totally different context. But I do not mean to say that the ballad certainly refers to Sappho herself. The context is gone and it is not even definitely assigned to Sappho. Some of the editions seem to have contained it, but much anonymous literature has been included in the Sapphic corpus as in that of Plato or Hippocrates. However, as it is one of the prettiest and most perfect pieces and quite in Sappho’s style and metre and thought, I consider it genuine. Ovid (Sappho to Phaon, 155 ff.) seems to know the lines. Ruthlessly to insert a negative in the text (“Alone I do not sleep”) as does LunÁk (Wiener Studien, XL, 1918, p. 98) spoils the literary quality and makes it insipid. How much suggestive concision in those seventeen words in four verses (four of them small particles), but what vast and profound humanity; silence, solitude, obscurity, waiting, anxiety, sympathy of nature. How the strong and rapid description catches our deepest thoughts. Such things disprove the arguments against its genuineness by Wilamowitz, Textgeschichte, p. 33; and Sappho und Simonides, p. 75. Cf. MÜnscher, Hermes, LIV. 29, 4 (1919).95. Scribner’s Magazine, September 1905, p. 304.96. On the whole tradition of the wedding song cf. Mangelsdorff, Das lyrische Hochzeitsgedicht bei den Griechen und RÖmern, 1913; Reitzenstein, Hermes, XXXV. 95 ff. (1900); Croiset, Journal des Savants, July 1914; Girard, Le Mariage de Hector, Comptes-rendus Ac. des Sc. et Belles-lettres, 1914, pp. 658-9.97. I. 4.98. Cf. Robinson, The Classical Weekly, V. 68 (1911).99. In this account of Sappho’s wedding-songs I am much indebted to Koechly, Akademische VortrÄge und Reden, ZÜrich, 1859, pp. 153-217.100. For Usener’s interesting conjecture about Lesbian marriage customs based on this fragment cf. Kleine Schriften, IV, pp. 308 ff.101. An excellent modern musical version will be found in A. A. Stanley, Greek Themes in Modern Musical Settings.102. For the history of dialogue in Greek epigrams and examples of stones speaking with the passer-by and for sepulchral symbolism as in the Pelagon epigram cf., D. M. Robinson, “Two Epitaphs from Sardis,” in Anatolian Studies presented to Sir William Mitchell Ramsay, Manchester, 1923, pp. 341-353.103. For a bronze in the British Museum supposed to represent the reclining Sappho cf. Walters, Cat. of Bronzes, London, 1899, 203.104. Pollux, IX. 84.105. Cf. Bernoulli, Griechische Ikonographie, pp. 59-72; Cat. of Coins in the Brit. Mus., Lesbos, pl. XXXIX; Miss Patrick, pp. 73, 81; Jacoby, Marmor Parium, p. 101; Forrer, Les Portraits de Sappho sur les monnaies, in Revue Belge de numismatique, 1901, pp. 413 ff.; Zeitschrift fÜr Numismatik, IX. 114, pl. IV.106. Meisterwerke, p. 103.107. Greek Hero Cults and Ideas of Immortality, Oxford, 1921, p. 367.108. Walters, Cat. of Terra-cottas in the British Museum, London, 1903, pl. 19.109. The ancient representations of Sappho on vases have been well studied by Jahn, Darstellungen griechischer Dichter auf Vasenbildern, Abh. d. SÄchs. Ges. d. Wiss., VIII. 699 ff. (1861); Comparetti, Museo Italiano di Antichita classica, II, 41-80, pls. III-VI (1888); Cipollini, pp. 319-344; Wilamowitz, Sappho und Simonides, pp. 40 ff. Little new material has come to light, but the individual vases have been better interpreted in the later publications which we cite in other notes. Aly omits the busts, though he mentions the vases, but he calls the Steinhauser fragment a clay relief and fails to recognize that it is part of a vase.110. Cf. Jahn, pl. III; Comparetti, op. cit., pl. IV; FurtwÄngler-Reichhold, Gr. Vas., II, pp. 21 ff., 308 ff., pl. 64; Steiner, Sappho, pp. 54-5; Perrot et Chipiez, Histoire de l’art, X, p. 624, pl. 15; Beazley, J. H. S., XLII, 1922, p. 91; Pfuhl, Malerei und Zeichnung der Griechen, Munich, 1923, p. 399; Hoppin, Handbook of Attic Red-figured Vases, I, p. 461. Hoppin wrongly rejects FurtwÄngler’s attribution to the factory of Brygus; and wrongly identifies Hauser’s “Frau Meisterin” with Beazley’s Niobid Painter. Perrot (p. 626) says that the Munich vase belongs to a contemporary of Duris but that we shall never know the painter; but on p. 634 he says: “we would be tempted to add the vase to the Berlin amphora painter.”111. Comparetti, op. cit., pl. III, 1; De Witte, Antiq. de l’hÔtel Lambert, no. 32, pl. III; Reinach, RÉpertoire des Vases, I, p. 524. Formerly in the Dzialinsky collection at Paris.112. Comparetti, op. cit., pl. III, 2; Steiner, pp. 44 ff.; Cipollini, p. 328; De Courten, p. III; Reinach op. cit., I, p. 525.113. Comparetti, op. cit., pl. V; Cipollini, p. 331; De Courten, p. 95; RÖm. Mitt. III, 1888, pl. IX; Jahreshefte, VIII. 35-40 (1905); Nicole, Meidias, pl. VII; Reinach, op. cit., I, p. 526.114. B. C. H., IV. 373 (1880); Cipollini, pp. 337-8.115. Cf. Comparetti, pl. VI; Steiner, pp. 16 ff.; Edmonds, Class. Quart., XVI. 1 ff. (1922), where he fails to cite Jahreshefte, VIII. 40 (1905).116. J. C. Hoppin, Handbook of Attic Red-figured Vases, Harvard University Press, 1919, p. 410.117. Murray, White Athenian Vases in the British Museum, London, 1896, pl. XVII; Pfuhl, op. cit., II, p. 546, fig. 527.118. Ann. d. Inst., XXX, 1858, p. 42, pl. B; Cipollini, pp. 339-341.119. Cf. Cipollini, pp. 343-4.120. Cf. Nicole, Meidias, Geneva, 1908, pls. III and VI. I cannot agree with Nicole in dating Meidias as late as 375-350 B.C. He belongs to the time of the Peloponnesian War, 431-404 B.C. This fatal war did not stop the Athenians from producing during war times such great works of art as the Erechtheum, beautiful vases and statues. Cf. also note 68 above.121. Cf. Pfuhl, op. cit., p. 566, III, Fig. 557; Pellegrini, Museo Civico di Bologna, Catalogo dei Vasi Greci, pp. 133-135, Fig. 77.122. N. H., XXXV. 141. Brunn, Kunstgeschichte, p. 299, identifies him with a bronze-sculptor, Leon, but we are equally ignorant about him.123. Anth. Plan., 310 (Edmonds, p. 173); Tatian, Adv. Gr., 130.124. Cf. Hermann, DenkmÄler der Malerei des Altertums, pl. 28; Pfuhl, op. cit., p. 734; Lippold, RÖm. Mitt., XXXIII. 71 ff. (1918).125. For replicas of the Sappho cf. Rizzo, Rev. Arch., 1901, pp. 301 ff. The latest and best discussion is by Percy Gardner, J. H. S. XXXVIII. 10 ff. (1918). For a copy of Silanion’s Corinna at CompiÈgne cf. Rev. Arch. XXXII. 161 (1894); XXXVI 169 (1898); FurtwÄngler, Meisterwerke, pp. 99 ff. would class many of the so-called Sapphos as Aphrodite and thinks that those which are copies of fifth century art may represent the Aphrodite of Phidias which was to be seen in later days in the portico of Octavia at Rome (Pliny, N. H. XXXVI, 15).126. II. 4. 57.127. Anth. Pal., VII. 15.128. Cf. Fraenkel, Inschriften von Pergamon, 198. According to C. I. G. 3555 Jucundus and Cyriac of Ancona still saw the inscription at Pergamum.129. Ecphr., 69-71.130. On the Albani bust cf. Jahrbuch, V. 152 ff. (1890), pl. III; Morcelli, Fea, Visconti, Descr. della Villa Albani, 1033; Schneider, Jb. d. Ak. Kunstsammlungen, XII, 72 ff. (1891); Arndt, Brunn-Bruckmann, Griechische und RÖmische PortrÄts, pl. 147-148; for the bust in the Pitti cf. Arndt, pls. 149-150; for that in the Uffizi, pls. 145-146; cf. also Cipollini, pp. 345-356. On the Biscari and Naples busts cf. Rizzo, Rev. Arch. XXXIX, 1901, pp. 301-307, pls. XXI, XXII. On the Constantinople head cf. Mendel’s Cat. no. 626.131. Art and Archaeology, VI. 277 ff. (1917), Robinson, ibid., pp. 285 ff. I have omitted mention of many other ancient works of art wrongly supposed to represent Sappho, such as Stackelberg, Die GrÄber der Hellenen, Berlin, 1837, pl. LXX, called Sappho with a female friend sitting in her lap, merely because of the book-roll.132. Arch. Anzeiger, XXVII. 124 (1912).133. Cipollini, p. 405, pictures Magni’s Saffo; p. 409 Confalonieri’s Saffo; p. 413 Pradier’s Sapho; p. 417 Pradier’s standing Sapho; p. 421 Barrias’ painting; p. 425 Gleyre’s couch of Sappho. There is a bust of Sappho by Canova in Turin.134. Cf. Reinach, in Revue ArchÉologique, XX, 2. 433-434 (1912), X, 2. 392 (1919).135. Cf. for influence of Pamphos, a mythical poet earlier than Homer, Pausanias, IX. 29, 8; of Homer, Neue JahrbÜcher, XXXIII 227 (1914); De Courten, pp. 74-76.136. E. 114 influenced by Theogony, 3 ff.; E. 122 by Works and Days, 568; E. 81 by Theogony, 121.137. Theognis, 1017.138. Schol. Hesiod, Works and Days, 428.139. Athenaeus, 554 b, 639 a.140. Porphyrio on Horace, Satires, II. 1. 30, “ostendit Sapphonem et Alcaeum volumina sua loco sodalium habuisse.”141. Wilamowitz, Textgeschichte der Bukoliker, p. 88.142. III. 153 f.; VI. 1181.143. Wilamowitz, Sappho und Simonides, p. 58, 2. There is an enormous literature on Catullus’ relation to Sappho and much discussion of textual matters. Cf. for the most recent Bursian Jahresbericht, CLXXVIII, 1919, p. 46. Compare E. 32, 147 and 149 with Catullus LXII, 26, 35; E. 151 with LXII, 61; E. 148 with LXII. In XXXV, 17-18 we have “Ignosco tibi, Sapphica puella Musa doctior.”144. The Classical Quarterly, XVI. 1-14 (1922).145. IV. 9. 10.146. II. 13. 24.147. Cf. Ogle, A. J. P., XLIII. 55 ff. (1922). For Sappho’s influence on Horace cf. Pasquali, Orazio lirico, 1920. Most of the literature on the subject is not fit to read. Cf. Richard F. Burton’s The Book of the Thousand Nights and a Night, Terminal Essay, X, p. 208, for a filthy, wrong interpretation of the word ‘mascula’. It is surprising to find as great a modern scholar as Bloch, Die Prostitution, Berlin, 1912, I, p. 383, saying in his discussion of Homosexuality, ?s???e?a t??a??, “Schon in frÜher Zeit galten Sparta und die Insel Lesbos als Orte, wo die weibliche Liebe besonders verbreitet war und an letzterem Ort in der Dichterin Sappho eine weltberÜhmte Vertreterin fand.” Cf. also on tribadie in Lesbos Bloch, Der Ursprung der Syphilis, II, pp. 586-588, where he thinks that he gives definite proof that Sappho was “eine echte Tribade.” It is lamentable that as great a literary critic as J. A. Symonds should say that “Sappho gave this female passion an eminent place in Greek Literature;” see J. A. Symonds, A Problem in Greek Ethics, An Inquiry into the Phenomenon of Sexual Inversion, London, 1901, pp. 70-72. Fortunately the monograph was issued only in a very limited edition.148. Silvae, V. 3. 154.149. VII. 69.150. Symp., VII. 8. 2.151. XIX. 9. 4.152. Loves, 30.153. On Paid Companions, 36; Pictures, 18.154. On the influence of Sappho on Himerius cf. Rizzo, Saggio su Imerio il sofista, in Riv. Fil. Cl., XXVI 513-16 (1898). In Orations, I. 4 the words t? ????? ????? were incomprehensible and Edmonds still omits ?????, but the reading is undoubtedly correct and the significance is now apparent from the new epithalamium of Hector and Andromache.155. XV. 35, 36, 37.156. I. 16, 19, 20.157. Cf. Anth. Pal., V. 246; VII. 14, 15, 16, 17, 407, 718; IX. 26, 66, 184, 189, 190, 506, 521, 571; XVI. 310.158. V. 246. I give a literal translation and Greek texts of all epigrams which mention Sappho in Miller-Robinson, Songs of Sappho.159. Cf. A. J. P., XXXVIII. 66 (1917).160. Photius only cites the selections made by Sopater the Sophist, among which in his second book he included some quotations from Sappho’s eighth book.161. Vita dell’ Imperatore Alessio o Alesseide, XV.162. IV. 25.163. His comment on Martial, VII. 67 is “Tribadem autem fuisse carmen indicat quod extat.”164. There is an interesting item in Natales Comes, Mythologiae sive explicationes fabularum, Venice, 1551, Book V, c. XVI, p. 286, “Scriptum reliquit Sappho, Adonim mortuum fuisse a Venere inter lactucas depositum.” According to Athenaeus 69 d, Cratinus had Aphrodite conceal Phaon among the “fair wild-lettuces.”165. In my library I have a copy dated 1696 of Anne Le FÈvre, Les PoËsies d’AnacrÉon et de Sapho. This, however, is a second edition and the first was in 1681.166. Welcker, Kleine Schriften: II, pp. 80 ff., Sappho von einem herrschenden Vorurteil befreit. Goethe occupied himself much with this article. For references in Goethe to Sappho cf. W. J. Keller, Goethe’s Estimate of the Greek and Latin Writers, Madison, Wis., 1916, p. 51.167. Sauer, Grillparzer’s sÄmtliche Werke, Stuttgart, 1892, XIX, pp. 71 ff. For source of Sappho cf. J. Engl. Germ. Phil., XXII, 503 ff. (1923).168. Cf. Jean Giraud, D’AprÈs Sapho. Variations sur un thÈme Éternel, in Revue d’Histoire littÉraire de la France, XXVII, 1920, pp. 194-203. I have added considerable material not there, since this article deals only with the second ode. I am indebted in this chapter to my learned colleagues, Professor Henry Carrington Lancaster and Professor Gilbert Chinard, for helpful suggestions.169. Traduction de quelques autres epigrammes Grecs, Œuvres de Ronsard, Tome 2, Paris, 1889, p. 56.170. The date is often wrongly given as 1682. In my copy, which is a second edition (Lyon 1696), it is stated that permission to publish the book was granted to Damoiselle Anne Le FÈvre on June 10, 1681, all rights to continue for six years. “Le dit livre a estÉ achevÉ d’imprimer pour la premiÈre fois le 1, Decembre 1681.” My copy gives only the first two odes and the epigrams on Pelagon and Timas and quotes an inaccurate Latin prose translation of the first ode by her father. He has made several emendations, as in ode II, l. 7, ?? ??????, “nihil vocis pervenit ad fauces meas,” as good a suggestion as Edmonds’ creation of an unknown proper name Brocheo.171. Cf. Œuvres de Fontenelle (Paris 1818), II, pp. 187, 188.172. My copy is the thirteenth edition published by Bertrand, Paris, 1818. The idea of a manuscript of Sappho found at Herculaneum is repeated by Lucy Milburn and Percy Mackaye.173. My copy is dated London 1810 and is anonymous, PoÉsies de Sapho suivies de diffÉrentes PoÉsies dans le mÊme genre. It contains also Les Tourterelles de Zelmis and the PoÉsies Erotiques of M. de Parny, who was such an admirer of Sappho. The adaptations are the same as those of Sauvigny. Why this edition is anonymous, I do not know.174. XII, p. 181 ed. Furne, Jouvet et Cie., Paris.175. My edition is Giguet et Michaud, Paris, 1805. This book with its long notes and citations, though little known, is important for the student of Sappho’s influence.176. Cf. Wilamowitz, Sappho und Simonides, pp. 63-69 on Chansons de Bilitis, pp. 71-78 on Lesbian Love.177. Cf. Edwin M. Cox, p. 5, where he quotes Barnabe Barnes’ Parthenophil and Parthenophe, 1593:

In Davison’s Poetical Rhapsody, 1602, are some Sapphics by the mysterious “A. W.” Here is a sample:

In 1601 Campion and Roseter, Lyrics, Elegies, etc., give a clumsy example of Sapphic verse. In 1614 a tract called The Martyrdom of Saint George of Cappadocia contains at the end some “Sapphicks” which resemble the real Sappho only in having the same number of syllables to the verse. Cox and all others, so far as I know, fail to mention Sir Philip Sidney’s translation of the second ode.178. Cf. W. C. Lawton, Sappho with some new translations, Lippincott Magazine, 77, 583; W. A. R. Kerr, “Sappho’s Soliloquy,” in Canadian Magazine, 12, 426; E. Saltus, “Sappho” in Lippincott’s Magazine, 51, 503; M. Thompson, “The Secret of Sappho,” in The Atlantic Monthly, 73, 365; M. Gray, “Sappho,” in Argosy, 51, 203; Athenaeum, 1889, 2, 56; F. B. Harte, “Sappho of Green Springs,” in Lippincott’s Magazine, 45, 627; Democratic Review, 7, 18; Higginson, in The Atlantic Monthly, 28, 83; G. Hill, in Appleton’s Journal, 6, 158, 179; Mrs. Hamilton in Harper’s, 56, 177 (has nothing to do with the real Sappho); M. Thompson, “Sappho’s Apple,” in The Independent, 53, 416; A. Chisholm, in Canadian Magazine, 15, 453; Reinach, RÉvue ArchÉologique, XXIV, 1914, 2, pp. 336-337; IX, 1919, p. 204; X, 1919, p. 225; H. I. R., Fragment of a Poem by Sappho done into English verse, in The Literary Digest, 48, 1493; “Real Personal Character of the Poetess Sappho,” in The Review of Reviews, 46, 107-8; Swinburne, “Sappho,” in The Living Age, 280, 817-8; W. L. Courtney, “Sappho and Aspasia,” in The Fortnightly Review, N. S. 91 (1912), 479-88; “Sappho from the Dust,” in The Literary Digest, 48, 1362-3; M. M. Miller, “Sappho’s Songs of Exile,” in The Independent, 87, 344; New York Nation, 1914, 1, p. 602; Aldington, “Letters to Unknown Women,” in The Dial, 64, 430-1; W. A. Percy, Sappho in Leukas and Other Poems, New Haven, 1915; Horton, “New Sappho Fragment in English Verse,” in The Dial, 61, 179; Michael Monahan, “Sappho,” in All’s Well or the Mirror Repolished, II, 1922, pp. 87 ff.; Robinson, in The Baltimore Sun, Jan. 22, 1922.178a. In Charmides he says: “Or from the Lesbian waters plucked drowned Sappho’s golden quill.”179. See Pericles and Aspasia, Letters 47, 48, 82, 95, 149, 150, 152, 153.180. Idyls of the King, Lancelot and Elaine, 1003-1004. Not in Mustard, Classical Echoes in Tennyson, New York, 1904.181. Lyrics and Sonnets (Edinburgh, 1903), p. 66.182. Miller-Robinson, Songs of Sappho.183. Litz, Father Tabb, Johns Hopkins Press, 1923, p. 168.184. Collected Poems, New York, 1922, pp. 227-228.185. Art and Archaeology, XII. 217 (1921).186. Sappho in Leukas and other Poems, Yale University Press, 1915.187. Art and Archaeology, XV. 13 (1923).188. J. U. Nicolson, King of the Black Isles, p. 3, Chicago, 1924.

SELECTED BIBLIOGRAPHY OF RECENT BOOKS ON SAPPHO