When the Akropolis at Athens bore its beautiful burden entire and perfect, one miniature temple stood dedicated to wingless Victory, in token that the city which had defied and driven back the barbarian should never know defeat.

But only a few decades had passed away when that temple stood as a mute and piteous witness that Athens had been laid low in the dust, and that Victory, though she could never weave a garland for Hellenes who had conquered Hellenes, was no longer a living power upon her chosen citadel. By the eighteenth century the shrine had altogether disappeared: the site only could be traced, and four slabs from its frieze were discovered close at hand, built into the walls of a Turkish powder magazine; but not another fragment could be found.

The descriptions of Pausanias and of one or two later travellers were all that remained to tell us of the whole; of its details we might form some faint conception from those frieze marbles, rescued by Lord Elgin and now in the British museum.

But we are not left to restore the temple of wingless Victory in our imagination merely, aided by description and by fragment. It stands to-day almost complete except for its shattered sculptures, placed upon its original site, and looking, among the ruins of the grander buildings around it, like a beautiful child who gazes for the first time on sorrow which it feels but cannot share. The blocks of marble taken from its walls and columns had been embedded in a mass of masonry, and when Greece was once more free, and all traces of Turkish occupation were being cleared from the Akropolis, these were carefully put together with the result that we have described.

Like this in part, but unhappily only in part, is the story of the poems of Sappho. She wrote, as the architect planned, for all time. We have one brief fragment, proud, but pathetic in its pride, that tells us she knew she was meant not altogether to die:

and again with lofty scorn she addresses some other woman:

The words sound in our ears with a melancholy close as we remember how hopelessly lost is almost every one of those poems that all Hellas loved and praised as long as the love and praise of Hellas was of any worth. Remembrance among men was, to her, the Muses' crowning gift; that which should distinguish her from ordinary mortals, even beyond the grave, and grant her new life in death. But it was only for her songs' sake that she cared to live; she looked for immortality only because she felt that they were too fair to die.

It was almost by accident that the name of Sappho was first associated with the slanders that have ever since clung round it.

By the close of the fourth century, B.C., Athenian comedy had degenerated into brilliant and witty and scandalous farce, in many essentials resembling the new Comedy of the Restoration in England. But the vitiated Athenian palate required a seasoning which did not commend itself to English taste; it was necessary that the shafts of the writer's wit should strike some real and well-known personage.

Politics, which had furnished so many subjects and so many characters to Aristophanes, were now a barren field, and public life at Athens in those days was nothing if not political. Hence arose the practice of introducing great names of bygone days into these comedies, in all kinds of ridiculous and disgraceful surroundings.

There was a piquancy about these libels on the dead which we cannot understand, but which we may contrast with the less dishonourable process known to modern historians as "whitewashing." Just as Tiberius and Henry VIII. have been rescued from the infamy of ages, and placed among us upon pedestals of honour from which it will be difficult hereafter wholly to dislodge them, many honoured names were taken by these iconoclasts of the Middle Comedy and hurled down to such infamy as they alone could bestow.

Sappho stood out prominently as the one supreme poetess of Hellas, and the poets, if so they must be called, of the decline of Greek dramatic art were never weary of loading her name with every most disgraceful reproach they could invent. It is hardly worth while to discuss a subject so often discussed with so little profit, or it would be easy to show that these gentlemen, Ameipsias, Antiphanes, Diphilus, and the rest, were indebted solely to their imagination for their facts.

It would be as fair to take the picture of Sokrates in the "Clouds" of Aristophanes for a faithful representation of the philosopher as it would be to take the Sappho of the comic stage for the true Sappho. Indeed, it would be fairer; for the Sokrates of the "Clouds" is an absurd caricature, but, like every good caricature, it bore some resemblance to the original.

Aristophanes and his audience were familiar with the figure of Sokrates as he went in and out amongst them; they knew his character and his manner of life; and, though the poet ventured to pervert the teaching and to ridicule the habits of a well-known citizen, he would not venture to put before the people a representation in which there was not a grain of truth.

But Sappho had been dead for two hundred years: the Athenian populace knew little of her except that she had been great and that she had been unhappy; and the descendants of the men who had thronged the theatre to see the Œdipus of Sophokles, sickening with that strange disease which makes the soul crave to batten on the fruits that are its poison, found a rare feast furnished forth in the imaginary history of the one great woman of their race.

The centuries went on, and Sappho came before the tribunal of the early Christian Church.

The chief witnesses against her were these same comic poets, who were themselves prisoners at the bar; and her judges, with the ruthless impartiality of undiscriminating zeal, condemned the whole of her works, as well as those of her accusers, to be destroyed in the flames.

Thus her works have almost totally perished: the fragments that are extant give us only the faintest hints of the grace and sweetness that we have for ever lost.

The mode of the preservation of these remains is half-pathetic, half-grotesque. We have one complete poem and a considerable portion of another; the rest are the merest fragments—now two or three lines, now two or three words, often unintelligible without their context. We have imitations and translations by Catullus and by Horace; but even Catullus has conspicuously failed to reproduce her. As Mr. Swinburne has candidly and very truly said: "No man can come close to her."

No; all that we possess of Sappho is gleaned from the dictionary, the geography, the grammar and the archÆological treatise; from a host of worthy authors who are valued now chiefly for these quotations which they have enshrined. Here a painful scholar of Alexandria has preserved the phrase—

to show how Sappho employed the adverb. Apollonius, to prove that the Æolic dialect had a particular form for the genitive case of the first personal pronoun, has treasured up two sad and significant utterances,

and

The Æolic genitive has saved for us another of these sorrow-laden sentences which Mr. Swinburne has amplified in some beautiful but too wordy lines. Sappho only says

—A few of these fragments tell us of the poet herself.

and one beautiful line which we can recognise in the translation by Catullus,

The touches by which she has painted nature are so fine and delicate that the only poet of our time who has a right to attempt to translate them has declared it to be "the one impossible task." Our English does, indeed, sound harsh and unmusical as we try to represent her words; yet what a picture is here—

She makes us hear the wind upon the mountains falling on the oaks; she makes us feel the sun's radiance and beauty, as it glows through her verses; she makes us love with her the birds and the flowers that she loved. She has a womanly pity not only for the dying doves when—

but for the hyacinth which the shepherds trample under foot upon the hillside. The golden pulse growing on the shore, the roses, the garlands of dill, are yet fragrant for us; we can even now catch the sweet tones of the "Spring's angel," as she calls it, the nightingale that sang in Lesbos ages and ages ago. One beautiful fragment has been woven with another into a few perfect lines by Dante Gabriel Rossetti; but it shall be given here as it stands. It describes a young, unwedded maiden:

The Ode to Aphrodite and the fragment to Anaktoria are too often found in translations to be quoted here. Indeed, it is of but little use to quote; for Sappho can be known only in her own language and by those who will devote time to these inestimable fragments. Their beauty grows upon us as we read; we catch in one the echo of a single tone, so sweet that it needs no harmony; and again a few stray chords that haunt the ear and fill us with an exquisite dissatisfaction; and yet again a grave and stately measure such as her rebuke to AlkÆus—

Mary Grey.

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