The Life, Poetry and Influence of Sappho

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Sappho. The Life, Poetry and Influence of Sappho

The Life, Poetry and Influence of Sappho

Table of Content

The Life of Sappho

Introduction

The Life of Sappho

The Writings of Sappho

The Complete Poems of Sappho

Introduction

I. Cyprus, Paphos, or Panormus

II. What shall we do, Cytherea?

III. Power and beauty and knowledge

IV. O Pan of the evergreen forest

V. O Aphrodite

VI. Peer of the gods he seems

VII. The Cyprian came to thy cradle

VIII. Aphrodite of the foam

IX. Nay, but always and forever

X. Let there be garlands, Dica

XI. When the Cretan maidens

XII. In a dream I spoke with the Cyprus-born

XIII. Sleep thou in the bosom

XIV. Hesperus, bringing together

XV. In the grey olive-grove a small brown bird

XVI. In the apple boughs the coolness

XVII. Pale rose leaves have fallen

XVIII. The courtyard of her house is wide

XIX. There is a medlar-tree

XX. I behold Arcturus going westward

XXI. Softly the first step of twilight

XXII. Once you lay upon my bosom

XXIII. I loved thee, Atthis, in the long ago

XXIV. I shall be ever maiden

XXV. It was summer when I found you

XXVI. I recall thy white gown, cinctured

XXVII. Lover, art thou of a surety

XXVIII. With your head thrown backward

XXIX. Ah, what am I but a torrent

XXX. Love shakes my soul, like a mountain wind

XXXI. Love, let the wind cry

XXXII. Heart of mine, if all the altars

XXXIII. Never yet, love, in earth's lifetime

XXXIV. "Who was Atthis?" men shall ask

XXXV. When the great pink mallow

XXXVI. When I pass thy door at night

XXXVII. Well I found you in the twilit garden

XXXVIII. Will not men remember us

XXXIX. I grow weary of the foreign cities

XL. Ah, what detains thee, Phaon

XLI. Phaon, O my lover

XLII. O heart of insatiable longing

XLIII. Surely somehow, in some measure

XLIV. O but my delicate lover

XLV. Softer than the hill-fog to the forest

XLVI. I seek and desire

XLVII. Like torn sea-kelp in the drift

XLVIII. Fine woven purple linen

XLIX. When I am home from travel

L. When I behold the pharos shine

LI. Is the day long

LII. Lo, on the distance a dark blue ravine

LIII. Art thou the top-most apple

LIV. How soon will all my lovely days be over

LV. Soul of sorrow, why this weeping?

LVI. It never can be mine

LVII. Others shall behold the sun

LVIII. Let thy strong spirit never fear

LIX. Will none say of Sappho

LX. When I have departed

LXI. There is no more to say now thou art still

LXII. Play up, play up thy silver flute

LXIII. A beautiful child is mine

LXIV. Ah, but now henceforth

LXV. Softly the wind moves through the radiant morning

LXVI. What the west wind whispers

LXVII. Indoors the fire is kindled

LXVIII. You ask how love can keep the mortal soul

LXIX. Like a tall forest were their spears

LXX. My lover smiled, "O friend, ask not

LXXI. Ye who have the stable world

LXXII. I heard the gods reply

LXXIII. The sun on the tide, the peach on the bough

LXXIV. If death be good

LXXV. Tell me what this life means

LXXVI. Ye have heard how Marsyas

LXXVII. Hour by hour I sit

LXXVIII. Once in the shining street

LXXIX. How strange is love, O my lover!

LXXX. How to say I love you

LXXXI. Hark, love, to the tambourines

LXXXII. Over the roofs the honey-coloured moon

LXXXIII. In the quiet garden world

LXXXIV. Soft was the wind in the beech-trees

LXXXV. Have you heard the news of Sappho's garden

LXXXVI. Love is so strong a thing

LXXXVII. Hadst thou, with all thy loveliness, been true

LXXXVIII. As, on a morn, a traveller might emerge

LXXXIX. Where shall I look for thee

XC. A sad, sad face, and saddest eyes that ever

XCI. Why have the gods in derision

XCII. Like a red lily in the meadow grasses

XCIII. When in the spring the swallows all return

XCIV. Cold is the wind where Daphne sleeps

XCV. Hark, where Poseidon's

XCVI. Hark, my lover, it is spring!

XCVII. When the early soft spring wind comes blowing

XCVIII. I am more tremulous than shaken reeds

XCIX. Over the wheat-field

C. Once more the rain on the mountain

EPILOGUE

The Influence and Legacy of Sappho

Sappho in Art

Sappho’s Influence on Greek and Roman Literature

Sappho in the Middle Ages and the Renaissance

Sappho in Italy in 18th and 19th Century

Sappho in Latin Translations, in Spanish, and in German

Sappho in French Literature168

Sappho in English and American Literature

Sappho’s Influence on Music

Epilogue and Conclusion

Отрывок из книги

Sappho, David M. Robinson

e-artnow, 2022

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

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

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