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More of Sappho
Sappho Poems
Sappho was born in the late 600s BCE on Lesbos, one of the larger islands in the Aegean, near Lydia (now Turkey). Lesbos was important for trade between mainland Greece and the kingdoms of Asia; it was also a cultural center. Sappho was probably from an aristocratic family of the city of Mytiline; she probably married and had at least one daughter. She may have spent some time in exile in Sicily.
Her poetry suggests that she was the center of a closely-knit group of women; we don't know if this was some kind of an academy or a chorus of singers. We do know that Sappho composed epithalmia (marriage songs) for performance by a group. But her preferred form seems to have been songs to be sung or recited by an individual to the accompaniment of a lyre, some perhaps for religious or civic festivals.
Almost 200 fragments of Sappho's poetry are extant, but many of these are only a word or a few words. One poem, usually called the "Hymn to Aphrodite," may be complete, but we aren't sure. Even from fragments we can tell that Sappho had the ability to look at herself and others clearly---often ironically---
The Roman Catholic Church condemned her work.
ALL of Sappho's poetry that could be found was burned in 380 AD by order of St. Gregory of Nazianzus and what remained was searched out and burned by PAPAL DECREE in 1073! A papal order for a woman's works to be destroyed is a rather drastic move for silly woman-talk.
Actually, It is a miracle that the 700 lines we have today remain - although hope is still alive that more will come to light since fairly recently an Egyptian papyrus of one of her poems was found.
Cleis
Sleep, darling
I have a small
daughter called
Cleis, who is
like a golden
flower
I wouldn't
take all Croesus'
kingdom with love
thrown in, for her
XXXXXXX
Don't ask me what to wear
I have no embroidered
headband from Sardis to
give you, Cleis, such as
I wore
and my mother
always said that in her
day a purple ribbon
looped in the hair was thought
to be high style indeed
but we were dark:
a girl
whose hair is yellower than
torchlight should wear no
headdress but fresh flowers
XXXXXXX
Cyprian, in my dream
Cyprian, in my dream
the folds of a purple
kerchief shadowed
your cheeks --- the one
Timas one time sent,
a timid gift, all
the way from Phocaea
XXXXXXX
I took my lyre
I took my lyre and said:
Come now, my heavenly
tortoise shell: become
a speaking instrument
XXXXXXX
Leto and Niobe
Before they were mothers
Leto and Niobe
had been the most
devoted of friends
XXXXXXX
The Muses
It is the Muses
who have caused me
to be honred: they
taught me their craft
XXXXXXX
No Word
I have had not one word from her
Frankly I wish I were dead.
When she left, she wept
a great deal; she said to
me, ``This parting must be
endured, Sappho. I go unwillingly.''
I said, ``Go, and be happy
but remember (you know
well) whom you leave shackled by love
``If you forget me, think
of our gifts to Aphrodite
and all the loveliness that we shared
``all the violet tiaras,
braided rosebuds, dill and
crocus twined around your young neck
``myrrh poured on your head
and on soft mats girls with
all that they most wished for beside them
``while no voices chanted
choruses without ours,
no woodlot bloomed in spring without song...''
XXXXXXX
Prayer to Our Lady of Paphos
Dapple-throned Aphrodite,
eternal daughter of God,
snare-knitter! Don't, I beg you,
cow my heart with grief! Come,
as once when you heard my far-
off cry and, listening, stepped
from your father's house to your
gold car, to yoke the pair whose
beautiful thick-feathered wings
oaring down mid-air from heaven
carried you to light swiftly
on dark earth; then, blissful one,
smiling your immortal smile
you asked, What ailed me now that
me call you again? What
was it that my distracted
heart most wanted? ``Whom has
Persuasion to bring round now
``to your love? Who, Sappho, is
unfair to you? For, let her
run, she will soon run after;
``if she won't accept gifts, she
will one day give them; and if
she won't love you --- she soon will
``love, although unwillingly...''
If ever --- come now! Relieve
this intolerable pain!
What my heart most hopes will
happen, make happen; you your-
self join forces on my side!
XXXXXXX
Sounds of grief
Must I remind you, Cleis,
that sounds of grief
are unbecoming in
a poet's household?
and that they are not
suitable in ours?
XXXXXXX
To Aphrodite
You know the place: then
Leave Crete and come to us
waiting where the grove is
pleasantest, by precincts
sacred to you; incense
smokes on the altar, cold
streams murmur through the
apple branches, a young
rose thicket shades the ground
and quivering leaves pour
down deep sleep; in meadows
where horses have grown sleek
among spring flowers, dill
scents the air. Queen! Cyprian!
Fill our gold cups with love
stirred into clear nectar
XXXXXXX
To any army wife
To any army wife, in Sardis:
Some say a cavalry corps,
some infantry, some again,
will maintain that the swift oars
of our fleet are the finest
sight on dark earth; but I say
that whatever one loves, is.
This is easily proved: did
not Helen --- she who had scanned
the flower of the world's manhood ---
choose as first among men one
who laid Troy's honor in ruin?
warped to his will, forgetting
love due her own blood, her own
child, she wandered far with him.
So Anactoria, although you
being far away forget us,
the dear sound of your footstep
and light glancing in your eyes
would move me more than glitter
of Lydian horse or armored
tread of mainland infantry
XXXXXXX
Words
Although they are
only breath, words
which I command
are immortal
XXXXXXX
Anactoria
Yes, Atthis, you may be sure
Even in Sardis
Anactoria will think often of us
of the life we shared here, when you seemed
the Goddess incarnate
to her and your singing pleased her best
Now among Lydian women she in her
turn stands first as the red-
fingered moon rising at sunset takes
precedence over stars around her;
her light spreads equally
on the salt sea and fields thick with bloom
Delicious dew pours down to freshen
roses, delicate thyme
and blossoming sweet clover; she wanders
aimlessly, thinking of gentle
Atthis, her heart hanging
heavy with longing in her little breast
She shouts aloud, Come! we know it;
thousand-eared night repeats that cry
across the sea shining between us
XXXXXXX
Blame Aphrodite
It's no use
Mother dear, I
can't finish my
weaving
You may
blame Aphrodite
soft as she is
she has almost
killed me with
love for that boy
XXXXXXX
Although they are
Although they are
only breath, words
which I command
are immortal
And their feet move
And their feet move
rhythmically, as tender
feet of Cretan girls
danced once around an
altar of love, crushing
a circle in the soft
smooth flowering grass
XXXXXXX
Awed by her splendor
Awed by her splendor
stars near the lovely
moon cover their own
bright faces
when she
is roundest and lights
earth with her silver
XXXXXXX
Before they were mothers
Before they were mothers
Leto and Niobe
had been the most
devoted of friends
XXXXXXX
Drapple-thorned Aphrodite,
Dapple-throned Aphrodite,
eternal daughter of God,
snare-knitter! Don't, I beg you,
cow my heart with grief! Come,
as once when you heard my far-
off cry and, listening, stepped
from your father's house to your
gold car, to yoke the pair whose
beautiful thick-feathered wings
oaring down mid-air from heaven
carried you to light swiftly
on dark earth; then, blissful one,
smiling your immortal smile
you asked, What ailed me now that
me me call you again? What
was it that my distracted
heart most wanted? "Whom has
Persuasion to bring round now
"to your love? Who, Sappho, is
unfair to you? For, let her
run, she will soon run after;
"if she won't accept gifts, she
will one day give them; and if
she won't love you -- she soon will
"love, although unwillingly..."
If ever -- come now! Relieve
this intolerable pain!
What my heart most hopes will
happen, make happen; you your-
self join forces on my side!
XXXXXXX
He is more than a hero
He is more than a hero
he is a god in my eyes--
the man who is allowed
to sit beside you -- he
who listens intimately
to the sweet murmur of
your voice, the enticing
laughter that makes my own
heart beat fast. If I meet
you suddenly, I can'
speak -- my tongue is broken;
a thin flame runs under
my skin; seeing nothing,
hearing only my own ears
drumming, I drip with sweat;
trembling shakes my body
and I turn paler than
dry grass. At such times
death isn't far from me
XXXXXXX
I have no complaint
I have no complaint
prosperity that
the golden Muses
gave me was no
delusion: dead, I
won't be forgotten
XXXXXXX
I took my lyre and said
I took my lyre and said:
Come now, my heavenly
tortoise shell: become
a speaking instrument
XXXXXXX
In the spring twilight
In the spring twilight
the full moon is shining:
Girls take their places
as though around an altar
XXXXXXX
It is the Muses
It is the Muses
who have caused me
to be honred: they
taught me their craft
XXXXXXX
It was you, Atthis, who said
It was you, Atthis, who said
"Sappho, if you will not get
up and let us look at you
I shall never love you again!
"Get up, unleash your suppleness,
lift off your Chian nightdress
and, like a lily leaning into
"a spring, bathe in the water.
Cleis is bringing your best
pruple frock and the yellow
"tunic down from the clothes chest;
you will have a cloak thrown over
you and flowers crowning your hair...
"Praxinoa, my child, will you please
roast nuts for our breakfast? One
of the gods is being good to us:
"today we are going at last
into Mitylene, our favorite
city, with Sappho, loveliest
"of its women; she will walk
among us like a mother with
all her daughters around her
"when she comes home from exile..."
But you forget everything
XXXXXXX
It's no use
It's no use
Mother dear, I
can't finish my
weaving
You may
blame Aphrodite
soft as she is
she has almost
killed me with
love for that boy
XXXXXXX
Must I remind you, Cleis,
Must I remind you, Cleis,
that sounds of grief
are unbecmoming in
a poet's household?
and that they are not
suitable in ours?
[Note: "A poet's household" is more litterally one "dedicated to the Muses."]
XXXXXXX
Of course I love you
Of course I love you
but if you love me,
marry a young woman!
I couldn't stand it
to live with a young
man, I being older
XXXXXXX
Sleep, darling
Sleep, darling
I have a small
daughter called
Cleis, who is
like a golden
flower
I wouldn't
take all Croesus'
kingdom with love
thrown in, for her
XXXXXXX
Don't ask me what to wear
I have no embroidered
headband from Sardis to
give you, Cleis, such as
I wore
and my mother
always said that in her
day a purple ribbon
looped in the hair was thought
to be high style indeed
but we were dark:
a girl
whose hair is yellower than
torchlight should wear no
headdress but fresh flowers
XXXXXXX
Standing by my bed
Standing by my bed
in gold sandals
Dawn that very
moment awoke me
XXXXXXX
Tell everyone
Tell everyone
now, today, I shall
sing beautifully for
my friends' pleasur
XXXXXXX
To any army wife, in Sardis:
Some say a cavalry corps,
some infantry, some again,
will maintain that the swift oars
of our fleet are the finest
sight on dark earth; but I say
that whatever one loves, is.
This is easily proved: did
not Helen -- she who had scanned
the flower of the world's manhood --
choose as first among men one
who laid Troy's honor in ruin?
warped to his will, forgetting
love due her own blood, her own
child, she wandered far with him.
So Anactoria, although you
being far away forget us,
the dear sound of your footstep
and light glancing in your eyes
would move me more than glitter
of Lydian horse or armored
tread of mainland infantry
XXXXXXX
Tonight I've watched
Tonight I've watched
the moon and then
the Pleiades
go down
The night is now
half-gone; youth
goes; I am
in bed alone
XXXXXXX
We know this much
We know this much
Death is an evil;
we have the gods'
word for it; they too
would die if death
were a good thing
XXXXXXX
We put the urn abord ship
We put the urn aboard ship
with this inscription:
This is the dust of little
Timas who unmarried was led
into Persephone's dark bedroom
And she being far from home, girls
her age took new-edged blades
to cut, in mourning for her,
these curls of their soft hair
XXXXXXX
We shall enjoy it
We shall enjoy it
as for him who finds
fault, may silliness
and sorrow take him!
XXXXXXX
With his venom
With his venom
irresistible
and bittersweet
that loosener
of limbs, Love
reptile-like
strikes me down
XXXXXXX
Without warning
Without warning
as a whirlwind
swoops on an oak
Love shakes my heart
XXXXXXX
Yes, Atthis, you may be sure
Yes, Atthis, you may be sure
Even in Sardis
Anactoria will think often of us
of the life we shared here, when you seemed
the Goddess incarnate
to her and your singing pleased her best
Now among Lydian women she in her
turn stands first as the red-
fingered moon rising at sunset takes
precedence over stars around her;
her light spreads equally
on the salt sea and fields thick with bloom
Delicious dew purs down to freshen
roses, delicate thyme
and blossoming sweet clover; she wanders
aimlessly, thinking of gentle
Atthis, her heart hanging
heavy with longing in her little breast
She shouts aloud, Come! we know it;
thousand-eared night repeats that cry
across the sea shining between us
XXXXXXX
You know the place: then
You know the place: then
Leave Crete and come to us
waiting where the grove is
pleasantest, by precincts
sacred to you; incense
smokes on the altar, cold
streams murmur through the
apple branches, a young
rose thicket shades the ground
and quivering leaves pour
down deep sleep; in meadows
where horses have grown sleek
among spring flowers, dill
scents the air. Queen! Cyprian!
Fill our gold cups with love
stirred into clear nectar
XXXXXXX
You may forget but
You may forget but
let me tell you
this: someone in
some future time
will think of us
The reason that the Church wanted Sappho's works eradicated is not certain, but it probably had something to do with the subject matter of her poems. From the surviving fragments, we know Sappho wrote splendid hymns in praise of the Pagan Goddesses, particularly Aphrodite, and love poetry of great sophistication, passion and deep understanding of the human heart. This at least is apparent even from the few fragments we have. Such subjects were anathema to the bigots of the Dark Ages.
The matter of her sexual orientation did not become controversial until much later, during the nineteenth and twentieth century. It was not an issue for her contemporaries; it was not even an issue in the seventeenth or eighteenth centuries, when her poetry started to emerge from obscurity.
It should be emphasised that we have few clues about her sexual orientation. Moreover, we are still unclear what same-sex romantic or erotic love between women may have implied in Sappho's culture. What we do know is that there was not widespread fear and persecution of homosexuals in antiquity. Even during the middle ages, same-sex unions occured and were not disapproved of by the Church. This is not why Sappho's poems were burned. If anything, it was her (possibly exaggerated) reputation for promiscuity which brought her reproach in the early Christian era.
It was only during the Victorian era that Sappho's sexual preference per se, rather than her poetry, became a focus of interest. Since there is no actual explicit 'lesbian' sexual content in her poems, in the late 19th Century the French Decadant novelist Pierre Louys decided to invent some. Louys claimed that he had discovered the poems of an ancient Lesbian poetess named 'Bilitis', a contemporary of Sappho. Louys published free-verse 'translations' of her works complete with scholarly apparatus. The Bilitis poems provided all the juicy details that were missing from the Sappho corpus (or at least as much as Louys could imply in a book published at the time). Conspicuously missing were the original texts of Bilitis' poems, which is understandable, since our spotty information on the Aoelic dialect which Bilitis would have spoken would make them hard to forge.
The Bilitis hoax (which, although purely a male fantasy, has literary merits in its own right) took Europe by storm. In time, Bilitis became confused with Sappho in popular culture to the point where it is impossible to tell the two apart. Sappho was a popular subject for moody decadent painters at the turn of the 20th century. Today the adjective 'Sapphic' conjures up images of lesbian sex, rather than its original meaning of a specific classical Greek poetic form. Bilitis was even made into an atrocious soft-euro-porn movie in the 1970s starring the nymphet Sylvia Crystal, with cinematography by the fashion photographer David Hamilton (albeit with little connection to the Louys book other than some voice-overs). Popular culture to this day employs Sappho and ancient Greece as a codeword for homosexuality. Ironically, the beforementioned Xena television drama, with its ambiguous portrayal of a relationship between two women,--possibly by accident, considering how it made a hash of ancient mythology and history--somewhat reflected the fluid nature of Hellenic sexual identity.
The truth of the matter is that Sappho was probably bisexual, not lesbian in the sense of the word today, i.e. exclusively attracted to women. Moreover, nobody made a big deal about it for nearly 2,500 years after she was dead.
The best and most cited evidence is her powerful Hymn to Aphrodite (#1), the longest fragment of Sappho's still in existence. In this poem, Sappho prays to Aphrodite, Goddess of Love, to sway the heart of an unnamed woman, to whom Sappho proclaims an unrequited erotic attraction ("what I, in my hearts madness, most desire"). Aphrodite promises Sappho that her beloved will soon turn around and offer her gifts, rather than the other way around, and will love her (Sappho), "however reluctant". In other poems she addresses female lovers, lovers of lovers, ex-lovers, and other women by name: Anactoria, Atthis, Andromeda, Mnasidika, Eranna. These are such short fragments, however, it is hard to infer anything. For all we know, they could be characters in a fictional setting.
There is also textual evidence that Sappho had a heterosexual side as well. In one fragment, we learn that Sappho had a daughter Cleis (#82) "like a golden flower", she longs for her lost virginity in several others (e.g. #104), and in yet another (#72) she addresses a younger, male lover: "For if thou lovest us, choose another and a younger spouse; for I will not endure to live with thee, old woman with young man". None of this conclusively proves anything, either, since homosexual women can obviously lose their virginity and have children. We also have no idea what the context of the last quote is.
We do not have any historical record of Sappho having an extended relationship with a woman, or explicit poetry of hers which depicts 'lesbian' sexuality. If you come to her expecting to find woman to woman erotica, you will be missing the point. The reputation of Sappho in the twentieth century based on her supposed exclusive preference for women is a self-perpetuating myth which has completely obscured the real value of her work: some of the most hauntingly beautiful and evocative poetry that has ever been written. Even some of the shortest fragments meet the test of 'true poetry' that Robert Graves proposed: they make the hair on the back of your neck stand up.
What is clear is that Sappho had a passionate romantic and erotic life which was integrated with her devotion to the Goddess Aphrodite. If today it is scandalous that her concept of love transcended gender, that is only a contemporary prejudice.
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