V. SAPPHO OF LESBOS

Above the Ionian Dodecapolis lay the twelve cities of mainland Aeolis, settled by Aeolians and Achaeans from northern Greece soon after the fall of Troy had opened Asia Minor to Greek immigration. Most of these cities were small, and played a modest role in history; but the Aeolian isle of Lesbos rivaled the Ionian centers in wealth, refinement, and literary genius. Its volcanic soil made the island a very garden of orchards and vines. Of its five cities Mytilene was the greatest, almost as rich, through its commerce, as Miletus, Samos, and Ephesus. Towards the end of the seventh century a coalition of the mercantile classes with the poorer citizens overthrew the landed aristocracy, and made the brave, rough Pittacus dictator for ten years, with powers like those of his friend and fellow Wise Man, Solon. The aristocracy conspired to recapture power, but Pittacus foiled them and exiled their leaders, including Alcaeus and Sappho, first from Mytilene and then from Lesbos itself.

Alcaeus was a roistering firebrand who mingled politics with poetry and made every other lyric raise the tocsin of revolt. Of aristocratic birth, he attacked Pittacus with a lusty scurrility that merited the crown of banishment. He molded his own poetic forms, to which posterity gave the name “alcaics”; and every stanza, we are told, had melody and charm. For a while he sang of war, and described his home as hung with martial trophies and accouterments;⁷¹ however, when his own chance for heroism came he threw away his shield, fled like Archilochus, and complimented himself lyrically on the valor of his discretion. Occasionally he sang of love, but dearest to his pen was the wine for which Lesbos was as famous as for its poetry. Nun chre methusthen, he advises us:nunc bibamus, let us drink deeply; in summer to cool our thirst, in autumn to put a bright color upon death, in winter to warm our blood, in spring to celebrate nature’s resurrection.

The rain of Zeus descends, and from high heaven

A storm is driven,

And on the running water-brooks the cold

Lays icy hold.

Then up! beat down the winter, make the fire

Blaze higher and higher;

Mix wine as sweet as honey of the bee

Abundantly;

Then drink, with comfortable wool around

Your temples bound.

We must not yield our hearts to woe, or wear

With wasting care;

For grief will profit us no whit, my friend,

Nor nothing mend;

But this is our best medicine, with wine fraught

To cast out thought.⁷²

It was his misfortune—though he bore it with lighthearted unconsciousness—to have among his contemporaries the most famous of Greek women. Even in her lifetime all Greece honored Sappho. “One evening over the wine,” says Stobaeus, “Execestides, the nephew of Solon, sang a song of Sappho’s which his uncle liked so much that he bade the boy teach it to him; and when one of the company asked, ‘What for?’ he answered, ‘I want to learn it and die!’”⁷³ Socrates, perhaps hoping for similar lenience, called her “The Beautiful,” and Plato wrote about her an ecstatic epigram:

Some say there are Nine Muses. How careless they are!

Behold, Sappho of Lesbos is the Tenth!⁷⁴

“Sappho was a marvelous woman,” said Strabo; “for in all the time of which we have record I do not know of any woman who could rival her even in a slight degree in the matter of poetry.”⁷⁵ As the ancients meant Homer when they said “the Poet,” so all the Greek world knew whom men signified when they spoke of “the Poetess.”

Psappha, as she called herself in her soft Aeolic dialect, was born at Eresus, on Lesbos, about 612; but her family moved to Mytilene when she was still a child. In 593 she was among the conspiring aristocrats whom Pittacus banished to the town of Pyrrha; already at nineteen she was playing a part in public life through politics or poetry. She was not known for beauty: her figure was small and frail, her hair and eyes and skin were darker than the Greeks desired;⁷⁶ but she had the charm of daintiness, delicacy, refinement, and a brilliant mind that was not too sophisticated to conceal her tenderness. “My heart,” she says, “is like that of a child.”⁷⁷ We know from her verses that she was of a passionate nature, one whose words, says Plutarch, “were mingled with flames”;⁷⁸ a certain sensuous quality gave body to the enthusiasms of her mind. Atthis, her favorite pupil, spoke of her as dressed in saffron and purple, and garlanded with flowers. She must have been attractive in her minuscule way, for Alcaeus, exiled with her to Pyrrha, soon sent her an invitation to romance. “Violet-crowned, pure, sweet-smiling Sappho, I want to say something to you, but shame prevents me.” Her answer was less ambiguous than his proposal; “If thy wishes were fair and noble, and thy tongue designed not to utter what is base, shame would not cloud thine eyes, but thou wouldst speak thy just desires.”⁷⁹ The poet sang her praises in odes and serenades, but we hear of no further intimacy between them.

Perhaps they were separated by Sappho’s second exile. Pittacus, fearing her maturing pen, banished her now to Sicily, probably in the year 591, when one would have thought her still a harmless girl. About this time she married a rich merchant of Andros; some years later she writes: “I have a little daughter, like a golden flower, my darling Cleis, for whom I would not take all Lydia, nor lovely Lesbos.”⁸⁰ She could afford to reject the wealth of Lydia, having inherited that of her husband on his early death. After five years of exile she returned to Lesbos, and became a leader of the island’s society and intellect. We catch the glamour of luxury in one of her surviving fragments: “But I, be it known, love soft living, and for me brightness and beauty belong to the desire of the sun.”⁸¹ She became deeply attached to her young brother Charaxus, and was vexed to her finger tips when, on one of his mercantile journeys to Egypt, he fell in love with the courtesan Doricha, and, ignoring his sister’s entreaties, married her.⁸²

Meanwhile Sappho too had felt the fire. Eager for an active life, she had opened a school for young women, to whom she taught poetry, music, and dancing; it was the first “finishing school” in history. She called her students not pupils but hetairai—companions; the word had not yet acquired a promiscuous connotation. Husbandless, Sappho fell in love with one after another of these girls. “Love,” says one fragment, “has shaken my mind as a down-rushing wind that falls upon the oak-trees.”⁸³ “I loved you, Atthis, long ago,” says another fragment, “when my own girlhood was still all flowers, and you seemed to me an awkward little child.” But then Atthis accepted the attentions of a youth from Mytilene, and Sappho expressed her jealousy with unmeasured passion in a poem preserved by Longinus and translated haltingly into “sapphic” meter by John Adding-ton Symonds:

Peer of gods he seemeth to me, the blissful
Man who sits and gazes at thee before him,
Close beside thee sits, and in silence hears thee
     Silverly speaking,
Laughing love’s low laughter. Oh, this, this only
Stirs the troubled heart in my breast to tremble!
For should I but see thee a little moment,
     Straight is my voice hushed;
Yea, my tongue is broken, and through and through me,
’Neath the flesh, impalpable fire runs tingling.
Nothing see mine eyes, and a voice of roaring
     Waves in my ear sounds;
Sweat runs down in rivers, a tremor seizes
All my limbs, and paler than grass in autumn,
Caught by pains of menacing death, I falter,
     Lost in the love-trance.*⁸⁴

Atthis’ parents removed her from the school; and a letter ascribed to Sappho gives what may be her account of the parting.

She (Atthis?) wept full sore to leave me behind, and said: “Alas, how sad our lot! Sappho, I swear ‘tis against my will I leave you.” And I answered her: “Go your way rejoicing, but remember me, for you know how I doted upon you. And if you remember not, oh, then I will remind you of what you forget, how dear and beautiful was the life we led together. For with many a garland of violets and sweet roses mingled you have decked your flowing locks by my side, and with many a woven necklet, made of a hundred blossoms, your dainty throat; and with unguent in plenty, both precious and royal, have you anointed your fair young skin in my bosom. And no hill was there, nor holy place, nor water-brook, whither we did not go; nor ever did the teeming noises of the early spring fill any wood with the medley-song of the nightingales but you wandered thither with me.”⁸⁵

After which, in the same manuscript, comes the bitter cry, “I shall never see Atthis again, and indeed I might as well be dead.” This surely is the authentic voice of love, rising to a height of sincerity and beauty beyond good and evil.

The later scholars of antiquity debated whether these poems were expressions of “Lesbian love,” or merely exercises of poetic fancy and impersonation. It is enough for us that they are poetry of the first order, tense with feeling, vivid with imagery, and perfect in speech and form. A fragment speaks of “the footfall of the flowering spring”; another of “Love the limb-loosener, the bitter-sweet torment”; another compares the unattainable love to “the sweet apple that reddens on the end of the bough, the very end of the bough, which the gatherers missed, nay missed not, but could not reach so far.”⁸⁶ Sappho wrote of other topics than love, and used, even for our extant remains, half a hundred meters; and she herself set her poems to music for the harp. Her verse was collected into nine books, of some twelve thousand lines; six hundred lines survive, seldom continuous. In the year 1073 of our era the poetry of Sappho and Alcaeus was publicly burned by ecclesiastical authorities in Constantinople and Rome.⁸⁷ Then, in 1897, Grenfell and Hunt discovered, at Oxyrhynchus in the Fayum, coffins of papier-mâché, in whose making certain scraps of old books had been used; and on these scraps were some poems of Sappho.⁸⁸

Male posterity avenged itself upon her by handing down or inventing the tale of how she died of unrequited love for a man. A passage in Suidas⁸⁹ tells how “the courtesan Sappho”—usually identified with the poetess-leaped to death from a cliff on the island of Leucas because Phaon the sailor would not return her love. Menander, Strabo, and others refer to the story, and Ovid recounts it in loving detail;⁹⁰ but it has many earmarks of legend, and must be left hovering nebulously between fiction and fact. In her later years, tradition said, Sappho had relearned the love of men. Among the Egyptian morsels is her touching reply to a proposal of marriage: “If my breasts were still capable of giving suck, and my womb were able to bear children, then to another marriage-bed not with trembling feet would I come. But now on my skin age has brought many lines, and Love hastens not to me with his gift of pain”—and she advises her suitor to seek a younger wife.⁹¹ In truth we do not know when she died, or how; we know only that she left behind her a vivid memory of passion, poetry, and grace; and that she shone even above Alcaeus as the most melodious singer of her time. Gently, in a final fragment, she reproves those who would not admit that her song was finished:

You dishonor the good gifts of the Muses, my children, when you say, “We will crown you, dear Sappho, best player of the clear, sweet lyre.” Know you not that my skin is all wrinkled with age, and my hair is turned from black to white? . . . Surely as starry Night follows rose-armed Dawn and brings darkness to the ends of the earth, so Death tracketh everything living, and catcheth it in the end.⁹²