Chapter 10

Alma-Tadema has fixed the current tradition in his ideal representation of Sappho's school at Lesbos--a marble exedra on the seashore at Mytilene. The poetess is seated on the front row of seats, with her favorite pupil, Erinna, standing by her side. Her chin rests on her hands as she leans forward against the desk, listening intently as Alcaeus plays the lyre. She is small, dark, beautiful, intense; and the artist has "subtly caught the prophetic light of her soul, her eager intellect, her unconscious grace, and the slumbering passion in her eloquent eyes."

Let us now consider the conditions under which Sappho's genius blossomed to fruition.

There is a legend that after the Thracian women's murder of Orpheus, the mythical singer of Hellas, his head and his lyre were thrown into the sea and were wafted upon its waves to the island of Lesbos. This legend is an allegory of the island's supremacy in song, and of the unbroken continuity of lyric poetry from its budding in prehistoric times up to its full flower among the Lesbian poets of the sixth century before the Christian era. Every condition existed in Lesbos for the fostering of the love of beauty and the cultivation of all the refinements of life. The land itself presented mountain and coast, hill and dale, in pleasing and harmonious variety, while about it billowed a brilliant sapphire sea. The island was renowned for the salubrity of its climate, the purity of its atmosphere, and the transparency of its skies. Its inhabitants, owing to the variety of the products of the soil and their attention to commerce, enjoyed unbounded prosperity. They gave themselves up to the enjoyments of life, and cultivated everything that contributed to luxury, elegance, and material well-being. The men devoted their energies to politics and war and the pursuits of pleasure. The women, who were remarkable for their beauty and grace, enjoyed a freedom and rank accorded them nowhere else in Greece. Symonds thus vividly describes the free and artistic life of AEolian women:

"AEolian women were not confined to the harem, like Ionians, or subjected to the rigorous discipline of the Spartans. While mixing freely with male society, they were highly educated, and accustomed to express their sentiments to an extent unknown elsewhere in history--until, indeed, the present time. The Lesbian ladies applied themselves successfully to literature. They formed clubs for the cultivation of poetry and music. They studied the art of beauty, and sought to refine metrical form and diction. Nor did they confine themselves to the scientific side of art. Unrestrained by public opinion, and avid for the beautiful, they cultivated their senses and emotions, and developed their wildest passions. All the luxuries and elegancies of life which the climate and the rich valleys of Lesbos could afford were at their disposal; exquisite gardens in which the rose and hyacinth spread perfume; river beds ablaze with the oleander and wild pomegranate; olive groves and fountains, where the cyclamen and violet flowered with feathery maiden-hair; pine-shadowed coves, where they might bathe in the calm of a tideless sea; fruits such as only the southern sea and sea wind can mature; marble cliffs, starred with jonquil and anemone in spring, aromatic with myrtle and lentisk and samphire and wild rosemary through all the months; nightingales that sang in May; temples dim with dusky gold and bright with ivory; statues and frescoes of heroic forms. In such scenes as these, the Lesbian poets lived and thought of love. When we read their poems, we seem to have the perfumes, colors, sounds, and lights of that luxurious land distilled in verse."

Amid such surroundings, burning Sappho sang:

"Songs that move the heart of the shaken heaven, Songs that break the heart of the earth with pity, Hearing, to hear them."

The complete works of Sappho must have been considerable. She was the greatest erotic poet of antiquity, the chief composer of epithalamia, or wedding songs, the writer of epigrams and elegies, invocatory hymns, iambics, and monodies. Nine books of her lyric odes existed in ancient times, and were known to Horace, who frequently imitated her style and metre, and who doubtless at times in his odes directly translated her poems. But of all this we have only two poems which may be said to be in any way complete: a considerable portion of the ode to her brother Charaxus, already quoted, and somewhat over a hundred and fifty fragments, the total comprising not more than three hundred lines. Within the last few months, Doctor Schubart, of the Egyptian Section of the Royal Museum in Berlin, has discovered in papyri, recently added to its collection, several hitherto unknown poems of Sappho.

"Few, indeed, but those roses," as says Meleager, in the Anthology, are the precious verses spared to us in spite of the unholy zeal of antipaganism. And, strange to relate, we are indebted for what we have to the quotations of grammarians and lexicographers, who preserved the verses, not usually for their poetic beauty, but to illustrate a point in syntax or metre. But, though so few and fragmentary, they are, as Professor Palgrave says, "grains of golden sand which the torrent of Time has carried down to us."

Sappho wrote in the AEolic dialect, noted for the soft quality of its vowel sounds; and her poems were undoubtedly written for recitation to the accompaniment of the lyre, being the earliest specimens of the song or ballad so popular in modern times.

Predecessors of the melic poetry of Sappho are to be found in the chants and hymns in honor of Apollo prevalent throughout Greece, in the popular songs of Hellas, and in the songs sung in the home and at religious festivals by Lesbian men and women,--children's rhymes, songs at vintage festivals, plaints of shepherds expressive of rustic love, epithalamia or bridal songs, dirges, threnodies and laments for Adonis, typifying the passing of spring and summer.

The form and melody of Sappho's poems are due to the fact that they were to accompany vocal and instrumental music, which, thanks to the innovations of Terpander of Lesbos, was at that time exquisitely adapted to the purposes of the lyric. Terpander introduced the seven-stringed lyre, or cithara, with its compass of a diapason, or Greek octave, and this became the peculiar instrument of Sappho and her school. The choice of the musical measure determined the tone of the poem. Terpander united the music of Asia Minor with that of Greece proper, and the resulting product of AEolian poetry was the union of Oriental voluptuousness with Greek self-restraint and art. Of Sappho's numerous songs, two odes alone are presented to us in anything like their entirety, one dedicated to the service of Aphrodite, and the other composed in honor of a girl friend, Anactoria. Dionysius of Halicarnassus embodies the first in one of his rhetorical works, as a perfect illustration of the elaborately finished style of poetry, and comments on the fact that its grace and beauty lie in the subtle harmony between the words and the ideas. Edwin Arnold renders it as follows:

"Splendor-throned Queen, immortal Aphrodite, Daughter of Jove, Enchantress, I implore thee Vex not my soul with agonies and anguish; Slay me not, Goddess! Come in thy pity--come, if I have prayed thee; Come at the cry of my sorrow; in the old times Oft thou hast heard, and left thy father's heaven, Left the gold houses, Yoking thy chariot. Swiftly did the doves fly, Swiftly they brought thee, waving plumes of wonder-- Waving their dark plumes all across the aether, All down the azure. Very soon they lighted. Then didst thou, Divine one, Laugh a bright laugh from lips and eyes immortal, Ask me 'What ailed me--wherefore out of heaven, Thus I had called thee? What was it made me madden in my heart so?' Question me smiling--say to me, 'My Sappho, Who is it wrongs thee? Tell me who refuses Thee, vainly sighing. Be it who it may be, he that flies shall follow; He that rejects gifts, he shall bring thee many; He that hates now shall love thee dearly, madly-- Aye, though thou wouldst not' So once again come, Mistress; and, releasing Me from my sadness, give me what I sue for, Grant me my prayer, and be as heretofore now Friend and protectress."

The ode to Anactoria is quoted by the author of the treatise on _The Sublime_ as an illustration of the perfection of the sublime in poetry. John Addington Symonds thus renders it in English:

"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 I 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 noise 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."

Epithalamia, or wedding songs, were the most numerous of all Sappho's works, and in them she attained an excellence unequalled by any other poet. Catullus, in despair, seems to have been content with adapting in his marriage odes well-known songs of Sappho. The poet seems to have described all the stages in the ceremony--the Greek maidens leading the pale bride to the expectant bridegroom, chanting their simple chorus to Hymen, the god of marriage. At one time, they sing the approach of the bridegroom:

"Raise high the roof-beam, carpenters, Hymenaeus! Like Ares comes the bridegroom, Hymenaeus! Taller far than a tall man, Hymenaeus!"

But their thoughts are all for the rejoicing bride, who blushes "as sweet as the apple on the end of the bough."

"O fair--O sweet! As the sweet apple blooms high on the bough, High as the highest, forgot of the gatherers: So thou:-- Yet not so: nor forgot of the gatherers; High o'er their reach in the golden air, O sweet--O fair!"

We shall arrange the briefer fragments according to subject, not according to metre, in order that through them we may gain a clear conception of Sappho's attitude toward life and nature, that we may know the poetess in her love and friendship, her longings and her sorrows, her sensibility to the influences of nature and art.

Her conception of love has been already noticed in the longer poems just quoted. A number of the fragments indicate a similar intensity of emotion. Thus she says:

"Lo, Love once more, the limb-dissolving king, The bitter-sweet, impracticable thing, Wild-beast-like rends me with fierce quivering."

In another:

"Lo, Love once more my soul within me rends Like wind that on the mountain oak descends."

A being so intense as Sappho, with sensibilities so refined and intuitions so keen, naturally possessed an ardent love of nature. Her power of expressing its charm is shown in a number of fragments. Every aspect of nature seems to have appealed to her.

Of the morning she says:

"Early uprose the golden-sandalled Dawn."

And of the evening:

"Evening, all things thou bringest Which Dawn spreads apart from each other; The lamb and the kid thou bringest, Thou bringest the boy to his mother."

And of the night:

"And dark-eyed Sleep, child of Night"

She sings to us also of the

"Rainbow, shot with a thousand hues."

And of the stars:

"Stars that shine around the refulgent full moon Pale, and hide their glory of lesser lustre When she pours her silvery plenilunar Light on the orbed earth."

And again of the moon and the Pleiades:

"The moon has left the sky; Lost is the Pleiads' light; It is midnight And time slips by; But on my couch alone I lie."

Trees and flowers and plants appeal to her as if they were endowed with life, and by her mention of them she calls up to the imagination a tropical summer with its attendant recreations. Thus she sings of the breeze murmuring cool through the apple boughs:

"From the sound of cool waters heard through the green boughs Of the fruit-bearing trees, And the rustling breeze, Deep sleep, as a trance, down over me flows."

Sappho loves flowers with a personal sympathy. She feels for the hyacinth:

"As when the shepherds on the hills Tread under foot the hyacinth, And on the ground the purple flower lies crushed."

She sings also of the golden pulse that grows on the shores, and of the pure, soft bloom of the grass trampled under foot by the Cretan women as they dance round the fair altar of Aphrodite. The rose seems to have been her favorite flower, for, says Philostratus, "Sappho loves the rose, and always crowns it with some praise, likening beautiful maidens to it."

The birds, too, found in her a most sympathetic friend. Her ear is open to:

"Spring's messenger, the sweet-voiced nightingale,"

and she pities the wood-doves as "their heart turns cold and their wings fall," under the stroke from the arrow of the archer.

Sappho's love for nature is only surpassed by her love for art, for splendor and festivity, as they appeal to the aesthetic nature. She loves her lyre, the song and the dance, garlands, purple robes, and all that attended the worship of Aphrodite and the Muses. Her lyre she thus addresses:

"Come, then, my lyre divine! Let speech be thine."

And to Aphrodite she utters this appeal:

"Come, Queen of Cyprus, pour the stream Of nectar, mingled lusciously With merriment, in cups of gold."

She also calls about her the Muses and the Graces:

"Hither come, ye dainty Graces And ye fair-haired Muses now!"

And again:

"Come, rosy-armed, chaste Graces! come, Daughter of Jove."

And yet again:

"Hither, hither come, ye Muses! Leave the golden sky."

In the worship of Aphrodite and the Graces, garlands are appropriate for the devotees:

"Of foliage and flowers love-laden Twine wreaths for thy flowing hair With thine own soft fingers, maiden, Weave garlands of parsley fair;

"For flowers are sweet, and the Graces On suppliants wreathed with may Look down from their heavenly places, But turn from the crownless away."

Such was the joy of the devotees of the Muses. Sappho believed in the adornment of the soul as well as of the body, and she thus addresses one who neglected the services of the Muses:

"Yea, thou shalt die, And lie Dumb in the silent tomb; Nor of thy name Shall there be any fame In ages yet to be or years to come; For of the flowering Rose, Which on Pieria blows, Thou hast no share: But in sad Hades' house Unknown, inglorious 'Mid the dark shades that wander there Shalt thou flit forth and haunt the filmy air."

"I think there will be memory of us yet in after days," said Sappho, and the sentiment is one which later poets have often imitated. Thus the poetess had intimations of the immortality that is justly hers, and the reader will heartily enter into the spirit of Swinburne's paraphrase:

"I, Sappho, shall be one with all these things, With all things high forever; and my face Seen once, my songs once heard in a strange place, Cleave to men's lives, and waste the days thereof In gladness, and much sadness and long love."

Sappho sings of love and its manifestations, of longing and passion, of grief and regret, of natural beauty in sea and sky, by day and by night, of the birds and trees and flowers, and "all this is told us in language at once overpowering and delicate, in verse as symmetrical as it is exquisite, free, and fervid, through metaphor simple or sublime; each word, each line, expressive of the writer's inmost sense; with an art that, in its Greek constraint, comparison, and sweetness, and in its Oriental fervor, is faultless and unerring."

Not only as a poet is Sappho of interest to the women of our day, but also because she was the founder of the first woman's club of which we have knowledge. This Lesbian literary club did not engage, however, in the study of current topics, or seek to gather sheaves of knowledge from the field of science and history, but was consecrated strictly to the service of the Muses. Sappho attracted by her fame young women of Lesbos and of neighboring cities. She gathered them about her, gave them instruction in poetry and music, and incited them to the cultivation of all the arts and graces. Many of these maidens from a distance doubtless sought the society of Sappho because they were weary of the low drudgery and monotonous routine of home life that fell to the lot of women in Ionian cities, and because they felt the need of a freer atmosphere and more inspiring surroundings.

Sappho eagerly sought to elevate her sex. She showed them that, through the more perfect training of mind and body, their horizon would be enlarged, their resources for happiness increased, and their homes become centres of inspiring influences for husband and children.

Never was there a teacher more eager to possess her pupils' love and confidence. Maximus of Tyre compares her relations with her girl friends to Socrates's relations with young men. At times, men have seen fit to censure these intimate friendships of Socrates and Sappho with their pupils, and to see in them immoral relations such as characterized the passionate devotion of many Greek men to beautiful youths; but there is no ground for such imputations. While manifesting the beauty and sweetness and satisfaction in woman's love for woman, Sappho did not attempt to make this love a substitute for the love of men. She herself was married; and there are intimations in her poems that certain of her girl friends exchanged the pleasures of aesthetic comradeship for the joys of wedded life.

From the fragments of her songs, we know the names of at least fourteen of her pupils, and it pleases the fancy to attempt to reconstruct a picture of that delightful band of girl friends, who spent their days in the study of poetry and music and their evenings in every elevating form of recreation. A writer has thus sketched the picture: "Let us call around her in fancy the maidens who have come from different parts of Greece to learn of her. Anactoria is here from Miletus, Eunica from Salamis, Gongyle from Colophon, and others from Pamphylia, and the isle of Telos. Erinna and Damophyla study together the composition of Sapphic metres. Atthis learns how to strike the harp with the plectrum, Sappho's invention; Mnasidica embroiders a sacred robe for the temple. The teacher meanwhile corrects the measures of the one, the notes of another, the strophes of a third; then summons all from their work, to rehearse together some sacred chorus or temple ritual; then stops to read a verse of her own, or to denounce a rival preceptress. Throughout her intercourse with these maidens her conduct is characterized by passionate love, as between equals in mind and heart, and is expressed in fervid and high-wrought language embodying a purity that cannot be misunderstood or cavilled away."

VII

THE SPARTAN WOMAN

It was from Sparta that Paris in the Heroic Age bore away to his Phrygian home Argive Helen, fairest of mortals, the Greek ideal of feminine beauty and charm. But never since that fateful day--as, indeed, never before it--was there in Sparta any woman to compare with her; for the Spartan maidens of historical times, though comely and vigorous and noted for physical beauty, were cast in a firmer, sturdier mould than that which characterized Helen, the flower of grace and loveliness. Yet the traveller in Sparta in her prime must have marvelled at the splendid maidens and matrons he saw amid the hills of Lacedaemon--trained in athletic exercises, fleet of foot, vigorous and well-proportioned, and showing in their very bearing how important they were to the well-being of the State.

In Sparta, woman was the equal of man--in Athens, his inferior. In this fact lies the secret of the training that was given her, for the character of the education of woman is an index to the position assigned her by the spirit of the State. Spartan legislation concerning woman was controlled by one idea--to develop in the maiden the mother-to-be. This idea is so beautiful, so profound, that, after all the centuries which have elapsed, one cannot find a better principle for feminine education. Like mother, like son--and the Spartan ideal of the son was the warrior strong, brave, and resolute, enduring hardship and living solely for the State. Hence the mother must be strong, brave, and resolute, sacrificing every womanly tenderness to the prevailing conception of patriotism.

Great is the contrast between the women of the various peoples of Greece. The Achaean woman, in Homeric times, played no prominent part in public affairs; her home was her palace, and she manifested those domestic traits and womanly qualities that in this day still constitute womanly charm. The life of the Ionian woman was a secluded one; she was under the domination of the sterner sex, and compelled to devote herself largely to the varied duties of the household. The AEolian woman, on the contrary, had asserted her freedom, and lived on terms of social and intellectual comradeship with men. She devoted herself to the cultivation of every womanly grace, and was the earnest follower of Aphrodite and the Muses. In contrast to these, the Spartan woman presents an altogether unique type. She was merely a creature of the State, the cultivation of her higher nature being under the control of a rigid system. As such, she contributed in a large degree to the public welfare, but it was at the sacrifice of many feminine attributes. In her, natural affection and womanly sympathy were sacrificed to a single virtue--patriotism. But one function was emphasized--that of motherhood. All her training was devoted to but one end--that of producing soldiers. The life of the individual was strictly subordinated to the good of the State. Such a system evolved a remarkable type of womanhood, and the Spartan matron has won an immortal name in history.