Safo

Safo

Sappho was an ancient Greek lyric poet from the island of Lesbos. Revered in antiquity as one of the greatest poets, her work is known for its intense emotion, focus on personal relationships, and exploration of themes like love, desire, and beauty. Though much of her poetry is lost, the surviving fragments offer a glimpse into a unique and powerful voice that has resonated through centuries.

n. 625ac, Eresos · m. 570ac, Levkas

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Words

Words
Although they are
only breath, words
which I command
are immortal
Sappho
tr. Barnard
Read full poem
Bio

Identification and basic context

Sappho is an ancient Greek lyric poet, often referred to as the "Tenth Muse." She is known to have written in Aeolic Greek and was a prominent figure in the archaic period of Greek literature. Her origins are strongly associated with the island of Lesbos, and her works were widely circulated and admired in antiquity.

Childhood and education

Details about Sappho's childhood and formal education are scarce, as is common for figures from this distant historical period. It is believed she belonged to an aristocratic family on Lesbos. Ancient sources suggest she received an education befitting her social standing, which would have included literacy, music, and poetry. Her upbringing likely exposed her to the rich cultural traditions of her time and place.

Literary trajectory

Sappho's literary career is marked by her prolific output of lyric poetry, with ancient sources claiming she wrote nine books of poems. Her work was celebrated during her lifetime and the Hellenistic period, where she was studied and anthologized. While much of her poetry is now lost, surviving fragments and testimonies from later authors provide insight into her style and themes.

Works, style, and literary characteristics

Sappho's poetry is predominantly lyrical, characterized by its intensely personal and emotional tone. Her major themes revolve around love, desire, beauty, and the complex relationships between individuals, particularly women. She is known for her mastery of the Aeolic dialect and her innovative use of meter, particularly the Sapphic stanza. Her poetic voice is often confessional and intimate, exploring the nuances of human emotion with remarkable clarity and depth. She is associated with the tradition of lyric poetry, and her work is considered a significant contribution to the development of Western literature.

Cultural and historical context

Sappho lived during the Archaic period of Ancient Greece, a time of significant social and political change, including the rise of city-states and early forms of democracy. She was part of a vibrant cultural milieu on Lesbos, which included other poets and artists. Her work reflects the societal norms and customs of her time, particularly concerning personal relationships and the roles of women. She was a contemporary of other notable figures, though direct interactions are not well-documented.

Personal life

Much of Sappho's personal life remains a subject of speculation due to the limited historical records. It is believed she had a daughter, Kleis. Her poetry strongly suggests a deep emotional connection with other women, which has led to various interpretations regarding her personal relationships and sexuality. These intimate portrayals have been a source of fascination and debate throughout history.

Recognition and reception

Sappho was exceptionally famous in antiquity, considered one of the greatest poets of all time. Her works were widely read, admired, and imitated. Later poets and scholars praised her skill and emotional depth. Despite the loss of most of her poetry, her influence persisted, and she remains a significant figure in the study of ancient Greek literature and a touchstone for discussions on lyric poetry and female authorship.

Influences and legacy

Sappho's influence on subsequent lyric poetry is undeniable. Her style, themes, and emotional intensity inspired countless poets throughout antiquity and beyond. She is considered a foundational figure in the development of Western poetry, particularly in themes of love and personal experience. Her legacy is preserved through the fragments of her work and her enduring reputation as a master of the lyric form.

Interpretation and critical analysis

Sappho's poetry has been subject to continuous interpretation and critical analysis, with particular attention paid to her expressions of love and desire, especially towards women. Debates have arisen concerning the nature of these relationships, her place within the social structures of her time, and the implications of her work for understanding female subjectivity in the ancient world.

Curiosities and lesser-known aspects

One of the most curious aspects of Sappho's legacy is the sheer volume of her lost work. It is believed that only fragments remain, making it difficult to fully reconstruct her oeuvre. Her association with the lyre and musical performance is also noteworthy, underscoring the oral and performative nature of her poetry in its original context.

Death and memory

Details surrounding Sappho's death are unknown. However, her memory has been kept alive through the preservation and study of her poetic fragments. Her name is synonymous with lyric poetry and has become a byword for female poetic genius. The island of Lesbos continues to be associated with her name and her poetic tradition.

Poems

25

Song of The Rose

Song of The Rose
F Zeus chose us a King of the flowers in his mirth,
He would call to the rose, and would royally crown it;
For the rose, ho, the rose! is the grace of the earth,
Is the light of the plants that are growing upon it!
For the rose, ho, the rose! is the eye of the flowers,
Is the blush of the meadows that feel themselves fair,
Is the lightning of beauty that strikes through the bowers
On pale lovers that sit in the glow unaware.
Ho, the rose breathes of love! ho, the rose lifts the cup
To the red lips of Cypris invoked for a guest!
Ho, the rose having curled its sweet leaves for the world
Takes delight in the motion its petals keep up,
As they laugh to the wind as it laughs from the west.
606

Prayer to Our Lady of Paphos

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 faroff
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 yourself
join forces on my side!
Sappho
tr. Barnard
674

Must I remind you, Clesis,

Must I remind you, Clesis,
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."]
466

Ode to a Loved One

Ode to a Loved One
LEST as the immortal gods is he,
The youth who fondly sits by thee,
And hears and sees thee, all the while,
Softly speaks and sweetly smile.
'Twas this deprived my soul of rest,
And raised such tumults in my breast;
For, while I gazed, in transport tossed,
My breath was gone, my voice was lost;
My bosom glowed; the subtle flame
Ran quick through all my vital frame;
O'er my dim eyes a darkness hung;
My ears with hollow murmurs rung;
In dewy damps my limbs were chilled;
My blood with gentle horrors thrilled:
My feeble pulse forgot to play;
I fainted, sunk, and died away.
506

Like the gods. . .

Like the gods. . .
In my eyes he matches the gods, that man who
sits there facing you--any man whatever--
listening from closeby to the sweetness of your
voice as you talk, the
sweetness of your laughter: yes, that--I swear it--
sets the heart to shaking inside my breast, since
once I look at you for a moment, I can't
speak any longer,
but my tongue breaks down, and then all at once a
subtle fire races inside my skin, my
eyes can't see a thing and a whirring whistle
thrums at my hearing,
cold sweat covers me and a trembling takes
ahold of me all over: I'm greener than the
grass is and appear to myself to be little
short of dying.
But all must be endured, since even a poor [
508

It's no use

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
570

It is the Muses

It is the Muses
It is the Muses
who have caused me
to be honred: they
taught me their craft
373

I took my lyre and said

I took my lyre and said
I took my lyre and said:
Come now, my heavenly
tortoise shell: become
a speaking instrument
388

I have no complaint

I have no complaint
I have no complaint
prosperity that
the golden Muses
gave me was no
delusion: dead, I
won't be forgotten
390

He is more than a hero

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
488

Quotes

6

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