Poems List

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
555

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 [
487

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
370

It is the Muses

It is the Muses
It is the Muses
who have caused me
to be honred: they
taught me their craft
363

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
380

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
475

Blame Aphrodite

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
Sappho
tr. Barnard
423

Cyprian, in my dream

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
Sappho
tr. Barnard
437

Anactoria

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 redfingered
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
Sappho
tr. Barnard
541

Awed by her splendor

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
423

Comments (0)

Log in to post a comment.

NoComments

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.