from A. M. Miller, Greek Lyric. An Anthology in Translation (Indianapolis: Hackett, 1996) pp. 51-63 (modified). Copyrighted material. Do not cite or download except for study purposes.
Sappho was a contemporary of Alcaeus (c. 600 B.C.) and, like him, lived in the city of Mytilene on the island of Lesbos. Next to nothing is known about her life, although the extant fragments refer to a brother (no. 3) and perhaps to a daughter (no. 25). She is said to have spent time in exile, which suggests that her family (or her husband's family) was involved in Mytilene's factional politics. Sappho's poetic concerns, however, are almost entirely private. Her chief theme is erotic passion as experienced within the context of a close-knit circle of female friends (cf. nos. 1, 4, 6, 9-11,14,15, 24); in addition, a number of fragments (e.g., nos. 18-23) appear to be from wedding songs (epithalamia). In later centuries Sappho was much admired for the grace, charm, and passion of her poetry; an epigram attributed to Plato hails her as the tenth Muse. In the Alexandrian period Sappho's poems were arranged into nine books, largely according to metrical form. Nos. 1-7 are all in the stanza form known as Sapphic (see General Introduction, note 3).
Come to me here from Crete, to this holy temple, where you have a delightful grove of apple trees, and altars fragrant with smoke of incense.
Here cold water babbles through apple branches, and roses keep the whole place in shadow, and from the quivering leaves a trance of slumber falls;
here a meadow, where horses pasture, blooms with flowers of spring, and the breezes gently blow. . . [one line missing]
In this place, Kypris, take up garlands, and gracefully, in golden cups, pour out nectar that has been mingled with celebration....
A kletic prayer like the previous poem, addressed once again to Aphrodite (Kypris, 13). The description of the place to which the goddess is being summoned exemplifies the sensitivity to natural beauty and the vivid evocation of mood that seem to be hallmarks of Sappho's style.
Kypris and you Nereids, grant that my brother arrive here unharmed and that everything his heart wishes be perfectly achieved;
grant too that he atone for all his past errors and that he prove a source of joy to his friends and sorrow to his enemies; and to us may no one ever again bring trouble.
May he be willing to give his sister her share of honor, and grievous sorrow . . . . . . formerly in distress . . .
A prayer that Sappho's brother may have a safe journey home. Named Charaxos, he reportedly spent considerable time in Egypt and there became entangled with a notorious courtesan called Rhodopis; the reference to past errors (5) may pertain to this episode. Kypris Aphrodite. Being born from the sea (at least according to one tradition), Aphrodite had marine associations and was frequently invoked as a protector of seafarers. The Nereids were likewise sea goddesses, being the daughters of Nereus, the Old Man of the Sea.
Close at hand appear to me as I pray, queenly Hera, in your graceful form, you whom the sons of Atreus besought with supplication, kings renowned:
having brought many trials to fulfillment, first of all around Ilion, then upon the sea, they set forth to this island, but could not complete their journey
until they called on you and on Zeus of Suppliants and on Thyone's charming son. Now to me as well be gentle and give aid, according to that ancient usage
Another prayer for divine assistance. In place of the "reminder" of past assistance rendered by the deity (cf. introductory note to no. 1), Sappho cites a historical precedent for calling upon Hera in time of need.
the sons of Atreus Agamemnon and Menelaos. Agamemnon Son of Atreus, grandson of Pelops, and brother of Menelaos. As king of Argos, he was commander in chief of the combined Greek forces that fought at Troy to regain possession of Helen. Menelaos Son of Atreus, brother of Agamemnon, and husband of Helen. He succeeded his father-in-law Tyndareos as king of Sparta. this island i.e, Lesbos, where the Greek fleet stopped off on its return homeward after the capture of Troy (Ilion, 6). Thyone's charming son i.e., Dionysos; Thyone is another name for Semele. The same "trinity" of Hera, Zeus, and Dionysos appears in Alcaeus 6. 5-9.
7. (Fr. 34) Around the beautiful moon the stars withdraw the radiance of their form whenever, at her fullest, she shines over earth....
9. (Fr. 47) Love shook my mind like a wind falling on oak-trees on a mountain.
10. (Fr. 48) You came, and I was yearning for you; you plunged my heart into coolness when it flamed with longing.
11. (Fr. 49) I loved you, Atthis, once long ago . . . a small child you seemed to me, and graceless....
Atthis is also mentioned in nos. 15 and 24. These lines are quoted by two different sources and may not belong together.
12. (Fr. 55) But when you die you will lie there, and no memory of you will linger in later time, for you have no share in the roses that come from Pieria. Unnoticed in Hades' house as well, you will range among the shadowy dead, flown from our midst.
According to Plutarch in his Table Talk (3. 1. 2), the poem from which these lines are quoted was addressed "to some uncultivated and ignorant woman." By the roses that come from Pieria (2-3) Sappho means poetry. Pieria A region immediately to the north of Mt. Olympos, birthplace of the Muses, who thus are often called Pierian.
13. (Fr. 81) Place lovely garlands, Dika, around your hair, twining together shoots of dill with your tender hands;
for the blessed Graces too prefer things decked with flowers to gaze upon, and turn aside from those that are ungarlanded.
16. (Fr. 102) I tell you, sweet mother, I cannot weave at the loom, subdued by longing for a boy through slender Aphrodite.
17. (Fr. 104) Hesperos, bringing all things back which bright Dawn scattered, you bring the sheep, you bring the goat, you bring the child back to its mother.
Hesperos the Evening Star.
18. (Fr. 105a)
Like the sweet apple that reddens on the highest bough, high on the highest bough, and the apple gatherers have forgotten it&emdash; no, they have not forgotten it completely, but they could not reach it.
This and the following five fragments appear to be from wedding songs (epithalamia).
19. (Fr. 105b) Like the hyacinth which shepherds on the hillsides trample underfoot, and on the ground the crimson flower....
20. (Fr. 110) The doorkeeper has feet seven fathoms long, and his sandals are made from five ox-hides; it took ten cobblers to fashion them.
21. (Fr. 111) Up, up with the roof-- Hymenaios-- raise it high, you carpenters-- Hymenaios! The bridegroom is coming, Ares' equal, larger by far than a large man.
Hymenaios the god of marriage, frequently invoked in wedding songs. He was also known as Hymen.
22. (Fr. 114) Virginity, virginity, where have you gone and left me? "Never again shall I return to you, never again shall I return."
23. (Fr. 115) To what, dear bridegroom, may I fittingly compare you? To a slender sapling most of all do I compare you.
24. (Frs. 130) Once again Love drives me on, that loosener of limbs, bittersweet creature against which nothing can be done.
But to you, Atthis, the thought of me has grown hateful, and you fly off to Andromeda.
A beautiful girl is mine, her form like that of golden flowers, beloved Kleis, for whom not even all Lydia would I take, or lovely....
Kleis has traditionally been taken to be Sappho's daughter, but it is possible that she was another beloved friend like Atthis in nos. 11 and 24.
26. (Fr. Adesp. 976) The moon has set, and the Pleiades; it is midnight, and time is passing; and I lie alone.
The ancient source that quotes these lines does not name their author. Some scholars believe that they are by Sappho, others emphatically deny it.
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