refrain follows each line. The hymenaeus or wedding-song was sung by the
bride's attendants as they led her to the bridegroom's house, addressing
Hymen the god of marriage. The metre seems, says Professor Mahaffy (_Hist.
of Class. Greek Lit._, i., p. 20, 1880), to be the same as that of the
Linus song; cf. fr. 62.
92
[Greek: Perrochos, ôs ot' aoidos o Lesbios allodapoisin.]
_Towering, as the Lesbian singer towers among men of other lands._
Quoted by Demetrius, about 150 A.D. It is uncertain what 'Lesbian singer'
is here referred to; probably Terpander, but Neue thinks it may mean the
whole Lesbian race, from their pre-eminence in poetry.
93
[Greek: Oion to glykymalon ereuthetai akrô ep' ysdô]
[Greek: akron ep' akrotatô; lelathonto de malodropêes,]
[Greek: ou man eklelathont', all' ouk edynant' epikesthai.]
_As the sweet-apple blushes on the end of the bough, the very end of the
bough, which the gatherers overlooked, nay overlooked not but could not
reach._
--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!
F. T. PALGRAVE, 1854.
Quoted by the Scholiast on Hermogenes, and by others, to explain the word
[Greek: glykymalon], 'sweet-apple,' an apple grafted on a quince; it is
used as a term of endearment by Theocritus (_Idyl_ xi. 39), 'Of thee, my
love, my sweet-apple, I sing.' Himerius, writing about 360 A.D., says:
'Aphrodite's orgies we leave to Sappho of Lesbos, to sing to the lyre and
make the bride-chamber her theme. She enters the chamber after the games,
makes the room, spreads Homer's bed, assembles the maidens, leads them into
the apartment with Aphrodite in the Graces' car and a band of Loves for
playmates. Binding her tresses with hyacinth, except what is parted to
fringe her forehead, she lets the rest wave to the wind if it chance to
strike them. Their wings and curls she decks with gold, and drives them in
procession before the car as they shake the torch on high.' And
particularly this: 'It was for Sappho to liken the maiden to an apple,
allowing to those who would pluck before the time to touch not even with
the finger-tip, but to him who was to gather the apple in season to watch
its ripe beauty; to compare the bridegroom with Achilles, to match the
youth's deeds with the hero's.' Further on he says: 'Come then, we will
lead him into the bride-chamber and persuade him to meet the beauty of the
bride. O fair and lovely, the Lesbian's praises appertain to thee: thy
play-mates are rosy-ankled Graces and golden Aphrodite, and the Seasons
make the meadows bloom.' These last words especially--
[Greek: Ô kala, ô chariessa.]
_O fair, O lovely ..._
seem taken out of one of Sappho's hymeneal odes, although they also occur
in Theocritus, _Idyl_ xviii. 38.
94
[Greek: Oian tan yakinthon en ouresi poimenes andres]
[Greek: possi katasteiboisi, chamai d' epiporphyrei anthos.]
_As on the hills the shepherds trample the hyacinth under foot, and the
flower darkens on the ground._
Compare Catullus, xi. 21-24:--
Think not henceforth, thou, to recall Catullus'
Love; thy own sin slew it, as on the meadow's
Verge declines, un-gently beneath the ploughshare
Stricken, a flower.
(ROBINSON ELLIS.)
And Vergil, _Aeneid_, ix. 435, of Euryalus dying:--
And like the purple flower the plough cuts down
He droops and dies.
Pines she like to the hyacinth out on the path by the hill top;
Shepherds tread it aside, and its purples lie lost on the herbage.
EDWIN ARNOLD, 1869.
ONE GIRL.
(_A combination from Sappho._)
I.
Like the sweet apple which reddens upon the topmost bough,
A-top on the topmost twig,--which the pluckers forgot, somehow,--
Forgot it not, nay, but got it not, for none could get it till now.
II.
Like the wild hyacinth flower which on the hills is found,
Which the passing feet of the shepherds for ever tear and wound,
Until the purple blossom is trodden into the ground.
D. G. ROSSETTI, 1870;
in 1881 he altered the title to _Beauty_. (_A combination from Sappho._)
Quoted by Demetrius, as an example of the ornament and beauty proper to a
concluding sentence. Bergk first attributed the lines to Sappho.
95
[Greek: Wespere, panta pherôn, osa phainolis eskedas' auôs,]
[Greek: phereis oin, pheres aiga, phereis apy materi paida.]
_Evening, thou that bringest all that bright morning scattered; thou
bringest the sheep, the goat, the child back to her mother._
Thus imitated by Byron:--
O Hesperus, thou bringest all good things--
Home to the weary, to the hungry cheer,
To the young bird the parent's brooding wings,
The welcome stall to the o'erlaboured steer;
Whate'er of peace about our hearthstone clings,
Whate'er our household gods protect of dear,
Are gathered round us by thy look of rest;
Thou bring'st the child too to its mother's breast.
_Don Juan_, iii. 107.
And by Tennyson:--
The ancient poetess singeth, that Hesperus all things bringeth,
Smoothing the wearied mind: bring me my love, Rosalind.
Thou comest morning or even; she cometh not morning or evening.
False-eyed Hesper, unkind, where is my sweet Rosalind?
_Leonine Elegiacs_, 1830-1884.
Hesperus brings all things back
Which the daylight made us lack,
Brings the sheep and goats to rest,
Brings the baby to the breast.
EDWIN ARNOLD, 1869.
Hesper, thou bringest back again
All that the gaudy daybeams part,
The sheep, the goat, back to their pen,
The child home to his mother's heart.
FREDERICK TENNYSON, 1890.
Evening, all things thou bringest
Which dawn spread apart from each other;
The lamb and the kid thou bringest,
Thou bringest the boy to his mother.
J. A. SYMONDS, 1883.
Hesper, whom the poet call'd the Bringer home of all good things.
TENNYSON, _Locksley Hall Sixty Years After_, 1886.
From the _Etymologicum Magnum_, where it is adduced to show the meaning of
[Greek: auôs], 'dawn.' The fragment occurs also in Demetrius, as an example
of Sappho's grace. One cannot but believe that Catullus had in his mind
some such hymeneal ode of Sappho's as that in which this fragment must have
occurred when he wrote his _Vesper adest, juvenes, consurgite: Vesper
Olympo_, etc. (lxii.), part of which was imitated in the colloquy between
Opinion and Truth in Ben Jonson's _The Barriers_.
96
[Greek: Aiparthenos essomai.]
_I shall be ever maiden._
From a Parisian MS. edited by Cramer, adduced to show the Aeolic form of
[Greek: aei], 'ever.'
97
[Greek: Dôsomen, êsi patêr.]
_We will give, says the father ..._
From a Parisian MS. edited by Cramer.
98
[Greek: Thyrôrô podes eptoroguioi,]
[Greek: ta de sambala pempeboêa,]
[Greek: pisyngoi de dek' exeponasan.]
_To the doorkeeper feet seven fathoms long, and sandals of five bulls'
hides, the work of ten cobblers._
From Hephaestion, as an example of metre. Demetrius says: 'And elsewhere
Sappho girds at the rustic bridegroom and the doorkeeper ready for the
wedding, in prosaic rather than poetic phrase, as if she were reasoning
rather than singing, using words out of harmony with dance and song.'
99
[Greek: Olbie gambre, soi men dê gamos, ôs arao,]
[Greek: ektetelest', echês de parthenon, an arao.]
_Happy bridegroom, now is thy wedding come to thy desire, and thou hast the
maiden of thy desire._
Happy bridegroom, thou art blest
With blisses far beyond the rest,
For thou hast won
The chosen one,
The girl thou lovest best.
FREDERICK TENNYSON.
Quoted by Hephaestion, along with the following, to exemplify metres; both
fragments seem to belong to the same ode.
100
[Greek: Mellichios d' ep' imertô kechytai prosôpô.]
_And a soft_ [paleness] _is spread over the lovely face._
In the National Library of Madrid there is a MS. of an epithalamium by
Choricius, a rhetorician of Gaza, who flourished about 520 A.D., in which
the lamented Ch. Graux (_Revue de Philologie_, 1880, p. 81) found a
quotation from Sappho which is partly identical with this fragment
preserved by Hephaestion. H. Weil thus attempts to restore the passage:--
[Greek: Soi charien men eidos, oppata d'] - v - =
[Greek: mellichr', eros d' ep' imertô]
[Greek: kechytai prosôpô;]
- v [Greek: tetimak' exocha s' Aphrodita.]
_Well favoured is thy form, and thine eyes ... honeyed, and love is spread
over thy fair face ... Aphrodite has honoured thee above all._
Two apparent imitations by Catullus are quoted by Weil to confirm his
restoration of Sappho's verses; viz., _mellitos oculos_, honeyed eyes (48,
1), and _pulcher es, neque te Venus negligit_, fair thou art, nor does
Venus neglect thee (61, 194).
101
[Greek: O men gar kalos, osson idên, peletai [agathos],]
[Greek: o de kagathos autika kai kalos essetai.]
_He who is fair to look upon is_ [good], _and he who is good will soon be
fair also._
Beauty, fair flower, upon the surface lies;
But worth with beauty e'en in aspect vies.
? FELTON.
Galen, the physician, writing about 160 A.D., says: 'It is better
therefore, knowing that the beauty of youth is like Spring flowers, its
pleasure lasting but a little while, to approve of what the Lesbian [here]
says, and to believe Solon when he points out the same.'
102
[Greek: Êr' eti parthenias epiballomai?]
_Do I still long for maidenhood?_
Quoted by Apollonius, and by the Scholiast on Dionysius of Thrace, to
illustrate the interrogative particle [Greek: ara], Aeolic [Greek: êra],
and as an example of the catalectic iambic.
103
[Greek: Chairoisa nympha, chairetô d' o gambros.]
_The bride_ [comes] _rejoicing; let the bridegroom rejoice._
From Hephaestion, as a catalectic iambic.
104
[Greek: Tiô s', ô phile gambre, kalôs eikasdô?]
[Greek: orpaki bradinô se kalist' eikasdô.]
_Whereunto may I well liken thee, dear bridegroom? To a soft shoot may I
best liken thee._
From Hephaestion, as an example of metre.
105
[Greek: ... Chaire, nympha,]
[Greek: chaire, timie gambre, polla.]
_Hail, bride! noble bridegroom, all hail!_
Quoted by Servius, about 390 A.D., on Vergil, _Georg._ i. 31; also referred
to by Pollux and Julian.
106
[Greek: Ou gar ên atera pais, ô gambre, toiauta.]
_For there was no other girl, O bridegroom, like her._
From Dionysius of Halicarnassus.
107, 108
[Greek: Espet' Ymênaon.]
[Greek: Ô ton Adônion.]
_Sing Hymenaeus!_
_Ah for Adonis!_
From Plotius, about the fifth or sixth century A.D., to show the metre of
Sappho's hymeneal odes. The text is corrupt; the first verse is thus
emended by Bergk, the second by Scaliger. Cf. fr. 63.
109
A. [Greek: Parthenia, parthenia, poi me lipois' apoichê?]
B. [Greek: Ouketi hêxô pros se, ouketi hêxô.]
A. _Maidenhood, maidenhood, whither art thou gone away from me?_
B. _Never again will I come to thee, never again._
'Sweet Rose of May, sweet Rose of May,
Whither, ah whither fled away?'
'What's gone no time can e'er restore--
I come no more, I come no more.'
J. H. MERIVALE.
From Demetrius, who quoted the fragment to show the grace of Sappho's style
and the beauty of repetition.
110
[Greek: Allan mê kamesteran phrena.]
_Fool, faint not thou in thy strong heart._
From a very corrupt passage in Herodian. The translation is from Bergk's
former emendation--
[Greek: Alla mê kame ty sterean phrena.]
111
[Greek: Phainetai woi kênos.]
_To himself he seems ..._
From Apollonius, to show that the Aeolians used the digamma, [Greek: w].
Bergk says this fragment does not belong to fr. 2.
112
[Greek: Ôiô poly leukoteron.]
_Much whiter than an egg._
From Athenaeus; cf. frs. 56 and 122.
113
[Greek: Mêt' emoi meli mête melissa]
_Neither honey nor bee for me._
A proverb quoted by many late authors, referring to those who wish for good
unmixed with evil. They seem to be the words of the bride. This, and the
second line of fr. 62, and many other verses, show Sappho's fondness for
alliteration; frs. 4 and 5, among several others, show that she did not
ignore the charm of assonance.
114
[Greek: Mê kinê cheradas.]
_Stir not the shingle._
Quoted by the Scholiast on Apollonius Rhodius to show that [Greek:
cherades] were 'little heaps of stones.'
115
[Greek: Optais amme.]
_Thou burnest us._
Compare Swinburne's--
My life is bitter with thy love; thine eyes
Blind me, thy tresses burn me, thy sharp sighs
Divide my flesh and spirit with soft sound, _etc._
_Anactoria_.
Quoted by Apollonius to show the Aeolic form of [Greek: hêmas], 'us.'
116
[Greek: Êmitybion stalasson.]
_A napkin dripping._
From the Scholiast on Aristophanes' _Plutus_, quoted to show the meaning of
[Greek: hêmitybion], 'a half worn out shred of linen with which to wipe the
hands.'
117
[Greek: Ton won paida kalei.]
_She called him her son._
Quoted by Apollonius to show the Aeolic use of the digamma.
IX
EPIGRAMS
All three are preserved only in the _Greek Anthology_. The authenticity of
the last, fr. 120, is doubtful. To none of them does Bergk restore the form
of the Aeolic dialect.
118
[Greek: Paides, aphônos eoisa tod' ennepô, ai tis erêtai,]
[Greek: phônan akamatan katthemena pro podôn;]
[Greek: Aithopia me kora Latous anethêken Arista]
[Greek: Hermokleidaia tô Saonaiada,]
[Greek: sa propolos, despoina gunaikôn; ha sy chareisa]
[Greek: prophrôn hameteran eukleison genean.]
_Maidens, dumb as I am, I speak thus, if any ask, and set before your feet
a tireless voice: To Leto's daughter Aethopia was I dedicated by Arista
daughter of Hermocleides son of Saonaïades, thy servant, O queen of women;
whom bless thou, and deign to glorify our house._
ON A PRIESTESS OF DIANA.
Does any ask? I answer from the dead;
A voice that lives is graven o'er my head:
To dark-eyed Dian, ere my days begun,
Aristo vowed me, wife of Saon's son:
Then hear thy priestess, hear, O virgin Power,
And thy best gifts on Saon's lineage shower.
R.
The goddess here invoked as the 'queen of women' appears to have been
Art[)e]mis, the Diana of the Romans.
119
[Greek: Timados hade konis, tan dê pro gamoio thanousan]
[Greek: dexato Phersephonas kyaneos thalamos,]
[Greek: has kai apophthimenas pasai neothagi sidarô]
[Greek: alikes himertan kratos ethento koman.]
_This is the dust of Timas, whom Persephone's dark chamber received, dead
before her wedding; when she perished, all her fellows dressed with
sharpened steel the lovely tresses of their heads._
This dust was Timas'; ere her bridal hour
She lies in Proserpina's gloomy bower;
Her virgin playmates from each lovely head
Cut with sharp steel their locks, their strewments for the dead.
SIR CHARLES A. ELTON.
This is the dust of Timas, whom unwed
Persephone locked in her darksome bed:
For her the maids who were her fellows shore
Their curls, and to her tomb this tribute bore.
J. A. SYMONDS.
120
[Greek: Tô gripei Pelagôni patêr epethêke Meniskos]
[Greek: kyrton kai kôpan, mnama kakozoias.]
_Over the fisherman Pelagon his father Meniscus set weel and oar, memorial
of a luckless life._
ON A FISHERMAN.
This oar and net and fisher's wickered snare
Meniscus placed above his buried son--
Memorials of the lot in life he bare,
The hard and needy life of Pelagon.
SIR CHARLES A. ELTON.
Here, to the fisher Pelagon, his sire Meniscus laid
A wicker-net and oar, to show his weary life and trade.
LORD NEAVES.
Above a fisher's tomb
Were set his withy-basket and his oar,
The tokens of his doom,
Of how in life his labour had been sore:
A father put them up above his son,
Meniscus over luckless Pelagon.
MICHAEL FIELD, 1889.
Bergk sees no reason to accept the voice of tradition in attributing this
epigram to Sappho.
X
MISCELLANEOUS
121
Athenaeus says:--
'It is something natural that people who fancy themselves beautiful and
elegant should be fond of flowers; on which account the companions of
Persephone are represented as gathering flowers. And Sappho says she saw--
[Greek: anthe' amergousan paid' agan hapalan,]
'_A maiden full tender plucking flowers._'
122, 123
[Greek: Poly paktidos adymelestera, chrysô chrysotera.]
_Far sweeter of tone than harp, more golden than gold._
Quoted by Demetrius as an example of hyperbolic phrase. A commentator on
Hermogenes the rhetorician says: 'These things basely flatter the ear, like
the erotic phrases which Anacreon and Sappho use, [Greek: galaktos
leukotera] _whiter than milk_, [Greek: hydatos hapalôtera] _fresher than
water_, [Greek: pêktidôn emmelestera] _more musical than the harp_, [Greek:
hippou gaurotera] _more skittish than a horse_, [Greek: rhodôn habrotera]
_more delicate than the rose_, [Greek: himatiou heanou malakôtera] _softer
than a fine robe_, [Greek: chrysou timiôtera] _more precious than gold_.'
124
Demetrius says:--
'Wherefore also Sappho is eloquent and sweet when she sings of Beauty, and
of Love and Spring and the Kingfisher; and every beautiful expression is
woven into her poetry, besides what she herself invented.'
125
Maximus Tyrius says:--
'Diotima says that Love flourishes in prosperity, but dies in adversity; a
sentiment which Sappho comprehends when she calls Love [Greek: glykipikros]
_bitter-sweet_ [cf. fr. 40] and [Greek: algesidôros] giver of pain.
Socrates calls Love the wizard, Sappho [Greek: mythoplokos] _the weaver of
fictions_.'
126
[Greek: To melêma toumon.]
_My darling._
Quoted by Julian, and by Theodoras Hyrtacenus in the twelfth century A.D.,
as of 'the wise Sappho.' Bergk says Sappho would have written [Greek: to
melêma ômon] in her own dialect.
127
Aristides says:--
[Greek: To ganos] _the brightness_ standing over the whole city, [Greek: ou
diaphtheiron tas opseis] _not destroying the sight_, as Sappho says, but
developing at once and crowning and watering with cheerfulness; in no way
[Greek: hyakinthinô anthei homoion] _like a hyacinth-flower_, but such as
earth and sun never yet showed to men.'
128
Pollux writes:--
'Anacreon ... says they are crowned also with _dill_, as both Sappho [cf.
fr. 78] and Alcaeus say; though these also say [Greek: selinois] _with
parsley_.'
129
Philostratus says:--
'Thus contend [the maidens] [Greek: rhodopêcheis kai helikôpides kai
kalliparêoi kai meliphônoi] _with rosy arms and glancing eyes and fair
cheeks and honeyed voices_--this indeed is Sappho's sweet salutation.'
And Aristaen[)e]tus:--
'Before the porch the most musical and [Greek: meilichophônoi]
_soft-voiced_ of the maidens sang the hymeneal song; this indeed is
Sappho's sweetest utterance.'
Antipater of Sidon, _Anthol. Pal._ ix. 66, and others, call Sappho
_sweet-voiced_.
130
Libanius the rhetorician, about the fourth century A.D., says:--
'If therefore nought prevented Sappho the Lesbian from praying [Greek:
nykta autê genesthai diplasian] _that the night might be doubled for her_,
let me also ask for something similar. Time, father of year and months,
stretch out this very year for us as far as may be, as, when Herakles was
born, thou didst prolong the night.'
Bergk thinks that Sappho probably prayed for [Greek: nykta triplasian] _a
night thrice as long_ as an ordinary night, in reference to the myth of
Jupiter and Alcmene, the mother of Hercules.
131
Strabo says:--
'A hundred furlongs further (from Elaea, a city in Aeolis) is Cané, the
promontory opposite to Lectum, and forming the Gulf of Adramyttium, of
which the Elaïtic Gulf is a part. Canae is a small city of the Locrians of
Cynus, over against the most southerly extremity of Lesbos, situated in the
Canaean territory, which extends to Arginusae and the overhanging cliff
which some call _Aega_, as if "a goat," but the second syllable should be
pronounced long, Aeg[=a], like [Greek: akta] and [Greek: archa], for this
was the name of the whole mountain which at present is called Cané or Canae
... and the promontory itself seems afterwards to have been called _Aega_,
as Sappho says the rest Can[=e] or Canae.'
132
The Scholiast on Apollonius Rhodius says:--
'Apollonius calls Love the son of Aphrodite, Sappho _of Earth and Heaven_.'
But the Argument prefixed to Theocritus, _Idyl_ xiii., says:--
'Sappho called _Love the child of Aphrodite and Heaven_.'
And Pausanias, about 180 A.D., says:--
'On Love Sappho the Lesbian sang many things which do not agree with one
another.' Cf. fr. 74.
133
Himerius says:--
'Thou art, I think, an evening-star, of all stars the fairest: this is
Sappho's song to Hesperus.' And again: 'Now thou didst appear like that
fairest of all stars; for the Athenians call thee Hesperus.'
Bergk thinks Sappho's line ran thus:--
[Greek: Asterôn pantôn ho kalistos ...]
_Of all stars the fairest._
Elsewhere Himerius refers to what seems an imitation of Sappho, and says:
'If an ode had been wanted, I should have given him such an ode as this--
[Greek: Nympha rhodeôn erôtôn bryousa, Nympha Paphiês agalma kalliston,
ithi pros eunên, ithi pros lechos meilicha paizousa, glykeia nymphiô;
Hesperos s' hekousan agoi, argyrothronon zygian Hêran thaumazousan.']
_Bride teeming with rosy loves, bride, fairest image of the goddess of
Paphos, go to the couch, go to the bed, softly sporting, sweet to the
bridegroom. May Hesperus lead thee rejoicing, honouring Hera of the silver
throne, goddess of marriage._
Bride, in whose breast haunt rosy loves!
Bride, fairest of the Paphian groves!
Hence, to thy marriage rise, and go!
Hence, to thy bed, where thou shalt show
With honeyed play thy wedded charms,
Thy sweetness in the bridegroom's arms!
Let Hesper lead thee forth, a wife,
Willing and worshipping for life,
The silver-throned, the wedlock dame,
Queen Hera, wanton without shame!
J. A. SYMONDS, 1883.
134
The Scholiast on Apollonius Rhodius says:--
'The story of the love of Sel[=e]n[=e] is told by Sappho, and by Nicander
in the second book of his _Europa_; and it is said that Selene came to
Endymion in the same cave' (on Mount Latmus in Caria).
135
The Scholiast on Hesiod, _Op. et D._, 74, says:--
'Sappho calls Persuasion [Greek: Aphroditês thygatera] _Daughter of
Aphrodite_.' Cf. fr. 141.
136
Maximus Tyrius says:--
'Socrates blames Xanthippe for lamenting his death, as Sappho blames her
daughter--
[Greek: Ou gar themis en mousopolôn oikia thrênon einai; ouk ammi prepei
tade.]
_For lamentation may not be in a poet's house: such things befit not us.'_
In the home of the Muses 'tis bootless to mourn.
FREDERICK TENNYSON.
137
Aristotle, in his _Rhetoric_, ii. 23, writes:--
[Greek: ê hôsper Sapphô, hoti to apothnêskein kakon; hoi theoi gar houtô
kekrikasin; apethnêskon gar an.]
Gregory, commenting on Hermogenes, also quotes the same saying:--
[Greek: hoion phêsin hê Sapphô, hoti to apothnêskein kakon; hoi theoi gar
houtô kekrikasin; apethnêskon gar an, eiper ên kalon to apothnêskein.]
Several attempts have been made to restore these words to a metrical form,
and this of Hartung's appears to be the simplest:--
[Greek: To thnaskein kakon; houtô kekrikasi theoi;]
[Greek: ethnaskon gar an eiper kalon ên tode.]
_Death is evil; the Gods have so judged: had it been good, they would die._
The preceding fragment (136) seems to have formed part of the same ode as
the present. Perhaps it was this ode, which Sappho sent to her daughter
forbidding her to lament her mother's death, that Solon is said to have so
highly praised. The story is quoted from Aelian by Stobaeus thus: 'Solon
the Athenian [who died about 558 B.C.], son of Execest[)i]des, on his
nephew's singing an ode of Sappho's over their wine, was pleased with it,
and bade the boy teach it him; and when some one asked why he took the
trouble, he said, [Greek: hina mathôn auto apothanô]. 'That I may not die
before I have learned it.'
138
Athenaeus says:--
'Naucratis has produced some celebrated courtesans of exceeding beauty; as
D[=o]richa, who was beloved by Charaxus, brother of the beautiful Sappho,
when he went to Naucratis on business, and whom she accuses in her poetry
of having robbed him of much. Herodotus calls her Rhod[=o]pis, not knowing
that Rhodopis was different from the Doricha who dedicated the famous spits
at Delphi.'
Herodotus, about 440 B.C., said:--