two or three of which in clay are to be seen in museums, or they may be
bowls or cups with the bottom rounded like one end of a knuckle-bone.
They might be bowls with a mid-boss in the form of a knuckle-bone. For
such gold-bossed golden bowls as Pollux (VI, 98) mentions in the context
of this quotation see the recently acquired beautiful gold bowl with
a Corinthian inscription of about Sappho’s time in the Boston Museum,
which, however, is probably a modern forgery. Cf. _Bulletin, Boston
Museum of Fine Arts_, XX. 65 ff. (1922).
[94] German and Austrian scholars have failed to see the lovely lyrical
literature in this delightful ballad. Aly considers it only the beginning
of a longer ode; and I cannot agree with him that it does not fit in with
what we know of Sappho who often expresses her loneliness in the absence
of her companions. Even if the thought is of love, we must not expect
consistency in a high-strung Aeolian woman. Fragments such as E. 152,
159, 167 may have been in a totally different context. But I do not mean
to say that the ballad certainly refers to Sappho herself. The context
is gone and it is not even definitely assigned to Sappho. Some of the
editions seem to have contained it, but much anonymous literature has
been included in the Sapphic _corpus_ as in that of Plato or Hippocrates.
However, as it is one of the prettiest and most perfect pieces and
quite in Sappho’s style and metre and thought, I consider it genuine.
Ovid (_Sappho to Phaon_, 155 ff.) seems to know the lines. Ruthlessly
to insert a negative in the text (“Alone I do not sleep”) as does Lunák
(_Wiener Studien_, XL, 1918, p. 98) spoils the literary quality and makes
it insipid. How much suggestive concision in those seventeen words in
four verses (four of them small particles), but what vast and profound
humanity; silence, solitude, obscurity, waiting, anxiety, sympathy
of nature. How the strong and rapid description catches our deepest
thoughts. Such things disprove the arguments against its genuineness by
Wilamowitz, _Textgeschichte_, p. 33; and _Sappho und Simonides_, p. 75.
Cf. Münscher, _Hermes_, LIV. 29, 4 (1919).
[95] _Scribner’s Magazine_, September 1905, p. 304.
[96] On the whole tradition of the wedding song cf. Mangelsdorff,
_Das lyrische Hochzeitsgedicht bei den Griechen und Römern_, 1913;
Reitzenstein, _Hermes_, XXXV. 95 ff. (1900); Croiset, _Journal des
Savants_, July 1914; Girard, _Le Mariage de Hector_, _Comptes-rendus Ac.
des Sc. et Belles-lettres_, 1914, pp. 658-9.
[97] I. 4.
[98] Cf. Robinson, _The Classical Weekly_, V. 68 (1911).
[99] In this account of Sappho’s wedding-songs I am much indebted to
Koechly, _Akademische Vorträge und Reden_, Zürich, 1859, pp. 153-217.
[100] For Usener’s interesting conjecture about Lesbian marriage customs
based on this fragment cf. _Kleine Schriften_, IV, pp. 308 ff.
[101] An excellent modern musical version will be found in A. A. Stanley,
_Greek Themes in Modern Musical Settings_.
[102] For the history of dialogue in Greek epigrams and examples of
stones speaking with the passer-by and for sepulchral symbolism as in
the Pelagon epigram cf., D. M. Robinson, “Two Epitaphs from Sardis,” in
_Anatolian Studies presented to Sir William Mitchell Ramsay_, Manchester,
1923, pp. 341-353.
[103] For a bronze in the British Museum supposed to represent the
reclining Sappho cf. Walters, _Cat. of Bronzes_, London, 1899, 203.
[104] Pollux, IX. 84.
[105] Cf. Bernoulli, _Griechische Ikonographie_, pp. 59-72; _Cat. of
Coins in the Brit. Mus., Lesbos_, pl. XXXIX; Miss Patrick, pp. 73, 81;
Jacoby, _Marmor Parium_, p. 101; Forrer, _Les Portraits de Sappho sur
les monnaies_, in _Revue Belge de numismatique_, 1901, pp. 413 ff.;
_Zeitschrift für Numismatik_, IX. 114, pl. IV.
[106] _Meisterwerke_, p. 103.
[107] _Greek Hero Cults and Ideas of Immortality_, Oxford, 1921, p. 367.
[108] Walters, _Cat. of Terra-cottas in the British Museum_, London,
1903, pl. 19.
[109] The ancient representations of Sappho on vases have been well
studied by Jahn, _Darstellungen griechischer Dichter auf Vasenbildern_,
_Abh. d. Sächs. Ges. d. Wiss._, VIII. 699 ff. (1861); Comparetti,
_Museo Italiano di Antichita classica_, II, 41-80, pls. III-VI (1888);
Cipollini, pp. 319-344; Wilamowitz, _Sappho und Simonides_, pp. 40 ff.
Little new material has come to light, but the individual vases have
been better interpreted in the later publications which we cite in other
notes. Aly omits the busts, though he mentions the vases, but he calls
the Steinhauser fragment a clay relief and fails to recognize that it is
part of a vase.
[110] Cf. Jahn, pl. III; Comparetti, _op. cit._, pl. IV;
Furtwängler-Reichhold, _Gr. Vas._, II, pp. 21 ff., 308 ff., pl. 64;
Steiner, _Sappho_, pp. 54-5; Perrot et Chipiez, _Histoire de l’art_, X,
p. 624, pl. 15; Beazley, _J. H. S._, XLII, 1922, p. 91; Pfuhl, _Malerei
und Zeichnung der Griechen_, Munich, 1923, p. 399; Hoppin, _Handbook of
Attic Red-figured Vases_, I, p. 461. Hoppin wrongly rejects Furtwängler’s
attribution to the factory of Brygus; and wrongly identifies Hauser’s
“Frau Meisterin” with Beazley’s Niobid Painter. Perrot (p. 626) says that
the Munich vase belongs to a contemporary of Duris but that we shall
never know the painter; but on p. 634 he says: “we would be tempted to
add the vase to the Berlin amphora painter.”
[111] Comparetti, _op. cit._, pl. III, 1; De Witte, _Antiq. de l’hôtel
Lambert_, no. 32, pl. III; Reinach, _Répertoire des Vases_, I, p. 524.
Formerly in the Dzialinsky collection at Paris.
[112] Comparetti, _op. cit._, pl. III, 2; Steiner, pp. 44 ff.; Cipollini,
p. 328; De Courten, p. III; Reinach _op. cit._, I, p. 525.
[113] Comparetti, _op. cit._, pl. V; Cipollini, p. 331; De Courten, p.
95; _Röm. Mitt._ III, 1888, pl. IX; _Jahreshefte_, VIII. 35-40 (1905);
Nicole, _Meidias_, pl. VII; Reinach, _op. cit._, I, p. 526.
[114] _B. C. H._, IV. 373 (1880); Cipollini, pp. 337-8.
[115] Cf. Comparetti, pl. VI; Steiner, pp. 16 ff.; Edmonds, _Class.
Quart._, XVI. 1 ff. (1922), where he fails to cite _Jahreshefte_, VIII.
40 (1905).
[116] J. C. Hoppin, _Handbook of Attic Red-figured Vases_, Harvard
University Press, 1919, p. 410.
[117] Murray, _White Athenian Vases in the British Museum_, London, 1896,
pl. XVII; Pfuhl, _op. cit._, II, p. 546, fig. 527.
[118] _Ann. d. Inst._, XXX, 1858, p. 42, pl. B; Cipollini, pp. 339-341.
[119] Cf. Cipollini, pp. 343-4.
[120] Cf. Nicole, _Meidias_, Geneva, 1908, pls. III and VI. I cannot
agree with Nicole in dating Meidias as late as 375-350 B.C. He belongs
to the time of the Peloponnesian War, 431-404 B.C. This fatal war did
not stop the Athenians from producing during war times such great works
of art as the Erechtheum, beautiful vases and statues. Cf. also note 68
above.
[121] Cf. Pfuhl, _op. cit._, p. 566, III, Fig. 557; Pellegrini, _Museo
Civico di Bologna, Catalogo dei Vasi Greci_, pp. 133-135, Fig. 77.
[122] _N. H._, XXXV. 141. Brunn, _Kunstgeschichte_, p. 299, identifies him
with a bronze-sculptor, Leon, but we are equally ignorant about him.
[123] _Anth. Plan._, 310 (Edmonds, p. 173); Tatian, _Adv. Gr._, 130.
[124] Cf. Hermann, _Denkmäler der Malerei des Altertums_, pl. 28; Pfuhl,
_op. cit._, p. 734; Lippold, _Röm. Mitt._, XXXIII. 71 ff. (1918).
[125] For replicas of the Sappho cf. Rizzo, _Rev. Arch._, 1901, pp.
301 ff. The latest and best discussion is by Percy Gardner, _J. H. S._
XXXVIII. 10 ff. (1918). For a copy of Silanion’s Corinna at Compiègne
cf. _Rev. Arch._ XXXII. 161 (1894); XXXVI 169 (1898); Furtwängler,
_Meisterwerke_, pp. 99 ff. would class many of the so-called Sapphos as
Aphrodite and thinks that those which are copies of fifth century art may
represent the Aphrodite of Phidias which was to be seen in later days in
the portico of Octavia at Rome (Pliny, _N. H._ XXXVI, 15).
[126] II. 4. 57.
[127] _Anth. Pal._, VII. 15.
[128] Cf. Fraenkel, _Inschriften von Pergamon_, 198. According to _C.
I. G._ 3555 Jucundus and Cyriac of Ancona still saw the inscription at
Pergamum.
[129] _Ecphr._, 69-71.
[130] On the Albani bust cf. _Jahrbuch_, V. 152 ff. (1890), pl. III;
Morcelli, Fea, Visconti, _Descr. della Villa Albani_, 1033; Schneider,
_Jb. d. Ak. Kunstsammlungen_, XII, 72 ff. (1891); Arndt, Brunn-Bruckmann,
_Griechische und Römische Porträts_, pl. 147-148; for the bust in the
Pitti cf. Arndt, pls. 149-150; for that in the Uffizi, pls. 145-146;
cf. also Cipollini, pp. 345-356. On the Biscari and Naples busts cf.
Rizzo, _Rev. Arch._ XXXIX, 1901, pp. 301-307, pls. XXI, XXII. On the
Constantinople head cf. Mendel’s _Cat._ no. 626.
[131] _Art and Archaeology_, VI. 277 ff. (1917), Robinson, _ibid._,
pp. 285 ff. I have omitted mention of many other ancient works of art
wrongly supposed to represent Sappho, such as Stackelberg, _Die Gräber
der Hellenen_, Berlin, 1837, pl. LXX, called Sappho with a female friend
sitting in her lap, merely because of the book-roll.
[132] _Arch. Anzeiger_, XXVII. 124 (1912).
[133] Cipollini, p. 405, pictures Magni’s Saffo; p. 409 Confalonieri’s
Saffo; p. 413 Pradier’s Sapho; p. 417 Pradier’s standing Sapho; p. 421
Barrias’ painting; p. 425 Gleyre’s couch of Sappho. There is a bust of
Sappho by Canova in Turin.
[134] Cf. Reinach, in _Revue Archéologique_, XX, 2. 433-434 (1912), X, 2.
392 (1919).
[135] Cf. for influence of Pamphos, a mythical poet earlier than Homer,
Pausanias, IX. 29, 8; of Homer, _Neue Jahrbücher_, XXXIII 227 (1914); De
Courten, pp. 74-76.
[136] E. 114 influenced by _Theogony_, 3 ff.; E. 122 by _Works and Days_,
568; E. 81 by _Theogony_, 121.
[137] Theognis, 1017.
[138] Schol. Hesiod, _Works and Days_, 428.
[139] Athenaeus, 554 b, 639 a.
[140] Porphyrio on Horace, _Satires_, II. 1. 30, “ostendit Sapphonem et
Alcaeum volumina sua loco sodalium habuisse.”
[141] Wilamowitz, _Textgeschichte der Bukoliker_, p. 88.
[142] III. 153 f.; VI. 1181.
[143] Wilamowitz, _Sappho und Simonides_, p. 58, 2. There is an enormous
literature on Catullus’ relation to Sappho and much discussion of textual
matters. Cf. for the most recent _Bursian Jahresbericht_, CLXXVIII, 1919,
p. 46. Compare E. 32, 147 and 149 with Catullus LXII, 26, 35; E. 151
with LXII, 61; E. 148 with LXII. In XXXV, 17-18 we have “Ignosco tibi,
Sapphica puella Musa doctior.”
[144] _The Classical Quarterly_, XVI. 1-14 (1922).
[145] IV. 9. 10.
[146] II. 13. 24.
[147] Cf. Ogle, _A. J. P._, XLIII. 55 ff. (1922). For Sappho’s influence
on Horace cf. Pasquali, _Orazio lirico_, 1920. Most of the literature on
the subject is not fit to read. Cf. Richard F. Burton’s _The Book of the
Thousand Nights and a Night_, Terminal Essay, X, p. 208, for a filthy,
wrong interpretation of the word ‘mascula’. It is surprising to find as
great a modern scholar as Bloch, _Die Prostitution_, Berlin, 1912, I,
p. 383, saying in his discussion of Homosexuality, ἀσέλγεια τριβακή,
“Schon in früher Zeit galten Sparta und die Insel Lesbos als Orte, wo
die weibliche Liebe besonders verbreitet war und an letzterem Ort in
der Dichterin Sappho eine weltberühmte Vertreterin fand.” Cf. also on
_tribadie_ in Lesbos Bloch, _Der Ursprung der Syphilis_, II, pp. 586-588,
where he thinks that he gives definite proof that Sappho was “eine echte
Tribade.” It is lamentable that as great a literary critic as J. A.
Symonds should say that “Sappho gave this female passion an eminent place
in Greek Literature;” see J. A. Symonds, _A Problem in Greek Ethics,
An Inquiry into the Phenomenon of Sexual Inversion_, London, 1901, pp.
70-72. Fortunately the monograph was issued only in a very limited
edition.
[148] _Silvae_, V. 3. 154.
[149] VII. 69.
[150] _Symp._, VII. 8. 2.
[151] XIX. 9. 4.
[152] _Loves_, 30.
[153] _On Paid Companions_, 36; _Pictures_, 18.
[154] On the influence of Sappho on Himerius cf. Rizzo, _Saggio su Imerio
il sofista_, in _Riv. Fil. Cl._, XXVI 513-16 (1898). In _Orations_, I. 4
the words τὸ λέχος Ὁμήρου were incomprehensible and Edmonds still omits
Ὁμήρου, but the reading is undoubtedly correct and the significance is
now apparent from the new epithalamium of Hector and Andromache.
[155] XV. 35, 36, 37.
[156] I. 16, 19, 20.
[157] Cf. _Anth. Pal._, V. 246; VII. 14, 15, 16, 17, 407, 718; IX. 26,
66, 184, 189, 190, 506, 521, 571; XVI. 310.
[158] V. 246. I give a literal translation and Greek texts of all
epigrams which mention Sappho in Miller-Robinson, _Songs of Sappho_.
[159] Cf. _A. J. P._, XXXVIII. 66 (1917).
[160] Photius only cites the selections made by Sopater the Sophist,
among which in his second book he included some quotations from Sappho’s
eighth book.
[161] _Vita dell’ Imperatore Alessio o Alesseide_, XV.
[162] IV. 25.
[163] His comment on Martial, VII. 67 is “Tribadem autem fuisse carmen
indicat quod extat.”
[164] There is an interesting item in Natales Comes, _Mythologiae
sive explicationes fabularum_, Venice, 1551, Book V, c. XVI, p. 286,
“Scriptum reliquit Sappho, Adonim mortuum fuisse a Venere inter lactucas
depositum.” According to Athenaeus 69 d, Cratinus had Aphrodite conceal
Phaon among the “fair wild-lettuces.”
[165] In my library I have a copy dated 1696 of Anne Le Fèvre, _Les
Poësies d’Anacréon et de Sapho_. This, however, is a second edition and
the first was in 1681.
[166] Welcker, _Kleine Schriften_: II, pp. 80 ff., _Sappho von einem
herrschenden Vorurteil befreit_. Goethe occupied himself much with this
article. For references in Goethe to Sappho cf. W. J. Keller, _Goethe’s
Estimate of the Greek and Latin Writers_, Madison, Wis., 1916, p. 51.
[167] Sauer, _Grillparzer’s sämtliche Werke_, Stuttgart, 1892, XIX, pp.
71 ff. For source of _Sappho_ cf. _J. Engl. Germ. Phil._, XXII, 503 ff.
(1923).
[168] Cf. Jean Giraud, _D’Après Sapho. Variations sur un thème éternel_,
in _Revue d’Histoire littéraire de la France_, XXVII, 1920, pp. 194-203.
I have added considerable material not there, since this article deals
only with the second ode. I am indebted in this chapter to my learned
colleagues, Professor Henry Carrington Lancaster and Professor Gilbert
Chinard, for helpful suggestions.
[169] _Traduction de quelques autres epigrammes Grecs, Œuvres de
Ronsard_, Tome 2, Paris, 1889, p. 56.
[170] The date is often wrongly given as 1682. In my copy, which is a
second edition (Lyon 1696), it is stated that permission to publish the
book was granted to Damoiselle Anne Le Fèvre on June 10, 1681, all rights
to continue for six years. “Le dit livre a esté achevé d’imprimer pour
la première fois le 1, Decembre 1681.” My copy gives only the first two
odes and the epigrams on Pelagon and Timas and quotes an inaccurate Latin
prose translation of the first ode by her father. He has made several
emendations, as in ode II, l. 7, ὡς βρόγχον, “nihil vocis pervenit ad
fauces meas,” as good a suggestion as Edmonds’ creation of an unknown
proper name Brocheo.
[171] Cf. _Œuvres de Fontenelle_ (Paris 1818), II, pp. 187, 188.
[172] My copy is the thirteenth edition published by Bertrand, Paris,
1818. The idea of a manuscript of Sappho found at Herculaneum is repeated
by Lucy Milburn and Percy Mackaye.
[173] My copy is dated London 1810 and is anonymous, _Poésies de Sapho
suivies de différentes Poésies dans le même genre_. It contains also _Les
Tourterelles de Zelmis_ and the _Poésies Erotiques_ of M. de Parny, who
was such an admirer of Sappho. The adaptations are the same as those of
Sauvigny. Why this edition is anonymous, I do not know.
[174] XII, p. 181 ed. Furne, Jouvet et Cie., Paris.
[175] My edition is Giguet et Michaud, Paris, 1805. This book with its
long notes and citations, though little known, is important for the
student of Sappho’s influence.
[176] Cf. Wilamowitz, _Sappho und Simonides_, pp. 63-69 on _Chansons de
Bilitis_, pp. 71-78 on Lesbian Love.
[177] Cf. Edwin M. Cox, p. 5, where he quotes Barnabe Barnes’
_Parthenophil and Parthenophe_, 1593:
O, that I could make her, whom I love best,
Find in a face, with misery wrinkled,
Find in a heart, with sighs over ill-pined,
Her cruel hatred.
In Davison’s _Poetical Rhapsody_, 1602, are some Sapphics by the
mysterious “A. W.” Here is a sample:
Hatred eternal, furious revenging,
Merciless raging, bloody persecuting;
Slanderous speeches, odious revilings;
Causeless abhorring.
In 1601 Campion and Roseter, _Lyrics, Elegies_, etc., give a clumsy
example of Sapphic verse. In 1614 a tract called _The Martyrdom of Saint
George of Cappadocia_ contains at the end some “Sapphicks” which resemble
the real Sappho only in having the same number of syllables to the verse.
Cox and all others, so far as I know, fail to mention Sir Philip Sidney’s
translation of the second ode.
[178] Cf. W. C. Lawton, _Sappho_ with some new translations, _Lippincott
Magazine_, 77, 583; W. A. R. Kerr, “_Sappho’s Soliloquy_,” in _Canadian
Magazine_, 12, 426; E. Saltus, “_Sappho_” in _Lippincott’s Magazine_, 51,
503; M. Thompson, “_The Secret of Sappho_,” in _The Atlantic Monthly_,
73, 365; M. Gray, “_Sappho_,” in _Argosy_, 51, 203; _Athenaeum_, 1889,
2, 56; F. B. Harte, “_Sappho of Green Springs_,” in _Lippincott’s
Magazine_, 45, 627; _Democratic Review_, 7, 18; Higginson, in _The
Atlantic Monthly_, 28, 83; G. Hill, in _Appleton’s Journal_, 6, 158,
179; Mrs. Hamilton in _Harper’s_, 56, 177 (has nothing to do with the
real Sappho); M. Thompson, “_Sappho’s Apple_,” in _The Independent_,
53, 416; A. Chisholm, in _Canadian Magazine_, 15, 453; Reinach, _Révue
Archéologique_, XXIV, 1914, 2, pp. 336-337; IX, 1919, p. 204; X, 1919, p.
225; H. I. R., _Fragment of a Poem by Sappho done into English verse_, in
_The Literary Digest_, 48, 1493; “_Real Personal Character of the Poetess
Sappho_,” in _The Review of Reviews_, 46, 107-8; Swinburne, “_Sappho_,”
in _The Living Age_, 280, 817-8; W. L. Courtney, “_Sappho and Aspasia_,”
in _The Fortnightly Review_, _N. S._ 91 (1912), 479-88; “_Sappho from the
Dust_,” in _The Literary Digest_, 48, 1362-3; M. M. Miller, “Sappho’s
Songs of Exile,” in _The Independent_, 87, 344; _New York Nation_, 1914,
1, p. 602; Aldington, “_Letters to Unknown Women_,” in _The Dial_, 64,
430-1; W. A. Percy, _Sappho in Leukas and Other Poems_, New Haven, 1915;
Horton, “_New Sappho Fragment in English Verse_,” in _The Dial_, 61, 179;
Michael Monahan, “_Sappho_,” in _All’s Well or the Mirror Repolished_,
II, 1922, pp. 87 ff.; Robinson, in _The Baltimore Sun_, Jan. 22, 1922.
[178a] In _Charmides_ he says: “Or from the Lesbian waters plucked
drowned Sappho’s golden quill.”
[179] See _Pericles and Aspasia_, Letters 47, 48, 82, 95, 149, 150, 152,
153.
[180] _Idyls of the King, Lancelot and Elaine_, 1003-1004. Not in
Mustard, _Classical Echoes in Tennyson_, New York, 1904.
[181] _Lyrics and Sonnets_ (Edinburgh, 1903), p. 66.
[182] Miller-Robinson, _Songs of Sappho_.
[183] Litz, _Father Tabb_, Johns Hopkins Press, 1923, p. 168.
[184] _Collected Poems_, New York, 1922, pp. 227-228.
[185] _Art and Archaeology_, XII. 217 (1921).
[186] _Sappho in Leukas and other Poems_, Yale University Press, 1915.
[187] _Art and Archaeology_, XV. 13 (1923).
[188] J. U. Nicolson, _King of the Black Isles_, p. 3, Chicago, 1924.
SELECTED BIBLIOGRAPHY OF RECENT BOOKS ON SAPPHO
ALY, see Pauly-Wissowa.
BASCOUL, J. M. F., _La chaste Sappho de Lesbos et le mouvement féministe
à Athènes au IVe siècle av. J. C._ Paris. 1911.
BASCOUL, J. M. F., _La chaste Sappho de Lesbos et Stésichore. Les
prétendues amies de Sappho_. Paris, 1913.
BERGK, TH., _Poetae Lyrici Graeci_. Vol. III, Leipzig, 1914.
BETHE, E., _Griechische Lyrik_. Berlin, 1920.
BRANDT, LIDA R., _Social Aspects of Greek Life in the Sixth Century B.C._
Philadelphia, 1921.
BRANDT, P., _Sappho, ein Lebensbild aus den Frühlingstagen
altgriechischer Dichtung_. Leipzig, 1905.
BUNNER, ANNE, see Wharton.
CARMAN, BLISS, _Sappho, One Hundred Lyrics_. Boston, 1904.
CARROLL, M., _Greek Women_. Philadelphia, 1907.
CHRIST, W. VON—SCHMID, W., _Geschichte der griechischen Litteratur_.
Munich, 1912.
COX, E. M., _Sappho and the Sapphic Metre in English_. London, 1916.
_Poems of Sappho._ London, New York, 1924.
CIPOLLINI, A., _Saffo_. Milan, 1890.
CROISET, A., _Histoire de la Litterature Grecque_ (vol. II, pp. 226-244).
Paris, 1898.
DE COURTEN, MARIA L. G., _Saffo_ (Supplementi ad “Aegyptus”). Milan, 1921.
DIEHL, E., _Supplementum lyricum_[3] (Kleine Texte, 33-34). Bonn, 1917.
EDMONDS, J. M., _The New Fragments of Alcaeus, Sappho and Corinna_.
Cambridge, 1909.
EDMONDS, J. M., _Sappho in the Added Light of the New Fragments_.
Cambridge, 1912. (Has some poetical translations.)
EDMONDS, J. M., _Lyra Graeca_, I, in _The Loeb Classical Library_. New
York, 1922. [Abbreviated as E.]
EDMONDS, J. M., Various articles in _Classical Review_, _Classical
Quarterly_ and _Cambridge Philological Society’s Proceedings_, from 1909
to 1922.
FARNELL, G. S., _Greek Lyric Poetry_. London, 1891.
GLASER, R., _Sappho, die zehnte Muse_ (Südwest-deutsche Monatsblätter).
1916.
GRENFELL, B. P., and HUNT, A. S., _The Oxyrhynchus Papyri_. Vols. I-XV,
especially I, X, and XV. London, 1898. 1922.
HIGGINSON, T. W., _Atlantic Essays_. Boston, 1871.
LATINI, GIOV., _Saffo, Mimnermo e Catullo_. Viterbo, 1914.
LAVAGNINI, B., _I Lirici Greci_. Turin, 1923.
LOBEL, E., _Sappho_. Oxford, 1925.
MACKAIL, J. W., _Lectures on Greek Poetry_ (pp. 83-112). London and New
York, 1911.
MEABE, T., _Saffo_ (Spanish translation). Paris, 1913.
MERINO, A. FERNANDEZ, _Estudios de Literatura Griega. Safo ante la
crítica moderna_.[3] Madrid, 1884.
MEUNIER, M., _Sappho, Traduction nouvelle de tous les fragments_. (Has
not recent fragments.) Paris, 1911.
MILBURN, LUCY MCD., _Lost Letters from Lesbos_. Chicago, 1902.
MILLER, MARION MILLS, and ROBINSON, D. M. _The Songs of Sappho_ (Greek
text of all Sappho, of all the epigrams about her, of Erinna, of the new
papyrus biography of Sappho, etc., prepared and annotated and literally
translated by D. M. Robinson.) Introduction on _The Recovery and
Restoration of the Egyptian Relics of Sappho_ and a critical _Memoir of
the Real Sappho_ by D. M. Robinson. Introduction by M. M. Miller on the
Sapphic Metre, and Poetical Adaptations of Sappho. New York, 1924.
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