p. 5-6 The first explicit statements about Sappho’s involvement in female homoeroticism date from the Hellenistic and Roman period… written four centuries or more after Sappho. Earlier testimonia portray Sappho as interested in men; in Attic comedies dating from the 4th century BCE, she is imagined to have had several male lovers at the same time. The earliest literary document that may reflect the reception of Sappho’s songs is a song by the Greek poet Anakreon. In this song, dating to the second half of the 6th century BCE, a male speaker complains that a girl from Lesbos, whom he desires, pays him no attention because of his white hair (a feminine noun in Greek) and instead gapes at another woman or another feminine object… the whole point of the song is that this is left ambiguous… How precisely the meaning of this verb or Anakreon’s girl of Lesbos relates to Sappho’s poetry is not clear, but they most likely reflect the reception of her poetry, which was very popular in this period. The Greeks at this time imagined Sappho to be hypersexual and equally interested in men and woman. … four Athenian vase paintings, although older than our written accounts, are also only indirect witnesses to Sappho. They date from the end of the 6th to the first hald of the 5th century BCE and associate Sappho with drinking parties (so-called symposia) or picture her in the private quarters of women, in which her poetry was apparently performed in classical Athens. We do not know how these performances relate to the original performance of her songs, let alone whether these portraits of Sappho resemble her real appearance in any way.”
p. 7 “Greek scholars from Alexandria edited around nine “books” (papyrus scrolls actually) with poetry of Sappho in the 3rd and 2nd centuries BCE… roughly 10,000 lines, of which only 650 survive. … the Suda ascribes the invention of the plectrum (string pick) to her. Sappho was indeed known not only as a poet but also as a musician. Like other lyric poets in this period, she performed her poetry to music or had other perform it for her… Of the melodies accompanying these songs nothing has survived.”
p. 15 “This may explain the mention of ‘pupils’ in the Suda and other sources; they are anachronistic references to the young women she trained in her choruses.”
“Another question is whether we can reconcile Sappho’s choral activities with the erotic relationships she sings about. Some scholars have suggested that Sappho had a homoerotic relationship with one girl in the chorus, which somehow would be the model for the whole group… They point to groups of boys that formed around one aristocratic boy and his adult lover on acnient Crete as a possible parallel. Another possibility is that the homoerotic feelings Sappho and the other female performers of her songs sing about do not reflect actual relationships, but are intended to be forms of public praise or statements about the general power of love.”
Four modern reconstructions of Sappho dominate the lierature about her: Sappho the chorus organiser, Sappho the teacher, Sappho the priestes, and Sappho the banqueter. Of these four the suggestion that she led young women’s choruses is the most plausible”
p. 17 However one would like to reconstruct Sappho’s life, above all she is a poet and the earliest Greek woman of whom at leasta substantial body of poetry is preserved. Other women poets date mainly from the Hellenistic period, and much less of their work has survived.”
p. 59 “My skin was [delicate] before, but now old age
[claims it]; my hair turned from black [to white].
My spirit has grown heavy; knees buckle
that once would dance light as fawns
I often groan, but what can I do?
It is impoosible for humans not to age
For they say, [pierced] by love rosy-armed Dawn
went to the ends of the earth holding Tithonos,
beautiful and young, but in time gray old age
seized him, even with a deathless wife…..
Yet I love the finer things. [Know] that passion for
the light of life has also granted me brilliance and beauty.”
p 88 The sweetest apple reddens on a high branch
high upon highest, missed by the applepickers:
No, they didn’t miss, so much as couldn’t touch.
Herdsmen cruh under their feet
a hyacinth in the mountains; on the ground
purple blooms…
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