The Times Literary Supplement Article is appended below.
A few lines of the poem are mentioned therein.
Regards! - J K Mohana Rao
------------------------------------
A new Sappho poem
Martin West
21 June 2005
Full story displayed (for the original Greek, please see this week's issue of
the TLS)
Since classical times, Sappho has been a source of fascination and romantic
construction. The ancients, who had nine books of her poems at their disposal,
were unstinting in their admiration. Some called her a tenth Muse. Strabo,
writing in the time of Augustus, calls her a wonder, for in this whole span of
recorded time we know of no woman to challenge her as a poet even in the
slightest degree. In modern times, with only fragments of her poetry
remaining, she has remained one of the most famous and evocative names from
antiquity, a figure viewed by some with narrowed, by others with widened eyes;
a socio-historical enigma, a littérateurs Lorelei, a feminist icon, a
scholars maypole.
It is difficult to judge her for ourselves when so little of her work remains.
What we have
consists on the one hand of quotations and more general references in ancient
authors, and on the other hand of torn scraps from ancient papyrus and
parchment copies, mostly from the Roman period and, more often than not, so
tattered that they yield only a few words or letters from any given line of
verse. In modern editions the fragments are numbered up to 264. But many of
these do not contain a single original word. Only sixty-three contain any
complete lines; only twenty-one contain any complete stanzas; and only three
till now gave us poems near enough complete to appreciate as literary
structures.
A recent find enables us to raise this number to four. In 2004, Michael
Gronewald and
Robert Daniel announced the identification of a papyrus in the University of
Cologne as part of a roll containing poems of Sappho. This text, recovered from
Egyptian mummy cartonnage, is the earliest manuscript of her work so far known.
It was copied early in the third century bc, not much more than 300 years after
she wrote.
Parts of three of her poems are represented. As usual, all are in a fragmentary
state. But the second one, it turned out, had been partially known since 1922
from an Oxyrhynchus papyrus of the third century ad, and by combining the two
texts we now obtain an almost complete poem.
When we had only the Oxyrhynchus portion, we had only line-ends, preceded and
followed by line-ends of other poems, and it was not clear where one poem ended
and the next began; the left-hand margin, where this would have been signalled,
was missing. That question is now settled. We have a poem of twelve lines, made
up of six two-line stanzas. The last eight lines are virtually complete. The
first four are still lacking two or three words each at their beginnings. But
we can make out the sentence structure and restore the sense of what is lost,
if not the exact words.
Here is the poem in my own restoration and translation. The words in square
brackets are supplied by conjecture.
"[You for] the fragrant-blossomed Muses lovely gifts
[be zealous,] girls, [and the] clear melodious lyre:
[but my once tender] body old age now
[has seized;] my hairs turned [white] instead of dark;
my hearts grown heavy, my knees will not support me,
that once on a time were fleet for the dance as fawns.
This state I oft bemoan; but whats to do?
Not to grow old, being human, theres no way.
Tithonus once, the tale was, rose-armed Dawn,
love-smitten, carried off to the worlds end,
handsome and young then, yet in time grey age
oertook him, husband of immortal wife."
We know of several poems in which Sappho spoke of herself as getting on in
years. Here
she addresses a group of younger women or girls, whom she calls (to translate
literally) children, contrasting their blithe singing and dancing with her
own heaviness of heart and limb. It is clear from other evidence that she
composed her poetry, or most of it, within an intimate circle of women whom she
calls her companions. Her house is a house of moisopoloi, servants of the
Muses. Later writers saw her as a chorus-leader or teacher, to whom people of
class in several cities sent their daughters for a musical education. We cannot
tell how accurate a construction this is, but it must have been based on the
impression given by the poems, and it is consistent with what we know.
In the new poem, however, the focus is on Sappho herself. She recites the
symptoms of her ageing, as in another famous poem she recites the physical
symptoms of jealous love. Then comes philosophical reflection. In the love poem
she tells herself that everything is endurable, because fortunes can be
transformed at Gods pleasure. In the new poem she tells herself that growing
old is part of the human condition and there is nothing to be done about it.
This truth is illustrated, as typically in Greek lyric, by a mythical example.
It is a tale that was popular at the time, the story of Tithonus, whom the
Dawn-goddess took as her husband. At her request, Zeus granted him immortality,
but she neglected to ask that he should also have eternal youth, so he just
grew ever older and feebler. Finally she shut him up in his room, where he
chatters away endlessly but barely has the strength to move.
Sappho is very economical with the myth, giving it just four lines and ending
the poem with it. At first sight it might seem a lame ending. But the final
phrase gives a poignant edge to the whole. Tithonus lived on, growing ever more
grey and frail, while his consort remained young and beautiful just as Sappho
grows old before a cohort of protégées who, like undergraduates, are always
young. The poem is a small masterpiece: simple, concise, perfectly formed, an
honest, unpretentious expression of human feeling, dignified in its restraint.
It moves both by what it says and by what it leaves unspoken. It gives us no
ground for thinking that Sapphos poetic reputation was undeserved.
__________________________________
Discover Yahoo!
Find restaurants, movies, travel and more fun for the weekend. Check it out!
http://discover.yahoo.com/weekend.html
--
You are encouraged to post poetry, respond critically to the poems circulated
and participate in discussions. To post, email your message to
[email protected] OR post online at
http://groups.yahoo.com/group/ZESTPoets/post/
Tell friends to subscribe to ZESTPoets by sending a blank email to [EMAIL
PROTECTED], OR, if they have a Yahoo! ID, by visiting
http://groups.yahoo.com/group/ZESTPoets/join/
---theZESTcommunity--------------
[1] ZESTCurrent: http://groups.yahoo.com/group/ZESTCurrent/
[2] ZESTEconomics: http://groups.yahoo.com/group/ZESTEconomics/
[3] ZESTGlobal: http://groups.yahoo.com/group/ZESTGlobal/
[4] ZESTMedia: http://groups.yahoo.com/group/ZESTMedia/
[5] ZESTPoets: http://groups.yahoo.com/group/ZESTPoets/
[6] ZESTCaste: http://groups.yahoo.com/group/ZESTCaste/
[7] ZESTAlternative: http://groups.yahoo.com/group/ZESTAlternative/
[8] TalkZEST: http://groups.yahoo.com/group/TalkZEST/
---
Yahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/ZESTPoets/
<*> To unsubscribe from this group, send an email to:
[EMAIL PROTECTED]
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
