Comparing Sappho 's Poem, Tell Me, Oh Muse

Homer is a legendary writer who is foreshadowed by many other writers in his work. While most agree with and follow in Homers footsteps, there are also those who deliberately see and do things in a dissimilar way. This can be presented by the use of the character, Helen, in the Odyssey and in Sappho’s Fragment 16. Homer and Sappho use Helen in their stories in conflicting ways to differentiate epic and lyric poetry while also expressing different ideas and perspectives.

The hymn to Aphrodite passion is strained almost to the point of unforgiving.The urgent imperatives of the body rather than social harmony suffice to motivate the goddess and her admirar. She seems to seek mastery and not mutuality. It is ambiguous and irrelevant whether a divine

Throughout the fragmented poem, Sappho expresses how someone else’s degrading words affect her and how she handles that pain. She is quick to judge and takes action after being put down. With the descriptions of her pain in movements, she tells a story of what caused her pain.

‘The Odyssey’, like other epic poems, is patriarchally centered. The poem is focused on “godlike” Odysseus and his laborious journey home (Homer __). In Ancient Greece, the time of Homer, women were commonly viewed as part of oikos headed by the male kyrios. They were expected to be submissive, domesticated, and viewed as their master’s property. This raises an important question in the context of this epic: are women only secondary characters that blindly follow the decisions of their male counterparts or do they have the ability to make their decisions freely? Homer, a forward thinker for his time, allowed the reader to make this judgement by including two paradoxical characters: Penelope and Calypso. Penelope, the “faithful” wife of Odysseus, spends most of her time crying and longing for her husband. She is compliant and passive, never making a decision without her husband (homer __). Calypso, on the other hand, takes her sexuality into her own hands. She traps Odysseus in Ogygia and attempts to force herself on him, showing that she does not follow the norms of being an obedient woman. Through the inclusion of Penelope and Calypso, Homer is able to address the view of women in typical epic poems by both accepting it and challenging it in order to redefine what is expected of epic tradition.

In most Greek mythology there is a general hostility towards the female sex, which relays that most poets and writers themselves were sexist. Throughout Hesiod’s Theogony and Works and Days, women are portrayed in a very subservient manner, placing them far below men and are almost despised. However, in more than one instance, manipulation, women’s true power, is shown. They are constantly described as beautiful temptresses, which could be thought of as the weakness of many men. When Theogony and Works and Days are looked at as a whole it is obvious that Hesiod’s opinion of women, most likely shared by the Greeks themselves, is

Stemming from a desired standpoint, Aphrodite, a gorgeous, perpetual young woman with a beautiful body is known as the goddess of love and beauty. Graciously assisting men charm their desired spouse with love enchantments, Aphrodite herself was no stranger to divine lovers as she held various relationships with both gods and mortals. Yet, despite her dynamic desirability and mixed personality, Aphrodite had to overcome her weak and frightful self (http://www.greek-gods.info/greek-gods/aphrodite/) due to her jealousy. Even though it was thought that she was born the daughter of Zeus and Dione, it was more frequently believed that she was born of the foam in the sea off of island Cyprus. Later on, Aphrodite went to marry lame smith Hephaestus, Olympian god of Iron, but was quietly acquiring a private affair with Ares, god of War.

Aphrodite represents erotic love as a fascinating form of divine influence. The nude Aphrodite has powerful meaning and

Sappho’s poem, entitled Fragment 16, is of the lyrical style instead of the epic style we are used to in Homer’s Iliad. The lyrical style of poetry got its name because it was usually accompanied by a lyre while it was recited. It also was used to express more emotion rather than telling a story. This form of poetry seems to be more artistic rather than the story telling of epic poetry of the time. In this poem we are able to use the comparison of different imagery to understand a common theme within the poem itself. The reason for the interesting title of the poem is because most of Sappho’s poetry is now only found in fragmented forms. Most of Sappho’s writing is from 600 B.C.E.

Lyric poetry flourished during Greece’s Archaic Age. This was a time of rebirth for Greece. Literacy shifted from epics to lyric poetry as a result encouragement for a variety of voices to be heard. Lyric poetry is different from epic poetry because it is more personal to the author and is mostly their personal thoughts. In Greece, Sappho was unquestionably the finest composer of lyric poetry. Sappho’s poems were intimate. Love was always the evident theme.

Other authors after Homer also use reverence for a god’s domain as a tool to gain attention from the gods. In the Fragments, the author, Sappho, uses this tool to gain attention from the gods for herself. Sappho is a lover of love and her work shows her obsession with love as most of her partially retained and transcribed lyrics focus on love and its different forms. In supplication to the goddess Aphrodite, Sappho writes, “Deathless Aphrodite of the spangled mind… I beg you do not break with hard pains, O lady, my heart” (The Fragments, pg.3). Due to the fact that love is Aphrodite’s domain, Aphrodite pays attention to Sappho – someone who personifies and respects the power of love. Subsequently, after Sappho’s supplication, Aphrodite asks, “Whom should I persuade (now again) to lead you back into her love? Who, O Sappho, is wronging you?” (The fragments, pg.3). The use of the phrase ‘now again’ indicates that Aphrodite not only pays attention to Sappho, but that Aphrodite helps Sappho in issues of love repeatedly. Out of context, the phrase ‘now again’ also denotes and exasperated tone, however, the preceding context states that Aphrodite greeted Sappho smiling – a symbol of pleasure with another. Additionally, Sappho gains the attention of Hera because of her mention and praise of marriage in lyric 44, motherly love in lyric 132 and the praise of women throughout - all powers that lie under Hera’s domain. Recently in a newly discovered and transcribed lyric, Sappho says,

As a child, I was fascinated by Greek mythology and history, and I made it my business in elementary school to read as much as possible about the subject, including the outstanding stories and the pantheon of gods presented. I thought of them as fantastic, supernatural tales with fitful gods and brave heroes, and I never stopped to consider that the mythologies could be representative of the cultural views and habits of the Greeks, specifically regarding gender roles. One such representaton is Virgil's epic Aeneid, which contains depictions of women in positions of power, and also characterizes these women as irrational, emotional to the point of hysteria, and consequently, unfit rulers.

The title of Sarah B. Pomeroy's book on women in antiquity is a summary of the main categories of females in the literary imagination and the societies of ancient Greece and Rome, over a period of fifteen hundred years. Beginning with goddesses, Pomery retells some Greek myths, outlining the social functions of female Olympians – the goddesses are archetypical images of human females, as envisioned by males. Desirable characteristics among a number of females rather than their concentration in one being are appropriate to a patriarchal society. Demosthenes states in the fourth century B.C. this ideal among mortal men, "We have mistresses for our enjoyment, concubines to serve our person and wives for the bearing of legitimate children (Pomery 1995)." Pomery’s goal in writing this book was to detail and outline the true significance of women in all other their roles in antiquity.

The role of women in Greek literature has demoralized them and showing them in a maligned light. The women are portrayed as frail, cruel, insensitive, or as seductresses. These characteristics have been integrated into today’s society and [have] built the standards and defined the moral outlook of women. However, in Greek mythology, powerful and strong women are not as well celebrated, such as Athena. Homer’s The Odyssey construes the positive and negative role of women through the epic poem. The women in the poem are depicted through the contrasting actions of Penelope and the maids, in addition with the opposite personalities between the goddess Athena and the nymph Calypso.

Women in ancient Greece had very few rights in comparison to male citizens. Women were unable to vote, own property, or inherit wealth. A woman’s place was in the home and her purpose in life was to rear children. Considering this limited role in society, we see a diverse cast of female characters in Greek mythology. We are presented with women that are powerful and warlike, or sexualized, submissive and emotionally unstable. In many myths, we encounter subversive behavior from women, suggesting, perhaps, the possibility of female empowerment. While produced in an ostensibly misogynistic and oppressive society, these myths consider the possibility for a collapse of male power and the patriarchal system. In Homer’s epic poem The Odyssey,

The stories that as a whole make up the body of ancient Greek mythology have treatedthe complex subject of women in various ways. Although women are generally considered to beweak and subordinate to their husbands, there exist some examples of strong, even heroic womenin certain myths. Such “extraordinary” women include Deianeira, Phaedra, Medea, Penelope,and Clytemnestra, among others. This discussion of women will focus on the latter two,comparing and contrasting them and addressing the ways in which the former is often considereda “good” wife and the latter a “bad” wife. The comparison of Penelope and Clytemnestra willultimately show that, in certain ways, the line between “good” and “bad” wife is rather blurryand the distinction between husband-killing monster and devoted, faithful wife is not as clear-cutas one might expect.The major works in which Penelope and Clytemnestra appear are Homer’s Odyssey andAeschylus’ Oresteia, particularly the Agamemnon. One of the first things to notice about theseworks is that they were both written by men, for men. Given the ancient Greek context, this is arather obvious observation, but it deserves to be pointed out because it should be expected thatmen would have a biased view of women. Hesiod’s Theogony and Works and Days describe thecreation of Pandora, the first of “the race of women”, as a gift and punishment from the gods.While she is made to “look like a goddess immortal, / having the lovely, desirable shape of a