Sappho 's Poem, If Not, Winter

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.

It is often—in books, poems, paintings, and sculptures—that one hears of and sees the goddess of love. But when is it that one hears of the god? In Greek mythology, Eros is the god of love, and a god who is many times overlooked. In Robert Bridges’ “EPÙÓ” and Anne Stevenson’s “Eros”, the idea that Eros is overlooked is portrayed, but in two separate ways. Techniques such as diction, imagery, and tone are used to help convey the idea.

This contrasts both Phaedrus’ and Aristophanes’ descriptions of love. She broadly states that “a lover does not seek the half or whole” unless it is “good” because people will even amputate, or separate, part of their own body if diseased (Sym. 205E). Aristophanes argues “love is the name for our pursuit of wholeness” but Diotima explains this cannot be true if the other half is bad, even if it seems to bring wholeness, such as bodies with a temporary veneer of beauty (Sym. 192E). So, love must be explained by separating it to an upwards trajectory, rising towards the concept of good. Otherwise love is only an impermanent “promise” (Sym. 193D). Therefore, Aristophanes’ lack of separation from the concrete cause love to come from incompleteness and a fallen condition (Dutton Lecture). Likewise, Phaedrus’ speech lacks a removal from the present and therefore fails to explain love’s effects, as seen in his Achilles and Patroclus example. To Phaedrus, Achilles still dying after Patroclus passes is love, for “no one will die for you but a lover” (Sym. 179B). But, Diotima claims this love is unhealthy as it fails to represent the abstract notion of beauty. Since beauty is something to be indirectly experienced, it is unmeasurable and instead “preserves”

There are different forms of love, ranging from the lust of one another to a familial fondness. Two poets, Sappho and Catullus, each represent a different type of love in their respective poems. Sappho, a female poet born in the early sixth century B.C. on the Greek island of Lesbos, was said to be the tenth Muse and a supreme lyric poet of her time. Her life remains mostly a mystery, but through her poems it has been found out that she had a husband, and a daughter named Cleis. Catullus, a Roman poet that lived from roughly 84 to 54 B.C., found inspiration in and was influenced by Sappho, opting to write about love rather than politics like the rest of the poets of his time. He also popularized the style of “love elegy” in poems. Sappho and Catullus, as seen in “Sleep, Darling” and “If Ever Anyone Anywhere” respectively, use diction, the speaker, figurative language, and imagery in similar and different ways to express varying versions of love.

Sappho 96 is a poem that explores the beauty of love in the context of heartbreak and abandonment. The mood of the poem is almost wistful as Sappho seems to be clearly saddened by her lover, Anaktoria, leaving her; however, in true Sappho fashion, she can maintain the beauty she sees in her lover. The filled in lines serve to enhance the feelings of melancholy and passivity while giving the reader a deeper insight to the love Sappho has for Anaktoria.

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,

In calling love “a serious mental disease,” Plato inspired centuries of authors, doctors, and philosophers. Unlike romantic comedy movies and the Top 40 pop songs chart, which idolize love, literature frequently portrays it as a sickness. Both love and mental illness affect brain chemistry, mood, and behavior. In pieces such as Euripides’ Medea, symptoms of love range from mental illness-like ailments to physical manifestations such as a vanishing appetite, concentration, and apparent sanity. In Longus’ work, love is described as having similar traits. Throughout the story of Daphnis and Chloe’s pastoral romance, love drives both of them mad with longing. Love amplifies their innocent feelings for each other, resulting in a disorienting combination of depression and mania. The affliction goes deeper; their total devotion to each other and pastoral

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.

Desire is described as a strong want for any specific entity, and it is a theme commonly found throughout literature, albeit every time period and work has their own particular interpretation. In particular, Plato’s The Symposium and De Laclos’ Dangerous Liaisons depict desire in a similar fashion, involving intense passion and longing. However, they differ in their interpretation of morality and integrity of individuals when faced with great desire, illustrating the evolving nature of the human condition, and how we come to make sense of our deepest emotions. Written during the time of the Ancient Greeks, The Symposium approaches the justification for desire and love from a mythical creation perspective, which was a common method used to understand the natural world.

    The meaningful term “love” can be applied to differing relationships in Shakespeare’s tragedy Othello. In this essay let us examine under a microscope the “love” that we find throughout the play.

Sappho was exiled as a teenager to Sicily because of political reasons. Sappho was called a lyrist, because she performed her poems with lyre. Majority of Sappho’s poems reflect extreme, intense, feelings of desire. Sappho wrote poems about love, and most times her poems were directed towards other women. During the time period, in which Sappho lived, her poems were not considered bad because of the homosexual content she presented. The amount of tenderness, Sappho exuberates in her poetry, shows she’s a loving and caring person. Sappho’s poetry is veru heartfelt and honest that it must be her own personal feelings. Sappho’s writing is so vivid and descriptive, that drawing an imaginative visual would not prove difficult. Sappho also nurtured, taught, and empowered women. In her poems, Sappho sometimes treat women as objects of her affection. Sappho treated women: Passionately, affectionately, with high regard, and at times she treated women like sexual objects.

Love is a term used daily in one’s life. Many categorize love in many forms. These forms differ from one-another such as the difference between love for food and love for one’s spouse. However, in the play; “A Midsummer Night’s Dream”, love takes different forms than the ones experienced in reality. One can classify the different types of love used in this play into three different categories; true love, love produced by cupid’s flower, and the state of lust.

She talks about a dangerous and poisonous love. My first thought when reading this poem, was “is this lady crazy love obsessed”. But the love displayed in this poem goes way deeper as she describes by saying, “My life is bitter with thy love; thine eyes, Blind me, thy tresses burn me, thy sharp sighs, Divide my flesh and spirit with a soft sound, And my blood strengthens, and my veins abound” (Consuming love). It is clearly evident, Sappho illustrates the deepest absolute love. Furthermore, she implies “the experience of love equates to that of dying. (Consuming love). Additionally, she adds spunk and pizzazz and tells you that love is harsh and that it can cause severe heartache. Along with her expressions of love and death, she is yearning to encompass the death by saying "I would my love could kill thee"(Consuming Love).

The concepts of love and sacrifice are closely related and feature consistently throughout literature. To study the relationship between these ideas in more depth I have selected a range of texts over an extensive time period, these include Romeo and Juliet by Sir William Shakespeare, Titanic by James Cameron, Saint Joan by Bernard Shaw and Snow Falling on Cedars by David Guterson. The different eras that these texts explore will be instrumental in establishing the type of connection the two concepts hold in literature. The type of love and sacrifice varies however the underlying message is the same right through the texts, that humans in the right context will make sacrifices for love. How this is portrayed in the texts also differs yet

The term “Eros,” referring to passionate love in English, has long been the mainstream of themes in drama, literature, arts, and cinematic media. The fascinating power of love has been exhaustively publicized, and the pursuit of love is diffused in streets and lanes. Conversely, in ancient times, many poets, especially Virgil, Ovid and Apuleius, described eros as such an evil spirit that it will destroy the female soul thoroughly, except for the one in Apuleius’ story of Cupid and Psyche. Even if taking into account the historical background of a patriarchal community and therefore the esteemed male dominance, the particular case of Psyche’s surviving and even thriving her encounter with eros