“I say that there will be remembrance of us hereafter,”

and again with lofty scorn she addresses some other woman: 

“But thou shalt lie dead, nor shall there ever be remembrance of thee then or in the time to come, for thou hast no share in the roses of Pieria; but thou shalt wander unseen even in the halls of Hades, flitting forth amid the shades of the dead.”

The words sound in our ears with a melancholy close as we remember how hopelessly lost is almost every one of those poems that all Hellas loved and praised as long as the love and praise of Hellas was of any worth.  Remembrance among men was, to her, the Muses’ crowning gift; that which should distinguish her from ordinary mortals, even beyond the grave, and grant her new life in death.  But it was only for her songs’ sake that she cared to live; she looked for immortality only because she felt that they were too fair to die.

It was almost by accident that the name of Sappho was first associated with the slanders that have ever since clung round it.

By the close of the fourth century, B.C., Athenian comedy had degenerated into brilliant and witty and scandalous farce, in many essentials resembling the new Comedy of the Restoration in England.  But the vitiated Athenian palate required a seasoning which did not commend itself to English taste; it was necessary that the shafts of the writer’s wit should strike some real and well-known personage.

Politics, which had furnished so many subjects and so many characters to Aristophanes, were now a barren field, and public life at Athens in those days was nothing if not political.  Hence arose the practice of introducing great names of bygone days into these comedies, in all kinds of ridiculous and disgraceful surroundings.

There was a piquancy about these libels on the dead which we cannot understand, but which we may contrast with the less dishonourable process known to modern historians as “whitewashing.”  Just as Tiberius and Henry VIII. have been rescued from the infamy of ages, and placed among us upon pedestals of honour from which it will be difficult hereafter wholly to dislodge them, many honoured names were taken by these iconoclasts of the Middle Comedy and hurled down to such infamy as they alone could bestow.

Sappho stood out prominently as the one supreme poetess of Hellas, and the poets, if so they must be called, of the decline of Greek dramatic art were never weary of loading her name with every most disgraceful reproach they could invent.  It is hardly worth while to discuss a subject so often discussed with so little profit, or it would be easy to show that these gentlemen, Ameipsias, Antiphanes, Diphilus, and the rest, were indebted solely to their imagination for their facts.

It would be as fair to take the picture of Sokrates in the “Clouds” of Aristophanes for a faithful representation of the philosopher as it would be to take the Sappho of the comic stage for the true Sappho.  Indeed, it would be fairer; for the Sokrates of the “Clouds” is an absurd caricature, but, like every good caricature, it bore some resemblance to the original.