If all the poets and all the lovers of poetry should be asked to name the most precious of the priceless things which time has wrung in tribute from the triumphs of human genius, the answer which would rush to every tongue would be "The Lost Poems of Sappho." These we know to have been jewels of a radiance so imperishable that the broken gleams of them still dazzle men’s eyes, whether shining from the two small brilliants and the handful of star-dust which alone remain to us, or reflected merely from the adoration of those poets of old time who were so fortunate as to witness their full glory.

For about two thousand five hundred years Sappho has held her place as not only the supreme poet of her sex, but the chief lyrist of all lyrists. Every one who reads acknowledges her fame, concedes her supremacy; but to all except poets and Hellenists her name is a vague and uncomprehended splendor, rising secure above a persistent mist of misconception. In spite of all that is in these days being written about Sappho, it is perhaps not out of place now to inquire, in a few words, into the substance of this supremacy which towers so unassailably secure from what appear to be such shadowy foundations.

First, we have the witness of her contemporaries. Sappho was at the height of her career about six centuries before Christ, at a period when lyric poetry was peculiarly esteemed and cultivated at the centres of Greek life. Among the Æolic peoples of the Isles, in particular, it had been carried to a high pitch of perfection, and its forms had become the subject of assiduous study. Its technique was exact, complex, extremely elaborate, minutely regulated; yet the essential fires of sincerity, spontaneity, imagination, and passion were flaming with undiminished heat behind the fixed forms and restricted measures. The very metropolis of this lyric realm was Mitylene of Lesbos, where, amid the myrtle groves and temples, the sunlit silver of the fountains, the hyacinth gardens by a soft blue sea, Beauty and Love in their young warmth could fuse the most rigid forms to fluency. Here Sappho was the acknowledged queen of song—revered, studied, imitated, served, adored by a little court of attendants and disciples, loved and hymned by Alcæus, and acclaimed by her fellow-craftsmen throughout Greece as the wonder of her age. That all the tributes of her contemporaries show reverence not less for her personality than for her genius is sufficient answer to the calumnies with which the ribald jesters of that later period, the corrupt and shameless writers of Athenian comedy, strove to defile her fame. It is sufficient, also, to warrant our regarding the picturesque but scarcely dignified story of her vain pursuit of Phaon and her frenzied leap from the Cliff of Leucate as nothing more than a poetic myth, reminiscent, perhaps, of the myth of Aphrodite and Adonis—who is, indeed, called Phaon in some versions. The story is further discredited by the fact that we find no mention of it in Greek literature—even among those Attic comedians who would have clutched at it so eagerly and given it so gross a turn—till a date more than two hundred years after Sappho’s death. It is a myth which has begotten some exquisite literature, both in prose and verse, from Ovid’s famous epistle to Addison’s gracious fantasy and some impassioned and imperishable dithyrambs of Mr. Swinburne; but one need not accept the story as fact in order to appreciate the beauties which flowered out from its colored unreality.

The applause of contemporaries, however, is not always justified by the verdict of after-times, and does not always secure an immortality of renown. The fame of Sappho has a more stable basis. Her work was in the world’s possession for not far short of a thousand years—a thousand years of changing tastes, searching criticism, and familiar use. It had to endure the wear and tear of quotation, the commonizing touch of the school and the market-place. And under this test its glory grew ever more and more conspicuous. Through those thousand years poets and critics vied with one another in proclaiming her verse the one unmatched exemplar of lyric art. Such testimony, even though not a single fragment remained to us from which to judge her poetry for ourselves, might well convince us that the supremacy acknowledged by those who knew all the triumphs of the genius of old Greece was beyond the assault of any modern rival. We might safely accept the sustained judgment of a thousand years of Greece.

Fortunately for us, however, two small but incomparable odes and a few scintillating fragments have survived, quoted and handed down in the eulogies of critics and expositors. In these the wisest minds, the greatest poets, and the most inspired teachers of modern days have found justification for the unanimous verdict of antiquity. The tributes of Addison, Tennyson, and others, the throbbing paraphrases and ecstatic interpretations of Swinburne, are too well known to call for special comment in this brief note; but the concise summing up of her genius by Mr. Watts-Dunton in his remarkable essay on poetry is so convincing and illuminating that it seems to demand quotation here: "Never before these songs were sung, and never since, did the human soul, in the grip of a fiery passion, utter a cry like hers; and, from the executive point of view, in directness, in lucidity, in that high, imperious verbal economy which only nature can teach the artist, she has no equal, and none worthy to take the place of the second."

In recent years there has arisen a great body of literature upon the subject of Sappho, most of it the abstruse work of scholars writing for scholars. But the gist of it all, together with the minutest surviving fragment of her verse, has been made available to the general reader in English by Mr. Henry T. Wharton, in whose altogether admirable little volume we find all that is known and the most apposite of all that has been said up to the present day about