The Bad Boy of Athens: Classics from the Greeks to Game of Thrones. Daniel Mendelsohn
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СКАЧАТЬ verdict. One fine example is her best-known verse, known to classicists as Fragment 31, which consists of four sapphic stanzas. (They appear below in my own translation.) These were singled out by the author of a first-century-AD literary treatise called ‘On the Sublime’ for the way in which they ‘select and juxtapose the most striking, intense symptoms of erotic passion’. Here the speaker expresses her envy of the men who, presumably in the course of certain kinds of social occasions, have a chance to talk to the girl she yearns for:

      He seems to me an equal of the gods –

      whoever gets to sit across from you

      and listen to the sound of your sweet speech

      so close to him,

      to your beguiling laughter: O it makes my

      panicked heart go fluttering in my chest,

      for the moment I catch sight of you there’s no

      speech left in me,

      but tongue gags –: all at once a faint

      fever courses down beneath the skin,

      eyes no longer capable of sight, a thrum-

      ming in the ears,

      lay siege to me all over, and I’m greener

      than grass, I’m just a little short of dying,

      I seem to me;

      but all must be endured, since even a pauper …

      Even without its final lines (which, maddeningly, the author of the treatise didn’t go on to quote), it’s a remarkable work. Slyly, the speaker avoids physical description of the girl, instead evoking her beauty by detailing the effect it has on the beholder; the whole poem is a kind of reaction shot. The verses subtly enact the symptoms they describe: as the poet’s faculties fail one by one in the overpowering presence of her beloved, the outside world – the girl, the man she’s talking to – dissolves and disappears from the poem, too, leaving the speaker in a kind of interior echo chamber. The arc from ‘he seems to me’ in the first line to the solipsistic ‘I seem to me’ at the end says it all.

      Even the tiniest scraps can be potent, as Rayor’s plainspoken and comprehensive translation makes clear. (Until now, the most noteworthy English version to include translations of virtually every fragment was ‘If Not, Winter’, the 2002 translation by the poet and classicist Anne Carson.) To flip through these truncated texts is a strangely moving experience, one that has been compared to ‘reading a note in a bottle’:

      You came, I yearned for you,

      and you cooled my senses that burned with desire

      or

      like wind crashing on mountain oaks

      or

      Maidenhood, my maidenhood, where have you gone

      leaving me behind?

      Never again will I come to you, never again

      or

      Once again Love, that loosener of limbs,

      bittersweet and inescapable, crawling thing,

      seizes me.

      It’s in that last verse that the notion of desire as ‘bittersweet’ appears for the first time in Western literature.

      The very incompleteness of the verses can heighten the starkness of the emotions – a fact that a number of contemporary classicists and translators have made much of. For Stanley Lombardo, whose Sappho: Poems and Fragments (2002) offers a selection of about a quarter of the fragments, the truncated remains are like ‘beautiful, isolated limbs’. The late Thomas Habinek, a classicist at the University of Southern California, nicely summed up this rather postmodern aspect of Sappho’s appeal: ‘The fragmentary preservation of poems of yearning and separation serves as a reminder of the inevitable incompleteness of human knowledge and affection.’

      Although her birthplace cannot be verified, Sappho seems to have lived mostly in Mytilene, the capital of Lesbos. Just across the strip of water that separates Lesbos from the mainland of Asia Minor (present-day Turkey) was the opulent city of Sardis, the capital of Lydia. Some classicists have argued that the proximity of Lesbos to this lush Eastern trading hub helps to explain Sappho’s taste for visual gorgeousness and sensual luxury: the ‘myrrh, cassia, and frankincense’, the ‘bracelets, fragrant / purple robes, iridescent trinkets, / countless silver cups, and ivory’ that waft and glitter in her lines, often in striking counterpoint to their raw emotionality.

      Some things seem relatively certain, then. But when it comes to Sappho’s personal life – the aspect of her biography that scholars and readers are most eager to know about – the ancient record is confused. What did Sappho look like? A dialogue by Plato, written in the fourth century BC, refers to her as ‘beautiful’; a later author insisted that she was ‘very ugly, being short and swarthy’. Who were her family? The Suda (which gives eight possible names for Sappho’s father) asserts that she had a daughter and a mother both named Kleïs, a gaggle of brothers, and a wealthy husband named Kerkylas, from the island of Andros. But some of these seemingly precious facts merely show that the encyclopedia – which, as old as it is, was compiled fifteen centuries after Sappho lived – could be prone to comic misunderstandings. ‘Kerkylas’, for instance, looks a lot like kerkos, Greek slang for ‘penis’, and ‘Andros’ is very close to the word for ‘man’; and so the encyclopedia turns out to have been unwittingly recycling a tired old joke about oversexed Sappho, who was married to ‘Dick of Man’.