Women’s Writing in the British Isles from the Beginnings to the Present
Sappho
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Standard Name: Sappho
Birth Name: Sappho
Used Form: Sapho
Sappho
, the female poet who stands at the head of the lyric tradition in Europe, has been a major figure of identification, of desire, of influence, of adulation, and of opprobrium in British women's writing, though little remains of her texts. All of her estimated 12,000 lines of verse has been lost except a handful of complete poems and many fragments, either quotations of her work by other writers, or scraps deciphered from papyri used to wrap mummies in ancient Egypt. This mutilated body of work amounts to somewhere around seven hundred intelligible lines.
A number of evaluations of Hope's work appeared at her death. Thomas Hardy
's obituary for her, printed in the Athenæum, praised the tropical luxuriance and Sapphic
fervour of The Garden of Káma...
Literary responses
Susanna Blamire
The reviewer of this collection in Chambers's Edinburgh Journal unoriginally but flatteringly called SB
the Cumbrian Sappho.
Kushigian, Nancy, and Stephen C. Behrendt, editors. Scottish Women Poets of the Romantic Period.
Literary responses
Fidelia
Next month commentators were busy. Jane Brereton
as Melissa addressed both Elizabeth Carter
(whom, in her turn, she supposed to be an anonymous male writer) and Fido, whom she assured that Fidelia ought to...
Godden, Rumer. A Time to Dance, No Time to Weep. Macmillan.
218 and n
Leisure and Society
L. E. L.
Soon after LEL left her mother's house, rumours of an illicit relationship with Jerdan began. The Sunday Times of 5 March 1826 intimated that a well-known English Sappho had produced a child two years previously...
Leisure and Society
Felicia Hemans
She wrote of Paganini
's playing that its predominant expression was that of overpowering, passionate regret . . . it seemed as if the musician was himself about to let fall his instrument, and sink...
Intertextuality and Influence
E. B. C. Jones
The book positions itself in relation to cultural, social and emotional markers that are not those of a majority in later times. Helen and Felicia read Northanger Abbey aloud, and Helen admits it to be...
Intertextuality and Influence
Sally Purcell
On a Cenotaph quotes a phrase from Baudelaire
's poem Lesbos: the shocking juxtaposition of a dead body with adoration in le cadavre adoré di Sapho
. Though SP
supplied notes to some things...
Intertextuality and Influence
Jane Barker
JB
writes to one male friend (my Adopted Brother) on his approaching marriage, not to congratulate but to dissuade.
Barker, Jane. Poetical Recreations. Benjamin Crayle.
This volume, through its title, invokes a whole tradition of women's poetry. Sappho
was the first to bear the honorific nickname of tenth muse, which was later freely bestowed on writing women (like Anna Maria van Schurman
Intertextuality and Influence
Anna Jane Vardill
Her Attic Chest poems have an erudite flavour. She replies to Anacreon
, writes A New Epistle from Sappho
to Phaon, and signs other poems Aulus Gellius
(author of the Latin Attic Nights)...
Intertextuality and Influence
Michael Field
They were greatly influenced in their writing of this book by Henry Thornton Wharton
's recent Sappho: Memoir, Text, Selected Renderings, and a Literal Translation. Containing John Addington Symonds
' translation of Sappho
's...
Intertextuality and Influence
Adrienne Rich
The title poem comes last. Many of the pieces here, like the volume overall, are dedicated to individuals. They include dialogues between the present and the past or future, between personal life and the enormities...
Intertextuality and Influence
Michael Field
The preface calls Sappho the one woman who has dared to speak unfalteringly of the fearful mastery of love.
Field, Michael. Long Ago. G. Bell and Sons.
Each of the poems that follow begins with an epigraph from Sappho
Titles are numbers, given...
Intertextuality and Influence
Adrienne Rich
First published in 1971 (Rich's collections often include writings issued previously), the essay When We Dead Awaken: Writing as Re-Vision is described in 1988 by Elizabeth Meese
as still inform[ing] much of the best work...
