The form and melody of Sappho's poems are due to the fact that they were to accompany vocal and instrumental music, which, thanks to the innovations of Terpander of Lesbos, was at that time exquisitely adapted to the purposes of the lyric. Terpander introduced the seven-stringed lyre, or cithara, with its compass of a diapason, or Greek octave, and this became the peculiar instrument of Sappho and her school. The choice of the musical measure determined the tone of the poem. Terpander united the music of Asia Minor with that of Greece proper, and the resulting product of AEolian poetry was the union of Oriental voluptuousness with Greek self-restraint and art. Of Sappho's numerous songs, two odes alone are presented to us in anything like their entirety, one dedicated to the service of Aphrodite, and the other composed in honor of a girl friend, Anactoria. Dionysius of Halicarnassus embodies the first in one of his rhetorical works, as a perfect illustration of the elaborately finished style of poetry, and comments on the fact that its grace and beauty lie in the subtle harmony between the words and the ideas. Edwin Arnold renders it as follows: "Splendor-throned Queen, immortal Aphrodite, Daughter of Jove, Enchantress, I implore thee Vex not my soul with agonies and anguish; Slay me not, Goddess! Come in thy pity--come, if I have prayed thee; Come at the cry of my sorrow; in the old times Oft thou hast heard, and left thy father's heaven, Left the gold houses, Yoking thy chariot. Swiftly did the doves fly, Swiftly they brought thee, waving plumes of wonder-- Waving their dark plumes all across the aether, All down the azure. Very soon they lighted. Then didst thou, Divine one, Laugh a bright laugh from lips and eyes immortal, Ask me 'What ailed me--wherefore out of heaven, Thus I had called thee? What was it made me madden in my heart so?' Question me smiling--say to me, 'My Sappho, Who is it wrongs thee? Tell me who refuses Thee, vainly sighing. Be it who it may be, he that flies shall follow; He that rejects gifts, he shall bring thee many; He that hates now shall love thee dearly, madly-- Aye, though thou wouldst not' So once again come, Mistress; and, releasing Me from my sadness, give me what I sue for, Grant me my prayer, and be as heretofore now Friend and protectress." The ode to Anactoria is quoted by the author of the treatise on _The Sublime_ as an illustration of the perfection of the sublime in poetry. John Addington Symonds thus renders it in English: