Aristotle, who refers to her three times, is the first one definitely to quote her verses and that twice in the _Rhetoric_ (E. 91, 119, and p. 159). Aristotle’s pupil Theophrastus, who was also born in Eresus cites her (περὶ λέξεως, Mayer, 1910) as the representative of charm in all its forms. That essential element of charm is emphasized by Plutarch and by Demetrius, the rhetorician of the first century A.D., in his _Essay on Style_. Another pupil of Aristotle, Chamaeleon (310 B.C.), wrote a book about her. Sappho’s influence was not great in the field of Greek and Roman tragedy. Aeschylus and Sophocles betray no acquaintance with her, but Euripides was considerably affected by her verses on love. When he writes in _Electra_ (l. 67), “I consider you a friend equal to the gods,” he is thinking of the first verse of Sappho’s second song. Plutarch cites Aristoxenus as saying that the tragedians learned the mixed Lydian mode from her. In comedy Aristophanes had a slight acquaintance with her, and he was thinking of Sappho’s first hymn in his suffragette play _Lysistrata_ (ll. 723 ff.), where a love-sick devotee of Aphrodite endeavors to escape from the Acropolis on the back of the sparrow, Aphrodite’s bird. Epicrates dealt with Sappho in his comedy, _Anti-Laïs_, before the year 392 B.C.; and Athenaeus applies the words of Epicrates to himself: And all the songs that Sappho sang so sweetly, Breathing of love, I know by heart completely. _Sappho_ was the title of plays by six different Greek comedians, Ameipsias, Amphis, Antiphanes, Diphilus, Ephippus, and Timocles. Of those by Ameipsias and Amphis we have only a single word, and the fragments of the others throw little light on the question as to how much was taken from Sappho herself. To the plays of Plato, Menander, and Antiphanes on the legends of Phaon and the Leucadian Leap, we have already referred (p. 41).