In 1777[173] Sauvigny published his _Poésies de Sapho_, composed of eighteen odes, four _scolies morales_, four epigrams, the epitaphs of Timas and Pelagon, some fragments, a letter of Sappho to Phaon, and a hymn to Venus. There are many pretty uses of Sappho, though in no sense can the poems be said to be those of Sappho. The third ode is an echo of the fragment on the Evening Star: Belle étoile du soir, digne ornement des cieux, ... Tu fais rentrer le paisible troupeau, Qui du loup ravisseur craint la dent meurtrière; La fille qui, joyeuse, a quitté le hameau, Tu la ramènes à sa mère. Ces timides amans que Vénus a touchés, Qui brûlent d’être unis ensemble, Et que l’éclat du jour avait tenus cachés, C’est ton retour qui les rassemble. The fifth ode renders the fragment on virginity: La Jeune Épousée. Rose de la pudeur que l’amour a cueillie, Votre premier éclat me sera-t-il rendu? La Virginité. Ingrate, vous l’avez perdu; Vous l’avez perdu pour la vie. The sixth ode is simply Boileau’s translation of the Aphrodite hymn. The thirteenth, addressed to Atthis, combines two fragments: La lune au front d’argent et sa cour lumineuse Echappent à mes yeux; D’un voile plus obscur la nuit silencieuse Enveloppe les cieux. Heure que j’attendais, qui dut m’être si chère, Tu t’es évanouie, et je suis seule, ô dieux! The fifteenth ode is a dialogue between Alcaeus and Sappho, and the note interprets as Sappho’s refusal of Alcaeus the famous fragment of which a Latin version is given: Si nobis amicus es, torum accipe junior; Non enim sustinebo consvescere cum seniore, Dum junior sim. Other writers of the end of the eighteenth century who paid tribute to Sappho were Bernis in his ode _Harmonie_, Lebrun in his epigrams, Parny in his _Journée champêtre_, La Harpe, who knew only ode II, and M. Legouvé who writes: Vois Sapho; par Phaon trahie Elle rendit son art confident de ses pleurs Et merita la gloire en chantant ses malheurs. Other French translators of about this time are Regnier Desmarais, Ricard, Langeac, Deguerle, Marchena, Blin de Sainmore, Abbé Batteux, and Gorsse in _Journal des Muses_ III. In the nineteenth century the echoes and translations of Sappho are even more numerous. The first of the neo-classicists, André Chénier, follower of Boileau, owed much of his enthusiasm for the Greeks to his Greek mother, and imitated Sappho in the ode which he wrote for his love, the ode so admired by Alfred de Musset, the charming poet who also knew the sufferings of love: Fanny, l’heureux mortel qui près de toi respire Sait, à te voir parler, et rougir, et sourire De quels hôtes divins le ciel est habité ...