He also used the fragment about Virginity (Latouche edition I, p. 64). Jacques Delille, the famous translator of Virgil, and the great representative of didactic and descriptive poetry, in his _Poésies fugitives_ (1802) made a good literal translation. In the same year Vanderbourg published some verses camouflaged as the _Poésies_ de Madame Clotilde de Surville, who was supposed to have lived 1405-1495. He gives a translation of the famous second ode, of which I quote only the last stanza: S’ennuagent mes yeux: n’oy plus qu’ennuy, rumeurs, Je brûle, je languis; chauds frissons dans ma veine Circulent: je pâlis, je palpite, l’haleine Me manque, je me meurs. The two great initiators of Romanticism also knew Sappho. Madame de Staël wrote (1811) a drama published 1821, _Sapho_, in which Phaon is divided between love for two different women. Chateaubriand in 1809 in _Les Martyrs_[174] makes Cymodocée, who was on the point of becoming a Christian and already betrothed to Eudore, a fervent disciple of Christ, say to her fiancé: “Dis-moi, puisqu’on peut aimer dans ton culte, il y a donc une Vénus chrétienne?... Le colère de cette déesse est-elle redoutable? Force-t-elle la jeune fille à chercher le jeune homme dans la palestre, à l’introduire furtivement sous le toit paternel? Ta Vénus rend-elle la langue embarrassée? Répand-elle un feu brûlant, un froid mortel dans les veines?” Chateaubriand adds here (and also in _Revolutions Anciennes_) Boileau’s translation and in the same place he cites the passage from Racine’s _Phèdre_ which we have quoted, p. 163. In 1805 L. Gorsse published _Sapho, poëme en dix chants_.[175] He defends Sappho’s character (eleven years before the German Welcker) but believes that her love for Phaon was “un fait incontestable, dont tous les genres de littérature ont le droit, de s’emparer.” He speaks of the Abbé Barthélemy, who in _Voyage d’Anacharsis_ paints “les transports et l’ardeur de Sapho;” also of Lantier, _Voyages d’Anténor_, who had placed Sappho in such a bright light that he has brought out new beauties in the subject, which had not been seen previously. Both quote Boileau’s translation. Gorsse also praises, as possessing a grace which men can never attain, the fragments of poetry which two ladies, Mesdames de Beaufort-d’Hautpoul and Caroline Wougne, published under the name of _Sapho_. On pages 181-187 (Vol. II) he quotes a romance by each, attributed to Sappho, which deals with her love for Phaon. In that of Caroline Wougne Sappho meets Phaon on his return from Sicily during a stormy night in a country house where he is asking for hospitality. Gorsse has also consulted Madame Pipelet de Salm, who presented Sappho on the lyric stage with grace and dignity. He himself unites the legends of her love with those of her writings, and drawing also on Tibullus, Propertius, Virgil, Lucretius, and especially Ovid, makes Sappho speak as poetess and lover fifty expanded elegies. There are five in each of