Also in the _Prologue to the Satires_, in the _Epistle to Dr. Arbuthnot_, 369, we read: “Sappho can tell you how this man was bit.” Sappho is mentioned again in _Imitations of Horace_ (_Satire_ I, l. 83) and in _Satires of Dr. John Donne_ (II, 6), in these words: “As who knows Sappho, smiles at other whores.” In his letters to Cromwell, Pope often mentions two Sapphos, one his own and the other Cromwell’s: “My service, pray, to the other Sappho, who it is to be hoped, has not yet cast herself headlong from any of the Leucades about London, although her Phaon lately fled from her into Lincolnshire.” Even in the letter to Steele, when he makes acknowledgment to the “fine fragment of Sappho,” Pope is disingenuous and affected, as he suppresses the name of Flatman, to whom he was really indebted. Wordsworth, influenced probably by Welcker’s defense, had a good opinion of Sappho (cf. the quotation, p. 247). But his dear friend, Sir Walter Scott, seems to be ignorant of her, though the lines on the _Evening Star_, which we have quoted (p. 64), sound strikingly Sapphic. Coleridge seems to echo the famous fragment about the pippin on the topmost bough in his _One Red Leaf on the Topmost Twig_; but as he shows no other influence of Sappho this is probably an accidental resemblance. Thomas Moore, as a translator of Anacreon with whom Sappho was generally linked, knew Sappho well and translated some of her fragments into Latin as well as English. His rendering of the _Weaving Song_ is especially charming (cf. p. 79). Another contemporary Irish poet, the Reverend George Croly, tells how: Passion gave the living breath That shook the chords of Sappho’s lyre. Of the post-Revolution poets the bombastic Byron, who may have learned something about Sappho from his friend and editor, Thomas Moore, refers to her most. In _Don Juan_ (III, 107), he expands, none too well, into a stanza of eight the two lines in which Sappho has painted such a beautiful miniature landscape of reunited village life. As Livingstone says in _The Legacy of Greece_ (p. 265): “the English genius is rich and lavish rather than restrained. It is less in its nature to write like Sappho.” Was Livingstone not thinking also of Swinburne and many another modern poet who plays so many indistinct, un-Greek variations on that divine line: “I loved thee once, Atthis, in the long ago,” which Mackail has called “just one sliding sigh and whisper of sound.” There is another expansion by the poet laureate of Canada, which we have quoted in a note (p. 257). It is Byron who in _Don Juan_ (III, 76) speaks of The isles of Greece, the isles of Greece! Where burning Sappho loved and sung;