Later American literature, like that of other countries, is full of the name of Sappho, even if it does not show a profound knowledge of the fragments of the actual Sappho. In any case, such dramas and poems and novels reveal the tremendous potentiality of her name. We have referred to translations or adaptations by Easby-Smith, Lucy Milburn, J. M. O’Hara, Bliss Carman, Petersen, Storer, and Marion Mills Miller. There have been renderings of individual poems by Felton, Higginson, Gildersleeve, Shorey, Lawton, Appleton, Whicher, Horton, Drake, and others; the first ode has been well rendered in the metre of the original by Professor Appleton, Professor Fairclough, and others (cf. pp. 47-52 above).[73] We cannot list here all the American renderings of single songs or fragments, although we have incidentally in this book mentioned many such, and an abundance of references will be found in the notes. Nor can we give the titles of all the tragedies and poems which have been inspired by the name of Sappho. We select only a few of the more important. There is an interesting tragedy in five acts called _Sappho of Lesbos_ by Mrs. Estelle Lewis (“Stella”), whom Edgar Allan Poe called “the rival of Sappho.” The play was put on the stage in London in 1868 and afterwards was given on the Athenian stage in a modern Greek version. It reached a seventh edition. It should be credited to America, since Mrs. Lewis was Miss Anna Blanche Robinson, born near Baltimore in 1824. She translated Virgil’s _Aeneid_ when a mere schoolgirl, and afterwards married Mr. Lewis of Brooklyn, New York. She travelled much abroad, but returned to America, where she wrote some of the plays before she went to live in London in 1865. In 1876 was published Ellen Frothingham’s translation of Grillparzer’s _Sappho_. In 1900-1913 H. V. Sutherland wrote his _Sappho and Phaon_, and in 1907 was published Percy Mackaye’s tragedy with the same title. Even when he was a student at Harvard, he wrote an entirely distinct lyric drama in verse, entitled _Sappho, or Archilochus and Hipponax_, in which he himself acted with a gathering of Harvard and Wellesley students in January, 1896. Unfortunately this drama has not been published. The published play is written mostly in iambic pentameter blank verse, with a few lyrics and some trochaic and dactylic lines; there are also several excellent Sapphics. It has never been very successful on the stage, although the music given with it is still so popular that it has been recently published by Professor Stanley (cf. bibliography). In the prologue a manuscript of Sappho’s poems is imagined to have been found in excavating the theatre of Varius at Herculaneum, just as Lucy Milburn, who lived in Lesbos for a while, pretended that she procured her poems from papyri which she had discovered in a metal case in the Orient. The scene of the tragedy is an olive grove on a promontory overlooking the Aegean Sea. In the first act we have Atthis betrothed to