complete respectability, and even seeks to rewrite her most famous ode in accordance with the colorless literary sense which he supposes that it originally bore (J.M.F. Bascoul, _La Chaste Sappho et le Mouvement Feministe à Athènes_, 1911). Wilamowitz-Moellendorff (_Sappho und Simonides_, 1913) also represents the antiquated view, formerly championed by Welcker, according to which the attribution of homosexuality is a charge of "vice," to be repudiated with indignation. Most competent and reliable authorities today, however, while rejecting the accretions of legend around Sappho's name and not disputing her claim to respect, are not disposed to question the personal and homosexual character of her poems. "All ancient tradition and the character of her extant fragments," says Prof. J.A. Platt (_Encyclopedia Britannica_, 11th. ed., art. "Sappho"), "show that her morality was what has ever since been known as 'Lesbian.'" What exactly that "Lesbian morality" involved, we cannot indeed exactly ascertain. "It is altogether idle," as A. Croiset remarks of Sappho (_Histoire de la Littérature Grecque_, vol. ii, ch. v), "to discuss the exact quality of this friendship or this love, or to seek to determine with precision the frontiers, which language itself often seems to seek to confuse, of a friendship more or less esthetic and sensual, of a love more or less Platonic." (See also J.M. Edmonds, _Sappho in the Added Light of the New Fragments_, 1912). Iwan Bloch similarly concludes (_Ursprung der Syphilis_, vol. ii, 1911, p. 507) that Sappho probably combined, as modern investigation shows to be easily possible, lofty ideal feelings with passionate sensuality, exactly as happens in normal love. It must also be said that in literature homosexuality in women has furnished a much more frequent motive to the artist than homosexuality in men. Among the Greeks, indeed, homosexuality in women seldom receives literary consecration, and in the revival of the classical spirit at the Renaissance it was still chiefly in male adolescents, as we see, for instance, in Marino's _Adone_, that the homosexual ideal found expression. After that date male inversion was for a long period rarely touched in literature, save briefly and satirically, while inversion in women becomes a subject which might be treated in detail and even with complacence. Many poets and novelists, especially in France, might be cited in evidence.