The Poet's Poet : essays on the character and mission of the poet as interpreted in English verse of the last one hundred and fifty yearsAtkins, Elizabeth
History
The Poet's Poet : essays on the character and mission of the poet as interpreted in English verse of the last one hundred and fifty years
Atkins, Elizabeth
American poetry -- History and criticism; English poetry -- History and criticism; Poetry
And after detailing with gusto the bloody ingenuities of her plan of
torture, she states that her motive is,
To wring thy very spirit through the flesh.
The myth that Sappho's agony resulted from an offense done to Aphrodite,
is several times alluded to. In _Sappho and Phaon_ she asserts her
independence of Aphrodite's good will, and in revenge the goddess turns
Phaon's affection away from Sappho, back to Thalassa, the mother of his
children. Sappho's infatuation for Phaon, the slave, seems a cruel jest
of Aphrodite, who fills Sappho with a wholly blind and unreasoning
passion. In all three of Swinburne's Lesbian poems, Aphrodite's anger is
mentioned. This is the sole theme of _Sapphics_, in which poem the
goddess, displeased by Sappho's preferment of love poetry to the actual
delights of love, yet tried to win Sappho back to her:
Called to her, saying "Turn to me, O my Sappho,"
Yet she turned her face from the Loves, she saw not
Tears or laughter darken immortal eyelids....
Only saw the beautiful lips and fingers,
Full of songs and kisses and little whispers,
Full of music; only beheld among them
Soar as a bird soars
Newly fledged, her visible song, a marvel
Made of perfect sound and exceeding passion,
Sweetly shapen, terrible, full of thunders,
Clothed with the wind's wings.
It seems likely that this myth of Aphrodite's anger is an allegory
indicating the tragic character of all poetic love, in that, while
incarcerated in the body, the singer strives to break through the limits
of the flesh and to grasp ideality. The issue is made clear in Mackaye's
drama. There Sappho's rival is Thalassa, Phaon's slave-mate, who
conceives as love's only culmination the bearing of children. Sappho, in
her superiority, points out that mere perpetuation of physical life is a
meaningless circle, unless it leads to some higher satisfaction. But in
the end the figure of "the eternal mother," as typified by Thalassa, is
more powerful than is Sappho, in the struggle for Phaon's love. Thus
Aphrodite asserts her unwillingness to have love refined into a merely
spiritual conception.
Public-domain text, read in full here on John Shaqi.
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