1567:
272:, would dramatically change the perspective of the first verse, its translation roughly being: "God-like he esteems himself to be". The speaker is then counter-posing her own experience in contrast with the man's and the next three stanzas describe the symptoms the narrator experiences "whenever I glance at you for a second". The final surviving line, 17, has been thought to be the beginning of a stanza describing Sappho reconciling herself to the situation in which she found herself.
289:
217:
wish to take the man's place, nor is she concerned that he will usurp hers: thus, she is not jealous of him, but amazed at his ability to retain his composure so close to the object of her desire. Another common interpretation of the poem is that it is primarily concerned with expressing the speaker's love for the girl. Joan DeJean criticises the "jealousy" interpretation of the poem as intended to play down the homoeroticism of the poem.
1687:
252:); the most popular interpretation would read the first stanza of the poem as a true banner of lyricism, the use of the first word to introduce the subject of Sappho's alleged jealousy. An alternative reading is suggested by Gallavotti: according to his thesis, the text was corrupted over time as a result of the disappearance of the sound (represented by the letter
300:
Fragment 31 is one of Sappho's most famous works – according to Emmet
Robbins, "probably the single most famous poem to come down from Antiquity". It is one of her most frequently adapted and translated poems, and has been the subject of more scholarly commentary than any other of her works.
216:
As far back as the eighteenth century, it has been proposed that the poem is about Sappho's jealousy of the man who sits with her beloved. Though this is still a popular interpretation of the poem, many critics deny that the fragment is about jealousy at all. Anne Carson argues that Sappho has no
212:
One interpretation suggests that the man's precise relationship with the woman is not important. Instead, the man's role is to act as a "contrast figure", designed to highlight Sappho's love for the girl by juxtaposing the strength of Sappho's emotional reaction with his impassivity. For instance,
208:
in dismissing this argument. William Race, for instance, says that the poem contains nothing to indicate that it is about a wedding, while
Christina Clark argues that, though the interaction between the two characters observed by the speaker indicates that they are of similar social status, their
41:
Fragment 31 has been the subject of numerous translations and adaptations from ancient times to the present day. Celebrated for its portrayal of intense emotion, the poem has influenced modern conceptions of lyric poetry, and its depiction of desire continues to influence writers today.
399:
There are various numbering systems for Sappho's fragments; this article uses Voigt's numeration (which in most cases, including that of Sappho 31, matches Lobel and Page's numeration) throughout unless otherwise specified. Sappho 31 in Voigt is fragment 2 in both Bergk's and Diehl's
279:
suggested that what Sappho is describing here is a seizure, pointing that the symptoms listed in the fragment are the same symptoms of an anxiety attack. He also, on these very basis, supported Cobet's conjecture πέπαγε instead of †καμ† ... †ἔαγε† in line 9.
203:
which echoes the first stanza of the poem is explicitly about a wedding; this perhaps strengthens the argument that fragment 31 was written as a wedding song. Since the second half of the twentieth century, scholars have tended to follow
60:, suggests that there was originally one more stanza of the poem, often thought to have been Sappho resigning herself to the situation in which she finds herself. A reconstruction of the poem by classicist
237:, painting Sappho with a green taint of jealousy. D'Angour's reading, on the other hand, offers as a secondary option the change of tone in the poem towards a more hopeful, rather than resigned, position.
209:
interaction is likely to be compatible with a number of possible relationships, not just that between a bride and groom. For instance, she suggests that they might just as well be brother and sister.
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named after Sappho and consisting of stanzas of three long followed by one short line. Four strophes of the poem survive, along with a few words of a fifth. The poem is written in the
1566:
50:
Fragment 31 was one of the few substantial fragments of Sappho to survive from ancient times, preserved in the first-century AD treatise on aesthetics
229:
means "all must be dared", rather than "endured" as it is sometimes translated. The first translations of the poem into modern languages derived from
1135:
D'Angour, Armand (2013). "Love's
Battlefield: Rethinking Sappho fr. 31". In Sanders, Ed; Thumiger, Chiara; Carey, Christopher; Lowe, Nick (eds.).
1041:
309:
both adapted the poem, Theocritus in his second Idyll and
Apollonius in his description of the first meeting between Jason and Medea in the
197:
suggested that the poem was a wedding song, and that the man mentioned in the initial stanza of the poem was the bridegroom. A poem in the
193:
The context of the poem has been the subject of much scholarly debate: Thomas McEvilley calls it the "central controversy" about the poem.
38:(φαίνεταί μοι) after the opening words of its first line. It is one of Sappho's most famous poems, describing her love for a young woman.
1215:
1196:
213:
John
Winkler argues that "'That man' in poem 31 is like the military armament in poem 16, an introductory set-up to be dismissed".
1476:
1235:
350:, whose "Eleänore" and "Fatima" were both inspired by fragment 31. Other Romantic poets influenced by the fragment include
1106:
Clark, Christina (2001). "The Body of Desire: Nonverbal
Communication in Sappho 31 V: dis manibus Barbara Hughes Fowler".
383:, and the physical symptoms of desire portrayed in the poem continue to be used to convey the feeling in modern culture.
365:
Sappho's description of the physical response to desire in this poem is especially celebrated. The poem is quoted in
67:
The opening words of the poem ("To me it seems that man...") are almost identical to a fragment of Sappho quoted by
1607:
1716:
1586:
1419:
Williamson, Margaret (2009). "Sappho and Pindar in the 19th and 20th centuries". In
Budelmann, Felix (ed.).
190:
The poem centres around three characters: a man and a woman, both otherwise unidentified, and the speaker.
1032:
Allendorf, Tobias (2022). "Greek Lyric at Rome: Before and After
Augustan Poetry". In Swift, Laura (ed.).
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1384:
Segal, Charles (1996). "Eros and
Incantation: Sappho and Oral Poetry". In Greene, Ellen (ed.).
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56:. Four stanzas are well-preserved, followed by part of one more line; this, as well as
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84:
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52:
1406:
Tsargarakis, Odysseus (1979). "Some
Neglected Aspects of Love in Sappho's Fr. 31 LP".
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1614:
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23:
71:: "To himself he seems". This might have been an alternative opening to Sappho 31.
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1602:
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1376:
1262:
McEvilley, Thomas (1978). "Sappho, Fragment Thirty One: The Face Behind the Mask".
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A philological debate has also arisen concerning the very first words of the poem,
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311:
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1430:
The Constraints of Desire: The Anthropology of Sex and Gender in Ancient Greece
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843:
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205:
194:
1225:
Lardinois, André (1996). "Who Sang Sappho's Songs?". In Greene, Ellen (ed.).
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1529:
1519:
1068:
332:
859:
268:). This reading of the original text, which may be supported by a quote by
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1119:
828:"The Nature of Sappho's Seizure in fr. 31 LP as Evidence of her Inversion"
1514:
1291:
Peterson, Linda H. (1994). "Sappho and the Making of Tennysonian Lyric".
347:
316:
230:
1341:
1236:"The New Sappho Poem (P.Köln 21351 and 21376): Key to the Old Fragments"
413:(of the form – u – x – u u – u – x ), while the fourth is five-syllable
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In the nineteenth century, the poem began to be seen as an exemplar of
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253:
851:
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91:, which was the dialect spoken in Sappho's time on her home island of
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1333:
1093:
Clay, Diskin (2011). "Sappho, Selanna, and the Poetry of the Night".
324:
257:
241:
92:
88:
31:
27:
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but everything must be dared/endured, since (?even a poor man) ..."
1393:
Sinos, Dale S. (1982). "Sappho, fr. 31 LP: Structure and Context".
763:"Miscellanea philologica et critica. Caput IV ad Plutarchi Moralia"
374:
355:
287:
1450:
Sappho: Fragment 31, William S. Annis, Aoidoi.org, July 18, 2004
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1191:] (in Italian). Turin: Loescher Editore. pp. 181–187.
97:
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suggests that the original poem may have had up to 8 stanzas.
802:
796:
263:
247:
224:
1320:
Race, William H. (1983). ""That Man" in Sappho fr. 31 L-P".
1208:
Greek Lyric Poetry: A Commentary on Selected Larger Pieces
1454:
987:
985:
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draws on it in Socrates' second speech on love in the
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In 1970, an article by Hungarian-French psychoanalyst
1088:. Princeton, New Jersey: Princeton University Press.
1660:
1595:
1574:
1501:
327:into the role of Sappho's beloved. The Roman poets
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and immediately a subtle fire has run over my skin,
1145:
409:The first three lines are eleven-syllable Sapphic
256:Ϝ) and Sappho's original would have instead said
358:– for instance in "To Constantia, singing" and "
1351:Sappho: A New Translation of the Complete Works
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441:
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159:for when I look at you even for a short time,
146:"That man seems to me to be equal to the gods
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715:
688:
576:
574:
464:
1388:. Berkeley: University of California Press.
1229:. Berkeley: University of California Press.
699:
697:
664:
339:, all also adapt Sappho 31 in their works.
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1178:(4): 433–439 – via library.duke.edu.
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130:έκαδε μ᾽ ἴδρως ψῦχρος κακχέεται, τρόμος δὲ
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1423:. Cambridge: Cambridge University Press.
1353:. Cambridge: Cambridge University Press.
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161:it is no longer possible for me to speak
16:Fragment of a Greek lyric poem by Sappho
1386:Reading Sappho: Contemporary Approaches
1349:Rayor, Diane; Lardinois, André (2014).
1227:Reading Sappho: Contemporary Approaches
1161:. Chicago: University of Chicago Press.
1152:. Chicago: University of Chicago Press.
892:
727:
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429:
392:
155:and laughing delightfully, which indeed
1421:The Cambridge Companion to Greek Lyric
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22:is an archaic Greek lyric poem by the
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173:a cold sweat comes over me, trembling
125:ὀππάτεσσι δ᾽ οὐδ᾽ ἒν ὄρημμ᾽, ἐπιρρόμ-
116:ὠς γὰρ ἔς σ᾽ ἴδω βρόχε᾽, ὤς με φώναι-
7:
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580:
541:
168:I cannot see anything with my eyes,
157:makes my heart flutter in my breast;
1210:. Oxford: Oxford University Press.
164:but it is as if my tongue is broken
1172:Greek, Roman and Byzantine Studies
1139:. Oxford: Oxford University Press.
373:for the intensity of its emotion,
139:ἀλλὰ πὰν τόλματον ἐπεὶ καὶ πένητα
14:
1408:Rheinisches Museum für Philologie
1367:Robbins, Emmet (2006). "Sappho".
346:lyric, influencing poets such as
123:δ᾽ αὔτικα χρῶι πῦρ ὐπαδεδρόμηκεν,
121:ἀλλ᾽ ἄκαν μὲν γλῶσσα ἔαγε, λέπτον
112:καὶ γελαίσας ἰμέροεν, τό μ᾽ ἦ μὰν
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134:ἔμμι, τεθνάκην δ᾽ ὀλίγω ᾽πιδεύης
132:παῖσαν ἄγρει, χλωροτέρα δὲ ποίας
58:Catullus' adaptation of the poem
1445:28 translations and paraphrases
1053:"Saffo 2 Diehl = 31 Lobel-Page"
105:ἔμμεν᾽ ὤνηρ, ὄττις ἐνάντιός τοι
103:φαίνεταί μοι κῆνος ἴσος θέοισιν
1377:10.1163/1574-9347_bnp_e1101040
1183:Gianotti, Gian Franco (1997).
1095:Giornale Italiano di Filologia
1086:Eros the Bittersweet: An Essay
175:seizes me all over, I am paler
114:καρδίαν ἐν στήθεσιν ἐπτόαισεν·
107:ἰσδάνει καὶ πλάσιον ἆδυ φωνεί-
1:
1148:Fictions of Sappho: 1546–1937
807:), "the tongue sticked fast".
761:Cobet, Carel Gabriel (1873).
233:' re-visitation of the poem,
177:than grass, and I seem nearly
34:. The poem is also known as
1036:. Hoboken: Wiley-Blackwell.
315:. In ancient Rome, the poet
258:
242:
1358:Reynolds, Margaret (2001).
148:who is sitting opposite you
79:Fragment 31 is composed in
1738:
1206:Hutchinson, G. O. (2001).
1166:Fowler, Robert L. (1987).
1034:A Companion to Greek Lyric
803:
797:
749:Rayor & Lardinois 2014
506:Rayor & Lardinois 2014
485:Rayor & Lardinois 2014
442:Rayor & Lardinois 2014
301:The ancient Greek authors
264:
248:
225:
1681:
1608:Sappho: A New Translation
1563:
1492:
1428:Winkler, John J. (1990).
1234:Lardinois, André (2011).
844:10.1017/S0009838800044542
826:Devereux, George (1970).
1587:Papyrus Oxyrhynchus 1231
1596:Editors and translators
1069:10.3406/antiq.1977.1865
1051:Bonelli, Guido (1977).
832:The Classical Quarterly
284:Reception and influence
223:argues that the phrase
170:and my ears are buzzing
1432:. New York: Routledge.
1189:The Song of the Greeks
1137:Erôs in Ancient Greece
297:
292:Lawrence Alma-Tadema,
144:
101:
1582:Papyrus Oxyrhynchus 7
1305:10.1353/elh.1994.0010
1157:duBois, Page (1995).
1144:DeJean, Joan (1989).
1120:10.1353/syl.2001.0005
1084:Carson, Anne (1986).
1057:L'Antiquité classique
798:κάμ μὲν γλῶσσα πέπαγε
335:, and the playwright
291:
118:σ᾽ οὐδ᾽ ἒν ἔτ᾽ εἴκει,
1637:John Maxwell Edmonds
1360:The Sappho Companion
360:Ode to a Nightingale
319:adapted it into his
307:Apollonius of Rhodes
294:Catullus at Lesbia's
150:and hears you nearby
1322:Classical Antiquity
323:, putting his muse
270:Apollonius Dyscolus
69:Apollonius Dyscolus
1362:. London: Vintage.
1185:Il Canto dei Greci
1168:"Sappho fr. 31. 9"
943:, pp. 427–430
870:– via JSTOR.
781:– via JSTOR.
730:, pp. 453–494
706:, pp. 181–187
487:, pp. 146–147
298:
136:φαίνομ᾽ ἔμ᾽ αὔται·
1699:
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1369:Brill's New Pauly
1159:Sappho is Burning
1108:Syllecta Classica
1043:978-1-119-12265-4
362:", respectively.
329:Valerius Aedituus
226:ἀλλὰ πὰν τόλματον
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30:of the island of
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1509:Ode to Aphrodite
1495:Poetry of Sappho
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1535:Tithonus poem
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1328:(1): 92–101.
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1250:on 2019-03-24
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993:
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978:
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966:
965:Peterson 1994
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816:Voigt's text.
813:
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801:(= tmesis of
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739:Sappho 31.6–7
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716:D'Angour 2013
712:
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704:Gianotti 1997
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243:phainetai moi
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179:to have died.
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24:ancient Greek
21:
1673:Sapphic love
1623:
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1603:Mary Barnard
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1252:. Retrieved
1248:the original
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1006:, p. 86
999:
972:
960:
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936:
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893:Robbins 2006
888:
883:, p. 58
876:
838:(1): 17–31.
835:
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791:
770:
766:
756:
744:
735:
728:Bonelli 1977
723:
718:, p. 68
711:
691:, p. 65
684:
672:
667:, p. 97
660:
655:, p. 14
648:
636:
629:Winkler 1990
624:
612:
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561:
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417:(– u u – x).
405:
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378:
370:
369:'s treatise
364:
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265:φαίνεταί ϝοι
249:φαίνεταί μοι
239:
219:
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145:
109:σας ὐπακούει
102:
78:
66:
51:
49:
46:Preservation
40:
35:
19:
18:
1712:LGBT poetry
1642:Edgar Lobel
1632:Anne Dacier
1620:Anne Carson
1270:(1): 1–18.
1025:Works cited
1004:duBois 1995
929:Fowler 1987
917:DeJean 1989
907:, p. 8
804:καταπήγνυμι
795:Cobet read
785:Fowler 1987
677:DeJean 1989
653:Carson 1986
641:Carson 1986
556:, p. 6
532:, p. 1
475:Sappho 31.1
312:Argonautica
235:Catullus 51
1722:Love poems
1706:Categories
1647:Denys Page
1254:2017-06-20
881:Segal 1996
783:See also:
593:Clark 2001
518:Sinos 1982
496:Sappho 165
425:References
303:Theocritus
206:Denys Page
195:Wilamowitz
1502:Fragments
1313:162385092
1240:Classics@
1128:144624502
1077:0770-2817
905:Clay 2011
767:Mnemosyne
617:Race 1983
605:Race 1983
581:Race 1983
542:Race 1983
400:editions.
333:Lucretius
321:51st poem
20:Sappho 31
1691:Category
1342:25010785
1114:: 1–32.
860:11620360
380:Phaedrus
367:Longinus
348:Tennyson
344:Romantic
317:Catullus
231:Catullus
1661:Related
1284:1087945
1264:Phoenix
868:3193720
779:4424174
773:: 362.
415:adonean
352:Shelley
337:Plautus
254:digamma
1575:Papyri
1553:(168B)
1486:Sappho
1340:
1311:
1282:
1214:
1195:
1126:
1101:(1–2).
1075:
1040:
866:
858:
852:637501
850:
777:
769:. II.
325:Lesbia
93:Lesbos
32:Lesbos
28:Sappho
1395:Aevum
1338:JSTOR
1309:S2CID
1280:JSTOR
1187:[
1124:S2CID
864:S2CID
848:JSTOR
775:JSTOR
387:Notes
375:Plato
356:Keats
26:poet
1537:(58)
1414:(2).
1401:(1).
1212:ISBN
1193:ISBN
1073:ISSN
1038:ISBN
856:PMID
354:and
331:and
305:and
296:1865
83:, a
75:Poem
1511:(1)
1412:122
1373:doi
1330:doi
1301:doi
1293:ELH
1272:doi
1116:doi
1065:doi
840:doi
246:, (
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1061:46
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984:^
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696:^
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771:1
262:(
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