How Does Sappho Present The Theme Of Love In Lyric Poetry

Homer is a legendary writer who is foreshadowed by many other writers in his work. While most agree with and follow in Homers footsteps, there are also those who deliberately see and do things in a dissimilar way. This can be presented by the use of the character, Helen, in the Odyssey and in Sappho’s Fragment 16. Homer and Sappho use Helen in their stories in conflicting ways to differentiate epic and lyric poetry while also expressing different ideas and perspectives.

Throughout the fragmented poem, Sappho expresses how someone else’s degrading words affect her and how she handles that pain. She is quick to judge and takes action after being put down. With the descriptions of her pain in movements, she tells a story of what caused her pain.

Many have deemed Homer and Hesiod the “founding fathers” of Greek epic poetry and philosophical writings. Both writers’ careers flourished around 8th century B.C, and were immense influences in the world of Greek philosophy. Hesiod focuses on more traditional origins of life for his stories and ensures that the creation of the world and its rulers are embodied in his works. Homer has been considered one of the most influential philosophical writers for centuries by recognized philosophers. He wrote about principles in battle, governance, counsel, sports, the home and life in general that the Greeks looked to in praise. While both of the authors were similar in writing style, they differ vastly in the messages of their poems.

Where beauty is the Each stage in the progression of the appreciation of beauty contained a relationship between an individual and a single object such as a person’s beauty or mind. It was during these connections that allowed for a deeper relationship to transpire as the level of exclusivity began to develop allowing the individual to further appreciate beauty. Specifically, the progress towards a higher understanding of beauty through the means of love starts with loving a single beautiful body then it moves to all beautiful bodies. Next, it transitions to beautiful practices, then to the beautiful forms of learning. From there it further transitions to recognizing that there is only beauty itself; thus, completing the process of learning the true qualities of beauty through love (Plato 49). Throughout the entire progression, Socrates’ idea regarding love contains an individual and another object or idea. Through this hierarchy of the progression, it seems to suggest that humans are constantly pursuing these forms of beauty for their particular love, and an exclusive bond forms during each phase as the individual appreciates their current understanding of beauty. Also, humans continuously pursue these forms of beauty in order to maintain their happiness and reach a level of immorality through love. And, as each person progresses

Socrates sees love as something that is in between being beautiful and ugly and believes that love is a search for beauty and wisdom. Much like Diotima, Socrates presses Agathon to have him admit that love is not beautiful as it desires beauty, and one does not desire what one already has therefore it is not beautiful. Socrates view contrasts with that of Aristophanes from the benefits of love to the nature of love, as Socrates sees no benefits in something that is not beautiful. Love is seen as primarily a relational property by Socrates that holds between things rather than a desire or a need for another person. Love is not itself beautiful or good or anything specific as much as it is a relation that holds between the beautiful, the good, and those who

Sappho’s poem, entitled Fragment 16, is of the lyrical style instead of the epic style we are used to in Homer’s Iliad. The lyrical style of poetry got its name because it was usually accompanied by a lyre while it was recited. It also was used to express more emotion rather than telling a story. This form of poetry seems to be more artistic rather than the story telling of epic poetry of the time. In this poem we are able to use the comparison of different imagery to understand a common theme within the poem itself. The reason for the interesting title of the poem is because most of Sappho’s poetry is now only found in fragmented forms. Most of Sappho’s writing is from 600 B.C.E.

In Plato’s Symposium, sequential speeches praise the god of Love, but they stray from truth until Diotima’s speech provides a permanent form in which love “neither waxes nor wanes” (Sym. 211A). Through the speeches, love shifts from identifying with the concrete to the abstract, but still ultimately advances goals of present: Phaedrus sees love as helping “men gain virtue,” Aristophanes as only a “promise” to restore humans to their “original nature” and Pausanias and Eryximachus have to use two changing notions of love (Sym. 180B, 193D). In contrast, Diotima relates love as the closest humans can come to immorality, a future goal motivating us to seek completeness and an uninhibited timelessness. She uses this shift to explain love’s

In the Symposium Plato places Socrates in a dialogue with the goddess Diotima. She says two things of interest to this paper about love. Firstly, at 206a that humans when they love long to possess the good and do so for ever, and secondly that at 206b that "To love is to bring forth upon the beautiful, both in body and soul (Hamilton 558)." The first statement makes a claim about what love is, a desire to posses the good, and the second a statement about what love does, bring forth the beautiful. I will now briefly analyze both claims.

Other authors after Homer also use reverence for a god’s domain as a tool to gain attention from the gods. In the Fragments, the author, Sappho, uses this tool to gain attention from the gods for herself. Sappho is a lover of love and her work shows her obsession with love as most of her partially retained and transcribed lyrics focus on love and its different forms. In supplication to the goddess Aphrodite, Sappho writes, “Deathless Aphrodite of the spangled mind… I beg you do not break with hard pains, O lady, my heart” (The Fragments, pg.3). Due to the fact that love is Aphrodite’s domain, Aphrodite pays attention to Sappho – someone who personifies and respects the power of love. Subsequently, after Sappho’s supplication, Aphrodite asks, “Whom should I persuade (now again) to lead you back into her love? Who, O Sappho, is wronging you?” (The fragments, pg.3). The use of the phrase ‘now again’ indicates that Aphrodite not only pays attention to Sappho, but that Aphrodite helps Sappho in issues of love repeatedly. Out of context, the phrase ‘now again’ also denotes and exasperated tone, however, the preceding context states that Aphrodite greeted Sappho smiling – a symbol of pleasure with another. Additionally, Sappho gains the attention of Hera because of her mention and praise of marriage in lyric 44, motherly love in lyric 132 and the praise of women throughout - all powers that lie under Hera’s domain. Recently in a newly discovered and transcribed lyric, Sappho says,

Sappho is an ancient Greek poet who is known for her capability in the theorization and processing of love, though in The New Sappho her curiosity and amusement tends to turn its perspective to the idea of age. While we are used to the common concept of love and appearance of Aphrodite, the goddess of love, in Sappho’s poems, it seems that The New Sappho is both a play on her age, as well as a metaphor for her new subject. The poem’s title seems to suggest a rebirth or a renewal of being, yet in contradiction her physical form is aging.

Love, in classical Greek literature, is commonly considered as a prominent theme. Love, in present days, always appears in the categories of books, movies or music, etc. Interpreted differently by different people, Love turns into a multi-faceted being.

There are different forms of love, ranging from the lust of one another to a familial fondness. Two poets, Sappho and Catullus, each represent a different type of love in their respective poems. Sappho, a female poet born in the early sixth century B.C. on the Greek island of Lesbos, was said to be the tenth Muse and a supreme lyric poet of her time. Her life remains mostly a mystery, but through her poems it has been found out that she had a husband, and a daughter named Cleis. Catullus, a Roman poet that lived from roughly 84 to 54 B.C., found inspiration in and was influenced by Sappho, opting to write about love rather than politics like the rest of the poets of his time. He also popularized the style of “love elegy” in poems. Sappho and Catullus, as seen in “Sleep, Darling” and “If Ever Anyone Anywhere” respectively, use diction, the speaker, figurative language, and imagery in similar and different ways to express varying versions of love.

Plato was a philosopher from Classical Greece and an innovator of dialogue and dialect forms which provide some of the earliest existing analysis ' of political questions from a philosophical perspective. Among some of Plato 's most prevalent works is his dialogue the Symposium, which records the conversation of a dinner party at which Socrates (amongst others) is a guest. Those who talk before Socrates share a tendency to celebrate the instinct of sex and regard love (eros) as a god whose goodness and beauty they compete. However, Socrates sets himself apart from this belief in the fundamental value of sexual love and instead recollects Diotima 's theory of love, suggesting that love is neither beautiful nor good because it is the desire to possess what is beautiful, and that one cannot desire that of which is already possessed. The ultimate/primary objective of love as being related to an absolute form of beauty that is held to be identical to what is good is debated throughout the dialogue, and Diotima expands on this description of love as being a pursuit of beauty (by which one can attain the goal of love) that culminates in an understanding of the form of beauty. The purpose of this paper is to consider the speeches presented (i.e. those of Phaedrus, Pausanias, Eryximachus, Aristophanes, and Agathon) in Plato 's Symposium as separate parts that assist in an accounting of the definition and purpose of platonic love.

The ancient Greeks and Romans contributed to western civilization in many different forms of literature and architecture. Both of these cultures produced a variety of literary works which are still studied today. One of the biggest contributions to literature was from the author known as Homer. Homer was known for two of ancient Greece’s most epic poems, The lliad and The Odyssey. Both of these poems have had a profound impact on western literature and continue to influence teachers and authors today. “The lliad and The Odyssey have provided not only seeds but fertilizer for almost all the other arts and sciences in

In his poem, “But love whilst that thou mayst be loved again”, he focuses on warning women to find love soon because beauty will not last with age. He compares a woman’s beauty to a flower: “the fairest flower that ever saw the light / men do not weigh the stalk for what it was / when they find her flower, her glory, pass” (Daniel 6, 13-14). Through this metaphor, he shows how men view beauty in love. No one looks at a dead flower and thinks about what it used to be, rather, he or she looks towards other flowers that bloom with life and colour. This sonnet begins as an admiration for his subject’s beauty, but it ends by telling the subject that when her physical beauty deteriorates, no one will love her. This poem reflects society’s fixation on superficial beauty because it reminds women that they will never find love without external beauty, as a result of the superficiality of men in society. Both poems of the Renaissance Period assert the idea of perfection and the importance of physical beauty in love and relationships.