[71] Cf. Curtis, _A. J. A._, XXIV. 146 ff. (1920); Paribeni, _Boll. d’Arte_, I. 104 (1921); F. Cumont, _Rassegna d’Arte_, VIII. 44 ff. (1921); Leopold, _Mélanges d’Archéologie et d’Histoire_, XXXIX. pl. II. 181 ff. (1921); _Le Musée Belge_, XXVII. 15 ff. (1923), there connected by Hubaux with the cult of the Thracian Cotyto. _Cf. Memoirs Am. Ac. in Rome_, IV. 85 f., pl. XLV.
[72] For another version cf. G. Showerman’s _Ovid_ in _The Loeb Classical Library_. A new translation by Marion Mills Miller, where the narrative portions are in recitative and the frequent outbursts of emotion in lyrical form, appears in Miller-Robinson, _The Songs of Sappho_.
[73] Countless translations have been made. Among a few, I mention Philips (1711), Herbert (1713), Akenside’s paraphrase (1745), Fawkes (1760), Merivale (1833), Elton (1814), Egerton (1815), Edinburgh Review (1832), Palgrave (1854), Arnold (1869), Higginson (1871), Walhouse (1877), Symonds (at least two versions), Swinburne, Thomas Davidson, Marion Mills Miller (in _The Classics_ and also in his play _The Return of Odysseus_, p. 82), Appleton, Fairclough (_The Raven_, V, 1904, p. 120), Easby Smith, Stobart (_The Glory that was Greece_, p. 119), Lawton, Tucker, Petersen, Lawrence (_Classical Review_, XXXVI, 1922, p. 2), Edmonds, William A. Drake (_Sewanee Review_, April 1923).
[74] στροῦθοι in l. 10 are birds of Venus, swans, or better doves, rather than the dirty chatterers of our city streets, who never appear in Greek art. Cf. Throop, _Wash. Univ. Studies_, IX 282 (1922); Aristophanes, _Lysistrata_, 723 f.; Statius, _Silvae_, I. 2. Edmonds p. 183 reads the dual and translates “thy two swans.” For swans drawing Aphrodite’s or Cupid’s car, cf. Reinach, _Répertoire des Vases Peints_, I, pp. 57, 271.
[76] _Iliad_, X. 90-95. Cf. also _Od._, XVII. 518-521. For Homer’s influence on Sappho cf. Smyth, p. 230; H. L. Ebeling, in _The Classical Weekly_, XVI. 195 ff. (1923).
[78] Edmonds, pp. 186-7, makes the ingenious but very uncertain suggestion that in line 7 a proper noun, Brocheo or Brochea, corresponding to Catullus’ Lesbia, should be read and now translates: “When I look on you, Brocheo, my speech comes short or fails me quite.” Formerly he thought that the poem was sent by the banished Sappho at the age of eighteen to some beloved girl friend soon after her arrival in Sicily in 596 B.C., but Sappho was older than eighteen in 596, and Edmonds now makes an entirely different emendation of the last line, “but now that I am poor, I must fain be content ...” meaning “beggars can’t be choosers.” But the reading is uncertain and I do not believe that Sappho was poor, nor do I agree with Miss Patrick that the words do not describe love at all.