Sappho Selection 1
Immortal Aphrodite on your richly crafted throne,
daughter of Zeus, weaver of snares, I beg you,
do not with sorrows and with pains subdue
my heart, O
Lady,
but come to me, if ever at another time as well,
hearing my voice from far away,
you heeded it, and leaving your father’s house
of gold,
you came,
yoking your chariot. Graceful sparrows
brought you swiftly over the black earth,
with a thick whirring of wings, from heaven down
through the
middle air.
Suddenly they were here, and you, O Blessed,
with a smile on your immortal face
asked me what was wrong this
time, and why
I called
you this time,
and what in my maddened heart I wanted most
to happen. “Whom shall I persuade this time
to welcome you in friendship? Who is it,
Sappho,
that wrongs you?
For if she flees now, soon she shall pursue;
if she refuses presents, she shall give them;
if she does not love, soon she shall love
even
against her will.”
Come to me now as well; release me from
this agony; all that my heart yearns
to be achieved, achieve, and be yourself
my ally in
arms.
This
fragment demonstrates Carson’s concept that eros can only exist when one is
not in possession of what one desires, as it implies that in order to eliminate longing, one must remove the separation between the lover and the beloved. In the fragment, Aphrodite, assuming she
has been called upon to once again help Sappho win the affection of a beloved,
tells Sappho that she will make her beloved pursue her, accept her gifts, and
love her—under the clear assumption that the beloved is currently doing the
opposite. The presumed distance between Sappho and the woman she so strongly
desires indicates that Aphrodite knows that a certain separation is necessary in
order for desire to thrive. By sending this woman into Sappho’s arms, Aphrodite
will relieve Sappho from the “agony” that is her longing.
Though
there are only two individuals in this situation of desire—Sappho and her
beloved—this concept of separation relates strongly to Carson’s discussion of eros as a triangular relationship.
Carson exemplifies this triangle by examining a poem in which Sappho is kept
from her beloved by the presence of a man. As Carson explains, the man is
necessary to the structure of the triangle because without him, the distance
between Sappho and her beloved would collapse; without this distance, eros would no longer exist, as one can
only desire what one does not have. In this fragment, the beloved’s rejection
of Sappho is serving as the third point of the triangle; it is both what is
creating Sappho’s desire and, paradoxically, what is preventing it from being
fulfilled. As Carson and, apparently, Sappho believe, desire vanishes as soon as the subject of longing has been acquired.
Archilocus Selection 36
In wretchedness I lie here, gripped by longing,
lifeless, with bitter pain by the gods’ will
pierced through the bones.
Archilocus’
fragment reflects what Carson describes as the dual nature of eros; as she derives from Sappho’s
writings, love is simultaneously sweet and bitter, positive and negative. While
many likely identify the sweet side of love easily, Archilocus’ poem displays
its perhaps less obvious bitter element. His desire, or “longing”, has left him
miserable; he lies in “wretchedness”, “with bitter pain…pierced through the
bones.” This image sharply contrasts the common tenderness and gentleness
associated with desire and love. Instead of giving him these lighthearted sensations,
Archilocus’ desire has seized him, leaving him to endure a pain that only the
gods could have willed upon him. As Carson describes, desire is both “an
experience of pleasure and pain”. Though she addresses its pleasant aspects,
she also portrays eros as an
aggressor that attacks its helpless “victim[s]”. This concept is clearly
displayed by Archilocus’ fragment, as his longing is not bringing him
happiness, but rather is tormenting him against his will.
This is overall very strong, though I'd like to see page numbers from your Carson passages. Think now about how to augment this aspect of Carson's analysis, as it starts to bear on the nature of poetic language in its own right. How does poetry exemplify or intensify this longing? Think about the Sappho poem you cite - is the "want past bearing" ever ameliorated? Why or why not?
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