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The Works of Alexander Pope, Volume 1, Poetry - Volume 1

SAPPHO TO PHAON.[1]

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SAPPHO TO PHAON.[1]

Say, lovely youth,[2] that dost my heart command, Can Phaon's eyes forget his Sappho's hand? Must then her name the wretched writer prove, To thy remembrance lost, as to thy love? Ask not the cause that I new numbers choose,5 The lute neglected, and the lyric muse;[3] Love taught my tears in sadder notes to flow. And tuned my heart to elegies of woe. I burn, I burn, as when through ripened corn By driving winds the spreading flames are borne![4]10 Phaon to Ætna's scorching fields retires, While I consume with more than Ætna's fires![5] No more my soul a charm in music finds; Music has charms alone for peaceful minds.[6] Soft scenes of solitude no more can please,15 Love enters there, and I'm my own disease. No more the Lesbian dames my passion move, Once the dear objects of my guilty love; All other loves are lost in only thine, Ah youth ungrateful to a flame like mine!20 Whom would not all those blooming charms surprise, Those heav'nly looks, and dear deluding eyes? The harp and bow would you like Phœbus bear, A brighter Phœbus Phaon might appear; Would you with ivy wreathe your flowing hair,25 Not Bacchus' self with Phaon could compare: Yet Phœbus loved, and Bacchus felt the flame, One Daphne warmed, and one the Cretan dame;[7] Nymphs that in verse no more could rival me, Than ev'n those gods contend in charms with thee.[8]30 The muses teach me all their softest lays, And the wide world resounds with Sappho's praise. Though great Alcæus more sublimely sings, And strikes with bolder rage the sounding strings, No less renown attends the moving lyre,35 Which Venus tunes, and all her loves inspire; To me what nature has in charms denied, Is well by wit's more lasting flames supplied. Though short my stature, yet my name extends To heav'n itself, and earth's remotest ends.40 Brown as I am, an Ethiopian dame[9] Inspired young Perseus with a gen'rous flame; Turtles and doves of diff'ring hues unite, And glossy jet is paired with shining white. If to no charms thou wilt thy heart resign,45 But such as merit, such as equal thine, By none, alas! by none thou can'st be moved, Phaon alone by Phaon must be loved! Yet once thy Sappho could thy cares employ, Once in her arms you centered all your joy:50 No time the dear remembrance can remove, For oh! how vast a memory has love?[10] My music, then, you could for ever hear, And all my words were music to your ear. You stopped with kisses my enchanting tongue,55 And found my kisses sweeter than my song.[11] In all I pleased, but most in what was best; And the last joy was dearer than the rest.[12] Then with each word, each glance, each motion fired, You still enjoyed, and yet you still desired,60 Till all dissolving in the trance we lay, And in tumultuous raptures died away. The fair Sicilians now thy soul inflame; Why was I born, ye gods, a Lesbian dame? But ah! beware, Sicilian nymphs! nor boast65 That wand'ring heart which I so lately lost; Nor be with all those tempting words abused, Those tempting words were all to Sappho used. And you that rule Sicilia's happy plains, Have pity, Venus,[13] on your poet's pains!70 Shall fortune still in one sad tenor run, And still increase the woes so soon begun? Inured to sorrow from my tender years, My parent's ashes drank my early tears; My brother next, neglecting wealth and fame,75 Ignobly burned in a destructive flame:[14] An infant daughter late my griefs increased, And all a mother's cares distract my breast.[15] Alas! what more could fate itself impose, But thee, the last and greatest of my woes?80 No more my robes in waving purple flow, Nor on my hand the sparkling diamonds glow; No more my locks in ringlets curled diffuse The costly sweetness of Arabian dews, Nor braids of gold the varied tresses bind,85 That fly disordered with the wanton wind: For whom should Sappho use such arts as these? He's gone, whom only she desired to please! Cupid's light darts my tender bosom move, Still is there cause for Sappho still to love:90 So from my birth the sisters fixed my doom, And gave to Venus all my life to come; Or, while my muse in melting notes complains, My yielding heart keeps measure to my strains. By charms like thine which all my soul have won,95 Who might not—ah! who would not be undone? For those Aurora Cephalus[16] might scorn, And with fresh blushes paint the conscious morn. For those might Cynthia lengthen Phaon's sleep, And bid Endymion[17] nightly tend his sheep.100 Venus for those had rapt thee to the skies, But Mars on thee might look with Venus' eyes. O scarce a youth, yet scarce a tender boy! O useful time for lovers to employ! Pride of thy age, and glory of thy race,105 Come to these arms, and melt in this embrace! The vows you never will return, receive; And take at least the love you will not give.[18] See, while I write, my words are lost in tears![19] The less my sense, the more my love appears.110 Sure 'twas not much to bid one kind adieu, (At least to feign was never hard to you,)[20] Farewell, my Lesbian love, you might have said; Or coldly thus, "Farewell, O Lesbian maid!" No tear did you, no parting kiss receive,115 Nor knew I then how much I was to grieve. No lover's gift your Sappho could confer,[21] And wrongs and woes were all you left with her. No charge I gave you, and no charge could give, But this, "Be mindful of our loves, and live."120 Now by the Nine, those pow'rs adored by me, And Love, the god that ever waits on thee, When first I heard (from whom I hardly knew) That you were fled, and all my joys with you, Like some sad statue[22], speechless, pale I stood,125 Grief chilled my breast, and stopped my freezing blood; No sigh to rise, no tear had pow'r to flow, Fixed in a stupid lethargy of woe: But when its way th' impetuous passion found, I rend my tresses, and my breast I wound;130 I rave, then weep; I curse, and then complain; Now swell to rage, now melt in tears again. Not fiercer pangs distract the mournful dame, Whose first-born infant feeds the fun'ral flame. My scornful brother with a smile appears,135 Insults my woes, and triumphs in my tears; His hated image ever haunts my eyes; "And why this grief? thy daughter lives," he cries. Stung with my love, and furious with despair,[23] All torn my garments, and my bosom bare,140 My woes, thy crimes, I to the world proclaim; Such inconsistent things are love and shame! 'Tis thou art all my care and my delight, My daily longing, and my dream by night:[24] Oh night more pleasing than the brightest day,145 When fancy gives what absence takes away, And, dressed in all its visionary charms, Restores my fair deserter to my arms! Then round your neck in wanton wreaths I twine, Then you, methinks, as fondly circle mine:150 A thousand tender words I hear and speak; A thousand melting kisses give, and take:[25] Then fiercer joys, I blush to mention these, Yet, while I blush, confess how much they please. But when, with day, the sweet delusions fly,155 And all things wake to life and joy, but I, As if once more forsaken, I complain, And close my eyes to dream of you again:[26] Then frantic rise, and like some fury rove Through lonely plains,[27] and through the silent grove,160 As if the silent grove, and lonely plains, That knew my pleasures, could relieve my pains. I view the grotto, once the scene of love, The rocks around, the hanging roofs above, That charmed me more, with native moss o'ergrown,165 Than Phrygian marble, or the Parian stone; I find the shades that veiled our joys before; But, Phaon gone, those shades delight no more.[28] Here the pressed herbs with bending tops betray Where oft entwined in am'rous folds we lay;170 I kiss that earth which once was pressed by you, And all with tears the with'ring herbs bedew. For thee the fading trees appear to mourn, And birds defer their songs till thy return: Night shades the groves, and all in silence lie,175 All but the mournful Philomel and I: With mournful Philomel I join my strain, Of Tereus she, of Phaon I complain.[29] A spring there is, whose silver waters show, Clear as a glass, the shining sands below:180 A flow'ry lotos spreads its arms above, Shades all the banks, and seems itself a grove; Eternal greens the mossy margin grace, Watched by the sylvan genius of the place: Here as I lay, and swelled with tears the flood,[30]185 Before my sight a wat'ry virgin stood: She stood and cried, "O you that love in vain! Fly hence, and seek the fair Leucadian main; There stands a rock, from whose impending steep Apollo's fane surveys the rolling deep;190 There injured lovers, leaping from above, Their flames extinguish, and forget to love.[31] Deucalion once with hopeless fury burned, In vain he loved, relentless Pyrrha scorned: But when from hence he plunged into the main,195 Deucalion scorned, and Pyrrha loved in vain. Haste, Sappho, haste, from high Leucadia throw Thy wretched weight, nor dread the deeps below!"[32] She spoke, and vanished with the voice—I rise, And silent tears fall trickling from my eyes.200 I go, ye nymphs! those rocks and seas to prove; How much I fear, but ah, how much I love! I go, ye nymphs, where furious love inspires; Let female fears submit to female fires. To rocks and seas I fly from Phaon's hate,205 And hope from seas and rocks a milder fate. Ye gentle gales, beneath my body blow, And softly lay me on the waves below![33] And thou, kind Love, my sinking limbs sustain, } Spread thy soft wings, and waft me o'er the main, }210 Nor let a lover's death the guiltless flood profane! } On Phœbus' shrine my harp I'll then bestow, And this inscription shall be placed below, "Here she who sung, to him that did inspire, Sappho to Phœbus consecrates her lyre;215 What suits with Sappho, Phœbus, suits with thee; The gift, the giver, and the god agree." But why, alas, relentless youth, ah! why To distant seas must tender Sappho fly?[34] Thy charms than those may far more pow'rful be,220 And Phœbus' self is less a god to me.[35] Ah! canst thou doom me to the rocks and sea, Oh! far more faithless and more hard than they? Ah! canst thou rather see this tender breast Dashed on these rocks, than to thy bosom pressed?225 This breast which once, in vain! you liked so well;[36] Where the loves played, and where the muses dwell. Alas! the muses now no more inspire, Untuned my lute, and silent is my lyre. My languid numbers have forgot to flow,230 And fancy sinks beneath a weight of woe. Ye Lesbian virgins, and ye Lesbian dames, Themes of my verse, and objects of my flames, No more your groves with my glad songs shall ring, No more these hands shall touch the trembling string:235 My Phaon's fled, and I those arts resign: (Wretch that I am, to call that Phaon mine!)[37] Return, fair youth, return, and bring along Joy to my soul, and vigour to my song: Absent from thee, the poet's flame expires;240 But ah! how fiercely burn the lover's fires! Gods! can no prayers, no sighs, no numbers move One savage heart, or teach it how to love? The winds my prayers, my sighs, my numbers bear,[38] The flying winds have lost them all in air!245 Oh when, alas! shall more auspicious gales To these fond eyes restore thy welcome sails![39] If you return—ah why these long delays? Poor Sappho dies, while careless Phaon stays. O launch the bark, nor fear the wat'ry plain;250 Venus for thee shall smooth her native main. O launch thy bark, secure of prosp'rous gales; Cupid for thee shall spread the swelling sails.[40] If you will fly—(yet ah! what cause can be, Too cruel youth, that you should fly from me?)255 If not from Phaon I must hope for ease, Ah let me seek it from the raging seas: To raging seas unpitied I'll remove, And either cease to live or cease to love!

FOOTNOTES:

Notes in this chapter

Note 1 · The ancients have left us little further account of Phaon than that he was an old mariner, whom Venus transformed into a very beautiful youtNote 2 · Mrs. Behn's translation: Say, lovely youth, why would'st thou thus betray.—Wakefield.Note 3 · In the MS.: These mournful numbers suit a mournful muse.Note 4 · Our poet has not varied much here from the couplet of his predecessor, Sir Carr Scrope: I burn, I burn, like kindled fields of corn, When byNote 5 · A childish, false thought.—Warton.Note 6 · Scrope's couplet exceeds this in simplicity, and to my taste, on the whole, is preferable: My muse, and lute can now no longer please; TheseNote 7 · As Ovid tells the story in his Metamorphoses, Apollo fell in love with Daphne and pursued her. When he was gaining upon her in the race she Note 8 · This happy line, which is not too extravagant for a lover, belongs to Pope.Note 9 · Andromeda, the daughter of Cepheus, an Æthiopian king. Her mother thought herself superior in beauty to the Nereids, which excited their jeaNote 10 · This is very inferior to the conciseness, and simplicity of the original, "memini (meminerunt omnia amantes)." Sir Carr Scrope's translationNote 11 · This line is another of the embellishments which Pope engrafted on the original.Note 12 · The first line of this couplet is faulty in point of versification, and, to use our bard's own remark, ten low words creep in one dull line.Note 13 · In the original, Erycina, which was a surname of Venus from Mount Eryx, in Sicily, where a celebrated temple was dedicated to her.Note 14 · He has here left four lines untranslated, which are thus rendered in the MS.: My ruined brother trades from shore to shore, And gains as basNote 15 · In the MS.: An infant now my hapless fortunes shares, And this sad breast feels all a mother's cares.Note 16 · Cephalus tells the story poetically in Sandys' translation of Ovid's Met. vii. 701. He was a hunter, who was setting his nets in early dawn,Note 17 · Cynthia prolonged the sleep of Endymion, a shepherd of singular beauty, that she might kiss him without his knowledge.Note 18 · Scrope is pleasing here: Oh! let me once more see those eyes of thine! Thy love I ask not; do but suffer mine.—Wakefield. Pope's couplet wasNote 19 · Ruffhead observes, that this line is superior to the original, Aspice, quam sit in hoc multa litura loco; which he thinks flat and languid: Note 20 · "The parenthesis is an interpolation," says a note transcribed by Richardson from Pope's manuscript, and the remark is equally applicable toNote 21 · In the first edition, No gift on thee thy Sappho could confer. The original couplet in the MS. was No pledge you left me, faithless and unkiNote 22 · This image is not in the original, but it is very pleasingly introduced.—Bowles.Note 23 · The ten next verses are much superior to the original.—Warton.Note 24 · From Dryden's Ovid, Epist. vii.: Their daily longing, and their nightly dream. It was at first thus in Pope's MS.: Thou art at once my anguiNote 25 · In the MS.: Thy kisses then, thy words my soul endear. Glow on my lips, and murmur in my ear.Note 26 · Of this couplet there are two other versions in the MS.: The charming phantom flies, and I complain, As if thyself forsook me once again. AnNote 27 · "Antra nemusque" are not well rendered by "through lonely plains." Ovid is concise and specific, Pope general. Better rendered by Scrope: SoNote 28 · In the first edition: I find the shades that did our joys conceal, Not him who made me love those shades so well.Note 29 · Scrope's translation: Of Tereus she complains, and I of thee.—Wakefield. Tereus married Progne, and afterwards fell in love with her sister Note 30 · The Sappho of Ovid only says that she laid down upon the bank worn out with weeping. Pope is answerable for the extravagant conceit of "her Note 31 · There was a promontory in Acarnania called Leucate, on the top of which was a little temple dedicated to Apollo. In this temple it was usualNote 32 · Aleæus arrived at the promontory of Leucate that very evening, in order to take the leap on her account; but hearing that her body could notNote 33 · These two lines have been quoted as the most smooth and mellifluous in our language; and they are supposed to derive their sweetness and harNote 34 · In the MS.: To those steep cliffs, that ocean must I fly.Note 35 · In the place of this couplet, there were four lines in the MS.: If thou return thy Sappho too shall stay, Not all the gods shall force me thNote 36 · "Liked" seems a very unsuitable expression in the present day. It was a word, however, among our early writers of greater force and significNote 37 · In the MS.: Phaon—my Phaon I almost had said— Is fled, with Phaon your delights are fled. Cromwell wrote against the last line "recte, non pNote 38 · Of ver. 242 and v. 244, Pope says in the MS., "So at first as printed, but objected [against] as tautological. Sic recte as [in the] margin,Note 39 · In the MS.: Oh, when shall kinder, more auspicious gales, Waft to these eyes thy long-expected sails. "Pleonasm," says a note on the manuscrNote 40 · This image is very inferior to the original, as it is more vague and general: the picture in the original is strikingly beautiful. The circu
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