interest in the poetess was becoming more general in spite of the fact that for some years the stimulation of new discoveries was wanting.
In 1869 Edwin Arnold published his “Poets of Greece,” a book covering much ground in comparatively small space. The portion devoted to Sappho extends from page 118, and she is called that “exquisite poetess . . . whose genius among all feminine votaries of singing stands incontestably highest,” and is referred to as “the purest impersonation of the art of lyric song.” Swinburne is rightly taken to task for repeating “the untrue and unnatural scandal against her sweet name which gossiping generations have invented,” though credit is given to him for doing “brilliant justice to her deathless genius.” Arnold rejects the Leucadian rock legend as well as the alleged Phaon episode. His translation of the immortal hymn into English Sapphic metre is easily the best up to the time of its appearance, and is only rivalled by that of J. A. Symonds, first printed in Wharton’s edition of the poetess. The rhythm and the majestic lyrical qualities of the original are preserved in this rendering, but naturally something must be lost by the transfer of such a masterpiece from its original into any language. Arnold also gives translations of nine other fragments, and adds a number of illuminating comments. J. A. Symonds’ own work, “Studies of the Greek Poets” which passed through several editions, is almost entirely historical and critical, not being much con-
