Sappho

Sappho was ranked on par with (if not above) her ancient male counterparts, by everyone from ancient to modern literary critics; despite feminist claims that, in patriarchal cultures, the work of outstanding female writers has been systematically suppressed or denigrated.

For example, Alcaeus of Mytilene was a contemporary and an alleged lover of Sappho who was included, along with Sappho, in the canon of nine lyric poets most highly esteemed by the scholars of Hellenistic Alexandria. The following are brief comparisons of Alcaeus’ and Sappho’s poetry by two Victorian and one modern literary critic:

“The Aeolian song is suddenly revealed, as a mature work of art, in the spirited stanzas of Alcaeus. It is raised to a supreme excellence by his younger contemporary, Sappho, whose melody is unsurpassed, perhaps unequalled, among all the relics of Greek verse.” — Richard Jebb (1905)

“In the variety of his subjects, in the exquisite rhythm of his meters, and in the faultless perfection of his style, all of which appear even in mutilated fragments, he excels all the poets, even his more intense, more delicate and more truly inspired contemporary Sappho.” — James Easby-Smith (1901)

“If we compare the two, we find that Alcaeus is versatile, Sappho narrow in her range; that his verse is less polished and less melodious than hers; and that the emotions which he chooses to display are less intense.” — David Campbell (1982)