What is the Ode to Aphrodite actually asking for?

Sappho is pleading with Aphrodite to assist her in either winning back or winning over someone who has turned away from her. She keeps the person's identity a secret. She recalls how the goddess has come to her aid in similar circumstances before and requests her to be her *symmachos* — her ally in this emotional battle — once again.

Is the second poem about jealousy?

It's frequently referred to as an ode to jealousy, but it's really about the intense physical sensation of desire. The man across from the beloved might evoke jealousy, yet the poem swiftly moves past him to center on Sappho's bodily reactions when she gazes at the woman she adores. Jealousy ignites the spark; desire fuels the fire.

Why does Sappho say she is 'greener than grass'?

In ancient Greek, the term *chlôros* referred to both green and pale — shades associated with sickness and fear. Grass represents the brightest green in nature, so being greener than grass implies a level of paleness and sickness that surpasses even a living plant. It suggests a look of being half-dead. Some translators use 'paler than grass' to emphasize the sense of sickness rather than just the color.

What is the Sapphic stanza?

It's the meter that Sappho used in both of these poems — three longer lines followed by a short fourth line. The arrangement of long and short syllables is quite distinct. It became so linked to her that later Greek and Roman poets named it in her honor. Catullus and Horace both wrote in Sapphic meter in Latin, directly drawing inspiration from her work.

Did Sappho really believe Aphrodite would appear to her?

Almost certainly, yes, much like how the ancient Greeks truly believed that their gods played a role in human affairs. However, the poem also serves as a psychological drama — reflecting on past divine assistance becomes a source of comfort and hope. Whether you interpret it as a literal prayer or as a means of navigating grief, the poem operates effectively on both levels.

Why do only fragments of Sappho's work survive?

Most ancient literature disappeared because it wasn't copied often enough to withstand the fall of Rome, the destruction of libraries, and the upheaval of a thousand years. Sappho's work was compiled into nine volumes in ancient times, but nearly all of it has been lost. What we have left comes from quotes in works by other ancient authors—like these two poems, which critics preserved as examples of great style—and from fragments of papyrus discovered in Egyptian trash heaps.

How does the second poem connect to later love poetry?

Directly and dramatically. The Roman poet Catullus translated it nearly word for word (Poem 51). The symptoms Sappho describes — being speechless, feeling fire under the skin, experiencing blindness, hearing ringing in the ears, having cold sweat, and trembling — became the go-to language of love poetry in Latin, then in medieval European verse, and later during the Renaissance. When a poet mentions that love makes them tremble or go pale, they connect to a tradition that traces back directly to this poem.

The Annotated Edition

POLYMNIA. by Sappho

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~2 minOpen reading mode →

These two surviving poems by Sappho are some of the earliest examples of love poetry in Western literature.

Poet: Sappho
Themes: identity, loneliness, love

The PoemFull text

POLYMNIA.

Sappho

A'. {I.} Eis APHRODITÊN. Poikilothron', athanat' Aphrodita, pai Dios, doloploke, lissomai se, mê m' asaisi, mêd' aniaisi damna, potnia, thymon. alla tyïd' elth', aipoka katerôta tas emas audas aïoisa polly eklyes, patros de domon lipoisa, chryseon êlthes harm' hypozeuxasa, kaloi de t' agon ôkees strouthoi, peri gas melainas pykna dinyntes pter' ap' ôranô aithe- ros dia messô; aips' all' exikonto; ty d', ô makaira, meidiasas' athanatô prosôpô, êre' otti g' ên to pepontha, k' otti dê se kalêmi. k' otti g' emô malist' ethelô genesthai mainola thymô, tina d' aute peithê- mi sagênessan philotata; tis s', ô Sapphoi, adikê? kai gar ai pheugei, tacheôs diôxei; ai de dôra mê deket', alla dôsei; ai de mê philei, tacheôs philasei, Kouk etheloisan. elth' emoi kai nyn, chalepan de lyson ek merimnan, hossa d' emoi telessai thymos imerrhei, teleson; ty d' auta symmachos esso. {Exstat apud Dion. Hal.} peri syntheseôs onomatôn. {p. 206.} {Wolf. 6.} {Boiss. 1.} MELPOMENÊ. B'. {II.} PROS GYNAIKA ERÔMENÊN. Phainetai moi kênos isos theoisin emmen ônêr, hostis enantios toi isdanei, kai plasion hady phôna- sai s' hypakouei, kai gelaïs himeroen; to moi man kardian en stêthesin eptoasen. hôs gar eidô se, brocheôs me phônas ouden et' ikei; alla kammen glôssa eage, lepton d' autika chrô pyr hypodedromaken, oppatessin d' ouden horêmi, bombeu- sin d' akoai moi; kadd' hidrôs psychros cheetai, tromos de pasan agrei, chlôrotera de poias emmi; tethnakên d' oligô 'pideusa phainomai apnous. {Exstat apud Long.} peri hypsous. {P. 76.} {Wolf. 9.} {Boiss. 2.}

§01Quick summary

What this poem is about

These two surviving poems by Sappho are some of the earliest examples of love poetry in Western literature. The first poem is a heartfelt prayer to Aphrodite, where Sappho seeks the goddess's help to rekindle a lost love. The second poem captures the intense physical sensations of jealousy and desire with such clarity that it feels like a medical report from someone who is truly unraveling.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

Poikilothron', athanat' Aphrodita, / pai Dios, doloploke, lissomai se,
Editor's note
Sappho begins her poem with a formal hymn to Aphrodite, listing her titles: 'richly-throned,' 'immortal,' 'daughter of Zeus,' and 'weaver of wiles.' This follows the typical Greek prayer format — you compliment the deity by highlighting their finest traits before making a request. The term *doloploke* ('weaver of wiles') stands out; Sappho recognizes that love can be a sort of deception.
mê m' asaisi, mêd' aniaisi damna, / potnia, thymon.
Editor's note
The actual request: please don’t break my heart with pain and grief. *Potnia* translates to 'mistress' or 'lady' — a term filled with true respect. Sappho isn't merely venting; she's pleading for mercy from a force she deeply believes in.
alla tyïd' elth', aipoka katerôta / tas emas audas aïoisa polly
Editor's note
Sappho remembers a time when Aphrodite answered her call. The goddess heard her voice from a distance and arrived. This memory of a divine response offers comfort and serves as a rhetorical strategy—it reminds Aphrodite of her past assistance, suggesting she should lend her support once more.
harm' hypozeuxasa, kaloi de t' agon / ôkees strouthoi,
Editor's note
Aphrodite arrives in a chariot drawn by sparrows. These birds were sacred to her, symbolizing lust and fertility in ancient times. The scene is striking and almost whimsical — the goddess of love descending in a chariot pulled by birds, their wings fluttering swiftly through the sky.
aips' all' exikonto; ty d', ô makaira, / meidiasas' athanat' prosôpô,
Editor's note
Aphrodite arrives with her timeless smile. It’s a smile that carries weight — warm yet slightly amused, as if she’s witnessed this same scenario countless times before. The goddess exudes compassion, but she’s also aware of how this unfolds.
êre' otti g' ên to pepontha, k' otti / dê se kalêmi.
Editor's note
Aphrodite directly asks Sappho what's wrong and why she's calling. It's rare for the goddess to speak in Greek lyric, making the poem feel more like a genuine conversation instead of just a one-sided prayer.
k' otti g' emô malist' ethelô genesthai / mainola thymô,
Editor's note
The goddess questions what Sappho's 'mad heart' truly desires. *Mainola* — wild, frenzied — is a powerful term. Sappho doesn’t portray herself as a dignified victim; she openly acknowledges that her longing is a form of madness. Then Aphrodite inquires: who has hurt you? Who should be returned to you?
kai gar ai pheugei, tacheôs diôxei; / ai de dôra mê deket', alla dôsei;
Editor's note
Aphrodite's promise: if she runs from you, she’ll come back; if she refuses your gifts, she’ll offer her own; if she doesn't love you, she will love you — even if she doesn’t want to. This captures the poem's emotional essence. It flips the power dynamic, which is both comforting and somewhat disconcerting.
elth' emoi kai nyn, chalepan de lyson / ek merimnan,
Editor's note
Sappho brings her thoughts back to the present: come to me now, just as you did before. Free me from this heavy sorrow. After all the intricate hymn structure, her final plea is straightforward. She concludes by asking Aphrodite to be her *symmachos* — her partner in this struggle. Love feels like a battle, and Sappho seeks a leader by her side.
Phainetai moi kênos isos theoisin / emmen ônêr,
Editor's note
The second poem begins with a man who appears almost god-like — not due to Sappho's admiration, but because he is seated near the woman Sappho loves, listening to her voice. His calm demeanor in her presence is what gives him this divine quality. In stark contrast, Sappho's own composure has completely vanished.
kai gelaïs himeroen; to moi man / kardian en stêthesin eptoasen.
Editor's note
When Sappho watches her beloved laugh, her heart 'flutters' in her chest. *Eptoasen* describes a bird suddenly taking flight — her heart is like a startled bird. This marks the start of her physical reactions.
hôs gar eidô se, brocheôs me phônas / ouden et' ikei;
Editor's note
The moment she glances at the woman, words escape her. Silence envelops her. One by one, her senses begin to fade — this is the poem's key structural element, a list of physical deterioration.
alla kammen glôssa eage, lepton d' / autika chrô pyr hypodedromaken,
Editor's note
Her tongue breaks. A subtle fire courses beneath her skin. These aren’t just metaphors — Sappho is capturing real physical sensations with sharp clarity. The fire under her skin is especially vivid; it’s internal, unseen, and all-consuming.
oppatessin d' ouden horêmi, bombeu- / sin d' akoai moi;
Editor's note
Her eyes see nothing; her ears are filled with a deafening roar. Both vision and hearing have deserted her. The world has shrunk down to the intense reality of this one individual, and even that person is slipping from her grasp.
kadd' hidrôs psychros cheetai, tromos de / pasan agrei,
Editor's note
Cold sweat drips down her, and a tremor shakes her entire body. She feels pale and lifeless, as if she’s barely breathing. The poem concludes with the word — *apnous*, breathless. It’s one of the most vivid and sincere portrayals of desire as a physical crisis in literature.

§04Tone & mood

How this poem feels

The first poem shifts between urgency and tenderness—it's a heartfelt plea, yet Sappho maintains such control and skill that the desperation doesn't come off as whining. There's even a hint of dry humor in Aphrodite's amused smile. The second poem feels more unrefined: it starts with a tone that's almost clinical, then becomes engulfed in emotion, finishing in near-silence. Together, these works reveal a poet capable of containing immense emotional intensity within tightly structured forms.

§05Symbols & metaphors

Symbols & metaphors

Aphrodite's sparrow-drawn chariot: Sparrows held sacred significance for Aphrodite and were associated with erotic desire in Greek culture. The chariot coming down from the sky makes divine intervention seem tangible and real — love doesn't just appear as a vague emotion but as a goddess touching down in your yard.
Aphrodite's immortal smile: The smile reflects both compassion and a sense of cosmic amusement. Aphrodite has witnessed humanity's struggles with love for ages. Her smile conveys: I've seen this before, and it will be alright — but also, this is simply how love operates.
The god-like man: The man sitting across from the beloved in the second poem isn't the main focus — he's more like a reflection. His calmness emphasizes Sappho's own unraveling. He appears almost divine, as he can be close to her without losing his composure.
Fire under the skin: The quiet fire beneath Sappho's skin is a physical manifestation of desire, both palpable and hidden. It may not be visible on the surface, but it’s consuming her from within. This image has become one of the most mimicked in love poetry.
Greenness / greener than grass: In Greek, *chlôros* (green/pale) relates to illness, fear, and the pallor of death. Being greener than grass places Sappho nearer to the dead than the living — desire has driven her to the brink of existence.
Breathlessness (*apnous*): The last word of the second poem. In ancient Greek thought, breath represented life. Being breathless signifies nearing death. Sappho concludes the poem precisely at the moment where love and death intersect.

§06Historical context

Historical context

Sappho lived on the island of Lesbos around 600 BCE and is one of the few ancient Greek poets whose work has survived in any quantity—though most of it exists only in fragments. Among her works, these two poems are some of the most complete. The first, known as the Ode to Aphrodite, is the only poem of hers that remains fully intact, thanks to the Roman critic Dionysius of Halicarnassus who quoted it in full as an example of elegant writing. The second, often referred to as the Ode of Jealousy or the Phainetai moi, was preserved by the critic Longinus in his treatise *On the Sublime*. Sappho wrote in the Aeolic dialect of Greek and used a meter now called the Sapphic stanza, which she either invented or perfected. In antiquity, she was celebrated as the tenth Muse. Her poems were addressed to women, making her a key figure in discussions of gender and desire throughout the centuries.

§07FAQ

Questions readers ask

Sappho was a lyric poet from Lesbos, active around 600 BCE. She holds significance for a few key reasons: she's among the earliest named poets in Western literature, one of the rare women whose ancient works have survived, and she expressed personal desire and emotion in a way that was quite bold for her era. Ancient critics placed her in the same league as Homer. The term 'lesbian' is derived from her island.

Poems in the same key

More by Sappho

Browse all Sappho poems →

Themes in this poem

Poems about identity Poems about loneliness Poems about love Poems about mortality

Best Poems About Love

Account

Site