Η ΣΑΠΦΩ ΚΑΙ Ο ΦΑΩΝ

Η Αφροδίτη ξαναδίνει τη νιότη και χαρίζει ομορφιά στον Φάωνα.

Λεπτομέρεια από ερυθρόμορφη υδρία, 410 π.Χ.

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Ο Φαέθων, ο Φάων της Σαπφούς και ο Λευκός Βράχος της Λευκάδας
Gregory Nagy*
Η Σαπφώ ταυτίζεται με την Αφροδίτη και ο Φάων με τον Φαέθωντα.
Πηδώντας στη θάλασσα από το Λευκό Βράχο της Λευκάδας από έρωτα για τον Φάωνα, η Σαπφώ επαναλαμβάνει αυτό που κάνει η Αφροδίτη με τη μορφή του Αποσπερίτη, βουτώντας πίσω από τον βυθισμένο ήλιο, ώστε το επόμενο πρωί, σαν τον Αυγερινό, ο Φάων να την ακολουθήσει επιστρέφοντας από τους νεκρούς (arxaiologia.gr)

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KEY PASSAGES RELEVANT TO THE POETICS OF SAPPHO
TRANSLATED BY GREGORY NAGY

1. And they passed by the streams of Okeanos and the White Rock
and past the Gates of the Sun and the District of Dreams.
Odyssey 24.11-12

2. ...they say that Sappho was the first,
hunting down the proud Phaon,
to throw herself, in her goading desire, from the rock
that shines from afar.
But now, in accordance with your sacred utterance,
lord king, let there be silence
throughout the sacred precinct of the headland of the White Rock.
Menander F 258K

3. One more time taking off in the air, down from the White Rock
into the dark waves do I dive, intoxicated with lust.
Anacreon PMG 376

4. I would be crazy not to give all the herds of the Cyclopes
in return for drinking one cup [of that wine]
and throwing myself from the white rock into the brine,
once I am intoxicated, with eyebrows relaxed.
Whoever is not happy when he drinks is crazy.
Where it is allowed to make this thing stand up erect,
to grab the breast and touch with both hands

the meadow that is made all ready. And there is dancing
and forgetting [root lêth-] of bad things.
Euripides Cyclops 163-172

5. Related sources (summaries and commentary by G.N.): According to the account in Book VII of the mythographer Ptolemaios Chennos (ca. A.D. 100; by way of Photius Bibliotheca 152-153 Bekker), the first to dive off the heights of Cape Leukas, the most famous localization of the White Rock, was none other than Aphrodite herself, out of love for a dead Adonis. After Adonis died (how it happened is not said), the mourning Aphrodite went off searching for him and finally found him at ‘Cypriote Argos’, in a shrine of Apollo. She consults Apollo, who instructs her to seek relief from her love by jumping off the white rock of Leukas, where Zeus sits whenever he wants relief from his passion for Hera. Then Ptolemaios launches into a veritable catalogue of other figures who followed Aphrodite’s precedent and took a ritual plunge as a cure for love. For example, Queen Artemisia I is reputed to have leapt off the white rock out of love for one Dardanos, succeeding only in getting herself killed. Several others are mentioned who died from the leap, including a certain iambographer Charinos who expired only after being fished out of the water with a broken leg, but not before blurting out his four last iambic trimeters, painfully preserved for us with the compliments of Ptolemaios (and Photius as well). Someone called Makês was more fortunate: having succeeded in escaping from four love affairs after four corresponding leaps from the white rock, he earned the epithet Leukopetrâs ‘the one of the white rock’. We may question the degree of historicity in such accounts. There is, however, a more important concern. In the lengthy and detailed account of Ptolemaios, Sappho is not mentioned at all, let alone Phaon.
From this silence we may infer that the source of this myth about Aphrodite and Adonis is independent of Sappho’s own poetry or of later distortions based on it. Accordingly, the ancient cult practice at Cape Leukas, as described by Strabo (10.2.9 C452), may well contain some intrinsic element that inspired lovers’ leaps, a practice also noted by Strabo (ibid.). The second practice seems to be derived from the first, as we might expect from a priestly institution that becomes independent of the social context that had engendered it. Abstracted from their inherited tribal functions, religious institutions have a way of becoming mystical organizations.
Another reason for doubting that Sappho’s poetry had been the inspiration for the lovers’ leaps at Cape Leukas is the attitude of Strabo himself. He specifically disclaims Menander’s version about Sappho’s being the first to take the plunge at Leukas. Instead, he offers a version of “those more versed in the ancient lore,” according to which Kephalos son of Deioneus was the very first to have leapt, impelled by love for Pterelas (Strabo 10.2.9 C452). The myth of Kephalos and his dive may be as old as the concept of the White Rock. I say “concept” because the ritual practice of casting victims from a white rock may be an inheritance parallel to the epic tradition about a mythical White Rock on the shores of the Okeanos (as in Odyssey 24.11) and the related literary theme of diving from an imaginary White Rock (as in the poetry of Anacreon and Euripides). In other words, it is needless to assume that the ritual preceded the myth or the other way around.

6. Others say that, in the vicinity of the rocks at Athenian Kolonos, he
[Poseidon], falling asleep, had an emission of semen, and a horse
Skuphios came out, who is also called Skîrônîtês [‘the one of the White Rock’].
Scholia to Lycophron 766

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Poseidon Petraios [‘of the rocks’] has a cult among the Thessalians...because he, having fallen asleep at some rock, had an emission of semen; and the earth, receiving the semen, produced the first horse, whom they called Skuphios....And they say that there was a festival established in worship of Poseidon Petraios at the spot where the first horse leapt forth.
Scholia to Pindar Pythian 4.246

8. But I love luxuriance [(h)abrosunê]...this,
and lust for the sun has won me brightness and beauty.
Sappho F 58.25-26 V .

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(uh.edu)

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*Ο Καθηγητής και Διευθυντής του Κέντρου Ελληνικών Σπουδών του Πανεπιστημίου Harvard, Gregory Nagy έδωσε χθες διάλεξη με τίτλο "Sappho the Musical Diva" («Σαπφώ, η μελωδική ντίβα») στα πλαίσια του Sapphofest στην Ελληνοαμερικανική Ένωση

Charles Nicolas Rafael Lafond (1774–1835): Sappho sings for Homer