the sixth and fifth centuries a number of names appear--little more
than names, it is true, since of most of them fragments only have come
down to us--Alcaeus, Mimnermus, Theognis, Sappho, Stesichorus,
Anacreon, Ibycus, Bacchylides, Pindar, and others. Best known of all
these, as a poet of love, is Anacreon, though in his case no one has
been so foolish as to claim that the love described in his poems (or
those of his imitators) is ever supersensual. Professor Anthon has
aptly characterized him as "an amusing voluptuary and an elegant
profligate," and Hegel pointed out the superficiality of Anacreontic
love, in which there is no conception of the tremendous importance to
a lover of having this or that particular girl and no other, or what I
have called individual preference. Benecke puts this graphically when
he remarks (25) regarding Mimnermus: "'What is life without love?' he
says; he does not say, 'What is life without your love?'" Even in
Sappho, I may add here, in spite of the seeming violence of her
passion, this quality of individual preference is really lacking or
weak, for she is constantly transferring her attention from one girl
to another. And as Sappho's poems are addressed to girls, so are
Anacreon's and those of the other poets named, to boys, in most cases.
The following, preserved by Athenaeus (XIII., 564D), is a good
specimen:

[Greek:
"O pai parthenion blepon,
dixemai se, su d' ou koeis,
ouk eidos hoti taes emaes
psuchaes haeniocheueis."]

Such a poem, even if addressed properly, would indicate nothing more
than simple admiration and a longing which is specified in the
following:

[Greek:
Alla propine
radinous, o phile, maerous.]

It would hardly be worth while, even if the limitations of space
permitted, to subject the fragments of the other poets of this period
to analysis. The reader has the key in his hands now--the altruistic
and supersensual ingredients of love pointed out in this volume; and
if he can find those ingredients in any of these poems, he will be
luckier than I have been. We may therefore pass on to the great tragic
poets of the sixth and fifth centuries B.C.

WOMAN AND LOVE IN AESCHYLUS

In the _Frogs_ of Aristophanes, Aeschylus is made to declare that he
had never introduced a woman in love into any of his plays--[Greek:
ouk oid' oudeis haentin erosan popt' epoiaesa gunaika]. He certainly
has not done so in any one of the seven