Brothers Poem

The Brothers Poem or Brothers Song is a series of verse

attributed to the archaic Greek poet Sappho (c. 630 – c. 570 BC),
which had been lost since antiquity until being rediscovered in
2014. Most of its text, apart from its opening lines, survives. It is
known only from a papyrus fragment, comprising one of a series
of poems attributed to Sappho. It mentions two of her brothers,
Charaxos and Larichos; the only known mention of their names
in Sappho's writings, though they are known from other sources.
These references, and aspects of the language and style, have
been used to establish her authorship.

The poem is structured as an address—possibly by Sappho

herself—to an unknown person. The speaker chastises the
addressee for saying repeatedly that Charaxos will return
(possibly from a trading voyage), maintaining that his safety is in
the hands of the gods and offering to pray to Hera for his return.
The narrative then switches focus from Charaxos to Larichos,
P. Sapph. Obbink: the fragment of
who the speaker hopes will relieve the family of their troubles
papyrus on which the Brothers Poem
when he becomes a man. was discovered

Scholars tend to view the poem's significance more in historical

rather than in literary terms. Research focuses on the identities of the speaker and the addressee, and their
historical groundings. Other writers examine the poem's worth in the corpus of Sappho's poetry, as well
as its links with Greek epic, particularly the homecoming stories of the Odyssey. Various reconstructions
of the missing opening stanzas have been offered.

Contents
Preservation
Poem
Content
Authorship
Characters
Context
Missing stanzas
Reception
Notes
References
Works cited
Preservation
Sappho is thought to have written around 10,000 lines of poetry, of which roughly 650 survive. Only one
poem, the Ode to Aphrodite, is known to be complete; many preserve only a single word.[1] In 2014,
Dirk Obbink, Simon Burris, and Jeffrey Fish published five fragments of papyrus, containing nine
separate poems by Sappho. Three were previously unknown,[a] and the find amounted to the largest
expansion of the surviving corpus of Sappho's work in 92 years.[3] The most notable is the "Brothers
Poem" fragment, described as P. Sapph. Obbink,[2] being part of a critical edition of Book I of Sappho's
poetry.[b][5] The next nine lines are known as Sappho's Kypris poem.[6]

P. Sapph. Obbink measures 176 by 111 millimetres (6.9 in × 4.4 in)[6] Carbon-dating places it between
the first and third centuries AD,[7] which is consistent with the third century AD handwriting.[6] The roll,
of which P. Sapph. Obbink was part, would have been produced in Alexandria, and likely taken to
Fayum.[8] There is evidence that the roll was damaged and repaired; it was later reused as cartonnage—a
material similar to papier-mâché made with linen and papyrus—which Obbink suggests was used as a
book cover.[c][10]

P. Sapph. Obbink is, according to author and scholar James Romm, the best-preserved extant Sappho
papyrus.[11] It had been part of David Moore Robinson's collection, left to the University of Mississippi
Library.[12] Robinson purchased the fragment in 1954 from an Egyptian dealer, Sultan Maguid Sameda,
the owner of an art gallery in Cairo.[12] After the library had deaccessioned the papyrus, it was sold at
auction in 2011 to a collector in London.[13] It was this anonymous owner who gave Obbink, the head of
Oxford University's Oxyrhynchus Papyri project, access to the papyrus and permission to publish it.[14]
A second papyrus, Papyrus Oxyrhynchus 2289, published by Edgar Lobel in 1951, preserves enough of
the Brothers Poem to show that at least one stanza preceded the well-preserved portion.[15]

Poem

Content
The poem is 20 lines (five stanzas) long and written in Sapphic stanzas,[16] a metre named after Sappho,
which is composed of three long lines followed by one shorter line.[6] The beginning of the poem is lost,
but it is estimated that the complete work was probably between one and three stanzas longer.[17] It lies
within the genre of homecoming prayers;[18] others of Sappho's works on this theme include fragments 5,
15 and 17.[19]

The narrative consists of an address to an unnamed listener, structured in two parallel sections,
concerning two of Sappho's brothers, Charaxos and Larichos.[20] The speaker hopes that Charaxos will
return successfully from a trading voyage, and that Larichos will grow into manhood.[21][22]

The first two extant stanzas detail Charaxos' arrival. In the first, the speaker reproaches the addressee for
repeatedly saying that Charaxos will return "with his ship full",[23][24] that only gods can know such
things,[25] and that the addressee should send her to pray to Hera for Charaxos' safe return.[26] The third
and fourth stanzas develop into a more general examination of human dependence on gods. The speaker
asserts that while human fortunes are changeable ("fair winds swiftly follow harsh gales")[27] Zeus gives
good fortune to those he favours. In the final stanza, the speaker hopes that Larichos will "[lift] his head
high"[28] and "become an ανερ [man] in all senses", as Obbink puts it,[29] and release the family from its
troubles.[30]
Authorship
When Obbink published the poem in 2014, he attributed it to
Sappho based on its metre, dialect (Aeolic), and mentions of
Charaxos and Larichos, both of whom are identified in other
sources as her brothers.[31] It is possible that the text is an ancient
forgery; though the song was included in at least some Hellenistic
editions of Sappho (from which P. Sapph. Obbink and
P. Oxy. 2289 derive), a classical imitation of Sappho is still
possible.[7] Nonetheless, evidence provided by Herodotus
indicates that Charaxos was mentioned in poems that were
attributed to Sappho during the fifth century BC; therefore it is
likely to be at least authentically from archaic Lesbos.[32]

Characters
Neither of the two characters is named.[33] Whether the speaker
can be identified with Sappho herself is central to its A Roman sculpture of Sappho,
interpretation. [34] André Lardinois observes that most of the based on a Classical Greek model.
The inscription reads ΣΑΠΦΩ
identified speakers in Sappho's poetry are female.[35] Melissa
ΕΡΕΣΙΑ, or "Sappho of Eresos".
Mueller identifies the speaker as Sappho,[26] and the poem has
generally been interpreted as being autobiographical.[36] Not all
scholars have identified the speaker with the historical Sappho; Bär and Eva Stehle both argue that the
speaker is a fictionalised or literary version of Sappho.[37][38] If the speaker is to be identified as Sappho,
Obbink suggests that she is to be read as a young woman: her brother Larichos (who can only be six or so
years younger than she, as that is how old she was when her father died, in a biographical tradition
preserved in Ovid's Heroides) is shortly to come of age (Obbink puts him at around twelve); Sappho-the-
speaker is therefore still a teenager herself.[39]

The addressee of the poem is unnamed in the surviving text,[40] but many suggestions have been made as
to their identity—Camillo Neri lists eleven possible candidates.[41][d] Obbink suggests the most likely
candidates are Rhodopis or Doricha, described in ancient sources as the lover of Charaxos,[e] and
Sappho's mother, to whom Sappho addressed other poems.[44] Most scholars agree that the addressee is
some concerned friend or relative of Charaxos, many (including Martin L. West, Franco Ferrari, Camillo
Neri, and Leslie Kurke) selecting Sappho's mother as the most likely option.[45]

This is not universally agreed upon. The classical historian Anton Bierl argues that the central dispute of
the poem is between masculine and feminine ideologies. He suggests that the speaker's offer to pray to
Hera is a "solution appropriate to her gender",[46] and contrasts with the masculine belief that the family's
problems can be solved through Charaxos' pursuit of wealth. He therefore suggests that the addressee is a
male relative of Sappho.[47] Lardinois also believes that the addressee is a man: he argues that Sappho's
mother could have gone to pray to Hera herself, and therefore it does not make sense for her to send
Sappho on her behalf.[45] In contrast, Mueller and Leslie Kurke both argue that the addressee is probably
meant to be female, based on Sappho's use of the word θρυλεω ("chattering" or "babbling") to describe
their speech. The word has negative connotations that would make Sappho unlikely to use it to address a
man.[40][24] Anja Bettenworth has argued that the addressee is of a lower social status than Sappho, again
based on the use of θρυλεω,[48] but Kurke argues they are likely to be in a position of authority over
Sappho, as she expects them to send her to pray to Hera.[49]
The final two characters, Charaxos and Larichos, are identified as Sappho's brothers in ancient
sources.[35] Charaxos is first mentioned by Herodotus, who describes his love for the courtesan
Rhodopis; Strabo and Athenaeus say that he was a wine trader.[50] The earliest mention of Larichos
comes from Athenaeus, who says that in his youth he was a wine-pourer in the prytaneion (town hall) in
Mytilene.[51] Modern scholars are uncertain whether either was Sappho's actual brother.[52] For instance,
Lardinois sees Charaxos and Larichos as fictional characters: he draws comparisons to the poetry of
Archilochus about Lycambes and his daughters, generally considered to be fictionalised.[53]

Context
Sappho's poetry from the first book of the Alexandrian edition appears to have been about either the
family and religious or cultic practices, or about passion and love.[54] The Brothers Poem focuses on her
family.[29] Its original performance context is uncertain, but most scholars consider that it was intended
for monodic performance—that is, by a single singer, rather than a chorus.[55]

Brotherhood was a frequent theme of archaic Greek poetry,[56] and the relationship between brothers was
often used to explore conceptions of proper behaviour.[57] The Brothers Poem seems to have been one of
several about Charaxos and Larichos.[58] Eva Stehle suggests that it may have been part of a "series of
'brothers poems'",[59] though David Gribble notes that the fragments of Sappho's work which do survive
are insufficient to conclude that she composed a series telling the story of Charaxos' relationship with
Doricha.[60]

Sappho portrays Charaxos as irresponsible, with Larichos as his more respectable foil.[61] Unlike in the
versions of this trope in Homer and Hesiod, Sappho inserts a third, female, figure into the relationship. In
this scheme the figure with moral authority is unable to be the moral example to the wayward Charaxos
due to her gender; she must rely on Larichos who still has the potential to become an upstanding
adult.[62] Thus, Laura Swift sees the poem as an example of Sappho reworking established epic tropes
from a female perspective—as she also does in fragment 16.[63]

Anton Bierl identifies seven other fragments of Sappho that seem to have dealt with Charaxos or
Doricha.[64] Like the Brothers Poem, fragments 5, 15, and 17 focus on homecomings;[19] fragments 5
and 15 are both likely to be about Charaxos,[65] and Bierl suggests that fragment 17, a cultic hymn
referring to Menelaus' visit to Lesbos on his way home from Troy, may be a prayer for a safe journey for
Charaxos.[66] Four other surviving fragments of Sappho, 3, 7, 9, and 20, may all have been connected
with the story of Charaxos and Doricha.[67]

The Brothers Poem follows shortly after fragment 5 in the edition of Sappho preserved by
P. Sapph. Obbink, with probably only one column of text between them. Silvio Bär argues that the poem
was deliberately positioned here because it was seen as a sort of continuation of that fragment by the
editor of the Alexandrian edition of Sappho's poetry.[68] He suggests that it acts to correct the views put
forward in fragment 5: there, Sappho prays to the Nereids, not just for the safe return of her brother but
that "whatever his heart desires be fulfilled";[69] in the Brothers Poem she recognises that such a broad
request is out of the competence of the Nereids and should more properly be addressed to the goddess
Hera.[70]

Links between Homer's Odyssey and the Brothers Poem have been observed by many scholars.[71] Bär
describes the epic as a "crucial intertext" for the Brothers Poem.[72] The relationship in the poem between
the speaker, Charaxos, and Larichos parallels that of Penelope, Odysseus, and Telemachus in Homer:[73]
in the Brothers Poem, the speaker awaits Charaxos' return from overseas and Larichos' coming-of-age; in
the Odyssey, Penelope awaits Odysseus' return and Telemachus'
coming-of-age.[74] Additionally, Anton Bierl suggests that the
context of Charaxos' being away in Egypt—according to
Herodotus, in love with the courtesan Rhodopis—parallels
Odysseus' entrapment by Calypso and Circe.[75] A specific
parallel to the Odyssean homecoming narrative is found in line 9
[13]. Sappho uses the adjective ἀρτεμὲς ("safe"), which occurs
only once in the Odyssey, at 13.43, where Odysseus hopes that he
will return to Ithaca to find his family safe—just as the speaker
hopes in the third stanza of the Brothers Poem that Charaxos will
return to Lesbos to find his family safe.[76]

Mueller suggests that the Brothers Poem is a deliberate reworking

of the Homeric story, focusing on the fraternal relationship
between Sappho and Charaxos in contrast to the conjugal one
between Odysseus and Penelope.[18] According to Anastasia- The role of the speaker (possibly
Erasmia Peponi, this should be seen in the context of an archaic Sappho herself) in the Brothers
Greek tradition of domestic—and specifically sisterly— Poem has been compared to that of
discourses.[77] Penelope in the Odyssey; she awaits
the return of Charaxos just as
Along with stories of Odysseus' homecoming in the epic Penelope (depicted here by Heva
Coomans) waits for her husband
tradition, the Brothers Poem has similarities to several other
Odysseus.
genres of archaic Greek poetry. Joel Lidov sees it as being in the
tradition of prayers for safe returns;[78] Richard Martin identifies
structural similarities to Archilochus' Cologne Epode (fr.196a[f]), a piece of iambic invective;[79] and
Peter O'Connell suggests parallels with songs of welcome, in particular Archilochus fr.24.[80]

Missing stanzas
How much of the Brothers Poem has been lost is unknown. An overlap between P. Oxy. 2289 and
P. Sapph. Obbink, the apparent alphabetic arrangement in the Alexandrian edition of her works, and the
implausibility of any poem beginning with the word ἀλλά (meaning "but" or "and yet"), suggest that at
least one opening stanza is missing.[81] Bär has argued against this position, noting that the overlap
between the Oxyrhynchus and Obbink papyri is sufficiently small (only six characters) as not to be
conclusive.[82] He argues that there are other known exceptions to the alphabetical ordering of the first
Alexandrian edition of Sappho's works, thematic reasons why the Brothers Poem might have been placed
out of order to follow closely after fragment 5,[83] and parallels elsewhere in Greek literature for an
inceptive ἀλλά.[84]

Despite Bär's arguments, most authors conclude that the Brothers Poem is missing at least one, and
perhaps as many as three stanzas.[82][24] Gauthier Liberman suggests that it was originally seven stanzas
long;[85] Kurke argues it is likely that only one stanza is missing.[86] There are a variety of theories
around the content of the missing stanzas. Mueller suggests that they may have revealed the identity of
the addressee.[40] Joel Lidov proposes that the latterly passive addressee actually speaks in the missing
stanzas.[87]
Obbink provides a reconstruction of a single initial stanza of the poem.[88] He argues that the mention of
Larichos in the later stanza appears too suddenly, and therefore he had probably been mentioned in
earlier, now missing, lines.[89] Athenaeus notes how Sappho often praised Larichos for being a wine-
pourer in the prytaneion at Mytilene; this wine-pouring may have been mentioned here.[90] Obbink also
suggests that the opening lines originally contained a mention of the death of Sappho's father when she
was young, which was the source of Ovid's anecdote at Heroides 15.61–62.[89] Kurke has argued that the
missing stanza discussed Charaxos, giving the complete poem a symmetry of three stanzas discussing
each of the brothers.[86]

Reception
The discovery of the Brothers Poem, along with fragments of eight other poems—the largest discovery of
new material by Sappho in almost a century[91]—was the subject of significant media attention.[26]
James Romm, writing in The Daily Beast, called it "a spectacular literary discovery",[11] and Tom Payne
in The Daily Telegraph said that it was "more exciting than a new album by David Bowie".[92] Other
commentators expressed concern about the provenance of the papyrus, fearing that it had been illegally
acquired on the black market, or even that it was a forgery like the Gospel of Jesus' Wife.[93] Douglas
Boin in The New York Times criticised the failure to discuss the papyrus' provenance properly as
"disturbingly tone deaf to the legal and ethical issues".[94]

Though classicists considered it the "most spectacular" of the 2014 finds,[2] it is not considered one of
Sappho's best works. Martin West originally considered the work to be "very poor stuff" and "frigid
juvenilia", though he later toned down his criticism.[95] Liberman wrote that the poem is clumsy,
displaying signs of hasty composition.[96] Richard Rawles suggested that part of the reason that the poem
was initially considered disappointing was because it was not about sexuality or eroticism—a factor that
he predicted would make the fragment of greater interest in the future.[97] Some commentators have been
more positive. Though Loukas Papadimitropoulos said that his initial impression was that it was
simplistic, he concluded that the meaning of the poem was "perhaps the most profound in all of Sappho's
extant work",[98] and that the poem turns the "simple[...] into something highly significant".[99]

Despite scholars' disappointment over its quality, the Brothers Poem is valuable for the historical and
biographical information it contains.[85] It is the first fragment of Sappho discovered to mention the
names "Charaxos" and "Larichos", both described as Sappho's brothers by ancient sources but not in any
of her previously known writings.[11] Before the poem was found, scholars had doubted that Sappho ever
mentioned Charaxos.[6]

Notes
a. Fragments 16a, 18a, and the Brothers Poem. The others overlap with the already known
fragments 5, 9, 16, 17, 18, and 26.[2]
b. The standard Alexandrian edition of Sappho's poetry was divided into nine books on the
basis of their metre; Book I contained those poems composed in Sapphic stanzas.[4]
c. Cartonnage was often used for making mummy cases, and it was initially believed that the
Brothers Poem fragment was from such material. However, the lack of gesso and paint
traces suggest that it was in fact domestic or industrial cartonnage.[9]
d. Neri's list includes: Scamondronymus, Sappho's father; Cleïs, her mother; Larichos;
Erigyius, a third brother known from the ancient sources but not mentioned in the Brothers
Poem; Sappho's daughter, also called Cleïs; another family member or acquaintance; a
 slave or nurse; Charaxos' lover Doricha/Rhodopis; Charaxos' wife or fiancée on Lesbos; the
speaker's companion or companions; and Sappho herself.[42]
e. According to Herodotus, Charaxos' lover was a courtesan called Rhodopis; according to
Athenaeus and Posidonius, she was called Doricha. Strabo says that she was called both
Rhodopis and Doricha. It is unclear whether these are two names for the same person, or
whether they were different people whom Herodotus confused.[43]
f. Fragment numbers for Archilochus' poems are given according to Martin West's
enumeration in Iambi et Elegi Graeci.

References
1. Rayor & Lardinois 2014, p. 7. 33. Bär 2016, p. 10.
2. Bierl & Lardinois 2016, p. 1. 34. Bär 2016, p. 13.
3. West 2014, p. 1. 35. Lardinois 2016, p. 181.
4. de Kreij 2016, pp. 65–6. 36. Bär 2016, p. 9.
5. Obbink 2015b, p. 1. 37. Bär 2016, pp. 14–5.
6. Obbink 2014, p. 32. 38. Stehle 2016, p. 267.
7. Lardinois 2016, p. 168. 39. Obbink 2015a, p. 3.
8. Obbink 2015a, p. 5. 40. Mueller 2016, p. 31.
9. Obbink 2015b, pp. 2–3. 41. Stehle 2016, p. 271.
10. Obbink 2015b, pp. 1; 3. 42. Neri 2015, pp. 58–9.
11. Romm 2014. 43. Bär 2016, n. 16.
12. Obbink 2015b, p. 2. 44. Obbink 2015b, p. 7.
13. Obbink 2015b, pp. 1–2. 45. Lardinois 2016, p. 182.
14. Obbink 2014, p. 32, n. 2. 46. Bierl 2016, p. 329.
15. Obbink 2015b, p. 4. 47. Bierl 2016, pp. 329–30.
16. Whitmarsh 2014. 48. Bettenworth 2014, pp. 15–16.
17. Rayor & Lardinois 2014, p. 160. 49. Kurke 2016, pp. 244–5.
18. Mueller 2016, p. 28. 50. Gribble 2016, pp. 31–3.
19. Mueller 2016, p. 42. 51. Bär 2016, pp. 10–11.
20. Mueller 2016, p. 38. 52. Boedecker 2016, p. 188.
21. Swift 2014. 53. Lardinois 2016, pp. 184–5.
22. Lardinois 2016, p. 180. 54. Obbink 2014, p. 34.
23. Sappho, Brothers Poem, l.2. trans. Rayor 55. Bierl 2016, p. 335.
& Lardinois 2014, p. 160 56. Swift 2018, p. 72.
24. Kurke 2016, p. 239. 57. Swift 2018, p. 76.
25. Sappho, Brothers Poem, ll.2–4. trans. 58. Rayor & Lardinois 2014, p. 162.
Rayor & Lardinois 2014, p. 160
59. Stehle 2016, p. 266.
26. Mueller 2016, p. 26.
60. Gribble 2016, p. 67.
27. Sappho, Brothers Poem, ll.11–12.
61. Swift 2018, pp. 81–2.
trans.Rayor & Lardinois 2014, p. 160
62. Swift 2018, pp. 82–3.
28. Sappho, Brothers Poem, l.17. trans. Rayor
& Lardinois 2014, p. 160 63. Swift 2018, p. 85.
29. Obbink 2014, p. 35. 64. Bierl 2016, pp. 323–4.
30. Swift 2018, p. 75. 65. Lardinois 2016, pp. 171–2; 181.
31. Obbink 2014, p. 33. 66. Bierl 2016, p. 324.
32. Lardinois 2016, pp. 168–9. 67. Lardinois 2016, p. 172.
68. Bär 2016, p. 18. 84. Bär 2016, p. 30.
69. Sappho, 5.3–4. trans. Rayor & Lardinois 85. Liberman 2014, p. 1.
2014, p. 30 86. Kurke 2016, p. 241.
70. Bär 2016, pp. 19–20. 87. Obbink 2016, p. 217, n. 33.
71. Kurke 2016, p. 249. 88. Obbink 2016, p. 223.
72. Bär 2016, p. 16. 89. Obbink 2016, p. 219.
73. Mueller 2016, pp. 27–8. 90. Obbink 2016, pp. 220–1.
74. Bär 2016, p. 23. 91. Childers 2016, p. 26.
75. Bierl 2016, p. 310. 92. Payne 2014.
76. Bär 2016, pp. 24–5. 93. Gannon 2015.
77. Peponi 2016, p. 234. 94. Boin 2014.
78. Lidov 2016, p. 80. 95. Mueller 2016, p. 27.
79. Martin 2016, p. 123. 96. Liberman 2014, pp. 7–8.
80. O'Connell 2018, p. 237. 97. Rawles 2014.
81. Bär 2016, pp. 28–30. 98. Papadimitropoulos 2016, p. 3.
82. Bär 2016, p. 28. 99. Papadimitropoulos 2016, p. 6.
83. Bär 2016, pp. 28–9.

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