812 N 83s Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/sapphoclassicohiOOnort Copyright, 1891, 1894, by Edgar S. Werner. '■res- 1=5 Nov. W gl^ )Sico-3(istorical * 3? lay * for * Si rh By JESSIE NORTON. + Sla Historical Facts. A BOUT l)00 B.C., Sappho, a Grecian widow, founded a school of poetry on the Island of Lesbos. Her fame spread throughout Greece. She gathered around her many brilliant women, among whom were Damo- phyla, known by her hymn to Artemis, and Erinna, who died broken-hearted when compelled to leave the literary delights of Lesbos for the drudgery of spin- ning in her Rhodan home. Tradition says that Sappho loved Pliaon, a Lesbian youth, who did not return her love, and for whom she threw herself from the far- famed “ Lover’s Leap,” thus perishing. Dramatis Personae. Sappho, the Lesbian poetess. Damophyla, one of Sappho’s pupils. Erinna, one of Sappho’s pupils. Phaon, a Lesbian youth. Attendants. Costumes, Stage-Setting’s, Etc. The costumes of Sappho, Damophyla and Erinna should be of soft Grecian draperies with borders. White with a gold border is very effective, although any delicate color may be used. Phaon should wear scarlet and gold embroidered drapery, leaving the left arm exposed. Sandals and flesh-colored stockings cover the feet of everybody. The Attendants’ garments are equal to the other costumes in grace of drapery, but without borders. The hair of the ladies should ,be softly wavy, and bound in a knot at the back of the head. Pearls, gold braid, or ribbons may be used for ornamentation. Pliaon's hair should be short and curly. For Scenes I., II., and IV., the stage may be arranged with statuary, Grecian vases, flowers, a backless couch piled with cushions, a chair having no back but with rests for the arms on the sides, and low stools. White fur rugs may be strewn here and there on the floor. The walls should be hung with some soft material, and a Grecian figure should go around the walls as a dado. This can be made of gilt paper. A statue or bust of Artemis, the Roman Diana, is necessary. The flat antique lamp holding burning incense, which an At- tendant brings in in Scene II., may be placed on the pedestal, or a draped table serving as an altar. Three Attendants are needed. They appear through- out the play in positions as graceful as possible. One may fan Sappho with a peacock-feather fan, another may crouch at the foot of her couch, while a third may show in the visitors. In Scene III. the walls should be covered with sombre drapery, and the stage clear of all things save a spin- ning-wheel and stool. A gauze or mosquito-net curtain should be stretched across the back of the stage, be- hind which the Ghost may appear. The Ghost should be dressed in white gauzy material. Her face need not be covered, as the net curtain and low lights ren- der her sufficiently spirit-like. Blue lights should be turned on as she appears. If the dialogue between Erinna and the Spirit is found too difficult, a pantomime may be substituted, expressing, on Erinna’s part, surprise, recognition, en- treaty, breathless attention and, as the Spirit passes out, death; on the Spirit’s part, recognition, blessing, guidance to heaven. The Spirit passes out pointing to heaven, leaving Erinna prostrate. This affords excel- lent opportunity for a display of Delsarte principles.