Abstract
that it is appropriate that the first poem sung by Pyrocles while he is disguised as a woman should be in the verse form associated with the best known Greek poetess, yet mentions no other association with Sappho save her gender and profession. In this essay I discuss what sapphics, a poetic ode in quatrain stanza form with a complex metrical scheme named after the poet Sappho (7th century BCE), might have connoted to a seventeenth-century writer and audience. I focus on the function and place of Sidney's sapphics in both the
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