Abstract

Elijah Fenton’s Phaon to Sappho has so far never been in the focus of literary criticism. The article aims at a more detailed understanding of Fenton’s technique of literary reception by means of a close reading of both Phaon to Sappho and Fenton’s model, the Ovidian Epistula Sapphus. As will be seen, Fenton offers an unexpected perspective on the ancient myth through the eyes of ‘his’ Phaon: Phaon did not leave Sappho out of faithlessness but was completely unable to entertain any feelings of true love, because he had been cursed by Venus for being unfaithful to his former girl-friend in Malea. Phaon merely enjoyed Sappho’s gift of song as a temporary remedy for the agony within his cursed mind, but had to leave her whenever she stopped singing. At this point Phaon is asking for Sappho’s intercession with Venus on his behalf. Although Fenton makes crucial changes to the plot, he does neither ‘deconstruct’ nor ‘correct’ the myth as such: instead, he meticulously retains all the major motifs developed in Ovid’s epistle and thus achieves a literary transformation of the myth, enabling the reader to regard either perspective on the two protagonists’ relationship as logically possible.