2.1 “here”: adverb of place that means “hither, to this place” with verbs of motion or “here, in this place” with verbs of rest, often used as an interjection “Come on! Here now!” when followed by an imperative verb. Notice that the imperative verb evoked by this adverb, for which the whole poem with its slow weight of ono- matopoeically accumulating clauses seems to be waiting, does not arrive until the very last word: “pour” (16). Arrival is the issue, for it sanctifies waiting:attente de Dieu. The poem is a hymn of the type called “kletic,” that is, a calling hymn, an invocation to god to come from where she is to where we are. Such a hymn typically names both of these places, setting its invocation in between so as to measure the difference—a difference exploded as soon as the hymn achieves its aim. Inherent in the rationale of a kletic hymn, then, is an emptiness or distance that it is the function of the hymn to mark by an act of attention. Sappho suspends attention between adverb at the beginning and verb at the end: the effect is uncanny—as if creation could be seen waiting for an event that is already perpetually here. There is no clear boundary between far and near; there is no climactic moment of god’s arrival. Sappho renders a set of conditions that at the beginning depend on Aphrodite’s absence but by the end include her presence—impossible drop that saturates the world. “God can only be present in creation under the form of absence,” says Simone Weil, in Gravity and Grace, translated by Arthur Wills.
Jung said about the spiral:
The spiral in psychology means that when you make a spiral you always come over the same point where you have been before, but never really the same, it is above or below, inside, outside, so it means growth (Jung 5, p. 21).
An anachronism (from the Greek ἀνά ana, 'against' and χρόνος khronos, 'time') is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain.
105a.2–3 “forgot—no, not forgot”: self-correction emphasizes desire’s infinite deferral.
95.11–13 “yearning . . .”: Sappho associates desire with death in fr. 31.15–16 and fr. 94.1 above; cf. also Anakreon’s erotic complaint “may I die as I can find no other loosening from these pains” (fr. 411 PMG); Alkman’s description of desire as a “more melting than sleep or death” (fr. 3.61–2 PMG); Oedipus’ “longing to look upon the hearth of my father underground” (Sophokles Oedipus at Colonus 1725–7).
I tried to keep it close Keep it in a locket Ain't no one can stop it Can you tell the difference? I can tell the difference Maybe you're the difference Please don't be indifferent I could make it different How come you only say I'm cute when you're wasted Baby, don’t waste it, well maybe you could waste it I run my mouth and it runs me over Don't come closer, don't come closеr I'm super glue, it's nothing new You try to brеak it Hoping nothing's coming Can't you see I'm running? I try to write it out Make sure nothing sounds weird Make sure it's not half bad Do you think this song's sad? You made me smile But could you spell it out for me? You say you shouldn't have to I know you shouldn't have to