| Italic Title: | (see above) --> |
| The Songs of Bilitis | |
| Author: | Pierre Louÿs |
| Title Orig: | Les Chansons de Bilitis |
| Country: | France |
| Language: | French |
| Genre: | Poetry, erotica |
| Pub Date: | 1894 |
| Media Type: | |
The Songs of Bilitis (; French: Les Chansons de Bilitis) is a collection of erotic, essentially lesbian, poetry by Pierre Louÿs published in Paris in 1894. Since Louÿs claimed that he had translated the original poetry from Ancient Greek, this work is considered a pseudotranslation.[1] The poems were actually clever fabulations, authored by Louÿs himself, and are still considered important literature.
The poems are in the manner of Sappho; the collection's introduction claims they were found on the walls of a tomb in Cyprus, written by a woman of Ancient Greece called Bilitis, a courtesan and contemporary of Sappho's to whose life Louÿs dedicated a small section of the book. On publication, the volume deceived even expert scholars.[2]
Louÿs claimed the 143 prose poems, excluding 3 epitaphs, were entirely the work of this ancient poet—a place where she poured both her most intimate thoughts and most public actions, from childhood innocence in Pamphylia to the loneliness and chagrin of her later years.
Although for the most part The Songs of Bilitis is original work, many of the poems were reworked epigrams from the Palatine Anthology, and Louÿs even borrowed some verses from Sappho herself. The poems are a blend of mellow sensuality and polished style in the manner of Parnassianism, but underneath run subtle Gallic undertones that Louÿs could never escape.
To lend authenticity to the forgery, Louÿs in the index listed some poems as "untranslated"; he even craftily fabricated an entire section of his book called "The Life of Bilitis", crediting a certain fictional archaeologist Herr G. Heim ("Mr. C. Cret" in German) as the discoverer of Bilitis's tomb. And though Louÿs displayed great knowledge of Ancient Greek culture, ranging from children's games in "Tortie Tortue" to application of scents in "Perfumes", the literary fraud was eventually exposed. This did little, however, to taint their literary value in readers' eyes, and Louÿs's open and sympathetic celebration of lesbian sexuality earned him sensation and historic significance.
In 1894 Louÿs, travelling in Italy with his friend Ferdinand Hérold, grandson of the composer (1791–1831) of the same name,[3] met André Gide, who described how he had just lost his virginity to a Berber girl named Meriem in the oasis resort-town of Biskra in Algeria; Gide urged his friends to go to Biskra and follow his example. The Songs of Bilitis are the result of Louÿs and Hérold's shared encounter with Meriem the dancing-girl, and the poems are dedicated to Gide with a special mention to "M.b.A", Meriem ben Atala.[4]
The Songs of Bilitis are separated into three cycles, each representative of a phase of Bilitis's life: Bucolics in Pamphylia—childhood and first sexual encounters, Elegies at Mytilene—indulgence in homosexual sensuality, and Epigrams in the Isle of Cyprus—life as a courtesan. Each cycle progresses toward a melancholy conclusion, each conclusion signalling a new, more complex chapter of experience, emotion, and sexual exploration. Each of these melancholy conclusions is demarcated by a tragic turn in Bilitis's relationships with others. In the first stage of her life, Bucolics, she falls in love with a young man but is then raped by him after he comes upon her napping in the woods; she marries him and has a child by him, but his abusive behavior compels her to abandon the relationship. In the second stage (Elegies), her relationship with her beloved Mnasidika turns cold and ends in estrangement, prompting her to relocate once again. Finally, in the Epigrams, in the Isle of Cyprus, despite her fame, she finds herself longing for Mnasidika. Ultimately, she and her beauty are largely forgotten; she pens her poems in silent obscurity, resolute in her knowledge that "those who will love when [she is] gone will sing [her] songs together, in the dark."
One of Louÿs's technical accomplishments was to coincide Bilitis's growing maturity and emotional complexity with her changing views of divinity and the world around her—after leaving Pamphylia and Mytilene, she becomes involved in intricate mysteries, moving away from a mythical world inhabited by satyrs and Naiads. This change is perhaps best reflected by the symbolic death of the satyrs and Naiads in "The Tomb of the Naiads".
Louÿs dedicated a small section of the book to the fictional character of Bilitis, whom he invented for the book's purpose. He claimed she was a courtesan and contemporary of Sappho's, and the author of the poems that he had translated. He went so far as not only to outline her life in a biographical sketch, but also to describe how her fictional tomb was discovered by a fictional archeological expedition, and include a list of additional, "untranslated", works by her.
While the work was eventually shown to be a pseudotranslation by Louÿs, initially it misled a number of scholars, such as, who retranslated several poems without realizing they were fakes.
Like the poems of Sappho, those of The Songs of Bilitis address themselves to Sapphic love. The book became a sought-after cult item among the 20th-century lesbian underground and was only reprinted officially in the 1970s. The expanded French second edition is reprinted in facsimile by Dover Books in America. This second edition had a title page that read: "This little book of antique love is respectfully dedicated to the young women of a future society."
In 1955, the Daughters of Bilitis was founded in San Francisco[5] as the first[5] lesbian civil and political rights organization in the United States. In regard to its name, Del Martin and Phyllis Lyon, two of the group's founders, said "If anyone asked us, we could always say we belong to a poetry club."[6]
The book was translated into Polish twice, in 1920 by Leopold Staff and in 2010 by Robert Stiller.
English translations:
The Songs of Bilitis has been illustrated extensively by numerous artists.
The most famous artist to illustrate the book was Louis Icart, while the most famous illustrations were done by Willy Pogany for a 1926 privately circulated English language translation: drawn in an art-deco style, with numerous visual puns on sexual objects.
Other artists have been Georges Barbier, Edouard Chimot, Jeanne Mammen, Pascal Pia, Joseph Kuhn-Régnier, Sigismunds Vidbergs, Pierre Leroy, Alméry Lobel Riche, Suzanne Ballivet, Pierre Lissac, Paul-Emile Bécat, Monique Rouver, Génia Minache, Lucio Milandre, A-E Marty, J.A. Bresval, James Fagan and Albert Gaeng from Geneva.