This chapter examines H.D.’s Helen in Egypt (1961). While H.D. reviews her own life’s (Greek) work in her long poem in ways that recall Pound’s gathered currents in Women of Trachis, the challenge she sets herself is the opposite of that discernible in Pound’s late cantos: not coherence, but the embrace of proliferating images. The whole poem is an extended “hatching” of the Greek word eidolon ‘image, phantom, idol.’ The importance of the eidolon for H.D. has been previously recognized; the argument here differs in the specificity with which the author traces its lexical and conceptual translation throughout the poem. She reads the first part of Helen in Egypt both as a faithful and programmatic translation of Euripides’s Helen and as a revision of H.D.’s own previous writings on Helen. As with H.D.’s earlier translations, this one too catalyzes new writing: Helen in Egypt’s next two parts in subsequent years, where the Euripidean play’s import and relevance, as well as its unresolved tensions, are teased out. Helen in Egypt thus both performs and argues for the kind of approach to Greek here termed modernist hellenism: balancing freedom and constraint, “philology” and poetry.

Love and rhetoric are two major topics in Plato’s Phaedrus, unified by the dialogue’s theme of psychagōgia, or soul-leading. In Socrates’ great speech, the Palinode, Socrates explains how properly directed eros can assist souls in becoming the types of souls who will be capable of ascending closer to the forms and who will know themselves better. The Palinode is also itself an example of Socratic soul-leading with Phaedrus. Socrates acts akin a true lover to Phaedrus, in leading him towards philosophy and a philosophically informed view of rhetoric.