French edition of Sappho made her work even more widely known. Theodor Bergk's 1854 edition became the standard edition of Sappho in the second half of the 19th century; in the first part of the 20th century, the papyrus discoveries of new poems by Sappho led to editions and translations by Edwin Marion Cox and John Maxwell Edmonds, and culminated in the 1955 publication of Edgar Lobel's and Denys Page's Poetarum Lesbiorum Fragmenta. Like the ancients, modern critics have tended to consider Sappho's poetry "extraordinary". As early as the ninth century, Sappho was referred to as a talented woman poet, and in works such as Boccaccio's De Claris Mulieribus and Christine de Pisan's Book of the City of Ladies she gained a reputation as a learned lady. Even after Sappho's works had been lost, the Sapphic stanza continued to be used in medieval lyric poetry, and with the rediscovery of her work in the Renaissance, she began to increasingly influence European poetry. In the 16th century, members of La Pléiade, a circle of French poets, were influenced by her to experiment with Sapphic stanzas and with writing love-poetry with a first-person female voice. Early modern and modern composers have also been inspired by Sappho; notable compositions based on her life or works include operas such as Sappho (1794) by Jean-Paul-Égide Martini, Sappho (1897) by Jules Massenet, Sappho (1963) by Peggy Glanville-Hicks; the percussion piece Psappha (1975) and orchestral work Aïs (1980) by Iannis Xenakis; and the composition Charaxos, Eos and Tithonos (2014) by Theodore Antoniou. From the Romantic era, Sappho's work – especially her "Ode to Aphrodite" – has been a key influence of conceptions of what lyric poetry should be. Such influential poets as Alfred Lord Tennyson in the 19th century, and A. E. Housman in the 20th century, have been influenced by her poetry. Tennyson based poems including "Eleanore" and "Fatima" on Sappho's fragment 31, while three of Housman's works are adaptations of the Midnight poem, long thought to be by Sappho though the authorship is now disputed. At the beginning of the 20th century, the Imagists – especially Ezra Pound, H. D., and Richard Aldington – were influenced by Sappho's fragments; a number of Pound's poems in his early collection Lustra were adaptations of Sapphic poems, while H. D.'s poetry was frequently Sapphic in "style, theme or content", and in some cases, such as "Fragment 40" more