« VorigeDoorgaan »
Let them effuse the azure ray
Now let a floating, lucid veil With which Minerva’s glances play,
Shadow her limbs, but not conceal; And give them all that liquid fire
A charm may peep, a hue may beam, Thar Venus' languid eyes respire.
And leave the rest to Fancy's dream. O'er her nose and cheek be shed
Enough—'t is she! 't is all I seek;
It glows, it lives, it soon will speak!
And now, with all thy pencil's truth, Pouting nest of bland persuasion,
Pourtray Bathyllus, lovely youth ! Ripely suing Love's invasion.
Let his hair, in lapses bright, Then beneath the velvet chin,
Fall like streaming rays of light; Whose dimple shades a Love within,
And there the raven's dye confuse Mould her neck with grace descending,
With the yellow sunbeam's hues. In a heaven of beauty ending;
Let not the braid, with artful twine, While airy charms, above, below,
The flowing of his locks confine; Sport and flutter on its snow.
But loosen every golden ring, And give them all chat liquid fire
To float upon the breezes' wing. reas Venus' languid eges resine.] Marchetti explains thus the
Beneath the front of polish'd glow, vypov of the original :
Front as fair as mountain snow,
And guileless as the dews of dawn,
Let the majestic brows be drawn,
Of ebon dyes, enrich'd by gold,
Mingle in his jetty glances
Power that awes, and love that trances;
Now let a floating, lucid reil
Shadow her limbs, but not conceal, etc.) This delicato art of de-
scription, which leares imagination to complete the picture, has been That trembles in the azure stream.
seldom adopted in the imitations of this beautiful poem. Ronsard is
exceptionably minute ; and Politianus, in his charming portrait of a The mingled expression of dignity and tenderness which Anacreon girl, full of rich and exquisite diction, bas lifted the veil rather too requires the painter to infuse into the eyes of his mistress, is more
much. The questo che tu m'intendi » should always be left to fancy. amply described in the subsequent ode. Both descriptions are so exquisitely touched, that the artist must bave been great indeed, if
• The reader who wishes to acquire an accurate idea of the judgment he did not yield in painting to the poet :
of the ancients in beauty, will be indulged by consulting Junius de
Pictura Veterum, ninth chapter, third book, where be will find a very Gradual tines, as when there glows
curious selection of descriptions and epithets of personal perfections; In snowy milk the bashful resc.) Thus Properties, eleg. 3, lib. il.
he compares tbis ode with a description of Theodoric, king of the Utque rosæ puro lacte natant folia.
Goths, in the second epistle, first book of Sidonius Apollinaris. And Daronant, in a little poem called « The Mistress,
Let his hair, in lapses bright,
Fall like streaming rays of light, etc.) He here describes the sunny
hair, the • Rava coma,, which the ancients so much admired. The Bring blushing roses, steep'd in milk.
Romans gave this colour artificially to their bair. See Stanisl. KoThus, too, Taygetus :
biensyck de Luru Romanorum. Quæ lac atque rosas Vincis candore rabenti.
Let not the braid, with artful twinc, etc.) If the original bere, These last words may perhaps defend the • Bushing white, of the which is particularly beautiful, cao admit of any additional value, translation,
that value is conferred by Gray's admiration of it. See his Letters Then her lip, so rich in blisses !
to West. Sweet petitioner for kisses !) The « lip, provoking kisses, , in the
Some annotators have quoted on this passage the description of original, is a strong and beautiful espression. Achilles Tatius
Photis's bair in Apuleius; but nothing can be more distant from the of Zein pod Oxxx Tapos ta pedrusta, Lips soft and deli- simplicity of our pet's manner than that affectation of richness cnto for kissing. A grave old commentator, Dionysius Lambinus,
which distinguishes the style of Apuleius. in his notes npon Lucretius, tells us, with all the authority of expe- Front as fair as mo nta in-snow, rience, that girls who have large lips kiss infinitely sweeter than And guileless as the dews of dawn, etc.) Torrentias, upon the words others! Saarius virom osculantur puellæ labiosæ, quam quæ sunt • insigaum tenui fronte,, in the thirty-third ode of the first book of brevibus labris. And Æneas Sylvius, in his tedious uninteresting Horace, is of opinion that tenai bears the moaning of óttahoy story of the adulterous loves of Euryalus and Lucretia, where he par bere ; but he is certainly incorrect. ticularizes the beauties of the heroine (in a very false and laboured style of latinity), describos ber lips as exquisitely adapted for bit
Mingle in his jetty glances ing: «Os parvum decensque, labia corallini coloris ad morsum ap
Power that awes, and love that trances ! etc.) Tasso gives a similar tissima. Epist. 114, lib. i.
character to the eyes of Clorinda : Then beneath the relret chin,
Lampeggiar gli occhi, e folgorar gli sguardi
Dolci ne l'ira.
Her eyes were glowing with a heavenly beat,
Emaning fire, and e'en in anger sweet!
The poetess Veronica Cambara is more diffuse upon this variety
of expression :
Occhi lucenti et belli
Come esser puo ch' in un nedesmo istante
Nascan da voi si nove forme et tante !
Steal from Venus bland desire,
Which kindles when the wishful sigh Steal from Mars the look of fire,
Steals from the heart, unconscious why. Blend them in such expression here,
Thy pencil, though divinely bright, That we, by turns, may hope and fear!
Is envious of the eye's delight, Now from the sunny apple seek
Or its enamour'd touch would show The velvet down that spreads his cheek !
His shoulder, fair as sunless snow, And there let Beauty's rosy ray
Which now in veiling shadow lies, In flying blushes richly play ;
Removed from all but Fancy's eyes. Blushes of that celestial flame
Now, for his feet-but, hold-forbearWhich lights the cheek of virgin shame.
I see a godlike portrait there; Then for his lips, that ripely gem
So like Bathyllus !--sure there's none But let thy mind imagine them!
So like Bathyllus but the Sun! Paint, where the ruby cell uncloses,
Oh, let this pictured god be mine, Persuasion sleeping upon roses ;
And keep the boy from Samos' shrine; And give his lip that speaking air,
Phæbus shall then Bathyllus be,
Bathyllus then the deity!
Now the star of day is high, With which he waves his snaky wand;
Fly, my girls, in pity fly, Let Bacchus then the breast supply,
Bring me wine in brimming urns, And Leda's son the sinewy thigh.
Cool my lip, it burns, it buros ! But oh' suffuse his limbs of fire
Sunn'd by the meridian fire,
Panting, languid, I expire!
Give me all those humid flowers,
Drop them o'er my brow in showers.
Scarce a breathing chaplet now
Lives upon my feverish brow;
I see a godlike portrait there.) This is very spirited, but it requires
explanation. While the artist is pursuing the portrait of Bathyllas, And we, w bo view the various mirror,
Anacreon, we must suppose, turns round and sees a picture of Apollo, Feel at ouce both hope and terror.
which was intended for an altar at Samos ; he instantly tells the Monsieur Chevreau, citing the lines of our poet, in his critique on
painter to cease his work; that this picture will serve for Bathyllus,
and that, when he goes to Samos, be may make an Apollo of tbe porthe poems of Malherbe, produces a Latin version of them from a
trait of the boy which be had begun. manuscript which he bad soen, entitled . Joan Falcon is Anacreon- • Bathyllas (says Madame Dacier) could not be more elegantly tici Lusus, ,
praised, and this one passage does him more honour than the statue, Persuasion sleeping upon roses.] It was worthy of the delicate however beautiful it might be, which Polycrates raised to bim.. imagination of the Greeks to deify Persuasion, and give her the lips 1. An elegant translation of this ode may be found in Ramler's for ber throne. We are here reminded of a very interesting fragment Lyr. Blumenslese, lib. v, p. 403,, Degen. of Anacreon, preserved hy the scholiast upon Pindar, and supposed to belong to a poem reflecting with some severity on Simonides, wbo
Bring me wine in brimming vrns, etc.) Orig. TIELY uusi. was the first, we are told, that over made a bireling of his muse.
• The amystis was a melbod of drinking used among the Thracians.
Thus Horace, « Threicia viacat amystido.. Mad. Dacier, Longepierre,
Parrbasius, in his twenty-sixth epistle (Thesaur. Critic. rol. i),
explains the amystis as a draught to be exhausted without drawing And give his lip that speaking air,
breath, • uno haustu.. A note in the margin of this epistle of ParAs if a word was hovering there! In the original cwTIN.
rhasias says, Politianus vestem esse putabat, but I cannot find
wbere. The mistress of Petrarch parla con silentio,. which is perhaps the best method of female eloquence.
Give me all those kumid flowers, etc.) By tho original reading of Give him the winged Hermes' hand, etc.) la Shakspeare's Cymbo- this line the poet says, .Give me the flower of winer-Date Rosculine there is a similar method of description :
los Lyei, as it is in the version of Elias Andreas; and
Deh porgetemi del fiore
Di quel almo e buon liquoro, Tbe brawns of Hercules. We find it likowise in Hamlet. Longepierre thinks that the hands as Regnier has it, who supports the reading. Av09s would undoubeof Morcery aro selected by Anacreon, on account of the graceful gesedly bear this application, wbich is somewhat similar to its import tures which were supposed to characterize the god of eloquence ; but in the epigram of Simonides upon Sophocles : Mercury was also the patron of thieves, and may perhaps be praised as a light-fingered deity.
Εσβεσθης, γεραιε Σοφοκλεες, ανθος αοιδων. But oh! suffuse his limbs of fire
And flos, in the Latin, is frequently applied in this manner-thus With all that glow of young desire, etc.) I have taken the liberty Cethegus is called by Ennius, Flos illibatus populi, sudæque medelbere of somewhat veiling the original. Madame Dacier, in her la, • The immaculate flower of the people, and tbe very marrow of translation, bas hung out lights (us Sterne would call it) at this persuasion, » in those verses cited by Aulus Gellius, lib. xii, which passage. It is very much to be regretted, that this substitution of Cicero praised, and Seneca thought ridiculous. asterisks has been so much adopted in the popular interpretations But in the passage before us, if we admit EX #vwv, according to of tho Classics ; it serves but to bring whatever is exceptionable into Faber's conjecture, the sense is sufficiently clear, and we need dos notice, .daramque facem præferre pudendis..
have recourse to refinements.
Every dewy rose I wear
Sweet the little founts that
weep, Lulling bland the mind to sleep; Hark! they whisper, as they roll, Calm persuasion to the soul; Tell me, tell me, is not this All a silly scene of bliss ? Who, my girl, would pass it by? Surely neither you nor 1!
ODE XIX. · Here recline you, gentle maid, Sweet is this imbowering shade; Sweet the young, the modest trees, Ruffled by the kissing breeze ;
ODE XX. One day the Muses twined the hands Of baby Love, with flowery bands ; And to celestial Beauty gave The captive infant as her slave.
Every dewy rose I wear
Sheds iu lears, and withers there.) There are some beautiful lines, by Angerianus, upon a garland, wbich I cannot resist quoting bere :
Ante fores madidæ sic sic pendete corollæ,
Mane orto imponet Cælia vos capiti ;
Dicite, dog roris sed pluvia hæc lacrimæ.
Hang, bumid wreath, the lover's vow;
My love sball twine thee round her brow.
Some drops of dew shall fall from thee,
But tears of sorrow shed by me! In the poem of Mr Sheridan, « Uncouth is this moss-cover'd grotto of stone,» there is an idea very singularly coincident with this of Angerianus, in the stanza which begins,
And thou, stony grot, in thy arch mayst preserve. Bue for you, my burning mind! etc.) The transition bere is
peculiarly delicate and impassioned; but the commentators have perplexed the sentiment by a variety of readings and conjectures.
· The description of this bower is so natural and animated, that we cannot help feeling a degree of coolness and fresboess while we read it. Longopierre has quoted from the first book of the Anthologia, the following epigram, as somewhat resembling this ode: Ερχεο, και κατ' εμαν εξευ πιτυν, ά το μελιχρον
Προς μαλακους ηχει κεκλιμενα ζεφυρους. . Ηνιδε και κρουνισμα μελιςαγες, ενθα μελισδων Ηδυν έρημαιαις ÜNVOY
αγω καλαμοις. .
That covers my sylvan retreat,
The breathing of Zephyr to meet.
Around me a glittering spray;
I soothe bim to sleep with my lay! Here recline you, gentle maid, etc.] The Vatican NS. reads 32Awadou, wbich renders the whole poem metaphorical. Some commenlator suggests the reading of szoudov, which makes a pun upon the name; a grace that Plato himself hus condescended to in writing of his boy Asap. See the epigram of this philosopher, which I quote on the twenty-second ode.
There is another epigram by ibis philosopher, preserved in Laertius, which turns upon the same word: Αςηρ πριν μεν ελαμπες ενι ζωοισιν έωος Νυν δε θανων, λαμπεις εσπερος εν φθιμένοις.
In life thou wert my morning-star,
But now that death has stolen thy light,
Like the palo beam that weeps at night. In tbe Veneres Blyenburgicae, under the bead of « allusiones.. we find a number of such frigid conceits upon names, selected from the poets of the middle ages.
Who, my girl, would pass ir by ?
Surely neither you nor 1!) What a finish he gives to the picture by the simple exclamation of the original! In these delicate toras be is inimitable; and yet, hear what a French translator says on the passage : « This conclusion appeared to me too trilling after such a description, and I thought proper to add somewbat to the strength of tbe original.
"By this allegory of the Muses making Cupid the prisoner of Beauty, Anacreon seems to insinuate tbe softening influence which a cultivation of poetry bas over the mind, in making it peculiarly susceptible to the impressions of beauty.
Thougb in the following epigram, by the philosopher Plato, which is found in the third book of Diogenes Laertius, the Muses are made to disavow all the influence of Lore: “ΑΚυπρις Μουσαισι, κορασια ταν Αφροδιταν
Τιματ’ η τον Ερωτα ύμμιν εφοπλισομαι.
“Ημιν ου πεταται τουτο το παιδαριον. .
Thus to the Muses spoke the Queen of Charms-
And make your grove the camp of Papbian arms!, • No," said the virgins of the tuneful bower,
• We scorn thine own and all thy urchin's art; Though Mars has trembled at the infant's power,
His sbast is pointless o'er a Muse's heart !. There is a sonnet by Benedetto Guidi, the thought of which was suggested by this ode.
Scherzava dentro all' auree chiome Amore
Dell' alma doona della vita mia:
Che non sapea, nè volea uscirne fore.
Si, che per forza ancor convien che stia:
Del crespo crin ; per farsi eterno onore.
A chi scioglie il figliuol la bella dea
Da tapti nodi, in ch' ella stretto il vede.
Et t' affatichi indaroo, Citerea ;
Che s' altri 'l scioglie, ogli a legar si riede.
Of my beloved's bair,
And, doting, liogerd there.
His heart was close confined;
A chain by Benuty twined.
Witb ransom from above:
For Love's the slave of lore.
His mother comes with many a toy,
And then the dewy cordial gives To ransom her beloved boy;
To every thirsty plant that lives. His mother sues, but all in vain !
The vapours, which at evening weep, He ne'er will leave his chains again.
Are beverage to the swelling deep; Nay, should they take his chains
And when the rosy son appears, The little captive still would stay.
He drinks the ocean's misty tears. « If this,» he cries, « a bondage be,
The moon, too, quaffs her paly stream
Of lustre from the solar beam.
Since Nature's holy law is drinking;
I'll make the laws of Nature mine,
And pledge the universe in wine !
Tue Phrygian rock, that braves the storm, Μισθος του, το φιλαμα το Κυπριδος, ην δ' αγαγης ιν,
Was once a weeping matron's form;
Is now a swallow in the shade.
"Ogilvie, in his Essay on the Lyric Poetry of the Ancients, in reShall have something more rapturous, something more dear. marking upon the Odes of Anacreon, says, «In some of his pieces
there is exuberance and even wildness of imagination ; in that par This e something more is the quidquid post oscula dulce of Secundus.
ticularly which is addressed to a young girl, where he wishes alterAfter this ode, there follow in the Vatican MS. these extraordinary Dately to be transformed to a mirror, a coat, a stream, a bracelet, lines:
and a pair of shoes, for the different purposes which he recites; this Ηδυμελης Ανακρέων
is mere sport and wantonness.
It is the wantongess, however, of a very graceful muse; ludit Hoυμελης δε Σαπφω
amabiliter. The compliment of this ode is exquisitely delicate, and Πινδαρικον το δε μοι μελος
80 singular for the period in which Anacreon lived, when the scale Συγκερασας τις εγχεου
of lose had not yet been graduated into all its little progressive re
finements, that if we were inclined to question the authenticity of Τα τρια ταυτα μοι δοκει
the poem, we should find a much more plausible argument in the Και Διονυσος εισελθων
features of modern gallantry which it bears, than in any of those fasΚαι Παφίτη παι
lidious conjectures upon which some commentators have presumed Xpoos
so far. Degen thinks it spurious, and De Pauw pronounces it to be Και αυτος Ερως καν επιειν.
miserable. Longepierre and Barnes refer us to several imitations of These lines, which appear to me to bave as little sense as metre,
this ode, from which I sball only select an epigram of Dionysius : are most probably the interpolation of the transcriber.
ELO ανεμος γενομην, συ δε γε ςειχουσα παρ' αυγας, I The commentators wbo have endeavoured to throw the chains of
Στεθεα γυμνωσαις, και με πνεoντα λαβοις. precision over the spirit of this beautiful trifle, require too much from Anacreontic philosophy. Monsieur Gail very wisely thinks, Ειθε ροδον γενομης υποπορφυρον, οφρα με χερσιν that the poet oses the epithet pszivn, because black earth absorbs Αραμενη, κομισεις σεθεσι χιονεοις. moisture more quickly than any other; and accordingly be indulges | Εθε κρινον γενομης λευκοχροον, όφρα με χερσιν us with an experimental disquisition on the subject. Seo Gail's notes. One of the Capilupi has imitated this ode, in an epitaph on a
Αραμενη, μαλλον σης χρoττης κορεσης. drunkard.
I wish I could like zephyr steal
To wanton o'er thy mazy vest;
And ibou wouldst ope thy bosom veil,
And take me panting to thy breast !
I wish I might a rose-bud grow,
And thou wouldst cull me from the bower,
And place me on that breast of snow,
Where I should bloom, a wintry flower!
I wish I were the lily's leaf,
To fade upon that bosom warm ;
There I should wither, pale and brief,
The trophy of iby fairer form!
Allow me to add, that Plato has expressed as fanciful a wish in a
distich preserved by Laertius : And Bacchus was outdone by me!
Αςερας εισαθρεις, αςηρ εμος: ειθε γενoιμην I cannot omit citing those remarkable lines of Shakspeare, where the thoughts of the ode before us are preserved with such striking
Ουρανος: ως πολλοις όμμασιν εις σε βλεπω. similitude : TINOX, ACT IY.
Why dost thou gaze upon the sky?
Oh! that I were ibat spangled sphere,
And every star should be an eye
To wonder on thy beauties here!
Apuleias quotes this epigram of the divine philosopber, to justify The mounds into salt tears. The earth 's a thief,
himself for his verses on Critias and Charinus. See his Apology, That feeds, and breeds by a compostare stolen
where he also adduces the example of Anacreon : « Fecere tamen et From general excrements.
alii talia, et si vos ignoratis, apud Græcos Teius quidam, etc. etc.
Oh! that a mirror's form were mine,
Could raise the breath of song sublime,
To all that breathe the airs of heaven,
Some boon of strength has Nature given.
When the majestic bull was born, This warbler of my soul's desire,
She fenced his brow with wreathed horn.
She arm'd the courser's foot of air, I wisk I were the zone that lies
And wing’d with speed the panting hare. Warm to thy breast, and feels its sighs!) This TRIVIn was a riband
She gave the lion fangs of terror, or band, called by the Romans fascia and strophium, which the wo
And, on the ocean's crystal mirror,
Taught the unnumber'd scaly throng
To trace their liquid path along;
While for the umbrage of the grove, The women of Greece not only wore this zone, but condemned themselves to fasting, and made use of certain drugs and powders
She plumed the warbling world of love. for the same purpose. To these expedieats they were compelled, in consequence of their inelegant fashion of compressing tho waist into In all the glow of epic fire, a very narrow compass, which necessarily caused an excessive tumi- To Hercules I wake the lyre! Madame Dacier generally translates dity in the bosom. See Dioscorides, lib. v.
dupn into a lute, which I believe, is rather inaccurate. • D'expli
quer la lyre des anciens (says Monsieur Sorel) par un luth, c'est Nay, sandals for those airy feetThus to be press'd by thee were sweet!) The sophist Philostratus. - Bibliotheque Française.
igaorer la différence qu'il y a entre ces deux instrumens de musique. » in one of bis love-letters, has borrowed this thought; w ãÒSTOL ποδες" ω καλλος ελευθερος: ω τρισευδαιμων εγω και
But still its fainting sighs repeal, μαχαιριος εαν πατησετε με. . • Oh lovely feet: ob excellent ibe original, may imply that kind of musical dialogue practised
• The tale of Love alone is sweet!») The word XVT ID"YEL, in beauty! oh! thrice happy and blessed should I be, if you would but by the ancients, in which the lyre was made to respond to the questread on me! In Shakspeare, Romeo desires to be a glore:
tions proposed by the singer. This was a method which Sappho Oh! that I were a glove upon that hand,
used, as we are told by Hermogenes: OTAN tov dupan epata That I might kiss that cheek!
Σαπφω, και όταν αυτη αποκρινηται.» Περι Ιδεων.
Henry Stephens has imitated the idea of this ode in the following
lines of one of his poems :
Provida dat cunctis Natara animantibus arma, In Burton's Anatomy of Melancholy, that whimsical farrago of u all Et sua fæmineum possidet arma genus, such reading as was never read, there is a very old translation of Ungulaque ut defendit equum, atque ut cornua taurum, this ode, before 1632. • Englished by Mr B. Holiday, in his Tech
Armata est forma fæmina pulchra sua. nog. act i, scene 7.1
And the same thought occurs in those lines, spoken by Corisca in "This ode is first in the series of all the editions, and is thought Pastor Fido: to be peculiarly designed as an introduction to the rest; it bowever
Cost noi la bellezza characterizes the genius of the Teian but very inadequately, as wine,
Che 'e virtù vostra cosi propria, como the burden of his lays, is not even mentioned in it.
La forza del leone
E l'ingegao de I' buomo.
The lion boasts his savage powers, The twenty-sixth Ode, ou ley deeyis ta Onons, might, with as
And lordly man his strength of mind; much propriety, be the harbinger of his songs.
But beauty's charm is solely ours, Bion has expressed the sentiments of the ode before us with much
Peculiar boon, by Heaven assign'd! simplicity in his fourib idyl. I bave given it rather parapbrastically; • An elegant explication of the beauties of this ode (says Degen) it bas been so frequently translated, that I could not otherwiso avoid may be found in Grimm eo deo Anmerrkk. Veber einige Oden des triteness and repetition.