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;
Flushing white and mellow red;

It glows, it lives, it soon will speak!
Gradual tints, as when there glows
In snowy milk the bashful rose.
Then her lip, so rich in blisses!

Sweet petitioner for kisses !

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,
Pipingili umidetti

And guileless as the dews of dawn,
Tremuli e lascivetti,

Let the majestic brows be drawn,
Quai gli ha Ciprigua l'alma Dea d' Amoro.

Of ebon dyes, enrich'd by gold,
Tasso bas painted in the same manner the eyes of Armida, as La Such as the scaly snakes unfold.
Fosse remarks i

Mingle in his jetty glances
Qual raggio in onda le scintilla un riso

Power that awes, and love that trances;
Negli umidi occhi tremulo e lascivo.
Within her bumid, melting eyes,

Now let a floating, lucid reil
A brilliant ray of langbter lies,

Shadow her limbs, but not conceal, etc.) This delicato art of de-
Soft as the broken solar beam

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,
Catch, as it falls, the Scythian snow,

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.
Whose dimple shades a Love within, etc.) Madame Dacier has
quoted here two pretty lines of Varro:

Her eyes were glowing with a heavenly beat,
Sigilla in mento impressa Amoris digitulo

Emaning fire, and e'en in anger sweet!
Vestigio demonstrant mollitudinem.

The poetess Veronica Cambara is more diffuse upon this variety
In her chin is a delicate dimple,

of expression :
By the finger of Capid imprest;

Occhi lucenti et belli
There Softness, bewitchingly simple,

Come esser puo ch' in un nedesmo istante
Mas chosen her innocent nest.

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,
As if a word was hovering there!

Bathyllus then the deity!
His neck of ivory splendour trace,
Moulded with soft but manly grace;
Fair as the neck of Paphia's boy,
Where Paphia's arms have hung in joy.

Give him the winged Hermes' hand,

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,
With all that glow of young desire

Panting, languid, I expire!
Lieti, mesti, superbi, humil' altieri

Give me all those humid flowers,
Vi mostrate in un punto, onde di speme,

Drop them o'er my brow in showers.
Et di timor ne empiete, etc. etc.

Scarce a breathing chaplet now
Oh! tell me, brightly-beaming eye,

Lives upon my feverish brow;
Wbence in your little orbit lie
So many different traits of fire,
Expressing each a new desire !

-But, hold-forbear
Now with angry scorn you darkle,

I see a godlike portrait there.) This is very spirited, but it requires
Now with tender anguisla sparkle ;

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,
Ουδ' αργυρεη κοτ' ελαμψε Πειθω.
Nor yet had fair Persuasion shone

Parrbasius, in his twenty-sixth epistle (Thesaur. Critic. rol. i),
In silver splendours, not her own.

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
-- this is bis hand,

Deh porgetemi del fiore
His foot Mercurial, his martial thigh

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.

etc. etc.

Every dewy rose I wear
Sheds its tears, and withers there.
But for you, my burning mind!
Oh! what shelter shall I find?
Can the bowl, or flow'ret's dew,
Cool the flame that scorches you?

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 ;
At cum per niveam cervicem influxerit humor,

Dicite, dog roris sed pluvia hæc lacrimæ.
By Celia's arbour all the night

Hang, bumid wreath, the lover's vow;
And baply, at the morning light,

My love sball twine thee round her brow.
Then, if upon her bosom bright

Some drops of dew shall fall from thee,
Tell her, they are not drops of night,

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. .
Come, sit by the shadowy pine

That covers my sylvan retreat,
And see how the branches incline

The breathing of Zephyr to meet.
See the fountain, that, flowing, diffuses

Around me a glittering spray;
By its brink, as the traveller muses,

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,
Alas! thou shinest dim and far,

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.
Αί Μοισαι ποτι Κυπριν. Αρει τα σωμυλα ταυτα

Ημιν ου πεταται τουτο το παιδαριον. .
• Yield to my gentle power, Parnassian maids :

Thus to the Muses spoke the Queen of Charms-
• Or Love shall Mutter in your classic shades,

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:
E tanto era il piacer ch' ei ne sentia.

Che non sapea, nè volea uscirne fore.
Quando ecco ivi annodar si sente il core,

Si, che per forza ancor convien che stia:
Tailacci alla beltate orditi avia

Del crespo crin ; per farsi eterno onore.
Onde offre infin dal ciel degna mercede,

A chi scioglie il figliuol la bella dea

Da tapti nodi, in ch' ella stretto il vede.
Ma ei vinto a due occhi l'arme cede :

Et t' affatichi indaroo, Citerea ;

Che s' altri 'l scioglie, ogli a legar si riede.
Love, wandering through the golden mazo

Of my beloved's bair,
Traced every lock with fond delays,

And, doting, liogerd there.
And soon he found 't were vain to fly.

His heart was close confined;
And every curlet was a tie,

A chain by Benuty twined.
Now Venus soeks her boy's release,

Witb ransom from above:
But, Venus! let thy efforts cease,

For Love's the slave of lore.
And, should we loose his golden chain,
The prisoner would return agaio !

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
Who could wish for liberty ?»

Of lustre from the solar beam.
Then, hence with all your sober thinking!

Since Nature's holy law is drinking;

I'll make the laws of Nature mine,
OBSERVE when mother earth is dry,

And pledge the universe in wine !
She drinks the droppings of the sky;
His mother comes, with many a toy,
To ransom her beloved boy, etc.) Veous thus proclaims the re-

ward for her fugitive child in the first idyl of Moschus :
Ο μανυτας γερας εξει,

Tue Phrygian rock, that braves the storm, Μισθος του, το φιλαμα το Κυπριδος, ην δ' αγαγης ιν,

Was once a weeping matron's form;
Ου γυμνον το φιλαμα, τυ δ' ω ξενε, και πλεον έξεις. And Progne, hapless, frantic maid,

Is now a swallow in the shade.
On him, who the haunts of my Cupid can show,
A kiss of the tenderest stamp I'll bestow,
But he, who can bring me the wanderer bere,

"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
Dum vixi sine fine bibi, sic imbrifer arcus,

To wanton o'er thy mazy vest;
Sic tellus pluvias sole perusta bibit.

And ibou wouldst ope thy bosom veil,
Sic bibit assidue fontes et fumioa Pontus,

And take me panting to thy breast !
Sic semper sitiens Sol maris haurit aquas.
Ne te igitur jactes plus me, Silene, bibisse;

I wish I might a rose-bud grow,
Et mihi da victas tu quoque, Bacche, manus.

And thou wouldst cull me from the bower,

And place me on that breast of snow,

Where I should bloom, a wintry flower!
While life was mine, the little hour
In drinking still unvaried New;

I wish I were the lily's leaf,
I drank as earth imbibes the shower,

To fade upon that bosom warm ;
Or as the rainbow drinks the dew.

There I should wither, pale and brief,
As ocean quaffs the rivers up,

The trophy of iby fairer form!
Or Aushing sun inhales the sea;

Allow me to add, that Plato has expressed as fanciful a wish in a
Silenus trembled at my cup.

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?
I'll example you with rhierery.

Oh! that I were ibat spangled sphere,
The sun 's a thief, and with his great attraction

And every star should be an eye
Robs the vast sea. The moon's an arrant thief,

To wonder on thy beauties here!
And her pale fire she soatches from the sun.
The sea 's a thief, whose liquid surge resolves

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,
To sparkle with that smile divine;
And, like my heart, I then should be
Reflecting thee, and only thee!
Or were I, love, the robe which flows
O’er every charm that secret glows,
In many a lucid fold to swim,
And cling and grow to every limb!
Oh! could I, as the streamlet's wave,
Thy warmly-mellowing beauties lave,
Or float as perfume on thine hair,
And breathe my soul in fragrance there!
I wish I were the zone that lies
Warm to thy breast, and feels its sighs ?
Or like those envious pearls that show
So faintly round that neck of Snow

Yes, I would be a happy gem,
Like them to hang, to fade like them.
What more would thy Anacreon be?
Oh! any thing that touches thee.
Nay, sandals for those airy feet-
Thus to be press'd by thee were sweet!

Could raise the breath of song sublime,
To men of fame, in former time.
But when the soaring theme I try,
Along the chords my numbers die,
And whisper, with dissolving tone,
« Our sighs are given to love alone !»
Indignant at the feeble lay,
I tore the panting chords away,
Attuned them to a nobler swell,
And struck again the breathing shell;
In all the glow of epic fire,
To Hercules I wake the lyre!
But still its fainting sighs repeat,
« The tale of Love alone is sweet!»
Then fare thee well, seductive dream,
That mad'st me follow Glory's theme;
For thou, my lyre, and thou, my heart,
Shall nover more in spirit part;
And thou the flame shalt feel as well
As thou the flame shalt sweetly tell !

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To all that breathe the airs of heaven,

Some boon of strength has Nature given.
I often wish this languid lyre,

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,
men wore for tbe purpose of restraining the exuberance of the bosom.
Vido Pollac. Onomast. Thos Martial:

Taught the unnumber'd scaly throng
Fascia crescentes dominæ compesce papillas.

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.
And, in bis Passionato Pilgrim, we meet with an idea somewhat like Toj. deut.
that of the thirteenth line :

Henry Stephens has imitated the idea of this ode in the following
He, spying her, bounced in, where as be stood,

lines of one of his poems :
• 0 Jove!» quoth she, . why was not I a food ?

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
--cum multo Venerem confundere mero

E l'ingegao de I' buomo.
Precepit Lyrici Teia Musa senis.


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.


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