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That laws should never bind desire,
The god pursued, with wing'd desire; And love was nature's holiest fire!
And when his hopes were all on fire, The virgin weeps, the virgin sighs;
And when he thought to hear the sigh He kiss'd her lips, he kiss'd her eyes;
With which enamour'd virgins die, The sigh was balm, the tear was dew,
He only heard the pensive air They only raised his flame anew.
Whispering amid her leafy hair! And, oh! he stole the sweetest flower
But oh, my soul! no more—no more! That ever bloom'd in any bower!
Enthusiast, whither do I soar ?
This sweetly maddening dream of soul Such is the madness wine imparts,
Has hurried me beyond the goal.
Why should I sing the mighty darts
When sure the lay, with sweeter tone,
Can tell the darts that wound my own?
Still be Anacreon, still inspire Awake to life, my dulcet shell,
The descant of the Teian lyre: To Phæbus all thy sighs shall swell;
Sull let the nectar'd numbers float, And though no glorious prize be thinc,
Distilling love in every note! No Pythian wreath around thee twine,
And when the youth, whose burning soul Yet every hour is glory's hour,
Has felt the Paphian star's control, To him who gathers wisdom's flower!
When he the liquid lays shall hear, Then wake thee from thy magic slumbers,
His heart will flutter to his ear, Breathe to the soft and Phrygian numbers.
And drinking there of song divine,
Banquet on intellectual wine!
Golden bues of youth are fled;
Hoary locks deform head.
my And sighs responsive sound for sound !
Seill be Anacreon, still inspire Muse of the Lyre! illume my dream,
The descane of the Teian lyre.) The original is Toy Araxpcovia Thy Phæbus is my fancy's theme;
Hlou. I have translated it under the supposition that the hymn And hallow'd is the harp I bear,
is by Anacreon; though I fear, from this very line, that his claim to
it can scarcely be supported. And hallow'd is the wreath I wear,
Τον Ανακρέοντα μιμού,
Imitate Anacreon. Such is the Hallow'd by bim, the god of lays,
lesson given us by the lyrist; and if, in poetry, a simple elegance of Who modulates the choral maze!
sentiment, eariched by the most playful felicities of fancy, be a
charm which invites or deserves imitation, where shall we find such I sing the love which Daphne twined
a gnide as Anacreon ? lo morality, too, with some little reserve, Around the godhead's yielding mind;
I think we migbt dot blush to follow in his footsteps. For if his I sing the blushing Daphne's flight
song be the language of bis heart, though luxurious and relaxed, he From this æthereal youth of light;
was artless and benevolent; and who would not forgive a few irrega
larities, when atoned for by virtues so raro aod so endearing? When And how the tender, timid maid
we think of the sentiment in those lipes: Flew panting to the kindly shade,
Away! I hate the slanderous dart Resign'd a form, too tempting fair,
Which steals to wound the unwary heart, And grew a verdant laurel there;
how many are there in the world to whom we would wish to say, Whose leaves, with sympathetic thrill,
Τον Ανακρέοντα μιμου! In terror seem'd to tremble still!
Here ends the last of the odes in the Vatican MS., whose autho
rity confirms the genuine antiquity of them all, though a few bave "This bymn to Apollo is supposed not to have been written by stolen among the number which we may besitate in altributing to Anacreon, and it certainly is rather a sublimer fight than the Teian
Anacreon. In the little essay pretired to this translation, I observed wing is accustomed to soar. But we ought not to judge from this di- ibat Baroes bad quoted this manuscript incorrectly, relying upon an versity of style, in a poet of whom time bas preserved such partial imperfect copy of it which Isaac Vossius had taken ; I shall just relics. If we knew Horace but as a satirist, should we easily believe
mention two or three instances of this inaccuracy, the first which there could dwell such animation in his lyre ? Suidas says that our occur to me. In the ode of the Dove, on the words [lte poist poet wrote hymns, and this perhaps is one of them. We can per- cuyaahubw, he says, • Vatican MS. OUOXLASwv, etiam Prisceive in what an altered and imperfect state his works are at preseut, ciano invito, - though the Manuscript reads currxhube, when we find a scholiast upon Horace citing an ode from the third with GVOXLCTW interlined. Degen, too, on the same line, is somebook of Anacreon,
wbat in error. To the twenty-second ode this series, line thirAnd how the tender timid maid
teenth, the MS. bas Ter with al interlined, and Barnes imputes Flew panting to the kindly shade, etc.] Original:
to it the reading of Tevon. In the fifty-seventh,"line twelfth, be
professes to bave preserved the reading of the MS. Alzaruerno To pEY EXTEPEvye xevt por, Φυσεως δ' αμειψε μορφης.
επ' αυτη, while the latter has αλαλημενος δ' επ' αυτα.
Almost all the other commentators bave transplanted these errors I find the word xova poy here has a double force, as it also sig- from Barnes. nities that omnium parentem, quam sanctus Numa,. etc. etc. (See
'The intrusion of this melancholy ode among the careless levities Martial.) – In order to confirm this import of the word bere, those of our poet, bas always reminded me of the skeletons which tbe who are curious in new readings may place the stop after pursus, thought of wortality even amidst the dissipations of birth.f.it
Egyptians used to bong up in their banquet-rooms, lo inculcate a ibus : Το μεν εκπεφευγε κέντρον
were not for the beauty of its numbers, tbe Teian Muse should dis
own this ode. Quid habet illius, illius qux spirabat amores! Φυσεως, δ αμειψε μορφην.
To Slobæus we are indebted for it.
Bloomy graces, dalliance gay,
No, banish from our board to night All the flowers of life decay.
The revelries of rude delight! Withering age begins to trace
To Scythians leave these wild excesses, Sad memorials o'er my face;
Ours be the joy that soothes and blesses ! Time has shed its sweetest bloom,
And while the temperate bowl we wreathe, All the future must be gloom!
Our choral hymns shall sweety breathe, This awakes my hourly sighing;
Beguiling every hour along
With harmony of soul and song!
To Love, the soft and blooming child,
To Love, the babe of Cyprian bowers,
The boy who breathes and blushes flowers !
To Love, for heaven and earth adore him,
And gods and mortals bow before him!
HASTE thee, nymph, whose winged spear For, though the bowl's the grave of sadness,
Wounds the fleeting mountain-dcer! Oh! be it ne'er the birth of madness!
Dian, Jove's immortal child,
Huntress of the savage wild!
Goddess with the sun-bright hair! gance, deplores the fugacity of human enjoyments. See book ii,
Listen to a people's prayer. ode 11; and thus in the second epistle, book ii,
Turn, to Lethe's river turn,
There thy vanquish'd people mourn!
Come to Lethe's wavy shore,
There thy people's peace restore.
Thine their hearts, their altars thine!
Dian! must they-must they pine!
Maid of Thrace! thou fly'st my courting.
Wanton filly! tell me why
This fragment is preserved in Clemens Alexandrinus, Strom. Ah! we can return no more! Scaliger, upon Catullas's well-lib. vi, and in Arsenius, Collect. Græc., Barnes. known lines, « Qui nunc it per iter, etc. remarks, that Acheron,
It appears to bave been the opening of a hymn in praise of Love. with the same idea, is called avešoôos, by Theocritus, and ? This hymn to Diana is extant in Mephæstion. There is an anecovosxopoues, by Nicander.
dote of our poet, which has led to some doubt whether be ever wroto "This ode consists of two fragments, which are to be found in Athe
any odes of this kind. It is related by the Scholiast upon Pindar
(Istbmionic. od. ii, v. 1, as eited by Barnes). Anacreon being asked, næus, book x, and wbich Barnes, from ibe similarity of their tendency, bas combined into one. i think this a very justifiable li- why be addressed all bis bymas 10 women, and done to the deities?
answered, • Because women are my deities.. berty, and have adopted it in some other fragments of our poet.
I have assumed the same liberty in reporting this apecdote which Degen refers us here to verses of Uz, lib. iv, der Trinker.
I have done in translating some of the odes; and it were to be wisbed But let the water amply Now,
that these little infidelities were always considered pardonable in To cool the grape's intemperate glow, etc.] It was Amphictyon who the interpretation of the ancients ; tbus, when nature is forgotten first caught the Greeks to mix water with their wine; in commemo | in the original, in the translation, e tamen usque recurret.» ration of wbich circumstance they erected altars to Bacchus and the
Turn, to Lethe's river turn, nymphs. On this mythological allegory the following epigram is
There thy vanquish'd people mourn!) Lethe, a river of lonia, acfounded :
cording to Strabo, falling into the Meander; Dear to it was situated Ardentem ex utero Semeles lavere Lyaum
the lowo Mayoesia, in favour of wbose in habitants our poet is supNaiades, extincto fulminis igne sacri ;
posed to bare addressed this supplication to Diana. It was written Cum nympbis igitur tractabilis, at sine nympbis (as Madame Dacier conjectares) on the occasion of some battle, in Gandenti rursus fulmine corripitur.
which the Magnesians had been defeated.
Pierius Valerianus. Which is, non verbum verbo,
* This ode, which is addressed to some Thracian girl, exists in He
raclides, and bas been imitated very frequently by Horace, as all the While heavenly fire consumed his Theban damo,
annotators have remarked. Madame Dacier rejects the allegory, A Naiad caught young Bacchus from the flame,
which runs so obviously throughout it, and supposes it to have been And dipp'd bim burning in her purest lymph :
addressed to a young mare belonging to Polycrates: there is more Still, still be loves the sea-maid's crystal urn,
modesty thao ingenuity in the lady's conjecture. And when his native fires infuriate burn,
Pierius, in tbe fourth book of his Hieroglyphics, cites this ode, and He bathes him in the fountain of the nymph.
informs us, tbat the horse was the bieroglyphical emblem of pride.
And seem'st to think my doting heart
Gentle youth! whose looks assume
Such a soft and girlish bloom,
Why repulsive, why refuse
The friendship which my heart pursues !
Thou little know'st the fond control
With which thy virtue reins my soul!
Then smile not on my locks of gray,
Believe me, oft with converse gay
I've chain'd the years of tender age,
And mine is many a soothing measure;
And much I hate the beamless mind,
Whose earthly vision, unrefined,
Nature has never form'd to see
The beauties of simplicity!
Simplicity, the flower of heaven,
To souls elect, by Nature given !
ODE LXVIII. '
Rica in bliss, I proudly scorn
The stream of Amalthea's horn? Look on thy bride, luxuriant boy!
Nor should I ask to call the throne And while thy lambent glance of joy
Of the Tartessian prince my own; Plays over all her blushing charms,
To toiter through his train of years, Delay not, snatch her to thine arms,
The victim of declining fears. Before the lovely trembling prey,
One little hour of joy to me
Is worth a dull eternity!
ing - flos, . in somewhat a similar sense to that which Gaulminus atAnd dear to her, whose yielding zone
tributes to ponov, says, • Hortum quoque vocant in quo flos ille carWill soon resign her all thine own;
pitur, et Greci: κηπον εςι το εφηβαιον γυναικων, Turn to Myrilla, turn thine eye,
May I remark, that the author of the Greek version of this charming
ode of Catallas bas neglected a most striking and Anacreontic beauty Breathe to Myrilla, breathe thy sigh!
in those verses, « Ut flos in septis, etc. which is the repetition of the To those bewitching beauties turn;
line Multi illum pueri, multe optavere puellæ,, with the slight alFor thee they mantle, flush, and burn!
teration of nulli and nullæ. Catullus himself, bowever, has been Not more the rose, the Queen of flowers,
equally injadicious in his version of the famous ode of Sappho; he Outblushes all the glow of bowers,
has translated ye0625 ipspoey, but takes no notice of cdu
qurovoms. Horace has caught the spirit of more faithfully: Than she unrivall'd bloom discloses, The sweetest rose, where all are roses!
Dulce ridentem Lalagen amabo, Oh! may the sun benignant shed
Dulce loquentem. His blandest influence o'er thy bed;
11 bare formed this poem of three or four different fragments, And foster there an infant tree,
which is a liberty that perbaps may be justified by the example of To blush like her, and bloom like thee!
Barnes, wbo bas thus compiled the fifty-seventh of bis edition, and the little ode beginning pep'uowp, pep'olvov, w tral, which be
has subjoined to the epigrams. "This ode is introduced in the Romance of Theodorus Prodromus, and is that kind of epithalamium which was sung like a scholium at
The fragments combined in this ode, are the sixty-seventh, ninetythe nuptial banquet.
sixtb, ninety-seventb, and hundredth of Barnes's edition, to which Among the many works of the impassioned Sappho, of which time 1 refer the reader for the names of the authors by whom they are and ignorant superstition bave deprived us, the loss of her epithala- preserved. miums is not one of the least that we deplore. A subject so interest
And boys have loved the pratling sage!) Monsieur Chauliea ing to an amorous fancy was warmly felt, and must have been warmly described, by such a soul and such an imagination. The
has given a very amiable idea of an old man's intercourse with following lines are cited as a relie of one of her epithalamiums :
Que cherché par les jeunes gens, ολβιε γαμβρε. σοι μεν δη γαμος ως αραο,
Pour leurs erreurs plein d'indulgence, Εκτετελες', εχεις δε παρθενον αν αραο.
Je tolère leur imprudence
En faveur de leurs agrémens.
. This fragment is preserved in the third book of Strabo. To blush like her, and bloom like thee! Original, KUTTA PITTOS of the Tarlessian prince my own.) He here alludes to Argantho o': TEQUIOL GOU OVE YTTW. Passeratius, upon the words.com nius, who lived, according to Lucian, a handred and fifty years : castum amisit florem, - in the nuptial song of Cotallus, after explain- and reigned, according to Hierodotus, vigbıy. See Barnes.
ODE LXXII. 4
SPIRIT of Love! whose tresses shine
Along the breeze, in golden twine,
The nursling fawn, that in some shade
Its andler'd mother leaves behind, etc.) In the original :
“ος εν ύλη κεροεσσης first in Barnes. They are both found in Eustathius.
Απολειφθεις υπο μητρος. . * Three fragments form this little ode, all of which are preserved in Athenæus. They are the eighty-second, seventy-fifth, and eighty- Dacier, however, observes, that Sophocles, Callimachus, etc. have all
Horned, bere, undoubtedly, seems a strange epithet ; Madame third, in Barnes.
applied it in the very same manner; and she seems to agree in the And every guest, to shade his head,
conjecture of the scholiast upon Pindar, that perbaps borns are not Three little breathing chaplets spread.] Longepierre, to give an always peculiar to the males. I think we may with more ease conidea of the luxurious estimation io which garlands were held by the clude it to be a license of the poel, • jassit habere puellam cornua. ancients, relates an abecdote of a courtezau, who, in order to gratify * This fragment is preserved by the scholiast upon Aristophanes, three lovers, without leaving cause for jealousy with any of them, and is the eighty-seventh in Barnes. gave a kiss to one, let the other drink after ber, and put a garland on * This is to be found in Hepbæstion, and is the eighty-ninth of the brow of the third ; so that each was satisfied with his favour, Barnes's edition. and flattered himself with the preference.
I mast here apologize for omitting a very considerable fragment This circumstance is extremely like the subject of one of the ten- imputed to our poet, Zavon o" Eupuntuan uchel, etc. which is sons of Savari de Mauléon, a troubadour. Soe L'Histoire Littéraire preserved in the twelfth book of Athenæus, and is the ninety-first des Troubadours. The recital is a curious picture of the puerile in Barnes. If it was really Anacreon who wrote it, nil fuit unquam gallantries of chivalry.
sic impar sibi. It is in a style of gross satire, and is full of expres
sions which never could be gracefully translated. * This poem is compiled by Barnes, from Athenæus, Hephæstion,
* This fragment is preserved by Dion. Chrysostom, Orat. ii, de and Arsenius. See Barnes, 8oth.
Regno. See Barnes, 93. * This I have formed from the eighty-fourth and eighty-fifth of * This fragment, which is extant in Athenæus (Barnes, 101), is sup Barnes's edition. The two fragments are found in Athenæus. posed, on the aathority of Chamæleon, to have been addressed to
31 Fear that love disturbs my rest, ODE LXXVIII. ?
Yet feel not love's impassion's care;
I think there's madness in my breast,
Yet cannot find that madness there!
6 From dread Leucadia's frowning steep
I'll plunge into the whitening deep,
And there I'll float, to waves resign'd,
For love intoxicates
mind! My spotless frame with blushing grace, Herself as pure as gold!
7 Mix me, child, a cup divine,
Crystal water, ruby wine: Sappho. We have also a stanza attributed to ber, which some romancers have supposed to be her answer to Anacreon.
See Barnes, 1730. This fragment, to which I have taken the limalheur (as Bayle says) Sappho vint au monde environ cent ou six berty of adding a turn not to be found in the original, is cited by vingts ans avant Anacreon., Nouvelles de la Rép. des Lett. tom. ii, Lucian in his little essay on the Gallie Hercules. de Novembre, 1684. The following is ber fragment, the compliment * Barnes, 125th. This, if I remember right, is in Scaliger's Poetics. of which is very finely imagined; she sapposes that the Muse has Gail has omitted it in his collection of fragments. dictated the verses of Anacreon :
* This fragment is extant in Arsenias and Hepbæstion. See Barnes
(691b), who has arranged the metre of it very elegantly. Κείνον, ω χρυσοθρονε Μουσ', ενισπες
* Barnes, 72d. This fragment, wbich is quoted by Athenæus, is Υμνον, εκ της καλλιγυναικος εσθλας
an excellent lesson for the votaries of Jupiter Hospitalis. Τηϊος χωρας ον αειδε τερπνως
5 This fragment is in Hepbæstion. See Barnes, 95th.
Catullus expresses something of this contrariety of feelings :
Odi et amo; quare id faciam fortasse requiris ;
Nescio: sed fieri sentio, et excrucior. Carm. 53.
I love thee and bate thee, but if I can tell
The cause of my love and my hate, may I die!
I can feel it, alas ! I can feel it too well,
That I love theo and bate thee, but cannot tell why.
6 This also is in Hephæstion, and perhaps is a fragment of some of which are to be found in Scaliger's Poetics.
poem, in wbich Anacreon had commemorated the fate of Sappho.
It is the 13d of Baroes. De Pauw thinks that those detached lines and couplets, which Sca- * This fragment is collected by Barnes from Demetrius Phaliger bas adduced as examples his Poetics, are by no means au- lareus, apd Eustathius, and is subjoined in his edition to the epithentic, but of his own fabrication.
grams attributed to our poet. And here is the last of those little * This is generally inserted among the remains of Alcus. Some. scattered flowers which I thought I might venture with any grace bowever, have attributed it to Anacreon. See our poet's twonty-se- to transplant. I wish it could be said of the garland which they form, cond ode, and the notes.
Το δ' ως Ανακρέοντος.