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What, you stare? I pray you, poace!
Venus, for a hymn of love,
Tell me, why, my sweetest dove,'
Curious stranger, I belong
This is all-away-away-
i Gades' warm, desiring train ;) The Gaditanian girls were See the poem. Daniel Heinsius, in speaking of Dousa, who like the Baladières of Indi« whose dances are thus described adopted this method at the siege of Leyden, expresses a by a French author; “Les danses sont presque toutes des similar sentiment. pantomimes d'amour; le plan, le dessein, les attitudes, les
Quo patriæ non tendit amor? Mandata referre mesures, les sons et les cadences de ces ballets, tout respire
Postquam hominem nequiit mittere, misit avem. cette passion et en exprime les volaptés et les fureurs.”-His
Fuller tells us, that at the siege of Jerusalem, the Christoire du Commerce des Europ. dans les deux Indes. Raynal. tians intercepted a letter, tied to the legs of a dove, in which
The music of the Gaditanian females had all the volup- the Persian Emperor promised assistance to the besieged.tuous character of their dancing, as appears from Martial:- Holy War, cap. 24, book i. Cantica qui Nili, qui Gaditana susurrat.
Lib. iii. epig. 63.
3 She, whose eye has madden'd many, &c.) For tupavvov, in Lodovico Ariosto had this ode of our bard in his mind, the original, Zeune and Schneider conjecture that we should when he wrote his poem "De diversis amoribus." See the
read rupavvov, in allusion to the strong influence which this Anthologia Italorum.
object of his love held over the mind of Polycrates. See Degen. The dove of Anacreon, bearing a letter from the poet to * Venus, for a hymn of love, his mistress, is met by a stranger, with whom this dialogue is Warbled in her votive grove, &c.] “This passage is invaluimagined.
able, and I do not think that any thing so beautiful or so The ancients made use of letter-carrying pigeons, when delicate has ever been said. What an idea does it give of they went any distance from home, as the most certain means the poetry of the man, from whom Venus herself, the mother of conveying intelligence back. That tender domestic attach of the Graces and the Pleasures, purchases a little hymu ment, which attracts this delicate little bird through every with one of her favorite doves!" Longepierre. danger and difficulty, till it settles in its native nest, affords De Pauw objects to the authenticity of this ode, because it to the author of "The Pleasures of Memory" a fine and in makes Anacreon his own panegyrist; but poets have a literesting exemplification of his subject.
cense for praising themselves, which, with some indeed, Led by what chart, transports the timid dove may be considered as comprised under their general priviThe wreaths of conquest, or the vows of love! lege of fiction.
Let her eyebrows smoothly rise
But, hast thou any sparkles warm,
1 This ode and the next may be called companion-pictures; the ancients to the goddess Isis, he says, “ Nor will I swear, they are highly finished, and give us an excellent idea of the but that Anacreon, (a man very judicious in the provoking taste of the ancients in beauty. Franciscus Junius quotes motives of wanton love,) intending to bestow on his sweet them in his third book “De Pictura Veterum."
mistress that one of the titles of woman's special ornament, This ode has been imitated by Ronsard, Giuliano Goselini, well-haired, (kaldi dokajos,) thought of this when he gave &c. &c. Scaliger alludes to it thus in his Anacreontica : his painter direction to make her black-haired.” Olim lepore blando,
* And, if painting hath the skill Litis versibus
To make the spicy balm distil, &-c.) Thus Philostratus, Candidus Anacreon
speaking of a picture : επαινω και τον ενδρυσον των ροδων, Quam pingeret amicus
και φημι γεγραφθαι αυτα μετα της οσμης. “I admire the Descripsit Venerem suam.
dewiness of these roses, and could say that their very smell The Tejan bard of former days,
was painted." Attuned his sweet descriptive lays,
6 Miz'd with the liquid light that lies And taught the painter's hand to trace
In Cytherea's languid eyes.] Marchetti explains thus the His fair beloved's every grace.
úypov of the original:In the dialogue of Caspar Barlæus, entitled " An formosa sit
Dipingili umidetti ducenda,” the reader will find many curious ideas and de
Treinuli e lascivetti, scriptions of womanly beauty.
Quai gli ha Ciprigna l'alma Dea d'Amore. 2 Thou, whose soft and rosy hues,
Tasso has painted in the same manner the eyes of Armida :Mimic form and soul infuse,] I have followed here the
Qual raggio in onda le scintilla un riso reading of the Vatican MS. podens. Painting is called "the
Negli umidi occhi tremulo e lascivo. rosy art," either in reference to coloring, or as an indefinite
Within her humid, melting eyes epithet of excellence, from the association of beauty with
A brilliant ray of laughter lies, that flower. Salvini has adopted this reading in his literal
Sost as the broken solar beam, translation
That trembles in the azure stream.
The mingled expression of dignity and tenderness, which 3 The lovely maid that's far away.) If this portrait of the
Anacreon requires the painter to infuse into the eyes of his poet's mistress be not merely ideal, the omission of her name
mistress, is more amply described in the subsequent ode. is much to be regretted. Meleager, in an epigram on Anac
Both descriptions are so exquisitely touched, that the artist reon, mentions "the golden Eurypyle" as his mistress.
must have been great indeed, if he did not yield in painting Βεβληκως χρυσεην χειρας επ’ Ευρυπυλην.
to the poet. + Paint her jetty ringlets playing,
7 Mingling tints, as when there glows Silky locks like tendrils straying ;] The ancients have
In snowy milk the bashful rose.] Thus Propertius, eleg. 3, been very enthusiastic in their praises of the beauty of hair. lib. ii. Apuleius, in the second book of his Milesiacs, says, that
Utque rosæ puro lacte natant folia. Venus herself, if she were bald, though surrounded by the And Davenant, in a little poem called “The Mistress," Graces and the Loves, could not be pleasing even to her
Catch as it falls the Scythian snow, husband Vulcan.
Bring blushing roses steep'd in milk. Stesichorus gave the epithet kaldız dokapos to the Graces, Thus too Taygetus :and Simonides bestowed the same upon the Muses. See
Quæ lac atque rosas vincis candore rubenti. Hadrian Junius's Dissertation upon Hair.
These last words may perhaps defend the “flushing white" To this passage of our poet, Seldon alluded in a note on of the translation. the Polyolbion of Drayton, Song the Second, where observ & Then her lip, so rich in blisses, ing, that the epithet “black-haired" was given by some of Sweet petitioner for kisses,] The “lip, provoking kisses,"
Next, beneath the velvet chin,
And there the raven's dye confusa
And now with all thy pencil's truth,
Now from the sunny apple seek
in the original, is a strong and beautiful expression. Achilles 5 Let no wreath, with artful trine, &-c.) If the original Tatius speaks of youn maldaka rpos ta pianuara, "Lips here, which is particularly beautiful, can admit of any addisoft and delicate for kissing." A grave old commentator, tional value, that value is conferred by Gray's admiration of Dionysius Lambinus, in his notes upon Lucretius, tells us it. See his letters to West. with the apparent authority of experience, that “Suavius Some annotators have quoted on this passage the descripviros osculantur puellæ labiosæ, quam quæ sunt brevibus tion of Photis's hair in Apuleius; but nothing can be more labris." And Æneas Sylvius, in his tedious uninteresting distant from the simplicity of our poet's manner, than that story of the loves of Euryalus and Lucretia, where he par affectation of richness which distinguishes the style of Aputicularizes the beauties of the heroine, (in a very false and leius. labored style of latinity,) describes her lips thus :-"Os par 6 But flush'd with manhood's early glow, vum decensque, labia corallini coloris ad morsum aptissima." And guileless as the deus of dawn, &c.) Torrentius, upon -Epist. 114, lib. i.
the words " insignem tenui fronte," in Horace, Od. 33, Jib. i., · Next, bencath the velvet chin,
is of opinion, incorrectly, I think, that "tenui" here bears Ihose dimple hides a love soithin, &c.] Madame Dacier the same meaning as the word απαλον. . has quoted here two pretty lines of Varro :
7 Mir in his eyes the power alike, Sigilla in mento impressa Amoris digitulo
With love to win, with awe to strike ; &c.] Tasso gives a Vestigio demonstrant mollitudinem.
similar character to the eyes of Clorinda :In her chin is a delicate dimple,
Lampeggiar gli occhi, e folgorar gli sguardi
Dolci ne l'ira.
Her eyes were flashing with a heavenly heat,
A fire that, even in anger, still was sweet. 9 Nov let a floating, lucid veil,
The poetess Veronica Cambara is more diffuse upon this Shadow her form, but not conceal ; &c.] This delicate art variety of expression :of description, which leaves imagination to complete the
Occhi lucenti e belli, picture, has been seldom adopted in the imitations of this
Come esser puo ch' in un medesmo istante beautiful poem. Ronsard is exceptionably minute ; and
Nascan de voi si nuove forme et tante ? Politianus, in his charming portrait of a girl, full of rich and
Lieti, mesti, superbi, humil', altieri, exquisite diction, has lifted the veil rather too much. The
Vi mostrate in un punto, onde di speme, "questo che tu m' intendi" should be always left to fancy.
Et di timor, de empiete, &c. &c. 3 The reader who wishes to acquire an accurate idea of
Oh! tell me, brightly-beaming eye, the judgment of the ancients in beauty, will be indulged by
Whence in your little orbit lie consulting Junius de Pictura Veterum, lib. iii. c. 9, where he
So many different traits of fire, will find a very curious selection of descriptions and epithets
Expressing each a new desire. of personal perfections. Junius compases this ode with a
Now with pride or scom yuu darkle, description of Theodoric, king of the Goths, in the second
Now with love, with gladness, sparkle, epistle, first book, of Sidonius Apollinaris.
While we who view the varying mirror, 4 Let his hair, in masses bright,
Feel by turns both hope and terror. Fall like floating rays of light; &c.] He here describes Chevreau, citing the lines of var poet, in his critiqne on the sunny bair, the "flava coma," which the ancients so the poems of Malherbe, produces a Latin version of them much admired. The Romans gave this color artificially to from a manuscript which he had seen, entitled " Joan. Faltheir hair. See Stanisl. Kobienzyck. de Luxo Romanorum. conis Anacreontici Lusus."
1 That Eloquence would claim her own ;] In the original, “ Bathyllus (says Madame Dacier) could not be more or = as in the preceding ode, Pitho, the goddess of persuasion, or gantly praised, and this one passage does him more ha a eloquence. It was worthy of the delicate imagination of than the statue, however beautiful it might be, which Po," the Greeks to deify Persuasion, and give her the lips for her crates raised to him." throne. We are here reminded of a very interesting frag 5 An elegant translation of this ode, says Degen, may be ment of Anacreon, preserved by the scholiast upon Pindar, found in Ramler's Lyr. Blumenlese, lib. v. p. 403. and supposed to belong to a poem reflecting with some se
6 Bring me wine in brimming urns, &c.) Orig. TIEU verity on Simonides, who was the first, we are told, that
avoti. The amystis was a method of drinking used among ever made a hireling of his muse :
the Thracians. Thus Horace, “ Threicià vincat amystide." Ουδ' αργυρεη ποτ' ελαμψε Πειθω.
Mad. Dacier, Longepierre, &c. &c.
Parrhasius, in his twenty-sixth epistle, (Thesaur. Critic.
vol. i.,) explains the amystis as a draught to be exhausted ? And let the lips, though silent, wear
without drawing breath, “uno haustu." A nole in the snarA life-look, as words were there.] In the original Radw gin of this epistle of Parrhasius says, " Politianus vestem OLOT 1).
The mistress of Petrarch "parla con silenzio,” esse putabat," but adds no reference. which is perhaps the best method of female eloquence. ? Give me all those humid flowers, &e.) According to the
3 Give him the winged Hermes' hand, &c.] In Shakspeare's original reading of this line, the poet says, “ Give me the Cymbeline there is a similar method of description :
flower of wine"-Date flosculos Lyæi, as it is in the version this is his hand,
of Elias Andreas; and
Deh porgetimi del fiore
Di quel almo e buon liquore, We find it likewise in Hamlet. Longepierre thinks that the as Regnier has it, who supports the reading. The word hands of Mercury are selected by Anacreon, on account of Avdus would undoubtedly bear this application, which is the graceful gestures which were supposed to characterize somewhat similar to its import in the epigram of Simonides the god of eloquence; but Mercury was also the patron of upon Sophocles :thieves, and may perhaps be praised as a light-fingered deity.
Εσβεσθης γεραιε Σοφοκλεες, ανθος αοιδων:
and flos in the Latin is frequently applied in the same manI see the sun-gods portrait there ;] The abrupt turn here ner-thus Cethegus is called by Ennius, Flos inlibatus popis spirited, but requires some explanation. While the artist uli, suadreque medulla, “The immaculate flower of the is pursuing the portrait of Bathyllus, Anacreon, we must people, and the very marrow of persuasion." See these suppose, turns round and sees a picture of Apollo, which verses cited by Aulus Gellius, lib. xii., which Cicero praised, was intended for an altar at Samos. He then instantly tells and Seneca thought ridiculous. the painter to cease his work; that this picture will serve But in the passage before us, if we admit Ercivwv, accordfor Bathyllus; and that, when he goes to Samos, he may ing to Faber's conjecture, the sense is sufficiently clear, withmake an Apollo of the portrait of the boy which he had begun. out having recourse to such refinements.
of this philosopher, which I quote on the twenty-second ode.
Every dewy rose I wear
Sweet the little founts that weep,
Lulling soft the mind to sleep;
Hark! they whisper as they roll,
Calm persuasion to the ul;
Tell me, tell me, is not this
All a stilly scene of bliss ?
Surely neither you nor I."
One day the Muses twined the hands
Of infant Love with flow'ry bands ;
There is another epigram by this philosopher, preserved Skods ils tears, and withers there.) There are some beau in Laertius, which turns upon the same word. tual lines, by Angerianus, upon a garland, which I cannot
Aστηρ πριν μεν ελαμπες ενι ζωοισιν εωος resist quoting here :
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 pale beam that weeps at night.
In the Veneres Blyenburgicæ, under the head of " Alla-
siones," we find a number of such frigid conceits upon names, And haply, at the morning light,
selected from the poets of the middle ages. My love shall twine thee round her brow.
s Who, my girl, would pass it by ? Then, if upon her bosom bright
Surely neither you' nor 1.) The finish given to the picture Some drops of dew shall fall from thee,
by this simple exclaination ris av ovv ópwv nape 2001, is inimTell her, they are not drops of night,
itable. Yet a French translator says on the passage, “ This Bat tears of sorrow shed by me!
conclusion appeared to me too trifling after such a descrip In the poem of Mr. Sheridan's, " Uncouth is this moss tion, and I thought proper to add somewhat to the strength Covered grotto of stone,” there is an idea very singularly co of the original." incident with this of Angerianus :
6 The poet appears, in this graceful allegory, to describe the And thou, stony grot, in thy arch may'st preserve
softening influence which poetry holds over the mind, in Some lingering drops of the night-fallen dew; Let them fall on her bosom of snow, and they'll serve
making it peculiarly susceptible to the impressions of beauty, As tears of my sorrow intrusted to you.
In the following epigram, however, by the philosopher Plato,
(Diog. Laert. lib. 3.) the Muses are represented as disavow* But to you, my burning heart, &c.] The transition here ing the influence of Love. is peculiarly delicate and impassioned; but the commentatxo have perplexed the sentiment by a variety of readings
"A Κυπρις Μουσαισι, κορασια, ταν Αφροδιταν
Τιματ', η τον Ερωτα ύμμιν εφυπλισομαι.
Αί Μουσαι ποτι Κυπριν, Αρει τα στωμυλα ταυτα: The description of this bower is so natural and animated, that we almost feel a degree of coolness and freshness while
Ημιν ου πεταται τουτο το παιδαριον. te peruse it . Longepierre has quoted from the first book of
“Yield to my gentle power, Parnassian maids;" the Anthologia, the following epigram, as somewhat resem
Thus to the Muses spoke the Queen of Charms
" Or Love shall flutter through yonr classic shades, Ερχεο και κατ' εμαν έζευ πιτυν, και το μελιχρον
And make your grove the camp of Paphian arms !" Προς μαλακους ηχει κεκλιμενα ζεφυρους.
"No," said the virgins of the tuneful bower, Ηνιόε και κρουνισμα μελισταγες, ενθα μελισσων
“ We scorn thine own and all thy urchin's art; Hoυν ερημαιρες ύπνον αγω καλαμοις.
Though Mars has trembled at the infant's power,
His shaft 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 donna della vita mia:
E tanta era il piacer ch'ei ne sentia,
Che non sapea, nè volea uscirne fore.
Quando ecco ivi annodar si sente il core, * Here redine you, gentle maid, &c.] The Vatican MS.
Si, che per forza ancor convien che stia: teads Balvddov, which renders the whole poem metaphorical.
Tai lacci alta beltate orditi avia Some commentator suggests the reading of Badultov, which makes a pun upon the name; a grace that Plato himself has
Del crespo crin, per farsi eterno onore. condescended to in writing of his boy Astup. See the epigram
Onde offre infin dal ciel degna mercede,
A chi scioglie il figliuol la bella dea
bling this ode :