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What, you stare? I pray you, poace!
More I'll find before I cease.
Have I told you all my flames,
'Mong the amorous Syrian dames ?
Have I number'd every one,
Glowing under Egypt's sun ?
Or the nymphs, who, blushing sweet,
Deck the shrine of Love in Crete;
Where the God, with festal play,
Holds eternal holiday ?
Still in clusters, still remain
Gades' warm, desiring train ;'
Still there lies a myriad more
On the sable India's shore;
These, and many far removed,
All are loving-all are loved !

Venus, for a hymn of love,
Warbled in her votive grove,
('Twas in sooth a gentle lay,)
Gave me to the bard away.
See me now his faithful minion.
Thus with softly-gliding pinion,
To his lovely girl I bear
Songs of passion through the air
Oft ho blandly whispers me,
“Soon, my bird, I'll set you free."
But in vain he'll bid me fly,
I shall serve him till I die.
Never could my plumes sustain
Ruffling winds and chilling rain,
O'er the plains, or a the dell,
On the mountain's savage swell,
Seeking in the desert wood
Gloomy shelter, rustic food.
Now I lead a life of ease,
Far from rugged haunts like these.
From Anacreon's hand I eat
Food delicious, viands sweet;
Flutter o'er his goblet’s brim,
Sip the foamy wine with him.
Then when I have wanton'd round
To his lyre's beguiling sound;
Or with gently-moving wings
Fann'd the minstrel while he sings:
On his harp I sink in slumbers,
Dreaming still of dulcet numbers !

ODE XV.

Tell me, why, my sweetest dove,'
Thus your humid pinions move,
Shedding through the air in showers
Essence of the balmiest flowers ?
Tell me whither, whence you rove,
Tell me all, my sweetest dove.

Curious stranger, I belong
To the bard of Teian song ;
With his mandate now I fly
To the nymph of azure eye;-
She, whose eye has madden'd many,'
But the poet more than any.

This is all-away-away-
You have made me waste the day.
How I've chatter'd! prating crow
Never yet did chatter so.

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
In jetty arches o'er her eyes,
Each, a crescent gently gliding,
Just commingling, just dividing.

ODE XVI.1
Thou, whose soft and rosy hues
Mimic form and soul infuse,
Best of painters, come, portray
The lovely maid that's far away.'
Far away, my soul! thou art,
But I've thy beauties all by heart.
Paint her jetty ringlets playing,
Silky locks, liko tendrils straying ;*
And, if painting hath the skill
To make the spicy balm distil,
Let every little lock exhale
A sigh of perfume on the gale.
Where her tresses' curly flow
Darkles o'er the brow of snow,
Let her forehead beam to light,
Burnish'd as the ivory bright.

But, hast thou any sparkles warm,
The lightning of her eyes to form i
Let them effuse the azure rays
That in Minerva's glances blaze,
Mix'd with the liquid light that lios
In Cytherea's languid eyes.
O'er her nose and cheek be shed
Flushing white and soften'd red;
Mingling tints, as when there glows
In snowy milk the bashful rose.?
Then her lip, so rich in blisses,
Sweet petitioner for kisses,
Rosy nest, whero lurks Persuasion,
Mutely courting Love's invasion.

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.
Della rosea arte signore.

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,
Whose dimple hides a Love within,'
Mould her neck with grace descending,
In a heaven of beauty ending ;
Whilo countless charms, above, below,
Sport and flutter round its snow.
Now let a floating, lucid veil,
Shadow her form, but not conceal ;)
A charm may peep, a hue may beam,
And leave the rest to Fancy's dream.
Enough—'tis she ! 'tis all I seek ;
It glows, it lives, it soon will speak!

And there the raven's dye confusa
With the golden sunbeam's hues.
Let no wreath, with artful twine,
The flowing of his locks confine ;
But leave them loose to every breeze,
To tako what shape and course they please.
Beneath the forehead, fair as snow,
But flush'd with manhood's early glow,
And guileless as the dews of dawn,
Let the majestic brows be drawn,
Of ebon hue, enrich'd by gold,
Such as dark, shining snakes unfold.
Mix in his eyes t: power alike,
With love to win, with awe to striko;-
Borrow from Mars his look of ire,
Froin Venus her soft glance of fire ;
Blend them in such expression here,
That we by turns may hope and fear!

ODE XVII.3

And now with all thy pencil's truth,
Portray Bathyllus, lovely youth!
Let his hair, in masses bright,
Fall like floating rays of light ;-

Now from the sunny apple seek
The velvet down that spreads his cheek;

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.
By Cupid's own finger impress'd;
There Beauty, bewitchingly simple,

Her eyes were flashing with a heavenly heat,
Has chosen her innocent nest.

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."

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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.
Nor yet had fair Persuasion shone

Parrhasius, in his twenty-sixth epistle, (Thesaur. Critic.
In silver splendors, not her own.

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
His foot mercurial, his martial thigh,

Deh porgetimi del fiore
The brawns of Hercules.

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:
-But hold-forbcar-

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,
Sheds its tears, and withers there,

Lulling soft the mind to sleep;
But to you, my burning heart,"

Hark! they whisper as they roll,
What can now relief impart?

Calm persuasion to the ul;
Can brimming bowl, or flowret's dew,

Tell me, tell me, is not this
Cool the flame that scorches you?

All a stilly scene of bliss ?
Who, my girl, would pass it by?

Surely neither you nor I."
ODE XIX.3
Here recline you, gentle maid,“

ODE XX.
Sweet is this embowering shade;
Sweet the young, the modest trees,

One day the Muses twined the hands
Rufiled by the kissing breeze ;

Of infant Love with flow'ry bands ;
· Eeery dewy rose I tolar

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. .
Ante fores madidæ sic sic pendete corollæ,

In life thou wert my morning star,
Mane orto imponet Cælia vos capiti;

But now that death has stolen thy light,
At quam per niveam cervicem influxerit humor,

Alas! thou shinest dim and far,
Dacite, non toris sed pluvia hæc lacrime.

Like the pale beam that weeps at night.
By Celia's arbor all the night

In the Veneres Blyenburgicæ, under the head of " Alla-
Hang, humid wreath, the lover's vow;

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,

.
Come, sit by the shadowy pine

His shaft is pointless o'er a Muse's heart!"
That covers my sylvan retreat;

There is a sonnet by Benedetto Guidi, the thought of
And see how the branches incline

which was suggested by this ode.
The breathing of zephyr to meet.

Scherzava dentro all'auree chiome Amore
See the fountain that, flowing, diffuses

Dell' alma donna della vita mia:
Around me a glittering spray;

E tanta era il piacer ch'ei ne sentia,
By its brink, as the traveller muses,

Che non sapea, nè volea uscirne fore.
I sooth him to sleep with my lay.

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
Da tanti nodi, in ch'ella stretto il vede.

+

and conjectures.

bling this ode :

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