« ПретходнаНастави »
And there's an end-for ah, you know
See, in yonder flowery braid,
Fly, and cool my goblet's glow
1 See, in yonder flowery braid,
E m'insegni con piu rare Called for thee, my blushing maid!) “In the same manner
Forme accorte d' involare that Anacreon pleads for the whiteness of his locks, from the
Ad amabile beltade beauty of the color in garlands, a shepherd, in Theocritus,
Il bel cinto d'onestade. endeavors to recommend his black hair:
. And there's an end--for ah, you know Και το τον μελαν εστι, και CON á
They drink but little wine below!) Thus Mainard :υακινθος,
La Mort nous guette ; et quand ses lois
Nous ont enfermés une fois
Au sein d'une fosse profonde, ? " This is doubtless the work of a more modern poet than
Adieu bons vins et bon repas ; Anacreon; for at the period when he lived rhetoricians were
Ma science ne trouve pas not known."-Degen.
Des cabarets en l'autre monde. Though this ode is found in the Vatican manuscript, I am From Mainard, Gombauld, and De Cailly, old French inuch inclined to agree in this argument against its authen
poets, some of the best epigrams of the English language ticity; for though the dawnings of the art of rhetoric might have been borrowed. already have appeared, the first who gave it any celebrity
* Bid the blush of summer's rose was Corax of Syracuse, and he flourished in the century af
Burn upon my forehead's snows ; &c.] Licetus, in his ter Anacreon.
Hieroglyphica, quoting two of our poet's odes, where he calls Our poet anticipated the ideas of Epicurus, in his aversion
to his attendants for garlands, remarks, “Constat igitur to the labors of learning, as well as his devotion to volup-floreas coronas poetis et potantibus in symposio convenire, tousness. Πασαν παιδειαν μακαριοι φευγετε, said the pliloso- non autem sapientibus et philosophiam affectantibus."-" It pher of the garden in a letter to Pythocles
appears that wreaths of flowers were adapted for poets and • Teach me this, and let me twine
revellers at banquets, but by no means became those who had Some fond responsive heart to mine.] By xpvons Apo
pretensions to wisdom and philosophy." On this principle, ourns here, I understand some beautiful girl, in the same
in his 1520 chapter, he discovers a refinement in Virgil, demanner that Avatus is often used for wine. “Golden” is scribing the garland of the poet Silenus, as fallen off'; which frequently an epithet of beauty. Thus in Virgil, “ Venus distinguishes, he thinks, the divine intoxication of Silenus aurea ;" and in Propertius, “Cynthia aurea." Tibullus, from that of common drunkards, who always wear their however, calls an old woman “ golden."
crowns while they drink. Such is tho “ labor ineptiarum" The translation d'Autori Anonimi, as usual, wantons on
of commentators! lais passage of Anacreon:
• He still can kiss the goblet's brim, &c.) Wine is pre
METHINKS, the pictured bull we see
Whose breath perfumes th’ Olympian bowers;
While we invoke the wreathed spring,
scribed by Galen, as an excellent medicine for old men:
Again these longing arms insold thee, "Quod frigidos et humoribus expletos calefaciat, &c.;" but
Again, my rose, again I hold thee.
This, like most of the terms of endearment in the modern
Latin poets, is taken from Plautus; they were vulgar and which says, “ that wine makes an old man dance, whether he will or not."
colloquial in his time, but are among the e'egancies of the
modern Latinists. Λογος εστ' αρχαιος, ου κακως εχων,
Passeratius alludes to the ode before us, in the beginning Οινον λεγουσι τους γεροντας, ω πατερ,
of his poem on the Rose :Πειθειν χορεειν ου θελοντας.
Carmine digna rosa est; vellem caneretur ut illam 1 "This ode is written upon a picture which represented
Teius arguta cecinit testudine vates. the rape of Europa."- Madame Dacier. It may probably have been a description of one of those
4 Resplendent rose! to thec we'll sing;) I have passed coins, which the Sidonians struck off in honor of Europa,
over the line συν εταιρει αυξει μελπην, which is corrupt in this representing a woman carried across the sea by a bull. Thus original reading, and has been very little improved by the Natalis Comes, lib. viii. cap. 23. "Sidonii numismata cum
annotators. I should suppose it to be an interpolation, if it fæmina tauri dorso insidente ac mare transfretante enderunt were not for a line which occurs afterwards: φερε τη φυσιν in ejus honorem.” In the little treatise upon the goddess of dywyev. Syria, attributed very falsely to Lucian, there is mention of 6 And Venus, in its fresh-blown leaves, &c.) Belleau, in a this coin, and of a temple dedicated by the Sidonians to
note apon an old French poel, quoting the original here Astarté, whom some, it appears, confounded with Europa. adpooloiwv qabupja, translates it, “comme les délices et
The poet Moschus bas left a very beautiful idyl on the mignardises de Venus." 8 pry of Europa.
6 Oft hnth the poet's magic tongue No: he descends from climes above,
The rose's fair luxuriance sung ; &c.) The following is He looks the God, he breathes of Jove!) Thus Mos
a fragment of the Lesbian poetess. It is cited in the romaneo chus:Κρυψε θεον και τρεψε δεμας και γινετο ταυρος.
of Achilles Tatius, who appears to have resolved the numbers
into prose. Ει τοις ανθεσιν ηθελεν ο Ζευς επιθειναι βασιλεα,το The God forgot himself, his heaven, for love,
ροδον αν των ανθεων τβασιλευε. γης εστι κοσμος, φυτων αγλαAnd a bull's form belied th'almighty Jove.
ίσμα, οφθαλμος ανθεων, λειμωνος ερυθημα, καλλος αστραπτον. This ode is a brilliant panegyric on the rose.
Ερωτος πνει, Αφροδιτην προξενει, ευειδεσι φυλλοις κομα ευκιtiquity (says Barnes) has produced nothing more beautiful.” νητοις πεταλοις τριφ. το πεταλον τω Ζεφυρα γελά. From the idea of peculiar excellence, which the ancients
If Jove would give the leafy bowers attached to this flower, arose a pretty proverbial expression,
A queen for all their world of flowers, used by Aristophanes, according to Suidas, poda lli'clonkas,
The rose would be the choice of Jove, "You have spoken roses," a phrase somewhat similar to the
And blush, the oneen of every grove. “ dire des fleurettes" of the French. In the same idea of ex
Sweetest child of weeping morning, cellence originated, I doubt not, a very curious application
Gem, the vest of earth adorning, of the word podov, for which the inquisitive reader may con
Eye of gardens, light of lawns, sult Gaulminus upon the epithalamium of our poet, where
Nursling of soft summer dawns; it is introduced in the romance of Theodorus. Muretus, in
Love's own earliest sigh it breaths, one of his elegies, calls his mistress his rose :
Beauty's brow with lustre wrenths, Jam te igitur rursus teneo, formosula, jam te
And, to young Zephyr's warm caresses, (Quid trepidas ?) teneo; jam, rosa, te teneo. Eleg. &.
Spreads abroad its verdant tresses,
Till, blushing with the wanton's play,
Its cheek wears e'en a richer ray!
And fresh inhale the spicy sighs
When revel reigns, when mirth is high,
When, humid, from the silvery stroam,
The rose distils a healing balm,
He, who instructs the youthful crew
I hen morning paints the orient skies,
Ambrosinm late rosa tunc quoquo spargit odorem, Her fingers burn with roseale dyes ; &c.) In the original Cum fluit, aut multo languida sole jacet. here, he enumerates the many epithets of beauty, borrowed
Nor then the rose its odor loses, from roses, which were used by the poets, mapa twy oop wv.
When all its flushing beauties die; We see that poets were dignified in Greece with the title of
Nor less ambrosial balm diffuses, sages : even the careless Anacreon, who lived but for love
When wither'd by the solar eye. and voluptuousness, was called by Plato the wise Anacreon
6 With nectar drops, a ruby tide, - fuit hæc sapientia quondam."
The sweetly orient buds they dyed, &c.) The author of • Preserves the cold inurned clay, &c.) He bere alludes to
the “Pervigilium Veneris" (a poem attributed to Catullus, the use of the rose in embalming; and, perhaps, (as Barnes
the style of which appears to me to have all the labored thinks.) to the rosy unguent with which Venus anointed
luxuriance of a much later period) ascribes the tincture of the corpose of Hector.--Homer's Iliad y. It may likewise
the rose to the blood from the wound of Adonis, regard the ancient practice of putting garlands of roses on
-rosa the dead, as in Statios Theb. lib. x. 762.
Fusæ aprino de cruore-
according to the emendation of Lipsius. In the following Corpus odoratum.
epigram this hue is differently accounted for :Where “ veris honor," though it mean every kind of flowers,
Illa quidem studiosa suum defendere Adonim, may seem more particularly to refer to the rose, which onr
Gradivus stricto quem petit ense ferox,
Affixit duris vestigia cæca rosetis, poet in another ode calls éapos ue Anua. We read, in the Hieroglyphics of Pierius, lib. Iv., that some of the ancients
Albaque divino picta cruore rosa est. used w order in their wills, that roses shonld be annually
While the enamor'd queen of joy scattered on their tombs, and Pierius has adduced some se- Flies to protect her lovely boy, pnlehral inscriptions to this purpose.
On whom the jealous war-god rushes; • And mocks the vestige of decay :) When he says that She treads upon a thorned rose, this flower prevails over time itself, he still alludes to its And while the wound with criinson flows, efficacy in ernbalmment, (tenerâ poneret ossa rosa. Propert. The snowy flow'ret feels her blood, and blushes: lib. i. eleg. 17,) or perhaps to the subsequent idea of its fra- 6 "Compare with this elegant ode the verses of Uz, lib. i. grance surviving its beauty; for he can scarcely mean to • die Weinlese.'"--Degen. praise for duration the “ nimium breves flores' of the rose. This appears to be one of the hymns which were sung at Philostratus compares this flower with love, and says, that the anniversary festival of the vintage ; one of the emidnutou they both defy the influence of time ; xpovov de ovre Epus, buvoi, as our poet himself terms them in the fifty-ninth ode. OUTE poda odev. Unfortunately the sinsilitude lies not in We cannot help teeling a sort of reverence for these classic their duration, but their transience.
relics of the religion of antiquity. Horace may be supposed • Srcel as in youth, its balmy breath
to have written the nineteenth ode of his second book, and Diffuses odor even in death!) Thus Casper Barlæus, in the twenty-futh of the third, for some bacchanalian celebrahis Ritus Nuptiarum :
Lion of this kind.
And taste, uncloy'd by rich excesses,
As aught on earthly wing can fly,
Then, when the ripe and vermil wine,-
Light as the leaf, that on the breeze
Whose was the artist hand that spread
Beneath their queen's inspiring glance,
1 Which, sparkling in the cup of mirth,
* And all that mystery loves to screen, Nluminate the sons of earth!) In the original rorov Fancy, like Faith, adores unseen, &c.] The picture here αστυνον κομιζων. Madame Dacier thinks that the poet here has all the delicate character of the semi-reducta Venus, had the nepenthe of Homer in his mind. Odyssey, lib. iv. and affords a happy specimen of what the poetry of passion Thie nepenthé was a something of exquisite charm, infused ought to be-glowing but through a veil, and stealing upon by Helen into the wine of her guests, which had the power the hoart from concealment. Few of the ancients have of dispelling every anxiety. A French writer, De Mere, attained this modesty of description, which, like the golden conjectures that this spell, which made the bowl so be- cloud that hung over Jupiter and Juno, is impervious 10 guiling, was the charm of Helen's conversation. See Bayle, every beam but that of fancy. art. Heléne.
Her bosom, like the dew-wash'd rose, &c.) “'Poócur 2 This ode is a very animated description of a picture of (says an anonymous annotator) is a whimsical epithet for Venus on a discus, which represented the goddess in her the bosom." Neither Catullus nor Gray have been of his first emergence from the waves. About two centuries after opinion. The former has the expression, our poet wrote, the pencil of the artist Apelles embellished
En hic in roseis latet papillis; this subject, in his famous painting of the Venus Anadyo
And the latter, mené, the model of which, as Pliny informs us, was the beautiful Campaspe, given to him by Alexander ; though,
Lo! where the rosy-bosom'd hours, &c. according to Natalis Comes, lib. vii. cap. 16, it was Phryne Crottus, a modern Latinist, might indeed be censored for who sat to Apelles for the face and breast of this Venus. too vague a use of the epithet "rosy," when he applies it
There are a few blemishes in the reading of the ode be- to the eyes :-“e roseis oculis." fore us, which have influenced Faber, Heyne, Brunck, &c.
young Desire, &c.] In the original 'lue pos, to donounce the whole poem as spurious. But, “non ego who was the same deity with Jocus among the Romans. paucis offendar maculis." I think it is quite beautiful Aurelius Augurellus has a poem beginningenough to be authentic.
Invitat olim Bacchus ad cenam suos 3 Whose was the artist hand that spread
Comon, Jocum, Cupidinem. Upon this disk the ocean's bed?] The abruptness of apa Which Parnell has closely imitated :τις τορευσε ποντων is finely expressive of sudden admiration,
Gay Bacchus, liking Estcourt's wine, and is one of those beauties which we cannot but admire in
A noble meal bespoke us; their source, though, by frequent imitation, they are now
And for the guests that were to dine, become familiar and unimpressive.
Brought Comus, Love, and Jocus, &c.
While, glittering through the silver waves,
When Gold, as fleet as zephyr's pinion,
Away, deceiver! why pursuing
But scarcely has my heart been taught
Ripen'd by the solar beam,
1 I have followed Barnes's arrangement of this ode, which, si sic omnia dixisset!-but the rest does not bear citathough deviating somewhat from the Vatican Ms., appears
tion. to me the more natural order.
• They dash'd the wine-cup, that, by him, 9 When Gold, as fleet as zephyr's pinion,
Was fill'd with kisses to the brim.) Original: Escapes like any faithless minion, &c.] In the original 'O parannsó xpuous. There is a kind of pun in these words,
Φιληματων δε κείνων, as Madame Dacier has already remarked; for Chrysos, which
Πυθων κυπελλκ κιρνης. signifies gold, was also a frequent name for a slave. In one
Horace has “Desiderîque temperare poculum," not figu. of Lucian's dialogues, there is, I think, a similar play upon ratively, however, like Anacreon, but importing the lovethe word, where the followers of Chrysippus are called
philtres of the witches. By “cups of kisses” our poet may golden fishes. The puns of the ancients are, in general, allude to a favorite gallantry among the ancients, of drinkeven more vapid than our own; some of the best are those
ing when the lips of their mistresses had touched the brim : recorded of Diogenes.
“ Or leave a kiss within the cup, 3 And flies me, (as he flies me crer,) &c.) Act 8', act Me Qev
And I'll not ask for wine," yu. This grace of iteration has already been taken notice of. Though sometimes merely a playful beauty, it is pecu- As in Ben Jonson's translation from Philostratus; and Luliarly expressive of impassioned sentiment, and we may cian has a conceit upon the same idea, “ 'Iva kai mins áua easily believe that it was one of the many sources of that kai pilns," " that you may at once both drink and kiss." energetic sensibility which breathed through the style of
6 The title Erinvios úuvos, which Barnes has given to this Sappho. See Gyrald. Vet. Poet. Dial. 9. It will not be
ode, is by no means appropriate. We have already had one said that this is a mechanical ornament by any one who can
of those hymns, (ode 56,) but this is a description of the vinfeel its charm in those lines of Catullus, where he complains
tage ; and the title els orvov, which it bears in the Vatican of the infidelity of his mistress, Lesbia :
MS., is more correct than any that have been suggested. Cæli, Lesbia nostra, Lesbia illa,
Degen, in the true spirit of literary skepticism, doubts that Illa Lesbia, quam Catullus unam,
this ode is genuine, without assigning any reason for such a Plus quam se atque suos amavit omnes, suspicion ;-"non amo te, Sabidi, nec possum dicere quare." Nunc, &c.
But this is far from being satisfactory criticism.