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Which, tremblingly, my lips repeat, Send echoes from thy chord as sweet. 'Tis thus the swan, with fading notes, Down the Cayster's current floats, While amorous breezes linger round, And sigh responsive sound for sound.

Of rosy youths and virgins fair,
Ripe as the melting fruits they bear.
Now, now they press the pregnant grapes,
And now the captive stream escapes,
In fervid tide of nectar gushing,
And for its bondage proudly blushing !
While, round the vat's impurpled brim,
The choral song, the vintage hymn
Of rosy youths and virgins fair,
Steals on the charm'd and echoing air.
Mark, how they drink, with all their eyes,
The orient tide that sparkling fies,
The infant Bacchus, born in mirth,
While Love stands by, to hail the birth.

When he, whose verging years decline As deep into the vale as mine, When he inhales the vintage-cup, His feet, new-wing’d, from earth spring up, And as he dances, the fresh air Plays whispering through his silvery hair. Meanwhile young groups whom love invites, To joys e'en rivalling wine's delights, Seek, arm in arin, the shadowy grove, And there, in words and looks of love, Such as fond lovers look and say, Pass the sweet moonlight hours away.'

Muse of the Lyre! illume my dream, Thy Phæbus is my fancy's theme; And hallow'd is the harp I bear, And hallow'd is the wreath I wear, Hallow'd by him, the god of lays, Who modulates the choral maze. I sing the love which Daphne twined Around the godhead's yielding mind; I sing the blushing Daphne's flight From this ethereal son of Light; And how the tender, timid maid Flew trembling to the kindly shade,' Resign'd a form, alas, too fair, And grew a verdant laurel there; Whose leaves, with sympathetic thrill, In terror seem'd to tremble still ! The god pursued, with wing'd desire ; And when his hopes were all on fire, And when to clasp the nymph he thought, A lifeless tree was all he caught; And, stead of sighs that pleasure heaves, Heard but the west-wind in the leaves !


Awake to life, my sleeping shell,
To Phabus let thy numbers swell ;
And though no glorious prize be thine,
No Pythian wreath around thee twine,
Yet every hour is glory's hour
To him who gathers wisdom's flower.
Then wake thee from thy voiceless slumbers,
And to the soft and Phrygian numbers,

But, pause, my soul, no more, no moreEnthusiast, whither do I soar? This sweetly-madd'ning dream of soul Hath hurried me beyond the goal. Why should I sing the mighty darts Which fly to wound celestial hearts, When ah, the song, with sweeter tone, Can tell the darts that wound my own? Still be Anacreon, still inspire The descant of the Teian lyre :


1 Those well acquainted with the original nred hardly be reminded that, in these few concluding verses, I have thought right to give only the general meaning of my author, leaving the details untouched.

This hynın to Apollo is supposed not to have been written by Anacreon; and it is undoubtedly rather a sublimer 'flight thin the Teian wing is accustomed to soar. But, in a poet of whose works so small a proportion has reached us. diversity of style is by no means a safe criterion. If we knew Horace hut as a satirist, should we easily believe there could dwell such animation in his lyre ? Suidas says that our poft wrote hymns, and this perhaps is one of them. We can perceive in what an altered and imperfect state his works are at present, when we find a scholiast upon Horace citing an ode from the third book of Anacreon. 9 And how the tender, timid maid

Flew trembling to the kindly shade, &c.] Original :

Το μεν εκπεφευγε κεντρον,

Φυσεως δ' αμειψε μορφην. I find the word kevtpov here has a double force, as it also signifies that “omnium parentem, quam sanctus Noma, &c. &c." (See Martial.) In order to confirm this import of the word here, those who are curious in new readings, may place the stop after Øvoews, thus :

μεν εκπεφευγε κεντρον

Φυσεως, δ' αμειψε μορφην. 4 still be Anacreon, still inspire

The descant of the Teian lyre :) The original is Tor Arakpeovta pepov. I have translated it under the supposition that the hymn is by Anacreon ; though, I fear, from this very line, that his claim to it can scarcely be supported.

Tov Avarpcovra uivov, " Imitate Anacreon." Such is the lesson given us by the lyrist; and if, in poetry, a simple elegance of sentiment, enriched by the most playful felicities of

Still let the nectar'd numbers float,
Distilling love in every note !
And when some youth, whose glowing soul
Has felt the Paphian star's control,
When he the liquid lays shall hear,
His heart will flutter to his ear,
And drinking there of song divins,
Banquet on intellectual wine!'

Time has shed its sweetest bloom,
All the future must be gloom.
This it is that sets me sighing;
Dreary is the thought of dying
Lone and dismal is the road,
Down to Pluto's dark abode;
And, when once the journey's o'er,
Ah! we can return no more !


Youth's endearing charms are fled;
Hoary locks deform my head;
Bloomy graces, dalliance gay,
All the flowers of lifo decay.
Withering age begins to trace
Sad memorials o'er my face ;

Fill me, boy, as deep a draught,
As e'er was fill'd, as e'er was quaff"d;
But let the water amply flow,
To cool the grape's intemperate glow;'
Let not the fiery god be single,
But with the nymphs in union mingle.
Come to Letho's wavy shore,
Tell them they shall mourn no more.
Thine their hearts, their altars thino;
Must they, Dian-must they pine ?

fancy, be a charm which invites or deserves imitation, where

Singula de nobis anni prædantur euntes; shall we find such a guide as Anacreon? In morality, too,

Eripuere jocos, venerem, convivia, ludum. with some little reserve, we need not blush, I think, to follow

The wing of every passing day in his footsteps. For, if his song be the language of his

Withers some blooming joy away; heart, though luxurious and relaxed, he was artless and be

And wafts from our enamor'd arms nevolent; and who would not forgive a few irregularities,

The banquet's mirth, the virgin's charms. wben atoned for by virtues so rare and so endearing? When we think of the sentiment in those lines :

* Dreary is the thought of dying, &c.) Regnier, a libertino

French poet, has written some sonnets on the approach of Away! I hate the sland'rous dart,

death, full of gloomy and trembling repentance. Chaulieu, Which steals to wound th' unwary heart,

however, supports more consistently the spirit of the Epicahow many are there in the world, to whom we would wish rean philosopher. See his poem, addressed to the Marquis to say, Τον Ανακρέοντα μιμου!

de Lasare1 Here ends the last of the odes in the Vatican MS., whose Plus j'approche du terme et moins je le redoute, &c. authority helps to confirm the genuine antiquity of them all,

6 And, when once the journey's o'er, though a few have stolen among the number, which we may

Ah! we can return no more !) Scaliger, upon Catullus's hesitate in attributing to Anacreon. In the little essay pre

well-known lines, “Qui nunc it per iter, &c." remarks that fixed to this translation, I observed that Barnes has quoted Acheron, with the same idea, is called avefodos by Theocrithis manuscript incorrectly, relying upon an imperfect copy

tus, and Ovcerepojos by Nicander. of it which Isaac Vossius had taken. I shall just mention

6 This ode consists of two fragments, which are to be found two or three instances of this inaccuracy-the first which occur to me. In the ode of the Dove, on the words [Itepoiou

in Athenæus, book x., and which Barnes, from the similarity

of their tendency, has combined into one. I think this a very cuykalows, he says, “ Vatican MS. ovokiağwv, etiam Prisciano invito :" but the MS. reads ouvralvųw, with ovokiaOW

justifiable liberty, and have adopted it in some other fraginterlined. Degen too, on the same line, is somewhat in

ments of our poet.

Degen refers us here to verses of Uz, lib. iv., "der Trinerror. In the twenty-second ode of this series, line thir

ker." teenth, the MS. has revin with an interlined, and Barnes impates to it the reading of revon. In the fifty-seventh, line 7 But let the water amply flow, twelfth, he professes to have preserved the reading of the To cool the grape's intempcrate glow ; &c.] It was AmMS. Alanuevn d'cr' aurn, while the latter has aš 11 nuevos phictyon who first taught the Greeks to mix water with their & er avta. Almost all the other annotators have trans- wine; in commemoration of which circumstance they erectplanted these errors from Barnes.

ed altars to Bacchus and the nymphs. On this mythological * The intrusion of this melancholy ode, among the careless allegory the following epigram is founded: levities of our poet, reminds us of the skeletons which the Ardentem ex utero Semeles lavere Lyæum Egyptians used to hang up in their banquet-rooms, to incul

Najades, extincto fulminis igne sacri; cate a thought of mortality even amidst the dissipations of Cum nymphis igitur tractabilis, at sine nymphis mirth. If it were not for the beauty of its punibers, the

Candenti rursus fulinine corripitur. Teian Muse should disown this ode. “Quid habet illius,

PIERIUS VALERIANUS. illius que spirabat amores ?"

Which is, non verbum verbo, To Stobæus we are indebted for it.

While heavenly fire consumed his Theban dame, · Bloomy graces, dalliance gay,

A Naiad caught young Bacchus from the flame, All the flowers of life decay.) Horace often, with feeling

And dipp'd him burning in her purest lymph; and elegance, deplores the fugacity of human enjoyments. Hence, still he loves the Naiad's crystal urn, See book li. ode 11; and thus in the second epistle, book And when his native fires too fiercely burn,

Seeks the cool waters of the fountain-nymph.

For though the bowl's the grave of sadness,
Ne'er let it be the birth of madness.
No, banish from our board to-night
The ravelries of rude delight;
To Scythians leave these wild excesses,
Ours be the joy that sooths and blesses !
And while the temperate bowl wo wreath,
In concert let our voices breathe,
Beguiling every hour along
With hanınony of soul and song.

To Love, the soft and blooming child,
I touch the harp in descant wild;
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!

LIKE some wanton filly sporting,
Maid of Thrace, thou fly'st my courting.
Wanton filly! tell me why
Thou tripp'st away, with scornful eye,
And seem'st to think my doating heart
Is novice in the bridling art ?
Believe me, girl, .i is not so;
Thou’lt find this skilful hand can throw
The reins around that tender form,
However wild, however warm.
Yes-trust me I can tame thy force,
And turn and wind them in the course.
Though, wasting now thy careless hours,
Thou sport amid tho herbs and flowers,
Soon shalt thou feel the rein's control,
And tremble at the wish'd-for goal !

Haste theo, nymph, whoso well-aim'd spear
Wounds the fleeting mountain-deer!
Dian, Jove's immortal child,
Huntress of the savage wild !
Goddess with the sun-bright hair!
Listen to a people's prayer.
Turn, to Lethe's river turn,
There thy vanquish'd people mourn!"

To thee, the Queen of nymphs divine,
Fairest of all that fairest shine;
To thee, who rul'st with darts of fire
This world of mortals, young Desire !

1 " This fragment is preserved in Clemens Alexandrinas, Dacier conjectures) on the occasion of some battle, in which Strom. lib. vi, and in Arsenius, Collect. Græc."- Barnes. the Magnesians had been defeated. It appears to have been the opening of a hymn in praise

* This ode, which is addressed to some Thracian girl, of Love.

exists in Heraclides, and has been imitated very frequently ? This hrmn to Diana is extant in Hephæstion. There is

by Horace, as all the annotators have remarked. Madame an anecdote ufonr poet, which has led some to doubt whether he ever wrote any odes of this kind. It is related by the

Dacler rejects the allegory, which runs so obviously through

the poem, and supposes it to have been addressed to a young Scholiast upon Pindar (Isthmionic. od. ii. v. 1, as cited by

mare belonging to Polycrates. Barnes) that Anacreon being asked, why he addressed all his hymns to women, and none to the deities ? answered, “Be- ode, and informs us that the horse was the hieroglyphical

Pierins, in the fourth book of his Hieroglyphics, cites this cause women are niy deities."

emblem of pride. I have assumed, it will be seen, in reporting this anecdote, the same liberty which I have thought it right to take in

$ This ode is introduced in the Romance of Theodorus translating some of the odes; and it were to be wished that Prodromus, and is that kind of epithalamium which was sung these little infidelities were always allowable in interpreting like a scolium at the nuptial banquet. the writings of the ancients; thus, when nature is forgotten Among the many works of the impassioned Sappho, of in the original, in the translation " tamen usque recurret."

which time and ignorant superstition have deprived us, the * Turn, to Lethe's river turn,

loss of her epithalamiums is not one of the least that we deThere thy vanguish'd people mourn!] Lethe, a river of plore. The following lines are cited as a relic of one of those Ionia, according to Strabo, falling into the Meander. In its

poems: neighborhood was the city called Magnesia, in favor of Ολβιε γαμβρε. σοι μεν δη γαμος ως αραο, whose inhabitants our poet is supposed to have addressed

Εκτετελιστ', εχεις δε παρθενον αν αριe. this supplication to Diana. It was written (as Madame See Scaliger, in his Poetics, on the Epithalamium.

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And oh! thou nuptial Power, to thee
Who bear'st of life the guardian key,
Breathing my soul in fervent praise,
And weaving wild my votive lays,
For thee, O Queen! I wake the lyre,
For thee, thou blushing young Desire,
And oh! for thee, thou nuptial Power,
Come, and illume this genial hour.

Rich in bliss, I proudly scom
The wealth of Amalthea's horn;
Nor should I ask to call the throne
Of the Tartessian princo my own;"
To totter through his train of years,
The victim of declining fears.
One little hour of joy to me
Is worth a dull eternity!


Look on thy bride, too happy boy,
And while thy lambent glance of joy
Plays over all her blushing charms,
Delay not, snatch her to thino arms,
Before the lovely, trembling prey,
Like a young birdling, wing away!
Turn, Stratocles, too happy youth,
Dear to the Queen of amorous truth,
And dear to her, whose yielding zone
Will soon resign her all thine own.
Turn to Myrilla, turn thine eye,
Breathe to Myrilla, breathe thy sigh.
To those bewitching beauties turn;
For theo they blush, for theo they burn

Now Neptune's month : ur sky deforms,
The angry night-cloud teems with storms;
And savage winds, infuriate driven,
Fly howling in the face of heaven!
Now, now, my friends, the gathering gloom
With roseate rays of wine illume:
And while our wreaths of parsley spread
Their fadeless foliage round our head,
Let's hymn th' almighty power of wine,
And shed libations on his shrine !

Not more the rose, the queen of flowers,
Outblushes all the bloom of bowers,
Than she unrivali'd grace discluses,
The sweetest rose, where all are roses.
Oh! may the sun, benignant, shed
His blandest influence o'er thy bed;
And foster there an infant tree,
To bloom like her, and tower like thee!"

THEY Wove the lotus band to deck
And fan with pensile wreath each neck;
And every guest, to shade his head,
Three little fragrant chaplets spread;

1 And fosler there an infant tree,

Arganchonius, who lived, according to Lucian, a hundred To boom like her, and lower like thee!] Original Kura- and fifty years; and reigned, according to Herodotus, eighty. ριττος δε πεφυκοι σευ ενι κηπω. Passeratius, upon the words See Barnes. * com castum amisit florem," in the Nuptial Song of Ca. cullus, alter explaining "flos” in somewhat a similar sepse

* This is composed of two fragments; the seventieth and to that which Gaulminus attributes to pašov, says, “ Hortum eighty-first in Barnes. They are both found in Eustathius. quoque vocant in quo flos ille carpitur, et Græcis knton COTI 6 Three fragments form this little ode, all of which are preτο εφηβαιον γυναικων.»

served in Athenæus. They are the eighty-second, seventyI may remark, in passing, that the author a the Greek

fifth, and eighty-third, in Barnes. version of this charming ode of Catullus, bus neglected a most striking and anacreontic beauty in those verses “ Ut flos

* And every guest, to shade his head, in septis, &c.” which is the repetition « the line, “Multi

Three little fragrant chaplets spread ;) Longepierre, to illum pueri. multæ optavere pnellæ," with the slight altera- give an idea of the luxurious estimation in which garlands

were held by the ancients, relates an anecdote of a courtetion of pulli and nullæ. Catullus niinself, however, has been eqnally injudicious in his wrsion of the famous ode of

san, who, in order to gratify three lovers, without leaving Sappho; having translated yelwoas iuepocv, but omitted all

cause for jealousy with any of them, gave a kiss to one, let notice of the accompanying charm, áov qwvovoas. Horace

the other drink after her, and put a garland on the brow of has caught the spirit of it more faithfully:

the third ; so that each wous satisfied with his favor, and

flattered himself with the preference. Dulce ridentem Lalagen amabo,

This circumstance resembles very much the subject of one Duke loquentem.

of the lensons of Savari de Mauléon, a troubadour. See * This fragment is preserved in the third book of Strabo.

L'Histoire Littéraire des Troubadours. The recital is a cuof the Tarlessian prince my own ;] He here alludes to rious picture of the puerile gallantries of chivalry.

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i Compiled by Barnes, from Athenæus, Hephæstion, and 6 This is to be found in Hephæstion, and is the eightyArsenius. See Barnes, 80th.

ninth of Barnes's edition. ? This I have formed from the eighty-fourth and eighty

I have omitted, from among these scraps, a very considerfifth of Barnes's edition. The two fragments are found in able fragment imputed to our poet, Ξανθη δ' Ευρυπυλη μελει, Athenæus.

&c., which is preserved in the twelfh book of Athenæus, and

is the ninet; first in Barnes. If it was really Anacreon who 3 The nursling fawn, that in some shade

wrote it, “nil fuit unquam sic impar sibi." It is in a style Its antler'd mother leaves behind, &c.] In the original:

of gross satire, end abounds with expressions that never "Ος εν ύλη κεροεσσης

could be gracefully translated.
Απολειφθεις υπο

6 A fragment preserved by Dion Chrysostom. Orat. ii. de “Horned" here, undoubtedly, seems a strange epithet; Regno. See Barnes, 93. Madame Dacier however observes, that Sophocles, Callima- * This fragment, which a extant in A benæus, (Barnes, chus, &c., have all applied it in the very same manner, and 101,) is supposed, on the authority of Chazıæleon, to have she seems to agree in the conjecture of the scholiast upon been addressed to Sappho. We have also a stanza attributed Pindar, that perhaps horns are not always peculiar to the

to her, which some romancers have supposed to be her answer males. I think we may with more ease conclude it to be a to Anacreon. “Mais par malheur, (as Bayle says,) Sappho license of the poet, "jussit habere puellam cornua." vint an monde environ cent ou six vingt ans avant Anacréon."

* This fragment is preserved by the scholiast upon Aristo- -Nouvelles de la Rép. des Lett. tom. ii. de Novembre, 1681. phanes, and is the eighty-seventh in Barnes.

The following is her fragment, the compliment of which is

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