ODE XXXIV. 1 Oн thou, of all creation blest, Sweet insect, that delight'st to rest 1 In a Latin ode addressed to the grasshopper, Rapin has preserved some of the thoughts of our author : O quæ virenti graminis in toro, Cicada, blande sidis, et herbidos Seu forte adultis floribus incubas, Cœli caducis ebria fletibus, &c. See what Licetus says about grasshoppers, cap. 93. and 185. * And chirp thy song with such a glee, &c.] "Some authors have affirmed (says Madame Dacier), that it is only male grasshoppers which sing, and that the females are silent; and on this circumstance is founded a bon-mot of Xenarchus, the comic poet, who says ur' uw oi TETTIYES oux sudaμors, ún vais yanaižno end' éti our çayns ; are not the grasshoppers happy in having dumb wives?"" This note is originally Henry Stephen's; but I chose rather to make a lady my authority for it. 3 The Muses love thy skrilly tone; &c.] Phile, de Animal. Proprietat. calls this insect Mouras pies, the darling of the Muses; and Moura egys, the bird of the Muses; and we find Plato compared for his eloquence to the grasshopper, in the following punning lines of Timon, preserved by Diogenes Laertius: Των παντων δ' ηγείτο πλατυστατος, αλλ' αγορητής This last line is borrowed from Homer's Iliad, y, where there occurs the very same simile. 4 Melodious insect, child of earth,] Longepierre has quoted the two first lines of an epigram of Antipater, from the first book of the Anthologia, where he prefers the grasshopper to the swan: 'Twas he who gave that voice to thee, "Tis he who tunes thy minstrelsy. Unworn by age's dim decline, The fadeless blooms of youth are thine. Melodious insect, child of earth, 4 In wisdom mirthful, wise in mirth; Exempt from every weak decay, That withers vulgar frames away; With not a drop of blood to stain The current of thy purer vein; So blest an age is pass'd by thee, Thou seem'st-a little deity! ODE XXXV.5 CUPID once upon a bed Of roses laid his weary head; Αρκει τεττιγας μεθυσαι δροσος, αλλά πίοντες In dew, that drops from morning's wings, 5 Theocritus has imitated this beautiful ode in his nineteenth idyl; but is very inferior, I think, to his original, in delicacy of point and naïveté of expression. Spenser, in one of his smaller compositions, has sported more diffusely on the same subject. The poem to which I allude, begins thus: Upon a day, as Love lay sweetly slumbering A gentle bee, with his loud trumpet murmuring, In Almeloveen's collection of epigrams, there is one by Luxorius, correspondent somewhat with the turn of Anacreon, where Love complains to his mother of being wounded by a rose. The ode before us is the very flower of simplicity. The infantine complainings of the little god, and the natural and impressive reflections which they draw from Venus, are beauties of inimitable grace. I may be pardoned, perhaps, for introducing here another of Menage's Anacreontics, not for its similitude to the subject of this ode, but for some faint traces of the same natural simplicity, which it appears to me to have preserved: Ερως ποτ' εν χορείαις Ως παρθενος μεν ούσα. The bee awak'd-with anger wild Thus he spoke, and she the while That when Death came, with shadowy pinion, To waft me to his bleak dominion, 2 I might, by bribes, my doom delay, ODE XXXVI.1 If hoarded gold possess'd the power Μη δυσχεραινε, φημι. As dancing o'er the enamell'd plain, And round her neck his arms he threw ; Zitto, in his Cappriciosi Pensieri, has given a translation of this ode of Anacreon. 1 Fontenelle has translated this ode, in his dialogue between Anacreon and Aristotle in the shades, where, on weighing the merits of both these personages, he bestows the prize of wisdom upon the poet. "The German imitators of this ode are, Lessing, in his poem Gestern Brüder,' &c.; Gleim, in the ode An den Tod; and Schmidt in der Poet. Blumenl., Gotting. 1783, p. 7." - Degen. 2 That when Death came, with shadowy pinion, To waft me to his bleak dominion, &c.] The commenta ODE XXXVII.4 "Twas night, and many a circling bowl tors, who are so fond of disputing "de lanâ caprinâ,” have been very busy on the authority of the phrase is' av Daruv επελθη. The reading of iv' αν Θανατος επέλθη, which De Me denbach proposes in his Amonitates Literariæ, was already hinted by Le Fevre, who seldom suggests any thing worth notice. 3 The goblet rich, the board of friends, Whose social souls the goblet blends;] This communion of friendship, which sweetened the bowl of Anacreon, has not been forgotten by the author of the following scholíum, where the blessings of life are enumerated with proverbial simplicity. Υγιαίνειν μεν αριστον ανδρι θνητῳ. Δεύτερον δε, καλον φυην γενεσθαι. Το τρίτον δε, πλουτείν αδόλως. Και το τεταρτον συνεξαν μετα των φίλων. Of mortal blessings here the first is health, And next those charms by which the eye we move; The third is wealth, unwounding guiltless wealth, And then, sweet intercourse with those we love! 4 Compare with this ode the beautiful poem 'der Traum' of Uz."-Degen. Le Fevre, in a note upon this ode, enters into an elaborate and learned justification of drunkenness; and this is probably the cause of the severe reprehension which he appears to have suffered for his Anacreon. "Fuit olim fateor (says he in a note upon Longinus), cum Sapphonem amabam. Sed ex quo illa me perditissima fœmina pene miserum perdidit cum sceleratissimo suo congerrone, (Anacreontem dico, si nescis, Lector,) noli sperare, &c. &c." He adduces on this ode the authority of Plato, who allowed ebriety, at the Dionysian festivals, to men arrived at their fortieth year. He likewise quotes the following line from Alexis, which he says no one, who is not totally ignorant of the world, can hesitate to confess the truth of: Ουδείς φιλοπότης εστιν άνθρωπος κακος. Light, on tiptoe bath'd in dew, We flew, and sported as we flew! Some ruddy striplings who look'd onWith cheeks, that like the wine-god's shone, Saw me chasing, free and wild, These blooming maids, and slyly smil'd; A kiss that Jove himself might sip- "Again, sweet sleep, that scene restore, ODE XXXVIII.3 LET us drain the nectar'd bowl, Oh 'tis from him the transport flows, Which sweet intoxication knows; With him, the brow forgets its gloom, And brilliant graces learn to bloom. Behold!-my boys a goblet bear, 'Tis only wine can strike a spark! 5 To hearts that court the phantom Care, Oh! let me dream it o'er and o'er !"] Doctor Johnson, in his preface to Shakspeare, animadverting upon the commentators of that poet, who pretended, in every little coincidence of thought, to detect an imitation of some ancient poet, alludes in the following words to the line of Anacreon before us :-"I have been told that when Caliban, after a pleasing dream, says, 'I cried to sleep again,' the author imitates Anacreon, who had, like any other man, the same wish on the same occasion." Compare with this beautiful ode to Bacchus the verses of Hagedorn, lib. v. das Gesellschaftliche;' and of Bürger, } p.51, &c. &c.” — Degen. 3 * Him, that the snowy Queen of Charms So oft has fondled in her arms.] Robertellus, upon the epithalamium of Catullus, mentions an ingenious derivation of Cythera, the name of Venus, παρά το κευθειν τους έρωτας, 'Tis only wine can strike a spark!] The brevity of life allows arguments for the voluptuary as well as the moralist. Among many parallel passages which Longepierre has adduced, I shall content myself with this epigram from the Anthologia. Λουσαμενοι, Προδίκη, πυκασώμεθα, και τον ακρατον Of which the following is a paraphrase: Let's fly, my love, from noonday's beam, But his heart — his heart is young.] Saint Pavin makes ship even from the tomb. the same distinction in a sonnet to a young girl. Je sais bien que les destinées And I full many a year have told; Thou shalt not find my love is old. When first I set my eyes on thee! 2 Never can heart that feels with me Descend to be a slave to thee!] Longepierre quotes here an epigram from the Anthologia, on account of the similarity of a particular phrase. Though by no means anacreontic, it is marked by an interesting simplicity which has induced me to paraphrase it, and may atone for its intrusion. Ελπις και συ τύχη μέγα χαιρετε, τον λιμεν' εύρον. At length to Fortune, and to you, And they shall weep at your deceiving! 3 Bacchus shall bid my winter bloom, And Venus dance me to the tomb!] The same commentator has quoted an epitaph, written upon our poet by Julian, in Πολλακι μεν τοδ' αείσα, και εκ τυμβου δε βοήσω, Πίνετε, πριν ταυτην αμφιβαλησθε κονιν. This lesson oft in life I sung, And from my grave I still shall cry, Ere death has made thee cold as I." 4 And with some maid, who breathes but love, To walk, at noontide, through the grove,] Thus Horace: Quid habes illius, illius Quæ spirabat amores, Quæ me surpuerat mihi. Lib. iv. Carm. 13. And does there then remain but this. 5 The character of Anacreon is here very strikingly depicted. His love of social, harmonised pleasures, is expressed with a warmth, amiable and endearing. Among the epigrams imputed to Anacreon is the following; it is the only one worth translation, and it breathes the same sentiments with this ode: Ου φίλος, ός κρητήρι παρα πλέω οινοποτάζων, Αλλ' όστις Μούσεων τε, και αγλαα δως Αφροδίτης And while the red cup foams along, Let but the nymph, our banquet's pride, Come, let us hear the harp's gay note Young maidens through the light dance move. Some airy nymph, with graceful bound, The leafy Bacchanalian wand, A youth the while, with loosen'd hair, It seems as Love himself had come 3 ODE XLIII. WHILE our rosy fillets shed 1 And while the harp, impassion'd, flings Tuneful rapture from its strings, &c.] Respecting the barbiton a host of authorities may be collected, which, after all, leave us ignorant of the nature of the instrument. There is scarcely any point upon which we are so totally uninformed as the music of the ancients. The authors a extant upon the subject are, I imagine, little understood; and certainly if one of their moods was a progression by quarter-tones, which we are told was the nature of the enharmonic scale, simplicity was by no means the characteristic of their melody; for this is a nicety of progression, of which modern music is not susceptible. The invention of the barbiton is, by Athenæus, attributed to Anacreon. See his fourth book, where it is called to sugna THU Araxtortes. Neanthes of Cyzicus, as quoted by Gyraldus, asserts the same. Vide Chabot, in Horat. on the words "Lesboum barbiton," in the first ode. 2 And oh, the sadness in his sigh, As o'er his lip the accents die!] Longepierre has quoted bere an epigram from the Anthologia: Κάψη τις μ' εφίλησε ποθέσπερα χείλεσιν ύγροις. Of which the following paraphrase may give some idea: a Collected by Meibomius. ODE XLIV.5 BUDS of roses, virgin flowers, Drink and smile, and learn to think The kiss that she left on my lip, Like a dew-drop shall lingering lie; 3 It seems as Love himself had come To make this spot his chosen home; -] The introduction of these deities to the festival is merely allegorical. Madame Dacier thinks that the poet describes a masquerade, where these deities were personated by the company in masks. The translation will conform with either idea. 4 All, all are here, to hail with me The Genius of Festivity!] Kapos, the deity or genius of mirth. Philostratus, in the third of his pictures, gives a very lively description of this god. 5 This spirited poem is a eulogy on the rose; and again, in the fifty-fifth ode, we shall find our author rich in the praises of that flower. In a fragment of Sappho, in the romance of Achilles Tatius, to which Barnes refers us, the rose is fancifully styled "the eye of flowers;" and the same poetess, in another fragment, calls the favours of the Muse "the roses of Pieria." See the notes on the fifty-fifth ode. "Compare with this ode (says the German annotator) the beautiful ode of Uz, die Rose.'" |