To thee, the Queen of nymphs divine,
Fairest of all that fairest shine:
To thee, thou blushing young Desire,
Who rulest the world with darts of fire!
And oh! thou nuptial Power, to thee
Who bear'st of life the guardian key:
Breathing my soul in fragrant 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.
Look on thy bride, luxuriant boy!
And while thy lambent glance of joy
Plays over all her blushing charms,
Delay not, snatch her to thine arms,
Before the lovely trembling prey,
Like a young birdling, wing away!
Oh! Stratocles, impassion'd 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
Breathe to Myrilla, breathe thy sigh!
To those bewitching beauties turn;
For thee they mantle, flush, and burn!
Not more the rose, the Queen of flowers,
Outblushes all the glow of bowers,
Than she unrivall'd bloom discloses,
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,

eye,

To blush like her, and bloom like thee!

This ode is introduced in the Romance of Theodorus Prodromus, and is that kind of epithalamium which was sung like a scholium at the nuptial banquet.

Among the many works of the impassioned Sappho, of which time and ignorant superstition have deprived us, the loss of her epithalamiums is not one of the least that we deplore. A subject so interesting to an amorous fancy was warmly felt, and must have been warmly described, by such a soul and such an imagination. The following lines are cited as a relic of one of her epithalamiums:

Ολβιε γαμβρε. σοι μεν δη γαμος ὡς ἄρας,
Εκτετελες, έχεις δε παρθενον αν αρκο

See Scaliger, in his Poetics, on the Epithalamium.

And foster there an infant tree,

To blush like her, and bloom like thee!] Original, KUTZPITTOS DE REPUNOLSED EV 27. Passeratius, upon the words cam castum amisit florem, in the nuptial song of Catullus, after explain

ODE LXVII.'

GENTLE youth! whose looks assume
Such a soft and girlish bloom,
Why repulsive, why refuse

!

The friendship which my heart pursues!
Thou little know'st the fond control
With which thy virtue reins my soul!
Then smile not on my locks of gray,
Believe me, oft with converse gay
I've chain'd the years of tender age,
And boys have loved the prattling sage
For mine is many a soothing pleasure,
And mine is many a soothing measure;
And much I hate the beamless mind,
Whose earthly vision, unrefined,
Nature has never form'd to see
The beauties of simplicity!
Simplicity, the flower of heaven,
To souls elect, by Nature given!

ODE LXVIII."

RICH in bliss, I proudly scorn
The stream of Amalthea's horn?
Nor should I ask to call the throne
Of the Tartessian prince 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!

ing flos, in somewhat a similar sense to that which Gaulminus attributes to ponov, says, Hortum quoque vocant in quo flos ille carpitur, et Gracis κήπον εςι το εφηβαιον γυναικών.»

May I remark, that the author of the Greek version of this charming cde of Catullus has neglected a most striking and Anacreontic beauty in those verses, « Ut flos in septis, etc. which is the repetition of the line Multi illum pueri, multæ optavere puellæ, with the slight alteration of nulli and nulle. Catullus himself, however, has been equally injudicious in his version of the famous ode of Sappho; he has translated γελώσας ίμερόεν, but takes no notice of ou pavouczs. Horace has caught the spirit of it more faithfully:

Dulce ridentem Lalagen amabo,

Dulce loquentem.

11 have formed this poem of three or four different fragments, which is a liberty that perhaps may be justified by the example of Barnes, who has thus compiled the fifty-seventh of his edition, and the little ode beginning pep' vdwp, pep' ovoy, wπxt, which be has subjoined to the epigrams.

The fragments combined in this ode, are the sixty-seventh, ninetysixth, ninety-seventb, and hundredth of Barnes's edition, to which

I refer the reader for the names of the authors by whom they are

preserved.

This is composed of two fragments; the seventieth and eightyfirst in Barnes. They are both found in Eustathius.

Three fragments form this little ode, all of which are preserved in Athenæus. They are the eighty-second, seventy-fifth, and eighty

third, in Barnes.

And every guest, to shade his head,

Three little breathing chaplets spread.] Longepierre, to give an idea of the luxurious estimation in which garlands were held by the ancients, relates an anecdote of a courtezan, who, in order to gratify three lovers, without leaving cause for jealousy with any of them, gave a kiss to one, let the other drink after her, and put a garland on the brow of the third; so that each was satisfied with his favour, and flattered himself with the preference.

This circumstance is extremely like the subject of one of the tensons of Savari de Mauléon, a troubadour. See L'Histoire Littéraire des Troubadours. The recital is a curious picture of the puerile gallantries of chivalry.

This poem is compiled by Barnes, from Athenæus, Hephaestion, and Arsenius. See Barnes, 8oth.

4 This I have formed from the eighty-fourth and eighty-fifth of Barnes's edition. The two fragments are found in Athenæus.

ODE LXXIV. 2

I BLOOM'D, awhile, a happy flower,
Till love approach'd, one fatal hour,
And made my tender branches feel
The wounds of his avenging steel.
Then, then I feel, like some poor willow
That tosses on the wintry billow!

ODE LXXV. 3

MONARCH Love! resistless boy,
With whom the rosy Queen of Joy,
And nymphs, that glance ethereal blue,
Disporting tread the mountain-dew;
Propitious, oh! receive my sighs,
Which, burning with entreaty rise,
That thou wilt whisper to the breast
Of her I love thy soft bebest;
And counsel her to learn from thee
The lesson thou hast taught to me.

Ah! if my heart no flattery tell,

Thou 'lt own I've learn'd that lesson well!

ODE LXXVI. 4

SPIRIT of Love! whose tresses shine Along the breeze, in golden twine,

The nursling fawn, that in some shado

its antler'd mother leaves behind, etc.] In the original:

Ος εν ύλη κερόεσσης
Απολειφθεις ύπο μήτρος.

Dacier, however, observes, that Sophocles, Callimachus, etc. have all ■ Horned here, undoubtedly, seems a strange epithet; Madame applied it in the very same manner; and she seems to agree in the conjecture of the scholiast upon Pindar, that perhaps horns are not always peculiar to the males. I think we may with more ease conclude it to be a license of the poet, jussit habere puellam cornua. This fragment is preserved by the scholiast upon Aristophanes, and is the eighty-seventh in Barnes.

a

This is to be found in Hephaestion, and is the eighty-ninth of Barnes's edition.

I must here apologize for omitting a very considerable fragment imputed to our poet, End Euрuruan μeλst, etc. which is preserved in the twelfth book of Athenæus, and is the ninety-first in Barnes. If it was really Anacreon who wrote it, nil fuit unquam sic impar sibi. It is in a style of gross satire, and is full of expressions which never could be gracefully translated.

This fragment is preserved by Dion. Chrysostom, Orat. ii, de Regno. See Barnes, 93.

4 This fragment, which is extant in Athenæus (Barnes, 101), is supposed, on the authority of Chameleon, to have been addressed to

Come within a fragrant cloud,
Blushing with light, thy votary shroud;
And, on those wings that sparkling play,
Waft, oh! waft me hence away!
Love! my soul is full of thee,
Alive to all thy luxury.

But she, the nymph for whom I glow,
The pretty Lesbian, mocks my woe;
Smiles at the hoar and silver'd hues
Which Time upon my forehead strews.
Alas! I fear she keeps her charms
In store for younger, happier arms.

ODE LXXVII. '

HITHER, gentle muse of mine, Come and teach thy votary old Many a golden hymn divine,

For the nymph with vest of gold.

Pretty nymph, of tender age,

Fair thy silky locks unfold; Listen to a hoary sage,

Sweetest maid with vest of gold!

ODE LXXVIII.'

WOULD that I were a tuneful lyre,
Of burnish'd ivory fair,
Which in the Dionysian choir

Some blooming boy should bear!

Would that I were a golden vase,

And then some nymph should hold My spotless frame with blushing grace, Herself as pure as gold!

Sappho. We have also a stanza attributed to her, which some romancers have supposed to be her answer to Anacreon. Mais par malheur (as Bayle says) Sappho vint au monde environ cent ou six vingts ans avant Anacréon.» Nouvelles de la Rép. des Lett. tom. ii, de Novembre, 1684. The following is her fragment, the compliment of which is very finely imagined; she supposes that the Muse has

dictated the verses of Anacreon:

Κείνον, ω χρυσοθρόνε Μουσ', ενισπες
Ύμνον, εκ της καλλιγυναικός εσθλας
Τηΐος χώρας ὃν αείδε τερπνως

Πρεσβυς αγαυος.

Oh Muse! who sitt'st on golden throne,
Full many a hymn of dulcet tone

The Telan sage is taught by thee;
But, goddess, from thy throne of gold,
The sweetest by mn thou'st ever told,

He lately learn'd and sang for me.

This is formed of the 124th and 119th fragments in Barnes, both of which are to be found in Scaliger's Poetics.

De Pauw thinks that those detached lines and couplets, which Scaliger has adduced as examples in his Poetics, are by no means authentic, but of his own fabrication.

This is generally inserted among the remains of Alcarus. Some, however, have attributed it to Anacreon. See our poet's twenty-second ode, and the notes.

ODE LXXIX. '

WHEN Cupid sees my beard of snow,
Which blanching Time has taught to flow,
Upon his wing of golden light
He passes with an eaglet's flight,
And, flitting on, he seems to say,

<< Fare thee well, thou'st had thy day!»

2 CUPID, whose lamp has lent the ray Which lightens our meandering way— Cupid, within my bosom stealing, Excites a strange and mingled feeling, Which pleases, though severely teasing, And teases, though divinely pleasing.

3 LET me resign a wretched breath, Since now remains to me

No other balm than kindly death, To soothe my misery!

4I KNOW thou lovest a brimming measure,
And art a kindly cordial host;
But let me fill and drink at pleasure,
Thus I enjoy the goblet most!

51 FEAR that love disturbs my rest, Yet feel not love's impassion'd care; I think there's madness in my breast, Yet cannot find that madness there!

6 FROM dread Leucadia's frowning steep I'll plunge into the whitening deep, And there I'll float, to waves resign'd, For love intoxicates my mind!

7 MIx me, child, a cup divine, Crystal water, ruby wine:

See Barnes, 173d. This fragment, to which I have taken the liberty of adding a turn not to be found in the original, is cited by Lucian in his little essay on the Gallic Hercules.

Barnes, 125th. This, if I remember right, is in Scaliger's Poetics. Gail has omitted it in his collection of fragments.

3 This fragment is extant in Arsenius and Hephaestion. See Barnes (69th), who has arranged the metre of it very elegantly.

4 Barnes, 72d. This fragment, which is quoted by Athenæus, is

an excellent lesson for the votaries of Jupiter Hospitalis.
This fragment is in Hephaestion. See Barnes, 95th.
Catullus expresses something of this contrariety of feelings.

Odi et amo; quare id faciam fortasse requiris ;
Nescio: sed fieri sentio, et excrucior. Carm. 53.

I love thee and hate thee, but if I can tell

The cause of my love and my hate, may I die!

I can feel it, alas! I can feel it too well,

That I love thee and hate thee, but cannot tell why.

This also is in Hephæstion, and perhaps is a fragment of some poem, in which Anacreon had commemorated the fate of Sappho. It is the 123d of Barnes.

This fragment is collected by Barnes from Demetrius Phalareus, and Eustathias, and is subjoined in his edition to the epigrams attributed to our poet. And here is the last of those little scattered flowers which I thought I might venture with any grace to transplant. I wish it could be said of the garland which they form, Το δ' ως Ανακρέοντος.

Weave the frontlet, richly flushing,
O'er my wintry temples blushing.
Mix the brimmer-love and I
Shall no more the gauntlet try,
Here upon this holy bowl,

I surrender all my soul!

AMONG the Epigrams of the Anthologia, there are some panegyrics on Anacreon, which I had translated, and originally intended as a kind of Coronis to the work: but I found, upon consideration, that they wanted variety; a frequent recurrence of the same thought, within the limits of an epitaph, to which they are confined, would render a collection of them rather uninteresting. I shall take the liberty, however, of subjoining a few, that I may not appear to have totally neglected those elegant tributes to the reputation of Anacreon. The four epigrams which I give are imputed to Antipater Sidonius. They are rendered, perhaps, with too much freedom, but, designing a translation of all that are on the subject, I imagined it was necessary to enliven their uniformity by some times indulging in the liberties of paraphrase.

Αντιπάτρου Σιδωνίου, εις Ανακρέοντα. ΘΑΛΛΟΙ τετρακορύμβος, Ανακρεον, αμφι σε κισσος άβρα τε λειμώνων πορφυρέων πεταλα πηγαι

αργινόεντος αναθλίβοιντο γαλακτος, ευώδες δ' απο γης που χεοιτο μεθυ, ορρα κε τοι σποδίη τε και οξεα τερψιν αρηται, ει δε τις φθιμενοις χρίμπτεται ευφρόσυνα,

ω το φίλον σέρξας, φιλε, βαρβιτον, ω συν αοιδα παντα διάπλωσας και συν ερωτι βιον.

AROUND the tomb, oh bard divine!
Where soft thy hallow'd brow reposes,

Long may the deathless ivy twine,

And Summer pour her waste of roses!

'Antipater Sidonius, the author of this epigram, lived, according to Vossius, de Poetis Græcis, in the second year of the 169th Olympiad. He appears, from what Cicero and Quintilian have said of him, to have been a kind of improvvisatore. See Institut. Orat. lib. x, cap. 7.-There is nothing more known respecting this poet, except some particulars about his illness and death, which are mentioned as curious by Pliny and others; and there remain of his works but a few epigrams in the Anthologia, among which are these I have selected, upon Anacreon. Those remains have been sometimes imputed to another poet (a) of the same name, of whom Vossius gives us the following account: Antipater Thessalonicensis vixit tempore Augusti Cæsaris, ut qui saltantem viderit Pyladem, sicut constat ex quodam ejus epigrammate Ανθολογίας, lib. iv, tit. εις Ορχη 5ptons. At eum ac Bathyllum primos fuisse pantomimos, ac sub Augusto claruisse, satis notum ex Dione, etc. etc.

The reader, who thinks it worth observing, may find a strange oversight in Hoffman's quotation of this article from Vossius, Lexic. Univers. By the omission of a sentence he has made Vossius assert that the poet Antipater was one of the first pantomime dancers in

Rome.

And many a fount shall there distil, And many a rill refresh the flowers; But wine shall gush in every rill,

And every fount be milky showers.

Thus, shade of him whom Nature taught To tune his lyre and soul to pleasure, Who gave to love his warmest thought, Who gave to love his fondest measure!

Thus, after death, if spirits feel,

Thou mayst, from odours round thee streaming, A pulse of past enjoyment steal, And live again in blissful dreaming!

Του αυτού, εις τον αυτον.

ΤΥΜΒΟΣ Ανακρείοντος· ὁ Τηΐος ενθάδε κύκνος
Εύδει, χη παιδων ζωρότατη μανιη.
Ακμην λειριοεντι μελίζεται αμφι Βαθυλλῳ
Ίμερα· και κισσου λευκος οδωδε λιθος.
Ουδ' Αίδης σοι ερωτας απέσβεσεν εν δ' Αχέροντος
Ων, όλος ωδίνεις Κυπρίδι θερμοτερη.

HIERE sleeps Anacreon, in this ivied shade;
Here, mute in death, the Teian swan is laid.
Cold, cold, the heart which lived but to respire
All the voluptuous frenzy of desire!
And yet, oh bard! thou art not mute in death,
Still, still we catch thy lyre's delicious breath;

-the Teian swan is laid.] Thus Horace of Pindar: Multa Dirceum levat aura cycnum.

A swan was the hieroglyphical emblem of a poet. Anacreon has been called the swan of Teos by another of his eulogists.

Εν τοις μελιχροις Ίμεροισι συντρόφου
Λυαίος Ανακρέοντα, Τηΐον κυκνον,
Έσφηλας ύγρη νεκταρος μεληδόνῃ.

Ευγενους, Ανθολογ.

God of the grape! thou hast betray'd,

In wine's bewildering dream,

The fairest swan that ever play'd

Along the Muse's stream!

The Teian, nursed with all those honied boys,

The young Desires, light Loves, and rose-lipp'd Joys!

Still, still we catch thy lyre's delicious breath.] Thus Simonides, speaking of our poet:

Μολπης δ' ου ληθη μελιτερπεος, αλλ' ετι κεινο
Βαρβιτον ουδε θανων εύνασεν ειν αίδη.
Σιμωνίδου, Ανθολογ.

Nor yet are all his numbers mute,
Though dark within the tomb he lies;
But living still, his amorous lute

With sleepless animation sighs!

This is the famous Simonides, whom Plato styled divine, though Le Fevre, in his Poètes Grecs, supposes that the epigrams under his name are all falsely imputed. The most considerable of his poyos yuvatkov. remains is a satirical poem upon women, preserved by Stobæus,

We may judge from the lines I have just quoted, and the import the times of Simonides and Antipater. Obsopus, the commentator, of the epigram before us, that the works of Anacreon were perfect'in here appears to exult in their destruction, and telling us they were burned by the bishops and patriarchs, he adds, nec sane id necquicquam fecerunt,» attributing to this outrage an effect which it could never produce.