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Olim lepore blando,

litis versibus
candidus Anacreon
quam pingeret amicus
descripsit Venerem suam.

The Teian bard, of former days,
Attuned his sweet descriptive lays,
And taught the painter's hand to trace
His fair beloved's every grace.

In the dialogue of Caspar Barlæus, entitled "An formosa sit ducenda," the reader will find many curious ideas and descriptions of womanly beauty.

2 Thou, whose soft and rosy hues
Mimic form and soul infuse.

I have followed here the reading of the Vatiean MS. podéns. Painting is called "the rosy art, "either in reference to coloring, or as an indefinite epithet of excellence, from the association of beauty with that flower. Salvini has adopted this reading in his literal translation: Della rosea arte signore.

3 The lovely maid that 's far away.

If this portrait of the poet's mistress be not merely ideal, the omission of her name is much

Far away, my soul! thou art,
But I've thy beauties all by heart.
Paint her jetty ringlets playing,
Silky locks, like tendrils straying;4
And, if painting hath the skill
To make the spicy balm distil,5
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,
Burnished as the ivory bright.
Let her eyebrows smoothly rise
In jetty arches o'er her eyes,
Each, a crescent gently gliding,
Just commingling, just dividing.

But, hast thou any sparkles warm, The lightning of her eyes to form? Let them effuse the azure rays That in Minerva's glances blaze, Mixt with the liquid light that lies

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to be regretted. Meleager, in an epigram on Anacreon, mentions "the golden Eurypyle as his mistress:

βεβληκὼς χρυσέην χεῖρας ἐπ' Ευρυπύλην.

4 Paint her jetty ringlets playing,
Silky locks, like tendrils straying.

The ancients have been very enthusiastic in their praises of the beauty of hair. Apuleius, in the second book of his Milesiacs, says that Venus herself, if she were bald, though surrounded by the Graces and the Loves, could not be pleasing even to her husband Vulcan.

Stesichorus gave the epithet καλλιπλόκαμος to the Graces, and Simonides bestowed the same upon the Muses. See Hadrian Junius's "Dissertation upon Hair."

To this passage of our poet, Selden alluded in a note on the Polyolbion " of Drayton, Song the Second, where observing, that the epithet

black-haired was given by some of the ancients to the goddess Isis, he says, "Nor will I swear, but that Anacreon (a man very judicious in the provoking motives of wanton love), intending to bestow on his sweet mistress that one of the titles of woman's special ornament, wellhaired (kadınλóкаμos), thought of this when he gave his painter direction to make her blackhaired."

5 And, if painting hath the skill

To make the spicy balm distil, etc.

Thus Philostratus, speaking of a picture: ἐπαινῶ καὶ τὸν ἔνδροσον τῶν ρόδων, και φημι γέγραφθαι αὐτὰ μετὰ τῆς ὀσμῆς. I admire the dewiness of these roses, and could say that their very smell was painted."

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Quai gli ha Ciprigna l'alma Dea d'Amore. Tasso has painted in the same manner the eyes of Armida:

Qual raggio in onda le scintilla un riso
Negli umidi occhi tremulo e lascivo.

Within her humid, melting eyes
A brilliant ray of laughter lies,
Soft as the broken solar beam,

That trembles in the azure stream.

The mingled expression of dignity and tenderness, which Anacreon requires the painter to infuse into the eyes of his mistress, is more amply described in the subsequent ode. Both descriptions are so exquisitely touched, that the artist must have been great indeed, if he did not yield in painting to the poet.

2 Mingling tints, as when there glows
In snowy milk the bashful rose.

Thus Propertius, eleg. 3. lib. ii.

Utque rosa puro lacte natant folia.

And Davenant, in a little poem called "The Mistress,"

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The "lip, provoking kisses," in the original, is a strong and beautiful expression. Achilles Tatius speaks of χείλη μαλθακὰ πρὸς τὰ φιλήMara, "Lips soft and delicate for kissing." grave old commentator, Dionysius Lambinus, in his notes upon Lucretius, tells us with the apparent authority of experience, that "Suavius viros osculantur puellæ labiosa, quam quæ sunt brevibus labris." And Æneas Sylvius, in his tedious uninteresting story of the loves of Euryalus and Lucretia, where he particularizes the beauties of the heroine (in a very false and labored style of latinity), describes her lips thus: "Os parvum decensque, labia corallini coloris ad morsum aptissima."- Epist. 114. lib. i.

Mutely courting Love's invasion.
Next, beneath the velvet chin,
Whose dimple hides a Love within,4
Mould her neck with grace descending,
In a heaven of beauty ending;

While countless charms, above, below,
Sport and flutter round its snow.
Now let a floating, lucid veil,
Shadow her form, but not conceal;5
A charm may peep, a hue may beam,
And leave the rest to Fancy's dream.
Enough 't is she! 't is all I seek;
It glows, it lives, it soon will speak!

ODE XVII.6

AND now with all thy pencil's truth,
Portray Bathyllus, lovely youth!
Let his hair, in masses bright,
Fall like floating rays of light;7
And there the raven's die confuse
With the golden sunbeam's hues.

4 Next, beneath the velvet chin, Whose dimple hides a Love within, etc. Madame Dacier has quoted here two pretty lines of Varro :

Sigilla in mento impressa Amoris digitulo
vestigio demonstrant mollitudinem.

In her chin is a delicate dimple,
By Cupid's own finger imprest;
There Beauty, bewitchingly simple,
Has chosen her innocent nest.

5 Now let a floating, lucid veil,

Shadow her form, but not conceal; etc.

This delicate art of description, which leaves imagination to complete the picture, has been seldom adopted in the imitations of this beautiful poem. Ronsard is exceptionally minute; and Politianus, in his charming portrait of a girl, full of rich and exquisite diction, has lifted the veil rather too much. The "questo che tu m' intendi" should be always left to fancy.

6 The reader, who wishes to acquire an accurate idea of the judgment of the ancients in beauty, will be indulged by consulting Junius's "De Pictura Veterum," lib. 3. cap. 9., where he will find a very curious selection of descriptions and epithets of personal perfections. Junius compares this ode with a description of Theodoric, king of the Goths, in the second epistle, first book, of Sidonius Apollinaris.

7 Let his hair, in masses bright,

Fall like floating rays of light; etc.

He here describes the sunny hair, the flava coma, which the ancients so much admired. The Romans gave this color artificially to their hair. See STANISL. KOBIENZYCK, "De Luxu Roma

norum.

Let no wreath, with artful twine,1
The flowing of his locks confine;
But leave them loose to every breeze,
To take what shape and course they
please.

Beneath the forehead, fair as snow,
But flushed with manhood's early glow,
And guileless as the dews of dawn,2
Let the majestic brows be drawn,
Of ebon hue, enriched by gold,
Such as dark, shining snakes unfold.
Mix in his eyes the power alike,
With love to win, with awe to strike;8
Borrow from Mars his look of ire,
From Venus her soft glance of fire;
Blend them in such expression here,
That we by turns may hope and fear!

Now from the sunny apple seek
The velvet down that spreads his cheek;
And there, if art so far can go,

The ingenuous blush of boyhood show. While, for his mouth but no, in

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Would words its witching charm explain. Make it the very seat, the throne,

1 Let no wreath, with artful twine, etc. If the original here, which is particularly beautiful, can admit of any additional value, that value is conferred by Gray's admiration of it. See his letters to West.

Some annotators have quoted on this passage the description of Photis's hair in Apuleius; but nothing can be more distant from the simplicity of our poet's manner, than that affectation of richness which distinguishes the style of Apuleius. 2 But flushed with manhood's early glow,

And guileless as the dews of dawn, etc. Torrentius, upon the words "insignem tenui fronte," in Horace, Od. 33., lib. 1., is of opinion, incorrectly, I think, that tenui" here bears the same meaning as the word απαλόν,

3 Mix in his eyes the power alike,

With love to win, with awe to strike; etc. Tasso gives a similar character to the eyes of Clorinda:

Lampeggiar gli occhi, e folgorar gli sguardi

Dolci nell'ira.

Her eyes were flashing with a heavenly heat, A fire that, even in anger, still was sweet. The poetess Veronica Cambara is more diffuse upon this variety of expression:

Occhi lucenti e belli,

Come esser puo ch' in un medesmo istante
Nascan de voi si nuove forme et tante?
Lieti, mesti, superbi, humil', altieri,
Vi mostrate in un punto, onde di speme,
Et di timor, de empiete, etc.

That Eloquence would claim her own;4
And let the lips, though silent, wear
A life-look, as if words were there.5

Next thou his ivory neck must trace, Moulded with soft but manly grace; Fair as the neck of Paphia's boy, Where Paphia's arms have hung in joy. Give him the winged Hermes' hand, With which he waves his snaky wand; Let Bacchus the broad chest supply, And Leda's son the sinewy thigh; While, through his whole transparent frame,

Thou show'st the stirrings of that flame,

Oh! tell me, brightly-beaming eye,
Whence in your little orbit lie
So many different traits of fire,
Expressing each a new desire.
Now with pride or scorn you darkle,
Now with love, with gladness, sparkle,
While we who view the varying mirror,
Feel by turns both hope and terror.

Chevreau, citing the lines of our poet, in his critique on the poems of Malherbe, produces a Latin version of them from a manuscript which. he had seen, entitled "Joan. Falconis Anacreontici Lusus."

4 That Eloquence would claim her own.

In the original, as in the preceding ode, Peitho, the goddess of persuasion, or eloquence. It was worthy of the delicate imagination of the Greeks to deify Persuasion, and give her the lips for her throne. We are here reminded of a very interesting fragment of Anacreon, preserved by the scholiast upon Pindar, and supposed to belong to a poem reflecting with some severity on Simonides, who was the first, we are told, that ever made a hireling of his muse:

Οὐδ' ἀργυρέη ποτ' ἔλαμψε Πείθω.
Nor yet had fair Persuasion shone
In silver splendors, not her own.

5 And let the lips, though silent, wear A life-look, as if words were there. In the original λαλῶν σιοπῇ. The mistress of Petrarch parla con silenzio, which is perhaps the best method of female eloquence.

6 Give him the winged Hermes' hand, etc. In Shakespeare's "Cymbeline "there is a similar method of description:

this is his hand,

His foot mercurial, his martial thigh,
The brawns of Hercules.

We find it likewise in "Hamlet." Longepierre thinks that the hands of Mercury are selected by Anacreon on account of the graceful gestures which were supposed to characterize the god of eloquence; but Mercury was also the patron of thieves, and may perhaps be praised as a lightfingered deity.

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I see the sun-god's portrait there. The abrupt turn here is spirited, but requires some explanation. While the artist is pursuing the portrait of Bathyllus, Anacreon, we must suppose, turns round and sees a picture of Apollo, which was intended for an altar at Samos. He then instantly tells the painter to cease his work; that this picture will serve for Bathyllus; and that, when he goes to Samos, he may make an Apollo of the portrait of the boy which he had begun.

"Bathyllus" (says Madame Dacier) "could not be more elegantly praised, and this one passage does him more honor than the statue, however beautiful it might be, which Polycrates raised to him."

2 Bring me wine in brimming urns, etc. Original πιεῖν ἀμυστί. The amystis was a method of drinking used among the Thracians. Thus Horace, Threicia vincat amystide. Mad. Dacier, Longepierre, etc.

Parrhasius, in his twenty-sixth epistle (" Thesaur. Critic." vol. i.), explains the amystis as a draught to be exhausted without drawing breath, uno haustu. A note in the margin of this epistle of Parrhasius says, Politianus vestem esse putabat, but adds no reference.

3 Give me all those humid flowers, etc. According to the original reading of this line, the poet says, "Give me the flower of wine "

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same manner

ἐσβέσθης γέραιε Σοφόκλεες, ἄνθος ἀοιδῶν· and flos in the Latin is frequently applied in the thus Cethegus is called by Ennius, Flos inlibatus populi, suadæque medulla, "The immaculate flower of the people, and the very marrow of persuasion." See these verses cited by Aulus Ĝellius, lib. xii., which Cicero praised, and Seneca thought ridiculous.

But in the passage before us, if we admit ékeivwv, according to Faber's conjecture, the sense is sufficiently clear, without having recourse to such refinements.

4 Every dewy rose I wear

Sheds its tears, and withers there.

There are some beautiful lines, by Angerianus, upon a garland, which I cannot resist quoting

here:

Ante fores madida sic sic pendete corolla, mane orto imponet Cælia vos capiti;

at quum per niveam cervicem influxerit humør. dicite, non roris sed pluvia hæc lacrima. By Celia's arbor all the night

Hang, humid wreath, the lover's vow; And haply, at the morning light,

My love shall twine thee round her brow. Then, if upon her bosom bright

Some drops of dew shall fall from thee, Tell her, they are not drops of night,

But tears of sorrow shed by me!

In the poem of Mr. Sheridan's, "Uncouth is this moss-covered grotto of stone," there is an idea very singularly coincident with this of Angerianus:

And thou, stony grot, in thy arch may'st preserve Some lingering drops of the night-fallen dew; Let them fall on her bosom of snow, and they 'll

serve

As tears of my sorrow entrusted to you.

5 But to you, my burning heart, etc. The transition here is peculiarly delicate and impassioned; but the commentators have perplexed the sentiment by a variety of readings and conjectures.

ODE XIX.1

HERE recline you, gentle maid,2
Sweet is this embowering shade;
Sweet the young, the modest trees,
Ruffled by the kissing breeze;
Sweet the little founts that weep,
Lulling soft the mind to sleep;
Hark! they whisper as they roll,
Calm persuasion to the soul;
Tell me, tell me, is not this
All a stilly scene of bliss?
Who, my girl, would pass it by?
Surely neither you nor I.3

1 The description of this bower is so natural and animated, that we almost feel a degree of coolness and freshness while we peruse it. Longepierre has quoted from the first book of the Anthologia the following epigram, as Somewhat resembling this ode : —

ἔρχει καὶ κατ' ἐμὰν ἕζευ πίτυν & τὸ μελιχρὸν πρὸς μαλακοὺς ἤχει κεκλιμένα ζεφύρους. ἠνίδε καὶ κρούνισμα μελισταγές, ἔνθα μελίσδων ἡδὺν ἐρημαίοις ὕπνον ἄγω καλάμοις.

Come, sit by the shadowy pine

That covers my sylvan retreat;
And see how the branches incline
The breathing of zephyr to meet.
See the fountain, that, flowing, diffuses
Around me a glittering spray;
By its brink, as the traveller muses,
I soothe him to sleep with my lay.

2 Here recline you, gentle maid, etc.

The Vatican MS. reads Baúλλov, which renders the whole poem metaphorical. Some commentator suggests the reading of βάθυλλον, which makes a pun upon the name; a grace that Plato himself has condescended to in writing of his boy 'AoThp. See the epigram of this philosopher, which I quote on the twenty-second ode.

There is another epigram by this philosopher, preserved in Laertius, which turns upon the same word.

Αστὴρ πρὶν μὲν ἔλαμπες ἐνὶ ζώοισιν ἑῶος,
νῦν δὲ βανῶν λάμπεις ἕσπερος ἐν φθιμένοις.

In life thou wert my morning star,

But now that death has stolen thy light,
Alas! thou shinest dim and far,

Like the pale beam that weeps at night.

In the Veneres Blyenburgicæ, under the head of "Allusiones,' we find a number of such frigid conceits upon names, selected from the poets of the middle ages.

3 Who, my girl, would pass it by?
Surely neither you nor I.

The finish given to the picture by this simple exclamation τις ἂν οὖν ὁρῶν παρέλθοι, is inimitable. Yet a French translator says on the passage, "This conclusion appeared to me too

ODE XX.4

ONE day the Muses twined the hands
Of infant Love with flowery bands;
And to celestial Beauty gave

The captive infant for her slave.
His mother comes, with many a toy,

trifling after such a description, and I thought proper to add somewhat to the strength of the original."

4 The poet appears, in this graceful allegory, to describe the softening influence which poetry holds over the mind, in making it peculiarly susceptible to the impressions of beauty. In the following epigram, however, by the philosopher Plato (Diog. Laert. lib. 3.), the Muses are represented as disavowing the influence of Love.

& Κύπρις Μούσαισι, κοράσια τὰν Αφροδίταν τίματ', ἢ τὸν Ερωτα ὕμμιν ἐφοπλίσομαι. αἱ Μοῦσαι ποτὶ Κύπριν, "Αρει τὰ στώμυλα ταῦτα· ἡμῖν οὐ πέταται τοῦτο τὸ παιδάριον.

"Yield to my gentle power, Parnassian maids;" Thus to the Muses spoke the Queen of Charms

"Or Love shall flutter through your classic shades,

And make your grove the camp of Paphian

arms!"

"No," said the virgins of the tuneful bower,

"We scorn thine own and all thy urchin's art; Though Mars has trembled at the infant's power, His shaft is pointless o'er a Muse's heart!

There is a sonnet by Benedetto Guidi, the thought of which was suggested by this ode:Scherzava dentro all' auree chiome Amore Dell' alma donna della vita mia: E tanta era il piacer ch' ei ne sentia, Che non sapea, nè volea uscirne fore. Quando ecco ivi annodar si sente il core, Si, che per forza ancor convien che stia: Tai lacci alta beltate orditi avia

Del crespo crin, per farsi eterno onore.
Onde offre infin dal ciel degna mercede,
A chi scioglie il figliuol la bella dea
Da tanti nodi, in ch' ella stretti il vede.
Ma ei vinto a due occhi l'arme cede:
Et t' affatichi indarno, Citerea;
Che s'altri'l scioglie, egli a legar si riede

Love, wandering through the golden maze
Of my beloved's hair,

Found, at each step, such sweet delays,
That rapt he lingered there.

And how, indeed, was Love to fly
Or how his freedom find,
When every ringlet was a tie,
A chain, by Beauty twined.
In vain to seek her boy's release,
Comes Venus from above:
Fond mother, let thy efforts cease,

Love's now the slave of Love.
And, should we loose his golden chain,
The prisoner would return again!

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