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pariter the very enthusiastic eulogiums bestowed
a be wrote:
which rigid morality must frown. His heart, to themselves the form of the animated old bard,
that we sympathize even in his excesses In his Of his person and physiognomy time has pre- amatory odes there is a delicacy of compliment ivot served such uncertain memorials, that it were bet to be found in any other ancient poet. Love at ter, perhaps, to leave the pencil to fancy; and few that period was rather an unrefined emotion : and can read the Odes of Anacreon without imagining the intercourse of the sexes was animated more by of Anacreon, pretends to imagine that our bard did not feel right hand, and a dolphin, with the word TIANSN inscribed,
in the left; “volendoci denotare (says Canini) che quelle
cittadini la coniassero in honore del suo compatriota poeta,"
There i3 also among the coins of De Wilde one, which
though it bears Bo effigy, was probably struck to the memory
of Anacreon. It has the word TUIN, encircled with an ivy Regnbal cyathos, nec inquietis
crown. "At guidni respicit hæc corona Anacreontem, nobiCrebatur amoribus, sed ipsis
lem lyricum ?"— De Wilde. Tantum versibus et jocis amabat,
3 Besides those which are extant, he wrote hymns, elegies, Nullam præ se habitum gerens amantis.
epigrams, &c. Some of the epigrams still exist. Horace, in To Love and Bacchus ever young
addition to the mention of him, (lib. iv. od. 9,) alludes also While sage Anacreon touch'd the lyre,
to a poem of his upon the rivalry of Circe and Penelope in Be neither felt the loves he sung,
the affections of Ulysses, lib. i. od. 17; and the scholiast Nor fill'd his bowl to Bacchus higher.
upon Nicander cites a fragment from a poem upon Sleep by
Anacreon, and attributes to him likewise a inedicinal trea-
tise. Fulgentius mentions a work of his upon the war be-
tween Jupiter and the Titans, and the origin of the conse-
cration of the engle.
“ His style (says
Puet. lib. i. cap. 44. ** From the sottness of his verses (snys extravagant, if not sometimes also a little profane. Baillet Olaus Borrichius) the ancients bestowed on him the epithets rans son mueh into the opposite extreme, exaggerating also
sweet, delicate, graceful, &c."-Dissertationes Academicæ, the testimonies which he has consulted; and we cannot
de Poetis. diss. 2. Scaliger again praises him thus in a pun; stirely agree with him when he cites such a compiler as speaking of the medos, or ode, “ Anacreon autem non solum Atheneus
, as “un des plus savans critiques de l'antiquité." dedit hæc uean sed etiam in ipsis mella." See the passage - Jugement des Sçarans, M. CV.
of Rapin, quoted by all the editors. I cannot omit citing Barnes could hardly have read the passage to which he also the following very spirited apostrophe of the author of refers
, when he accuses Le Fevre of having censured out the Commentary prefixed to the Parma edition : "O vos peet's character in a note on Longinus ; the note in question
sublimes animæ, vos Apollinis alumni, qui post unum Alcbeige manifest irony, in allusion to some censure passed
manem in totâ Hellade lyricam poesim exsuscítastis, coluisspen Le Ferre for his Anaereon. It is clear, indeed, that tis, amplificastís, quarso vos an ullus unquam fuerit vates praise rather than censure is intimated. See Johannes Vul qui Teio cantori vel natura candore vel metri suavitate bias , (de Utilitate Poëtices,) who vindicates our poet's repu- palmam præripuerit.” See likewise Vincenzo Gravini della
Rag. Poetic. libro primo, p. 97. Among the Ritratti of Ma* It is taken from the Bibliotheca of Fulvius Ursinus. rino, there is one of Anacreon beginning "Cingetemi la Bellari has copied the same head into his Imagines. Johannes fronte," &c. &c. Faber, in his description of the coin of Ursinus, mentions $ “ We may perceive," says Vossius, “ that the iteration of desther head on a very beautiful cornelian, which he sup
his words conduces very much to the sweetness of his style." pes was worn in a ring by some admirer of the poet. in Henry Stephen reinarks the same beauty in a note on the the leonographia of Canini there is a youthful bead of Anac-forty-fourth ode. This figure of iteration is his most approreca from a Grecian medal, with the letters TEIDE around priate grace:--but the modern writers of Juvenilia and Basia ; on the reverse there is a Neptune, holding a spear in his have adopted it to an excess which destroys the effect.
passion than by sentiment. They knew not those imitators. Some of these have succeeded with little tendernesses which form the spiritual part of wonderful felicity, as may be discerned in the few affection ; their expression of feeling was therefore odes which are attributed to writers of a later rude and unvaried, and the poetry of love deprived period. But none of his emulators have been half it of its most captivating graces. Anacreon, how. so dangerous to his fame as those Greek ecclesiever, attained some ideas of this purer gallantry; astics of the early ages, who, being conscious of and the same delicacy of mind which led him to this their own inferiority to their great prototypes, deterrefinement, prevented him also from yielding to the mined on removing all possibility of comparison, freedom of language which has sullied tho pages and, under a semblance of moral zoal, deprived the of all the other poets. His descriptions are warm ; world of some of the most exquisite treasures of but the warmth is in the ideas, not the words. He ancient times. The works of Sappho and Alcæus is sportive without being wanton, and ardent with were among those flowers of Grecian literature out being licentious. His poetic invention is always which thus fell beneath the nde hand of ecclesimost brilliantly displayed in those allegorical fictions astical presumption. It is true thoy pretended that which so many have endeavored to imitate, though this sacrifice of genius was hallowed by the interall have confessed them to be inimitable. Sim ests of religion ; but I have already assigned the plicity is the distinguishing feature of these odes, most probable motive ;" and if Gregorius Nazianand they interest by their innocence, as much as zenus had not written Anacreontics, we might they fascinate by their beauty. They may be said, now perhaps have the works of the Teian unmuindeed, to be the very infants of the Muses, and to tilated, and be empowered to say exultingly with lisp in numbers.
Horace, I shall not be accused of enthusiastic partiality
Nec si quid olim lusit Anacreon by those who have read and felt the original ; but, to others, I am conscious, this should not be the language of a translator, whose faint reflection | The zeal by which these bishops professed to be of such beauties can but ill justify his admiration actuated, gave birth more innocently, indeed, to an of them.
absurd species of parody, as repugnant to piety as In the age of Anacreon music and poetry were it is to taste, where the poet of voluptuousness was inseparable. These kindred talents were for a long made a preacher of the gospel, and his muse, like time associated, and the poet always sung his own the Venus in armor at Lacedæmon, was arrayed in compositions to the lyre. It is probable that they all the severities of priestly instruction. Such was were not set to any regular air, but rather a kind the “Anacreon Recantatus,” by Carolus de Aquino, of musical recitation, which was varied according a Jesuit, published 1701, which consisted of a series to the fancy and feelings of the moment. The of palinodes to the several songs of our poet. Such, poems of Anacreon were sung at banquets as late too, was the Christian Anacreon of Patriganus, as the time of Aulus Gellius, who tells us that he another Jesuit,' who preposterously transferred to a heard one of the odes performed at a birthday enter most sacred subject all that the Grecian poet had tainment.
dedicated to festivity and love. The singular beauty of our poet's style, and the His metre has frequently been adopted by the apparent facility, perhaps, of his metre, have at modern Latin poets ; and Scaliger, Taubman, tractod, as I have already remarked, a crowd of Barthius, and others, have shown that it is by no
i In the Paris edition there are four of the original odes • We may perceive by the beginning of the first hymn of set to music, by Le Sueur, Gossec, Mehul, and Cherubini. Bishop Synesius, that he made Anacreon and Sappho his "On chante du Latin, et de l'Italien," says Gail, “quelque- models of composition. fois même sans les entendre ; qui empêche que nous ne
Αγε μοι, λιγεια φορμιγξ, chantions des odes Grecques ?" The chromatic learning of
Μετα Τηϊαν αοιδαν, , these composers is very unlike what we are told the
Μετα Λεσβιαν τε μολπαν. . simple melody of the ancients; and they have all, as it appears to me, mistaken the accentuation of the words. Margunius and Damascenus were likewise authors of pions
The Parma commentator is rather careless in referring Anacreontics. to this passage of Aulus Gellius, (lib. xix. cap. 9.) The ode 6 This, perhaps, is the “ Jesuita quidam Græculus" alwas not sung by the rhetorician Julianus, as he says, but by luded to by Barnes, who has himself composed an Avarpcwy the minstrels of both sexes, who were introduced at the Xplotiavos, as absurd as the rest, but somewhat more skilentertainment.
fully executed. 3 See what Colomesius, in his “Literary Treasures," has 6 I have seen somewhere an account of the MSS. of Barquoted from Alcyonius de Exilio; it may be found in Bax- thius, written just after his death, which mentions many ter. Colomesius, after citing the passage, adds, "Hæc auro inore Anacreontics of his than I believe have ever been contra cara non potui non apponere."
means uncongenial with that language.? The with annotations and a Latin version of the greater
To judge by the references of Degen, the Ger- spoken of the manuscript with not less confidence
could possibly save had an opportunity of consult-
fev, are, I believe, the most important.
The old French translations, by Ronsard and
acter of our poet.
1 Thus too Albertus, a Danish poet:
7 Ronsard commemorates this event :-
Je vay boire å Henrie Etienne
Qui des enfers nous a rendu,
Du vieil Anacreon perda,
La douce lyre Teïenne. Ode sy book 5.
I fill the bowl to Stephen's name,
Who rescued from the gloom of night
The Teian bard of festive fame,
And brought his living lyre to light.
can library; it is a kind of anthology of Greek epigrams, and
in the 676th page of it are found the 'Hapipßia EvuhoolDKA
"Le même (M. Vossius) m'a dit qu'il avoit possédé un
larités. Robortellus, in his work “De Ratione corrigendi," pro Colomesius, however, seems to have relied too implicity toances these verses to be the triflings of some insipid on Vossius ;--almost all these Particularités begin with
"M. Vossius m'a dit."
The edition by Gail, at Paris, 1799, with a prose translation.
ODES OF ANACREON.
municated to this poet his manuscript of Anacreon, before he promulgated it to the world.'
The edition by Lo Fevre, 1660.
The edition by Madame Dacier, 1681, with a prose translation.?
The edition by Longepierre, 1684, with a translation in verse.
The edition by Baxter; London, 1695.
“L'Histoire des Odes d'Anacreon," by Gaçon; Rotterdam, 1712.
A translation in English verse, by several hands, 1713, in which the odes by Cowley are inserted.
The edition by Bames; London, 1721.
The edition by Dr. Trapp, 1733, with a Latin version in elegiac metre.
A translation in English verse, by John Addison, 1735.
A collection of Italian translations of Anacreon, published at Venice, 1736, consisting of those by Corsini, Regnier, Salvini, Marchetti, and one by several anonymous authors.
A translation in English verse, by Fawkes and Doctor Broome, 1760.
Another, anonymous, 1768.
The edition by Spaletti, at Rome, 1781 ; with the fac-simile of the Vatican MS.
The edition by Degen, 1786, who published also a German translation of Anacreon, esteemed the best.
A translation in English verse, by Urquhart, 1787.
1 "La fiction de ce sonnet, comme l'auteur même m'a dit, at the first look (says Baxter) that the poet was imevros ?" est prise d'une ode d'Anacreon, encore non imprimée, qu'il There are surely many tell-tales of this propensity; and the a depuis traduit, Συ μεν φιλη χελιδων.”
following are the mdices, which the physiognomist gives, The author of Nouvelles de la Répub. des Lett. bestows describing a disposition berhaps not unlike that of Anacreon: on this translation much more praise than its merits appear | Οφθαλμοι κλυζομενοι, κυμαινοντες εν αυτοις, εις αφροδισια και to me to justify:
ευπαθειαν επτοηνται: ουτε δε αδικοι, ουτε κακουργοι, ουτε 3 The notes of Regnier are not inserted in this edition; ØVoews Savans, outë ajovou, - Adamantius.
“The eyes but they must be interesting, as they were for the most part that are humid and fluctuating show a propensity to pleasure communicated by the ingenious Menage, who, we may per and love; they bespeak too a mind of integrity and beneficeive, from a passage in the Menagiapa, bestowed some re cence, a generosity of disposition, and a genius for poetry." search on the subject. "C'est anssi lui (M. Bigot) qui s'est Baptista l'orta tells us some strange opinions of the andonné la peine de conférer des manuscrits en Italie dans le cient physiognomists on this subject, their reasons for which tems que je travaillois sur Anacreon."- Menagiana, sccondo were curious, and perhaps not altogether fanciful. Vide partie.
Physiognom. Johan. Baptist. Portæ. 4 I find in Haym's Notizia de' Libri rari, Venice, 1670, an
• I took the wreath, whose inmost trine Italian translation by Cappone, mentioned.
Breathed of him, &c.] Philostratus has the same thonght 5 This is the most complete of the English translations.
in one of his Epwrika, where he speaks of the garland which he had sent to his mistress. Ει δε βουλει τι φιλω χαριζεσ
θαι,τα λειψανα αντιπεμψον, μηκέτι πνεoντα ροδων μονον αλλα 6 This ode is the first of the series in the Vatican manu
Kui dov. “If thou art inclined to gratify thy lover, send him script, which attributes it to no other poet than Anacreon.
back the remains of the garland, no longer breathing of roses They who assert that the manuscript imputes it to Basilius, have been misled by the words Tov avtov Baollikws in the
only, but of thee!" Which pretty conceit is borrowed (as
the author of the Observer remarks) in a well-known little margin, which are merely intended as a title to the follow
song of Ben Jonson's :ing ode. Whether it be the production of Anacreon or not, it has all the features of ancient simplicity, and is a beauti
“But thou thereon didst only breathe ful imitation of the poet's happiest manner.
And sent it back to me; 9 Sparkled in his eyes of fire,
Since when it looks and smells, I swear, Through the mist of soft desire.] “How could he know
Not of itself, but thee !"
I hung it o'er my thoughtless brow
Many a city, revelling free,
Give me the harp of epic song,
Then, give the harp of epic song, Which Homer's finger thrill'd along; But tear away the sanguine string, For war is not the theme I sing.
Vulcan! hear your glorious task ;
Luten to the Muse's lyre,
1 And ak! I fed its magic now :) This idea, as Longepierre considerable interpolations of his own, which he thinks are Ferrarks, occurs in an epigram of the seventh book of the indispensably necessary to the completion of the description.
4 This ode, Aulus Gellius tells us, was perforined at an
entertainment where he was present.
6 While many a rose-lipp'd bacchant maid, &c.) I have Πυρ ολοον οαπτει με.
availed nyself here of the additional lines given in the
Vatican manuscript, which have not been accurately inWhile I unconscious quafr'd my wine,
serted in any of the ordinary editions :-
Ποιησον αμπελους μου
Και βοτρυας κατ' αυτων
Και μαιναδας τρυγωσας. .
Ποιει δε ληνον οινου, * Preclaim the laws of festal rite.) The ancients prescribed
, certain laws of drinking at their festivals, for an account of
Ληνοβατας πατουντας, which see the commentators. Anacreon here acts the sym
Τουςσ ατυρους γελωντας, , peniarch, or master of the festival. I have translated accord
Και χρυσους τους ερωτας, , της to those who consider κυπελλα θεσμων as an Inversion of
Και Κυθερην γελωσαν, , θεσμούς κυπελλων. .
'Opov kalw Avaiw, la Fosse has thought proper to lengthen this poem by
Ερωτα κ' 'Αφροδιτην.