« ForrigeFortsæt »
And purchase from the hand of death
As lull'd in slumber I was laid,
Let us drain the nectar'd bowl,
Let us raise the song of soul 'T was night, and many a circling bowl
To him, the god who loves so well Had deeply warm'd my swimming soul;
The nectar'd bowl, the choral swell!
Him, who instructs the song of earth “The German imitators of it are, Lessing, in his poem To thrid the tangled dance of mirth; "Gestern Brüder, etc.' Gleim, in the ode' An den Tod,'
Him, who was nursed with infant Love, and Schmidt in der Poet. Blumenl. Gotuing. 1783, p. 7."
And cradled in the Paphian grove;
Him, that the snowy Queen of Charms
Which sweet intoxication knows; Medenbach proposes in his Ameoitates Litterariæ, was With him the brow forgets to darkle, already hinted by Le Fevre, who seldom suggests any thing And brilliant graces learn to sparkle. worth notice.
Behold! my boys a goblet bear,
Whose sunny foam bedews the air. nion of friendship, which sweetened the bowl of Anacreon,
Where are now the tear, the sigh?
Grasp the bowl; in nectar sinking,
Παρθενoν ουκ' εκιχησε, και ηθελεν αυθις ιαοιιν. The third is wealth, unwounding, guiltless wealth, And then, an intercourse with those we love!
Waking, he lost the phantom's charms,
He found no beauty in his arms; 1 "Compare with this ode the beautiful
Again to slumber he essay'd, Traum of Úz.' "-Degen.
Aguin to clasp the shadowy maid! Longepierre. Monsieur Le Fevre, in a nute upon this ode, enters into an elaborate and learned justification of drunkenness; and " Sleep! again my joys restoro, this is probably the cause of the severe reprehension which Oh! let me dream them o'er and o'er!). Doctor Johnson, I believe he suffered for his Anacreon. "Fuit olim fateor in his preface to Shakspeare, animadverting upon the com (says be, in a note upon Longinus,) cum Sapphonem ama- mentators of that poet, who pretended, in every little coinci bam. Sed ex quo illa me perditissima fæmina pene miserum dence of thought, to deteci an imitation of some ancient perdidit cum sceleratissimo suo congerrone (Anacreontempoet, alludes in the following words to the line of Anacreon dico, si nescis Lector,) noli sperare," etc. etc. He adduces before us: “I have been told that when Caliban, after a on this ode the authority of Plato, who allowed ebriety, at pleasing dream, says, 'I tried to sleep again,' the author the Dionysian festivals, to men arrived at their fortieth year. imitates Anacreon, who had, like any other man, the same He likewise quotes the following line from Alexis, which he wish on the same occasion." says no one, who is not totally ignorant of the world, can 1 "Compare with this beautiful ode the verses of Hagehesitate to confess the truth of:
dorn, lib. v. das Gesellschaftliche; and of Bürger, p. 51," Ουδεις φιλοποτης εστιν ανθρωπος κακος. .
etc. etc.—Degen. “No lover of drinking was ever a vicious man." Him, that the snowy Queen of Charms
Has fondled in her twining arms.) Robertellus, upon -rohen all my dream of joys,
the epithalamium of Catullus, mentions an ingenious derivaDimpled girls and ruddy boys,
tion of Cytherea, the name of Venus, Tapx T8 *!u5809 Tous All iere gone!) Nonnus says of Bacchus, almost in the upwtas, which seems to hint that "Love's fairy favours are same words that Anacreon uses,
I lost, when not concealed."
Oh! can the tears we lend to thought
ODE XL. I know that Heaven ordains me here To run this mortal life's career ; The scenes which I have journey'd o'er Return no more-alas ! no more; And all the path I've yet to go I neither know nor ask to know. Then surely, Care, thou canst not twine Thy fetters round a soul like mine; No, no, the heart that feels with me Can never be a slave to thee! And oh! before the vital thrill, Which trembles at my heart, is still, I'll gather joy's luxurious flowers, And gild with bliss my fading hours; Bacchus shall bid my winter bloom, And Venus dance me to the tomb !
ODE XXXIX. How I love the festive boy, Tripping with the dance of joy! How I love the mellow sage, Smiling through the veil of age ! And whene'er this man of years In the dance of joy appears, Age is on his temples hung, But his heart-his heart is young!
love and bliss, entranced to lie Where the embowering branches meetOh! is not this divinely sweet ?
No, no, the walk of life is dark, 'Tis wine alone 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, Προδικη, πυκασω μεθα, και τον ακρατο
Ελκωμεν, κυλικας μειζονος αραμενοι.
Γηρας κωλυσει, και το τελος θανατος.
Fly, my beloved, to yonder stream,
Like yours and mine, should e'er be still!
But his heart-his heart is young!] Saint Pavin makes the name distinction in a sonnet to a young girl.
Je sais bien que les destinées
Belle Iris, que je vous ai vue.
And I full many a year have told;
Thou shalt not find my love is old.
How much his little age may be,
That first I set my eyes on thee!
No, no, the heart that feeis with me,
Can never be a slave to thee!] Longepierre quotes an epigram here from the Anthologia, on account of the similarity of a particular phrase; it is by no means anacreontic, but has an interesting simplicity which induced me to paraphase it, and may atone for its intrusion.
Ελπις, και συ, τυχη, μεγα χαιρετι, τον λιμιν' ουρον.
At length to Fortune, and to you,
And they shall weep at your deceiving !
And Venus dance me to the tomb !) The same commen tator has quoted an epitaph, written upon our poet by Julian where he makes him give the precepts of good-fellowship even from the tomb.
Πολλακι μεν τοδ' ασισα, και εκ τυμβου δε βοησω
And from my grave I still shall cry,
Ere death has made thee cold as I."
Quid habes illius, illius
And hast thou lost each rosy ray
And stole me from myse/f away?
Some airy nymph, with fluent limbs,
the garland twine,
melody; for this is a nicety of progression of which modera
music is not susceptible. ODE XLIII.
The invention of the barbiton is, by Athenæus, attributed
to Anacreon. See his fourth book, where it is called To While our rosy fillets shed
supapa Tou AvxxPONTOS. Neanthes of Cyzicus, as quoted Blushes o'er each fervid head,
by Gyraldus, asserts the same. Vide Chubot. in llorat OR
the words " Lesboum barbiton," in the first ode. With many a cup and many a smile
And then, what nectar in his sigh, The festal moments we beguile.
As o'er his lip the murmurs die! Longepierre has And while the harp, impassion’d, flings quoted here an epigram from the Antbologia: Tuneful rapture from the strings,
Κουρη τις μ' εφιλησε ποθεσπερα χειλεσιν υγροις.
Νικταρ ε ην το φίλημα, το γαρ στομα νεκταρος επνιι 1 The character of Anacreon is here very strikingly de
Νυν μεθυω το φελημα, πολυν τον έρωτα τσιπωXς. picted. His love of social, harmonized pleasures is express- of which the following may give some idea: ed with a warmth, amiable and endearing.. Among the
The kiss that she left on my lip epigrams imputed to Anacreon is the following; it is the
Like a dew-drop shall lingering lie; only one worth translation, and it breathes the same sentiments with this ode:
'Twas nectar she gave me to sip,
Twas nectar I drank in her sigh!
The dew that distill'd in that kiss,
To my soul was voluptuous wine;
Ever since it is drunk with the bliss,
And feels a delirium divine ! When to the lip the brimming cup is press’d,
Has Cupid left the starty sphere, And hearts are all afloat upon the stream,
To roave his golden tresses here?] The introduction of Then banish from my board the unpolish'd guest these deities to the festival is merely allegorical. Madame Who makes the feats of war his barbarous theme. Dacier thinks that the poet describes a masquerade, where
these deities were personated by the company in masks. But bring the man, who o'er his goblet wreathes The translation will conform with either idea. The Muse's laurel with the Cyprian flower:
All, all here, to hail rith me
The Genius of Festivity!) Kemos, the deity or genius
of mirth. Philostratus, in the third of his pictures (as all And while the harp, impassion'd, Aings
the annotators have observed) gives a very beautiful deTuneful rapture from the strings, etc.) On the barbiton scription of this god. a host of authorities may be collected, which, afu all, leave 1 This spirited poem is an eulogy on the rose; and again us ignorant of the naturo of the instrument. There is in the fifty-fifth ode, we shall find our author rich in the scarcely any point upon which we are so totally unioform- praises of that flower. In a fragment of Sappho, in the ed as the music of the ancients. The authors (a) extant romance of Achilles Tatius, to which Barnes refers upon the subject are, I imagine, little understood ; but cer- rose is very elegantly styled "the eye of flowers and the tainly if one of their moods was a progression by quarter- same poetess, in another fragment, calls the favours of the tones, which we are told was the nature of the enharmonic Muse it the roses of Pieria." See the notes on the fifty. ucale, simplicity was by no means the characteristic of their fifth ode.
"Compare with this forty-fourth ode (says the German tal Collocted by Meibomius.
annotator) the beautiful ode of Uz, dio Rosy."
Drink and smile, and learn to think
While virgin Graces, warm with May,
ODE XLVII. Within this goblet, rich and deep,
'Tis true, my fading years decline, I cradle all my woes to sleep.
Yet I can quaff the brimming wine Why should we breathe the sigh of fear,
As deep as any stripling fair Or pour the unavailing tear?
Whose cheeks the flush of morning wear; For Death will never heed the sigh,
And if, amidst the wanton crew, Nor soften at the tearful eye;
I'm call'd to wind the dance's clue, And eyes that sparkle, eyes that weep,
Thou shalt behold this vigorous hand, Must all alike be seal'd in sleep;
Not faltering on the bacchant's wand, Then let us never vainly stray,
But brandishing a rosy flask, In search of thorns, from pleasure's way;
The only thyrsus e'er I'll ask! Oh! let us quaff the rosy wave Which Bacchus loves, which Bacchus gave; The imperative ide is infinitely more impressive, as in And in the goblet, rich and deep,
Sbakspeare, Cradle our crying woes to sleep!
But look, the morn, in russet mantle clad,
Walks o'er the dew of yon high eastern hill.
Catullus's beautiful farewell to Bithynia. Carm. 44.
Barnes conjectures, in his life of our poet, that this ode
was written after he had returned from Athens, to settle in SEE, the young, the rosy Spring,
bis paternal seat at Teos; there, in a little villa at some disGives to the breeze her spangled wing ;
tance from the city, which commanded a view of the Ægean Sea and the islands, he contemplated the beauties of nature, and enjoyed the felicities of retirement. Vide Barnes, in
Anac. vita. xxxv. This supposition, however unauthenWhen toith the blushing, naked Graces,
ticated, forms a pleasant association, which makes the poem The wanton winding dance he traces, " This sweet
more interesting. idea of Love dancing with the Graces, is almost peculiar to
Monsieur Chevreau says, that Gregory Nazianzenus har Anacreon."-Degen.
paraphrased somewhere this description of Spring. I canWith some celestial, glowing maid, etc.) The epithet not find it. See Chevreau, (Euvres Mélées. Bubux0X705, which he gives to the nymph, is literally " full- "Compare with this ode (says Degen) the verses of Hagebogomed :" if this was really Anacreon's taste, the heaven dorn, book fourth, der Frühling, and book fifth, der Mai." of Mahomet would suit him in every particular. See the
While rirgin Graces, warm with May, Koran, cap. 72.
Fling roses o'er her devy way!] De Pauw reads, Xxpo. Then let us never rainly stray,
T*5 po ze Spurvoir, " tho roses display their graces.' In search of thorns from Pleasure's way, etc.] I have is not uningenious; but we lose by it the beauty of the perthus endeavoured to convey the meaning of Toda Toy Scorsonification, to the boldness of which Regnier has objected thavuzo ; according to Regnier's paraphrase of the line: very frivolously. E che val, fuor della strada
The murmuring billors of the deep
Have languish d into silent sleep, etc.) It has been
justly remarked that the liquid flow of the line at AUVET** I The fastidious affectation of some commentators has 3 mm is perfectly expressive of the tranquillity which it denounced this ode as spurious. Degen pronounces the describes. four last lines to be the patch-work of some miserable ver. And cultured field, and winding stream, etc.). By Bpoo sificator; and Brunck condemns the whole ode. It appears TNV8873, "the works of men," says Baxter,) he means to me to be elegantly graphical; full of elegant expressions cities, temples, and towns, which are then illuminated by and luxurious imagery. The abruptness of 18. to 4pos the beams of the sun. Gavirtos is striking and spirited, and has been imitated
But brandishing a rosy flask, etc.) Arros was a kind rather languidly by Horace:
of leathern vessel for wine, very much in use, as should Vides ut alta stet nive candidum
seem by the proverb #ex55 **Judaxos, which was applied Soracte
to those who were intemperate in cating and drinking. This
Let those who pant for glory's charms
Who, with the sunshine of the bowl, Embrace her in the field of arms;
Thaws the winter of our soul; While my inglorious, placid soul
When to my inmost core he glides, Breathes not a wish beyond the bowl.
And bathes it with his ruby tides, Then fill it high, my ruddy slave,
A flow of joy, a lively heat, And bathe me in its honied wave!
Fires my brain, and wings my feet! For, though my fading years decay,
"T is surely something sweet, I think, And though my bloom has pass'd away,
Nay, something heavenly sweet, to drink ! Like old Silenus, sire divine,
Sing, sing of love, let Music's breath With blushes borrow'd from my wine,
Softly beguile our rapturous death, I'll wanton 'mid the dancing train,
While, my young Venus, thou and I
To the voluptuous cadence die !
Again we 'll sport, again we 'u dance.
When I drink, I feel, I feel Richest, happiest, first of men;
Visions of poetic zeal ! Careless o'er my cup I sing,
Warm with the goblet's freshening dews, Fancy makes me more than king;
My heart invokes the heavenly Muse. Gives me wealthy Cræsus' store,
When I drink, my sorrow's o'er; Can I, can I wish for more?
I think of doubts and fears no more; On my velvet couch reclining,
But scatter to the railing wind Ivy leaves my brow entwining,
Each gloomy phantom of the mind! While my soul dilates with glee,
When I drink, the jesting boy, What are kings and crowns to me?
Bacchus himself, partakes my joy; If before my feet they lay,
And, while we dance through breathing bowers, I would spurn them all away!
Whose every gale is rich with flowers,
Who, with the sunshine of the bowl,
Thaws the winter of our soul.) Autos is the title whick Spill no other blood than thine.
he gives to Bacchus in the original. It is a curious circumYonder brimming goblet see,
stance, that Plutarch mistook the name of Levi among the That alone shall vanquish me;
Jews for Arvo (one of the bacchanal cries,) and accordingly
supposed they worshipped Bacchus. Oh! I think it sweeter far To fall in banquet than in war!
I Faber thinks this spurious; but, I believe, he is singular in his opinion. It has all the spirit of our author. Like the wreath which he presented in the dream," .. smells of Ana
The form of this ode, in the original, is remarkable. It ODE XLIX.'
is a kind of song of seven quatrain stanzas, each beginning
with the line WHEN Bacchus, Jove's immortal boy,
Οτ' εγω τι τον οίνον, The rosy harbinger of joy,
The first stanza alone is incomplete, consisting but of three lines.
“ Compare with this poem (naye Degen) the verses of proverb is mentioned in soine verses quoted by Athenæus, Hagedorn, lib. v. der Wein, where that divine poet bas from the Hesione of Alexis.
wanloned in the praises of wine." The only thyrsus e'er I'll ask!) Phornutus assigns as a When I drink, I feel, I feel eason for the consecration of the thyrsus to Bacchus, that Visions of poetic zeall] “ Apacreon is not the only one inebriety often renders the support of a slick very necessary. (says Longepierre) whom wine has inspired with poetry.
Ivy leaves my brow entwining, etc.) “The ivy was con- There is an epigram in the first book of the Anthologia, secrated to Bacchus (says Montfaucon,) because he formerly which begins thus : iay lid under that tree, or, as others will have it, because its leaves resemble those of the vine.
Οινος τοι χαριεντι μεγας τελιι ιππος αοιδω,
Other reasons for its consecration, and the use of it in garlands at banquets, may
Υδαρ δε τινων, καλον ου τιαοις επος.' be found in Longepierre, Barnes, etc. etc.
If with water you fill up your glasses, Arm you, arm you, men of might,
You'll never write any thing wise; Hasten to the sanguine fight.) I have adopted the inter
For wine is the horse of Parnassus,
Which hurries a bard to the skies! pretation of Regnier and others : Altri segua Marte fero;
And, while we dance through breathing bowers, etc.) If Che sol Bacco è 'l mio conforto.
some of the translators had observed Doctor Trapp's cau1 This, the preceding ode, and few more of the same tion, with regard to solverboon Hov a upats, “Cave ne cæcharacter, are merely chansons à boire. Most likely they lug intelligas," they would not have spoiled the simplicity were the effusions of the moment of conviviality, and were of Anacreon's fancy, by such extravagant conceptions of sung, we imngine, with rapture in Greece ; but that interest- the passage. Could our poet imagine such bombast on the ing association, by which they always recalled the convivial following: emotions that produced them, can be very little felt by the Quand je bois, mon æil s'imagino most enthusiastic reader; and much less by a phlegmatic Que, dans un tourbillon plein de parfums diron, grammarian, who sees nothing in them but dialects and Bacchus m'emporte dans les airs, particles.
Rempli de sa liqueur divine.